sign in sign up
<<
Home , Charles Previn, Faust Overture, Leonard Pennario, Sylvan Levin, Three Smart Girls

Gardner-Webb University Digital Commons @ Gardner-Webb University

The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

2-1-1941 Volume 59, Number 02 (February 1941) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons

Recommended Citation Cooke, James Francis. "Volume 59, Number 02 (February 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/253

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. , -

u Mte

SWEET LAND OF

< '

- — pi r g> ;iEj ; cl L J 1 i \ M M, ir ' r — i ® L. J gggljPPr - , 'wr

i f / u n in.W ! 1O* 1 7^ r ra& — 11 i L 1 1

* *i«* \ THE LIVES OF FEBRUARY'S SONS REMIND US d «=% fiuuile dCiiwtif • JkthfieKdeuce tfi/l* Pkila&tyAt Illlllllllllllllimillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll^ PIANO TEACHING “RELIABLES” These Publications Are Favorites With Many Successful Teachers = Examination Privileges Cheerfully Granted. Just Ask for Those You Want "On Approval” STANDARD i * \ BEGINNER'S GRADED riiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimmiiiiiiiiiiiiiMiiiniiiiiiiiiiiiiiiiiiiiiiiiiii BOOK COURSE OF MUSIC PLAY HAPPY DAYS SCHOOL FOR THE PIANO— STUDIES Volume I FOR IN By Theodore For the Piano EVERY DAY MUSIC PLAY Presser Originally Compiled by “Beginner’s Book” stands in THE GATEWAY immense W. S. B. MATHEWS A SEQUEL TO "MUSIC favor with thousands TO PIANO PLAYING of teachers. Its wonderful first In Ten Grades PLAY FOR EVERY DAY" lessons, in the latest revised Price, $1.00 Each An irresistible very first piano edition, follow the A brilliant work, giving the modern book for little beginners, 5 to procedure of teaching child genuine pleasure in up and S years of age. It appeals to down from piano study leading right up Middle C into the juvenile imagination from both clefs. It is a “first to the third grade. Keeps up reader” Grade One, a Popular First the start with its game-like in piano the high plane of interest study by which Instruction Book, with the lessons, story book style explanations, captivating teachers achieve and the irresistible attraction for piano study speedy results Middle C approach (both pictures, charts and melodious and rhythmical with young created by the delightful and distinctive features beginners. clefs at the beginning), is musical material. Every lesson is a “playtime” to in “Music Play for Every Day.” suitable for even the youngest the little tot. Price, $1.00 beginner, and is for class or Price, $1.25 Price, $1.25 U'/teji pupils arc ready to proceed private teaching. With the re- with this pleasing course In Four Books (For Convenience in Class Use), 40c Each In Four Books (For Convenience In Class Use), 40c Each they can take up Student's vised first grade of the Hook ( Vol. II. School “Standard Graded Course,” for the Piano) and then Player's Book {Vol. teachers now may care for all HI, The Very Popular “Year by Year” Course by John M. Williams School for the Piano). piano beginners in the latest and most approved proced- THE FIRST YEAR After the work in this volume is completed, ures, and, most important of AT THE PIANO continue with: all, be able to follow first SELECTED grade work with a definite By John M. Williams course for successful study in SECOND YEAR AT THE PIANO “First Year at the Piano” CZERNY STUDIES later grades. The Other Grades provides a progressive and By John M. Williams—Price, $1.00 provide “the back-bone” for Compiled modern beginner’s book, and Edited by a complete course in piano ideally suited for the aver- study and they have the de- THIRD YEAR AT THE PIANO Emil Liebling age pupil in the ages be- sirable feature of being so ar- tween nine and twelve, or By John M. Williams—Price, $1.00 IN THREE VOLUMES ranged as to allow the teacher perhaps a little older. Both a wide latitude in the selec- The Famous clefs are used from the be- tion of pieces and studies to FOURTH YEAR THE “ John M. Williams ginning and by the time the AT PIANO Czerny-Liebling” Volumes expand and supplement the t student has finished the By John M. The work in each grade. Williams—Price, $1.00 piano study material written pleasurable first year of study with this book, by Czerny seems to be absolutely the very first scale work has been attempted, indispensable, and teachers who phrasing is well understood and an excellent FIFTH YEAR AT THE PIANO can inspire their pupils to follow foundation secured for future development into By John M. Williams— Price, $1.00 Liszt s advice, “practice Czerny TECHNIC FOR a proficient . diligently,” are certain produce Price, $1.00 to players of marked BEGINNERS In Four Parts ( For Convenience in Class Use ), 35c Each ability. The eminent piano pedagog, Emil Lieb- ON THE PIANO ling, selected for these three vol- By Anna Priscilla Rishe> umes the GROWN-UP BEGINNER'S MY FIRST best of all Czerny’s studies and carefully Teachers, with an eye trained to arranged them in EFFORTS progressive order. the future of talented pupils, early BOOK—For the Piano The first volume can be introduce this work as prepara- introduced with the pupil a IN THE advanced tion for the studies of Hanon, By William M. Felton in the second grade. Vol- ume two Philipp, etc. PIANO runs in grades three to CLASS uve and volume three goes along Price, 75 cents Today, more than ever, students of mature years in (Piano Class grades five to Book No. 1) seven. are taking up piano study, realizing that with this Price, $1.00 Each Vol. instrument lies their best opportunity for self-ex- b°ok f MASTERING THE nerri^n®)? ” °f piano begin- P CtlCal pression in music. “Grown-Up Beginner’s Book” cl ss Procedures is SCALES AND simple. It - . i s distinctive f^ f ° r a mater a1 f^'- a definite goal, the playing Wing melons ! tuneful ARPEGGIOS leads towards of the dehghtful L ', tasks r& , Twenty By James Francis Cooke many fine compositions and arrangements, about Little Tunes in Etude for First Year Students A comprehensive medium grade, that are available for piano players. work which may By be introduced as early as grade 2 John Thompson Everything in the book was placed there with the and used as collateral material up un pass on to the study Cheerful of "Making Progress tunes, in a variet' adult student in mind—the exercises are the Piano in into grade 5. Unique and thor- for mature Class" (Piano Class Book rhythmic patterns, No 2 ? (Ysri written 1 oughly practical methods of pres- pieces appeal lhe noted hands, the to the adult intelligence. Pian “ Class” (Piano pedagogical authority fo entation Class place this work supreme Bb"’?k ’ N as ’ 7SC) lhc supplementary flnal b00k in the material tc in its field. seriS first Price, $1.00 instruction book. Favore Price, $1.50 teachers Price, 75 cents and students, everyw Price, 75 cents VIOLIN TEACHERS—Send us a postal with your name 1 and address and the request y® ™ TEACHERS—Fo and Catalogs “Send to me your teacher’s showing pori THEODORE of sacred and price list on Violin Methods, I* HESSE It CO. secular s U for ,he Studies, and Albums.” I n, a*ing. MUSIC ask forr Voice PUBLISHERS Teacher’s 1 . List—K-15.” 17,2 CHESTNUT STREET, |||||||i|||||||||||||||||inilllill!llllllllllllllllllllfillllllllillllll!lllllll> , PA.

1 " 1111111111111 1 I “mi mini in — ;

THE BILLBOARD MARCH By John N. Klohr (Cat. No. 30757) Price, 50 cents A Easier Arr. by John W. Scbaum

Do You Have the Pleasure of Knowing This Beauti- EL CAPITAN MARCH By John Philip Sousa (Cat. No. 30758) Price, 50 cents R ful Number? Easier Arr. by Bruce Carleton o ¥h e Green ** ’ft ’Ll/ Easier-To-Play Piano Arrangements Cathedral for SCHOOL and GYMNASIUM CLASSES, LODCE Verse by MEETINGS, and for RECREATION or STUDY MATERIAL for PIANO PUPILS GORDON JOHNSTONE When ordering give number, or both conijwncr'n and arranger’« name Music by THE NEW COLONIAL MARCH STARS CARL HAHN THE AND STRIPES FOREVER MARCH By R. B. Hall (Cat. No. 30763) Price, 50 cents A By John Philip Sousa (Cat. No. 30552) Price, 50 cents R Easier Arr. by Rob Roy Pecry Easier Arr. by John W. Schanm THE GREEN CATHEDRAL

I know a green cathedral, A shadow'd forest shrine. Where leaves in love join hands above And arch your prayer and mine; Within its cool depths sacred. The priestly cedar sighs. And the fir and pine lift arms divine THE LIBERTY BELL MARCH Unto the pure blue skies. KING COTTON MARCH By John Philip Sousa (Cat. No. 30761) Price, 50 cents R In my dear green cathedral John Philip Sousa (Cat. No. 30760) Price, 50 cents R Easier Arr. by Rob Roy Pecry By There is a flower'd seat Easier Arr. by William Hodsott And choir loft in branch-ed croft. Where song of bird-hymns sweet

And I like to dream at eve-

light. That my Lord and God treads its hallowed sod. In the cool, calm peace of night. O JC Co.

FAIREST OF THE FAIR MARCH BEACH MARCH By John Philip Sousa (Cat. No. 30762) Price, 50 cents R By John Philip Sousa (Cat. No. 30759) Price, 50 cents R VOCAL SOLO Easier Arr. by William Hodsou Easier Arr. by John W. Schanm HIGH VOICE LOW VOICE — (Cat. No. 30050) (Cat. No. 30051) T>. Range d to g Range b-flat to E-flat Price, 60 cents - P p- *y. i P P | — — CHORAL ARRANGEMENTS MIXED VOICES— Four-Part— 15 cents TREBLE VCS.—Two-Part (S.A.j— 12 cents TREBLE VCS.—Three-Part (S.S.A.) — 15 cents MEN'S VOICES— Four- Pori — 15 cents

Also available as Clarinet Solo or Duet. Trumpet Solo or Duet, Alto Saxophone Solo or Duet, and Trombone or Baritone Solo or Duet, with Piano Acc. in collection TEN FAMOUS SOLOS orr. for each of these instruments.

1 lie Join i Church Company THE JOHN CHURCH CO. THEODORE PRESSER CO., DISTRIBUTORS, 1712 CHESTNUT STREET, PHILADELPHIA, PA. THEODORE PRESSER CO., Distrib’s. 1% 1712 Chestnut St., PHILA., PA.

,:j:filWARy. 1941 73 e ' 1 » <

I ! Q OTPE I S© mojqjmnftm® M ii Published Monthly by Theodore M Presser Co.. Philadelphia, M editorial and advisory staff or. JAMES FRANCIS COOKE, Editor Gu, McCoy and Hole MzcVkMo, A, William M. Felton, Music Editor

Peter Hugh Reed Dr. Nicholas Douty Elisabeth NaST William D. Revelli George C. Krick Si’SESX, Henry S. Sawyer ° UN DED ,s 83 By J Theodore Presser

Contents for Jehn 1941 VOLUME LIX. N„. 2 c brice 25 cents WORLD OF MUSIC EDITORIAL Morning nt Talley Forge YOUTH AND MUSIC A Star Enters Her Teens . MUSIC AND CULTURE in Reaching Your Music Goal t i- th« ‘‘- Binging Success K vboar

• • • • Donald Martin Th? : stSS : : : Alfred Lindson Morgan The Origin Peter Hugh Retd " r R. Meredith Cadman MUSIC • AND STUDY • - William Arms Fisher The Teacher’s Round Wisdom and Whim Table in th„ V ' ' ‘ S,u ' Barrel Organs in n - 1 of Singing'. Maicr 90 Questions and Auswrtnswcrs Paul Allhouse 91 Instrumental Music at Flat-old llelman 93 1 Thrilling Instrumental Ibices Will SING Your Music! and !"" uigii" Srii IT. Gehrkens 9J K wi Thenili Am ns G. 1 Vcslcr * 0 ‘ 11 I’riict i ca* • 1 H i n t« f Playing'. • Henry or T riu llK Morton McGuhnn j'J. At first sight, you won’t know what to ex- for children, who find a new enjoyment Pirating Parnassus ,,u ' < '°ndiu'onduetor! Willard Groom » [ L. I he Technic of the 99 pect from the exciting music all exciting Mo,',.',;,h Malko new Solovox attached and interest in with the Accordion Chords xluahie The t 'i.:; Rose IDvlhut 1J>0 to your Orchestra Guitarist S, »«liesV 121 piano. tones of the Solovox at their command. '. (}u „ Main Pietro Deiro 131 But when the MUSIC you start to play . . your left It’s a simple matter to attach Solo- corgi Krick U*> . c. Clastic and Contemporary hand in its accustomed position on the vox to your piano, and it will not affect the Marche Militaire, piano, On v your right hand on the Solovox key- piano’s normal use or tone. jleanie with the LighV p,?'"' 1 (First(P Mu 'I he n,) New Colonial ‘ wn Hni 101 board . . .when Yu,,,‘'* ,lr(h"\ Schubert -Tausig you let your fingers go their See the Solovox . . . play it . . . today! ' Jack-in-the-box 104 Magnolia ’ Foster- Warren way through a familiar melody—then you’ll —at your nearest piano dealer’s. For in- Blossoms 10«* nd i„. begin to Stanford King Iff realize how much this marvelous in- formation, write: Hammond Instrument 1 X. Stoughton lu* strument can mean to one who loves music. Co., 2929 N. Western Avenue, Chicago. 'Vocal) You’ll play your favorite selections as 1 Stafford A with HAMMOND ORGAN STUDIOS • New York: MV. 1" nils 50 West . Marche .Thurhnc Lie,trance 113 never before your piano Militai lVi: Edwj exquisitely and 57th Street. : 3328 (Organ ) n Franko Goldman Ijj* — Wilshire Boulevard Delightful Pieces gloriously / I'onng i»J enriched with the lovely, sus- Blowing Bubhh av tained, singing tones of the Solovox en- Little Musket — Columbia, The chanting effects of violin, trumpet, oboe, Write for interesting, informative, Toadstools of the Technic of the cello, flute, saxophone, and many more! FREE literature on the Solovox. Month A Staccato Chord And it’s all so delightfully easy—even St Op. THE JUNIOR ETUDE 335, x 0 MISCELLANEOUS Ques Hons •• Elizabeth A. Gest t«8 , Answered

Dr. < Mcholas Doutg I{1 '‘ SS ’ Th<* Musical E»r Dr. Henry S. Fm

A''ll v : Cast is' Harpsichord Robert lirainc M «n/;8*ded dames Francis Cooke x. Drill - Glad f^uJnuts for gs Hutchinson • Mu. • • A cm!. h'in ns. • Eloisc Luwnsbcril ‘-SttiirnW'- Annette M. Lim/elbaeh •lennie Sffi'?™" '"‘B'-uia™ F. W. Johnson t .ST,1 1 ublisher s Notes.. Men. Harry K. Miller ‘‘Utoka H. Nickriscu • Harold My lining

S ' ™“- ’»' «< N y, h'fi.1%*; i Rbila.. p.,„ BY THE MAKERS OF I THE FAMOUS HAMMOND ORGAN, HAMMOND NOVACHORD AND HAMMOND ELECTRIC CLOCKS he r countries, ^ ru8Uny, r $3 so , d SinaL p“- “ 74 c j , 1 BENNY GOODMAN, HERE, THERE AND EVERYWHERE IN EMMA THURSBY’S clarinetist, long famous memory was recently as a “swing" artist, THE MUSICAL WORLD honored by the New proved himself no less York Historical Society by a special exhibition of proficient as an inter- NATIONAL MUSIC. WEEK, during its played Santa her gowns and preter of the classics eighteenth annual celebration this com- Claus to three generations of Rach- memora- bilia. Dr. when he appeared with ing May, offers an innovation in Inter- maninoffs on Christmas Day in his New Walter Dam- rosch and the New York Philhar- American Music Day. C. M. Tremaine, York apartment, and two weeks later Jean Dicken- monic - Or- secretary of the National Music Week the entire family observed the traditional son of the Metropolitan Opera appeared at the Bunny Goodman chestra under Barbirolli, Committee, urges all countries participat- Russian Christmas—much to the delight Emma *•«***•«» opening, Thursby * «• in , in De ing to play both classics and compositions of the grandchildren, with two "gift” when Dr. Dam- rosch gave reminiscences of Miss Thurs- cember. After his performances of the by their own composers, in order to days so close together. by who was long known as the American Mozart “Concerto for Clarinet and Or- acquaint the countries of this hemisphere nightingale. Her biography, by Richard chestra” and Debussy's "Rhapsody for with the music each is producing. CLYDE BARRIE, well known young McCandless Gipson, just published Clarinet” he was asked to join the or- Negro, radio baritone from , New was by the Society. chestra in new recordings of both works. TSCIIAIKOWSKY HALL, named after York, who previously worked as messen- the composer and dedicated in his honor, ger boy, file clerk and Red Cap in the ’S contract with THE REGULAR VETERANS’ ASSOCIA- was The Union Station in Buffalo, before becom- recently opened in Moscow. the has again TION, with headquarters in Washington, ing a radio soloist, made a most suc- auditorium has a seating capacity of renewed, dollars been all difficulties having been D. C., ofTers fifty and a life mem- sixteen hundred and is designed on the cessful New York debut at Town Hall on amicably adjusted, according to Harl bership in the organization for an R.V.A. order December 28th. of a stadium. McDonald, manager of the orchestra. song. The listed requirements are for a Eugene Ormandy was recently given a “rip-roaring, spine tingling, fever-pro- five-year contract as permanent conduc- ducing, marrow-stirring, old-time religion etitiond tor of the organization. song with words and music like the ones that have inspired our soldiers, marines, NICOLAS NABOKOFF’S “Biblical Sym- bluejackets, Coast Guardsmen and citi- PRIZE THOUSAND tre Conference, Western Reserve Univer- A OF ONE phony" was given its world premiere by sity, Cleveland, Ohio. zens.” DOLLARS AND APPEARANCES the -Symphony WITH Philadelphia Orchestra and THE A PRIZE OF ONE HUNDRED Orchestra under Dimitri BERGSMA, New York com- Philharmonic-Symphony Mitropoulos at WILLIAM the New York DOLLARS is offered in the LaForge- Carnegie Hall on January 2nd. Mr. Na- poser, appeared as guest conductor with Orchestra are offered finalists in the Berumen Piano Solo Competition Con- sponsored by the bokoff, a -American composer, the Duluth Symphony Orchestra, in Young Artist Contest test announced by the Composers and who Music Clubs. The is head of the music department Duluth, Minnesota, on January 17th, National Federation of Authors Association of America. The at Wells closing date February 20th, 1941. For College, is well known for when his own orchestral composition, is competition is open to all native and his ballet, information, write: Phyllis Lations Han- “Union Pacific.” “Paul Bunyan”, was presented. naturalized citizens of the son, National Competitive Festival who have never had a manuscript ac- Chairman, Studio 337, Day Building, WILLIAM JOSEPH A SCHUBERT FESTIVAL will be held at cepted by a recognized publishing house. Worcester, Massachusetts. The contest closes March 1st, 1941. Details (BILLY) HILL, composer Academy of Music in Philadelphia the from Myrtle Artman Montrief, Contest of such song hits as The 6th to 10th inclusive, in which on March A ONE THOUSAND DOLLAR award Chairman, 215 Ellison Building, Fort Last Round-Up, died in leading musical organizations for the play adjudged the city’s amateur musical Worth, Texas. a hotel in Boston, Mas- take active part: the Schubert Fes- the best work of the year by the Na- will SEVENTY-FIVE DOLLARS and an sachusetts, on December Chorus with James Allan Dash di- tional Theatre Conference is offered by tival appearance with the Illinois Symphony 24th, at the age of forty- Philadelphia Opera Orches- the American Society of Composers, Au- recting; the winning vio- thors and Publishers (ASCAP). Any resi- Orchestra will be given the two. Mr. Hill, whose under Sylvan Levin; the Junger- Rho tra dent of the United States, eighteen or linist in a contest sponsored by the current hit is The Call Leopold Syre, Director; the Alpha. 1st mannerchor, over, may compete. All entries must be Chapter of Phi Mu March of the Canyon, at a of Pennsylvania Women’s For details, write: University submitted not later than July 1st. For is the closing date. hearing upon copyright Harl MacDonald, Director. The Leo Heim, 500 Kimball Building, Chi- Chorus, information write: Professor Barclay legislation before the House committee Philadelphia Orchestra will play the Leathern, Secretary of the National Thea- cago Illinois. in Washington, D. C., four years ago, Schubert "Symphony in C major” with told a poignant story of how ASCAP Ormandy conducting: and the Eugene came to his rescue when he was working Federal Symphony Orchestra will give THE CHICAGO SYM- EFREM ZIMBALIST, who has long been as a dishwasher and living in Greenwich all Schubert program under Guglielmo an PHONY ORCHESTRA, un- generous in giving his talents for many Village, . The rent was Sabatini. Among solo artists to appear a worthy cause, gave a New York recital unpaid, the gas about to be Schumann and Steuart der Frederick Stock, for turned off, are Elizabeth for its annual concert in in Carnegie Hall, on January 6th, the and his wife had been refused admit- Wilson. memory of Theodore British War Relief Society, Inc. tance to a maternity hospital. He went 3rd to Gene Buck, president of the American EUGENE GOOSSENS. conductor of the Thomas on January the LEONARD PENNARIO, sixteen-year-old Society of Composers, Authors and Pub- Cincinnati Symphony Orchestra, was re- and 4th, repeated soloist in the first perform- first program ever given pianist, was lishers, who gave him two hundred and cently given the Bruckner Medal of Hon- ance of his own “Concerto in D-flat for fifty dollars. “If I had not the Bruckner Society of America, by the organization. Fif- received this or of Orchestra” with the ty years ago, under the Theodore Piano and Pasadena money,” he said, “I might have used the Inc. Thomas early direction of Mr. Thomas, Civic Orchestra, in December. gas for some other purpose.” Born in Young Pennario, a native of Buffalo, New Boston, Mr. Hill KURT SCHINDLER’S final work, a com- the ensemble played: A studied violin under "Symphony in York, has also appeared as soloist with Karl pilation of Spanish and Portuguese folk of ; Beethoven's Muck and later went to the Far Tschaikowsky’s “Piano the Orchestra music, will be published soon by the C minor. No. 5”; West where he rode the range, made up and the Dallas Symphony. Columbia University Press. The late Mr. Concerto in B-flat minor”, and Dvorak’s He has studied payrolls in Death Valley and carried an Olga Schindler spent several years in research dramatic overture, Husitska. Rafael with Steeb and Guy Maier. The engineer’s transit. He started selling provinces, Joseffy was soloist in the concerto on concerto was written two years ago, be- songs outright for ten or twenty-five dol- in the Spanish and Portuguese Brail - fore the young composer had received obtaining authentic material for this that occasion. This year, Alexander any lars for shelter and food. guest artist. instruction in composition. collection of little known folk music. owsky was the ( Continued on Page 139) ffiBRUARY, 1941 75 ,

Youth and Music torily. By spring of 1939 he decided she was ready, and without the slightest difficulty she won the part. There was no reason for her to be rigid with fright for she felt at home in Holly- wood, at Universal Studios and with all the per- sons who worked with her. The getting ac- Teens quainted period had done just what the Studio A Star Enters Her hoped, had given her as complete a freedom of action before the camera as she had in her play. And that was just what the story needed: a nat- ural, vivacious American youngster. The premiere of the picture was held in Scran- Blanche &Ctemmon ton, Pennsylvania, where for nearly ten years before they moved to Hollywood the Schoonover family had made their home. And there the family went—Mother, Dad, Sally, Gloria, Lois and singing star. Bonnie—following LORIA JEAN SCHOONOVER will not cele- tour of the United States as a a vacation trip, to see and a sign hear Gloria’s brate her thirteenth birthday until the Whether or not Mrs. Schoonover saw first screen appearance cheered by said, Down, Big Opportunity eighty thousand persons. G the fourteenth of April, but already she is this time that “Slow a motion picture actress with star rating. Fast Ahead,” we cannot say. At any rate work? Yes, but Gloria Jean has been going at opportunity did present itself, soon top speed ever since she was born. after Gloria’s disengagement from At fifteen months she surprised her family by the opera company, in the person humming Little Annie Rooney in her crib. At of a motion picture executive. He three and one-half she sang When I Take My met Gloria, heard her sing and Sugar to Tea with a radio-vaudeville act. At four immediately had an idea: here and five she added to her experience a number was just what , pro- of stage and radio appearances as well as a con- ducer of the suc- siderable amount of church singing. At six she cesses, needed. met Paul Whiteman, who offered her a contract But Mr. Pasternak was vacation- to sing with his orchestra. But at this point her ing in New York and entertained mother felt a little dizzy with the speed made no such thought. He was not look- by her precocious daughter and decided to apply ing for talent; he did not need the brakes. To the suggested series of radio per- any. Without enthusiasm he listened formances with the Whiteman Orchestra, she to the glowing story of this “find” said: “No, thanks, we’re getting out here.” and reluctantly agreed to hear two Or perhaps it wasn’t dizziness, perhaps she saw of her recordings. After hearing a sign that said: “Slow Down, Dangerous Curve them, he laid himself wide open Ahead.” For there was danger ahead, a tonsillec- to Gloria Jean’s winsome charms tomy several months later, the complications by saying that he did not believe from which frustrated Gloria’s plan to race such a remarkable recording had toward her great desire—an operatic career. For been made by an eleven-year-old a year she was forced to do little or no singing. child. Gloria lean found she had For such a statement made proof wiih Ki, ste But at the end of that time she „ F , aqslad rounded the long, difficult curve and was safely imperative, and as proof he looked into spar- 6 on the highroad again. And she could sing far kling blue eyes, heard a clear childish treble an- h°le Country had had chanceTo acclaim tW better than before—higher, lower, and with an swering his questions and finally listened to singing new and brilliant actress thp a f Gloria Jean’s facile, lovely colora- work Ctress helself was back agah -?hi* r tura voice. After that—there was “-starring Bi: Crosby in if T with no disputing reality. ly. W y -.'' Alld “taddent. on the day - Gloria’s next stop was that Ihe ^ Hollywood, picture she flnished work on tb where she signed a motion also n 0 i u picture birthday. Which another event: 1 contract. But she did not start '*"*' day cake with “ She cut a bilt work at once, for Mr. a bTTE Pasternak she could 1 lts chocolate frostu agreed with her look back m, mother that it lmique time her years record—by t pays to make haste slowly. For numhT f five Played leading CTei1 dozen she b or six months she simply became partsS inV'*a two Her third } motion pictures. acquainted with the city, the unH i, f Studio Heaven", Picture is “ Bit the people, the and wh m l A Little paraphernalia-: thing WaS everything very workin§ 011 ifc s011 connected with motion special appened picture came to the * A beautiful visi making. She spent some Sturt m her sing y ' met Gloria hel tlme at the home and ' of a noted screen ptedTteTtd T ^ writer, the field 01 her a bright future Wm then more time with of Song Th f a d£ seasoned 1Upg? Yes t lector, took music star. - very—even RT lessons from in,, For Vv, Studio musical stad, Tlslt°r was Kirsten Ft director InaZoTl internationallv ft host of other singer, arpous °Pei*atic and cone people. one of thp „ . Last b,S l a least, she not‘ to hear est iiving I met at Universal her offer i ! sopranos. f the girl who bright pralse and s eak c was her ideal future P and wT110 made ft ? „ had supplanted her “ “htse * d almost perfeC * amhiTT* theT Isivt an opera singer think * chT stai w th the ? about anv tfl time lor a becoming h°pe 01 When Gloria Jean and Deanna Durbin a sinalne Li She has except the immedi Plctui e lines IT star—Deanna Personal ' earn, sti Durbin i lessons to more appealing quality of tone. transpired, Deaeanna, appearand ? even lovelier, was quite as nice it the 0 ™ake off J President’s ’ an invitatior impresario of a small opera company in was on. 6™ as Birthri* The She was She * ay friendly, thoughtfm' knowledgement Hall to accept, an heard her sing, considered her voice to help a and ea ' tn New York little newcomer S'e1 “ ma in everl named for ke of an airliner b( exceptional and engaged her services. Before 5 T SSlble her h and range Gloria Jean's way - arrival Mr pE°, stones “ovle ten! But he, too, was confronted purchased TOak of the idols to Play " Gloria was now a story called had operas ld he "The ttT l addition to c°mposers to read firm “No” when suggested he saw ”’ getthT , with her mother’s that its title role UP aild troupe on a country-wide was fusf T, Even so, y 01 e™'“se. that Gloria go with the Gloria if she Spot . what passed her screen for suchT tastf* ' te\*test long-term future w°rking young la satisfac- will beh lation for makes sp' 76 all Wwhoh n h interesting have (, Continued on Page : :

Editorial

moniinep a t VatUij- ^Torc^e3,

ANY times each year, during the past few decades, than a fanciful portrait of a contemporary painter, show- it has been the honor and privilege of your editor ing him with the instrument. He did, however, have many M to take fellow citizens from various parts of the intimate conferences upon music with his close friend Hop- country to our neighboring shrine, Valley Forge. The road kinson. The picture shown upon this page is that of the leads through the glorious Pennsylvania hills, over a mod- music room at Mount Vernon. The harpsichord is one that ern motor highway, past a majestic boulder upon which is Washington imported from England for his adopted daugh- mounted a bronze tablet telling the story of the heroic, ter, Miss Nellie Custis, who was Martha Washington’s ragged, barefoot army which tramped over snow and ice granddaughter. The instrument was imported from Eng- to that strategic range in which nestles Valley Forge. There land at a cost of one thousand dollars. the father of our country kept his pitifully small band of Whatever may be the conditions—economic, atmospheric, heroes intact at the most serious moment during the War of or pathological—that at this tragic moment of world history

the Revolution. have filled all lands with the wildest imaginable discord, it Washington was fundamentally a good man. He believed must be obvious to everyone that the greatest immediate fervently in the power of prayer. There is a tradition that human need is international harmony which is the synonym he was seen repeatedly during the early morning hours in of peace. George Washington stressed this very thought in the garden of his simple .headquarters at Valley Forge, on his prophetic Farewell Address, when he said: “Harmony, bended knee in devotion. liberal intercourse with all nations, are recommended by One of his prayers after his inauguration reads: “Al- policy, humanity and interest.” As we have repeatedly stated mighty God, we make our earnest prayer that Thou wilt in these columns, music is not merely a desirable factor in keep the United States in Thy holy protection; that Thou the modern super-mechanized life. It is an irreplaceable wilt incline the hearts of the citizens to cultivate a spirit of necessity without which our very system of existence might sink into chaos. subordination and obedience to government (order) ; to en- Before normal living conditions can be re- tertain a brotherly affection and love for one another and stored to humanity, here and throughout the world, we must for their fellow citizens of the United States at large.” attune millions and millions of people to vibrate with a new To this impressive ideal he harmony of thought, a new added the more forceful state- harmony of action, a new har- ment made in his first annual mony of brotherhood, a new address to both Houses of harmony of spirit based upon Congress the highest of practical ideals. “To be prepared for war is This is manifestly impossible one of the most effectual with the great masses of the means of preserving peace.” public distraught by the inces- Washington was an amaz- sant discord of all that goes ingly virile and lovable aristo- together to make the great crat with a devout belief in carnival of hate, revenge and our republican democracy. His murder that we know as war. judgment, executive ability In other words, the world can and his humanity endeared have no hope of growing him to all. He' so thrilled and better until it devotes the fired the imagination of his necessary time to the arts fellow citizens that, in those of peace. George Washington hallowed frozen forests over- knew this and earnestly pro- looking the winding Schuylkill moted it. River, he forged with prayer Revel at least one hour a and patriotism the greatest day in the joys of music. If nation of all times. you can not play or Music Room oi Washington's home at Mount Vernon sing, get Washington was also a man all the beautiful music you of wide vision and high cultural ideals. He was a great be- can from your radio or your phonograph. If you are fortu- liever in the value of music as a necessary part of any plan nate enough to be able to play, add these modern electrical for happy civilized living. He cultivated the society of sev- achievements to your regular course of study. Give less time eral distinguished musically interested people, particularly to the morbid news of the hour which so many people re- our first recognized composer of note, Francis Hopkinson, hearse again and again to no advantage to themselves or signer of the Declaration of Independence, poet, author, their victims. Why should we at home, or in the movies, jurist, financier and member of the Continental Congress. needlessly torture ourselves with horrors that gnaw into Washington was not a performing musician. We find no our sympathies and leave us with bleeding nerves and fren- authentication for the report that he played the flute—other etic brains? Let us help those in distress to the limit of our Continued on Page 136

FEBRUARY, 1941 77 —

Music and Culture

ORD BYRON IN MUSIC is on the surface Byron in Romantic Music something of an anomaly, since he was not Lord L^ especially musical, was not associated with musicians, and his plays have not become famous as operas. Yet, in spite of these facts, Byron ex- erted a subtle but nevertheless real influence on kill, 5Tench Romantic music. & He was born in 1788 into a family which A. B., M. Mus. seemed marked for conflict and turmoil. “Foul Weather Jack”, “Mad Jack” and “The Wicked Lord” were names earned by his immediate fore- this influence. He was a piano. In one point there is total dissimilarity. bears. Lord Byron’s mother was ignorant, ca- works definitely show The the poet, an avid reader of bitterness and mocking scorn, found pricious, and of a volatile disposition. In rearing profound admirer of in much of travels through Italy in- Byron’s work, are lacking in the her son she oscillated between terms of extreme his works, and his music of Liszt. with Byron. In his Liszt’s cosmopolitan endearment and violent abuse. Their many dis- cluded many places associated association brought him in the details of these very close to the powerful putes were generally settled by their throwing “Memoires” Berlioz revels figure of Byron. His days in St. Peter’s, Rome, friends Lamartine, Sand, things at each other, and marksmanship rather associations. He spent and DeMusset all ad- following the Cor- mired the British than reason was the deciding factor. Small won- with a book of Byron’s poems, poet, and from Liszt’s cor- glad waters of the respondence find der that the sensitive soul of the poet early be- sair on his journeys O’er the we that the works of Byron profoundly adored this were among the came warped, undisciplined, rebellious, and that dark blue sea, for Berlioz books that he studied and “de- of Byron himself, voured with fury.” he became the incalculable being that he was. character who bore the likeness Evidences of this appreciation kii;d and his love aie found in Such then was the character of the man who chiefly in his hatred for his Liszt s ‘Annees de Pelerinage" which swept like a new star into the space of English for a woman. and improvised while the concrete evidence of Berlioz’s admiration Countess dAgoult read literature, and it is not strange that we find his More to him from Byron The in his “Harold in Italy” which epigraph is from influence in the music, as well as in the litera- for Byron is found “Childe Harold's Pilgrimage”: translation of “Childe Harold’s Pil- I live not ture, of Romanticism. is a tonal m myself, but I become poem, Harold is Byron; and, in Poition Without going into the causes and controversies grimage.” In the of that around me romantic the symphony, the solo viola representing the Liszt's longest work concerning Romanticism, we may call directly associated with By- was first performed in music that which expresses the personal emo- hero is Berlioz. This work S P ° em P ’ Lament after the death of Byron, and rasso and Triumph tions of the composer. Broadly speaking, the year 1834, just ten years 0/ 2^ e tten 38 3 <* the feS ' the composer struck a responsive chord in the ?fvities“nTonnr o f 1800 marks the beginning of the romantic trend. TR* he one-hundredth hearts of his audience when he thus fused his sary of the birth „/ anniver- It is in the music written after that date that we Goethe Byron. His idea > Lisz t claimed Byron’s Lord Byron. personality with that of was to “The Lament r,*? v find unmistakable influences of TaSS°" “ the depict a melancholy dreamer like Byron’s Childe inspiration ‘rue source of his Berlioz First Shows Byronic Influence Harold, and the three movements Harold in the composer whose Mountains, March and Evening Prayer of the Schumann Steeped Berlioz (bar-li-os) is the first in Works of Byron Pilgrims, and Orgy of Brigands early —all picture scenes from this ron. Translator^ ^ aPPreciation of By- poem. word a llouseh<”? throughout Z l Another result of Berlioz’s of °ne ° f the ** these was* Friedrich Italian journey was his A Ugust “Lelio; father of G°ttlob Schumann, Robert a i or the Return to Life.” Here he mann ' Thus even aS * youth, the composer ’ becomes the Byron of becamehen the music, romanticism nf intoxicated with for he depicts most Englisl1 vividly his Pathy remained Poet, and this sym- recent r° romance with Henrietta ughout his life. Schumann’s music is as nPr « n . Smithson. The ’ musician, as fervid aS Byron s and his zeal and ^ poetry, truly as the poet^-albeit more Sy find a true Parallel in the dynamic sween n subtly—told his sorrows to ^d power of the Byron. • of the language world. His mnsf mPortant inspired by Byron is . composition Less direct, but ' in ° ' a sense Byr0n s Mantad °*>' 115 Schumann ’ more real, is the Byronic tund influ- melancholy partlcular delight in the ence in Berlioz’s and rehpir “Fantastic haps he 1U0us hero the poem. Per- Symphony." It pictures saw n i e ' nothing voking somber, restless , h1 written by Byron, but the WitnK his spirit own th6 Alps a of ’ reflection pervades the entire fate TW ‘work work Bv ready Was writte and »1_ ran would the » n in 1849, have written bliehT he music felt the mental disease in which like this had his presence , medium °‘ s tones been him. lrits was descending upoh rather than words. He became ? he seemed adsorbed in the music tha almoM? live Similarities in his life. become Manfred to Lives of Liszt Pohl’sevt and at i*1 and Byron the life thls work was written blood nf<^ umann It is - 'w-i. difflcult t —srtg t- encedbyanyone^T^f that Chopin was was 1 lke ®chumann Liszt, h not a man nf k and 10ad sal that he never culture; indeed it is Ufe Parallels rpn \ book vf thafofByron the - Paris R* 1830’s still f«u Nevertheless, °m the the s middle class died speU of although V to a , in 1824 Byron, P°sition Oe‘ rivaling other Sand Liszt an that o? „ members ’ DeMusset, the 1 dazzled moved, cil'cle, Chop s" Wer , in which e a same fashion the orally, admirer as imd^R the sensin g s of Byron. And, twenty years V free from S0ld 01 the composer was 11 earlier The his infl n of y°UthT en ’ Byron's day 20, e ‘ I'he B-miv vm-el is . ? Scherzo in Byronic ' lars and Pen c0 ^“ lts nio° longed for r Schumann found torturing Manfred curls, avea black le but the next « poem. Sc 'ler20 LORD BYRON To ' °PUS 31 a decades Tschafkn! , saw them cuitiv pm’s CP“, atiug* music (tssha-e-kof-shki) . believed to have been made while the poet was in reflect This painting is Italy. anS " and -m** desP “ -PtessionltThe disiUusiomnenf” Cleariy the Byronic melancholy genius e l23> ( Continued on PM „r ,

Music and Culture

Reaching Your Goal

at the Keyboard

A Conference with

j-^ercij Cjtrainaer

Internationally Renowned Composer and Pianist

Secured Expressly for The Etude By MYLES FELLHWES

the run will sound forth required at all), harmonic continuity is estab- clearly, of course, but over lished. and under and through and When not actually marked in the piano edi- after them, you will hear the tion, the use of the sustaining pedal may be satisfying conclusion of the determined by the pianist himself, according to chord, coming, seemingly, the harmonic pattern and color of the individual from nowhere. Now, vary your passages he is studying. The piano arrangements Percy Grainger as a conductor chord. Press down silently the of all organ works especially (and organ tran- notes of the dominant seventh, scriptions) gain from the use of the sustaining- NE OF THE MOST INTERESTING problems of any chord at all; put down the sustaining pedal. The “Symphonic Studies” of Schumann, of piano technic deals with the correct use pedal and, with the pedal down, play the chro- the Bach-Liszt Prelude in A-minor, and almost O of the sustaining (middle) pedal, the entirely different effect will color any of the works of Chopin and Brahms and matic run. An (notably clarity of harmony effects to be derived from it. the sum total of sound. That will serve to dem- those with long “ladders” of broken chords) use The long delay so often experienced by students onstrate only a little of what can be done with it to great advantage. As a special study in the in getting their complete pedal technic into the sustaining pedal. Incidentally, it is excellent use of the sustaining pedal, I recommend the fluent working order, is richly regrettable. Without it, practice in the “silent preparation” necessary to musical Prelude (De Profundis ) by H. Bal- possibilities of the the instrument are but half its use. The sustaining pedal is useful only when four Gardiner, which it has been my pleasure to explored, for the piano is essentially a harmony pressed down just a shade of a second after the edit with express hints for pedaling. instrument. The flute, the oboe, the human voice key of the tone it must catch has been de- Oddly enough, Bach has, in some quarters, capable of are sounding melodies; the pianist pressed; and left down until the phrase (where been held aloof from any sort of pedal use,' may approximate the purely tonal scope of these that particular harmonic color is needed) has which, of course, is nonsense.* And before Bach melodies by playing with one finger. The ten- ended. Silent preparation is necessary to fix a died, he saw, at least, an early pianoforte, which action of finger the piano secures for it far wider note which must be sustained while others are be regarded as a treadmill! The origin of this possibilities. Indeed, the harmonic treatment of being sounded. queer superstition doubtless lies in the fact that the melody notes constitutes the chief charm of The purpose of the sustaining pedal is to pro- Bach did not pedal as we do. And yet we are piano. Thus, it the becomes the pianist’s duty to long the resonance of certain notes, without the told we must not pedal Bach at all! Another in- familiarize himself with the delicacies of full use of the hands or of the damper (right) pedal. stance of the confusion that results when harmonic utterance. He must recognize har- The general tendency in all music is for the bass method takes precedence over meaning and ef- monies and subsequently transmit to voices. fect. The test them other to move more slowly than the upper We ultimate of piano playing is not with listeners maximum clarity. The further he often find passages where the fundamental har- how you do it, but how it sounds. Work out your short of this goal, the closer falls he approaches, mony is established by a single bass note, taken effects in any way you choose, provided that the final effect, to one-finger in playing. by the fifth finger of the left hand, which imme- resulting sound is musical and within the inten- The sustaining pedal of the modern piano is diately leaves the region of the deep bass to play tion of the composer. Take, for instance, the one of the best means—in many cases the only one or two chords around middle-C, all the while First Prehide and Fugue in “The Well Tempered of achieving means— full harmonic clarity. The that the right hand is busy with four or eight Clavichord.” The Prelude sounds better with pedal sustaining is found only on pianos of notes in the treble. To assert and continue the pedal; the Fugue sounds better mainly without American manufacture, first, it. and even to-day it does fundamental harmony, that single bass That is the only test of where to use pedal enjoy unanimous in Europe. must be sustained, which is exactly what and where not approval We note not to use it. The development of many find of foreign “method” who the sustaining pedal does for us. It catches the music is not merely a matter of inspiration and warn against its use. My advice is: “Do not heed bass note (often the first note of a broken chord, reverence and Zeitgeist (spirit of the times) ; it Instead, try the following notably in the music of John Field and Chopin) roots them!” little experi- into the purely mechanical development of for yourself. it to more rapidly moving figur- ment and binds the the instrument itself. With the heavier action Without sounding the notes, ations of the middle and high voices, without in and press down the stronger tone of the modern piano, a stricter of a tonic chord, their clarity. keys and immediately put down any way interfering with The sus- degree of sound control became imperative. sustaining pedal. (So taining those notes the far, not a sound has pedal affects which are Chopin’s broken chords spring as much from the been heard.) Now, without releasing the pedal, struck (either audibly or silently) just before it * The Sound type of the piano-like instruments time a chromatic run of an octave, is put By getting the bass notes of Bach’s play beginning on down. down was midway between pedalled and non-pedalled sound on a modern Piano. So. in a the first degree of this same chord. The notes of first (in passages where work of this nature is historical sense, we are equally justified in playing: Bach s music with or without the dumper pednl.

FEBRUARY, 1941 79 ‘ —

Music and Culture hardly any crescendo or decrescendo within a voice itself. (These Bacli- fact of his having a sonorous instru- An Earlier "God Bless America’’ Busoni “Choral Preludes”, incidental- ment at his disposal, as from his be- — ly. are excellent exercises in tonal ing a romantic Franco-Pole. The control.) Such consummate control steel frame of the “new” piano ne- as Busoni’s is a masterly achieve- Etude readers familiar with the two centuries. Despite the lure of cessitated more tightly strung v/ires, ment, of course, and makes for what popular favor which has greeted Irv- Old World romance and history, a' stronger action, a stronger blow, might be called a highly “individual ing Berlin’s “God Bless America” never had the call of the homeland and a longer, more lasting tone. And touch.” Actually, could will be interested in the following been so strong as at that time. anyone this longer tone, precisely, makes ne- achieve it provided he struck the national hymn of the same name, To know what the spirit of free- cessary the important pedal control. keys with Busoni’s degree loud- written by the Editor of The Etude dom, independence, candor, vigor, of Often, the sustaining pedal and ness and softness, and first published in 1903, when he opportunity and humanity, which and provided that the una corde or soft (left) pedal he controlled was a teacher in New York City. marks America, signifies, one must his volume to the same must be used simultaneously, while The author and composer of this have extent. become acquainted with this at the same time the damper (right) while spirit hymn, a student, was one day and put it in contrast with the pedal is used for legato effects. At seated upon the ancient ramparts of best that other lands offer. such times, the pianist must accom- 01 lowering the great Festung on a high hill The hymn was written complete the wrists, the modate himself to a left-foot pos- knuckles and overlooking the university city of with music in less than an hour the arms, are of little ture by . he put intrinsic which can down the Wurzburg in Bavaria. He was seized It was widely pianistic value. Whether sung at the time of middle pedal with the toe of this with an overwhelming you rely upon homesickness its publication. The words sound “relaxed” or “tense” foot at the same time that he con- for the land of his birth, which playing, the was strangely prophetic in this day real goal is to control trols the left pedal with the ball. of the also that of his ancestors for over dictators and unrest. volume throughout all the The foot lies almost horizontally gradations of tone of which the across the two pedals, with the heel Piano is capable. It matters very facing left. It is not a difficult posi- nttle how you do it. Actually, hand tion, but, like all new technics, it GOD BLESS AMERICA. and finger motions do nothing but requires practice. NATIONAL HYMN. ieip the performer to feel comfort- Certainly, though, piano students Strong; ami full W,,rils Mtirtir. a IJ-7J) und tijr Jamra Fr*ncis e while Cooke. he plays, and in that will wish to hear about other prob- Moderalu. ns f ®’ they are valuable. But it lems than that of pedal use. I am Q U d dearly understood that often asked about the matter of ^neyti° have no pianistic merits as 1. • Innii, home! “tone” “touch.” A m , my my How cun I .|| and To my mind, t( mv T - he i - 2. Each p trlot'H ] .art (Ilf. lull will, Wlu„ if’vr hi, chief thing the these do not exist. call indi- , is always What we • • :t. A m •r i e i, my luntl, my hoim l I run . not 1 an „. u Method is a • - • never than vidual quality 4. Great Itu ler f the iiu i verse 1 Pro • tcet this more of tone is, in reality, broth . "r. nscious analysis causes individual quantity control. The pi- -o- of what ou ld ’ after the ano is capable of an immense tonal th L event. best advi variety, of loudness and softness. ce I can give on llc ls to avoid perfecting it be- Each person who presses down the f m y°u Possess of keys exerts his personal degree of p.p a sound degree musici tone-strength variations, resulting, anship. Pianism is al- wnv c o eCOndaiy in the case of chords, in degrees of to musicianship, and miisir»-Ianshl loudness *, P g°es further than the and softness that are dif- lif P ai s of ferent from those produced by any- Vh, ? the composers! Young' 1 bave one else. Mr. A and Miss B may °ften come to me with nitifiii accou execute the same choral passage nts of difficulties in get- ting. 1Ched marked forte, but each will bring his and to earn. I have affeinff own personal ;' ed imnie- degree of forte into diatP many of them play while so 01 doing. Thus, what we hio- transposing, orchestrat- mistakenly call a personal touch or ganging f0r then coi' me . And tone, is actually difference confessi have a in vol- not on that they ume control. It is caused no by differ- orchpof tion of transposition, ences in key at ‘ °‘- pressures, and not by a 0n ' arranging. All they can 0 mysterious matter of “personality.” S Play That, of course , P^no I am convinced h‘° ' that, if it were pos- def> ° tlnie ’ rable ' In Bach s the test „f sible to find two pianists whose vary- ° f musicianship was not the ing perfm-n degrees of loudness and softness 3 of conoer Prigranr a stadied were at all times identical, no one w>Ut ’ an contest in imnr ! impromptu could tell which one was playing at wel to n - We mi®ht d0 without looking to revive i° make sure. 11 There ai'e ““Petitions. Control of volume, then, is what plentv™, Jobs to be had, eve1’ we loosely call “touch.” Busoni to-day (boo- 11 conn music so'-iiS) education “tlon with , who had magnificent con- , t tlw once talkiiw lle school, in trol, said to me that the charm 11 It that ia a thing' polyphonic mount ., healthy of playing on the piano lat muslc itself, in dis- lies, not in making loud-to-soft vari- Unction . n ”lere performance, 1S ations of volume within a given voice Srqwina a Plamst should find ex- bass, and cellent . (treble, so on) , but in vary- PYo C1Se in musicianship n the volume between the voices Playing «/in | ing a n making sc hool orchestra; i while maintaining the same tonal arladge, . ments for jazz oE gradation in each voice throughout. cliestras- n he ’ . transposing music In playing his own arrangement of piav the ticing erent prac- the Bach “Chorale Preludes,” he imnro . keys; in P ation; per ha Ps. best of aI1 ’ might begin with the tenor voice in ; m aklUg£ of sounding louder than the alto, let us Phonogram-, transcriptions music, records classical say, and keep that difference in of s°hgs, Primitive folk' gradation during the entire piece. Or ip. music, him listener would hear a marked secure a tho,. music.* Let The u 8'h volume, but it would be ° grounding in such difference in (r nt between the voices; ^ued on Page a difference - y 134) sp cilU1 *M ? y to i "° f 0 Sono'rc tho lmended is the nlhu'h Orient”nt n 1 ® tW well ns ••L'Aiitolog EVERAL THOUSAND YOUNG PEOPLE, ac- Music and Culture cording to estimate, flock each year to New S York City with hopes of learning to sing, of earning a livelihood through singing. Some of them have high hopes. They see themselves as Nelson Eddys and Lily Ponses, stars of screen, radio, opera and concert, with annual incomes Singing Success running to six figures. Others will be satisfied with less. But all want a career, the opportunity to sing and to get paid for it. Out of these thou- sands, only several hundred make the grade: a satisfactory and self sustaining career. Why? without Money or Manager The question was put to the directors of some of our larger music schools, and brought forth vari- ous answers. “The majority of those who come to the city,” said one, “do not have the native endowment which is the necessary foundation on _JK. dnteim( on which to build: talent, temperament, musi- cianship. It is better that these be eliminated early, since they will be happier and find their talents better adapted to something else.” her brood and household ef- he accepted and proved to “Others,” he went on, "have the native qualifi- fects and moved there. be a good drawing card. At cations to build a satisfactory career, but they In the new locality Eyvind, Rock Island, Illinois, he sang think only in terms of stardom and are content now twelve, sold newspapers, for one of the teachers at with nothing else.” shined shoes and did any- the Swedish college. The In an effort to get the other side of the picture, thing else he could find to teacher praised his voice but to discover what the candidates’ for singing do. Here the family got along said he badly needed study, careers consider the greatest obstacles to their on thirty dollars a month, and plenty of it. When La- goal, I questioned several young singers, stu- sometimes having to scrape holm confessed to a lack of dents and others. “There was Joe,” said one. through on two-fifty and funds, the teacher took him “He had a grand voice and wanted to sing in three dollars a week. Here for nothing. opera; he thought he could pay part of his way also Eyvind found his voice Came the first world war, while studying. But one day he saw some figures and began singing in the enlistment in the Navy, his published by the Metropolitan Opera Guild. choir of the Swedish-Luther- discharge, his failure to find These gave detailed estimates of what it cost to an Church. Although the a manager, and his con- study for opera over a period of three years. ‘It money he earned was sadly sequent singing in night can be done,’ said the report, ‘on eight thousand needed by the family, some clubs, movies, churches. Then dollars, but figure on nine thousand five hundred of it went for a second hand William S. Brady accepted and fifty.’ After that, Joe threw up his hands piano and music lessons. It him as a pupil, and by 1923 and quit. Where was he to get such money? was then that he decided to he was considered ready for When I last heard from him, he was working in become a singer, and, despite opera. a roadside service station.” the most harrowing hard- Out of two hundred and to get a manager," said another, ships, never lost sight of thirty- five dollars, “Try “no he MARIE HOUSTON his total matter how well you sing. You go to see the lead- that goal. savings, he bought a third ing managers, and they all tell you to go out and Some years later he took to the road, partly class passage for Europe and, shortly after his get a name first and then they will be glad to from wanderlust, partly from necessity. When arrival, was lucky in getting an engagement at take you on. Now I ask you.” his mother bade him goodbye and God-speed, she Essen. In the years that followed he sang in gave him the silver dollar. opera houses all over Europe and finally turned no Handicap to Poverty For the next, few years he longing eyes toward his homeland. In 1937 Laholm he was roamed, picking up what delighted to sing a Wagner performance in Chi- According to those who work he could and some- cago, thinking there might be scouts in the audi- try for careers and have times singing for his supper. ence who would spot him for the Metropolitan. what it takes, the chief rea- One evening, weary and However, no call came; so he returned to Europe, sons so many drop out are hungry, he was attracted by having in the meantime acquired a wife and lack of money for prepara- the savory smell issuing daughter. Finally came a bid to sing a portion of tion and inability to find a from a thicket near the rail- “Tristan and Isolde” at Carnegie Hall with Kir- Following his manager when prepared. road track. sten Flagstad (flag'-shtat) . This performance But need these be handicaps? nose, he found a band of proved to be the curtain ringer for the Metro- Lack of money did not pre- hobos cooking a purloined politan. It had taken him a number of years to vent Eyvind Laholm from chicken. The men were sus- make this citadel of his dreams, but if he had the Metropolitan. the stranger making picious of at been discouraged by lack of money he might still Nor did lack of a manager first but admitted him to be a plumber's assistant. deter Marie Houston from the feast after he had building a successful career. obliged with several songs. Marie Houston her own Impresario She promptly became her It was a strange audience Marie Houston studied piano and accompany- own manager. Let us glance that listened to him that ing at the Cincinnati College of Music, and later first at Laholm ’s story. evening under the trees, but came to New York to study voice with Frank La He left home with one sil- none the less appreciative. Forge. She wanted to be a concert singer, but ver dollar in his pocket, During this period he was managers gave her the old story about the neces- by his nearly scalded to death, work- sity given him mother. of having a name. One day, in talking it ing as a plumber's assistant. What other money came his EYVIND LAHOLM over with an accompanist friend, the two of way, he made himself. And He did duty as dishwasher them decided on a plan: they would work anything yet he crashed the Metropolitan almost on his own. in roadside restaurants, at that was together on a fifty-fifty basis, be their own man- There were eight in the Swedish family at the offered and managed to earn a maximum of ager, booker, press agent, advertising agent and settled dollars week. time they in Eau Claire, Wisconsin, when seventeen a what not. They immediately prepared a folder boy. Ed. traveling evangelist Eyvind was a Shortly after this event the Then he met the who containing pictures and a list of the attractions leaving dollars a week to father died, no money. Thinking Boulder, offered him twenty-one sing at they had to offer: music programs in costume. this was real Colorado, would offer more opportunity for sup- his tent meetings. To Eyvind money On a borrowed typewriter, they wrote letters to her family, the mother gathered together for doing what most wanted to do. Eagerly porting he managers of summer ( Continued on Page 122)

FEBRUARY, 1941 81 , ' “ ,

Music and Culture

erhaps it was the name that first aroused Brahms’ interest in the restaurant P to which he was to become a daily visitor. Brahms’ Prickly Pet The signboard with the Red Hedgehog, dating from the sixteenth century, must have seemed familiar and congenial, for he knew that he him- self, in his intercourse with the outside world, only too often behaved rather like that prickly animal. It must have been this feeling that once prompted Brahms to invite a lady to spend an hour with the “Two Pricklies” and, when far from Vienna, to heave “sighs of longing for his performance the master ever attended. took the bill prickly pet.” last public of fare. His face cleared, and he the other hand, attached so said with Wherein lay the charm of this restaurant that, The Waltz King, on delight: “Oh, dumplings with smoked to Brahms’ society that on one meat! even when in his favorite summer resort, Ischl much importance That’s my favorite dish.” Immediately even overcame his morbid fear of Bruckner (eel-shel), Brahms thought of it? It was by no occasion he exclaimed: “I say, Doctor Brahms, visit his friend. Led by two means luxurious. And Brahms never entered the mountain climbing to dumplings and smoked meat! That’s where we blindfold up to Brahms’ two pleasant dining-room, which was usually fre- musicians, he ventured agree.” Everybody was taken aback; then residence at Lichtenthal, roars of quented by officers and high laughter rang out, and for the moment a small village high the officials. His place was reserved clouds seemed to disperse. But such friendly in the simple Extrazimmer feelings were possible only in the (Extra-tzim-mer—Extra room) Red Hedgehog’s congenial atmos- with a dark, smoke-laden room phere. Outside its four walls they an arched ceiling. But simple soon came to an end. restaurants were no rarity. That Brahms preferred his Hedgehog Anton Door a Good Companion others and, in his later to all Among the teachers of the Vien- was years, visited it regularly na Conservatoire who came regu- that its very due to the fact larly to the Red Hedgehog were walls seemed impregnated with such old friends of Brahms as the music. Both Beethoven and Pianist Anton Door (dor). It was Schubert had enjoyed taking Joachim (yo'-a-khem) re- their meals in this restaurant. cital in that Door first And since, in 1830, the Gesell- met Brahms, then his twenties. schaft der Musikfreunde (Geh- in While Door was waiting for the sell'-shaft dair Moo-sik-freyn- violinist a in the artist’s room, deh) had erected its first large slender fair rest- building, with concert hall and youth walked lessly to cig- conservatoire, in its neighbor- and fro, blowing arette smoke and not hood (later, 1870, moved to into the air condescending in- other quarters) the restaurant to glance at the , truder. had developed into the natural This was Johannes Brahms who at most meeting place of concert-goers times displayed the Dooi, and teachers and pupils of the unfriendly manner. them institute. Thus it happened, as however, soon forgave Brahms said, that “one was al- from when he got to know Caricature of Brahms and the Hedgehog, really ways likely to meet a few nice a silhouette by Otto Bohler the composer. In Vienna people there with whom to ex- they often met, especially intelligent word.” tor Sunday rambles throug change an ' above old Baden-Baden. the Wienenuald. Two Qua1 Brahms' Friendship for Dvorak But Brahms was not ities idea made Door an a friendly terms n All Brahms’ friends knew of his weakness for on such companion for Brahms; all contemporary “Prickly”, and strangers from abroad who wanted with walked fast and could composers. Another vis- e - to meet the master always sought him out in this trusted to hold his tonga it was itor to be seen at the Red restaurant. Of all the visitors to Vienna Another guest at the Red Hedgehog was An- he Anton Dvorak (dvor-shak) whom Brahms liked Hedgehog, whenever Since the time when, ton Bruckner (brook'- Hans best to have at his table. came to Vienna, was as member of the commission for awarding ner), presiding over a con a von Billow, the famous state scholarships, Brahms had come across a circle of young pupils r ductor, a fervent adnh the Czech musician, then absolutely un- and admirers. No under- the work of Of Brahms. There was he was convinced of Dvorak’s genius and standing seemed possi- known, Ch be- ble between these °'d greatest dissimilarity m helped him in every possible way. It was Brahms two two Brahms who composers, and, unfortu- te,,rb havior between these who found a publisher for Dvorak; V 0,,“”bS. ved resef persuaded renowned musicians to perform his nately, the adherents of artists, and the

both sides did their . works. And of still greater significance is the fact 84 t0 Brahms was not intensi*y the publisher Simrock complained of strained relations. For BrucknerJru'k ’ pleased Bul°*j that, when the ’s~cause enthusiastic adrw by Von corrections, Brahms declared that cipally supported by the 1 *.' and S GS to el Dvorak’s hasty Rlchart WagLTi? his emphatin f bis concert audi tedious work himself—probably in Vienna, whose Society a State nn do this members °-sege , ment could he would identified throiiahnnfthroughout £. that he e history of great composers. his friend, Hanslick, the ith ls t» unique case in the notorious three “Bs” m**'**«-aihsical career withwiui u***.only a enemy ofn?J " Baon^ r fjie the Red Hedgehog was some- ner and his art. NeverthelessNevertheless, Wag-6 Beethove In the evening well-Sintent- composer k n. and Brahms. friend of mutual friends t ntl0ned u ate visited by another composer tried to bring between 0Wever times ahm.t . how" to “d'iscriro^ ar>H tho nneir „ 4-w. 1 . a voi,™fc , ‘ Strauss. Although artistically and the cosy atmosphere neeting, a Brahms- Johann of the J lers and S “““times eccentric n two masters deeply ad- seemed well adapted Hed8ehog l his tn » different, these to such an ex™,. fe>t tor The so very In thu admiration W*Z It was no mere chance that the October, 1889, the von Uenri ls mired each other. meeting took®^ Biiiow ^vealed in a letter he Die Gottm dei started piace - fm operetta. rather unpromisingly,unpromisine-lv , It f Strauss’ stiff»ha> ... Poser slxU c°' nremiere 0 ^and sent eth birthday. The e silent, of Reason”), was the two camnscamps confrontednanfrrmto/J him a , ("The Goddess each other. the Bee Vernunft” Fina* Viennese thoven portrait W ») y Brahms artist t . and ’ dWig (Mish'-a J remarked T? Mtehalek ^ ls 82 ( Continued on Pa9e ela bartok (ba-la bar-tok) pre- Music and Culture sents TO-DAY more interesting problems B for American music than almost any living composer. The American composer, occu- pied as he is with the desire to create a national art and give himself national identification, The Language of the Composer artistic maturity, and independence through the use of native folk material, has an especially pertinent example in the music of Bela Bartok, An Interview with the Hungarian. When Bela Bartok set out about 1905 to gather and study the folk tunes and sources of his ela dSartol? country’s music, he was a young composer of under the influence of Brahms, twenty-three, Eminent Hungarian Composer Wagner and Debussy (du-bii'-se) . Hungary was then almost without a national art music, save for the rhapsodic productions of Liszt. In a short time Bartok realized his true direction, and this Secured Expressly for The Etude contact with the basic musical elements of his racial heritage released the spiritual springs of By FRIEDE F. ROTHE his subconscious gropings. Hungary likewise be- gan to figure in international music in the early twenties—with Bartok, Kodaly (ke-da'-e) and all such efforts for a long time. Considering that itself. They, however, comprise so much material to a lesser extent, Dohnanyi (dokh-nan-ye). there are so many small countries, and so few and information of an ethnological and linguistic When one heard the name Bartok, one immedi- outstanding composers—there are only about ten nature as to constitute major scientific findings. ately associated it with Hungarian music. This, or fifteen in one century—it is quite impossible Aside from the book on Hungarian folk music, not in its narrow sense, which would also label for them all to crop forth with great national some of Bartok’s literary works, published and Beethoven as German composer, but in the music. Yet, in the end, it is always the composer translated into several languages, include: “The wider understanding of a particular character with strength, purpose and individuality who Instruments of the Hungarian People”, “Instru- and culture. puts his country on the map, and not the other mental Folk Music in Hungary”, “The Musical The question was therefore posed whether the way around. It is not enough to have the will to Dialect of the Rumanians from Hunyad County”, following of similar paths would lead the Amer- do so; one must also be capable. “Primitive Folk Instruments in Hungary”, “The ican composer to equally fruitful results. “In the United States, the effort to give ex- Folk Music of the Arabian from Biskra and Vi- “It is not quite so simple as that,” said Bartok, pression to a national character and feeling is cinity”, “The Relation of Folk Song to the De- whose small and fragile more difficult. The mix- velopment of Art Music of our Time” and “The figure would belie the tre- ture of several different National Temperament in Music.” mendous creative and re- traditions tends to con- Bartok’s activities in folk research have never search activity crowded fuse the composer as to ceased, in spite of his own enormous creative into his fifty-nine years. his actual heritage. One output and his work as a concert pianist, teacher “The most important can imagine, however, and lecturer. His latest collection, still awaiting a thing for the composer is that it could be possible platonic publisher, comprises a vast amount of to grasp the spirit of that for a country to evolve a material bearing directly upon his previous find- music, to incorporate it style of her own without ings. This is the “Folk Music of Turkey.” with his entire output, a folk basis. If four or five “I was the first to collect the folk tunes of allow it to permeate his American composers could Rumania—more than three thousand of them,” whole being and outlook. emerge, who showed com- said Bartok. “Since then, younger men have fol- “The musical language mon features not found lowed me, I am happy to say. Yes, it is true that of a composer must be as elsewhere, then their work the folk music of Hungary, Slovakia and Ru- natural to him as his na- might form the basis for mania has much in common. But in spite of tive tongue. The musical a national music.” the influences that these countries exercised education in countries of Bela Bartok’s work as a upon one another, each has an individual char- younger cultures, how- researcher, musicologist, acter. The relationship is also of such a nature ever, works completely collector of folk songs and that one can tell what is intrinsic to a region, against this. What is a writer on music, both on and what was super-imposed. This is what led natural enough phenome- coptemporary issues as me to study Turkish folk music, since a certain non, the use of older and well as presentations of Turkish character in the folk idioms of these ter- established but neverthe- his findings, is absolutely ritories always remained unexplained. less foreign material for unique in the musical his- “It has long been known that Finno-Ugrian teaching, creates the real tory of a composer’s ca- and Turkish connections exist. Finno-Ugrian is difficulty in the develop- reer. The Brazilian Villa- the name given to a purely linguistic grouping, ment of an intrinsically Lobos is the one other taking in the peoples as far north as the Finnish, native style and expres- composer who conducted as far south as the Hungarians and even as far sion. BELA BARTOK similar researches into northeast as Russia and Siberia. History records “Hungary, for example, indigenous sources of his that in the ninth century, of the eight tribes did not have a real national art music until re- country’s music, but without the same examina- that settled in Hungary, seven were Hungarian cently. This could not be otherwise, since she was tion and analysis of Bartok’s insight into the life and one Turkish, and that the Hungarian tribes occupied for more than three hundred years by of folk manifestations. themselves were considerably sprinkled with foreign peoples—first by the Turks, and then by His book, “The Hungarian Folk Song”, a bril- Turks. In the tenth century the language of the the Austrians. Political instability and cultural liant achievement in its own right, both for the Hungarian court was Turkish. Although Hun- upheaval do not make the best soil for artistic minute investigation which went into it and the gary was ruled by the Turks in the sixteenth expression, and for Hungary this became possi- scholarly deductions which resulted, is the one and seventeenth centuries for a period of one ble only at the beginning of the last century. We most known in this country. But this is only a hundred and fifty years, the influence which they might say that Hungarian music began with small part of what Bartok has accomplished in exerted was never again so intense. Then one Liszt. His life, however, was not favorable to a the field of folk research. Collecting the folk must remember also that the Bulgarians lying real national expression; he did not even speak songs of his own country led him naturally into to our south were originally Turkish people. Hungarian. the neighboring regions of Slovakia and Ru- “I first traced Finno-ugrian-Turkish resem- “This same trend, the desire to create a national mania, and subsequently into Arabia and Turkey. blances to the people of the Volga region, and art, is operating in the smallest countries to-day. If these extensive researches were mere collec- from there, finally to Turkey. There I found the would be considerable in 130) Or one should say ‘was’, since the war will retard tions, contribution overwhelming ties and ( Continued on Page

FEBRUARY, 1941 83 “ r

Music ist the Home according to the top form of the last rehearsal. Even so, repetitions are often necessary—occa- sionally as many as a dozen—until a satisfactory public rendition is attained. Miss Durbin has recorded four songs for her Musical Films and I heir Makers forthcoming film; Love At Last, by Jacques Press and Eddie Cherkose; Perhaps, by Aldo Franchetti and Andres De Segurola; Beneath the Lights of Home, by Walter Jurmann and Bernie Gross- man; and Stephen Foster’s beloved Old Folks at E, 2bona Id Home. Musical Directors of Movie Fame The head of the music department at Metro- Goldwyn-Mayer (whence issue the Nelson Eddy- HIS BEING THE SEASON of winter dol- Paul, a fellow worker at the Universal studio. Jeannette MacDonald films) is Nathaniel W. drums for new picture releases, this De- Miss Durbin’s advance toward maturity has Finston. Before assuming executive duties, Mr. Tpartment seizes an opportunity of offering not been such a surprise to the musically aware Finston distinguished himself as violinist, con- a few object lessons in the elements of success, among her public. They have ductor, and composer. He was chosen from the careers of stars behind the noted it more gradually in the born in New York, and man- scenes of musical productions, as well as those increasing vocal breadth and aged to combine a career as who are seen and heard. One of the most inter- emotional content of her sing- child prodigy on the violin esting musical personalities to have helped write ing. When Deanna was signed with a college education at the Hollywood history of sound films is Deanna by , follow- the College New Durbin, whose ninth starring production, “Love ing upon her radio success, of the City of York. He musi- Last” (Universal) is to be released early in she was placed under the mu- continued his At , cal studies in harmony, 1941. Numbering her public in tens of millions, sical care of Andres de Segu- piano, composition, orchestra- Miss Durbin seems to have found the answer to rola, former baritone of the and tion, Russian the problem of offering up-to-date entertainment Metropolitan Opera Company. and joined the SymphonySvmnhnrnr 1-. NeWJNe that serves the interests of good music at the De Segurola was impressed by Orchestra in York. same time. Miss Durbin has never assumed that the development of the then Later, he joined the Ne York “pleasing the public” meant playing down; her thirteen year old girl’s vocal Philharmonic-Symphoi and musical selections have always been worthy. In apparatus, which he found the Boston Opera Orche tras, comparable to that of a ma- until such time as 1 ture soprano. He prophesied gave up organization work that, because of this natural become conductor and mu£ cal development of her voice, time director of the Rial Nathaniel finston could bring little to her tones Theater. After organizing tl except in the direction of breadth and emotional orchestraolchestra in the Capitol ThThe ter ho 4. 4. t0 Chlcag impact. outstanding °. where he achiev CC SS To fortify these natural endowments by artis- slons presenting tablold vs of gi-andd °npera discipline, De Segurola placed Deanna . tic under conjunction f as the stage shows strict musical routine. Four of her daily eight Sllent motlon pictures. Aft five years oF’tiv hours of work were devoted to vocal care, W01k * leaving motion ' Pinston entered picture ' the other four for school work, lesson prepara- field as the Pal mount Studios 8 head of tion, dramatic work, and rehearsing. The in Hollywood.iLF™" we Durbin to Metro rniri From there he home was moved to a quiet suburb of the yer * film FinFtonF?emoTS - A sach “ city, to avoid non-musical distractions, and raM 1S 1 a wired for graphlcally what installed motion m sound proofed room was to afford the picture? musical success, Another . least self-conscious string most free and practice con- 8 xamPle is by t career of Min j; furnished ditions. A careful diet was planned by Universal’s S Rozsa i Alexander ’ musical director trivial music KnvH° medical staff; all was eliminated 3roductions at t present , who is time . j from Deanna’s repertoire, and , dlnS the backgrou for “Ladv Ua .YJ musical Universal’s music director, undertook personally Leigh hich wiU sfcar V V the young star’s (‘‘Scarleu ,^ I ! to supervise sound-recording o hI’;aia and Olivi Rozsa • Laurence that the best values was hm-n ? technic, so might be had Blldapest 1907 He > Hungary, in from her developing breadth of tone. spent the , elghte 631’ his 1 m his naSve ™ S' 5 of Recording her songs under Previn’s supervision mtv Robert Benchley, Deanna Durbin, and Ann Gillis but eildm8 ubllc schools the of concentrating P in scene their new musical picture. has always been one Miss Durbin’s u a from favorite study. hl best energies on mu film exercises. Her singing rehearsals His first vL f f are hard ance “ an perfor she feels was °Pera—the her newest film, the young star is supported by work for her; immense responsibility "Carmen.! aroused t these determination in young Rozsa the most impressive dramatic cast ever to have for assignments and takes it all very tn k serious works h,.: me a composer. His earli been assembled for her. The featured players are seriously. Acting has been a gradually acquired 1 h S At ninth ear - headed by Franchot Tone, Robert Benchley, Rob- art. But the song recordings themselves, eighteen, RotJT .‘ y when remained Wen t Broderick, rehearsals are done, remain a five to Leipzig, where ert Stack, Walter Brennan, Helen source of pleasure Ve dS classical ’ studying composition a Anne Gwynne, and Ann Gillis. Following the She invariably selects Saturdays for recording forms Th in next flve sp< of that day is free from Paris, yeai's were date, none since the working . formula for all Durbin pictures to interruptions fei of absorbing l0Usly 011 a school and dramatic work. For the . composition these is a singer. the song mmi record capital, adva the young star is not in Ptages of the Frer ings, hampered by costumes Paris p Deanna Grows Up exPression b 8an his ballet a f ° or make-up. She works in sports ' clothes and that whtelTn eld, .f the rise of Deanna Durbin sweaters. She stands in a time, and his chief interest So rapid has been small booth out of went F that of her sight of the orchestra. Ptete it. Lond°n in 1935 to co in the cinema-music world many One microphone The Massm „ is before Rozsa’s it hard to realize that the child her; the others are over the work, company accep admirers find orchestra, with and as a minor shock Previn direct that the dUCed K succ star has grown up. It came m charge. The recording young comnn° wlth such is Leg™ an 61 agreeable but abrupt, to learn from the opportunity Was immediately offe to some, 0 f enteringeh? the clever youngster of cal work. daily news columns that motion picture m» four-year-ago film It “” (her m was in t her nineteenth birthday re- MUSICAL that I 1936 '" BtK debut) celebrated FILMS met Jacques* says Mr ' to Vaughn who Fewiyder her engagement had ’ the direci cently by announcing come to En»? French heard my ld to ballet andand® fA make Pictures. ( Continued 84 on Page 1 THE ETV — —

Music in the Home

The Musical Air with chorus of the Largo from Dvorak’s “Sym- -Waves phony from the New World.” On the twenty- fourth, Melton is to sing Grieg’s lovely song A Dream, and Miss White the Bach-Gounod Ave Maria, while together they will do the Brindisi idtj ^y-lljrt'd cjLind.$ciu Worcjan from Verdi’s “La Traviata.” Selections for the orchestra and chorus will intersperse the solos of the two singers. Most of us are familiar with Uncle Don’s Chil- aRTURO TOSCANINI IS SCHEDULED to of his own with the light classics, has a new dren’s Program heard week days from 6 to 6:15 Z\ conduct all four of the NBC-Symphony weekly series called “The Pause that Refreshes P. M., EST—Mutual network, but how many Orchestra concerts to be presented on the on the Air” (Sundays, 4:30 to 5 P.M., EST know anything about Uncle Don, himself? Re-

first, eighth, fifteenth and twenty-second of this Columbia Broadcasting System) . Albert Spald- cently he celebrated his fifteenth year on the month. The last of these programs will be a ing, the distinguished American violinist, is a air. Uncle Don’s name is Donald Carney. Orig- special one broadcast from Carnegie Hall in regularly featured soloist on this program, inally in vaudeville, he tells a story of how he New York and will no doubt entail the use of which also presents weekly other famous celeb- found himself badly in need of a little philoso- a large chorus as well as the orchestra. Earlier rities co-starring with Mr. Spalding. John Allen phy one Christmastide. That was back in 1925. in the season, Toscanini presented Verdi’s “Re- Wolff announces the series; and George Zachary, Vaudeville was then on its way out, and Carney quiem” in a broadcast from Carnegie Hall, and who has been responsible for so many fine musi- was out of a job. As he stood outside of the it is to be assumed that in his broadcast of cal shows over the Columbia network, is its pro- Palace Theatre in New York, that day, he won- February 22nd he will present a similar work. ducer. dered rather desper- The Ford Sunday Evening Hour (Columbia Replacing the Chi- ately what he was network) has a most imposing list of artists for cago Opera broad- going to do. Suddenly February. On the second, Zino Franchescatti, casts, which were he thought of an old the violinist, will be featured and Reginald heard the latter part friend, who was head Stewart, conductor of the Toronto Promenade of last year via the of radio station Concerts, will be the orchestral director. On the Mutual network on WMCA in New York. ninth, Rose Bampton, the Metropolitan Opera Monday nights from Radio at that time soprano, is to be heard under the direction of 11:15 to 11:45 P.M., was just emerging her husband, Wilfred Pelletier. On the sixteenth, EST, comes a new from its swaddling the Metropolitan Opera tenor, Nino Martini, is weekly musical series clothes, and it seems scheduled to sing, with Mr. Pelletier again con- with Henry Weber Flamm had an open- ducting. On the twenty-third still another and his orchestra, ing for an announcer Metropolitan artist, the mezzosoprano Gladys called “Chicagoland who could sing and Swarthout, is the soloist, and the conductor will Concert Hour.” These play the piano. Ver- be Eugene Ormandy, regular leader of the Phila- shows stress light satile Don Carney delphia Orchestra. classical numbers of was fortunately able The February programs of the New Friends popular appeal, and to fill the bill. of Music (heard Sundays, 6:05 to 7 P.M., EST each broadcast pre- Two years later, he NBC-Blue network) are all being broadcast sents a featured solo- visited the sales man- from Town Hall in New York. The program of ist. ager of WOR, Mu- the second features the Busch Quartet and “The Telephone tual’s New York sta- Hertha Glatz, contralto. The former will be Hour” — featuring tion. It was just heard in Schubert’s “Quartet in B-flat major, James Melton, tenor, five-thirty in the Op. 168” and Sibelius’ “Quartet in D minor and Francia White, afternoon when he Intimae) 56.” Miss Glatz will sing still one ( Voces , Op. soprano—is walked into that of- songs from Krenek’s “Spaetegesaenge.” On the of the leading at- fice. “Can you put on ninth, Emanuel Feuermann, violoncellist, and tractions of Monday a half hour children’s Franz Rupp, pianist, are the artists. Their pro- evenings (8 to 8:30 act at six o’clock?” gram will be an all-Beethoven one, the selec- P. M., EST—NBC-Red the sales manager 1” tions being the “Sonata in F major, Op. 5, No. network). Those who promptly asked him. and the “Sonata in D major, Op. 102, No. 2”; delight in the fine Carney caught his also “Twelve Variations on Ein Madchen, Op. 66” singing of Mr. Melton and Miss White will be breath and, following directions, locked himself (after Mozart) and “Variations on Bei Mannern, interested in their selections scheduled for the in one of the offices. There he chewed his pencil No. 158” (also after Mozart). On the sixteenth, four Mondays of this month. On the third. Mr. for a few minutes, then threw it away and sat the same artists will again be heard in another Melton is scheduled to sing the Negro Spiritual, down at the piano. In a short time he had com- all-Beethoven recital; the program consisting Water Boy, and also Bizet’s Agnus Dei. Miss posed an opening and a closing ditty and was Sonatas, No. 2”; to sing Ah! fors’ e lui che ready for of the “G minor, Op. 5, “C White is scheduled the audition. The program was for a Op. No. 1” 69"; Traviata”, and together toy dog major, 102, and “A major, Op. I’anima from Verdi’s “La manufacturer, in a rush to go on the from first act duet from air also the “Variations on a Theme Judas they will be heard in the with a children’s program. Carney clicked tenth, Melton Maccabaeus” (after Handel). On the twenty- Massenet’s “Manon.” On the is immediately. Since that time, he has been on the Galimar String Quartet and Alexander to sing M’appari tutt’amor from Flotow’s “Mar- the airways, third, and two separate generations of basso, artists. Their program tha”, and Miss White, Chanson Indoue by Rim- children have Kipnis, will be the clustered around the family radios sky-Korsakoff. Together they will be heard in to will comprise three groups of Schubert songs, hear him. Students of psychology and educa- No. 5” from Johann Strauss’ “Die Fledermaus.” tion have to be announced, and the “Quartet of a duet tried to isolate and label Uncle Don’s the seventeenth, Melton is to sing Then magic Arthur Schnabel. On with the kiddies—why he is so successful Remember Me from Balfe’s “The Bohe- in The New Friends of Music Orchestra, direc- You’ll getting them to eat foods and in improving and Recondita armonia from Puccini’s their tion of Fritz Stiedry, will be heard in a per- mian Girl” behavior habits. Although Uncle Don’s of the Bach “Passion to St. “La Tosca”, while Miss White is to sing a vocal program is formance According aimed exclusively at children, he also of Strauss’ Vienna Life. John” on February 26th. The broadcast will come arrangement Johann has a large audience of adult listeners. Carnegie Hall in York, will In duet, they will be heard in an arrangement The viola is from New and rank all too seldom heard as a solo among the major events of its kind on the air instrument; yet it is one of the most interesting of the during the present musical season. Consult your strings. That is why the Mutual network “Sonata local newspaper for the exact time of the broad- Recital”, heard Sundays 11:30 to 12 cast (NBC-Blue network). RADIO noon, EST, is a particularly worth while feature. Kostelanetz, who has a distinctive way Milton Katims, Andre violist. ( Continued on Page 134) riiBRUARY, 1941 85 , , ,

Music in the Heme

New Discs

with Distinctive Charm

By j^eter ^Jduyh Idseed

AN SIBELIUS REACHED his seventy-fifth songs, Black Rose, Op. 36, No. 1 and Saf, birthday on December 8th. To celebrate this Saf, Susa, Op. 36, No. 4 (Victor disc 4531) J event, “For Finland, Inc.” sponsored a nation- the latter a song that Marian Anderson wide Festival in this country, the following week. has also done, makes a welcome con- This is one of many indications that no con- tribution to Sibelius records. The ad- temporary composer seems to rank more highly mirable vitality of the tenor’s singing is with the musical public than Sibelius. Reluctant shown in Saf, Saf, Susa, where in the E as he is to talk about himself and his work, middle section his interpretation is Sibelius seems completely satisfied to realize that more effective than is Miss Anderson’s. his music is being played and enjoyed. No doubt One of the most beautiful early he would tell you that he is content to be acces- eighteenth century orchestral works on sible in his music. However, his greatest scores records is contributed by Arthur Fied-

are yet fully the general pub- ler’s Sinfonietta (Victor disc 13446) . It not understood by IAN SIBELIUS lic, although the phonograph has aided greatly is a “Christmas Symphony” by Gaetano in making his music available. Those who have Maria Schiassi, an Italian composer of whom ade admlrable twc little recordings of the first grown to know and appreciate the greater is known. The music is truly heart-warm- seSinn f Seems nol Sibelius fourth, fifth seventh sym- ing in its poetic serenity, and Fiedler a pi‘y that Barlow did of the and gives it a see fit t ' ai range a different from thi= phonies, of Tapiola and the violin “Concerto in fine performance. It belongs next to Corelli’s nomilaV suite f ° r The Walts little reason D minor, Op. 47”, have undoubtedly done so lovely “Christmas Night Concerto”, which also to duNicTN,' oflel's duplicate the rest through the notable recordings of Sir Thomas was written to celebrate the Nativity. of the music Like Toscanini, Sir Thomas 11316 f°r spri htly tunes; whici Beecham, Serge Koussevitzky, and, in the case Beecham has a way is apparenNhi B P * thetl recording of the concerto, Heifetz and Beecham. of revitalizing familiar music. Thus in his per- from of the Ballet W& hit Pera " In honoring Sibelius Festival, the formance of Grieg’s “Peer Gynt Suite, William Tell” (Victor disc: the recent No. l” 26743 44) p ° i (Columbia Set X-180), we find this nstant Lambert music record companies brought out several recordings conductor’s zestful nmf gives this an < e of his of interpretation of such old favorites as ' and know am more obvious works. A new recording Anitra’s . those who admire R~°,7?ni ; the “Symphony No. 2 in D major” played by the Dance and In the Hall of the Mountain King ^ these discs worth ec quirine q.,,, 0 f Philharmonic-Symphony of York, assuming new freshness. His recording of 01 tbe tunes by E e! Orchestra New this ,, were used Pighi in h’ j much abused adjective, Rossinia under the direction of John Barbirolli (Columbia suite is, to use a the truly which LN ™ (Columbia Set X-56) Set M-423) however, was a needless duplication, definitive one. am 80 adroitly , The Ranh conducts, dramatic noff Philo since the performance lacks the delphia Fes tival, which the Stokowski Plays Dukas OreNTc 1 breadth and artistic dignity of the Koussevitzky stla sponsored has born splendid f N in 1939, version (Victor album M-272) and is not tonally Leopold Stokowski, conducting the Philadel- Hard ™ ‘he heels of the record Sg oftteT' “ so distinguished as a recording. phia Orchestra, turns in a dynamically sonorous er Thil' conie that of d Symphony” Dukas’ The Sorcerer’s his °Piann n Of more interest is the “Incidental Music to performance of Apprentice Concerto No. D nun® Op 30” rm * 3, in Belshazzar’s Feast, Op. 51” (Victor album M-715), with a bit of Stokowski-arranged Rimsky- 1 AlbUm M-™> and perhaps 13 the time the™ . which Sibelius about 1903 for a play by his Korsakow ( Prelude to Act 3 of “Ivan, the Words h1 wrote Ter- “First are read a recording of thrown in for good measure Piano p ° ' friend Hjalmar Procope. This is the only music rible”) (Victor Al- ncel to ” and an of pW“ solos also Will album which the resorted to the deliberate bum M-717) . Curiously, Stokowski is in composer somewhat “Third been made available deliberate in his handling of Coimeno'Ns ' use of Oriental effects. Grieg and Ippolitow- the volatile Dukas ls one of concer^ recordings • the finest Ivanow (ep-po-le-tof-e-va-nof) are not far re- tempos, and not by any means so imaginative existence betv/ee as - The balance orchestra an h . moved from the opening Oriental Procession and is Gaubert in his recordings; but from the re- St c the solo ’ the tonal luminosity final Khadra’s the two middle sec- productive standpoint Stokowski instrunSi? the Dance, but has been better fc and the choirs as close to ?- orchestral are more personal and poetically impres- treated. This is the same recording that ner fp tions Stokow- Th iS this ere is strikin' possible at sive. Anyone else might have written this music, ski uses in his score for Disney’s much ^acl disputed maninoff evidence t*1 these new B Cecil Gray, but not so well. Played by the picture, “Fantasia.” record says made tllafc caref preparation ^ expert Barlow and the for them^X ul London Symphony Orchestra, under the Howard Columbia Broadcast- at el had to sufflcient rehearsals w direction of the late Robert Kajanus, this music ing Symphony Orchestra play three accomniiJ? excerpts wanted. exactly compos* please a large group of the from Humperdinck’s ever An <^ri ? what the will undoubtedly popular “Hansel and hy Horowitz of concerto, P*a admirers. Gretel” in the “Hansel and Gretel Suite” was h- ^ composer’s (Colum of tlngUished M-424.) the soloist. for the virtu0 Romance in C major (Victor disc 13499) bia Set These selections are the Pen , The Over tirely aps the new not er and the British Broadcasting ture, the Dream Pantomime, dim the nn»« set does by Boulfc and The Waltz J 1 Ved In more tbe older one, but Symphony Orchestra, is not lar re- view of the fact that Boult and the modern reonvN^ Corporation British 118 gives composer's Valse Triste. It is Broadcasting Corporation Edward Kilenvi N* it; precedence, from the Symphony have al moved ran pianist, 8 Hungarian-Ain® romantic and sentimental, yet not with- is favirahNN™ fNnklv per- 01 the y heard a fine record! Boult gives it a warm-hued Schubert r , charm. N4 “ ntlvric Wanderer" Pai'tasie, 15, that displays the string quality of (Colimn Op. formance,f Nuance one Set - 11 to perfection. Jussi hy a French M 42 6), accompan orchestra RECORDS orchNfa Selmar ’ under _ 0* Sibelius' most popular Meyrowitr Nf the direction * rhythmic fluency Ularly gratifying is v andandNN ‘ (Continued on Page 1 2 86 THE ETUt Music in the Home

Etude Music Lover’s Bookshelf

A New Psychology of Music We have been looking over some of the earlier works upon musical psychology that we once studied, with great curiosity and enthusiasm. They are based largely upon the old-fashioned metaphysics, which in itself was derived from furtive guesses about mental behavior. Quite remote is the modern biological psychology evolved in the clinic which deals with the scien- a tific observation of the reactions of organisms to their environment. a right to write upon music and to peer behind » Dr. Max Schoen (Shane), Professor and Head the musical bars into the technic and emotional Any book listed in this department of the Department of Psychology and Education, inspiration of their contemporaries, these men may be secured from The Etude Music of the Carnegie Institute of Technology, of Pitts- were entitled to that privilege. Thus, when Magazine at the price given plus the burgh, Pennsylvania, is the author of the latest Gounod writes upon Palestrina, Wagner writes slight charge for mail delivery. work upon musical psychology which is very upon Beethoven, Berlioz writes upon Bach, and valuable because musical scientific data and Liszt writes upon Chopin, we are bound to meet types of musical experience have accumulated many illuminating ideas. musical gifts and training. Thus it often hap- so that it is possible to write a real review of the This does not mean, however, that the criti- pens that musicians with comparatively re- performances of the human brain in its relation cism of a master may be the most understand- stricted training make excellent critics as far as to music. ing or the most constructive. The element of the general public is concerned because they are The first chapter deals with the psychology of personal jealousy, after the manner of the pop- incapable of writing very far above the heads of tone, the second with tones in successive com- ular cliche, too often “raises its ugly head.” Very the masses. bination (melody) and the third with tones in few composers would choose their contemporary The worst of all critics, the pusillanimous in- simultaneous combination (harmony) . With this dividual who, knowing very little indeed about necessary foundation the author passes succes- music, assumes that he knows a great deal. He sively to “Musical Effects: Ideational”; “Musical usually has very little difficulty in exposing his Effects: Affective”; “Types of Musical Experi- ignorance. Generally speaking, the level of music ence”; and “The Aesthetic Experience in Mu- criticism in America has gone up in a very en- sic.” The second part of the book is devoted to couraging manner, but we still see some musical “The Psychology of Musical Aptitudes”, and in- criticisms which have all the musical authority cludes valuable comments upon “Tests of Mu- which we might expect from a chiropodist or a sically and Talent”; and “The Psychology of veterinarian. Artistic Singing”, which quotes many famous Whether you expect to do any musical criti- singers. It is a significant contribution to vocal cism or not, you will find Mr. Kolodin’s book study. Teachers will also find the “Growth of very interesting and especially valuable to those Musical Powers” very helpful in the understand- who expect to find new ideas in interpretation. ing of pedagogical problems with little children. "The Critical Composer” In the bibliography, Dr. Schoen lists one hun- Edited by: Irving Kolodin

dred and twenty-three works which he has con- Pages: (4% x 7V4 ) 275 sulted and gives in addition a bibliography of Price: $2.00 two hundred and sixty-four references for fur- Publishers: Howell, Soskin & Co. ther study. Professor Schoen’s book is one of the most The Saga oe the American Symphony valuable additions to musical pedagogical lit- erature in recent years. Orchestra “The Psychology of Music” There are sixteen major symphony orchestras By: Max Schoen in America. Of how many minor symphony or- Pages: 251 chestras there may be, the writer has no idea; Price: $3.25 but in this category there would have to be in- Publisher: The Ronald Press Company cluded many astonishingly fine organizations. The writer recently conducted a high school symphony orchestra of one hundred ten players, Great Masters as Critics HECTOR BERLIOZ which, in precision, flexibility, intonation and in- Schumann, Wagner and Berlioz were not the terpretation would have amazed Haydn, Mozart composers as just and honest critics of their only masters who took it upon themselves to or Beethoven. With its finer instruments, and a work. A tolerant and fair-minded Schumann express themselves about their own music and more advanced technic of the members, those might build up the warmest enthusiasm for a that of others. Many of Schumann’s most val- old masters probably never heard such an Chopin, as he did in 1831, and hail him with the uable years were given over in part to work as orchestra. hospitable “Off with your hats, gentlemen, a a critic and as the editor of the “Neue Zeit- So great is the interest in symphonic playing- genius,” but Wagner, on the other hand, who schrift fur Musik”, and Wagner was known to in America that Margaret Grant and Herman had mastered the “art of hating”, could be fear- have been the inspiring force behind the “Mu- S. Hettinger have written a three hundred fully bitter as he was in his “Judaism in Music.” sikalisches Wochenblatt.” As the writer of this twenty-six page book upon the subject; Moreover, the composer may be inclined to see and it review, despite the fact that he has no German is the one book that has yet from a more or less lofty and arrogant appeared that blood, was for things some time on the staff of both of covers that phase of the subject which is point of view and be wholly incapable of making of these papers, he has read with great interest the greatest concern to those who desire to promote his meaning assimilable to musicians with lesser newly compiled volume, “The Critical Com- a new symphony orchestra. The enormous poser”, which has been assembled and edited amount of data collected was made possible by from the works of Gounod, Berlioz, Schumann, the Carnegie Corporation of New York. The Wagner, Tschaikowsky, Hugo Wolf, Gluck, Liszt, survey was supervised by numerous educational Mendelssohn and Debussy. Surely if anyone had and social bodies. rrmn/tRY, 1941 87 7 d r —

Music and Study Audiences”; VIII, “Government Support for Sym- come as easy as seconds and thirds. Recite phony Orchestras”; IX, “Increasing the Operat- fourths up and organizing great down from any white note: C. The first great difficulty in a the Operating ing Income”; X, “Meeting Deficit”; F, B, E, A, D, G, C, G, A, E. B, F, C. Now you will orchestra is financial. Because of this, the au- XI, “The Future of America’s Symphony Or- have skips of seconds, thirds fourths in the thors segregate the major orchestras thus: Class and chestras.” next exercise: $600,000 and over New York Phil- I, Budgets — Although the incessant change of conditions harmonic-Symphony Orchestra (1842); Boston may in time make certain information in this

Symphony Orchestra (1881) ; Philadelphia Or- unusual book obsolete, it will remain for years chestra (1900). The annual cost of the personnel a comprehensive and valuable guide for all of r the conductor in a major Class I orchestra ddggeeaa b c and the thousands of people who are directly inter- is averaged at $443,759. The total income from ested in orchestras and their promotion. Intervals played together should be taken up concert admissions, program advertising, radio, “Amerca’s Symphony Orchestras and How They next. Play the following intervals and name and other sources, is averaged at $560,268. them, Are Supported” prime, second, third, fourth, fifth, sixth, Class II, Budgets $200,000 to $600,000—Chicago Authors: Margaret Grant and Herman S. Het- seventh, eighth: Symphony Orchestra (1891); Cincinnati Sym- tinger Ex Orchestra (1895) Cleveland Symphony phony ; Pages: 326 Orchestra (1918) Detroit Symphony Orchestra ; Price: $3.00 (1919); Los Angeles Symphony Orchestra (1897); Publishers: W. W. Norton & Company, Inc. Minneapolis Symphony Orchestra (1903); St. Louis Symphony Orchestra (1880); San Fran- The following cisco Symphony Orchestra (1909). exercises will be a test on inter- vals. Class III, Budgets $100,000 to $200,000—In- The Musical Ear dianapolis Orchestra (1930) Kansas Symphony ; Sym- City Symphony Orchestra (1933) ; National (Sij (j(ciclijs .^JJutcliii phony Orchestra, Washington, D. C. (1931); Orchestra (1929) Ro- r Pittsburgh Symphony ; TTTTTT rTTT To train the ear to “listen” has become such P 3rd 01,1 3ri1 chester Symphony Orchestra (1929). 5 ‘li 7th 5th 3th 5th 3rd P an important part of music study that even the Please notice that in this list no mention is public schools in some of the most progressive Ex. made of the orchestra which probably has the cities and towns have included “ear training” in largest budget in history—the National Broad- connection with the regular public school music. York; but casting Company Orchestra of New 1 1 r r In days gone by it was believed that a chosen r r11111r r r r that is not of the type represented by an or- 4th 0th 4th few were endowed with “absolute pitch”, and so : 4th Oth 4th Oth 8th chestra supported directly by the public. they were, and so they always will be, but no The authors of the new book, “America’s one believed or even tried to learn if “absolute Symphony Orchestras and How They Are Sup- i-Asgff-,-- pitch” could be developed, until fairly recent ported’’, class the secondary orchestras thus: years. Absolute pitch means perfect tone mem- Class IV, Budgets $10,000 to $100,000—Buffalo, ory and any child with an average faculty of Grand Rapids, Harrisburg, Houston, New Or- memory may develop “absolute pitch.” leans, Wheeling. There are any number of excellent ear-train- Class V, Budgets $1000 to $10,000 (chiefly semi- ing books on the market, but if any of our professional) Albany, Charlotte, Fall River, Lit- 36 S — ' ,’ Just a briet of what readers have not yet had ear training, they may ear ’ outline tle Rock, Or- training™ Spokane and Vermont Symphony a“ ab ° Ut ° n°‘ start out with a few fundamentals, as outlined know ' in y°" d chestra. but * h T" ° below. know more 8 40 !nake you wan Class VI, Budgets less than $1000 (largely about'1 4 h ^ The very first step in this direction is to ' nd any reliable publishing amateur) get house can art?, —Crawfordsville, Indiana; Roxborough, ^ y °U ° 101 some member of your family or a friend to play n materla' t0 be used Pennsylvania; Terre Haute, Indiana; and Walla this purpose. single tones in diatonic progression, preferably Walla, Washington. on the piano, and at first you will simply state It is estimated that the symphony orchestras whether the progression is up or down or the heard in concerts and over the air reach from same. For example: A Lure nine to fifteen million auditors. Dr. Joseph E. for the Musical Child Maddy, Music Camp, Ex. i . president of the National 6 6 a ln some years ago of two estimates thousand ama- P ar . that there are thirty tners on^ C , ? jij-j I j r : i f 6 ln aural training ’ teur orchestras in schools, colleges and con- the other a l'p Dou'ii same down plSo STacher and“a servatories formed . who got together throughout the country. The orches- two little f ses s ' °hiefly from the latter tras of the Curtis Institute, the Juilliard School Ear training should, of course, be coupled with pupils, a modest i 8 101 **®41011 arents ’ of Music, and the Eastman School of Music, as so before which some t0 P theoretical training, and you go rather^™1 of the brought 101e advanced children were well as many of the symphony orchestras further you should be able to recite very quickly in nvnrt, J a sma11 ilSi radio and the moving picture theaters, are so so that further flock of new pup the white keys, up and down from any given SeS " fine that the European critics would easily dren of Uld be formed from chU best D, E, F, G. A, B, C, B, A, G, the > note: C, F, E, D, C. earliest- Chv?°° be astonished by their excellence. cence. It 01 age to those of adoles- Then name the notes of a diatonic progression was noinfJd book reveal seen out that children had The writers of this remarkable beginning on any C. For example: the pleasure when 0S tbe that four-fifths (80%) of all of our present or- demonstration takinS arfc in Ex. 2 the? !? » P . chestras have since the close of parents mostly theii been developed to let them ^ . importuned i i - JC ln too pupi ls the World War. Probably no country in the his- j w r • r were gained > and so many 4 1--J-J-J f:i for fK Q ^ music comparable advance. for private classes—and not few, also, tory of has had a C n F. n F. K G F G A B A piano a B C 1oSS ° was during has ns‘ 1 tb wh° The greatest increase, strange to say, watched the he«f ink anyone Our people evidently movement S°rt of class rhythmic the years of the depression. In the next step you should be able or dancino- > with to recite r that nothing can equal music as a stim- thirds work, will the remarkable Dalcroze realized up and down from any given key: C E, have felt i? during times of great give to much he would ulation and inspiration G, B, D, F, A, C, A, F, D, B, G, E, C. In your next have had th* or she or stress. exercise some of the progression joining in °^ tuhity, as a child ’ °! will be diatonic such work . first chapter deals with the “Rise of and nothing 1S another roof The occasionally a skip of a third. For example: attracts peonle P second traces the ity. work self-activ- American Orchestras.” The Ex.:) Children do not and underlying the amazing recent expansion. work, and aiat to laze; they want to forces it i s f or presents the secrets of raising funds Pleasant make solid. The third and profits hit 1° th e work difficult son ' The fourth is about the > in AndeT orchestras. c I- R- for D D I- F. E c B c Music Teacher orchestra. The fifth - London. nersonnel problems of the with orchestra management and Now our ear-training work is getting a is concerned little “My heart These are followed by VI, “Regular more involved. Fourths are considerably whichMTfmrr~ , inn more solaced and t0 OVerflowing, has been VII, “Concerts for Varied difficult to hear, but with practice they refresh Ji!! Subscription Concerts”; will be- heavy.” music and Martin Luther ' when sick ss THE ETUP& —

Music in the Home

The Origin of

ik “The Star-Spangled Banner”

ik O, WliLm Jkrmd

Distinguished American Musical Editor ik

HE MUSIC to which The Star-Spangled Banner is sung was written by John Stafford Smith, an T English organist and composer of prominence. 'V-- He was born at Gloucester about March, 1750, and died in London, September 21, 1836. About 1775 Smith wrote the music for a convivial song to a poem by Ralph Tomlinson To Anacreon in Heaven, which became well known as “The Anacreontick Song.” Its popularity crossed the Atlantic and the melody was ik used in this country with various texts, the most widely sung being Adams and Liberty by Robert Treat Paine of Boston. This was first sung and pub- lished on June 1, 1798, and became very popular. When The Star-Spangled Banner appeared in Balti- ik more sixteen years later it was labelled “To be sung JOHN STAFFORD SMITH FRANCIS SCOTT KEY to the tune of Anacreon in Heaven.”

fleet in Chesapeake Bay to secure the release of his friend, Doctor Beanes. This was granted but Key and his party were detained on board because of the in- tended attack on . The patriot Key was thus compelled to witness the bombardment of Fort McHenry which began on the morning of September 13th, and lasted until the early hours of the 14th when “by the dawn’s early light” he saw “that our flag was still there.” The attack having failed, Key and his party were released and the fleet withdrawn. In the fervor of the moment Key sketched the lines of the song on the back of a letter and finished them after reaching Baltimore. They were printed in the tires And «°ns of Co " had descended. May you long taste tie Baltimore Patriot of September 20th, 1814, the Balti- more American of September 21st, and in a handbill struck off at the time. A comparison of Adams and Liberty, given above, with The Star-Spangled Banner shows how the at- trition of a hundred years has gradually changed the melody, softening the angularity of the original and adding zest to the rhythm. The great war of The text of The Star-Spangled Banner was written 1914-18 having brought the song into new promi- by Francis Scott Key, a lawyer by profession, who nence and nation-wide use, it became necessary to was born in Frederick County, Maryland, August 9, prepare a standard version for the Army and Navy 1780, and died in Baltimore, January 11, 1843. About song and band books and for School and Community September 12. 1814, Key. with the approval of Presi- singing. For this purpose the version in general use dent Madison, visited the Admiral of the British was prepared by a Committee of Twelve.

*

’ ik ik ik FEBRUARY, 1941 89 . — ’

Music and Study

Minors, Turns and Benches The Teacher’s Hound Table 1. Should a pupil be taught that natural minor Is used only descending in a minor scale (melodic form)? In other words: Is teach the natural minor as- it wrong to of age? Where are the young people to cending and descending? Conducted Monthly take their places? Whose fault is it that 2. Why do so many authors contradict each other in the different ways of execut- there are so few young artists prepared ing the turn and the trill, but especially to step into their shoes? The young the turn? people’s? The rank and file of music there such a thing as a right and a Is teachers’? wrong way or is it left to the composer's Or is it lack of talent? Or interpretation? U’r world conditions? No, I do not think it is have a large music department and 'I I la We any of these. It is the fault of the artists teach all kinds of instruments. The themselves. spent methods we use so often contradict each Most of them have their other that we often wonder which is the Nnled Pianist entire lives playing or singing to the way to play these ornaments. public, right and Music instead of consecrating time and 3. Could you tell me what should be the Educator vitality to training generation distance between the keyboard and the the rising in piano bench? the traditions and “secrets” of their All our benches are twenty-one Inches art. from the floor with pianos of different no dot is present, divide the When Oh, yes! Many artists “give lessons,” heights. The problem of adjustment to the principal note in two halves, that is, but most of individual pupil is impossible with nine- them regard such teaching a quarter to two eighths, a half to two as teen pianos and over a hundred pupils, a side issue, or a necessary nuisance to quarters, and so on, and start the turn but I would appreciate knowing what the help along their earnings. They do not ordinary height should be. either on the second half as in Ex. 3 throw themselves no Sister M. M. . into it, they feel ( E and F, or directly afterward, as in Ex. responsibility to the students, they take 3 G. Sometimes in slow tempos the turn no 1. When minor scales are begun, piano pains to develop their gifted disciples is delayed until the last unit (eighth or teachers should teach only the harmonic into individual authoritative musical per- minors; and then only as a lowering of sixteenth) of the accompaniment (Ex. 3 sonalities. third and sixth of the majors. Never J and H) On the the other hand, it is not difficult to name teach them in their “relative" positions, Ex.a a dozen of the world’s greatest befud- artists such as C major and A minor. It Written Played who refuse to teach at all—who E oo . dles the students from the first, so that openly express of our 3. distaste for one many never get the minor scales straight. noblest vocations. “But,” you might say, relation to very Always teach C minor in its few of them would be good teachers major, to major, and so on. anyhow.” C G minor G I am sorry to disagree with that Later, all harmonic minors are statement, when Played for I am sure that those art- well learned, it is time enough to ex- ists who have felt a burning zeal to pass plain the “natural” and “melodic” minors. on their methods of practice and study, But the less the students practice these ieir technical and interpretive approach, last two forms, the better; otherwise, nave done so without much difficulty. you will succeed only in getting the (Alternate for 3E) Too often the artist succumbs to play- scatterbrains so razzle-dazzled that Written Played ing the re - part of the leaping, dazzling fi they'll never be able to play any scale The closer the student hugs the fire, the decently. I always give a loud horse ‘ ' ^=^=^=1 varmer he feels; the farther away he laugh when I read requirements in con- k moves, 0^ the colder he becomes. And there servatory or college bulletins demanding is always the threat freeze all kinds (For slow tempo) These simple rules and that he may of scales in dozens of forms. diagrams do hen he This Written Played not pretend to be steps out into the darkness. One that I saw recently required one f all-inclusive s Varia i agic for artists, hundred and tions and exceptions abound, i am sure that most forty-four such scales. Bah! depending »eing could on the style of the extremely intelligent persons, I'm happy if I can get my advanced stu- composition, its tempi? v ’ become de- its composer, etc. fine teachers if they tried to dents playing smooth, fast simple scales e Impossible more of quality up and down four to give you any that outgoing octaves, singly and “ordi Inch garden hands (Alternate for 3J) nary height" of piano the rest of us common, together. And if after years of bench —for it anety Played varies with everybody. of teachers are forced to cultivate, work they can rip off two or three scales II A bench' at heat we can n0 ’ is a poor makeshift,-and never say, ‘‘Do it MY way’’; perfectly with all required .dynamic gra- at 'worst is seriously harmful we have to extent - r 1 . . A consider carefully the dations, I’m up in the seventh heaven. — —+ — straight-backed of p f chair with a cushion or each student’s his technical Of course, the relationship of the pad talent, makes the' only sensible piano seat equipment, his major keys with their proper minors jf mental development, on the note: The two normal emperament” feW Turns seat brings your "floating just to mention a must be clearly understood, but it is not beat elbow" sSw — ways are (1) snapped before the higher than the important; items. necessary to do this in keyboard, How many artists actual scale prac- isolated tones (Ex. permitting on strong beats or the arms to move easily aware of Ui tice. along the lS* H v these considerations 4). board, allowing the body finds it If you are wise, you will stick to your to use aTwili r^-ith pupils? The artist either its dlfflcUlt %° harmonic minors. weight or its "spring, to Pierce the shell of e you have the proper "-then wh?L Gnvelops does 2. I have tried to clarify and simplify seat aeight. him; but until he

The first American tenor to make a debut at Music and Study the Metropolitan Opera House in a leading role without previous European experience or train- ing, as well as the first native exponent of the great Wagnerian heroic tenor roles Tristan, Sieg- fried and Tannhauser, Paul Althouse occupies a unique place in the history of America’s singers. To-day, rounding thirty years Wisdom off on the operatic and Whim stage, in oratorio, as soloist with the nation’s leading symphony orchestras and over the radio, Mr. Althouse is winning new laurels as the teach- er of many outstanding young singing stars, in the Study of Singing among them Eleanor Steber, this year’s winner of the Metropolitan Opera Auditions of the Air. Miss Steber received the neivs of her victory, oddly enough, just twenty-seven years to the A Conference with day from the date of his own initial Metropolitan appearance as Dmitri in the American premiere of “Boris Godounov.” On this occasion Caruso, PaJ JUtL uie hearing Althouse for the first time, declared: “That young man will be my successor. He has a voice just like mine."—Editor’s Note Secured Expressly for The Etude

by ALIX H. WILLIAMSON he SINGER’S MOST IMPORTANT EQUIP- MENT, after his voice, is his brain, a fact Twhich every vocal student sooner or later fort. If any vocal method harmful in themselves, should must realize. For no matter how bountiful Na- involves awkwardness or ten- for this reason be regarded as ture has been in granting him the potentialities sion, it is a safe bet that it is whims, and avoided. of vocal splendor, common sense is essential for an improper one, and prob- Of all the gadgets that once setting him on the right track. Its exercise, how- ably detrimental to the voice. exerted their sway over sing- ever, has been inhibited by the mystery that has For singing should be as nat- ing instruction, the one which been allowed to surround the study of singing. ural as speech, and the ways had the widest acceptance for If headway is to be made by the fledgling singer, of improving its technic easy, the longest time is a sort of relaxed and sensible. super-gadget — the laryngo- scope. Imagine, if you can, an Beware of Fads! instrument with a long handle The common sense ap- at the end of which is placed proach to vocal study is far a mirror to rest against the more prevalent to-day than it back of the student’s throat, was in the period around 1910 while the tongue is pulled for- when I myself was preparing ward and to the side; another for a singing career. In those mirror is strapped to the days instructional whims still teacher’s forehead, and from over had the upper hand this mirror a ray of light is instructional wisdom. There are still, of course, reflected to the laryngeal mirror, which in turn teachers and students who lean on fads rather reflects the light to the vocal cords and shows than facts in vocal study, but their number is their movement in its polished surface—for while much less than it was thirty years ago; and, all this is going on, you are supposed to be warb- whereas at that time the “scientific authority” ling merrily away, with the action of the vocal which they claimed as backing was merely a con- cords visible to the vocal instructor. venient catchword, to-day we have real scien- Although you may, with difficulty, visualize tific studies of voice production to serve as trust- such an instrument, it is very unlikely that you worthy, factual guides. will ever see one. For, while the inventor of the chief attributes of One of the the faddist laryngoscope was a singing teacher—the cele- years their devotion maestri of former was to brated Manuel Garcia—its use now is confined were some, for example, who almost entirely gadgets. There to physicians. Yet there was a would claim to develop in their pupils an un- time when it not only was in wide use as another derstanding of modulation by opening and clos- encumbrance upon the singing student, but also ing umbrella in front of the singer, as he an led to misconceptions in theory, some of which emitted tones that successively swelled and di- still linger. minished. When the singer afterwards came to Seeing the vocal organs in actual operation face the public, there would be no one to ma- gave teachers the idea of having their pupils nipulate an umbrella for him, and he would exert direct mechanical Paul Althouse with his pupil, Eleanor Steber, winner of control over the organs consequently feel bereft and ill at ease. while this year's "Metropolitan Opera Auditions of the Air." singing. Now, when you try, while singing, Therein lies the whole fault with mechanical consciously to manipulate each muscle that pro- this mystery aids, and the reason why they are contrary to must be dispelled, and immediately. duces the voice, it stands to reason that the mind Anthropologists gentlemen, common sense; whether or not they furnish a will be and other scientific overburdened and an unnatural tension who delve into the recesses of the human past, temporary good, they set up a reliance which set up. It is, of course, much more relaxing to agree that singing limits the student’s dependence on his own re- is one of the most natural and forget all about the larynx, the mylohyoid mus- instinctive forms sources, and which works for his ultimate ill. of human expression among all cle, the sinuses. Instead, form a mental image peoples, so it is paradoxical that indivi- Metal tongue pressers, nasal corks, and the like, of the many tone that is required, and then try to duals try to transform it into apart from the fact that many of them are something strange produce it. The vocal muscles will instinctively and bizarre, with faddist methods of study operate properly, for there are nerve connec- which veer sharply away from the normal and tions between the centers of hearing and those customary. Luckily, nature has provided us all of the voice, and the nerve impulse that is set with guides for the avoidance of such methods VOICE up causes the vocal organs to perform just those danger signals in the form of pain and discom- muscular contractions which will result in the 1941 FEBRUARY, 91 Music and Study port of Philadelphia. It was made by a famous Nelly Custis' Harpsichord English firm and bore its name proudly on the name board, on an inlaid porcelain oval: desired tone required for an interpretation. d^foise cjCoiunslenj. In all the subdivisions which, taken together, Longman & Broderip form a basis of good singing—among them pos- Musical Instruments Makers harpsichord of mount vernon ture, breath control, placement, and diction—the he No. 26 Cheapside & No. 13 Haymarket traveled instrument. proper effects can be gained in simple, uncom- is a muchly It was London T brought by wagon to the London docks plicated ways, yet in each case a whole structure Although in sailing Washington always referred to this of unnatural ritual has been, set up. and thence across stormy seas a vessel instrument as to the docks of Philadelphia, to be hauled again belonging to his adopted daugh- ter, yet it was not actually night The Natural Way is the Wise One by wagon to the executive mansion of President hers until the of her wedding Washington. It arrived in time for Christmas in to Washington’s nephew, Law- Take posture, as our first example. Some teach- rence Lewis, the year 1793. on Washington’s own birthday, his ers urge their students to hold their chest high last, Ferbuary Of the family gathered about to admire its 22na, 1799. to “lift” the voice, others to keep their chest col- If Nelly beauty, the President and his lady, Martha Cus- could give him a gift of this wedding, lapsed, so as to relieve tension on the throat. then surely tis, the young men secretaries and the adopted he could give her a gift of this Both positions are unnatural and exaggerated; harpsichord. Custis, She must now it her very both divert son, George Washington Parke perhaps consider the singer’s attention. Then there own. Accordingly, none was so delighted as Nelly Custis, the be- when her new home was built are some who insist that the pupil stand rigidly on a windy loved granddaughter and adopted daughter of hilltop within sight of Mount Ver- erect, with the waist held in. This makes hold- non, the the household, now in her thirteenth year. harpsichord journeyed again by wagon ing the breath laborious. In fact, most singers to her taught music from own drawing-room. only would find they had lost their breath before Nelly had been childhood And now not Nelly s fingers, but they were ready to attack the note, and would on the London spinet owned by her aunt, Mar- those of her little daughter, nances, touched the have to rigidify themselves all over again. Press- tha Parke Custis; which was very small and ivory and ebony keys. bo the harpsichord ing the ground with the soles of the feet when very thin in tone compared with this elegant lived on, the center of its strings y llfe at her taking the high notes is another frequently new instrument. For, although were :“!j Woodlawn, until Nelly and fashion the 16n and her urged stance. Like the others, it is wrong because still plucked after the of virginal child ren’s children had no fnrJhfcbe r with what brilliance use it- it keeps the singer’s mind on manipulating his and the spinet, yet new _ At last, in 1860, when Mount v r ,11 ’ e “ll3tied body, makes him tense and self-conscious. The and power of tone! of all its possessions, was again t ho *’ estor<' admired d ' only proper way to stand while singing is the How Nelly must have the beautiful w as this same harpsichord inset lle 11 inS natural way, straight but not rigid, the arms harp-shaped box of mahogany, with rose- back home the first piece of furnitm + u — in floral " loose, with all the lines of force in their wood and light maple sprays of leaf t0 the old Man bodily sion ^ Oeloved House normal direction, so that tones can be produced and vine. She must have marveled, too, at its double with ivory naturals and 1” 61" lf ' unhampered by any muscular tautness or strain. keyboard ebony i4 has been entirely sll Per - cedVtTbv’Vh Since breath control is such an important part shax ps. piano? No piano in our land i* L modern tried out its six of the singer’s apparatus, it is no wonder that At once she must have stops. onoi'ed as this harp- sichordsichoid, same beautiful the right side were marked Blank, now nearly innumerable whims about it have come into Those on 1st a century and one half old. while on the left side being. Classic is the example of the singer re- Unison, 2nd Unison, she octave, a lute and harp cumbent on the floor while a pile of books is could produce an tones. different old music sounded: placed on his or her chest which is to be raised How now her the which her stately by inhalation. Pushing against a piano while Mozart minuets to grand- A Many-Sided Drill singing, so that with each breath the abdomen parents loved to dance, the Haydn and the Han- del tunes, the stirring military marches com- from is forced against the hard surface, is another. one of Czerny's Studies Far from developing breath control, or strength- posed for her grandfather as General-in-chief ening the lungs, such routines as these merely of the Colonial army. And the harpsichord had one she could Annette vex the pupil, and may in certain instances cre- two pedals. With the left produce W. JugJUct lute; 6 a combination sound of unison and while ' ate detrimental strain. ’ lu es 110111 Czelnze y’ s JN0 - right pedal made a great swell and cres- BookBo™ One 0 ™y Not much better are the various theories of the r“q»;r?* £ ranged ted Czerlly Studies”, as conscious breath control, urging the pupil to push cendo by lifting a hinged portion of the top. by Liehlhb g ’ Provido excellent practice She must set about her practicing in earnest scale6 out the abdomen and contract the muscles C01111eo 110 took music lessons easy «011 01 around the ribs, flatten the abdomen and now. Indeed, Nelly from agility lower chanEing the the s: of her marriage. key and L finger on push out the diaphragm, breathe from the stom- childhood to the time On the ™“ Vernon and and blnatlon Playing of sta.cc ach, take “collar bone” or “sniff” breaths. The London spinet in Mount New York; sustained harpsichord in Philadelphia singer, poised and free, cannot be thinking of on the new and his song and also of the muscular contractions Mount Vernon. President’s work for his of various parts of his body, and yet that is what For, after the country retired to Mount all of these theories demand. After all, people was ended and he Vernon, the harpsichord made its second journey by It have been breathing since time began, and it is wagon also insure r, by boat up the Potomac, to the music ha ‘ld oslti011 ' ridiculous to assume that most people do not and room strengthens the P of the Mansion House. notes. thumbtC'”'“ holding sust. know It , how to do it. should be Washington mentions it in his diary for and P ’ ayed daily in the 1 Jan- minor scales Avoid Vocal Gymnastics uary 8th, 1798: “Mr. Marshall, mussik master, Breath control can be achieved, on the con- came here, Harpsichord trary, in a very simple manner. Merely drawing tuned Nelly Custis’s and returned after dinner .” [Probably to Alexandria, ^Carrying in the breath naturally, and letting it out slowly, the the nearest town, ten miles away.] Arpeggio Fing placing the tone on the breath, is the way it can should never be held, Again on December 19th of the same be done. Certainly the breath year: arpeggio Pnmber of occasions Mr. Thomas Tracy— piay^^^f tightness, stiffness, and contraction are the “Paid Mussik master— may be for on for instance used to advalltag succession of long phrases, account of Miss Custis for the month in result. When there is a in full smoothness mpaniments when de your breath to the demands $32.” and m-ee° the way to apportion an are required to pn agreeable effect as some advocate, taking long- And when he returned from a trip to Philadel- T?”lld of the song is not, tions where ", aSain in those coir letting out just a little aii phia before Christmas of that year, the ‘° drawn breaths and 1798, he It dy iS ' is well to , Sustailled alld c0 phrase. Much simpler and more relaxing notes that he spent: note with each and Passuig that in both foi drawing in shorter breaths at such “For Miss Custis’s Books, Paints backward urn is the plan of & Music Anger 8 motions atta $25.25.” must be '? the time, which can be taken in more quickly and carrfed a the supporting position over its k of tone. As for the instrument itself, fine-e,- u° without disrupting the flow we are told that y shoulder; the „„: actlon chiefly froi voice can be “placed” by such a method as it cost one thousand dollars, to which snn tui No must be flexed flll ger si: bent over, or blowing added an extra twenty-seven to preserve*?, ? should be singing with the head dollars and thirty- e dUless laUon - thus the prop' Continued on Page 122) four cents for duty paid to of the handl ^ upon a visiting card ( the collector of the the Leland J. Berry key s is preser i n thet h l°r London Musical Star, i)2 THE El .

Music and Study

thus forming quite a useful industry for the villagers. On these instruments all types of music Barrel Organs in History are provided, from the popular songs of the gay ’eighties and ’nineties to the more well known tunes of the present day. Automatic cabinet players also are made, and many of these machines are placed in inns and JLM JU.man restaurants, a penny in the slot starting up the merry tune. Landlords who allow such instru- ments on their premises are usually allowed one quarter of the total earnings. Thus is the asso- OR A GREAT NUMBER of years the cylinder In the early days a great number of these ciation of the tankard and music triumphantly has played an important part in our public instruments were made in the Black Forest, and vindicated. Fmusic making, probably and the oldest type used principally by itinerant beggars. Great musicians have composed for the barrel is the barrel-organ proper, so often confused with Cylinders are pinned to play eight or ten organ. Although not generally known, barrel played piano. Handel the Both are manipulated in tunes. This pinning is difficult work, quite an art (1685-1759) is said to have written for it. Mozart the same way—by a rotary handle. This handle in itself. wrote two magnificent Fantasias for “the me- turns a ‘wooden cylinder in which are set metal A small organ of this type was built for St. chanical organ.” There were likewise barrel per- pins, actuating on trigger-like keys. These keys Mary’s Church, Bedford, about 1804. It had one formances of some of the works by Cherubini open valves under the organ pipes. The pianos set of keys and a barrel pinned for ten psalm (ka-roo-be'-ne) simply have a constructed metal cylinder, with tunes. Another small organ with one keyboard To-day there are many examples of organs small projecting pins which depress a crank and was in use until 1910, or perhaps later, in a played with the assistance of the cylinder, but cause the connected hammer to strike the string, village church in Montgomeryshire. There were the paper roll the has taken the place of the pinned after manner of the old cottage piano. A six stops, but the delightful part of this instru- barrel. In action these are similar to the working ment was that it could be converted into a barrel of the player piano. will. cylinders organ at Six were provided, and One of the finest examples of a large organ each was pinned to play about ten or hymns played by mechanical means is the beautiful chants. Willis instrument at Blenheim Palace, the res- At Lawshall, a tiny Suffolk village, barrel idence of the Duke of Marlborough. This instru- organs and pianos are sold, repaired and let out ment has four manuals or keyboards, and can on hire by an up to date firm who specialize in be played in the usual way by any skilled per- these instruments. Originally founded by the former. In 1931, however, the Duke had player rector of the parish, who has for a great number mechanism fitted. This player consists of a sepa- of years made a hobby of these mechanical in- rate and independent console which is some struments, the work is done by old choir boys, forty feet from the organ.

Tone Duality of Organ Stops

(Su (Everett (£! ^Jru dte

T IS OFTEN SUPPOSED that the tone quality organ had forever destroyed the influence which of certain organ stops is controlled solely by made the tone of that stop so beautiful and I the organ builder and the voicer. While this haunting. is largely true, other conditions often-times Charming Musette exert a surprising influence on the tone quality A of certain soft stops and combinations. The size, Another church, a few miles outside of Bos- the organ chamber (or ton, had a Musette in the CHURCH BARREL ORGAN shape, and character of echo organ which was is not located in a located in the gallery, the (Left) Front view. Note absence of keyboard. (Right) Back organ space if the organ at opposite end of the view showing barrel, amount of rever- church from handle, and so on. chamber), the presence and the main organ. This stop had a beration (echo) in the church or hall, or in that most beautiful tone quality. One of the larger spring then releases the hammer and causes it portion of the church or hall where the organ Boston churches ordered a large organ to fall back to its normal position as soon as the from the height of the same builder pin leaves the crank. is located, the maximum church who built the first mentioned conditions exert much in- organ, and it was particularly These barrel organs and pianos do not flourish or hall; all these specified that the stops combinations. Musette must be a perfect to the extent they did some years ago. fluence on certain soft and reproduction of the illustrations of one in the out of town Barrel organs were first introduced in the We give a few specific the church. The organ eighteenth century; and some have been used above points. A number of years ago an old builder and voicer constructed and voiced the pipes of the in churches until quite recent years. The original tracker-action organ in one of the Boston new stop as nearly like those of the stop idea of their introduction was to displace the churches contained a Stopped Diapason in the in the out of town church as human ability could village fiddlers and other orchestral players who choir organ, which, combined with a slow achieve. Alas! The location of the pipes of the Musette made music, high up in the west galleries of tremolo, produced a most haunting quality of in the Boston church, confined country churches. tone. Two measures of a melody or of harmony in a chamber outside of the main auditorium, was such that It is possible that the barrel organ was first played on that stop would silence the rustle of the tone quality had only a slight resemblance used in large residences, where they were con- a congregation and create an effect never to be to that desired and so much ad- mired sidered a luxury, before they were put to ec- forgotten. The organ was rebuilt and modern- in the out of town church. The clesiastical purpose. They contained as many as ized with electric action. The pipes of this stop old Boston Music Hall organ contained a stop in six or eight stops, or ranks of pipes. were cleaned and placed in the same depart- the choir organ which always com- During the eighteenth century these organs ment of the rebuilt organ as before, but the lo- manded attention and admiration; namely, the Bifera. enjoyed great popularity in France, where many cation and rearrangement of the interior of the This stop had two ranks of pipes; one of them were much larger than those found in rank of 8 ft. stopped wooden pipes and the other this country. In some cases they could be played rank of open metal pipes of four foot pitch. Both also by hand, on a keyboard, as well as by the ranks produced flute tone. The four foot rank barrel, thus displaying the highest form of hos- ORGAN was tuned sharp to produce a wave and this pitality for the visiting musician. wave was increased by (Continued on Page 124)

FEBRUARY, 1941 93 2 2

Thirteenth Chord Tempo of Various Works

Q. A friend has told me of a thirteenth Q. 1. What is the tempo of Mendels- chord he had heard but which he could sohn’s Capriccio Brillante f unable to find Questions 2. “Con- been and What is of Mozart’s not play for me. I have the tempo any information concerning thirteenth certo in C Major”? chords, and anything you can tell me 3. What is the tempo of Tschaikowsky’s about them will be appreciated.—C. B. T. “Concerto in B-flat minor”? Please tell tempo of each change.—K. L. A. Thirteenth chords, like sevenths and be formed by merely adding ninths, may A. 1. Mendelssohn Capriccio Brillante successive thirds upon one another. Thus about J = = 132 Answers 60 for the Andante, and J chord of the thirteenth on C would be a for the Allegro con fuoco. This chord can be re- C-E-G-B-D-P-A. 2. Mozart “Concerto” about J = 138. garded either as a harmonic structure 3. Tschaikowsky Concerto: First Move- of the C major containing every tone A Music Information Service ment. scale, or as a combination of tonic Allegro non troppo maestoso J = 93 (C-E-G) and dominant ninth (G-B-D- Allegro con spirito J — 16° P-A) harmonies. Poco meno mosso J = 133 Ordinarily, this chord would follow the Conducted By Second Movement. key signature of the composition, but Andante = 13‘2 modem composers add many chromatic semplice I ni Third Movement. accidentals, according to various systems Lr^ 2 Qe Allegro con J — l^ of chord construction. Certain composers fuoco These metronome must be have built chords according to the “har- markings considered monics” or “overtones” of a given fun- merely approximate. tone. overtones of C are: J(J damental The Musical Terms-^What Do They Mean? Professor of School Music, Q. 1. Please give me the meaning of the following terms: a. poco aflrett; b. 10 csi tan 12 3 4 6 8 7 8 9 10 11 13 18 14 15 Oberlin College do ; c. allargand o. 2. (a) Is the accompaniment in the fol* lowing measure from Allegro dc Concierto, Using this as the basis, a thirteenth Musical Editor, Webster's New by Granados, played in triplets or “two’s"? chord on C would read C-E-G-B-flat-B- International Dictionary natural-D-F-sharp-A-flat, and such a Ex. I formidable chord as the following might well stem from this source: isfaction from being able to play even simple, slow-moving music. Ex. 2. This is a much more serious prob- lem and although I too dislike simplifica- tions of the classics, yet in this case their use would seem to be justified. But examine each arrangement carefully and discard those that do too much violence to the original. piayeci togetner c Perhaps it is some such chord as this the other? that your friend has heard. Constructing 3 a) Ple of T. LJ »se give me the tempo the Liszts “Transcen- chords on overtones is, however, only one Does the Trill Begin with Will o’ the Wisp from dental Etudes." of a rather large number of systems em- or the Note unless accorr Principal Note address (b) ps6e and o the inquirer. Only initials, Could the double -sixths on ployed by modem composers, and if you pseudonym given, inv Above? or will be published. played with the wrist? It seems will °“ r,?, are interested in this problem you p lble to do them with the fingers alone. enjoy reading and studying the book Q. Will you kindly write out the seventh —Mrs. E. G. P. No. “Modem Harmony” by A. E. Hull. measure of Chopin's Nocturne Op. 9 2 ? Miss M. J. B. 1- (a) abbrevia — Hurrying a little. (An non of poco the affrettando.) A Beginner at Sixty-Five A. I take it for granted that it is ol most part, indications of mood. For I can find no such term. Are y° that bothers you. Some players start thi trill reason it is impossible to assign sure you spelled Q. 1. I have a pupil sixty-five years of while a defi it correctly? this trill with the principal note, actually too stiff to nite metronomic marking to) Broader, louden age whose fingers are as to any on. that is—slower and of tempos, others begin with the note above, play anything but the slowest them. Grave, 2 - of for example, mean (a) since the melody in this m«»' and since he is a beginner and desires shown in the two examples below. I be- “grave,” adagio means “at ure has two beat. yo above everything else to be able to "play ease,” an< eighth notes to the largo means “broad”; o d a little” and to read a little, I have but there is con hardly make the accompaniine give him any ex- siderable difference of sound matte thought it best not to opinion amoni anything but triplets no ercises or studies but to start him im- now also musical authorities as to which you Played this mediately on the simple tunes and hymns one indi them. I think cates the slowest tempo. In the he wishes to learn. Do you agree with time o other question. . - Clementi most musicians this? considered ada ,,Tlley are Played “ one a^tel 2. Another pupU, about fifty, has al- gio to indicate the slowest other tempo the] ways been afflicted with obesity. His fin- grave, and next largo. But in more’ 3 (a) M.M. w gers are absolutely too large to place mod f = 138 . This is a P« find ern works largo is often e between black keys. I am at a loss to considered po ' but can. t .. . i? do the best you any suitable material all on white keys, indicate the slowest tempo, grave comin hey oouw afraid “ Butter- T b e. but I am and minus titles such as Chasing next and adagio third. w„,uu , which ob- ke a Josef Lhevinne to d0 flies, or worse, Dolly’s Lullaby, Allegro means Thev if * will intelligent cheerful and It UW with viously not do for an there ,° be playad UghUy approve fore Indicates a fairly Angers engineer. For such cases do you quick tempo bu h na qulet from ® ' and action of simplified versions of the classics andante means literally knueti' T^ “walking”’ 1 6 ! disliked)? an are two ways ta wWCh (which I have always frequently might - there is not so great might dod/tithis I thank you for your attention and a dif passage. ference in actual tempo will hope to see your answer in The lieve most players to-day would prefer between the twt always read your page and find The Maelzel metronome Etude. I this trill played as marked in Example A. has the follow Ex. your answers most interesting and stimu- mg marking: Largo It is, however, still a matter of opinion. 40-68; Larahett lating.—L. M. 69-96; Adagio 97-124; Andante 125-151 should begin with simple Allegro A. 1. Yes, I 155-183; and Presto 184-208 for Bt aterial of the hymn-tune type, but Relative Value of Tempo what of Larghissimo and Adagissimo s sake of variety I advise you to use one extreme, e Indications and Prestissimo and Pres songs and other simply har- tissimo so folk possibile at the other? The probably never Q. First we have tempos, Moderato, an anized melodies. He will — the swer is that we must Allegro, Allegretto, Presto, Adagio, Largo, determine th point where he can play music tempo of t to the Andante, Andantino, Larghetto. About any particular composition arpeggios, so why various h th quick runs and how rapid beats should each one of these means—of which the are in- metronom with exercises that tempos be given?—A. J. H. is only one, the others 1'den him being traditioi for such music, personal rded to prepare him judgment, and the “feel”?/™ may derive great sat- A. These Italian expressions are not ter all, a person

THE ETf^ Music and Study

character is typically Jewish, Italian, Hungarian, Greek, Polish, Bohemian, and English-American. It may be that this is characteristic of large in- Jfl tflt? tfl »*.*?. dustrial cities of our land, and similar high • f *.*»!» *t t • } ( schools in similar environments have the same ? 4 , " sort of mixed personnel as indicated in the fig- * a>v 4/? .’ ures above. ts .. •.= rt ' $** ’' Even though sixty to seventy per cent of the /./« -^4* >f

FEBRUARY, 1941 95 Music and Study The game of life is .the best game of all, and A New Padless Saxophone those who play it most successfully are friendly, Any two B subjects may be taken concurrently helpful, inspiring human beings. It is reported that an entirely new principle to count as a major, earning ten points of Plan your work, and then work your plan. of saxophone construction based on a tone boost- credit per semester. While doing this, turn despair into repair by ing device has been perfected. Tests indicate No music credit is required for graduation smiling at discouragements, and remember that from the high school. that this padless saxophone is 120% more air- the best thing to do on Life’s highway is to work pupils of John Adams High School, tight than conventional types. Chief advantages At present, with the construction gang and not with the claimed are a definitely better feel in the hands, specializing in music, may offer a maximum of wrecking crew. one hundred and twenty credit points in music increased ease of playing, greater resonance, and Use for a motto, the words of Joseph Fort toward graduation. (The minimum requirement more brilliant tone. Professional musicians who Newton: “We are agreed to disagree; we are for graduation is a total of three hundred and have participated in a number of “blindfold” resolved to love; we are united to serve; adding thirty-five points in all subjects, eighty-five of comparison tests of the new padless Selmer and to the practice of ap- conventional instruments have expressed over- toleration, the grace of which may be earned in the ninth grade in preciation.” Junior high school.) whelming preference for the saxophone with Turning to the band and orchestra, the latter tone boosters. It is said to be easier blowing, organization was the first to develop, and was especially in the lower register, and to give more A Cure for Stage Fright the first to achieve honors in various contests. freedom of tone with a more definite articula- In the past five years the band has grown suffi- tion- between notes. The device was developed in well known ciently to be on a par with the orchestra, and the laboratories of the manufac- We, JL;V S. Wi, the whole instrumental music program has turers of musical instruments, H. and A. Selmer, The grown in scope and function. Inc. of Elkhart, Indiana. writer is the wife of a singer. In his public and radio The foregoing has been somewhat an imper- appearances he is usually in a highly nervous sonal statement, a background on which the state. He knows his songs thoroughly, yet he writer may proceed from the more personal point Mental Stimulants for Musicians worries over this or that detail; lest he may not of view. My appointment to teach at John Adams start at the proper moment with his accompanist; High School came in 1928, and at that time the Ey Jennie 3. IV Join or lest his throat may be dry, or tne reverse, enrollment in orchestra was about fifty, in the his mouth may be full of saliva; or is: lest he may band about fifteen. The instrumentation of the To be Successful have to swallow at the wrong time. adventurous spirit and an in the orchestra was somewhat inadequate, as most of To have an eager, hope that it will aid others similarly afflicted, the members were playing violins. It was decided exploring mind. we relate one incident that nearly to enlarge this unit by purchasing the required To have courage to face the life of your day 1S downfa11 him a Wo « - but which taught to with a feeling of opportunity and privilege. U e string instruments, and no attempt was made ' was sing at the ? . over the radio, and playing violins, as it is To approach your work with a winsomeness pnvate re decrease the number of hearsal in the studio, he became nm-tOUS felt that in any case the violins are a very im- and understanding that are irresistible. and bad to notice- h] swallow, causing a to symphonic orchestra. There To work for the kind of maturity that enables portant asset any sdenc e. The second rehearsal fol- decline in the num- face truth and reality. im has been, however, a natural you to mediately, at which time the artists ber of students playing violins, to the extent tha To attune yourself to the truth, beauty, good- w eaid ° llly by the Staff WhO were listening thirt. are the irrefutable facts le lately it has been difficult to get more than ness and love that of ’ a 8‘ d a ain he was seized with nerv- violin players for the orchestra, a result, I be- God’s universe. 01Knp ^ ^ d to swall°w. By that time, I did of life not lieve, of existing economic conditions through- It has been said that the tragedy is the wishTt0 Fbe I m that stu dio any longer, so out the country during the past ten years, and tyranny of trivial things. went infn thetv, ante ~room where the broadcast of the strive then for the high, important, cnniri „ phenomenal growth and interest in the Let us 163 1 could '? and Where my worrying instruments things in life and remember, “It is be clone in* ! and organization of bands. necessary for 'tude. But went on the when he Anally The use of questionnaires is very helpful to service we are here, not for a throne.” The nir U°h to my surprise, his voice came the instrumental teacher, just as it is of great greatest need in the world to-day is unselfish over oaim ' 1 6 and olea1 to be- ' « was difficult utilitarian value to various organizations. A service. The greatest characters of history were lieve that 'if'W3 S the same voice, teacher should not hesitate to use this source of those who served mankind most. They are called When T W6nt. he back into th c studio where information, especially if he is concerned with Teachers, Prophets, and Saviours of the world. was beino atUlated " H°W ’ 1 at °nCe asked ’ the effect of his policies. There is the additional The real value of service is not computed by did you do i°tT advantage of eliciting personal comment from the kind of position you hold, but by the kind of d a bit ashamedly and answered, those who fill out the questionnaires, and one thinking you put into your position. The very "You we,'!f W rried at the which to approach any problem two ,° ' weren’t you? Well, can gauge the extent of sentiment on certain best angle from reT so 1 kbew 1 was" being judged policies as well as receive welcome suggestions. is the try- angle. oreourae ft^, 1Gd my very best and became self I was interested in knowing how long our We are all channels for service, members of a conscious n ^ nd nerv °us. funny orchestra students played upon their in- group working for the good of the whole, not thought The third time, a had oa, t0 be mind ’ would struments, and in discovering what the schools just for ourselves alone. The service of one the 1 felt that this is last tim he are doing to stimulate these young people to as great as that of another and just as needed. those tw‘ 50 decided minut‘t es ma make music. eighty-three pupils, here Ability to serve is ability to succeed. To weie mine whether I Out of climb good or not' . so T Slmply sa are some interesting facts: is not difficult; it needs only well directed ap- as if I let myself go and did not careA - son® Chart I: — Of course, my Length of time spent upon instruments. plication. I knew Pa d ' and Number of members: 10 9 17 15 9 17 3 3 How busy is not so important as Why worst as my nerves wer- . busy. eneniy th Number of years: 12345678 The bee is congratulated; the mosquito swatted. in that frame n0t b °theI' ^ * Also: Only the good is true. If we are to be success- o^inAT ‘S 11 54 members had started to play instruments ful, we must concentrate our thought obvious - upon the your' own Uvhio Do all worrying through motivation. good in each other. Successful ' d school people are good again um Pl actlcln S °yCT “ Tou ' f 29 members had started to play instruments mixers; they mix a high quality of brains with each ATPel fect Try your W rehearsal at h! tireless energy. el through home motivation. thoroughly me ' Then once tlle mUS learrT i the 29 members who started to play through The more you do for others, bl Of the more you get this confidence WU1 be strengthened violin or viola players. said: So’ atT home influence, 18 were done. Thoreau "Be not simply do the c stud good, be not hum vom- °ncert hall or II: School in which pupils started good for something." 011” Chart Grade or it. V y know it, have mA think about to play. Lotze coined the phrase: “To be, to assur con is to be in you when ance that it will 2 4 7 8 9 10 11 12 you ' ° Grade: 1 3 5 6 relation to others." the pei f when air or on fhl A m’ming. And of members: 0 0 5 3 12 12 21 12 8 4 4 2 linen, 8 age 0 No. wmea with the e just as if ’ iet the music come can see that the greatest number of istence of others; nearly VV0ll1 Werew room Thus we all our achievemer m your own practice been playing instruments from three and endeavors are related to pupils had others The foi that they started mostly in the we eat, the to six years, and clothes we wear, even our " knowled lines ” nt deve its oV seventh and eighth grades. I found also and beliefs, come to us largely from is brat herT loped along sixth others t you h*y seventy (Continued, on Page 129) Home, the Club, the Community, courage, for „„T*' «S People should that between and the Na’tic then selves way wil > trust to be creativecreatiT ) they artiatsd’-teopoW OodoioM V6 THE ETIJP 1 2

Music and Study

thought and endeavor. By its invention folk Violinists, Fiddlers and Then? songs, ballads, fiddle tunes and legends, all have been rejuvenated from a remote past. Literary geniuses should make some of these old tales a matter of permanent record. Violinists and com- Ef JL,;, Worton WcQoLnun

ADIO LISTENERS SOON LEARN to recog- accent here and there in the best reels and horn- nize four kinds of violin players: the con- pipes. R cert violinist, the orchestra violinist, the Some of the best “old time fiddlers” do not swing fiddler, and the old time (country dance) know one note from another and pay no atten- fiddler. “What are the differences between tion whatever to correct position either of the them?” A very natural question. body or the instrument. Yet many of them The concert violinist is, of course, the peer of possess an exceedingly supple bow arm. The all. plays them He the violin classics, according main reason for this is that few of them use the best schools to of the violinist’s art, inter- more than two fingers and thumb in holding preting them as well as, and in some cases better the bow; and their forearm and shoulder are than, the musicians who composed them would employed in making a circle which would be un- thinkable in correct violin playing. In most cases the tone is smooth but very thin and weak. That accounts for the little tone through a microphone; hence the “old time fiddler” occu- pies a place to-day that he might never have reached were it not for the development of radio broadcasting.

Yet there is one thing in which the “old time fiddler” fails, even on the air: the long bow. Few of them can play a slow melody with that lovely quality of tone so marked and distinct in the playing of a professional violinist. And yet a violinist cannot play in a fiddling style either, OLD TIME FIDDLER because the methods employed are impossible in Bob Burns surrounded by a group of characters in "Cornin' correct execution. 'Round the Mountain", the new musical picture. Each style of playing seems to fill a place, and posers would do well to select the best of our old- it is only a matter of individual taste, among time music, and to play and score it in an artistic THE MODERN program they will tune in. CONCERT VIOLINIST radio listeners, which manner. A great deal of it is of Anglo-Saxon Jascha Heiietz in his famous picture "They Shall Have Nevertheless, the radio is one of mankind’s origin and dates back to remote Music.'' antiquity and greatest blessings and constantly changes human is worthy of professional notice. have been able to do. His technic consists of per- fect intonation in all positions on the violin, of double stops, natural and artificial harmonics, and of intricate bowings—all entirely “Low Whole Tone Passages in Violin Playing Dutch” to the musical layman. The orchestra violinist, likewise, has consider- able training but is not called upon to display JJ. (],'oom quite so much skill except in the concertmeister’s scores of classical . Nothing short of IOLIN STUDENTS who are determined to to say that without a solid grounding a master can interpret the difficult solos in those in the equip themselves with ample technic so whole tone scale and passage playing, scores correctly. In orchestra playing the vio- it is im- V that they may negotiate the intricate possible to render the works of those linist plays under the supervision of a director, who are modern music are aware of the im- popularly called “modern” who interprets the musical masterpieces from a passages of composers. whole tone mode. These players There are two whole tone conductor’s score. The concertmeister enjoys cer- portance of the scales, the first of of technical accom- which can be begun tain special privileges, including occasional ap- recognize the various types on any note, and the second in order to func- of which be pearances as soloist, conducting rehearsals and plishment which are necessary must begun one half step higher concert artist or orchestral For the purpose of illustration perhaps a concert if the regular conductor is ill tion as a modern we shall begin and there is no official assistant conductor. musician. the first whole tone scale on the open He G strine.5 ' also marks any special phrasings for the players In order to be able to play readily the melodies Ex. 1 of stringed instruments and any unusual points and orchestral violin passages of such writers as in technic. Schonberg, Krenek, Berg, Stravinsky, Milhaud, The Swing Fiddler, while he may have con- Hindemith, and all composers who regard each In practicing this scale, the player siderable musical training, specializes on the note as an independent acoustical fact, it is should use the tech- whole bows at first, and mentally decide modern swing rhythms until, except in rare mandatory that the violinist conquer upon the pitch of the next tone before playing instances, he generally becomes fit for no other nical demands of the composers who wrote in a it. This will require keen concentration and will kind of playing. It is an undeniable fact that more gently dissonant vein, such as Debussy, do much for the ear of the player. An the steady playing of swing or jazz, both of Ravel, Loeffler, Carpenter, and D’lndy. exercise such as the following can prove which are at considerable variance with the The whole tone scale was used before the time beneficial, because each group can be called, mentally, classical school, will in time destroy a person’s of Debussy, but it was he who made a definite do-re-mi. Ex. love and understanding of the best in music. issue out of it, and his followers exploited it to Last but, at this age, not the least, we come very fine advantage. It is not an overstatement to the “old time” fiddler. He is in a class by him- self, and perhaps the most original. If his reper- toire is almost entirely traditional, and he plays VIOLIN to suit himself, his music and methods of play- At this point the other whole tone scale begin- Edited by Robert Broine ing are typically American, with an English ning on A-flat could be studied in the same

FEBRUARY. 1941 4

Music and Study Scott’s Elegie and Romance, after which more Violin students who work closely with com- advanced works can be attempted. panions, playing duets and other ensemble mu- In connection with the daily drill on scales sic, would manner, whole bows, the mind preceding the do well to write down “hard chest- and arpeggi in the major and minor modes, the nuts” in the form bow and deciding on the pitch of the next tone of studies, and to exchange additional work in the whole tone mode can be them for before the sound is made. those written by other students. The added; which, together with a good command studies could be eight, twelve, or sixteen meas- of the chromatic scale and the ability to play ures in length, and may exploit the use of whole notes tonally as printed, without depending tone, multi rhythm, and tonal independence. upon their simple relationship to each other or Several examples are shown here. Then Exercise 2 could be transposed to this key. to the key, all this should make the player well Ex. able to play modern works easily and pleas- ingly in tune. Some people are very fond of dissonance and of the whole tone mode ingeniously used. But The utmost care should be exercised so that in- one of the strongest characteristics of modern tonation will not suffer as the student picks up music is that it must be rendered with absolute a little speed in these studies, and also as they sureness and confidence. In dissonant passages, are practiced with different rhythms and bow- any garbling, stumbling or questionable intona- ings. These latter should be done in order to tion has the immediate effect of breaking down give facility. For instance the interest of the public; they cannot be sure Ex.3 of the performer, and cannot tell whether the dissonances are actually true or merely wrong- While find we it easier to play the results of our notes. It is therefore evident that many of the own invention, conversely it is better practice to subtle and delicate beauties in modern violin iy to conquer the difficult concoctions of others. solos will be enjoyed by the music loving public This activity would be a keen stimulation for if they are played frequently by those students sight reading and would accomplish a result who develop this particular type of craftsman- similar to that which is achieved by pianists in ship. their study of ’s graded books.

The student should invent many ingenious TEchnic for combinations of rhythms and bowings for whole the Half Hour tone scales and exercises. And always during the practice of these he should remember “all f-'J £utola J4. YlicleLen is worthless and futile unless the intonation is are constantly confronted with the perfect.” Teachers n ' tei er s palt “pre- necessary scales, . but she will net Now it is time for the student to advance into problem of crowding the arpeg- feTred divM ff? into the “ ““ toprovement of the the practice of many passages which are written gios and five-finger exercises half hour pupil's velocity allotted to the music lesson. One remedy is to in the whole tone mode and which will sound Struoture during the class ot the hand, the fourth practically atonal to him. These passages, a few give technic and theory lesson; and'Vth 8' erS aie the cut students who either lack weakest - A short of which are shown here, will give him a facility but there are many the for exerckir,v a S a nd strengthening is for opportunity or do not care to enroll for class to these fingers playing many modern compositions which plav tho SC al, “ contrary motion, repeating embody this type of formula: broken chords, work. the fourth a a ? flfUl Angers before sequences, As a warming-up exercise, a procedure which completingcnmnwi, .‘H several times melodic intervals, and so on. Each the scale. approval is to alternate study may be transposed to the other whole tone often meets with the scale and extended. scales, in the “Circle of Fifths” and the “Circle of Fourths.” The given major scale should be Ex.O played in two or three octaves, followed by the arpeggio and the cadences of the key. This plan is possible only with the more ad- a Ve vanced, for the beginner needs gradual prepara- slmple exercise but, practiced carefully 1( . T tion for this routine. This may require extra * d° wonders in developing strengthngth in the two weak fingers.

Common Difficulties and Their Cure J^old 4 Wrinill9 C A common difficulty in piano playing is that of playing a smooth four octave scale without breaks. Often piano students play four octave scales over wnere the temno nf m time, especi and over and still they are not able to conquer UiCkZ L are played ‘ To° often sixteei that certain jerkiness .that is an enemy of like eiJLhhS beauty. this problem ' The sovereign cure amazingly simple yet adequate is tn i An remedy is to the keeping, 0 f Passage backWJ play a scale of two octaves; then go back course t an octave Turning same for the l Angering, and play up the piano two more octaves. Re- thu’mhb , " difficult, but der the hand is aW peat the process until the four octaves are manv t played. thumb ts under ' who can turn Now when you try the four octave scale you the thiM « will a snag flnger smoothly, run After having practiced these studies in various find it goes much more smoothly. when they .. under the to turn the tin rhythms, and different styles of bowing, all with Another exasperating difficulty is a tight hand. fourth can be This difftt intonation, conquered common the finest attention to the student Of course by playing endless scales and finger hi T' slightly as Ving the elbow ollt write and practice a large number of exercises one largely overcomes this. the thurnh T° should But this all With goes under tone mode in order to a little the fourth fit in the whole takes time, and “art is long.” One 0 f thl ' passages of the easiest And PI actice that he , the student the necessary facility. ways to put the hand into fine playing condition can turn gain Anger as thm fo advisable to begin with compositions is to play a short double note exercise; smoothly "b under the It is then first softly Anger. tun,s dissonant and which make then louder again softly. Turning it under the t are moderately and Just a little of the fn which this hand is hu“b tone mode, such as sort of thing is all that is of smoothly under use of the whole necessary, in fact course v„t simDle too constantly lplP°rtant, oc Harlequin and Pourquoi, and Cyril much is actually harmful and should in all nioT for it be avoided I4 Czerwonky’s smoothly it ls impossible to this diffiennmeulty . is not mastered. 98 THE ETUPt —

Music and Study

tor, playing on perhaps several hundred instru- ments simultaneously, to succeed without study- Practical Hints for ing the special mechanics demanded by his posi- tion? Suppose he is a “natural”, like a certain type of movie star, should he not have, at least, a working knowledge of the various instruments? Training the Conductor Even the “natural” must memorize his lines. Necessary Attri- butes to Success- ful Conductor By Wise teachers in schools of music watch young pupils very closely to see what they are ca- f]ickofai pable of doing, as well as what they want to do. The boy who would like As Told to Ludwig Wielich to become a pianist may not have the right kind of hand, but may possess an Nicolai Andreievitch Malko, distinguished leader who already exceptional voice. A conductor and teacher, was "born in Russia in had his hands lit- girl whose ear is es- 1883 and received his musical training at the erally full with a pecially sensitive to St. Petersburg Conservatory under Rimsky- fiddle or keyed in- nuances of stringed Korsakoff, Liadoff, Glazunoff and Tcherepnin. strument. Often he tone is perhaps rel- Later he was sent to Munich to study with became the director atively deficient in Mottl. He became professor at the Leningrad because he had com- her appreciation of Conservatory and in 1927 conductor of the posed the work to be tone that is produced Leningrad Philharmonic Orchestra. —Editor’s heard and would by percussion or by Note. presumably know blowing. In like better than anyone manner, the pecul- else how it should iar attributes needed usicians are often amused by the be played or sung. by the conductor musical blunders made by novelists. There As a star artist he may be detected M is, for example, Ouida’s famous allusion shone with a sub- among children and to “the violin Rubinstein played on”; and many dued light. nurtured in the hope readers of more modern fiction can recall glam- In his emergence that some day the heroines thrilled orous who their heroes by sing- to an eminence for- student may arrive ing the Liebestod or other soprano songs in “deep merly monopolized MALKO IN ACTION in the conductorial contralto tones.” by the prima donna field of music. But in creating Svengali, the master musician or the Paganini-like virtuoso, the conductor has Someone may ask, "What are the peculiar at- and arch-villain of “Trilby”, George Du Maurier passed the stage where he was merely tolerated, tributes?” To which we answer, “Administrative, profound touched a truth. Trilby, you remember, where he took dictation from the soprano or the or executive, ability; the gift of personal mag- had a phenomenal voice but was tone deaf. By primo tenore. He is now the boss, and, whether netism; an ear that is responsive not only to the bringing her under hypnotic control, Svengali we approve or disapprove of his rise to power, tones of all instruments and voices but to the trained this voice and used it as a perfect in- we are forced to evaluate his contribution to our most delicate shades of rhythm; the knack of for the strument projection of his own interpre- musical culture. To do this we must first discover teaching; facility in communicating ideas both tative ideas. what makes him “tick”, and then study the proc- to an orchestra and a chorus and to an audi- Faulty as the story is in many details, Du ess by which his “ticking” becomes effectual. ence; and natural quickness in physical and Maurier has at least made clear a point that that the coordination.” all No one will deny conductor must have mental The last named is not virtuosi would do well to remember, that it takes certain traits in his make-up; but many, even the least important. two to make an effective bargain. musical Trilby among musicians who should know better, be- On the subject of teaching, it is extremely un- and Svengali together produced great a singer little the training necessary to the fruitful em- wise to permit a pupil-conductor to practice con- because he had control of a voice that was out- ployment of these natural talents. An enquirer ducting with an amateur or student orchestra. side his own throat and therefore subject to the who asks, “How did So-and-so become a conduc- It is a case of the blind leading the blind and same kind of “remote control” that a pianist has tor?” may be told that So-and-so played a violin both falling into the ditch. The pupil-conductor over the keyboard or a violinist has over his fid- or other instrument in an orchestra, that he needs an orchestra of professionals who know, as dle. Trilby sang, Svengali, in the words of showed an aptitude for leadership and that, after When student players do not, how to respond to the the her if she were an an experimental probation author, “conducted as period of and prac- beginner’s efforts. Conversely, young musicians orchestra tice, he rose gradually from the obscurity of the all by herself.” who are learning to play in an ensemble should ranks to the prominence of a recognized general. be led by an expert and not confused The Obscurity by a Conductor Emerges from Many such stories are unquestionably true. I novice. To-day, the conductor, after going through a have talked to renowned conductors who them- After surveying the ground and adding up the gradual process of evolution, is essentially a selves rose to fame in just this way and who per- requisite factors, we come back to the major forming artist, playing pooh-poohed the necessity of highly specialized on living instruments of premise, that there is no fundamental difference flesh and blood. Once upon it is training for their jobs. But the random success a time, true, he between the conductor and the pianist, the vio- was merely a type of major-domo in musical one might almost say the accidental success the — linist, the French horn player or the singer. household. Someone had prepare such men is too exceptional to be taken to the musi- of as a Every performance is found under analysis to cians for their performance and beat time when criterion. We assume that a harpist or a violon- consist of two parts: they performed, and the job was tossed into the cellist will apply himself mastering to the special 1. The performer’s capacity to translate the kappelmeister’s lap. The business of holding the technic needed in playing his particular instru- language of his imagination into tone. ensemble together was even carried on by a ment. Why, then, should we expect the conduc- 2. His skill in projecting ( Continued on Page 132)

FEBRUARY, 1941 99 P :

light. A really “new” song is a rarity. Not be- Music and Study cause all tunes are borrowed—they are not—but because the elements that make a song popular never vary. The tune must be catchy, and the words must have universal appeal. Aristotle disclosed the amazing fact that there Pirating Parnassus are but thirty-seven possible plot situations for all the stories that could ever be written. It is doubtful if there are more than a dozen themes Tune Borrowing in Tin Pan Alley for popular songs. Patriotism, home and mother, self pity, current events, love—those are the themes most frequently found in popular songs, during the Civil War, in the Gay ’Nineties, be- Kj. l^KoAe ^JJ-eijlbute fore 1914, in the boom period and to-day. Each r age adapts them to its own degree of sophisti- cation, but they are always with us.

Miss Heylbut, luhose navie has appeared fre- Songs of the Times quently in The Etude, was born in New York Our blues songs vary little in general spirit City. Her great-grandfather was attached to from the ditties of desolation of Lincoln’s day. the Court of the last King of Hanover; and When public interest, in 1864, centered in tem- Ms father, in turn, was decorated at Water- perance agitation, it expressed itself in Father, loo under Blucher. Dear Father, Come Home with me Now. When Miss Heylbut first studied piano with her died, in 1921, there appeared They mother and then entered the piano depart- Needed a Songbird in Heaven, so God Tool ment of the Institute of Musical Art (now a Caruso Aioay. The “coon songs” of sixty years part of the Juilliard School of Music) where ago aie reincarnated in our mammy ballads, she spent four years. She took the degree of while regional songs span the gap from Dixie to Master of Arts and Doctor of Philosophy at When the Midnight Choo-Choo Leaves for Ala- Columbia University, when she was twenty- bam . And to express these varying moods, the one years of age. Thereafter she had the ap- composer has only the twelve half tones in an pointments of University Scholar and Uni- octave with which to work. Melodic themes fre- versity Fellow in Romance Languages. She quently are repeated as well topical themes. lectured in French on the teaching staff of as A1 JUSt as fre( l uently, they “borrowed.” Columbia University for six years, and ^UWhen are Harry Carroll used the melodic theme studied for some time in Berlin and Paris. oi Chopin’s Fantaisie Impromptu in C-sharp Miss Heylbut is a very prolific and gifted minor in I’m Ahoays Chasing a flood writer, whose work has appeared in many Rainbows, or divergent opinion was ap- publications under several noms de plumes. loosed. One camp pioved the oi borrowing; it brought the riches She is an accomplished linguist, writing in t0 people who never German, French, Spanish, Italian, Dutch and normally would bowm& distance master, Portuguese. work as o of the Polish She has done extensive lf tbey lleai'd and only foreign correspondent and free-lance journal- , liked his theme, d reSUlt: 80 what ’ 011 thC ist for The Etude, The Neio York Times, The “ s in a name? otner side were those Sackbut (London), The Gamut (Oxford Uni- who scored the borrowing; Ulgar desecration said- versity of art. “If,” they Press), The North American Review, “fhp ^ , to get art masses is The American Magazine, Good Housekeep- fn before the MISS ROSE HEYLBUT ®h°ddy, let in ing, Pictorial Liberty, The Musical us rewrite Shakespeare Review, eapq aVe done with it-” Evidently, there Courier, The Mentor, and others. was i? SPlrit shown to keep She is the author of two books: “Like Soft- Also, the middle theme of I Dreamt I Dwelt in mterpsi- on both sides ^* * Balfe’s “The Bohemian Girl”;- high PitCh for theme pi est Music” and “Backstage at the Opera.” Marble Halls from continues ’ the ^l —Editorial Note d< ly lSh Une borr is not consid- ered a hPin°n ’ owing S £ense does in TUl Pan Alley ’ ^ coun T ^ e law pK>' tects a enm S law. This P 10n fm with a twenty-eight years, tLlT Te Wal ET that a man, consumed o£ copyright for another US IMAGINE young . period S tlT , " popular hit tune,. y eiEht years. tampering with the desire to write a With protected Any ^ favorite, Aunt Dinah’s Quilt- TU e L suddenly discovers that he has everything And that old-time an m ay be tound t0 inCgemen t BBlltrri K ol in mind except arresting melodic idea. What ing Party: •' borrowing music an enough tn ii Q from should he do? To judge from some of the more PUbbc domain (without copyright °protectionA borrow an idea 1S or less recent successes, he may Thus In .7 finite legitimate. from the classics. He casts about for a worthy teenth Century DrawinS- Room stands as subject and finally decides upon the mighty f\Bona fide song, eve though its ma, T new Hallelujah Chorus from Handel’s “Messiah”, a Very good. He now has his themes in order, is Mozart’s “Sonata llfted bodily content that audiences C ” hand- work of such magnificent and all he must do is arrange them in synco- Larry CUnTnlV" °n ‘he other habitually rise upon hearing the first strains. It four-four time. Whereupon, he comes DlPSy a pated to large royalties Donaie fame— to ti 5- begins: a sudden stop. For, like Goldilocks in the fairy be est ate of Debus for using hi n„ Claude someone s tale, he finds that has been there be- professional R Fr°m Ex.l potrn/ ~ him! Those four themes, neatly VIew Za fore jointed and ’ permissible on tllne borrowings smartened, have twr/ rhythmically already gladdened constitute an they must the public ear as the very popular: Yes, 5 ment must We accomplished ' and they brislriv ? more Have no Bananas. There is the life 101' folth Now suppose that he appropriates a few story of one good, catchy, 811 t0 brlng to Handel. Per- song success, and our young man “new” Tun* themes to lend a bit of variety will have to childhood fondness for begin all over again. In which predicament borrowin concealed hans he has retained a he at all, as'in gs are not will alone. Lies Over the Ocean (Anal theme): not stand an Chasin Rainbows, My Bonnie Eighteenth <> Not all hit tunes borrow so fully as the banana Cenfnf‘ D Reverie, and nth. ^ rawing-Room, 1 opus; still, a bit of searching ' among the family “d t- are so * otheruuier timeswinco , trees of songs brings interesting 'cleverly^ kinships *" ampedm ed, a1 mm to .. P ’ as to rhythm accentuating accentuationn. fv, ^ thatthn^ the 13»> ( Continued on Page 100 THE ETVDf CLASSIC AND CONTEMPORARY SELECTIONS MARCHE MXLXTAXRE Concert Paraphrase by (FIRST MOVEMENT) CARL TAUSIG FRANZ SCHUBERT, Op. 51, No. 1

it the hand better in D flat, or five flats. Carl This famous Military March by Franz Schubert was originally written in the key of.D. Strangely enough, fits Liszt. Tausig realized the bravura possi- Tausig famous Polish Liszt pupil, was a master of technic. His playing was said to be more flawless than that of marches in Opus 5 1. The other two have never had great popularity. This bilities' of this piece and increased its pianistic possibilities. This is one of three work should be developed slowly, with alight forearm, so that no strain may be evidenced. Grade 7.

Copyright 1902 by Theodore Presser Co. 101 FEBRUARY 19-5 1 102 the etu®*

JEANIE WITH THE LIGHT BROWN HAIR

Here is one of Stephen Foster’s songs in a free and modern transcription. The melody is clearly indicated by larger notes and must be “weighted” so that it stands out. Percy Grainger was one of the first to introduce this style of writing, in whicii the hand plays a melody and accompaniment at the same time. It can be done and its accomplishment provides interesting work. Grade 7. STEPHEN FOSTER Transcribed by ELINOR REMICK WARREN J THE NEW COLONIAL MARCH R. B. HALL In march time m.m. J*= 120 Arr. by Rob Roy Peery FEBRUARY 1941 107 •JACK-IN-THE-BOX

This graceful and sprightly piece received an award in Class II in the recent Etude Prize Contest. Grade 3d. STANFORD KING — — — m MAGNOLIA BLOSSOMS NOVELETTE Have you ever strolled down an avenue of gorgeous magnolia trees with their huge white blossoms bursting from the waxy leaves .and suffocating you with their perfume? This is the picture which Mr. Stoughton has tried to paint tonally with rich and beautiful colors. This piece is easily learn- ed, and when learned, plays itself. Grade 4.

- X TT-i c ,i.jjL —IJUr, ? 1 d i f m f1 U '»«*: G motto legg-icroR R & pif # * ij

• L 1 ‘a - - h* § r

II ii

R R r^-Ar 14 ; ^ J ' i | — J j i t 1 1 * Lj — ^ 4 -4 ———j j ^ 1 jy — R f A L mP motto sostenuto - j * /-I X hr L ====qr^=z*£*-*Pit^==^£ w> ' — ?_ -9 ^ r i

Copyright 1940 by Theodore Presser Co. British Copyright secured. FEBRUARY 1941 109 THE ETUDfi Poco meno mosso VOCAL AND INSTRUMENTAL COMPOSITIONS THE STAR-SPANGLED BANNER committee of prominent musicians and educators with Dr.PeterW. Dykema as chair The official Service Kersimiot our National Anthem as prepared by a William Arms Fisher on this anthem. man. See another page in this issue for a very interesting historical note by FRANCIS SCOTT KEY JOHN STAFFORD SMITH

THE ETVD* £ ~

Perry S. Williams MOON TRAILS THURLOW LIEURANCE Moderato

rs ANT T ^ JA p m „

_ * A i / r 3 w rit b *± BSL A— -*r— % ^0 a t—— r P- A -r =

Copyright 1940 by Theodore Presser Co. British Copyright secured FEBRUARY 1940 113 VALLEY FORGE MARCH VALLEY FORGE MARCH

FEBRUARY 1941 115 ENGLISH COUNTRY DANCE 8' 4' Gt . & to Sw. Sw. 8'& 4' with reeds MABCHE MILITAIBE ®" l0 uba f ,® i' „ With Hammond Registration Ch. 8tt.witho ^ CJar. to, Sw. 8' 4' I Ped. 16' to Gt. ROLAND DIGGLE Maestoso m.m. J = 108

1914 by Copyright Theodore Presser Co. British Copyright secured FEBRUARY 1941 117 DELIGHTFUL PIECES FOR YOUNG PLAYERS BLOWIMI BUBBLE S

LITTLE MUSKETEERS Allegretto M.M. J - 138 LEWIS BROWN COLUMBIA, THE OEM OF THE OCEAN Grade 34. THOMAS ABECKET

5 2 4 0 a 2L 5, — 1 —4 rn

J- Jj

< world of-fers horn- age to thee. Thy mandates make he - roes as sembJe, When Lib-er - ty’s form stands in view, Thy

" r s -I g & 1? F • = -m r ~-ir^ r g f * r a r » ~r <*’*• *

'> t LJ 1 1 Ui + A r f- — A—Hr- F— F -Ly-F

Copyright 1939 by Theodore Presser Co. .British Copy rig-lit secured

Grade 2?. TOADSTOOLS LYDA SIMMONS Briskly M M. J = 112 TECHNIC OF THE MONTH — # — A STACCATO CHORD STUDY With lesson by Dr. Guy Maier on opposite page. CZERNY, Op. 335, No. 13 ’ v ’ Molto allegro m.mJ = 88-ioo : : ' ' ;

The Technic of the Month

Conducted by Cjlllj. l^Yjaier

PIANOS WITH SUPERB TONE and Invaluable Czerny Studies EXCLUSIVE DECORATIVE FEATURES More In thirty seconds you can reverse the panels and have a choice of figured veneer or colorful Our chord study for this month (No. To develop solidity and security in book backs — a new decorative feature exclu- 4 in “Czerny-Liebling Vol. Ill”), unlike students with shaky octave span, I advise sive with Wurlitzer. January’s easier ones, presents incisive practicing measures 9-24 in slow, firm The Wurlitzer spinette style 800 —height 41 clusters of five, six, eight and ten notes. inches— is a full 88-note piano. It has the famous Augmented Pentagonal Sounding Board Such chords, soft or loud, are like swift —the Acoustic Tone Chamber and new 4 1-inch lightning thrusts of a keen-edged knife scale— and many other exclusive Wurlitzer im- like —not, as many students play them, provements. See and play this latest Wurlitzer jagged hacks of a dull axe. masterpiece at your Wurlitzer dealer. Is it customary for a surgeon to make a hair-trigger incision with knife poised in the air? Does he throw the blade at it? All right, then why bludgeon our sensitive instrument with flailing arms and whacking wrists? Except for special effects it is essential to play directly from the surface of the key; and this goes whether you want to attain power, brilliance, or richness. No forte or fortis- simo should be played by “striking” or “attacking" the piano. Each chord is played only after the key top is carefully touched. For maximum benefit etudes should be memorized, and practiced at intervals over many years. If you have difficulty remembering the first eight measures CARL CZERNY of this study, sing this “modulating octaves, omitting the inner tones, as in table” as you play—I guarantee its this example (measures 14-15) efficacy THE RUDOLPH WURLITZER COMPANY, DE KALB, ILL.

“First to C and next to D, and then EDWARD ELLSWORTH HIPSHER, to E; Make THE ETUDE Your Marketing MUS. DOC., A.R.A.M. Place To F, to G, to A, to B, to C, to D; Twenty Years Associate Editor The Etude Etude Advertisers Open the Doors to Real And then we come to rest on G.” Instruction by Correspondence Opportunities Harmony, Counterpoint, Musical Form, Composition As usual, practice the study slowly and Musical and Literary Manuscripts Criticised active Prepared for lightly, without looking at the keyboard. and for Publication Club Papers Written At each chord think of three things: 249 Madison Ave'., Marion, Ohio first, play; shift (prepare) third, PIANO second, ; TEACHERS with a quick, rest—all done in the twinkling of an eye. Such octaves are played Play the chords with scarcely perceptible strong stroke of the thumb and fifth quiet, PIANO TUNING a(l7E o TAUGHT hand or arm movement; the utmost finger; the hand and arm remain ARTS FREE: “The key tops. to pianists and other musicians Student Pianist” a economy of visible and invisible effort inner fingers resting lightly on School (idle hilly approved by Slolmvny & 36-page booklet This “finger” practice is one of Sons, W. W. Kimball Co.. Baldwin Co., etc. containing the l 1 is essential. Chords are played with octave the in developing a EASY TRANSCRIPTIONS finger tip “feel”, with just the barest most potent forces FOR brilliant octave technic. Done carefully PIANO listed below, every suggestion of an upward, flip of the el- School of Pianoforte Technology num. and systematically it develops terrific her absolutely bow. 5149 AGATITE AVE., CHICAGO complete but re- “punch” span. But be Now practice forte, counting two for in the octave duced in size. danger- each chord: at “one” play sharply and careful not to overdo—for it is a prepare over the next chord; at “two” ous hand tightener if done to excess. wun us your Small find it necessary to professional rest on it—let down, relax! Now begin hands may status enclose your professions! to work for speed; use this rhythm: omit some of the octaves or inner tones earV in difficult chords, especially those tough Exceptional Opportunity Oon.' or' refer U, "ne'Tovf diminished sevenths in measures 19-22. Ex. I for »'.™T W -h«„ : Practice the leaps in measures 23-24 nized as a teacher. el °- J 7 ah J 7 J V (without looking) fortissimo, first slowly, | Tuneful, rhythmic music hv «Mi t,-„„„... . . , then as fast as possible. Use this pat- PIANO TEACHERS po.-ers. Including the world c m ' (union i ? hatumul Emblem. mulches'/' r n,r«ctor. .Ye-;, „u.| /W„ !/ d , tern : Seldom In mush-al lilslory has any Instrument tnn.se,-Ihed. ' Also exaggerate it, thus: edited, and Qngorod »" 5 enjoyed so dramatic and sustained a rise in popu- A s 5uSrtl“™m! ' n ‘ n ' lar favor as that which the marimba is enjoying ‘ ' feature ‘'',u le this "lms'Xmi 'i i ve " > - n - } - : :::::: n 4 | i 1| they report, far exceeds the supply of competent ^ r4 *- instructors. DOWN**1 STREET. Mnrdi ' and in this way: ^.W . contrasts of forte The resultant opportunity is one that belongs Watch the sharp logically to for nil AUTUMN TINTS. Wail. 5°lf” you; our experience indicates MOONLIT Ex. 3 measures 1-3; use no damp- that piano teachers may (illicitly and easily adapt RIPPLES, B.rramli; K S" and piano in themselves to marimba instruction. Both Instru- 0, .' diminuendo in ments are of the percussive type, with IW. • 1 ! ! 1 ! ! 1 a er pedal; make a quick a remark CANZONETTA j v j , j «e. able keyboard similarity. Regular piano music crescendos in meas- studies m | delay the and may be used in marimba Iim m | measure 8; ruction 18-21 To ures 13-15 and measures as long teachers interested in adding substantially to their income, we have nn inline-ting store to tell. The regular sheet Since the study is cleverly possible. When you do tackle them, music editions are 35 cents for constructed, as each number, less the usual discount to Teachers. with the smaller and easier chord clus- spot them with machine gun precision! ters = Enclose this ad at the beginning and the formidable The original speed, M.M. J 108, is too Ti. DEAGAN, inc. or refer to The Etude handfuls at the end, it is use. Be satisfied if you a good method fast for general Dept. 5152, 1770 Berteau Ave. to start each day’s practice with the can zip through the study within M.M. WALTER JACOBS, Inc. second part, especially measures \ CHICAGO 17-24. j = 88—100. 120 Bovlsion St. BOSTON. MASS. FEBRUARY, 1941 121 its have been really surprised at the too, is the sensible procedure of this work is one of the best of ma- Success without courteous treatment received from making sure you know exactly what kind that he made. It does not Singing in hotel managers, women’s clubs and a song is about before singing it. terially alter the Schubert score; Money or Manager school superintendents. As salesman This not only assists expressive- fact, the orchestration gives it add- of my own services, I have had few ness, but also develops familiarity ed interest. (iContinued from Page 81) rebuffs in all my travels from those with the words, which is an aid to Frederick Stock, conductor of the book engagements. And now their clear pronunciation. Chicago Orchestra, never resorts scattered throughout the New who Symphony I have built up a clientele, the Apart from singing itself, there performance; he England states, asking for bookings. that lets one down in a easier. There is a sense of are whims which needlessly musician. These letters got them some engage- work is clutter is always an admirable and independence that up an embryonic singer’s ments; and, on the strength of them, satisfaction existence. However, although his performance from managing your own A pamphlet which recently Sprach they acquired a second hand auto, comes came of Richard Strauss’ “Also I would do no differently if to our attention is a then started out armed with forty- career. good example Zarathustra” (Columbia Set M-421) I had it to do all over again.” of this. It tells the singer sur- two letters of introduction. not to is a competent one, it does not after all, singers fall eat nuts, cheese, As the car chugged out of the city Perhaps, pastry, fresh pass the performance by Koussevit- a career for reasons other bread, cakes, candy, loaded with clothes, costumes and short of chewing gum, zky and the Boston Symphony Or- than the lack of money and a man- peaches, tea, coffee, accessories for the trip, they made pickles, sauces’ chestra (Victor Set M-257). For the ager. Maybe what such singers really butter, onions, a joint vow: “Keep your chin up, no tomatoes, potatoes! Koussevitzky performance has long They had lack is a bit of determination and pork, fried eggs or ice matter what happens.” cream; to use' been regarded as a recorded classic, philosophy before pro- ingenuity. only silk handkerchiefs; and need for this never to not alone for the breadth far. On their first stop, read while lying down; for ceeding very never to rise drama of his reading but also , the rear later than seven New London, o’clock in the the superbly reproduction, down and the morning; neither realistic end of the car broke to hum nor to particularly section pro- dance; of the opening repair bill for this ate up the Wisdom and Whim in and then counsels him dupli- to —Dawn. It is doubtful if any concert, twenty “sing freely and the first easily , ceeds of as the birds cation Victor se of the of the air!” could equal this dollars. However, the thrill the Study of Music such a much less replace it, until concert was compensation While this is an first exaggerated ex- time a fa their {Continued, from Page 92) ample, as recording embraces enough, and they proceeded on it is symptomatic of doe an atti wider frequency than it up additional engage- folded tude that would range way, picking and then singing with a require Spartan be- now. summer camps, and which havior from every ments in hotels, handkerchief in the mouth— person who wants through to sing Such A modern recording of PucciflJ® women’s clubs in towns methods have had their adherents, rigors have exactly “ the “Madama (Victor MbuI which they passed. Singing technical ex- opposite effect from the Butterfly” strange to say. desired one M- emphasis to Bar Harbor, 01 allowing him 700/701) places the . On their journey ercises is a simple way of confining to sing freely v J andttllu the Gigli' they covered a distance of , and^1 PflSllveasily TVTlinVfMuch has . role of Pinkerton; for Maine, the voice to its natural register; been said about miles and gave diet, tor instance, interpreter, is the only truly saW' thirty-six hundred since most people have voices which but the only twenty-eight valid^rule real mg participant new set. * thirty-four concerts in are correctly placed to begin with, W is a simple one- in the or three foods that avoid cast includes as B days, sometimes giving two trying to shift the position of the disagree with Toti Dal Monte you andd Basi in one town. After deducting all ex- harm. There do not eat too terfly or Cio-Cio-San; Mario voice can work much heavilv or nl one hundred before singing. as Sharpless; Pal° penses, the girls netted does arise, of course, the occasional As'V/ and Vittoria bini alind and fifty dollars each. Some singers notes at extremes special preparations as Suzuki. The orchestra problem of singing to ease al But not voice, h? chorus poy would scoff at this amount. register. To make these tones, or taking tablets used are those of the of the of one kindKlnd ad- Miss Houston. try to change or another, you Opera and the the singer should not will House in Rome, de It was fall, but the southern sea- of his throat. both expensive normal position and ' the useless ul™ dis son was soon to begin. Accordingly, so many do tha tU Uselt Fabritiis. highly It is precisely because “id not Dal Monter* she wrote hotel managers in canV’?„help Jf. provide ast. to attempt this change that we see anyone to the natuC languished coloratura in the P‘ * lal ' Florida and other southern cities pression of ex seems and singers on the stage whose faces good singing miscast as Butterfly; and secured thirteen bookings. With Above t take on all sorts of grimaces and all, whatever though She interprets south precent,Pte deftly these as a nucleus, she started These singers defeat do decide to follow you dis distortions. it 1 , i~ through careful and and succeeded in booking thirty to Portant e only way remember - voi° their own purpose, for the that niles enunciation of her were the text, 1 ® concerts for the season. She has clear- mr singers, made midd the voice can be placed is by and not *i„ the this sort of thing ever gers Particularly in been doing throat, allowing rules. There is for register, ing the back of the so mulv, in requisite warmth since. permitting air among individuals Vanabilit t0 it to resonate and that y feeling, ability traveled over * ”°n hanl and also in the In ten years she has done last rule s to pass through it. This can be can apply' convey a Gigli half a million miles, averaging fifty t rv true climax. ^ wide m most cases ’ and sinxpiy byuy opening thevnv mouth it i s superbly; consisted simply betteroettpr i thousand a year. She has appeared to sinp-sing hv uter indeed he is tongue down-not by singing, ln 1 and keeping the continuing better vow Viovo than h in almost every state in the Union, the things t0 voice here by any amount of strained vocal or that you B do opera in Iceland, Norway, Sweden, Den- disco,, recording he has made. lingual gymnastics. t0ne in mark, Finland, Russia, South Amer- by your case often taking ’ Whims about enunciation some concrete than Feast ica, New Zealand and Australia. She applying di t Chamber Music take some such form as having the yourself and ^ now has her own auto and accom- and to it bv S: The whicb student, for months at a time, sing strain. Indivia * "regie Coolidge Quartet, 0f panist, still does the managerial and ual en only Preferable nosis scheduled to sixte . only on the vowels, singing to imitation- is record all re press work, designs her costumes, is *f he quartets, certain combinations of diphthongs, better than aturaln ess Beethoven string u, carries special lighting effects and artificial ? “thinking” right, Uty; e eently No. singing one sound while and tensers*6 6 ase i s reached “Quartet handles all details. *;- 688 is Wr< A another. Singing one type of phrase, summed up ” h6re major. Op. 18 ” (Victor it all she S h “I find very interesting,” a‘ WiSd 16 prepare for sing- ad as °“ ' obviously, will you y opp‘ - Y song ° £ quartets “There are idle moments Sed to the six gst said. few its whims. onJ > ing that type of phrase, but will not emprise Op. is the tell you. I ample opportu- is, this oi«: I can find impressive, c confer well-grounded, easy diction. it presentsesents w*®the a nity of expressing myself in a num- ^l0o dividing the attention be- r As for .‘ u a restrained jn own New mor e restrain— : ber of ways, even to writing my Discs tha?, t the sound sung and the ideal with d ln press releases, tween tha preceding of program notes and C s sound, that merely creates confu- Cmmor." elod * best of all, I get to know the Distinctive However, the m gut keeps the singer from do- and to know sion and Charm lS* and movemeh t people for whom I sing (Centinuea lieht last e ing his best. If exercises are to be ,rom want in the way of pro- Pa;Je and £anbiful, the what they ^ is and that sung, they should be comprehensive easy ac tiuet, danr.P r they want you his 1 h e nersonally, best playing- yi a°es than an earlier Len like y°u crucial the student sing actual songs—sim but w’bfh si on fter all the opening ’ as tfhat is a 0 f the ln the ^ back, and/ ulepie ones at first, certainlvcertainly hut. n slow m want you back? —but at eore of the movement ls ud 9 o work) (the rumored that the B ti' question: least providing practice in what n 18 fs always something he one °n < ^ finds his his °Wn ^Uartet in ttie r pleasant. I will be called upon to do. Important, perforY™lmance hiath? > which of it is sensitivity.itivitv t? lacking n of*** unex®e most Uszt’s m ir, 4.i_° mamanyny critics is un ^“ eA toZ° bnt 111in ththrv v arrangement e Beetb°1 0f Performance of the*** Bee 'Continued 24) 122 on Page 1 < tmC- hivrmL J ; .

For tiny tot piano students Voice Questions “SPEED BUMS” Si By Wallace and Winning.

A new approach for teaching little -Answered ly 1111 NICHOLAS DOUTY tots the piano keyboard through their eyes, easily and quickly. CONTAINS MATERIAL FOR SINGLE NOTE No question will be answeredin THE ETUDE unless accompanied by the full name DRILL. With “SPEED DRILLS” chil- ana address the inquirer. Only initials, or pseudonym given, will be published. of dren learn to play before they learn the music alphabet. selves. little it, Tune . but only a about so your The Fzaimz Singing Out of “SPEED DRILLS” consists of Q. I am a contralto, twenty-six yearn of aye question is difficult to answer. Please read THIRTY-TWO CARDS 3 by 5 inches anti have studied voice under one of the best Shakespeare's “Plain Words on Singing" and to placed of teachers in this city for six years, with a fail- several other books of the same calibre, and he hack piano keys as amount of success. Lust year I started having practice the exercises In Vaccai’s "Metodo shown below; KEY FINDER, and a Trade Mark Roe. U. S. Pat. Oft. trouble with pitch. I do not go off key all the Pratlco” and Concone’s “Vocalises.” Your hook of instructions for their use. "THE METRONOME THAT OPERATES ELECTRICALLY" time but frequently enough to worry me, 1 go new teacher will advise you when you reach a piece dozens of times without this the United States. 2. There is really no set Perfect timing without winding. Simply through happening, and then it suddenly creeps in. standard with which to measure the average plug in, turn the switch, and the Electro- festival, after winning a cham- range of any type of voice. Voices are Indi- nome begins beating out the time with At a recent class, I went sharp to the extent of a vidual things and must be treated individ- 100% accuracy from 40 to 208 beats per pionship knew this had occurred but J could ually. These ranges are. therefore, only sug- minute. Change tempo at will right while half tone. I As a result J received the low- gestive. Coloratura between it’s running. No matter what your instru- not help myself. hare become very much dis- ment, your practice will be doubly valu- est marks and be done about it? able,andyour performance doubly effec- couraged. Can anything U. tive when Electronome sets the tempo. —M. GUARANTEED FOR 5 YEARS A. Find the cause of this straying from Six-day FREE trial the pitch and you will be able to remedy It. at our risk. Send method for details of money-back offer. Have you changed in the least your Contralto, between of producing your voice or your way of pro- Ex. 2 FRED.GRETSCH mfg.co. nouncing your words? Too much breath pres- VJ sure or a heavy action of the speech muscles Makers of Musical Instruments Since 1883 J might cause you to sing out of tune. 60 BROADWAY, BROOKLYN, NEW YORK Have you had a bad cold or an attack of in- fluenza recently, which might have slightly Tenor, between affected your hearing? Find out soon. MUSICAL The fact that you sing out of tune only SHORTHAND occasionally is encouraging. Perhaps you were A System of Rapid Music Notation nervous when you sang in the other class and Indispensable to the Composer, Ar- so forced your tones so that you went sharp. ranger, Teacher and serious music Or it may have been that you stood too far student because of its high speed. away from the piano and therefore you did (actual notes); 50c Postpaid not hear the accompaniment distinctly Baritone, between enough. Perhaps the size of the auditorium Musical Shorthand Wheeling, W. Ex.4 Va. was greater than the ones you are accustomed "JENKINS' ADJUSTABLE to and you became confused, because every- PIANO thing sounded different to you. Each audi- MUSIC RACK". Acquire native pronunciation problem SPANISH from phono- torium presents a new and different A little child can read his graph records. Complete elementary course music in acoustics to the young and inexperienced without straining of 10 recordings on 5 discs—57.25 cash (or his eyes, and at the ITALIAN singer and he can only learn by long practice easy terms). Other languages upon request. same time, be comfortable at the how to accustom himself to them all. There RECORD LIBRARY discouraged. piano ivith the use of this device. Is no reason for you to become 376 Benjamin Franklin Station Washington, It brings D. C. Sing with your accompanist in all sorts of music forward and down places good and bad acoustically. Figure out to the proper distance for the child’s for yourself just where the best place for eyes. Adjustable in a jiffy to any angle carefully to Quality of tone determines the type to which you to stand is in each. Listen and position on any Grand or relation you belong almost as much as range. There- Upright the sound of your own voice and Its piano. A comfortable child loudness fore. practice easily and comfortably within at the piano The Temperame'cr makes it easy. The to the accompaniment, both as to practices piano a moderate range, until you have found a longer and progresses business is destined to be better and to pitch. Keep your nerves calm and more than ever with the advent of good teacher who will clear up this vexed rapidly. Price $2.50. the small allow any of the sudden distractions 'pj) upright. Secure yourself now by learn- never point for you. that are bound to occur in auditions and Send for descriptive ing this paying profession. This—our 3. All the songs in your list with the circular. to interfere with your 40th year teaching by mail. Write public performances original words and an English translation today for Free Booklet. self-control poise. In proportion as you JENKINS MUSIC CO., Kansas and can be purchased through the publishers of City, Mo. become master of yourself you will overcome Bryant School, 55 B. B. Augusta, Michigan The Etude. The prices range from about very unpleasant fault. this twenty-five cents to about sixty-five cents, according to the length of the song. My small A Letter from China I book, “What the Vocal Student Should Q. l. I am sixteen years of age, and r Know”, may be procured through the pub- i\ °"d "ew English RE j| know practically nothing about singing, but V U lishers of The Etude (price, seventy-five records-never before I am anxious to learn. Please advise me what sold at these kU cents) faces superior to domestic books and exercises shall use to teach my- records. Finest artUti „ j I orchestras in outstanding an d classics , to Los 10" r »r j self all about singing. I shall return 75(*. Send today for new. ^‘.°,bIv FREE cataloo9UB..? to Is Twenty-Seven Too Old? conta,n l n Angeles, my home town, in the autumn hundreds of selections. Exclusive 9 Q. I am almost twenty-seven and I am with study voice and piano. Please tell me how The GRAMOPHONE much good teachers in Los Angeles charge wondering if that is too old to start singing SHOP, Deet 18 East 48th P E* for a lesson. Give me some information con- lessons. I sung in a choir and in a choral Street, New York cerning the teaching of Dr. Lazar fiumoilofj society and I have picked up some informa- and Mr. Andres do Scguorola. tion at rehearsals and by listening to artists 2. Please give me the average range of over the air and most of all by reading the the following voices, coloratura soprano, con- Etude. My range is from G below Middle G tralto, tenor, baritone and bass. I do not to High C. Is this an average range, and know the average range of the soprano and should I sing soprano or alto? What books the mezzosoprano, and I cannot tell to which would you recommend? Should I start vocal- class I belong. izing now, or should I stick to other musical 3. Where can I obtain the following songs, activities?—M. S. original text and music with an English A. Certainly you are not too old, since translation. Also the price of each song: you are, to some extent, a trained musician. Les Filles des Cadiz by Delibes Liebestraum This very training of your ear should help NEW GAMES FOR NURSERY to decide or by Liszt ; Ah furs e lui (“Traviata”) by Verdi; you whether not your voice is and m u S|CAL KINDERGARTEN SCHOOLS good enough to justify study. It . II Bncio by Ardil La Capinera by Benedict; would be Kurman KlluR's b too difficult for for \IHi: I famous home stmlv by Mozart (in F); Ciribiribin by us to decide you without rs Alleluia e sl, 01 ' luw °" - Write to ay L. C. Have an audition if lIHillla rfor full, „ .-T CARD Pcstalozzi; Chanson Indoue by Rimsky-Kor- you are particulars. For Personal Lessons Phone WKRstor sakoff; Wiegenlied by Brahms. Also where le most famous singing teacher 71881 NORMAN RUNG, 910 Kimball Hall, Chicago. can I get your book, “ What the Vocal Student rhborhood. Explain the circum- III. Should Know ?"—M. C. stances under which you come to him, and INCREASE YOUR ask him for a frank opinion. A. Dr. Lazar Samoiloff’s address is 610 S. In recent issues of The Etude, I have rec- “HARMONY BY MAIL=^ INCOME! Van Ness Avenue. Los Angeles. The address ommended quite a few books to inquiring Easily Substantially A practical and thorough course of 40 lessons, —Pleasantly of Mr. Andres de Segurola's studo is not students. Please get these answers and read at — Take Subscriptions — a small fraction of the cost of personal instruction. for in our possession. Just address him in Los them. Please remember also that no book Small monthly payments. Send for particulars. THE ETUDE MUSIC MAGAZINE Angeles. California, and it will reach him. can quite take the place of Viva Voce lessons — Write for particulars — Both these gentlemen are singing teachers from a good Teacher. Music composed to your words. 1712 CHESTNUT ST. PHILADELPHIA, of national reputation. Please write to them Your range is certainly a long one, pro- PA. HARRY WOOLER, B.Mus. personally for terms and for an audition. vided your tones are all of the same quality We do not know all about singing, our- and your scale Is smooth. 1 1206 Horborvlew Drive Clovolond, Ohio FEBRUARY, 194! 123 °

Tone Quality of Organ Stops ( Continued from Page 93) criptioii Simplified Sobs Service the addition of a slow tremolo. The stop (specially when combined with pipes of the stop were located on an a soft Rohr Flote) was most charm- open chest of the for busy (and thriftyl music lovers! choir organ. There ing. It was the only Vox Humana were about thirty feet of clear open that the writer ever heard that had space above the pipes for “speaking- the slightest resemblance to the hu- Order ALL of your magazin es through THE ETUDE Sub- room,” which produced an echo that man voice. When used with the Rohr scription Service—Enjoy MC RE of the leading magazines had much influence on the tone of Flote the combined tone quality was by taking advantage of hese Special Club Offers! the stop. Every one admired that a perfect imitation of a girlish so- tone quality, which was so unusual. prano voice with a slight tremolo. • an added service and convenier ce to its many readers, THE ETUDE, When the organ was As modernized and The surrounding conditions were re- by arrangement with foremost publish ers, is authorized to accept subscrip- rebuilt in Serlo Organ Hall, Methuen, sponsible hear- tions for leading magazines. In just on order to THE ETUDE, therefore, you for the effect to the Massachusetts, the pipes of this stop can subscribe or re-subscribe to ALL of your favorite magazines. And, in ers. The interior of the church was corti- were cleaned, revoiced, and addition, you can save up to $1.75 by taking advantage of the special tuned to high with rough, bare walls of either bination offers listed below. Special pr ces on any combination of magazines the modern pitch. The surrounding plaster or stone. There were no cush- not listed cheerfully supplied on req uest. Here is Simplified Subscription conditions of the location of the pipes ions not Service at a saving! Send YOUR orde r today! on the seats, no carpet, completely changed the effect of the even a strip of coarse material down tone, and all the efforts 1 of the IT Subscriptions may be new or renewal and voicer the aisles, no hangings, and nothing addresses. and tuner to reproduce the original 11 magazines may be sent to different jj to counteract the strong echo of the tone quality were of no avail. The bare interior. not THE ETUDE Music Magazine .$2.50 Both THE ETUDE Music Magazine S2.50\ The organ was ) former charm of this THE MUSICIAN 3.00 L WOMAN’S HOME Both set of pipes £5 QQ I.00‘ buried in a close chamber but COMPANION $3.25 was completely lost. organ Regular price $5.50 ’ Save 50c was Regular price S3. 50/ Save 25e “out in the open.” When the THE ETUDE Music Magazine $2.50 ) Both writer went organist, Music Magazine $2.50 ) Both A Lost up to greet look 2 . 00 L THE ETUDE Voice the $4.25 AMERICAN HOME 1.00 L $3 25 he found that the Vox Regular price $4.50^ Save 25c Many years ago tourists the tone of Regular price $3.50' Savo 25c in Switzer- land generally Humana, to the nearby ear, was THE ETUDE Music Magazine $2.50 ) Both made it a point ROAD FOR BOYS 1.00 L THE ETUDE Music Magazine $2.50) Both to coarse, OPEN $3 £5 visit Basle uneven and somewhat dis- CHRISTIAN HERALD 2.00' $3 75 to hear the wonderful Vox Regular price $3.50* Save 25c tressing. Down where Regular price.. $4.50' Savo 75c Humana in the Munster in the church, Church of the THE ETUDE Music Magazine. $2.50 ) Both that city. The echo and the distance had much WEE WISDOM 1.00 L THE ETUDE Music Magazine $2.50 ) Both tone quality of $3 ]Q PARENTS’ MAGAZINE 2.00 that influence, 1 $3 75 the tone was charming- Regular price $3.50’ Save 40c

Regular price. . .. S4.50 ' Save 75c

THE ETUDE Music Magazine $2.50 ) Both ) CHILDREN’S PLAYMATE. 1.50 THE ETUDE Music Magazino . $2.50 Both 1 $3.5Q LIBERTY (Weekly) 2.00 L $4.00 Regular price $4.00 ’ Save 50c Regular price.. ... $4.50' Save 50c

THE ETUDE Music Magazine $2.50 ) Both ' c Music Magazine $2.50) Both °ntmued METRONOME Magazine 2.00 L THE ETUDE from Page 122) $4 QQ » PATHFINDER -00 $3.Q0 quartets.quartets, is also to J. record all Regular price . S4.5o’ Save 50c sixteensixteer m, Regular price $3.50' Save 50c The‘ ne of these works for ColumhloColumbia songsson Ss have been aptly callei THE ETUDE Music Magazine S2.50 Both Scheri ) Magazine $2.50) Both brilliant BOYS’ LIFE 1.501 THE ETUDE Music tiled for early naturenntn.. Haugtus 5Q ACTIVITIES 3.00 release Is the pictures. $3 CHILDREN’S $4.50 Buda' is ' the Regular price $4.00 ’ Savo 50c pest s rendition of the name of a girl about whe Regular price $5.50^ Save $1.00 great “Quar- tet the THE ETUDE Music Magazine $2.50) Both m C minor, Op. ." poet has written. $2.50 ) Both 131 AMERICAN BOY 1.00 THE ETUDE Music Magazine A j. $3 QQ OUTDOOR LIFE 1-501 recording by the Continuing $3 £Q Budapest of his recordings Regular price $3.50' Save 50c R aVe?s $4.00^ Save 40c Quartet Bach’s Regular price m F major" (Columbia "Little Organ Book’’, TH E ETU D E Music Magazine $2.50) Both Set $2.50 ) Both M-425) conveys Bower Bigg AMERICAN GIRL 1.50 L THE ETUDE Music. Magazine the s brings us, Victor l $3 25 COLLIER'S (Weekly) 2.00 impression that in 1 $4 25 this group is bum Regular price $4.00' Savo 75c less happy M-7U, the for t Regular price $4.50' Save 25c in the preludes ormance of “f nnstmas THE ETUDE Music Magazine $2.50) Both the moderns season. contemp TRUE STORY THE ETUDE Music Magazino $2.50) Both than n The 1.50 L $Q ^ the classics. e $3 DANCE MAGAZINE 2.50' $4.50 Although the usual « beauty 01 much of this mu Regular price $4.00' Save 50c ensemble fj t price $5.00 ’ Save 50c work and es r Regular tonal ri^neTs a responsive mood in THE ETUDE Music Magazine $2.50} D „,. are apparent “ Both Magazine $2.50 ) Both in this egs, for POPULAR SCIENCE 1 THE ETUDE Music recording he plays in this set w CULTURE .. 2.50 th MONTHLY 1.50 > $3.60 PHYSICAL $4.25 Gallic spirit of a r the work if . conviotion the P' Save 40c $5.00' Save 75c “ not V u, f than in Regular price $4.00/ Regular price conveyed. Not only sly i s th(f issued volumes. Magazine $2.50’) Both THE ETUDE Music Magazine $2.50 ) Both THE ETUDE Music heavy-handed 8 Combined with for Ravel he Trapp hot YOUTH TODAY 3.00 PHOTOPLAY ( but . ( JJQ eg 4 Twuhyth ~ Family Choir are $4 MOVIE MIRROR 1.00/ JO-43 mically, as in the °° Regular price $5.50' Save $1.00 oneniu 8 d s*«* 2S ‘ advantage in a group Regular grl.e’ . ."siSO-' Scherzo, the n THE ETUDE accents are 'Chorales” Music Manazine $2.50) Both not °‘k®“ (Victor Album POPULAR MECHANICS 2.50 l THE ETUDE Music Magazine. $2.50 ) Both served as Ravel b 7ni $4 gQ NATURE MAGAZINE 3.001 intended th Tll is talented w- $4.75 be. 1 to group sings Regular price $5.00 ’ Savo 50c One returns to Regular price $5.50’ Save 75e the berf!- appropriate undi of the “a" ce reverence and THE ETUDE Music Magazine $2.50) Both Pro Arte Quarte? 1 lng THE INSTRUCTOR 2.50 L THE ETUDE Music Magazine $2.50) Both fo! - H a $4 JJQ projection true has been suggested, AMERICAN MAGAZINE 2.50'. $4.75 of the Gallic ? Regular price $5.00 ' Save 50c luster,,, nWiSely t0 Tra $5.00' Save 25c this music. of °- ‘hat the Regular price . FamT‘~ THE ETUDE Music Magazine $2.50) Both y Performances will be b THE GRADE TEACHER 2.50 ETUDE Music Magazine $2.50'» ... During the , (. THE past $4 5Q 1.00 A" year ivr , yed If la' MCCALL’S 1 Flagstad Madame I° not taken in too Regular price $5.00' Savo 50c RED BOOK 2.50. $5.25 has been tJo featnriu S ‘ ' nce dynat Save 75o song cycle, rle8 s the tonal and THE ETUDE Music Magazine Regular price . . SO.Oo/ rmfof $2.50 ) Both “HaugLssa” 8 MUSICAL COURIER 3.00 inL° of the ( re Singers is limited, $4 25 THE ETUDE Music Magazine $2.50) Both tiy Regular price Same $5.50' Save $1.25 READERS DIGEST 3.001 $5 25 sLd ‘bins can be said rw*rs conn! , ’ 41011 ETUDE Music Regular price . . $5.50 Save 25c Nil THE Magazine $2.50} this work ° f with John Jacob All (Album record AMERICAN MAGAZINE 2.50 / ! 11 ' “ Ci WOMAN’S HOME ( ftC OC THE ETUDE Music Magazine $2.50'i a 1 of All things that °1 the ols Early American COMPANION 1 .00 r CHILDREN'S ACTIVITIES 3.00 * Flagstad if and ? ’ 1 Save 75c PARENTS' MAGAZINE . 2.00. $5.75 the for ?°'k Son Ss” (Victor Mb Regular price $6.00; phonograph to M-718) Save *'- 75 date L Regular price $7.50/ or estimation, Ur ’ Niles is singer (This Club to One Address Only) is am^g’ very T a h« e

Organ and Choir Uliestidns

niwered !>1 HENRY S. FRY, Mus. Doc. Ex-Dean of the Pennsylvania Chapter of the A. G. O.

No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be pub- lished. Naturally, in fairness to all friends and advertisers, we can express no opinions as So the relative qualities of various instruments.

Q . I would like to know if the teach hi n of Q. Cun you gire me any information about licdnlinit for both feet is old fashioned. I tens the organ in the Cathedral of (it. John the Di- told the bin organists of to-day do not use both vine, New York —I. A. INVEST YOUR MUSIC MONEY WISELY feet, but use the right foot to control the swells. / uni now studying pipe organ ill a Col- A. The organ is a Skinner (Ernest M.) and. WHY IS llie Bibio tlie cheapest bonk Hie In believe, world? Why can you purchase the complete works of lege and mu taught to use both feet. To me we contains four manuals with about Shakespeare at less than the cost of the latest novels? expression on mi organ menus more than lots one hundred and ten stops. The answer is simple—mass production; no royal- gnu ties: constant demand. of technic and no shading. What would (?. On the reed organ on which I plug crrrg Hy the same token you can buy Beethoven’s suggest!—M. K. W. 1/&U a£ur can own Moonlight Sonata"— 15 panes of the win Id’s best slop is without its while fare, all lim ing been music—for only 15c. In the t'K.VtTItV EDITION. both lost. I wont to make some and pat them bark ill Beautifully printed, A. The “big” organists certainly ttse carefully edited, the best of the right order. Do gnu hare paper ami workmanship thromthout. feet for pedaling, unless you are considering any suggestions this fine Pipe Organ Think of it! Over 2. POO selerllons to ehoose organists radio organists. whereby / may get the right order in reglueing from "movie” and some and none of them cost more than 15r. n copy. them? IS. Century You are being correctly taught to use both — T. Sheet Music Is truly dollar value for ]5c. ll’s only recently that the Wicks Company has made TEACHERS who are today supplying their pupils’ feet. We believe in "expression” too, but do needs from the Century A. Since we do not know the stops in- it possible for music lovers to own a real pipe organ. entalopue are making It not advocate extremes—that is. the exclusive possible for many parents to continue their chili Iren’s cluded in your instrument, we cannot suggest musical its use of one foot for the pedals and one foot Simply write to tho Wicks Organ Company, education, and low cost Is likewise aiding any order for replacing them. You might ex- Depart- them In their new student enrollment. for the expression pedals. Most of the classical periment with the stops as to pitch, quality ment 10, and detailed information will be forth -coming. That’s why we «iy, "Please Ask for Century Edition." not be satisfactorily played organ works could 8’ You will get a new conception of your money's and so forth and label them accordingly. There are numorous attractive designs From which worth. with one foot. Unfortunately, editors do not (o stops produce normal pitch (same as piano); choose, and always consider the swells in their pedaling a Wicks Organ will give you years of Century piano solos, eu. 4’ stops produce a tone one octave higher, 15c soul-stirring pleasure at a minimum indications, and it Is often necessary to 16' of operating cost, (Capital letter Indicates key — number the grade.) and stops a tone one octave lower. An change the pedaling to allow the use of the Would you like lo be on our monthly moiling *1860 Andante Finale, Lucia. Dh—0. .Leschetizky experienced organ •vf ), mechanic or organist might list! If 2076 At tho County Fair, March, G—1... Martin expression pedals. Gj* so, just clip this ad and send it with pC help you if the instrument is available for 1590 Barbara. Waltz. C— 1 Qreonwald 6 your name and address. 2505 Barcnrollo "Tales of HofT.” Offenbach examination. C—2. / hu o lessons for ten yean 2750 Big Bass Fiddle, The. C — 1 Hopkins 2416 Blue Butterflies. very fine teacher al Valee Cap., D-4.Loon Dore Q. I am enclosing a list of stops included *1000 Butterfly. The. 5 A— Grieg ry of Music. I i rant 1604 Cedar Brook Waltz. in two organs to which I hare access. Will yon C—2 Perry you Ih 1336 Curious Story. F— 3 Heller organ with suggest the various stops to use for accompany- 2079 Dreaming of Santa Claus. training to begin C—1 Martin hare had enough ing a soloist and combinations that will bring 1180 Fantasio Impromptu, CBm 0 Chopin — less i ' 225 Eliso, "fleets include,1 in the instru- WICKS Fuer Am—3 Beethoven 1501 Marche de Concert, Grand Dh-5 . Woll’linupt nts!- -.T. 1481 Grande Polka de Concert, Gh-5-6. Bartlett A. If you have had ten years of proper 1335 Hark, the Lark. Tr., Db-6. Schubert-Liazt piano training, you should certainly be ready A. The registration to be for ac- 580 Heather Rose, F—2 Lange used 1443 Home Guard, March, F-2..8r. of St. Joseph to begin the study of the organ. We suggest companying soloists depends on the character *1601 Humoreske, Op. 101, Ka. 7. 4. ORGANS Gh— Dvorak your continuing your piano practice to retain of the passage being played, amount of tone II 253 Trovatore, Fantasio. Eh—4. . Verdl-Dorn your technical fluency. desired and so forth. We will try to give you 2108 In tho Rose Garden. Melody, F—3.. Lange HIGHLAND • ILLINOIS 268 Joyous Farmer, F—2 Schumann some general idea of the use of the stops in- 2097 Swallow, Serradell The La Golondrina, The G—3 Q. In regard to question by J. O. in cluded in the instruments. 8' stops produce 2139 La Pnioma (The Dove). G— 2 Yradier Ctnde, I too would like to receive information *1376 Lady Betty. Old English Dance, G 4. Smith normal pitch (same as piano); 4' stops pro- — organs, 2368 Lady Pompadour (Dance). Eh—3 Morel iis to used two manual and pedal reed duce tones an octave higher, and 16’ stops *2198 Largo (New World). Dh 6 .. .Dvorak — anil as to pedals which mag be attached to a a tone octave lower. 284 Little Fairy. Wall*. G—2 Streabbog one Open Diapason and 1394 Mary’s Pet Waltz. (!— 1 Mack Octave produce "loud” organ tone, and Dulci- GUILMflNT ORGAN SCHOOL 189 Mazurka. No. 2, B!>—4 Godard ana and Dolce produce soft 2461 2— Rnhlimteln organ tone. Ge- Melody in F, (Simp) F— 3. A. We are sending you information by 41st YEAR OCTOBER 1 2713 Moonlight on the Hudson, Dh—4 —5 Wilson deckt and Stopped Diapason belong to the reference two manual reed Write 12 WEST 2742 Old Moss-Covered Church, An, C-l. Hopkins mail, in to used unimitattve Flute section. Violin Diapason 12th STREET, NEW YORK 350 Orange Blossoms Waltz, F—3 Ludorlc organs and pedal pianos, available. If you produces a tone of Diapason character, but 2137 . Itosas Over the Waves. Easy. C—2 wish to install new pedals on a piano that 359 Pizzicato Polka. 0—3. Strauss with a “stringy” quality. Flute Traverso and '1972 Sibelius you already possess, suggest your getting Romance, Op. 21. No. 9. Dh—fi we Flute Harmonic belong to the more imitative TEACHERS '1030 Rose Fay, Mazurka. F -3 Heins builder or repre- Do You in touch with some organ flute section. Salicional belongs 2192 Russian Song. Op. 31. Gm 4 Smith to the “string” — sentative in your vicinity, asking for informa- WANT MORE 1068 Sack Waltz. The. t: -2 Metcalf family and Vox Celeste is an undulating stop, PUPILS? 1369 -0 Kowalski tion cost of pedals installation. Salut a Pestli. Dh about and probably undulating with the Salicional. WRITE FOR 382 Scales and Chords. 2 Czerny The OUR PLAN 1207 Schmitt’s Five Finger Ex.. Part 1. Schmitt Oboe can be used as a solo stop or with en- Q. I am thirty-two jours of age and hare 2740 School Pictures, C -l Hopkins semble if not v«» orchestration with too pungent in character. The 2159 Silent Night, Holy Night. Bh-3-4. . Grubor studied piano, harmony and ”" stop may be produced with a reed or be of ALL PROGRESSIVE 2818 Silver Threads Ain. Gold, Bh-3-4. Danks intention of going into the orchestra arranging TEACHERS * 390 Skater’s Waltzes, 4 Waldteufel the labial type. A— choral NATIONAL MUSIC a 2252 Solfeggietto, Cm—3 Bach field. Some time ago l was a member of a STUDIO cH&lfgjgA ' 2115 Song .Bimsky-Korsakoff of India, A. Eh—4. organization and hare become very much in- Q. Please send information regarding pedals 435 Spring 8ong. Op. 39. A 4 Mendelssohn — terested in arranging. What is your 1633 Stilly Night. Holy Night. 0—8. Krug choral attached to the piano for pedal practice for

*1498 . Heins age, Throwing Kisses, Mazurka. Eh— 4 . . opinion of my idea, at my of taking a organists.—M. L. course in choral directing because of the VIOLIN AND PIANO DUETS, 15(? each A. We are sending you information GUY pleasure I get in doing this work ( arranging ) as to MAIER Each number has separate parts for Violin A Plano and because of more opportunities being aruil- pedals available, by mail. A— 1 to A 3 Very medium — easy to nhle as choral director is the best —1 a ! What way Easy B to B— 3 Easy to difficult Q. During the absence of our organist and Arrangements 1 to concert solos to study choral training! Would you adrisc C— C—3 Medium to choir director, 1445 Arminta. Waltz. 2 Greemvahl due to illness, we hare secured A private or class lessons !—D. 55. '2471 Barcarolle, (Simp.) A—3 .Offenbach the serriees of a substitute. At choir rehearsal for Piano Solo 1270 Bohemian Girl. Trans.. 8 Winner A— hr asked the members of the choir to 1935 Cradle Song. A—2 Schumann A. We see no reason why you should not. "conn in": that is. to 1625 Daisies and Lilies. Vulse. A—2 Greomvald at your age, take up choral directing, and we start to sing as soon after he of •2104 2 Massenet some Kreisler Elogio (Melody). Op. 10, B— also see no reason why you should not do has struck the opening chord ns possible. W< Favorites 1274 Evoning Song. A—1 • • Vogt if hud been taught to wait for the organist t; 2773 La Golondrina, B—2 or C—1. .. Serradell orchestral arranging you have the oppor- Elgar plug the chord, *1833 Love’s Greeting. B—2 tunity. There are several ways by which you and then to "come in” on u Liebesfreud 1450 Old Folks at Homo, A—2 Foster second chord (Grade the study of the work, lessons, ; which in mg opinion gires an 2y2 ) ’2410 Oriontnlo, B—8 Cul might take up 1271 securing member- accurate at luck. With no one directing Romanza. A—1 Vogt reading on the subject, or we all Caprice Viennois 1265 Soldier's Song, A—2 Vogt organization under an seem to hare a different idea as to what eon (Grade 3) ,?I78 Spring Song. ship In some choral A—3 or B—2 . . Mcndolssohn stilules "as soon as possible •834 Swan. The. whose work you could after.'' Of course, Midnight B—1 Salnt-Saens excellent conductor, Bells (Grade u kcy ,,le l suppose we shall become 2 8,raw- a—3 or B—2 . Grooms for some private accustomed In it 2/ ) oonon2080 ValsoX ? J." observe and perhaps arrange Bluette. B—2 Drlgo after practice, such guidance. but it does not semi to me to Shepherd’s * Theso instruction under Madrigal "umbers cannot bo sold In Canada. be good musicianship. Is it customary! (Grade 3) The Century Catalogue contains which I am organist, over 2,900 compo- Q. In the church of C. It. of —M. A. 50 cents each P SOLOS— DUOS and organ. Can yon furnish the TRIPR "jfini'iM , LWS we hare a md ° S A. do From ' We not approve 1 'E compositions that would of a preliminary your X PI 01 'E ^' ^ANO- names of some organ accustomed music dealer. MMANDOLINA N D O L IN andTf^gGUITART A°R and VOCAL. adrisc chord and suggest that you practice b, useful in church services mid where “coming nU

FEBRUARY, lull 125 — ’ °

muai NDIAN MUSIC, to the majority of i ne leaves may not De cut on, uui torn articula- us, calls to mind just the drum or tom be off downward at their tions. I tom. Perhaps that is all we have ever Drum for the Navajo Chorus leaf singing, A The collector first selected heard to mark the time for Indian pulls the but each of the tribes has its own ideas from the east side of the plant, making a mark with his thumb nail on the east or of what constitutes music. JouUe ie. WcuJiJl Navajo Indians of northern Arizona K dorsal side of the leaf near its root, in The order there- use a small pottery bean pot, containing that he may know this leaf after. Walking the plant a little water, with a covering of buckskin nine days, and during the first four nights instead of to the East, and the eastern half sunwise around the top, as a drum of to the west side, selected leaf stretched tightly across song is accompanied only by the rattle the blanket is folded over the con- he marks a near the tip surface, in their mud dance ceremony for healing; this performance being on the order of a cavity of the basket. There are songs for on its palmar (east) south and the sound is coaxed out of this prim- rehearsal. But during the last five nights turning up and turning down the basket, and culls it. Then he retreats to the itive instrument by means of a drum stick noises are elicited from the basket drum and there are certain words in these songs side of the plant and collects his leaf formed there, he made of a length of spruce bough by means of a yucca drumstick. Much ritual at which the shaman prepares to turn the but does not mark it. Lastly, the into a circle at one end. The drum is accompanies the using of this drum. It is basket by putting his hand under its east- proceeds sunwise to the north and culls only instrument used in the orchestra, and beaten only in the western side of the medi- ern rim, and other words at which he does his last leaf there, and he also does not the drummer is the only person taking part cine lodge. A small Navajo blanket is the actual turning. For four nights, when mark it. in furnishing the music who receives pay There is a certain traditional way to for his services. Evidently the feeling is gather, moving sunwise. The sharp, flinty universal that the enjoyment the chorus de- points and curly marginal cilia are torn sing is recom- rives in being allowed to off and stuck, points upward, in among efforts. pense sufficient for their the remaining leaves of the plant from ceremonies But in none of the ancient which they were culled. The four leaves employed. is a regular drum or tom tom are taken to the medicine lodge to be made place. At one The basket drum takes its up. The leaves from the East and West are make baskets; but, time the Navajos could used for the center or core of the stick specimens, other while they were only fair and are left whole. Those from the north tribes far excelled them and they could and south sides are torn into long shreds either buy or steal the handiwork of their and used for the wrapper. The core of the neighbors so basketry has almost van- stick ; is divided by a suture of yucca-shred ished from their activities. In the present into five compartments, one for each night generation only two forms are made by the stick is used. Into each section are the Navajo squaws, and these are for cere- put one or more grains of corn, which monial purposes. They still continue to during used the five nights the stick is make these two styles, because they are are supposed to imbibe sacred prop' be some essential to the sacred rites and must erties. these When the ceremony is over supplied by women of the tribe who know grains are divided among the visiting medi- what is required. They are skilfully fab- cine men, to be ground up and put in their of twigs of aromatic sumac found ricated medicine bags. the Juan only in the neighborhood of San It is necessary to tear the drumstick river in Utah and wound in the form of a apart to release sacrifice once slaves its soul and to helix. The Piutes, who were its substance to the gods. last morn- of the Navajos, make the best baskets used The in g at sU n dawn, when the last song is to-day by the Navajos. and . f the basket turned drumstick Of the baskets for ceremonial pur- up, the two >s pulled W to pieces in the order reversed poses one is called a meal basket, because AN INDIAN CHIEFTAIN that in This which it together. its chief use is for holding sacred corn was put iay e 1 done only by the shaman who co' meal. Its decorations consist of four crosses dimen- ducted on the ground, its longer the basket is turned down the rites, with and four said spread the eastern part and as he proceeds zigzag lines. The crosses are incomplete e sion extending east and west. An is laid on the outstretched work he sings unra' to represent clouds and the lines are for blanket first the songs of the the east of the and it is inverted ‘ circle of meal, open in toward the west As each it lightning. Usually the crosses are in red Q„ ,h . piece is unwrapped same diameter as the basket—is traced on fifth ni'ht it is inverted °£,‘ and the of uncolored in ^fhteued out and laid down with body of the basket in direction. near its east end. A cross When it is ' l the blanket turned up it is ° the accumulated wood. The crosses a margin of brown, » , East - Th e debris have circle near the lifted first n ? meal, its ends touching the at the eastern edge. the and usually at is small As it manufacture of the drumstick, each salient angle a within raised is cardinal points, is then described an imaginary something C has {ot square of brown. lightning symbols is blown been carefully laid away The sunwise fiv!! ] the circle. Meal is next applied toward the East, in the ays> on are usually brown, part of both. direction ‘ s now forth, and red, or basket, so as smoke hole of," u brought upturned of the • to the rim of the odge- anH ,„i . bundle made of * of all. It is taken out circle with an open- completely turned " form an incomplete up ' ge by to to'ds m-e'taved an assistant, an caster that on the same carried in The Ceremonial Drum ing in the east. A cross similar to direction to drive direct, n out1 tle "i , and laid in the forks of a con- influences evi * blanket is drawn in meal on the which the C the sacreM r 111 l af ’ the some h i ?. branches of the basket, the east and west collected and imprisoned Ve ^ Thf. other of the two baskets is called cavity of under a s* “hfh fi Cedar tree is not at hand, must pass directly So you can et from 'h a basket drum. A colored band, red in the line of which cross readily see why th al1 band. fte drum u.y trampling feet of cattle through the hiatus in the ornamental earns his pay. He r % middle, with black serrated edges, is the must study - There destroyed loL it blanket ar_ i s left until The basket is then inverted on the duously to get all the sole decoration. The band is not continuous rituaf in . meal r t,le forces of nature* in such a manner that the figure in for should a mistake mtnd; nnn ^ but is intersected at one point by a nar- occur v io t a in sacrifices , shall correspond in position to ceedmgs, the pr0 ‘ these fragments row line of uncolored wood. This is formed on the first entire ™* w,,h ceremonv 2 Wm in other. The western half of the ruined and the d be ,he of hi, to assist in the orientation of the basket, those on the medicine ‘ e would"?"C r ea1 with the convexity healing lave ' which he sprinkles blanket is then folded over powers; • 110 5° at night when the fire burns and the and , 121 low tliev handT « 1 basket, and the musicians are ready bring to a close uU ™ the shreds from butt light is dim. The rim of the basket is of the all work FI™ , Jj tha" h a ,"T begin. But before they begin to beat previously done p usually so neatly finished that the medi- to toward the eS celebration™' '•t 0,1 rL could time to a song they tap the basket with diem in the same S$m '„ cine man not tell the with ti e easily where e r points in nght hanc this l’lie ends if the the drums at the four cardinal The ^ ?- As he does ' helix pale line were not there peats , e the 1 . ben east, south, west and north. of Drumstick ]ow vo,ce the prayer or to guide him. Directions play a prominent the order of diot-in.,". «t 14 direction must always be _ W*H he beautiful thus." in all Navajo and there This sequence of I s part ceremonies H S ' S lg ' acllK Navajos say, “We turn CK 8 Pre armony be absolutely from the the same. The Pared , the Navajo must no deviation Ktreme v with his i nd «iS 0 J . nm" down the basket,” when they refer to the N prescribed rules. When the basket is cere- swerthepnVor-S^S^^ 11 a- commencement of songs in which the basket ,ntcr ba' . monially employed this line must lie due pertaining pauses vals and very to its w IU . If drum is used, and they express it, “We construction fully contro and west. the margin is worn they trained and j east shaman has to ‘ " tiplit° ? basket,” when they refer to the give practical torn in any the basket is turn up the \,s tr ,m,scks the tors° through or way A new one must °"' sing of for of the songs for the night. be made u sacred use. When the rites are ending for each 1Cy dance this ’ keeping , unfit for mony. It ,s ™ aere- hours > s formed of stout witi basket is given shaman lL OUta" ear over, the to the Spanish bayonet, ° f the ThTy2 yappearance o f " 5* but not even a v°v man). He must not keep it but A Ceremonious Blessing eve" , qPeer falsetto medicine of that > unnatural, ( genus is p,am whose Tti he must never worthy to t™? ,tc • and be careful insisten it away, material. furn,sh P 'ted, whining, c Four leaves oidv^ the peal aol t , out of it, for, notwithstanding its On the last night the basket is “turned they a " night, a W" fo eat must all come effect has » no desecration to serve- from ^"22 evl does use, it is down” with much the same observances as one from e F* ™ «« listener who sacred each of the 5 P'ant, '"'de 3,7“ on the previous nights, save that the a ' it. open- the stem. P°ims vord "f the prayer. food in All must be of of song, dances (religious ings in the ornamental hand tlwn? 2?1 , ^“i more important and in the and also P Per ,e ances aI1 contain a note The absolutely free fm "Sth, Sistent ? , the Navajos continue for circles of meal are turned to the West withered 'S'ng, rei c ceremonies) of points, deep which seems to e Cestr ‘ ^2 al fear and a tieshe to ^ ^ tileK manym 126 gods. pt THE Ebrv I

Varnish of Cremona Makers H. D.—Few features of the violin have been more discussed than the varnish. Hundreds Violin Questions of violin makers have experimented with all kinds of varnishes in the hope of duplicating the exact type of varnish used by Stradlvar- ius. Guarnerius. Amati, and other great Cre- mona makers. Many makers claim to have achieved success, but the world refuses to ^Answered ly agree with them, refusing to admit that the problem has been solved. With so many study- ing the Cremona varnish, it is likely that the ROBERT BRAINE secret will eventually be discovered. If so. it will mark a great forward step in violin mak- ing. No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. Student Concertos H. G. T.—Pupils taking up the study of vio- lin concertos, with the easiest compositions in this form, usually find it best to begin Should the Teacher Play During the Lesson? frog, the heavier the sound; from the bow with the so-called "Students’ Concertos”, by center up to the point, the sound gradually T. R. W.—There is considerable diversity of Fr. Seitz. These are pleasing compositions in becomes thinner and drier. artificial opinion among violin teachers, as to whether The concerto form, and, while not difficult, are spiccato is not done with the wrist motion the teacher, during a lesson, should plaV con- melodious enough to be used in public. They pure simple, is en- tinuously with his pupil, or only part of the and but the entire arm give the pupil ideas of the concerto "style.” gaged in the accomplishment of the bowing time. Some teachers prefer to play in unison They have a few technical difficulties, but. as action. It is of special importance that the with the pupil a great part of the lesson a whole, are not what the pupil calls "hard." right wrist should high, well period. Others play a passage alone while the be kept and Most of them can be effectively played by should pupil listens, after which the pupil plays the curved and also that the bow-stick pupils who have mastered the three books held the (not tips) of same passage, imitating the teacher's in- be with extreme ends of the “36 Elementary and Progressive Studies. terpretation as far as lies within his ability. the three longest fingers, and the tips of the Op. 20”, by Kayser. Others play the piano. The matter is one thumb and of the little finger. There are al- within the teacher’s I most right angles between the stick and the which lies Judgment. About the Left-Handed Violinist violin fingers, in the artificial spiccato." There is remember the custom of two eminent T. R. C.—Many subscribers, besides yourself, much additional instruction on this bowing teachers, Prof. S. E. Jacobsohn, of Chicago, have written to this department, asking for Schradleck, in Mr. Gruenberg’s book. If possible, learn and Henry both of whom taught the best procedure in the case of a child this bowing from a good violin teacher, and most of their lives in the United States. Prof. violinist who is left-handed. They wish to his pupil not from a book. Schradleck played with a great part know whether it is better to have him bow of the time, or played a passage and had the with the left hand or the right. Quite a con- Beginning At Seventeen pupil imitate him. Prof. Jacobsohn, on the troversy has arisen among doctors and violin age of seventeen, you have contrary, hardly played a note during the M. W.—At the teachers on this subject. Lisa Grenelle, a rather late start. To become a finished lesson. He had a concert grand piano in his made a well known authority says on the subject, should start at from five to studio, but I never heard him play a note violinist, a pupil “It was not so long ago that well meaning years of age, study at least ten years on it. It had a ton of music books on top of ten and parents destroyed any left-handed child’s with a first rate violin teacher. Of course, it. He smoked long, black cigars continually, nerves, confidence, and good temper by In- start, you can learn a considerable and took up his violin only five or six times with a late sisting that he eat, write, and play croquet teachers amount, but to become a virtuoso violinist, during the entire lesson. So you see, with his right hand, because that is the way PROTECTyour- the difficult music, I fear it is differ in their methods. playing most it is generally done.” almost Impossible. Still, you can learn enough Stuttering generally results when a left- Precious RECORDS ! to afford yourself a great deal of pleasure, Just Violins by Thir handed child is made into a right-handed how much I cannot say without hearing you F. p. E.—Violins, made in Vienna, Austria, one. Awkwardness, irritability, a sense of play. Your teacher would be the best guide by Johann Georg Thir, in the eighteenth failure and inferiority, and sometimes a as to that. century, are of medium value. Heinrich serious mental and physical backwardness against / I think the so-called “Paganini secret” is _ the Violin”, may result from the same cause. In some It damage. TONKabineU are • Bauer, in his “Practical History of thing. The best the “bunk.” There is no such does available in sizes all these violins, "His violins are most no harm whatever, and the child comes for rec- says of go through the conven- ord collections thing is for you to out able to use either equally ; in styles liked.” It is difficult to get much information hand efficiently tional method with a first rate teacher. Go all rooms. See your dealer or possibly in —a considerable advantage. But it is a poor concerning these violins, except York M RITE FOR free folder to the Juilllard School of Music in New risk. and violin published in Austria or nearest works on the (address in the New York phone book) and dealer’s Germany, which are rarely met with in this ask their advice. This is one of the greatest country. The label in the Thir violins is as Decorated Violins schools in the world. F. Z.—Violins, follows, "Joannes Thir, fecit Viennae, Anno decorated on the back with castles, and so on. with 171—.” George's brother, Mathias, who worked mother of pearl trim- Malibran and DeBeriot ming and in-lays of various kinds, are not TONKdinets . in Vienna, was also a violin maker of some to which C H. J. T.—The historical incident especially —Eov sheet repute. You can get their approximate value valuable, as a rule. Occasionally, r" music you refer was probably that of DeBerlot, the find ^ —/or phonograph in old violins. I think there we one answering to this description, and records from any dealer great Belgian violinist, and his wife, Maria city. made by a really good maker, which is of are some dealers in your Malibran, prima donna. Malibran a famous better quality. Violins with heads of animals a very beautiful young woman, besides was or men. instead of scrolls, are in the same Various Sizes in Violins being a great singer. She was advised to take measurements class. I cannot possibly guess the value of M. W. 1. We have different up horseback riding, by way of exercise. She — your violin without seeing it. If you visit a of the violin so as to fit the size and capacity followed advice, was soon a familiar the and large city at any time, take violin players, from chil- the your with I Faithful copies Of for stretching of various figure galloping on her Arabian horse in “The I\rn ^„i , , you, and get the opinion of an expert. I Stradivari’s Thus we have the Paris. One day An most famous dren to full grown men. Hois, and other noted parks of expert can tell TloS three- the value of a violin only if I lime tonal quality and various sizes, one-quarter, one-half, her horse became frightened and ran away, great ca'rtwVn,Jln| he has it In his hands. Written descriptions, I power. Free historical booklet. quarters, seven-eighths, full size, and in throwing his mistress with terrible force to photos, and so on, of the violin are of no use. Expert repairing some extreme cases, violins which are slightly the pavement. She was taken to a hospital, and revoicing. larger “full size.” It is the same as in physicians summoned. than and the most famous , CHELSEA FRASER, dresses, men’s suits, done for her, but all M V M the case of shoes, hats, Everything possible was j_2025 Stark Street _Sa inaw,M^ g ig3 . and everything worn by human beings. The in vain, as she died in a few days. Her hus- greater number of violins are made “full band, DeBeriot. the great violinist, was heart- THE SECRET OF VIOLIN TONE size", greatest number of people bed, for a long was never reached F,NE VIOLINS— because the broken. He took to his and through ago, use. or varnish, but in -° LD and n t io N£w 2 5tru n ' as exemplified in t comfortably. — .,?°, - . SCHWENK P are able to play this size time his life was despaired of. In time he im- ArtistV Violins, ? . C8t Violas, and Cellos. $1S0 buys a gem. N , 32 * ”"*" nian Avo. have not seen any of the German chin-rests proved, and his friends advised European Free Trial ‘s°?,I 25?'f,f , Evanston III „ „ i °" surmise, they V. 1. SCHWENK HARVARD. ILL. “VIOLINS you describe. Probably, as you travel. He took their advice and traveled ex- and VIQLI N ISTS" have not yet been imported to this country, tensively, a disconsolate figure, seemingly a because of the war. Your only course is to hopeless prey to melancholy. Music he could wait until they are imported, and then to try not bear, as it made him think of his beauti- one out, and see if it conforms to your in- ful wife, gone forever. After some time, how- dividual needs. Choosing a chin-rest is like ever, he took up his once cherished violin, buying a pair of shoes, a suit of clothes, or and again thrilled vast audiences with it. He 1(1 1V1LLUUI any article of wearing apparel. It must “Just again became interested in composing for it. melodious solos fit.” and wrote some of the beautiful compositions Not an instruction book, but supplementary for which he is famous. Eventually he re- of Positive Worth his compositions can al- to the method in The Spiccato Bowing covered, but in we use. the tinge of sorrow—sorrow for the M. H. B.—The work by Gruenberg. “Violin ways hear ROBERT W. GIBB was once his wife. CONTENTS: Ptoine „„ ihe Op,,, Slrimr,: as you beautiful girl who i_A Wee Bit - a Littl Teaching, and Violin Study", would, r ^ suggest, help you very much in learning the i=£5icsr; Violins various forms It many Mechanical Cloister : 12— Fireflies. Merry-Oo.Ronnd of spiccato bowing. has Introducing the Third Binder: ; 11—The violins, made to play 13—chatterbox” l other T. R.—Mechanical Box; 16 -Folk Dance: T e cooto1 ' hints interesting 17-The Princess i : 15 on violin playing, with Founded on Scale . ? Music of paper, like the of D Mninr'i i78~ * illustrations. Mr. Gruenberg says in his book, from perforated rolls 19 he ck (found*? on Scale of G Major A riv?’ of the ; X, ?“S2 ) ; 20-Gavo«e . Fo,m ( n,| o were so popular a 21—March, “Our Class. Each piece, Scale of pianos which if Judieioualy A Major i : “The artificial spiccato is used only in pas- “player" selected^ a drill" n tle have passed pretty to the pupil it is a "reditu truly" violin solo. 8ul>Ject at hand, although sages of moderate speed, as every note re- few years back, seem to quires an individual of the picture." For a while they Practical application to any system of teaching— action well “out class 4 , , which naturally or private—i= ‘“‘Rbtated absorbs a certain, demand for exhibition pur- under headings in the table of contents. For by grouping of titles though small of were in great example- Who,-., the l ss= amount the selection should lie made from °n .introduces numbers • the second finger, time. The bow. at hotels, expositions, night 10 11 and I-’ if ti, t , being held firmly, has to poses, such as number 17. 18 ,n The piano parts have her,, kept well’ within" the *be key of D major, assign strike the string halls. The best of them * tl>e 8COp ' separately for each note. clubs! and dance performance in the home. °f th <-' average pianist to encourage This is done at one particular point of the maintained a high order of efficiency, and bow hair, rKRts: violin & 1’iani somewhat below the bow center. played violin concertos, orchestral , Other parts of the bow may be used, but the and solos. The main thing was that they tonal character will be changed so much that saved paying the salaries of a considerable the results WALTER JACOBS, INC. will offer to us a number of dis- number of musicians, and supplied a real 120 Boylston St., Boston, Mass. tinctly different variants. The nearer to the novelty at amusement places. rEBRUARY, 1941 127 — — 1 °

mountaineers. He Is called Ernani Lard Byron in Romantic but in reality is John of Aragon. 5L Music Marked for tragedy, he falls victim of his enemy’s dagger as he is about ( Continued from Page 78) to realize his greatest happiness. of Tschaikowsky found a most grate- BliNAl© WAGMiSS Rigoletto, although not a noble, is ful subject in Byron’s Manfred. Per- the Byronic type. His cloak of mys- haps, like Schumann, Tschaikowsky tery is deep. His sole interest in life found in the frenzied outpourings of is his daughter, Gilda (Jeel’-deh) COUiSI Manfred’s soul a parallel , PIAM© of his own and the memory of his dead wife, woes. Like Schumann, too, he threw “Who loved me tho’ deformed and • PREPARATORY BOOK (For Youngest Beginners) Pr., 50c his heart and soul into the composi- poor.” Gilda herself knows no more tion, and his own words tell us that • ® First for Beginners) Pr., $1.00 of her mother than Rigo- BOOK ONE (A Grade Book at times he, too, became a Manfred. just this. letto is cursed by his enemies; and, • • o BOOK TWO (Practical and Interesting) Pr., $1.00 just at the Byron Supplied Opera with Perfect moment when his plans for revenge seem « © o o BOOK THREE (Solid Advancement) Pr., $1.00 Hero complete, he finds that he is the one who had been Lord Byron in opera seems at SUPPLEMENTARY BOOKS first duped and his own daughter, instead an impossibility, for not one of his of the wicked duke, has been killed. THE ENSEMBLE BOOK OF SECOND YEAR ETUDES plays achieved success as an opera. The duke singing his song of the Nevertheless, Byron left a very THE BERNARD WAGNESS For Developing Style and Velocity real fickleness of woman, imprint in this field at the moment of music, for he the lovely PIANO COURSE By BERNARD WAGNESS Gilda sacrifices her life furnished composers and librettists for (Duet and Second Piano Price, 75 cents him, gives another with a ready-made hero touch of irony studies to supplement the pupil's work who fitted that Parts to Pieces in Book One) Musical Byron loved so well. in Book Two. or in any second grade instruc- to a nicety into operatic scenes. This Price, 75 cents tion book. Lucrezia Borgia”, (Loo-kray’-tzio hero was a composite of Byron’s This book provides Due: and Second Piano or gee-a) based parts pieces in Book. One of the Bernard heroes Lara, The Corsair, upon another play for The Giaour y victor Wagness Piano Course. It was published in re- Hugo, shows the influence many TECHNIC FUNDAMENTALS —and was Byron’s own idealized sponse to an insistent demand from per- ,o Byion. using this course in first piano Lucrezia mysterious and teachers regularly By BERNARD WAGNESS Price, 40c sonality. Strikingly handsome, with , instruction. These Secondo and Second Piano relentless, with illustrations of first exhibits char- the teacher, parent, ur a A book for the teacher, black curls and high, pallid some of the parts can be played by brow, he acteristics more advanced pupil. technical exercises. of the slightly was shrouded in mystery. Sometimes Byronic hero in feminine form. he was an outlaw, but always Like the Doge in of Byron's “The PIANO COURSE noble mien. Around him was an Two Foscari”, she is BERNARD WAGNESS BERNARD WAGNESS aura pt“slble of stifled grief, sorrow, and ^? for the death of an BOOK ONE remorse 1 PIANO COURSE GC* S°n and meets poi- yet he fought back and seemed to death by follow the Preparatory son PREPARATORY BOOK This book may be used to challenge the evil spirits average- to do their Book, or as a very first instructor with the 71 0 Its new, logical, and practical worst. Of course this hero in 111 Tl‘ovatore” is an- age piano beginner. It contains the most complete was al- nt^ ? procedures lead to real achieve- in love. B nic presentation of reading cards covering three oc- ways Sometimes this love hero - Cheated of his ments with very young beginners. hirnfv ^ treatment taves, exceptional rhythmic drills, perfect was unrequited, or kidnapping, is reared tactile, mental, visual, circumstances he The aural, training, in o of keyboard harmony fundamentals, ear made it impossible for ^ Sypsy camp. and rhythmic faculties are co-ordi- him to do * y. He does not show and technic, combined with interesting musical ltter nated in synchronous use through more than to adore his beloved ess associated Byron, pieces to plav. at a £ ? with phrasewise reading. A most help- distance. In short, deStined Price, $1.00 the Romantic by fate for a tragic ful preliminary book to any piano hero end n was a man who through no th comin of course or method. fault of his hvfi g at the hands his own was condemned Wh the Price, 50 cents BERNARD WAGNESS PIANO COURSE to endure ° is ^orant of stoically all manner relation^’ BOOK TWO of suffering- ‘s another manifesta- and then to let the h , world Byro» i o irony of fate, intro- know Reading material covering five octaves is without being too Scr ibe ( ;t explicit, that (skreebeh) of many duced, there are thorough drills on the tetrachord, he libretto , author did suffer. Sir Walter Scott 1 melodic and harmonic intervals, the scales, the gives us opeias of this period, a picture of this hero also felt fn tonic, subdominant, and dominant chords. Presents in the 6 Influence He role of lacked tf* of Byron. clever rhythmic drills and ear training correlating Ravenswood in “The Bride of Lam- 6 g6nlus and skm 01 thC with the previous keyboard harmonic develop- mermoor.” Englishm so we flnd that is ments. urat » V?' much Ravenswood is known as ' Price, $1.00 Edgar e is uxta i n the i the opera, “Lucia di ” Position ofn Lammermoor 7love and bate, and evil . good He had suffered the loss WAGNESS PIANO COURSE of his estates tUral stations such as BERNARD and was further wronged the'devn by beine 1C tlU d aS a loving fatheI BOOK THREE misrepresented to in the girl he “Robert i ^ loved D * able’’; a father un- Published by Foster and other popular Lucy, in the same wittineiv i Materials selected from work, is typical combined with the of “"“land to a firing writers of folklore songs, Byron’s heroines. However "£*1%?**h Se original compositions, bad the VOlley daughter OLIVER classics, selected etudes, and poet may have in “LeI kiIls bis painted £ l " make this a most interesting book for the student his men Be 0ts characters, the oh) ; ‘Lays Hu-gem Presents all major and tonic minor women of andd ?h1 e ? DITSON CO. of this grade. his poems e hero in “Le Prophete THEODORE scales and revolutionary methods of chord analysis. are chaste creations of denyin PRESSER CO., loveliness 8 hi J m°th two Copious illustrations of pianistic problems involv- clinging vines there er. In the last Distrib’rs. who live only ’ if th e ing the arm, hand and fingers. in edeeming feature of the 1712 Chestnut Street iove of one man and, heroes meeti when he is d of PHILADELPHIA, PA. Price, $1.00 actually or their 8 ath in defense apparently false to them religion” ? ’ the ® find refuge in insanity we find liberty- In or death an eChoe\. s French writers words 0( Israel Bertucio seized the Byronic in Bryon'sn FREE hero with avidity, and “Marino Faliero'': a number of e OLIVER DITSON CO. Date Victor Hugo's dramas e ANY show this In m Who die TO THEODORE PRESSER CO., Distributors fluence in agreat in the leading causec ' 1712 CHESTNUT STREET, PHILADELPHIA, PA. characters They 1*? PIANO Most important of U Teacher’s Manuals these that ent the Gentlemen:— Please send to me FREE of any cost the have ^eepiJ deep become famous as tfl TEACHER as checked below: operas are “Her Which T°ughts BOOK nam“ and “Le Roi rp —TEACHER’S MANUAL for the PREPARATORY S’Amuse." Theh ° Wer aU others and of the BERNARD WAGNESS PIANO COURSE Rwah Sam-eese) Both conduct of these were —TEACHER’S MANUAL for BOOK ONE of the set to music by Verdi, the at TEACHER’S BERNARD WAGNESS PIANO COURSE former be las * to mg known as Lef freedom." MANUALS "Ernani” (Air-nah Pal —TEACHER’S MANUAL for BOOK TWO of the nee) and that memory Byron b e the latter “Rig of hi _ of FOR THE BERNARD WAGNESS PIANO COURSE golet0lett„rto.” 1 1 1 is (Ree-goh-let’-to). “deep ci ii personality, h Bk. anri t Preparatory Weepin re' Ernani is the hern tnm.s fleeted S thoughts” Books 1 & 2 both 1 and society. Wronged, which music and literature, Wagness he moverf ^ of the mysterious becomeftif pe head of a ly than thn©L , more profound; Course bandTre e f Piano bel the f ny E lish P oet ° centurv in° l ^ y ln which he 128 lived. THE ETUPt .

administration in our building is Instrumental Music at sympathetic to the needs of the Gpmmi music program, and our subjects are NEW School SEAMLESS BELL John Adams High often given preference. This means that pupils are readily able, to ar- CORNET, TRUMPET, TROMBONE ( Continued from Page 96) range their music schedules. Our or- and eighty percent of our band and ganizations meet daily, and there |||j private les- orchestra members take are nine forty-five minute periods . sons, a condition which is undoubt- for the day. edly fortunate in the building of Last semester, one hundred and our instrumental organizations, and fifteen students registered in the which exists, perhaps, only in the two band groups. The first band larger cities. This assumption is meets the first period, and the sec- based on experience and conversa- band the second period. Most of ond x 12 Regular tions with men teaching in towns the players coming to senior high Sheet Music and smaller cities, who find it diffi- are scheduled both for the first and cult in these communities to secure second periods of rehearsal. Those teachers of instruments, especially who meet the requirements of the of oboe, bassoon, violoncello, flute, first band are then permitted to use LAMINATED HARD COVERS and horn. the second period for other curri- Book No. 201 —Album ol Favorite Piano I may be repeating the result of cular studies, and the remainder Solos. Contains 62 most popular piano They are all graded from very easy but I feel very the personnel of the sec- solos. others’ experience, make up to medium. Includes such numbers as strongly that violin players should ond band. Usually there are ninety "Andantino." "Fairy Wedding." "Humor- esque." "lolly Coppersmith" and 58 others. begin their studies on this instru- players in the first band, from Every number is arranged beautifully, in- ment before reaching Junior High among whom are chosen the players terestingly, edited and fingered. for Book No. 200—Album oi Favorite Songs. School, and the responsibility in the football band. (Contains 127 complete songs and words. getting pupils started early rests in Orchestra practice starts at the Arranged for all instruments. the shoulders of our fourth period of the day. For several Book No. 201 —Album ol Favorite Piano great part upon Solos (Contains 62 most popular piano instrumental teachers. While, at pres- semesters a theater orchestra was solos.) Book No. 202 Album of Favorite Strauss band is more popular for the ninth period, but — ent, the school scheduled Waltzes (Contains 25 complete Strauss than the orchestra, this will not al- later it was found more convenient Waltzes.) Book No. 203—Album oi Famous Waltzes P1AM® MY E AMS ways be true. Our band programs to hold theater orchestra rehearsals Die (Contains 63 most popular waltzes.) SAM McKEE, Hollywood ' s famous piano teacher of latest we 1 YOU AT HOME to Day have been well developed, and one evening a week. The function Book No. 204—Album of Favorite Piano Ac- wjnsMdtB BY EAIt his -mopl'etc" course and valuable beginning anew to emphasize of the theater orchestra is to fur- cordion Solos (Contains 70 complete Piano 1 r are Accordion Solos.) assured or money' BA.CK .-' Midi °Sl.dJ| b»l TODAY orchestras. the functions of our nish music for such events as the Book No. 205—Album oi Favorite Children HOLLYWOOD SCHOOL OF POPULAR MUSIC There are tremendous forces at Annual Play, Honor Society Induc- Piano Solos (Contains 139 finest piano solos for children.) acnooi 01 mo r urn : Blvd. Hollywood, Calif. in the music of our land, as tions, and the Annual Operetta as C842 Sunset | work | reflected in the influence of radio, well as other special programs. motion picture, and music record- There is but one instrumental con- full ex- IMPROVE YOUR PLAYING ings. One cannot judge the cert during the year, and as a rule M. M. COLE Influences, for the this combined band and orchestra Pianists Send for free booklet show- tent of these — your PUBLISHING CO. ing how you may greatly improve orchestra is heard as well program takes place in January. technic, accuracy, memorizing, slght- symphony 2611 Indiana Ave. Cl readiug and playing thru mental- the dance orchestra, the sym- Band activities are not so great inuseutar co-ordination.. tluii' as minimized. Used by fauiou phonic band as well as the march- as in smaller communities, due to students. No obligation. California activity the large Broadwell Studios. Dept. 61- B Covina, ing band. the fact that in In our schools there has been a cities would bring so many demands o you take advantage of the many the string sections. Most for this type of organization that oppor- decline in D excellent merchandising players limits must be placed. A of my violin and viola definite tunities which ETUDE Advertising first performs at usually the viola players have dance orchestra which Columns offer you? their is permitted and studied violin—began playing dances after school ' members instruments through home incen- supervised, although the MUSIC Nothir.„ LEARN "SWING" our school system choose their own director. . tives. Pupils of -A Saxes, Clarinets Trum- ‘•lioru.sos. Ilga °l brcaks - obt instrument before The financing of our music pro- pets. and other P-A instru- bcUlBhrm who take up an ments. Fully guaranteed: do so by paying gram is ordinarily in our own hands, your success assured See the seventh grade HAVE your music dealer or write pro- nominal fees in the music direct for beautiful a fee, and special teachers are and small cost of music. A P-A IN No oblbration.^Snsv therms Diplomas, Certificates of Awards, Medals and vided in the elementary schools. In courses defray the THE LAST greatest fun. easiest with Other Requisites for Awarding Pupils beginning classes The paid admissions to the January the Junior High, k.30 DAYS? PAN- Completing Courses in Music AMERICAN generally concert go into the general school 208 P-A are opened, which are Bldg., Elkhart, Ind. THEODORE PRESSER CO. for the grade 7B pupils. At fund, but allowances of varying meant Rebuilt Pa- Bano a Urcheslra Instruments 1712-14 Chestnut St. Phila., this point instruction is free, as a amounts are made from this fund rule, for one semester, during which for our use. An interesting fact time the pupil is expected to study about our instrument repairs is that privately. The majority of wind the Board of Education hires a man SPECIAL NOTICES workshop AND players in our senior high school to travel about in a PIANO PLAYING in junior on a truck, and to do the SWING groups start to play the mounted Study directions. It tenches 'yo^^jiXy^cheapiy' caslw to harmonize tunes with high school, and only rarely has a repair work in all the Cleveland professional bass and breaks. Semf vnglal foMw s _ ANNOUNCEMENTS 1 pupil been allowed to begin an in- schools. This has been found both axel ch ristensen . 752 k imballhall. ch 'icabh strument in senior high, since late convenient and satisfactory. starters are seldom able to assist There is available a group of ANNOUNCEMENTS I I organizations. school-owned instruments, which runs, our musical breaks ami il Play your own piano- My best players are to are loaned out to pupils as needed. all the late s< YOU CAY TUXE now Naturally, the sight. It is e book •Tuning the Piano’ tells JAZZ u our twelfth-graders, On such loans no fee is charged, t^ 20;^,,rcot~i,,~ Postpaid. With set of necessary tools, be found among ^poli o°r U"t 'carfK t>h <«raiit - - - $1.50 Postpaid. .1. C. Sullivan, these one seldom finds but a bond must be signed guaran- - - - 1 - _ _ Irwin. Pa. and among De| ’ 1 ' E ' 2228 reached musical teeing that the instrument will be Roseilale Ave - a player who has oakiandfcaiiL PLAY PIANO JAZZ like dance and in three returned in good condition, Gentlemen: musicianship and Please send mo freo information about j Informa- reliability and ” ' csson radio players. Quick mail course. courso ln Dlano jazz> Dept. B, holding the user responsible for un- tion free. Erskine Studio, years or less of study. Uosedale Ave., Oakland, Calif. necessary damage or breakage. Scheduling band and orchestra re- Ob- Foil SALE! Old Violins; also Repairing. large servation shows that it is better to Addrcss hearsals is less of a problem in C. .T. Fairfield, Canterbury Drive, San 4967 (Continued on Page 137) city stato.. Diego, Calif. schools than in smaller ones. The

129 FEBRUARY, 1941 fantasy and invention to raise edi- this time. Before that, from about harmonic idioms has long been lack- TIie Language of the fices of sound and form demanding 1918 to 1924, my work is more radi- ing. Now for the first time, piano Composer no other justification. cal and more homophonic. students will be able to bridge the What is the secret? Bartok, of “With maturity, it seems to me, gap between nineteenth century course, could not answer. But one comes the wish to economize to be ( Continued from Page 83) — studies and twentieth century mu- can do no better than to recall what more simple. Yes, this may account sic, in carefully graded pieces from connections between them, all point- he had already said: “It is not for similar trends in the music of the simplest constructions in the ing to a superstructure of Turkish enough to have the will; one must the other composers of my genera- diatonic scale through the most tion. Maturity is the influence on the Finno-Ugrian. I also be capable.” period when complex major-minor possibilities The dangers of folk identification one finds the just measure, also wish to point out that I did the mid- and polytonal structures so intrinsic dle course which best not go to the folk music of the through wishing, rather than expresses his to Bartok’s musical personality. At through impulse, have been no bet- own musical personality. The Turkish towns, or even to the coun- young the same time, from the easiest ex- ter summed up than by Bartok him- composer is inclined to give try regions, but to the nomads every- amples of unison and canon writing self. thing he has at once. If I could write themselves. Their music is many to the introduction of harmony, “The appropriate use of the folk my first quartet again, I would thousands of years old and, even not first simple, then complex, the com- to-day, strangely pure and intact.” song material is not, of course, lim- write it the same way, naturally. poser’s training is telescoped to the Bartok himself, one would think, ited to the sporadic introduction or To-day, I see in it some superflu- last detail. It is truly a “Mikrokos- should have been completely innun- imitation of these old melodies, or ous material and some resemblance mos”, both in the presentation of dated as an original composer be- to the arbitrary thematic use of to Wagner. My last quartet, the the whole range of pianoforte tech- neath this submergence and identi- them in works of foreign or inter- fifth, is a more individual work. As nic, to the utilization of the har- fication with the folk sources of his national tendencies. It is rather a for the composer’s individual style monic resources of several centuries. land. Nothing, on the contrary, matter of absorbing the means of —there is no explaining it, other Bartok was about to be asked to could be less true. In seemingly op- talk about “Mikrokosmos”, (mee'- posite poles of development, but in kio-kos'-mos) but the time was up, reality one of the most parallel, and the busy visiting composer, here since the freedom given him by the for the second time in more than folk song proved incalculable to his twelve years, arose to attend to an- creative flight, Bartok became more other appointment. radical, dissonant and austere in his harmonic use and melodic flow, as his researches deepened. The “Fourteen Bagatelles, Op. 6” for piano, composed in 1908, which cre- J-iitUi ated a sensation at the time, for lVldKGrS their independent patterns and un- (Continued from Page 84) resolved dissonances, were the first looked me Up. The result of c results in this direction. This was meeting was that Feyder invited l continued with works like the to score the picture v “String Quartet No. 1, Op. 7” and the on which he nen at work. “String Quartet No. Op. 17”; the It was 'Knight With< 2, r ancl star Dii opera, “Bluebeard’s Castle”; the two riJh° »’„., >'ed Marlene Although I ballets, “The Wood-cut Prince Bal- , had no experier “mB0S;ng let, Op. 13” and “The Wonderful m scores for film requi: 1 to ok Mandarin Pantomime”; and the r the assignment-a “Sonata No. 2 for Violin and Piano”, 11 m0ti0n picture W< ever since!’’ the very apex of his individual style and expression. 1 6 then > Rozsa has compo: thp ^ . At the same time Bartok arranged, lCS for ten pictui includingInclimt motion set for voice and piano, for piano “Thunder in the Cit alone, or for violin and piano, and musical expression hidden in them, ®quealer ”, “U “Four Feathei put to just as the most subtle possibilities Rn “ general use the folk material ’ and Ten Days in par: at his of any language may be assimiliated. The compositions which ^he disposal. Some of these ar- fall Thlef 01 Bagdad.” Most to this completely these « rangements and settings are It is necessary for the composer mature e * e the period £or Alexander Korda f musical language so the Third, Fourth tures . most stylistic and artful construc- command this and Fifth St 14 Was the Korda who brou! tions that completely that it becomes the nat- Quartets; the two disH? have ever taken form. Concertos Ulshed young Hungar: The “Three Rondos on Folk Tunes” ural expression of his musical ideas.” Piano and Orchestra; the oomposerS + “Can ^ol'ywood, where 1 belongs to that group Profana” lor tenor, score°f for piano (1916-27) and the “Twenty Bartok, who double ch {^ The and orchestra; gun Thief of Bagdad” < Hungarian Folk Songs” for voice of musical innovators headed by Music tor i n T string nCt0n) eomplet and piano (shan-berkh) and Stra- struments, percussion Rozsa was (1929) are particularly Schonberg and cele inten°, dS to remain here, feel group with the "Sonata for that - excellent examples vinsky (stra-ven-ske) , a Two the of the manner Pianos m USlcal in which which all the pre-war and post-war Percussion"; the day worId centers his individual harmonic “Concerto for in thp.^TUru harmonic and rhythmic de- lin and Orchestra"; ted States, where fr and tonal palette and forceful radical the Dances dom of m at all Violm fPo^dhity for musician E rhythmic patterns are united with vices are associated, does not clarinet and piano; compose, and e are cl the agree with the conception that the for tive .. boundless ln archaic and modal melodies. strine to e,.Q Vf work “faV ideas which they advanced were mm ites" - Rozsa's Then again, there are works like are =i ! revolutionary. A work with keSpeare Tolstoi, ‘ the two Rhapsodies for violin and which Bartok "daurois ame ’ speaking roughly— been occupied on “ SI orchestra and for “The period— for among , authors; G. B. the Rhapsodies more than violin and violoncello from 1910 was not revolutionary at years, is “Mikrokosmos”, aywriShts; RembW piano, and a coni among r,„^i In of nters; piano, respectively, compositions all. In art that is not possible. one hundred c am' and and fifty-three" °mpose ,.„. Stravinsky which pour out the folk element with art there are only slow or fast pro- pieces. A virtuoso P d the ' k pianist hi hai-monic-svn New Yol essentially evolution, much h , ^ a clarity and poignancy scarcely to gressions. It is of Bartok’s work L tras. mpllony among ore® for His rP? found either in Brahms or Liszt. not revolution. the piano, is reation s be where Play - /: from comp° have devel- his DT in p is the creative, three-dimen- “I myself, I believe, harmonic style plan v That and idiom » Rozsa ° and the !° ability to give oped in a consistent manner and in less part of was sional Barton: tne his arrangements orary cently awarded the P except perhaps from dances of" ri Po.„ form to the folk melo- one direction, and melodies * 6 °f Music inimitable tha °f the Doctor of to ;ive them a new 1926, when my work became more original of New^v themselves, ( pieces. ' dies “Mikmt rec ollee e of through artful contrapuntal and also more simple a °gnition°of F meaning Pi '^ c hls H-fi life and S Ch00? °niposer achievements while yet retaining on the whole. A greater stress of manual f or aii presentation “mp that of wllich proves ag racter and the tonality is also characteristic of material the in 1 primitive ad to their approac^nte^ R°Hywnnri musical eminent alo u t does11 ^e\: ' 130 s; ^vterrain. .

The Pimd Accordion Highly-E steemed MUSIC TEXT BOOKS By CLAREMCE G. HAMILTON Accordion Chords OUTLINES OF MUSIC SOUND, AND ITS Bf f^ietro &£)eiro HISTORY RELATION TO MUSIC As Told to ElVera Collins Although titled "outlines", this history is Every intelligent musician should be honored in thousands of libraries as a familiar with the physical laws which most authoritative work. The author’s en- underlie his art. Here is a compact state- ast month we discussed deavor to make it also a source of music ment of these laws and of the chief facts, accordion harmony and an- appreciation is probably best exemplified theories and experiments L^ by the following excerpt from the Pref- in accordance alyzed the Fundamental Tri- pfrj with pig ace: "I know of no more fascinating pur- which they have been formulated. ads of Tonic, Sub-dominant and mk 0$ A most valuable reference or text book. suit than that of tracing the steps by Dominant. This we shall con-' which mere unrelated sounds have been month Cloth Bound—Price, SI. 50 tinue the subject and discuss the \&m- moulded, through ages of subtle inven- tion, into a medium for expressing some formation of the various chords A major chord consists of the root, of the grandest and most elusive of which are mechanically combined in third and fifth degrees of the major human thoughts." EPOCHS IN MUSICAL the accordion’s bass section. mi- Cloth Bound—Price, $2.25 scale. A major chord becomes a PROGRESS It is essential that accordionists nor chord when its third is lowered know what combination of tones To appreciate the music one hears, the half tone. Thus the chord of C APPRECIATION one MUSIC listener should have some understanding sounds when they push the different of C, E, G be- major—consisting — Based on methods of literary criticism, of the trend of musical development and chord buttons. Those who wish to comes C minor with the notes C, this is an especially fine book to place in some knowledge of what has gone before. harmonize simple melodies will find the hands of who wishes to familiar- E-flat, G. one This volume gives a bird's-eye view of this knowledge ex- ize himself with the great works of the necessary. Our seventh chord consists of a root, the field of musical endeavor and traces A masters, to learn about their beauties, to planations will be simplified for the degrees. the story of its growth. Its eight chapters third, fifth and seventh be able to listen to them with a quickened benefit of those who have never are illustrated, pictorially and musically, There are six chords of the seventh, hearing and real understanding. There studied harmony. and give lists of reference books for col- The instructions is the dom- are 24 portraits, 28 diagrams and over but the principal one lateral reading. are brief but the important rules 200 music cuts as illustrations. inant which consists of a major are clearly defined. Cloth Bound—Price, $2.50 Cloth Bound—Price, $1.50 triad and a minor seventh. Thus a Example 1 shows the C major, C dominant seventh chord on C (C7th) minor, C seventh, C diminished and OLIVER DITSON CO. would consist of a C major triad C augmented chords in their various PRESSER CO., Distributors with an added minor seventh, mak- THEODORE inversions; also in arpeggio form. ing the chord C, E, G and B-flat. 1712 Chestnut St., Philadelphia, Pa. This was taken from the text book, A diminished triad consists of a “The Jazz Accordionist.” We shall root with two minor thirds added, explain the formation of these of while a diminished chord consists chords briefly at first and later more Thus SEE it, a root and three minor thirds. WHY you should thoroughly. con- a diminished chord built on C TRY IT. (F-sharp) sists of C, E-flat, G-flat choose and B-double-flat (A) for your Accordion by A major triad is augmented or for Lessons . . . For ex- its fifth a half tone. raising ca . complete and . . jvoral Headquarters w personally Philadelphia on . . PIE' augmented chord built range of all make accordions. . ample, an h< and Inspects every Agents helps you select . . . and G-sharp. leaves. C consists of C, E and instrument before it PIETRO DEIRO several 1 “ , es t • Pietro has compiled sP“ S’i!r| S.L il subject PIl.VATE LESSONSc( TESTT ACCORDION Let us now approach the evtra features, including LESSONS and LECTURE LESSONS at a minimum HEAD- thoroughly QUARTERS of chord building more C081 ’ Write note lor special COURSE booklet. 46 intervals which are FREE upon rCQuest. Greenwich by studying the Sent Ave., N.Y.C. various steps of Pietro deiro accordion headquarters Write for very important. The Free Catalog the scale are called degrees, and when two of these are considered in the relation to each other we use term “interval.” Each interval has JUST OUT! Excellent Text Books C Seventh its own name, according to its mode IstPos. 2nd Pos. Pos. by 3rd Pos. 4th of major or minor. It is always 1941 ACCORDION the high- DU. FRANCIS L. figured from the lowest to MUSIC CATALOG YORK est note, including both. Harmony Every major scale contains major OF Simplified 1.50 Counterpoint Simplified . . and perfect intervals. The first in- . 1.50 The simplest terval is called a perfect prime; it >1200 ARRANGE- and clearest presenta- is a zero interval, since there is no MENTS AND 150 FOLIOS. tion of these essential subjeets. difference in pitch between its two SENT FOR Sc POSTAGE ADDRESS DEPT. E tones. The second, third, sixth and OLIVER DITSON CO. BRO. Theodore seventh intervals in the major scale O. PAGANI & Presser Co., Distributors prime, 289 Bleecker St., New York, N. V. 1712 Chestnut are major intervals. The St., Philadelphia, Pa. perfect fourth, fifth and octave are mm are termed “perfect” intervals. They change because all other intervals to minor or their mode from major ‘‘This generation is too absorbed in sport C Augmented and those excitements major when inverted, while which appeal to the brain only. It rests with 1st Pos. 2nd Pos. 3rd Pos. minor to a limited number of perfect genuine enthusiasts perfect intervals remain of intellgeni tastes to restore the good old times when keen discernment made when inverted. for elevation w H Breare the text in The British Musician. Example 2. taken from book “Accordion Harmony", shows (iContinued on Page 137)

131 FEBRUARY, 1941 , ,

fusion the first time his attention is to movements of hands and fingers; tions. The more this is so, the truer Practical Hints forTraining diffused, gestures of when it becomes necessary, the hands; poise, and is the balance. And if the inner po- let us say, simultaneously to keep turnings of the head; movements the Conductor of tential qualities of the artist require under control the line of a musical the body as a whole (as in turning balance, the same is true in regard ( Continued frovi Page 99) performance with one hand and from left to right and vice versa ) to the relation between artistic qual- it with occa- and combined this translation so distinctly that the other to correct an movements. ities and technic. One cannot out- shall be understood by those to whom sional defect in intonation or I practice these or similar exer- weigh the other if the balance is to if the or- cises myself. In his speech (interpretation) is ad- rhythm. Even no one in studying a score, in be maintained. Both elements must chestra needs correction at the mo- planning how I am to dressed. interpret it, I be so perfectly adjusted that they be ment, whose move- strive for the Now, while the capacity to the conductor quickest and surest present an organic and harmonious skillful is given by Nature to differ- ments are "tied” will be unable to means of making myself understood. whole. When the conductor has ent persons in greater or less degree, master the elements of polyrhyth- Therefore I may experiment, in the achieved this balance we can then skill itself does not spring Minerva- mic passages. privacy of my studio, with different say of him that he is literally a like from the brain of any genius. It If the conductor stands badly, the gestures, and practice the one which maestro. must be cultivated. Sometimes the rhythm of his arms and hands will finally seems the most effective. But cultivation is easy; at other times it be affected. If he shifts from one of course my exercises are worth may be painful; but cultivation foot to the other or takes unneces- something only if they are carried A Star must go on, by one method or an- sary steps, if the movement of his out conscientiously and with intelli- Enters Her Teens other, faster or more slowly, accord- ( Continued from Page 76) ing to individual temperament, cir- followed her can cumstance and application. hum career. If she tunes in her crib at fifteen Physical Training, as Well as Mu- months, charm Paul Whiteman at sical, Is Demanded six and scintillate among Holly- wood’s How to draw all that he has into film notables at eleven and twelve, the focus of an acceptable perform- what will she do next? With C a ance is the problem that calls for S ^ ai ^ ^ would seem that al- mostrn f more physical training than many anything might happen in the next observers imagine. The necessity for dozen years. quick physical and mental coordina- tion has already been mentioned. In conducting, this is even more impor- Pirating tant than in singing or in playing a Parnassus solo instrument. In the latter case, the performer is required to be mas- uetener i s ter only of himself, his voice, clari- haunted for days by ^semblance net, flute or trumpet. In the former, IS? he cannot qu y Ifc ‘ may be that the performer deals with multiple . argued mPVp C , voices his nCidence of note sequenc and instruments, and diffprp °ti himself accented colored, mastery must extend from not r and aUy a “ to them. If his coordination is out steal ”; it is p° ssil that A 0 men for the minutest fraction of a sec- > with only twelve h: not at ond, if his reflexes are not in perfect helr disposal, might w hit „n n Ttbe working order, the performance will same sequence in bull to „ tht k . suffer. What chess players call “a lr melodies. simii„ ? Still, certi loss in tempo,” meaning the loss of ThSf? are diking. time spent in a foolish move, will be ‘ S a whether stron g resemblan the result. Plu betwee, 'P°seful or accident To train his body should be one of March theme eta and the dim the conductor’s tasks, since during the °™ture to "T the Merry performance he can express w s of Windsor” by Nit with the lai ifpfT- - himself to the orchestra solely head is out of harmony °~i.I' : between Here Con left the nr„ movement of his hands, if the 11 through physical movements, facial u'ith the and aim of olrt „ Mandolin miming and all the intricacies of hand is unrhythmically out of align- physical training e i s ' ddnking Im, right (though both to train the 10t Noc what may be called "sight signals” ment with the body but tn ** h Z*T,T7oe \ upset engt Pfchen; between in contradistinction to “sound sig- must be independent) he will rhythmic feeling as an Pi-Tin a^ 116 Wa 'dteufel waltz nals.” In order to make this physical the pulse and disturb the general tor of the will betweerf'HP and To S ' FaU in Love and activity the manifestation of imagi- impression. The conductor also the coordination which 8 Garden if m .s? SCene 1 eliminate any little per- between ' from “Faust”; native agility, the conductor needs a needs to mind and bodv tween r„ . 1 e iTl t inter- I 1 B,oom of body that is responsive to instan- sonal mannerisms that may am asked if i '? chief trJ° and one recoSmfn? ttsitions taneous demands. More than other fere with getting his message across. as an aid in "8 Walt? in Johann Strai developing a musicians he must rely physical People in an audience can shut their tors coordination. “n ‘ °f SprinB; betW on I reply Jerome wl™* e or motor consciousness. violinist eyes if a pianist tosses his head or a the games are By ns TUl The clouds R A suitable ” p, and or pianist has always his instrument fiddler indulges in grimaces; but the is better than 6 1 German folk-song tennis as a Hatter , ] of an orchestra literally tax if does ebauet under his hand. The conductor must members the hand, „ ein StaatUd wr j s i a d Haus\? establish the same control at a dis- cannot shut their eyes to what heavily. Fencing arni J Ween the breathless < 1 , ohnn„i called the “idiosyn- should ethl anb Here you’re Here, and toe to f°™Uded f often with the crasies” of a conductor, and if these curriculum in ° f tbe per- Training begins of every m, around n dance-craze annoying or funny the In SCh °' e correction of bad habits, such as a are either order to solve time of the World * aTT Han » . hand, want of inde- players cannot do their best. which ob: stiff, "numb” confront him Wa 6 GanCfS AU f « evolved •! and freedom in necessary the tasks 1 pendence allotted to Imitates 'to1 a chorus n Definite Exercises Recommended him° to”" and unwanted motor- doctor must of VJFenzance.” \„ movements, know how Laru/ urn It's a example, an un- In my forthcoming book on con- the 1to use irradiations, as. tor means which comto 0 TiWerary boasts in ducting I have a chapter on physical tute Pedigreeri^A J movement of the elbow his technic.’ ’ 001 wanted All from arents: its verse deP a gesture of the exercises, illustrated with anatomi- eluded are Has ? Connection with in an understand an fnybody Here Seen parallel cal diagrams. It deals with questions artist's ng d it, Kf on ninclination to nature, 01 Jr hand,£ an m ^ ballad 301us from an old and the of correct breathing; posture; talent h ch Pars fo and general ? Alann sun of “stance”; controlled muscular relax- l' tUle Tony p- a, often pupil is the victim closely interwoven atl f irTfthe eon- ation; arm movements, correlated th bea/s The Prisoner’s » will suffer from t0 habits he “ nshiP to an old top' ’uch ballad er turned Train Tha t Nev a’ bhnL ' 132 °th reflecting a prW11 — . —

folk-style that assured popularity Brahms’ Wiegenlied (vee-gen-leed) Most great composers have gone purveyors of popular tunes, and

in two ages of markedly different ( Lullaby ) is identical with the “I’m in for periods of “influence”; some there is no immediate indication ideology, over a generation apart. cornin’ ” refrain of Old Black Joe. —Dvorak (dvor-shak) for instance that the roots are shriveling. Many of the hits of Rudolf Friml, Weber, Liszt, and Grieg drew on the have advocated stronger national- There is a good chance that next who came to this country as accom- folk music of their people. Mozart ism in music by studying and utiliz- season’s hits may derive from Bach panist for Jan Kubelik (koo-be- borrowed from Duport. Charles ing folk themes. Indeed, his “Sym- and Beethoven, both of whom have lik) his native Wakefield Cadman used native In- phony from the New World” was be- , echo folk airs of thus far been somewhat neglected Bohemia. One of the most interest- dian material in From the Land of gun with the purpose of blazing the by jazz time borrowers. There is an ing resemblances is to be found be- the Sky Blue Water. Thurlow Lieu- trail in this direction for his Ameri- equal chance, however, that the feet tween Wagon Wheels and Goin’ rance adapted an Indian melody, can pupils, during his period of of Tin Pan Alley may mount upon Home, which latter is arranged from setting it to an exquisite harp-like activity in New York City. But such a path even more desirable than Dvorak’s (dvor-shak) “Symphony accompaniment in By the Waters of influences are quite different from Bach and Beethoven—the path of from the New World” which, in its Minnetonka. Schumann interpolated lifting complete thematic phrases completely original composition. turn, was inspired by Negro folk The Marseillaise into The Two and accenting them in jazz time. melodies. A borrowing without any Grenadiers. Perhaps the climax of Whether or not the practice is good “Music is a spiritual art: it should ele- all is the simi- borrowing was reached when the is a question each one must decide geographical sense at vate and enrich life with beautiful thoughts, Shostakovich, used for himself regardless of the copy- larity between On The Beach at Russian modern, — feelings and experiences. These vital things Bali-Bali and a Swiss yodel. And Vincent Youman’s popular Tea For right law. In any event, it is a cus- seem to be lacking in mast modern music.” by playing with the notes you can Tivo as the theme of a symphony. tom that has taken root among our —Sergei Rachmaninoff.

arrive at Lehar’s Frasquita Seren- s Ysolls&s ade, My Little Nest of Heavenly fern's Blue, or the Cesar Franck “Sym- phony in D minor.” Popular songs have often been ou am Develop musical talent and appreciation while acquiring manufactured by band leaders, Paul a Liberal Arts education. Whiteman, Tommy Dorsey and others, who have simply played classic melodies in dance rhythms. Prepare for professional or teaching position by earning Whiteman made a great success with his arrangements of Pale Moon, a Bachelor of Arts degree with a major in music. Song of India, To a Wild Rose, and Chansonette. Martha came, ready- made, out of Flotow’s opera; Equip yourself for useful full-time service in the ministry Shabby Old Cabby from The Camp- bells Are Coming; while Tschaikow- of music. sky (tsha-e-kof'-shki) is originally responsible for No Star is Lost, Our Love, and Horses. A whole battery • • of nursery rhymes A Tisket, a no ae^difacrnaJ! coettf- Tasket, Where Has My Little Dog Gone?, Stop Beating Around The above regular academic tuition for private Mulberry Bush and so on—have instruction in voice, piano, violin, pipe organ, lent themselves to hits, even as Lucy Locket Lost Her Pocket lent or speech itself, long ago, to Yankee Doodle. It is amusing to see what can be done by rearranging those twelve little half tones of the scale. Sing Located in the beautiful Tennessee the dignified four tones of the Valley section the Old South. of Bob Jones College Westminster chimes. in strictly limits Sing them Bob Jones College is fully accredited reverse order, and its attendance to carefully selected you have How as a four-year institution by the students from the Dry I Am. Now sing this song in best homes in Department of Education of the waltz tempo, and you have The all sections of America and many State of Tennessee. Credits are Merry Widow Waltz. Berlin foreign countries. Irving accepted by leading graduate schools cleverly and frankly interpolated a in all sections of the country. bugle call into Alexander’s Ragtime Bob Jones College believes Band, and George M. Cohan created that cultural training and de- one of the finest marching songs of velopment of talent should go There. all time by using it in Over hand in hand with a deep, per- Another earlier Berlin interpolation sonal Christian experience and should be colored by is of Mendelssohn’s Spring Song in a Christian philosophy of life. That Mesmerizing Mendelssohn gracious form of Bob Jones College is a Liberal Tune, the most Arts College, and the wide legitimate eariely of courses offered includes: borrowing. four-year college comse . new . four-year high school nothing . Actually, there is comse . . four-year secondary

borrow- teachers course . . . two-year about the principle of tune and four-year elementary teachers

course . . . one-year ing. Haydn’s music is filled with business and secretarial course. Croatian melodies; the first phrase of the Austrian comes from a Hymn Address inquiries to folk song. The Star Spangled Ban- Dr. Bob Jones, ner is a taking over of John Staf- Jr., Acting President ford Smith’s Anacreon in Heaven. Bob Jones College Cleveland, Tennessee Brahms was markedly influenced by Beethoven, and the introduction to 133 FEBRUARY, 1941 $r

lively and entertaining half hour, The title of the broadcast of the The Musical Air Waves showing the many phases of camp fourth is “Songs of the Vaqueros”, Brahms’ Prickly Pet life: on duty, off duty, from rifle that of the eleventh “Latin-Ameri- ( Continued from Page 85) ( Continued from Page 82) range to parade ground, to mess can Music.” The Mexican vaqueros, and Milton Kaye, pianist, are the hall, and to barracks. Occasionally who are said to have laid the basis not the good engraver’s fault that performing artists. This is their third star entertainers from the stage and for the cattle industry of the West my own portrait is not enclosed. To- season on the air. The two artists radio are heard as they perform for and Southwest, created a large day, I almost regret that I behaved began their recitals two years ago, the entertainment of the soldiers group of passionate love songs, with my usual obstinacy (Brahms visiting relatives. satirical believing that the viola, although an and their songs, ballads of long trail hated to sit for a portrait) for on a important unit in the orchestra, was NBC’s “Music Appreciation Hour”, drives and legends of bandits and day like this you want to come as Fridays from 2 3 P. M. EST, outlaws. not heard sufficiently as a solo in- heard to On the broadcast of the much in person as possible. This may their broadcasts is scheduled this month for three fourth, a strument. Through group of four of these will explain my second gift. I still have sonatas for viola broadcasts February 7th, 14th, 28th. be heard. of old and new — The broadcast of the the autograph copy of my F-major and piano, they have stimulated, In the program of the seventh, Dr. eleventh will feature Symphony it to representative (the third) . Sending music of the viola, the inter- Damrosch will conduct the seventh selections in the from the works of Chavez you makes me feel that I am heartily general listeners, but concert in Series C and D, which is Villa-Lobos, est not only of Revueltas, and others’ shaking hands with you. More is not also of composers and musicians. concerned with “The Musical Forms” “Negro Spirituals" and “Religious meant by it, and now I make room This season they are playing sonatas and “Lives and Works of the Great Music' are the titles ot the pro- for the next speaker.” the recognized classic and mod- Composers.” The first half of the grams of by the 18th and 25th. Fea- ern composers, as well as introduc- Brahms, the Severe Critic ing compositions by young contem- Ui,auci Uflcu W - , Ol cUims poraries who have been inspired, vite young musicians to his table- through these programs, to write for But discussions with him were ex- the viola. tremely difficult for these young Recently we spoke of Russell Ben- men > since Brahms was convinced nett, the' American composer, and that everyone should go through as his radio program called the “Rus- difficult an apprenticeship a s he sell Bennett Notebook”, heard Sun- himself had done. Gustav Jenner days 7 P. M., EST over the Mutual (yen'-ner) had a painful experience As a sponsor of novelties, network. in this who held for connection. Brahms, Bennett has few peers. Fan mail * Jenner in high esteem, had offe reC a radio show being somewhat of a to take him as When Jenner novelty for him, he seems to have a pupil. came to every found inspiration in the letters of Vienna, he received material his teacher, his admirers; for recently he se- assistance from who helped and eve lected a typical letter, used its con- him find rooms procured allowance tents as lyrics, and arranged them a small financial tor him. Jennei in a composition for chorus and But about his work never w° r“' baritone. The new Bennett work, heard an appreciative °n the bombard untitled at the time of writing, will contrary, he was with om probably have been played and sarcastic criticisms. It was when he treatm heard by the time this is read. Our had suffered this tor a e point is that the “Bennett Note- whole year that Brahms Plained ' book” is quite a show, and our his behaviour: “You never »o readers who are interested in novel hear a word of praise me. if y phases of Americana may do well to y oll canno t endure this, spend a alent deserves half hour with the com- to perish.” Hptl poser and his orchestra. Since the Anotller young man who 0 shared r debut of his show, Bennett has re- his meals with the was Eusf ceived many comments on his mu- the music scholar Y;), sic, his arrangements, and his Mandyczewski (man-de-chet edt wh ° , ability as a commentator. Most of was later to become the off them are favorable, but a few writ- the Collective of Bl9 Edition J re- ers have complained of the modern- present four excerpts works. program will While still at his sum»f. r ism of his American However, “Carmen”, and sort music. from Bizet’s the Brahms arranged to meet jLot there is dy always room for a diver- latter half will be a Wagner pro- for lunch Hedge . at the Red eJ) gence of opinion on radio shows. gram, presenting Siegmund’s Lie- m the r h good old way," f° ,ful , ; rt A defense conscious nation has from “Die Walkure” and loyed ia> beslied the posers. European com- discussing with this Ln' been given a chance to get an in- Good Friday Music from “.” foilower cone On New Year’-? various problems ), side view of Uncle Sam’s expanding The broadcast of the eighth is con- ng * well T° the , - know ny Martin, history of music, W e military camps in of Series — singing a couple pro- cerned with A and B “Or- radio, aS Q f ne also -.» returned SCreen a was keenly interested 9 grams heard lately on the air. The chestral Instruments and Voices” to the nd pvei, Mteen air Mandy to id minutes ways knew how lt “Vox Poppers”, as the Columbia net- and “Music as an Expressive Medi- of ,^ ln Wednesdays p0D " music ?°ke, and with Brahms outfit ( 8 a on him work calls itself, has been um.” On the first part of this broad- to f.S indulge with P ' teasing- „t David M " EST in his love of jumping around lately on Thursday cast, music for the trombones Rose and i, ), and hlS composer, to ‘ s applying °r<*estra for instance, liked t evenings (7:30 to 8 P. M., EST) from the tuba will be featured; the latter accompan?m , he a some young his eo» 0 one military post to another, query- half will illustrate aIs ° man with “Human Emo- the 11 women’s choir which ing officers and “non corns” on the tions in Music.” The broadcast of ducted. duties and delights of the army. the 28th, again Series C and D, turns Sometimes the simple re^tie* And the Mutual broadcasters have at first to “The Symphony”, with was used for been giving us the color and human two movements from Beethoven’s Reaching even greater Your ” S pe ’ after exquisite interest of life in an eastern mili- “Symphony No. 2 in D major”; Goal „ an ,u# and (Continued nee of camp on Sundays (2 concludes from P Brahms’ “Quintet in ® th® tary training with an all-Brahms pro- age 80) EST). The emcee of gram-two movements Clarinet and Strings" . -30 P. M., from e , 2 the work Worries Jna c programs is Tom Slater, “Symphony No. effects about .k*m the latter 2 in D major” , fl r6 pi Quartet and thPse and ar e. an ° ® clarinets, ld York) voice. the Hungarian at b ‘“hmc < Muhlfe Le*' WOR (New Dances, Nos. 5 and est nf ch Richard “. familiar 6. ®p ’ the r to him the broadcasts Columbia’s “American School most important “nine of ‘Wivest ar A flexible basis, with no the Air” has four “s °f Vienna's musical tf**, * hnflt on a programs in its tlC sY best degree p°Wers ' here or pattern-iust a Wellsprings of Music for February. of Tlf to fh" to entertain i» . "“la 1 Sed le composer. occasi° Iau On this sex suffered some dis»PP 134 (’Continued on Page W 1

OME SEVEN OR EIGHT YEARS we suggest spending the one or two AGO dance orchestra leaders weeks of their summer vacation in S “discovered” the guitar and Fretted Instruments some city where they may gain the were happy to add to their existing benefit of expert instruction and ad- ensembles, this new musical voice; vice, taking a daily lesson during the sonorous, enchanting tone of its this vacation period, which would strings blended beautifully with that The Orchestra Guitarist prove time and money well spent. of the other string and wind instru- The beginner should by all means ments and provided a background start his .studies with learning to By Cjcorge ^ JCricl impossible to obtain from any other read music, just as a child should source. In recent months this sit- learn his A, B, C’s in order to read uation has changed somewhat, and answer, guitarists. What do you in- Now we have learned from many and write; there is nothing secret here and there we find some orches- tend to do about it? Are you going years’ experience in playing and or difficult about it. Persistent daily fretted tra leader of national fame skeptical to let the guitar, an instrument ca- teaching the instruments practice will soon bring about re- about the value of the guitar in pable of great artistic possibilities, that there are no short cuts in the sults. banjo into study of instrumental music, not if dance ensembles. Now what is the go the way of the tenor After the rudiments of music are one wants to amount to something. reason for this turn about? Let us gradual oblivion, or are you serious thoroughly mastered, scale practice there some students not put the blame on the instru- enough to study it as earnestly and True are who is in order; beginning with one oc- the professional pi- can omit certain exercises, which tave and later ment itself. The American manu- thoroughly as extending to two and the instru- may be necessary to others special three facturers of this instrument have anist or violinist studies — octaves. The production of a exercises that are intended to made wonderful strides in develop- ment of his choice? good tone should be carefully stud- strengthen finger is weak on ied. ing an orchestra guitar which has Among some recent letters ad- a that An energetic movement with some hands or for some other rea- no superior anywhere as far as dressed to this department we found the plectrum across the string down- son but these fingers are usually workmanship, tonal volume, or tone one in which our correspondent — wards, directed towards the next to play the guitar taken care of by a competent and higher string, will quality is concerned; and electric asks: “To be able produce a fuller orchestra is it necessary conscientious teacher, who is in a and rounder tone than picking amplification has given it enough with a good the read music, or is it suffi- position to select just the right stud- string with the hand moving up- power to hold its own against trum- for me to sym- ies for each individual pupil. wards away from the string. It is pet and saxophone. cient to play the chords from well guitar about Once you have decided upon the to use down strokes on all notes During a recent conversation with bols? I have studied the for play any chord pos- orchestra or plectrum guitar, place some time; and when scales can be the writer, a well known band a year and can symbols only.” yourself in the hands of a reputable played in this way evenly and leader discussed the merits of the sible, but have used remark made teacher, have him guide you in the smoothly, then the alternating down- guitar and did not hesitate to put This reminded us of a educator, who selection of a good instrument and up stroke may be used. The right the blame right on the players by a foreign music this country then follow his instruction to the hand always should be held in themselves. “I am fond of the gui- spent some time in a re- asked what im- letter. If no teacher is available in laxed position; and a flexible tar,” he said, “but to find a guitar- teaching and was wrist about the Amer- your vicinity, get all the instruction helps materially to simplify execu- ist, who is musician enough to pressed him most many of books possible and study them care- tion. measure up to the other members of ican student of music. “Too short cuts,” he fully and slowly, skipping nothing. A good tone also depends on my band, is like hunting for a them like to take the To those studying without a teacher ( Continued on Page 136) needle in a haystack.” Here is your answered.

A Teachers Diploma

* ABaehelors Degree 11IN1 1MUSIC In "Vour Spare Time at Home

to you. This great musical organization TTN EVERY COMMUNITY there are ambitious We offer them without obligation now in its 37th suc- M men and women who know the advantages of cessful year—has developed and trained many musicians giving instruction in music by and many successful JL new inspiration and ideas for their musical ad- We are the only school teachers. To you we offer the same which includes in its teaching advantages vancement. It is to those our Extension Courses are the Home Study Method which have been given to them. Degree of Don't wait of the all the courses necessary to obtain the Bachelor any longer! The coupon will bring greatest benefit. you our catalog illus of Music. trated lessons and information about the The most successful of course, is the very lessons which musician, will be of untold value. one. extra time for busy Yet he is the one who finds Openings in the music field are This Is YOUR Opportunity Mail something worth while. And to such a one Extension growing very rapidly. There are — the Coupon TODAY 1 courses are the greatest boon. It isn’t always possi- big paying positions for those UNIVERSITY EXTENSION CONSERVATORY, Dept. A-23S ble to give up an interesting class or position and who are ready for them. 1525 E. 53rd Street, Chicago, Illinois. instruction. go away for Please send me catalog, iple lessons and full information regarding Do you hold the Key marked with an X below. course I have The home study method is equally advantageous to Piano, Normal the amateur. Because the work can be Course Trumpet Cuitar the beginner or to the best teaching for teachers with no interference Cornet Ear Training and done at home in spare time, Piano, Course for Voice S 'Sht each may .. Singing with one’s regular work, many minutes day position— a Diploma? Students r-i History of Music U Mandolin waste. Public be used which ordinarily go to School Music Choral Conducting Saxophone Harmony Piano to YOU. On your Clarinet Accordion It is up Banjo Last Year Adv. Composition Violin Look Back Over the own decision will rest your Reed Organ future success. Fit yourself for Name made? Ferhaps you have ...Adult or Juvenile What progress have you position — demand be- a bigger Street wanted to send for our catalog and sample lessons No. . larger fees. You can do it! fore just That is your privilege. — to look into them. City ...State has Resulted in . The Requirement for DEGREES Are Increased you teaching now? Tr COURSES offered by it so, how many pupils have Larger Demands for the ADVANCED y0u? Do y°« hold a Teacher's Certificate? Have you studied Harmony? CONSERVATORY Would you like DLve UNIVERSITY EXTENSION t. the Degree of Bachelor ILL. of Music? - E. 53rd S T.. CHICAGO. ( Address Dept. A 1525

FEBRUARY, 1941 135 ~ - JUILLIARD SCHOOL OF MUSIC Morning at Valley Forge Ernest Hutcheson, President i — ( Continued from Page 77) spiritual revivals in all history in which musicians will have a glori efforts, but with JUILLIARD SUMMER SCHOOL something more ous opportunity to take part, practical than our seared imagina- Director George A. Wedge, tions. Most of all is it necessary to keep ourselves fit by keeping our July 7 to August 15, 1941 The Orchestra Guitarist balance. One way is to fortify our- 135) Accredited music courses leading to diplomas, teacher s selves daily with the works of the ( Continued from Page certificate, and Bachelor of Science and Master of Science masters. However mortal the crea action of the left hand fingers. These degrees. Instrumental and vocal instruction for beginning tors of these works may have been, must be trained to drop onto the and advanced students, repertoire classes, methods and the compositions themselves were string with a quick movement, hold- materials, public school music, theory, composition, and conceived in the sphere of divine ing the string firmly for the dura- musicology. Department for high school students. inspiration and are among the tion single greatest anodynes for wounded of the note. Once the Catalog on request souls. string technic is fairly well estab- know lished, the formation We a man who was a fair study of chord Avenue Room 122 New York, N. Y. is the 120 Claremont performer in his youth. Overbur- the next step. Begin with three the dened with business cares and principal chords in all caught in naajor them the maelstrom of the and minor keys, study world tragedy, so that is he suddenly observed you will know every note nORTfl PARK COLLEGE that he was used then gradually “breaking un ” to make up each chord, E. Clifford Fears, insomnia, loss ot memory proceed to their inversions and al Toren, (rayed nerves, other in excitability fright chords that may be found Director ' ened him The family all er doctor wisely positions on the guitar fing the board. 111 chords careers in ‘wowo weweekseks In thenne playing ofoi cnoiu- Trains students for active musical U , , with , E?the Sidea of lettloff T .a . . field. Progressive faculty. Conserv- Professional building important their chosen A up his resis- hand again plays an atory occupies own building. Piano, voice, a role is «' brass instruments, church rest cure ’ espe oially Barre violin, cello, reed and School of Music - Toward when the music education and r and choral music, theory, 6 Pe 0d he com qulred to two o expression. Fall semester begins September 16. in a University Environment menced hold down firmly worrvhT J iF ' S “ ore finB e1 Write E. CLIFFORD TOREN, Dir. physician asked strings with the first For Free Bulletins Write Northwestern University the Pnatientv T 3201 Foster Avenue, Chicago, Illinois. hat To ‘rain this School of Music. EVANSTON. ILLINOIS ; Was her the first finger for P^ . htband s hobbT wn he Iound iS advisaWe to begin S“wasmusfc h fir tmsxMmmmaimsmmmswmm institute of ^B8eSted that ST*Slmple four-string chord on he nrmAiT be encouraged’ totn m ! and play daily second, third strings UblKUll MUSICAL ART also that he be and and fourth f L. “elude the DR. FRANCIS YORK, Chairman number of Idern 1?“ With a the notes on DR. EDWARD B. MANVILLE, President rec S1Xth ords and new ~ strings - Havin £ of Music Schools. music Member of the National Association "h^kS aVh con of Music and Dramatic Art. might that USh know of chord Founded 1897. All branches interest him ledge School of Sacred Music. Faculty of 70 artists. Accredited - Af ter° Structlstrn °t° ' a 0n°h, time shortShort ’ it necessarynecessai. OBERLIN Teachers' Certificates. Diplomas and Degrees. he was spendingbendingpending “ is now mnetm„St, , . urni>HJ“ Fn „ ...... °n H. B. MANVILLE. Business Manager evenings ° f his from MUSIC 52 Putnam. Detroit. Mich. at qulck changes CONSERVATORY OF the kevhnn a S lots course ^ In ° ld t0 requires 10 College of some the another which A Division of Oberlin months h btof was effected, recover faience, and ha Thorough Instruction in all branches and with y persistence of music ... 40 specialist teachers nr° cal Per ma di- WOTk ' . treatment . concerts BALDWIN-WALLACE . . excellent equipment . . he wl? by world-famous musicians and organ- “ 8 Chan recitals OF MUSIC man welcomed . eed izations . . weekly student CONSERVATORY by his ... attracts o for these reasons Oberlin BEREA, OHIO (suburb of Cleveland) picious „°rmerly sus- Practical Requirements serious and talented students. De- friends, and ’ grees: Mus.B., School Mus. B., A.B. Affiliated with a first class Liberal Arts College. Prosperous far degrees. Faculty business. in JThe so with music major. Write for catalog. Four and five year courses leading to suggestions made informa- of Artist Teachers. Send for catalogue or Music and Uld itiob tion to: music proylde’T solid'"founds- Berea, Ohio Study at th . un£ ALBERT RIEMENSCHNEIDER, Dean, Present °h wond crisis " B°° d guitar tec a kmd of ?“'"“b ec0dmesm es be bTmbl“U Tut^* insurance ' and the serious stuaemstudent tai and agS?ainst tt.h!he nono„W spiritual calamm men- want to g0 ahead and study hour Investment “ of the *>£ in 2 ““Positions written for guitar ls tally b Insura ra QlpfaplandJnHtitute of(Duoir as necessary nce Begin with and S in a thTeasv ones i great emergency period Pally s* L . of develop the Lmtv to n>» Confers Bachelor of Music Degree, Master of Music Degree, Artist Diplor fl °° d ° f A Faculty of Nationally Known Musicians Parents apd ^eate^difflcuKy. Cleveland, Ohio SaTingS be °°me an asset t0 BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, cal SjutnT? tatoST- band 1st * 111510 1 01 F' Study for radi ° orchestra, js. their ’v,? and m„ ahie *. C l dren lay sol° contributing F are not occasiona ' to oniv be F I1 e gotten your copy of he ahi°le to o> Have you social happiness transpose from .gjit advantaee F ano, h to° ' "HOW TO BUY A NEW PIANO" fording ' bUt a d another a good them ®, “ also r nd be a research by THE ETUDE Slcal f an interesting little booklet prepared after extensive protection and m addition to his oth in from d psychimi com Music Magazine giving the important facts to be considered making a unknown " PhShmentsV to which - order » satisfactory choice of a piano. Etude readers may secure copies without in wef‘ ^ “om 51 charge by addressing Washington's Beneration ?”0 C °pies it 18 wisri be abl musfc to haS U MAGAZINE has * in read notes in the tte THE ETUDE MUSIC been . fosterw and . 1712 Chestnut St. Philadelphia. Pa.

The Joy of Making Music « is pleasure in attending concerts, or listening “!?""« •Of course, there IC“» ..i o;™ pleasure is so full C&1 oi c ,,i . music . or singing, but no and so Pnquesti ng hand profit- °ned Patri- Shipment of an 1 in making our portunitr U int'°te guitF withal, as the joy vie get own music. Again I tlbs rity succe^r hip a . expec ting to 00 buy only one piece of furniture fo°ve H h^ op. +hnt if you are to for y0Ur S d h fd ® ESS* - als h °ld " ."-Frank Crane. conceived May a nd h ' S °m ” f piano our tent 1 it 6e a i gre "home, let ' mu°io “tbtfothe and pl ayer land Clan with the Peace,Peace — 101AU1f , bera . ice or tianv, 01of iivi„^, ' \brme .... £harmony an orchestra C°llcep * "The mornin^worw. ts of 01 the day ls 30l '' lit music !’ on ab0" 1 ylr. Geoffrey Shaw button is played, and the augmented Accordion Chords fifth is combined in the harmoniza- tion for the right hand. ( Continued from Page 1311 We urge accordionists to make a a C major scale with abbreviated thorough study of these intervals, as names of the various intervals. All AMERICAN they are the basis of all chord con- other major scale intervals are struction. Accordionists should also named accordingly. By again con- devote some time daily to the study sidering formation of a major the that they CONSERVATORY of chords. We suggest triad, we have the definition that it write a complete chart of all chords 1 consists of a root, major third and in all keys, using the illustration perfect fifth. this article as an example. e/ MUSIC with Ex. 2 Pietro Deiro will answer ques- CHICAGO 55th SEASON tions about accordion playing. Letters should be addressed to Accredited courses in piano, vocal, violin, organ and all other branches of 1712 Music and Dramatic Art leading to him in care of The Etude, Chestnut Street, Philadelphia, DEGREE—BACHELOR OF MUSIC Pennsylvania. DEGREE—MASTER OF MUSIC

M mil M 7th P octave M «th M 10th Under Authority State of Illinois at Minor scales contain minor, ma- Instrumental Music Unsurpassed faculty of artist instructors, many of national and reputation. jor and perfect intervals. A minor international a chromatic High School interval is smaller by John Adams Thorough preparation for concert, radio, opera and teaching posi- Ex- half-step than a major interval. Page 129) tions. Weekly recitals, lectures, school of opera, training in students’ ( Continued, from ample 3 a C-minor scale with symphony orchestra, bureau for securing positions. shows avoid having more than one person for the intervals. abbreviated names school instrument, as it is are use a All other minor scale intervals concentrate responsi- from difficult to SUMMER MASTER SCHOOL so named. This scale differs of that instru- bility for the care the major that the intervals of Summer Sessions May 15 to June 25, in ment. Three — the seventh are all August 7 and August 8 to September 18 third, sixth and careful system of grading has June 26 to of a A minor intervals. The intervals out for pupils of band been worked Special Summer Courses in Public School Music. School of Acting. Chil- fourth, fifth and octave are perfect merits and orchestra, and while the dren’s Musical Training (.Robyn System), Class Piano Method (Oxford) intervals as in the major scale. We of different grading systems always now have the definition that a mi- has Member of the National Association of Schools of Music will be debated, our system nor triad consists of a root, minor maintaining proved effective in Send for free catalog. Address John R. Hattstaedt, President third perfect fifth. and standards of musicianship. Perhaps outstanding features of Ex.Jl one of the AMERICAN CONSERVATORY OF MUSIC privilege of re- this system is the that if a Hall, Chicago, 111. testing. I have long felt 575 Kimball in his pupil is given a low grade deterrent first test, it may prove a Therefore, if he to his development. knows that by working to better another himself and by having ISSMOPOLITAN 6th octavo 41th in 10th he will SCHOOL OF m m 7th P M chance for a better grade, MUSIC incentive to improve ®e A diminished interval is a chro- not only have to the general perfect himself, but add Paul all branches of Music. Certiflcutes. matic semitone less than a lumas entire organization. UNIVERSITY ami degrees, liosinible board or minor interval. We find then that worth of the accuni|i""d"ilous. Located in drmn- point system using a t the definition for a diminished triad We are also E, 306 S. Wabash Ave.. Chicago. School, one that is that it consists of a root, minor in the John Adams THE SCHOOL OF for three semesters. third and diminished fifth. Notice has been in use and was be- MILL1K1N CONSERVATORY OF MUSIC that the next smaller interval than It entails a lot of work, DECATUR, had Htu&ic ILLINOIS a major is called only after a questionnaire a minor, but the gun Oilers thoro training in music. Courses lending offers accredited courses in Piano, Voice, its desirability. Bachelor o f Music Degree. next smaller interval than a perfect been issued to gauge Diploma and CeUifi. Violin, Organ, Public School Music, cate in Piano. Voice. Violin. Organ. the Puhlir 1 is called a diminished then, depends on Music Methods and Music interval. Grading, Harmony, and Orchestral Instruments. Kindergarten Methods total num- Bulletin sent free An augmented interval is larger merits and demerits and Confers Degrees of B. M., Ph. B„ and upon ra/uaU W. ST. CLARE by one half-step than a perfect or bers of points. Taken into consider- M. M. M1NTURN. Director major interval. An augmented triad ation in this point system are such Distinguished faculty including defined as consisting of a root, items as discipline, practice, test re- ARTHUR C. BECKER is LAWRENCE COLLEGE major third and augmented fifth. sults, attendance, extra activity or SERGEI TARNOWSKY Standard accordions do not have responsibility within the organiza- MME. MARIA KURENKO CONSERVATORY OF MUSIC APPLETON, WISCONSIN special row of buttons to play aug- tion. RICHARD CZERWONKY a Carl J. Waterman, accordions Above all, group spirit is fostered. WALTER KNUPFER Dean chords. A few voice, violin, mented nurses in piano, 'cello, nruan ih,.,.,- ibllc school music and extra row There are no animosities nor pref- SAMUEL A. LIEBERSON choir directing leading with the s t,',1 have been made uchoU.r and Master degrees. proved erences. There are private confer- buttons, but they have not The Dept, of Drama offers a 3-year Course Of family is they are more ences, and support of the to be so popular as Address Registrar for Bulletin standard sought. The teachers and supervis- Answering Etude cumbersome, than the Adver- 'll in ors are imbued with the idea of DePAUL UNIVERSITY provision has been made tisements always pays L type. A pupil Room 401, 64 E. Lake Street, Chicago, 111. for making a good citizen of the standard accordions, however, and delights the reader, a good musician, and f jj chord, as the dom- as well as the augmented good living omitted in traits of character and inant, or fifth, has been are engendered in every way. Atti- Friends the combination of all dominant Tell your Music Loving about THE ETUDE and ask them to give manners, and general This permits the tudes of mind, you the privilege of sending in their subscriptions. seventh chords. are sev- behavior are not neglected. We substitution of an augmented Ask for Catalog of Rewards for subscriptions you send chord not regimenters; we try to be build- enth chord, which is really a wholesome, vital young citi- THE ETUDE 1712 Chestnut Street Philadelphia, Pa. °f the seventh with an augmented ers of fifth. The dominant seventh chord zens. 137 February, 1941 The Value of a Symphony Orchestra WHERE SHALL 1 GO TO STUDY? Mr Lewis H. Clement, formerly conductor of the Toledo (Ohio) Symphony Orchestra, has sent us the striking letter of the late Theodore Thomas presented here- Clement has repeatedly fostered the formation orchestra in this Oh' of a symphony a“tlW ead’ been -? “ Lak = Erie, which for some years has mll-i^ surh a 2 r M co (Western) "r,but,on to in its sponsors ; Private Teachers DR. FRANCIS L. YORK 3 many phases. One of his was the lamented Th 1 Advance Piano Interpretation and the Theory work x d° r e h°n’as <»'e which T . of the greatest orchestral conductors required for the degrees of Mus. Bach., Mus. Mas., x our coJtrlTnscountry has t,Iiknown, i who m March of 1903 : ROSE OUGH and Ph. D. in music. x wrote thus to Mr. Clement: - VOICE DETROIT INSTITUTE OF MUSICAL ART x Detroit, Mich. « " Former Assistant to Lazar S. Samoiloff in Hollywood Reopened Her Voice Studios of * Private Teachers (Eastern) • 1931 —8TH AVENUE OAKLAND. CALIFORNIA Telephone Glencourt 6115 EDNA GUNNAR PETERSON BARBARA BLATHERWICK ; Recital - Coloratura Soprano - Opera CidZufo*, x Concert Pianist—Artist Teacher „ Teacher of Voice » 229 So. Harvard Blvd. Los Angeles, Crtnsyyu***^ m Calif. The Italian Bel Canto, founded on the * f M PE. 2597 principles of Manuel Garcia * 121 Madison Ave. New York Murray Hill 6-6963 * 3 LAZAR S. SAMOILOFF * Voice teacher of famous singers KATE S. CHITTENDEN 3 x From rudiments to professional engagements Pianoforte — Repertory — Appreciation " Beginners accepted. Special teachers' courses M THE WYOMING, 853 7th AVE., n ** x 6IC So. Van Ness Ave., Los Angeles, Cal. NEW YORK x & 1*1^, $ ELIZABETH SIMPSON ; ALBERTO JONAS 3 " Author of "Basic Pianoforte Technique" Celebrated Spanish Piano Virtuoso = Teacher of mony famous pianists " m Teacher of Teachers. Coach of Young Artists, 19 WEST 85TH ST.. N. Y. C. Tel. Endicott 2-2084 - Pupils Prepared for Concert x Work. Class Courses On Tuesdays, and Wednesdays in Philadelphia, as " x in Technique, Pianistic Interpretation, Normal Director of Piano Department in the Combs College H m Methods for Piano Teachers. of Music, 1925 Chestnut St. "

" 609 Sutter St., San Francisco;

2833 Webster St., Berkeley, Cal. (Frank) (Ernesto) „ „ LaFORGE-BERUMEN STUDIOS ^ Mo (lb ; Voice Piano Private Teachers (Mid.West) — . ; Frank LaForge teacher of Lawrence Tibbett since 1922 x 1100 Park Ave., Corner 89th St., New York x Tel. Atwater 9-7470 - ! MAE ELEANOR KIMBERLY Coach—Accompanist— Pianist EDITH SYRENE LISTER |J

M Studio—Room 422, Fine Arts Bldg, AUTHENTIC VOICE PRODUCTION x " av~ x 410 S. Michigan Ave. Chicago, III. 405 Carnegie Hall, New York City Jt ^ OTuuiiy h Tel.—Wab. 7579 Home Tel.—Gra. 1547 { Endorsed by Dr. Ployd S. Muckey m Lecturer Voice Production, Post-Graduate x EVANGELINE LEHMAN, Mus. Doc. Medical School, New York City x " Wednesday: Troup Music Studio, Lancaster, Pa. h COMPOSER and VOCAL COACH Thursday: 309 Presser Bldg., Philadelphia, Pa. „ Dr. Lehman has coached some of the most famous singers of the Paris Opera. Terms on M Grand > application. RICHARD McCLANAHAN Pfy-aJ*. Representative TOBIAS MATTHAY **y h 1*7 Elmhurst Ave., (Highland Park), Detroit, Mich. ^ lessons, class lessons in Fundamentals Private M for teachers Lecture-demonstrations M 806 Steinway Bldg., New York City 3 ARNOLD SCHULTZ M « Teacher of Piano " Author of the. revolutionary treatise on FRANTZ PROSCHOWSKI ! x piano technique Vocal Teacher x "The Riddle of the Pianists' Fingers" M x published by the University of Chicago Press 200 W. 57th St., New York x * Tel: COLumbus 5-2136 m 622 FINt ARTS BLDG. CHICAGO, ILL.

h RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., EDWARD E. TREUMANN ] " Dean Concert Pianist—Artist-Teacher Central Y.M.C.A. College * Recommended by Emil Von Sauer, Moritz Moszkowski n School of Music and Josef Hofmann. x Complete courses leading to degrees. Coeduca- „ Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. x tional. Fully accredited. Day or Evening. Low tuition, N lei. Columbus 5-4357 New York City x x Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois Summer Master Class—June to Sept.—Apply now. x

Private teachers in the larger cities will find M ; RUSSELL A. WOOD this column quite effective in advertising theii « n Teacher of Voice " courses to the thousands of Etude readers * School of Music * Central Y.M.C.A. College who plan to pursue advanced study with an JJ teacher from x 1234 Kimball Hall Chicago, III. established away home. *

Make THE ETUDE Your Marketing Place. Etude Advertisers Open the Doors to Real Opportunities

ns 9 )

neighbors at table, he chose “Miss New Discs with Clarinet” — as Miihlfeld with his heavy dark beard was nicknamed, ’ Charm softness of Distinctive thanks to the wonderful SHERWOOD DEVELOPS TALENT! (.Continued from Page 124) his tone—and a little-known clar- shortly inetist named Steiner, who For over 40 years Sherwood- Music Accredited instruc- “The Moussorgsky’s Song Cycle, before had performed the same work School has been preparing ambitious tion. Courses lead ,T#W Nursery”, has far more appeal for with the Rose Ensemble. During the young people for successful careers in certificates, diplomas, and degrees in teaching, radio, concert and opera, piano, violin, cello, voice, organ, wind adults, even though it does not rank whole evening, Brahms talked with church work, the theatre and motion instruments, theory, composition, pub- among most dis- especially with the composer’s his two clarinetists, pictures. Highly specialized training lic school music, conducting, micro- of tinguished works. Igor Gorin, the Steiner, to make him feel less out under noted American and European phone technique, dramatic art. baritone singing this cycle in an place in the brilliant gathering. teachers, plus the cultural advantages Dormitory accommodations at mod- Your talent deserves de- erate cost. Write for catalog. 410 S. English translation (Victor Album Musicians were not the only visi- of Chicago. velopment at Sherwood! Michigan Ave., Chicago, 111. M-686) playing came to see Brahms at the , obviously enjoys tors who men Institutional Member of the National Association of Schools of Music the part of the child who speaks to Red Hedgehog. Other prominent us, and within the limitations of the met him there, such as the play- who texts he succeeds in making the wright and critic Otto Brahm Brahms. MUSIC songs sufficiently credible. wanted to see his “genitive” SCHOOL Landgrave of Dusolina Giannini, with members Even princes — the RWOOD decided to pa- of the La Scala Orchestra and Chor- Hesse, for instance— restaurant for the —=JL ILLIARD SCHOOL OF MUSIC' —=== us, singing the famous scene from tronize this simple composer’s society. So it “Norma”, beginning with the Cava- sake of the ERNEST HUTCHESON, President that the graphic tina-Casta Diva (Victor disc 17503), is not surprising reflected Brahms’ is heard at her best on records. Al- art of that time with his favorite restau- INSTITUTE OF MUSICAL ART though hers is both a credible and relationship Bohler made a charming GEORGE A. WEDGE, Dean artistic performance, one does not rant Otto Brahms accompanied feel her silhouette of instruction. Classes in Theory, Com- that the role of Norma fits the Individual vocal and instrumental red hedgehog. Faithfully, so well as it did Ponselle. by a position, and all branches of music education. the heavy tiny animal is following Courses leading to diploma and B. S. and M. S. degrees in instru- the same way, the simple fieure In departments. faithful to mental, singing, and public school music restaurant had been home in Brahms. It was a sort of Catalog on request. Brahms’ Prickly Pet of which the pleasant atmosphere Room 122, 120 Claremont Avenue, New York ( Continued Page 134) bachelor en- from the lonely and aging warmth and understand- uient, for when Brahms was asked joyed the good friends. which ladies he would prefer as his ing of College of Fine Arts SCMQIS—COllEJaES Syracuse University 5 Bachelor of Music . CONVERSE COLLEGE Music L^LgrCCi) . The World of Master of Music Piano, Piano Teacher Training, Voice, from Page 75 ) (Continued Organ. Cello, Harp, Composition, Violin, COLLEGE, DEPARTMENT OF MUSI Metropoll- Public School Music Galesburg, IU. of the large University. Special JameB MacC. Weddell. ri PONS soprano All the advantages of a KNOX Chairman. OSCAR STRAUS, a native of Vienna V Catalogue sent free dormitory, with 35 practice pianos for women upon reQueat and composer of “The Chocolate Soldier” music students, 5 pipe organs and many other operettas containing 0 SUMMER SESSION—July 1 to Aug. c Viennese waltzes, recently arrived in this mg brief For bulletin address SHENANDOAH co“ect."end , :iSr country from France where he became Sven Je Dean H. L. BUTLER dl the B. Mils,, and B. Hus. E°i" a citizen the day war was declared. In Room 3 5, College of Fine Arts deiree“ St! an interview with reporters he declared, Syracuse, N. Y. “America is the most musical nation in I remarked . Whm the are producing your he singer later world. ... You on great iome. Sweet Home M own great artists, great singers, igh program Sunday n C instrumentalists. have be- adio . i’ ell And now you as wwe M ti s i cTa n sh ip / le for me m words e meiUa ry and Ad^anced , new meaning Plano Playing gun to create a great American music. (New and Different) is in song.” ( not "do re • . . Only recently have you begun to SIGHT mi” Snot numbers imitation of Eu- SINGING break away from mere recently ac- ( not benjamin k. hanby was intervals rope Those who are most position- Teachers Bache- EFFA ELLIS in your music. “se ‘ ° , Joarees of PERFIELD officially as the “mp great American mowledged t*. SAcramento 2-4859 likely to become the Gray by the Stephen Nos Med”. Nellie 103 E. 86th St. ( begun Darling for Cotalo9-___^_ ___ Park Ave) composers are those who have to V/rite =_=r= =, New York City Memorial in Pittsburgh, in a lettei under the genuinely native ,er their work State Memorial in Westei- period." he Hanby influence of this recent years of contro- rflie, Ohio, after fifty siis but ieive rersy. wrote the song in 1850, town to m lhmire and Hanby " 3 Schoi n A E BALLADS ' HUNDRED OKIE CHILDREN’S !c ultv M,? Actliur. TWO great was its resemblance to Fosters TRAIN VOICES written by southern share- ;o High Grade Work—Excellent Remuneration Folksongs, that it was erroneous- St., migration to vorks in sentiment LOUISE WEIGESTER, 160 W. 73rd New York croppers during their mass composition. the y listed as a Foster California, have been collected m by two form of a phonographic library what was be- York THE BACH CIRCLE gave Music Lovers to earn LIBERAL COMMISSIONS instructors of City College, New perform- lieved to be the first New York securing subscriptions for THE ETUDE. Part and presented to the Library of “Mass or City, ance of Johann Sebastian Bach's full time. No Cost or Obligation. Write for com- Congress. Hall, on plete details TODAY! Address: in A minor, No. 1” in Town January 13th. CIRCULATION DEp’t THE WALTER W. NAUMBURG MUSICAL THE ETUDE MUSIC MAGAZINE announces its annual audi- FOUNDATION NORINA GRECO, lyric soprano of violinists, violoncellists ,ions for pianists, Italian-American parentage, who re- wishing to compete for its md vocalists ceived her entire musical education in debut recitals during Established 1857 Lward of New York is a member of the Metro- limit- this country, season. Entrants are he 1941-1942 politan Opera Company this season. Miss ages of sixteen CONSERVATORY id to those between the her operatic d6but as Violet- be Greco made PFAMnnV applications must uid thirty, and all “La Traviata” in 1937 and has 1 L/lUUU I BALTIMORE, MD. informa- ta in eceived by February 28th. For San Carlo and Cin- OTTO ORTMANN, Director Mu- appeared with the -ion, write Walter W. Naumburg the opera companies. of the Oldest and . l cinnati One Most Noted Music Schools in America >ical East Fifty-nint Foundation, 9 (Continued on Page 1441 Street, New York City. 139 February. 1941 G A ) :

CHARACTERS AND COSTUMES Monk : In the days of the early Music—A girl. Softly colored gown monks, written music consisted of and cloak. Carries a wand. queer signs, called “neumes.” Elves—Two children; one in pink Neumes were hooks and dots and one in blue. wavy lines. The trill sign of mod- Egyptian Musician—Sleeveless tunic; ern music was a neume. Think of sandals. playing all music from such signs Greek Musician—Draped white Gre- only! ( Plays Pales- cian costume. O Bone Jesu by trina. Exits. Musician 1000 A.D. Monk— ray robe and of hood. is shoion.) Musician of 1000 A.D.—Long tunic- Musician: From one pointed slippers. about the year thousand, musicians began to use Early Printer—Short tunic, long- lines to sounds. stockings, slippers. show the pitch of They also neumes Pilgrim Singer Pilgrim began to change — costume into Colonial Musician queer notes. Gradually, real — Colonial cos- tume. notes and the staff were worked out. The Child— modern ( Plays The Evening Star from girl; carries “ sheets of music. Tannhauser ”, by Wagner. Exits.) Early Printer ) Scene: ( stepping forward Two large screens, opening in center. Even after there were notes, music orchestra. And of course I love to Behind screens, dark Dear Liszt: back- was scarce. be by perform- drop; before screens, All of it had to Here I am writing to you, and it hear your things played throne left- hand piano and chair, copied. Although printing I began ers, not on records, too. I wonder if right. does not seem any time since was 500 your IMusic is seated at left, invented in 1440, about to write to all of you famous com- I’ll ever be able to play any of head hawed Enter years ago, music was not printed posers, starting with Bach in April, things! I have a simplified arrange- Elves.) until 1476. Even since music 1939. ment of your Love Dream; but I then, was hard to print, notes often ap" I guess you and Bach are just don’t care much for easy arrange- Elves: Good day. Music! But-whvy about as different as any two com- ments, I’d rather wait till I can play are you sad? posers the real thing. It is a great pity they Music: Alas, Little ever could be; but I know one Elves! To-dav a lived. child thing, you both wrote music that is did not have records when you received some musical pieces Let’s see, that was from 1811 to 1886, hey birthday. very difficult to play; that is, to play She cast them wasn’t it? I wonder how you would aside.^ She well, and I do not count any other said she wanted “ kind of have liked playing for recording and splendid gifts-not * playing. music! (B radio. head And then, there is one thing about playing on the again.) record, F T you (if you don’t mind my mention- But anyway you made one PlendldSiftS? she ing it) and that was being one of the great- Totknow? , you more or less forgot us players that ever lived; and Second Elf: juniors when it came to composing est piano Could you not her?n music. Now take Schumann, for in- that’s an ali time record, too. music lifts head ' sloicly ) Well, supper is ready and so, Good- Music ( eagerly stance, he wrote lots of pieces for us. : perh B n- T mind But here is one good thing these bye. I hope you did not my Why here she comes telling you a few things. lEnter child. ^ days, and that is the we hear Casts way sheetslf . From Junior. on piano. * , c your music on records. I got a beau- Music waves tiful new radio-phonograph combin- 4 b ation for Christmas; at least my gm^frTceived^ireh ^y crew through sister and I got it together; she likes centur^ just the same kind of music that I ! ^ do, and that means the very best. Waves wand towards picks up scree, Well, the studio that we can get the sheets again IT' Child clearest at looking at rl all times our radio them ht‘ on thoughtTm Ji happens to open screens.) * My. Elves be one that gives high Musicians of Other class records Egyptian U-rom a nearly all day; and I Musician (ste^ painting by loard) ~ just love it when they put on your , child, there 0 ,or WTTe Paared in piano concertos and things like that. cians in Egyptgy thm, m usi- the wrong pi P dS I aeo. Played from And know nearly every note that They ha printed i even VinsCn 7 e a comes next a ain ! it in your Preludes for the rough and tn was soi not bey “i-i-ect have did music—si written notes Q h music their ~° 0Uld was lost! °' be made, t (Ex°is trv ' Greek Life’s Music s«« M shown.) Mu- aidens by Perc\ Gkeek Musician: By Alethu M. Bonner There Pilgbim SUwer * dans in - smf’"GEIi: ancient musl When t is but score, Greece cam., Our life a music wrote °°- t0 music by Th <=y America they Which we may play at will. usina w noZl . °tthe S ’ '* USt letters they ° me tbe words tc lovely melody it is— or turned^ thevy A Upside down! sldewise, n , th ' with skill, Ume - yet, to play Play Imagine the And music tryin “ay , practice on our part. from B' CvVPsalm Book” nal i- for much ly ££ Th „ the control- letters that Specia l- 8ift of not, patience and heads! stand °n tin e\ Much ( Plays in ^eir America, i ever keep in tune Turkish iu b ’ must Greek Double Flute Rums rch v , Andwe Soul. of Athens" fr°m EXiU) instrument—The (See next column) Exits. . Our Monk Beethmen. cl st ‘ reveled!) ioaraZTLT ™ ' ’ There ioa were not ’ bllt great music 1 ) ™ -:

Class A, The Junior Etude . fourteen to ? ? ? Ask Another ? ? ? worth while sixteen years of age; The Gift that Changed award three Juiifnr Etude The Piano Recital prizes each month for the Class • B, e 1 e v e n to Class. 1. What is a sonata? ( Continued most interesting and fourteen; C, 2. is original stories or essays under eleven years. What an encore? Contest Names of prize win- 3. In the eighteenth century, the on a given subject, and What is meant by interpretation? answers to ners. and their con- 4. What is meant by rubato? works of Mozart, Beethoven and for correct all boys and tributions, will appear on this in puzzles. Contest is open to page a 5. Who wrote a series of pieces other great masters were brought whethei future issue of under sixteen years of age. The Etude. The thirty here. complete girls called “Papillons (Butterflies)”? Then your gift was or not. Contestants next best contributors will be given hon- a Junior Club member 6. Who wrote the so-called Rain —splendid music, shown in correct, age as follows orable mention. are grouped according to 10. Drop Prelude? understandable notes! ( Plays Min- SUBJECT FOR THIS MONTH 7. What is uet from “Don Giovanni” by Mo- meant by good tone on the piano? zart. Exits.) 8. What is an Etude? Child: How marvelous my birthday “J. u more Pun to list c to , 7fo,7) 9. Who wrote Clair de Lune? gift is! It is gift which grew and a Office, 1712 Clir mil Sir Philadelphia, Pa., not be received iior Etude Who wrote several Hungarian changed through centuries. Every All 15th. Winners will appear the Mi later than Rhapsodies? note—so clear and readable—is CONTEST RULES precious!! (Plays any appropriate modern selection, from sheets of music.) Musical 7 riangle Puzzle Elves: music! She appreciates her By Stella M. Hadden We’re so happy, we must play! Replace each note with a letter. (Play a duet. Stand beside screens.) The central letters, (half-notes) Music: How very happy this child’s reading down, will give an instru- birthday made me. For she has Schumann ment. Answers must give all words. has learned to be grateful for (Prize Winner in Class B) 1. a letter of the alphabet notes—and music! (Plays Moment Robert Schumann, my favorite composer, 2. a rapid, scale-like passage Musical Elves open by Schubert. who was born in Zwickau. Germany in 1810. 3. a chord of three tones cake, was a composer of beautiful piano solos who screens, showing birthday flute developed a free and new style in his melodies. 4. a player with covered ivith notes, streamers He was called upon to compose orchestra 5. the song of a gondolier Child claps choruses and songs. The musicians of emanating from it. music, 6. a composer’s supreme achieve- time thought his compositions were hands in glee.) the among the finest ever written, though some ment (Curtain) people found him hard to understand. But he did not spend all his time compos-

ing for large orchestras or advanced players ’ on the piano. He was big enough to love little e children and write pretty pieces for them. One 2 set of these pieces is known as the "Album r f r Schumann for the Young.” 3 His wife was also a noted musician and Lft (Prize Winner in Class C) played his works in many concerts. U Arkansas hi El Dorado. years sadly. Once he Robert Schumann was denied regular piano Juniors He spent his last few < Rhine River. He r lessons until he was nearly twenty years old. attempted to jump into the Lf z_r for the insane and died His mother wanted him to be a lawyer, but Mention for was placed in a home Honorable arms in July. 1856. he wanted very much to be a pianist. Finding in his loving wife's ' c_f r r fifth fingers were Puzzles: William Dennis (Age 13), H r dr that his fourth and unusual- November spring, which he fast- Pennsylvania. ly weak, he invented a Ernst; Jean Cripps: night, keeping Marjorie Jackson: Joan ened to these fingers at them Jendraslak. r c_r r strengthen the Betty Jo Teeter: Helen cr way to • lifted. He hoped in this Madigan; Florence D For a few nights It Mesman; Betty working joints quickly. Rose William Dennis: Mai to November Puzzle purpose, and he was Lane: Rita Raport; Answer seemed to answer its tin Fulkerson; Mary Eliza- never-to-be-forgotten Needham: Vada Jubilant. Then, one Timmons. in Opposites: poor o er- beth Long: Louis Bonelli; Betty morning, he awoke to find those Margaret Grimshaw; Muriel Rooff; Arlene Big: 2. Never; 3. Easy: 4. Vehement (or Answers lo Ask worked Angers strained and Jewell; Laura Ehrenfround; Anne Louise 1 Another on 5. True; 6. Open; 7. Early: 8. High; the piano. The one P Sherer; Carol Hartman; violent): again could be play Mary Lee Rombach; Initials correctly arranged spell BEE- 1. A composition for piano, him' 9. East. or for who could sympathize with Betty Kowalsky; Jane T. Pfanzelter; Betty teacher. H THOVEN. piano and daughter of his Jean Cooper; Mary Marellaro; Anna Mac- one other instrument Wleck, the make engagement to her helped to Dowell; John Edwards; Herman Achs. (usually violin), written according He is a gi eat ot the world’s greatest composers. timers for November well as h g Prize W to a certain plan with oomposer children’s pieces, as regard to ot Honorable Mention for in Opposites: themes, compositions. Puzzle keys, movements, and so on Hermande^Ag^lO)^ November Essays: 14). this plan Suzanne Class A. Paul Hammer (Age Nebraska. being called Sonata Form Dolores Tourangeau (Age 13). Dis- Roy Reneker; Muriel Rooff; Robert Dicken- Class B. Trios, string quartettes and sym- Dorothy Hamrick; Mary Elizabeth Long; trict of Columbia. sen; phonies also Caroline Henderson; Janet Wilkins; Marjorie Class C, Mary Bartlett (Age 10), Maine. are written on the plan Movane Lattimer; Justa Beth Lyle; of the Sonata Schumann Wilmot; Form. 2. A composition Dolores Touraiigeau; Joan Spreckelmeyer; Hear Junior Eti i«e : added, Class A) Lucille Stein; subscribing to Tiie but not included (Prise Winner in Sonya Goldman; Ruth Beane; I started Etude Music in the an- Anne Sprott; M.v.iAZiNE last year. I always read The piano Dolores Voss; Barbara Barbour; Junior nounced program. 3. The third year of my Cereghino; Etude, but never thought of writing to vou. attempt to In the ocnuulauu*£££n n'sa Mama Kunstmann; Audrey Ann h . n Ol reproduce „ eonv I like the puzzles and the letters to the the composition of Rose Lane; Josephine Connell; Marjorie Sim- com- just as Arst real piece posers the best. I play the piano, and 5w£cre! TW? wa“ the Jean Huebner; Margaret Mary Cahill; enjoy the composer intended song-llke char- mons; ft very much. 1 guess that is all. it to be I had had and the Dleckhaus; Lorraine Schumann gieatly. I ie Fred Beavers; Jeanuine From your friend. played, this piece Impressed me Briggers; with regard to shading, cli- acter of composei DeBoe; George Butler; Mary Elaine Utako MATS! OKO (Age 12). to find out more about its max, ritardandos, solved information Norma Faye Smith. California. accelerandos, and thus began my search for and other marks of about Robert Schumann. expression. 4. Slight very inter- The master. I discovered, had a variations in tempo as contrasted romantic and then tragic. esting life, happy, with of pieces written metronomic regularity. 5. Schu- Aside from the vast number wrote an opera, -Geno- mann. 6. for the piano, he also Chopin. 7. The manipula- music, many sym- veva” much chamber tion of the of keyboard in such a way songs. Even in the last years phonies, and _ both mentally and that the greatest amount his life, although afflicted of pure surrender his work tone Physically, he did not is produced with the least Triinmirn. I have played Since first playing amount of mechanical many Schumann, and in my sound, or compositions of clang. future music study he will always remain one 8. A piece composed to feature °f my favorite composers. a certain technical problem. 9. (Age 14), May Barbara Waher with Constabulary Band, Bacolod City, Philippine Islands Debussy. 10. Liszt. Iowa. Juniors

February 141 1941 s ';

CLASSICS FOR THE CHURCH PIANIST, Rob Roy Peery (Catalog No. 21440) (10c) Compiled by Lucilc Enrhart—There are and I Know That My Redeemer Livetli, many good musicians who do not realize from George Frederick Handel’s The that the master composers wrote, not Messiah arranged by Kenneth S. Runkel x 0 only much sacred music, (Catalog No. 21441) (15c). Where only fj fl ! O a but also much secular mu- treble voices are available the new Jj / / / \ sic that is as ful1 of spir O Morn of Beauty, the celebrated chorale y / / \ " / S 1 Aj\l/iyP/T yV \ itual beauty as though from Jean Sibelius’ tone poem Finlandia B/tyfyf) us is 9^ \ had been composed strictly wKL-' by H. Alexander Matthews, (Catalog No. for use in religious wor- D15046) (15c) should be most welcome, ship. This collection has ME The soprano or tenor soloist also can been compiled in an effort offer an excellent sacred song setting of bring into v to one handy o Morn of Beauty (50c). The organist ' volume an assortment of / a V appropriate mu- can program Cyrus S. MaUard’s new sic tbat sbould be welcomed by the composition No. / si '"vr A Easter Morn (Catalog /ivT I church pianist. (aL/Os**-^ 27099) (50c). This number also has sug- ^ ^ I Throughout this broad country there gested registration for the Hammond are many churches where the piano is organ.

USed Sunda services - Many church Any of the above mentioned publica- a unMTHl V BULLETINRIIIIFTIM OhOF INItKtOIINTFREST // pianistsT are often£ at a loss A MONTHLY where to tions may be had for examination from

fi d musicwhl h ’ besides being suit- the publishers. If there are any other TO ALLAll MUSICAAll^ir LOVERSIOVFRS / able,£ is within the^ ability of the average y Easter publications that you wish to player. In Classics for the Church Pianist look over include a rpnuest for them in they wm find this problem satisfactorily

S n “ce ent r THE COVER FOR THIS MONTH-February ^/J^vance 0 ‘Publication Offers “ P rarols, vocal andorgan solos?i^y dear to ^ Jf JJ sentation of such composersprs as Bach,= T your is a month that is particularly be had Free for for Hande!, Haydn, Beethoven, the askineg ‘ Send the hearts of patriotic citizens of the _ . „ .. Mendelssolm, copy now! Schubert, Mozart, Tschaikowsky, United States of America. The birthday —February 1941 etc., as wel1 as appropriate music by other of George Washington, February 22, re- writ- CLASSIC Far ers of unquestioned MASTERS niiFT ROOK of the books in this list are m worth Single copies minds us of the great struggle All of the by . _ Leopold The low of Classics for the Church u taxation preparation for publication. Pianist may s Colonists for freedom from Beer, eminent' European composer, b° without representation and other^yran- 50 S of Abraham Lin- C6nts 0 mes; tmd the birthday raade when the ?“«<* and ^'o aaid) vi fi be p Jpaid. ’ arranged them for P^ coin, February 12, remmds us of the Paragraphs de- duets col- ^ok are published. (for grades 3 and 4) This great sacrifices made that this nation publication follow on ‘ eCtion old scrib in B each LENTEN AND EASTER MOSIC-Thi, 00ntains compositions of the ^ ^ * equal thought he- "Sn^mfof pr ““7™^ * and his in- o “SrTp rograms than they Rameau contributions cause of the great ,?. had others. nting y a er TpnphpJe d®sir s the comforts and came m March, .°^ p ventions have made to the . pils 10 ^ best in h„ t puP^oU Own Bufc ifc ma e lals to their of life is Thomas A. Edison, Child;* be well enjoyments ilS to will find?h£ ! f ^ remember atlon rich is February 11. The fa- Beer 35 that P1 whose birthday Piano— . classic Masters Duet Book— ere while . eVer- .50 ^bls composiHnnnS ^h Church Pianist—Earhart £®||||glrNv short ’ mc^udin^ mous poet Henry Wadsworth Longfellow, classics for the month is popular nin ^ Eighteen Miniature Sketches-Piano-- W - over Ash forms whose birthday February 27, and other Wednesday ’ ^ Claslir c cUc- WlU S erS h great their names and Mueller.. 2.00 i / inaugurate DU6t B°°k Americans might have and Dances——Stecher ^ the ceeded eaua1 Songs—Borie season in makm L. n off Children's of . g both parts added to the list of February’s sons. Let s Stay Well!— Lentr—Feb- plavino- 2 ™ Easter J ’ 1941 and and Lincoln’s birthday is a legal holiday in Z 3 TSP *«Hs on April peiUmf Zfi Great ' 6 fallacy Pian a majority of the states as well as in a Tim;: Stories of the that the ° q^Iuton qn of tv, is the in. aacio Masters—Easy Piano Collection SomemP of those planning ™Portant Alaska and Puerto Rico, and Washing- Music to present i- .. part and the Lmtep °r Easter Sly an ton’s birthday is a legal holiday in all ^«1 cantatas already obbligato. These «***£ earsals finder ™ un * a f the states, territories, and possessions. — way. For choir- g v e both players d mQC +o,. c w a mem a a have to basis . Other great patriotic holidays are Inde- . ,. make a in ensemble playing especially directors choice nmir6 £ pendence Day, July Memorial Day, of volunteer the exchange pr°® ta 4; choirs’ r . of parts ?„i year of study to an we suggest that they b th 0 "”- May 30; Armistice Day, November 11; that bring another examine the In this volume is f or a tre- rantata new ev ?, recital a cowsert . ^by Lawrence reed'° and Thanksgiving Day on an appointed end. Yes, a Keating, The reCltal “aterial, sight in collabora 6°C) comnn“«P0 s* Thursday in all serving to re- mendous festival ' An ltlons and November, insP“ed . Pedaling, legato Spring, heo„fl falf set- cut f mind us not patriotic on those commencement in the tekts written Paying. just to be a by Elsie students. ae’ R its best for Pfesents this n , days but to patriotism alive, at , keep our „ f no difficiilHn„ ,, book is in preparatio of the time for so g. verage church Publication cr and so our February cover is presented But what organization single conies be ord -K director, offers snu may 3 best time for a most pieasing at tha a with the thought of ever living patriotism Winter is the variety “ special pri» ' activi- duets, trios of advance ^ash ” or pupil to plan Spring and choruses ' C6ntS for the ’’Sweet Land of Liberty teacher for an ’ postPaW appropriate music and start Easter Sunday effectotlve In the physical make-up of this cover, ties, choose musical program thus sowing a firm founda- ™0,>S the new EIG we have the art work rendered by the rehearsals, anthems HTEEN and „ , MIMati ui, cfftfHES. ' moie praise- pubhshed this a Tl RE Sk 1 Philadelphia Shaffer, tion that will insure a season for S Pi ,° artist Miss Verna Lent '? "no, b,/ . . This performance at the season s end. are Joy and EaaterR y , w ^t superimposed on a subdued rendition of worthy Dawned Again on »>e will be found”'"" . “t TVs a Fresser Co. (in a posi- by S. a splendid photograph of Independence The Theodore Wm Nagle (Catalog Panion work to ' to tion to help now, during the Winter, (15c); Hurt/ Ten 67> ‘ Tgl ad ^ Hall or the Old State House in Phila- Thousand Jor the If you Voices, youn sow your plans for the Spring by Russeil student ' delphia, which also is known affection- to Hancock Mitos?w These sST selection of music, Carol) ' hes have charge of the (Catalog Easte1 ’ whUe ately as the "Cradle of Liberty" because No. D15068) „J covering. ^° mixed, male v ' Declaration of In- whether it be choruses for Remembrance, In Ua funda here was adopted the Hymn from . mentals „c i° voices, solos for voice, piano Borman s m R techmo also was or female cantata .' R and dependence in 1116 and here Christ’s Word ' Phrasing l other instrument duets and en- me Cross ,rom essentteUy held the Convention which framed the or any (Catalog No Uttie band cuff? metod-dlC is sembles in all classifications, and Sing Alleulias, l5c) Bems with Federal Constitution. This photograph by Lawrence ’ titles ’ there are many (Catalog 'ir' snei? studios of Armstrong Rob- or orchestra numbers, No. 21455) attag as The Teaser, from the H. (15C ) ?p pro , ,, from which to d the Pennsylvania, and is excellent compositions Sorrow, a Good Cross 0/ Mea^ow, erts, Philadelphia, Fridav TT.m, Don n My 1 music clerks will as- 1 permission. choose. Experienced set to a well Anthe n Grlnder, used by known melS? m of i, , Song slst you in making a selection or if you Sibelius y 0f Har by Rob Jeai P- and . Roy PeSv ,o v > Franc Horses v — prefer, you may make up a list youi- D15045) ^ '^'-' atalog 10111®- SPRING AND THE BEST IN MUSIC “A (10c). n0 -rJ eji0^“ reaping” self from our catalogs, folders and de- For ’ 1 time for sowing and a time for the Junior Sketch ia prefaced by ® l i*' choir or thto stud?'' every bit as applicable to senptive circulars which are supplied church singers grou y m0tive is an adage lacking to f P of self ta>t™ from the other phases free on request. Whichever method you the men’s r6ngth nd music as it is to the many voices secSon to * b* a rhythmic pattel’» feel certain that can to ®m6y t day life. employ we we care new 3-part are be ®'a S our every (SAB) settL^T the „ yed or clapped The members for your every need in a most satis- of 1 student musicians and Lenten and Easter standard Ws comprising volub ® V F01por nZXf, this in schools, academies factory manner. Adore, from eiS: Thee out m i-oi P-VOUDS T™ grade e f musicag not write to us today, describing Dubois> 8ress Wlth an 0 is the time for reap- Why Last The *ve . k- s„ring Words of chritt Seven ascent t *J 0 fn - programs Bervice” real, means, _ ~ ^ y cas a C n price Of 20 cmte a c°opy, ^ 142 erf# —

ONCE - UPON - A - TIME STORIES OF THE single copy at the low advance of pub- importance and enormity of it, the vari- Class Book there are many who have GREAT MUSIC MASTERS, For Young Pian- lication postpaid price of 50 cents will be ous age groups it involves, his extra- need of a “follow-up” book of this kind. ists, by Grace Elizabeth Robinson—-With getting a bargain. curricular activities, etc. So very often Every effort is being made to complete the final work on this book rapidly near- he is called upon to sponsor activities the mechanical details in the preparation ing completion, our editors CHILD S OWN BOOK OF GREAT MUSI- for adult clubs. of the book—engraving, printing and feel that it is one of the CIANS—FOSTER and NEVIN Booklets, by Games and Dances embodies in one binding—as soon as possible, so as to be most unusual and interesting Thomas Tapper—When a little girl plays volume games, dances, stunts, rhythmic able to place copies in the hands of ad- books for the young pianist house with her dolls and dishes, or a little activities, folk dances, tap dance routines, vance subscribers at an early date. There that has been published in lad with a broomstick and track and field events, demonstration ac- is still time this month, however, to recent years. As the title sug- a piece of clothesline plays tivities, song games and contests for all place orders for single copies of the book gests, it consists of stories at being a cowboy, parents ages, indoor and outdoor activities (with at the special advance of publication

from the lives of the great and teachers are given a and without equipment) . Physical direc- cash price, 25 cents, postpaid. masters, but it is not bio- clue as to the best proce- tors appreciate the convenience of having ADVANCE OF PUBLICATION OFFERS graphical in the sense that it contains dures in imparting knowl- all the above activities compiled in one WITHDRAWN Two seasonal publications historical dates and facts. Rather, it is a edge to children. volume, according to ages and grades. — make their debut this month as the book of music made easy-to-play for The Child’s Own Book Musical scores are printed or the record publishers mail to advance subscribers piano, with fascinating stories about the of Great Musicians series number is available for those activities copies that have been ordered from de- selections included. The composers rep- has been so immensely successful because requiring music, and explicit directions scriptions given the past few months in resented are Beethoven, Handel, Bach, it has helped juveniles to a greater in- and diagrams are printed when neces- about these Publisher’s Notes. Choirmasters Mozart, Haydn. Schubert, Mendelssohn, terest in music through learning sary. planning their Easter programs and grade Chopin, Schumann, Brahms, Wagner, great composers by “seeing and doing.” Games and Dances has been the offi- school teachers, or those having in The principle of these books is to supply cial games book for hundreds of cities and Verdi. charge the Spring story about both for school and playground or Commencement All music selections are newly tran- an interesting simply told use. The production of a juvenile operetta, may with the life of the composer, and to include co-authors write from a background of scribed by arrangers experienced obtain single copies of pictures actual experience as consultants, of these books for the needs limitations of young play- along with that story a sheet teach- and examination. Of course the special ad- which the child may have the fun of cut- ers, supervisors and administrative di- ers. Some thirty-six compositions make of publication spaces in- rectors. vance prices are now with- up the contents, which include many ting out and pasting in the story In addition, drawn and copies may be obtained at in so simple terspersed throughout the printed there is contained in this works never before arranged your local music store, or from the pub- of the composer. Then there are blank volume a pageant complete with direc- a fashion—about grade 1 Ys. High lights lishers, at a fair child re-write tions for staging, costumes and equip- market price. are themes from Mendelssohn’s Chil- pages on which the may his or her own version of the ment, symbolizing the revival of the play dren’s Pieces, Chopin and Brahms’ briefly THE MAGIC FEATHER OF MOTHER complete the book for per- spirit in America. This pageant presents Waltzes, operatic melodies from Wag- story. Then to GOOSE, by Juanita Austin and Henry S. manent filing and future reference there excellent opportunities for elaboration ner and Verdi, Beethoven’s Moonlight Sawyer is a clever, tuneful operetta for and thread with clear direc- upon American themes, customs and Sonata, Handel’s Water Music, sonata is a needle little children that reveals familiar tales binding the symbols so vital today. and symphony themes from Mozart and tions for in a new and colorful version. Even the heretofore loose pages of A single copy of this new edition of Haydn, few songs from Bach, entrance of Mother Goose is unique. The and a within Games and Dances the book together may be ordered now historical value of the text makes the Schubert, and Mozart. advance the paper cover with its in of publication at the special operetta valuable to grade The book is profusely illustrated with school groups two-color title design. cash price of $2.00, postpaid. for correlation portraits of the composers, and various with the study of history. Already there are 17 scenes from the stories of their lives. The melodies are so musical that the different composers, each MY PIANO BOOK, by Ada Richter—One children will have It is published in the regular sheet mu- no difficulty in learn- separate of the most difficult available in a problems confront- ing to sing them, all sic size (approximately 9 by 12 inches) L ‘‘iJL and of the songs series, and ing piano teachers large, booklet in this is that met with by and choruses have and all text matter is set up in due regard for the now there is in prepara- one who successfully has guided the limited easily-readable type. voice range of children of this tion two more booklets youthful pupil through the Opportunity to secure single copies of age. Vocal Score, containing complete are certain to have a wide appeal first kindergarten book and, directions the work at the low advance of pub- which for performance, price 75 they deal with two composers when he is ready for more cents. lication cash price, 40 cents, postpaid, because born in America who wrote melodies now advanced work, finds that will be withdrawn at an early date, so school age. One he has not yet matured suf- place their orders known to every child of teachers are urged to can these composers is Stephen Foster, ficiently to undertake the Yale and Lawrence Keating is assured of a- first-from-the- of a new now to be hearts Easter whose name is enshrined upon the instruction material found cantata that will appeal to the press copy. his average volunteer of Americans through their love of in piano methods used with choir. The seven chorus folk-like songs such as Old children of the average be- numbers are not difficult to Songs of Good Health melodious learn and LET’S STAY WELL! Joe, Old ginner’s age, 8 to years. the solo and ensemble Borie Folks at Home, Old Black My 12 portions are so School and Home by Lysbeth Boyd for Home, Beautiful Dreamer, Perhaps the influence of melodious that the participants are great desire of par- Kentucky sure and Ada Richter—The Brown Hair, and radio and the phonograph in the to enjoy them. Considerable ones Jeanie with the Light the variety has ents teachers is to get the young been and single copy of Stephen Foster’s home has quickened the American child's achieved in the musical started on others. A content for whom they are responsible ordered in ad- appreciation and understanding of mu- with major and minor Child's Own Book may be effects skilfullv Here is a book the right roads of living. for 10 cents. Orders sic. Or, it may be that modern kinder- blended and rich, colorful tunes vance of Publication harmonies of attractive singable delivered like Ada Richter’s Kin- And the text is truly songs with at this price will be garten methods, devotional so be a placed now that and clever texts. These songs will published. dergarten Class Book (1.00), make it the work may fit in with postpaid as soon as the book is any church treat primary and kinder- youngsters to learn. In either service at Eastertide. for children in composer on whom the easier for Vocal Score nrice home Tile other ' p Le garten classes as well as in the being prepared is case the result is an ever-increasing 60 cents. Child’s Own Book is where through the singing of these songs Stephen Foster demand for “follow-up” material suit- Ethelbert Nevin, who like e ach child will become conscious of a Pennsylvania and able for children of kindergarten age. born in Western your address, be sure number of watched was this new book Mrs. Richter has in- t„Td^~ different things to be over for a number In least four known the world weeks in advance of the and to be done in order to grow up in- £ and cluded only such material as she has chana including The Rosary giving both old and new to a of songs, practical in ex- addresses Post bright and happy person. for such mstiu- found her own teaching Laic’ a Rose, and masters will not forward second No child wants to be sickly or wants Miahtv hove perience. Proceeding cautiously, one step clas> numbers as The Venetian mail tmagazinesl even though to suffer hurts and these 14 songs while men al Chilis at a time, it interestingly leads the child a for' etc. The Nemn warding address is left. being isNarcissus, Your co-opera" fun to sing may clear that Song,com u of through “post-kindergarten” work, in- tilings ordered in advance tion will enable us to give you should be done to be many of the basic principles the service cleanly, to eat well, offer cash troducing you should have. tlthe advance kvo' d dan °tr Hon att playing. A number of short ex- Serous carelessness. Tile publication with ddjTery of piano h ^ given in the back of the DELAYED ETUDE mic flow of these songs ercises are DELIVERIES—At this is in keen?n/ H,i? as published. B Wl l as soon instructions season the in each case tot made book, with the necessary for of the year, we invariably receive and i! al™always within with the progressing lessons. many complaints of non-receipt the range of little their use of maga- singers’ 8 voices. The nio„„ with titles suggesting zines. This often accompam ' GAMES Attractive pieces times is due to the ments are easy to play William important holidays throughout press of business during and t Recreation, by . 1: theHi all of the the holiday rush illustrations walks of life of the book with Ih all will stimulate the pupil's inter- and again, the usual congestion indWdual! Mueller—"77 and adults the year in the istic pen sketches give the children dictionary of musical terms, post office during December book an added physical w lfara is est, too. A and Janu- appeal ? 'J^ody building where the book is used stressed. As body directions for its use, is an added ary. We make every effort to deliver In the is being relax is with your home or in any cases where the the ab> copies of The Etude with a children being emphasised the feature. reasonable Bather about the piano to sing. “entoon sale of this book thus far degree of promptitude getting equal a _ The advance after the first of ^ play a few months the The names of the author and the tea n ^ first was announced month, which is the publication date. com- physical education two since it poser alone indicate the merit that teachers admire the Ghould there be any unusual delay, drop of this ground director « e and ago proves book buildine works of this talented com- us a post card. of entertaining yet instructive mense problems, one whpn we educational If sufficient time has Phgs, private teacher, relaxai and that among those who elapsed for receipt of your Etude, be- and t jie school the other providing oser-teacher, ...... educa p” , usie Physical . a An RichterKip.hi.pr’sa KindergartenKindemarlPti tween the regular educator, or parent who takes ad- analyze the work of the use Aia date of publication ntage we real! of this opportunity to obtain a tion teacher, only then do J 43 ^BRU. 4RY, 1941 —

and your complaint, we will be glad to duplicate. We are confident beginning with the next issue, there will be no further cause for complaint due to de- ( Continued 1r layed copies. THE BACH FESTIVAL CHORUS Wilkes-Barre, of STEPHEN COLLINS FOSTER, America* Pennsylvania, will annual hold its best loved composer, was elected to a LOOK OUT FOR SWINDLERS—The holi- flext Bach festival, March 27th to 30th Great Place in the Hall of Fame for day season has brought its usual crop of m Wilkes-Barre. The Chorus wUl be Americans New Yors magazine swindle complaints. Beware of assisted by the Temple on the campus of Chorus of Scran quinquennial the man who offers a magazine bargain. ^“-B^re-Seranton University in the ninth Representatives of The Etude Music Jonietta. sta'- election, in November. A commemorative Magazine carry our official receipt. Pay tablet and bust of the composer will no money to strangers unless you are Wont/,. Placed in the Colonnade on the Univer- convinced of their responsibility. Read sity Heights campus next spring. : any contract presented to you before chancellor pay- Harry Woodburn Chase, . ing oi any money. Permit no changes in © the University and acting director contracts which are provided for your Singers' Hall of performance of Bach’s Fame, announced. protection. We cannot be responsible for mas Oratorio" chnst- in All c„, , , the work of swindlers. THE ETUDE MEETS THE WORLD’S Vork City, “' N- chopin*; Onl^b 0° ALL compositions ry r th ‘ GREAT MUSICAL NEED seeds m the AU Pfo- series of concerts and public gatherings are P PREMIUM W'ORKERS Many lov- turned W ‘ — music over U be ’ to terrl Miss Hess . hibited ers, Don't miss the March issue 6 in German occupied teachers and students secure at- which will piojects Which 1 she is according in L° . tractive, serviceable include such vital features as: supporting to word received and useful articles S Eng- 11 through Age of merchandise for obtaining subscrip- the Polish Telegraphic tions to The Etude Music Magazine. A S few gifts to give you an idea of what we comprise^the WOMEN MOUSSORGSKY’S BIRTHPLACE, the' giant will g offer to our friends are: rehearsed ^cho* now lage of been for the Gom Being Karevo, Russia, has vention blIee christened bear Relish Dish: You’ll find many uses for of the GeneralVs C™~ and will hereafter Musical deration name of the this new design Relish Dish. The tray clubs which -if of great composer. Atlantic 6 is hammered aluminum (12" diameter) city next '^avV in combe will Brans - with ribbed partitioned crystal glass cen- be the conducted Carrie r. adams, well-known ter dish. Awarded for securing three Poser of church music and operettas. subscriptions. BERNARD m a ur °. SHORT? Private hospital in Portland, aS parry are Nn _ serving^ Wilfred rn late Adan e* December. Mrs. .\ r Square Bowl: Decorative as well as use- Force f, En t and Army resnIL- eUsh Air ei ghty-one had ful, this attractive Bowl is especially de- Hull ectlvely, years old and ter is in the a a ? and Robinb cently “ The sirable. It is completed a cantata, rt- made of hand-wrought A»‘ber S6Ctl0nottb , ^ yto Lnd eR0 n published aluminum with rosebud ornamentation 0n S Umph ”, which will be ^y bef, career L and is 6" square. Suitable for candy, : °re Easter. During a P lng Adanl shelled nuts and bite-size tid-bits. Your Of nA R sixty-five years, Mrs. l5 ’ Long ONI ^then *stand, one c society Posed am1 reward for securing two subscriptions. extremely oI ®*Jany more than four thousand ^ enterprisLf small but twelve operetta5 Knife now thrive Ch tral cantatas, seven day & Fork Set: A fine Set Of Six ° tber & tLoShout ,h ^ups Works for clubs and jp stainless steel Knives g^e and Porks with hools., wo genuine she was the first Marbalin non-burn handles “The ^ ALFRED E. SMITH America to Handel’s your choice of green or red. A very prac- direct siah.” o tical gift and award offered for securing In Ad£jl two subscriptions. 1880, she married Allvn O. B Sl cctnToSn nger of note. Bread s Tray: This Bread Tray will be Abis e THE MUSICAL BATTLE OF Fuleihan, ^ 0 c ti' favored by many and^T °hcett0 by of because of its attrac- THE AIR Ba™a“ BLANCHE,E daUgudaughter uS tive shape. and lat MARCHESI, l0 It is *? Ethel te _ • 10 Vt" long x wide. &£££*«»& e jfl 5H>" aavjaa. -vorld . Mathiide wori Finished Never in the history of music . Marchesi, ^ in chromium, it is easily kept in Ajncricn has so much space in magazines BOBIN “E teacher, her clean and and AND Marion r!o„ died at bright—will not deteriorate newspapers been given to music as has opera „ of which the first «°n on December 15th, a under daily use. Your reward for secur- been devoted to the refusal of the Broad- comic of rd Venty “ casting Companies to meet the fees of *? bist is se first ing two subscriptions. °ry. made „, ven - Trained the composers as represented by ASCAP. dpfie la ^ was wl in iininist Hale c Ttten . she six In the March ETUDE both sides of 0 r Hnlloi bv Af) „ later turned to 5-Year this °ser the Diary: Bound ill gold-tooled, exciting conflict will be presented. born in ’ French ^ Am and 1240 coin” erica in 1899 long-grain linen mm nea and complete with a twice; her first hus °‘° gold-edged lock and key, 6>»" high x 5" AL SMITH LIKES MUSIC n p°pper W 1 de Podhragy. wide, AU,F h this 5-Year Diary is particularly Tos,',"'. »r '“.two sons, wa , spai®Pai one of whom Hon. Albert E. Smith, one of the most ‘he "op -I>INg, h attractive, will make a very nice gift or soloists8 en; MANN ™na individual personages in current musical of Maria Madt prize. BridgeportBridgeport, Sed to 6 amon Jeritza. Your reward for securing one sub- history, has some very striking ideas a g lest s °° ‘ wfWPAA Pp’earpea ‘ second was scription. upon the kind of music he likes. And he fi urine n Sym-n„ With the husband given 116 Ser P 0ny Ca isi has them to The Eti'de. ‘“ ® - Our a "“w recD After a career readers will find them very interesting. ^ven Sv SSST-recitalist8 Ship Wheel Book t the C° andana 111 sheshe Ends-Smokers Set: This new ncerts *- opera ’ Auditorium i« Kteir>ei to herself unique set has a polished maple finish E B " RUDOLF SERKIN The *dgepo** Memorial a$ ON “STRENCTH ' and includes glass cigarette container, £ dpupUsflom match holders OF FINGERS” world. and crystal glass ash tray. ^ An attractive Sfep* as well as practical addition Choral dh the be City to among the Sym* new or the home or studio. Awarded for se- recent virtuoso pin- C0 America is Unt5’ disting curing that of Rudolf Serkii " co ' 0ae ' cert LEVITZKI, two subscriptions. her of the Piano sponys y Department of the ” nist and f Curtis Institute of S composer, Music. Every uriH^f11 T 'V at ' Send post card 1 ” ' ano wiH H llis in AV for complete list of P find his article Sea home vitalising at W premiums offered. You will be surprised Jersey. on January fortv tWot how easy it is to secure any desired ar- Years of age an win«JV THE S ’ the ticle with absolutely no cash outlay on GROUND WORK OF formei' Grace O’B th Y0 rk- ' b5 your part. VOCAL •lie earty's™ »b a ’ GlS! a Sister Levitz ART »R rtan c" broth’ ’ Sandra 1 resides Mr 61 S ‘ ( in £ ’ ^r - on Selden.^ . Levitzki was The famous i virt, lrt r. Elizabeth k S11 Schumann. wh< City. b now w1'vl1010, astonish America ’ afaftterer aston has sionnisionn'i^ . been magical. fi I brings fresh and helpful Ulllcim'n..bHlsicia - I I, - .VIA Send for Your students ns at the ai FREE Copy of our in the March his t CATALOG OF MUSICAL JEWELRY NOVELTIES scholarsi “-‘SS A MASTER f '™ LESSON ON BACH’S J ralia Russlanusslan P81a,cl Includes descriptions and illustrations of aey. Ba her I'aliaeded ®L?. pendants, medals, C MINOR wafg^en™ a a, mei'ican citizens musical pins, plaques, FANTASIE Emd.f to r?,, , ^‘ for Missomf Waehter ^hoiarsi" 8 statues suitable awards, prizes W ‘ f r ir nnd OfL P a time also pictures, diplomas nnd Sidney Silber. famous C>t.St T Mischa and pifts. Chicago • ? and teacher, pupil pianist. Louis, was studi of •Tedliczka. as bom - He certificates. ___ and Barth A a ni _ Leschetizky, pres« 1 Rust np 11 lesson ’ and later at upon this really l Musical THEODORE PRESSER CO. playable masterpiece. 0 RU l0Ah T 1Art in Yor PAN>N, Sigism New St., Philadelphia. Pa. B - been ld ,712 Chestnut ^ a SuUa P by Btojowski. Still HiEb >-fija of ^ came a Beh00 N e S?‘ed 0, upu ? o w % Berlin P ot Ernst von 111 s certi-in Pite of long g ' he s™ found 144 pose i m>»ic^^mbers ,or tbe ! I

. fol A VERY COMPREHENSIVE FOLDER ON EASTER MUSIC FOR CHOIR, SOLOIST, AND SUNDAY SCHOOLS LENT and EASTER WILL BE FURNISHED CRATIS AT YOUR REQUEST

You may order "on THIODOil PilSSEI CO. CANTATAS approval” a single MUSIC PUBLISHERS AND DEALERS copy any you would of EVERYTHING IN MUSIC PUBLICATIONS j-or the like to examine. 1712 CHESTNUT STREET PHILADELPHIA, PA. EASTER EASTER CANTATAS SEASON VICTORY DIVINE © CANTATA FOR MIXED VOICES New This Year By Christopher 75c J. Marks Price, THE CONQUERING CHRIST THE RISEN KING Victory Divine's well contrasted numbers for solo voices and for for Alto Solo. Choir and Organ chorus arc always as satisfying to the lover of good music as well CANTATA FOR VOLUNTEER CHOIR OF MIXED Canfafa as to non-musical folk and melody. who are won by brilliance VOICES By P. A. Schnecker Price, 75c Feature solo numbers for soprano, tenor and baritone deserve men- Price, 60c tion. Its By Lawrence Keating record of successful renditions includes small choirs of Considerable variety is achieved in the musical content of this volunteer singers with splendidly with an alto solo, trio fair soloists all the way up to In melodic veins that are fitting to the Easter service this 25 minute cantata- of love and praise trained larger city choirs voices. 1 hour. The that only one solo- numbering several hundred cantata will prove a comfortable and satisfying means by of women, and choruses for men. fact Victory its special music this ist is make it appeal to many choir directors. Divine also is obtainable in an arrangement for Treble which the average choir can signalize required will alto duet Voices singing in three parts. Price, 75c. are solos for the soprano and the ; a Appropriate solos. Easter. There The Risen Kine also is available in an arrangement for Three- baritone; a trio for sop., mezzo-sop., and for tenor and Part Chorus of Treble Voices. Price, 75c. voices, and seven choir selec- alto • one number for women's major and minor THE tions The composer has skilfully utilized GLORY OF THE RESURRECTION always keeping a churchly effects, enriching the work, and THE RESURRECTION CANTATA FOR MIXED VOICES fitness’ in the (low of the cantata. By Charles Cilbert Spross Price, 75c Cantata lor Soli, Choir and Organ Tells the way. That Easter story in a most attractive and effective By Charles Fonteyn Manney Price, 75c genius of text, Frederick H. Martens, made the compilation around to SONG which the composer wove his melodious and musical effects THE RESURRECTION An excellent Easter cantata, running about 25 minutes, with enhance This is a cantata the beauties of these Easter thoughts. CANTATA FOR MIXED VOICES solos, a cappella quartet, trio for women's voices and a thrill- that will choirs having win favor with experienced, well rehearsed Price, 60c ing choral Finale. The work is in three divisions and the text is E. Stairs trained- soloists. By Louise entirely Biblical with the exception of a few appropriate hymns.

The Resurrection also is published in an arrangement for Two- MESSIAH VICTORIOUS Part Chorus of Treble Voices. Price, 75c.

CANTATA FOR MIXED VOICES ° o i 75e 1 By William Price - G. Hammond S'.nS r"oS;; S "o^ nr i°„' ffif, THE NEW LIFE A stimulating and uplifting musical presentation of the Resurrec- nd e Cantata lor Soli, Choir and Organ tion and Ascension. It runs just about half an hour ? *T decided melodic, always is predominating a musical fervor in its (Orchestra Parts available) and rhythmic construction. The musical composition reveals marked originality. By lames H. Rogers Price, 75c LENTEN CANTATAS An Easter cantata that differs from many in approaching the THE RISEN KING narrative of the Resurrection bv the paths of prophecy, and following it by an epilogue which dwells upon the iiuman CANTATA FOR MIXED VOICES significance of victory over Death. The solos are modest in Price 60e OF CHRIST their requirements and the choruses well calculated for con- By Alfred ' LAST WORDS Wooler venient yet strong performance. volunteer FOR MIXED VOICES Biblical text. Just the kind of a cantata to make a genuine appeal to CANTATA interesting to the choir, and the solo assign- Spi-os* choirs. It is always ly Charles Cilbert ments are very satisfying. The composer's melodic gifts never were composer. Charles’ Gilbert Easter. S nl devotional. HAIL THE VICTOR better exemplified than in this effective work for 9 "‘« It is melodious, yet has Droduced a masterwork. Canfafa tor Soli, Choir and Organ prc.cn,.- HE LIVES, THE KING OF KINGS and Socially appcopcia.c to, By Alfred Wooler Price, Sg*"h tT7n"H:5 75c CANTATA FOR MIXED VOICES the Good Friday services. ion at Told in both Biblical and metrical verse, the Easter narrative By Anna Priscilla Price, 50c from preparatory events to glorious Risher fulfilment, is told with clarity and continuous melodic Here is a splendid cantata, not only in excellence of music, but FROM THE CROSS flow, the contrast of mood being also THE MESSAGE gained through the intelligent textual in the well-presented texts by Juanita E. Roos. Its nine numbers VOICES arrangement. A fine FOR MIXED for impressively bring out the story of the Cross, the Tomb, and the CANTATA work the average choir. Resurrection. ^ volunteer This cantata is recommended especially to ly Will C. Macfarlane choirs and also Obta ned for use where the cantata is made a part of the Orchestra Parts May Be regular church Easter service. Time, 20 minutes. unusual ^i CHRIST IS RISEN 1 work of Jjny. •his is. a sacred musica Seven Las propositions embracing The Cantata HAIL! KING ^ of harmony lor Soli, Choir and Organ OF GLORY By H. Thiman CANTATA FOR MIXED VOICES Price, 75c By Lawrence A scholarly conceived cantata Keating Price, 60c for Easter Day in which ,he 45 minutes. composer has followed somewhat This new Easter cantata volunteer nd alto soloists. Time, about the Wagner style in is just right for the average the lett use of choir. With mot, for the various scenes and a melodic flow that is ever fitting it tells the Easter characters There are “‘?s f° r eacl > <> f the four usual solo story from the dramatic, tragic, and sorrowful moments to the voices stirring drorusef and an organ part that US triumphant resurrection and a closing chorus of praise. The text OF SORROWS is quite superior to ,hethe averaaviria. t !! THE MAN mainly from Se - Tc* ts consists of scriptural adaptations and some familiar hymn lines. ORATORIO FOR MIXED VOICES the Gospels. There are several duets, voices, and solo oppor- a trio for women's By Leroy Rile tunities for soprano, R, M. alto, tenor, baritone, and bass. The finished opportunity for frequent will For .he choir of ample proportions, with performance take about forty minutes. ideal Lenten offer- rehearsals, and with capable soloists, this is an FROM DEATH TO LIFE during this season. ing. I. should satisfy for special musical services while the solos Canfafa for Soli, Choir The organ accompaniment is especially noteworthy and Organ EVERLASTING LIFE discriminating congregation. and choruses will appeal to the By I. C. Bartlett ri c CANTATA FOR MIXED VOICES p c9 . „ In two parts—The Price, 60c Crucifixion and The Resurrection—and By Mrs. R. R. Forman th ef re su| ' t?.blc for presentation CALVARY I separately on Good Friday This cantata, in two parts, presents the story of the Resurrection in p r "' FOR MIXED VOICES h S Sif< manner. The average vpluntcer choir CANTATA pimed P05 ," is “=It «em. a most beautiful and effective 5Esrf*tam ',hIthe melodiousm H solo passages and the easv-to-sine with a solo find no difficulty in learning the music By Ernest H. Sheppard Price, 60c choruses. quartet would The text is made up of Biblical There are ten musical and metrical' elements*! and giving it the proper interpretation. In this cantata one of our prominent composers makes a notable bass, duets for numbers, with solos for soprano, tenor and and contribution to the repertory of church music. The last three num- work there runs that vein Any of These Canfafas alto and tenor; and through the whole bers may be omitted for Lenten use, but with them included this May Be Had lor Examination satisfying melody which Mrs. Forman had such a gift. Time of for work also is ideal for Easter. The solos are for tenor, baritone and for rendition, about -15 minutes. bass and the chorus material is well within the capabilities of the Send a Postal request for the Ditson Co. of average well trained volunteer choir. Time, 30 minutes. Anthems, List Solos, and Duets for Lent and Easter IMMORTALITY CANTATA FOR MIXED VOICES CHRIST’S WORDS FROM THE CROSS By R. M. Stults Price, 60c A LENTEN MEDITATION FOR MIXED VOICES Mr. Stults was not only a prolific and talented composer, he was By Mrs. R. R. Forman Price, 40c an experienced choirmaster as well. This well-planned cantata is With the effectiveness of sincere simplicity, this musical work and. annually, it is given many performances one of his best, by provokes soul-stirring meditation Ol,ver on Christ's i Co. last words. ) Is o n average ability and with limited solo material available. It is easy 2 choirs of sing. There to are short solos for baritone, bass, and alto. A men's mortality also is obtainable in an arrangement for Treble Voices chorus is called THEODORE PRESSER CO., Distributors lm on, chiefly in unison. Four-part mixed chorus work. — 2 Part. Price, 60c. 1712 CHESTNUT STREET, PHILADELPHIA, PA. ranc© brings y©u recorded mysfc

finest achieved in to "e quality ever a comnbT , , Z 1 ’ Beam Power 6 ,n ch V Speaker output?Improved •9 . J BunTln Lo? ° Aenal* Illuminated?,\ Horizontal Dial p > Manymany other wmodels, from $9.95 to $19.9 5.

1 entoae ve receptior output Si v vi V - %y“ cabinet with gracefufmodem

PHILCO Portable 4 A a ' with d new A11 ' new sun Year Indoor-0 1 en current - either super-perform nVen^ lfe ^ 8 nt to battery or any ho where f move from * om ? rs-°!^ rJ” ,iii' «*•«. “-ipiMsu|&°r piay • A new kind of Radio Phonograph NO NEEDLES TO CHANGE! RECORDS LAST TEN TIMES LONGER!

NEW PURITY OF TONE !

The Philco Photo-Electric Radio-Phonograph is And, only Philco gives you the Tilt-Front new sensation in the world of recorded music! Cabinet. lid to lift the No ... no dark, unhandy com- Only Philco brings you the amazing “Beam of partments. Simply tilt forward the grille, place Light” principle of record reproduction ... an your records and tilt it back again. exclusive invention that adds new thrills, new All these new joys, in addition to startling im- and greater delights to the enjoyment of your provements in radio reception, are yours only in records. The pointed, scraping needle is favorite a Philco Photo-Electric Radio-Phonograph gone! In the new Philco Photo-Electric Radio- is o/i»unui equipment jewel that never needs With everv Phil™ phonograph, a rounded Photo-Electric Radio-Phonograph. Make your own recordsat floats over the record and reflects the home; record family voices and events, radio changing programs, etc light from a tiny mirror on a beam of to a PHILCO 608 P Radio-Phonograph music illustrated above brinn* It releases overtones of beauty you these SS cell. new Philco achievements • oto-electric at a poDulnr r, > Automatic Record Changer, in your records which you hear for powerful 9-tube circuit hidden ing American and Foreign radio reception noise no longer with new icii-wt r Surface annoys Overseas u first time Wave-Band. Handsome cabinet of the increased by ten limes: "ana-rubbedhand rnhhi And record life is Walnut. Only $12.95 down.