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

3-1-1942 Volume 60, Number 03 (March 1942) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 60, Number 03 (March 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/241

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STUDY? WHERE SHALL 1 GO TO BY JOSEPHINE HOVEY PERR £ XCELLENT FFERINGS M miIIIIIIIIIUIll»*AAAAAA4 M £ (Western) Teachers (Eastern) o m Private Teachers Private PRACTICAL THE HOUSE THAT TO M

BUILT 2 MAY MACDONALD HOPE CORYELL KATE S. CHITTENDEN JACK j Repertory — Appreciation „ * Pianist Artist Teacher Pianoforte — helping little children of primary Concert — This is a splendid book for Directors Choral 853 7th AVE.. notation and to play on Godowsky THE WYOMING, J grade ages to learn to read music H Pupil of Teresa Carreno and Leopold means of note, NEW YORK „ keyboard that which they read. By 775 Colusa Ave., Berkeley, Calif. L.A.S. 5530 the X clear the relation of 2 key, and linger charts it makes very TEACHING the staff to the keys of the the position of the notes on FREEMANTEL accompany- ROSE FREDERIC j; piano. There are many charming illustrations ; OUGH little pieces and showing very graphically n VOICE Voice Instruction ing the attractive J manner. SERVICES Former Assistant to Lazar S. Samoiloff the various interval skips in a unique FOB AFTER-EASTER Author of 24 home study lessons, n in Hollywood Price, 75 cents "The Fundamental Principals of Voice Production and N * Reopened Her Voice Studios at Singing"; also "High Tones and Ho— to Sing Them „ 1931—8TH AVENUE OAKLAND. 2 West S7th Street x Mixed Voices Treble Voices Telephone Glencourt 6115 Studios: 205 J Phone Circle 7-5420 x MATERIALS 35403 Hark! Hark My Soul Hawley 35240 He Shall Feed His Flock (3 Part) Gates .12 PLEASURE PATH 35419 Heaven is My Home Speaks A 35103 I Not Ask, O Lord (3 Part) S 35421 I Am the Light of the World Do EDNA GUNNAR PETERSON Harborne Spross .12 x ALBERTO JONAS « PIANO This Way x 35031 I Shall Not Pass Again TO THE 35426 I Met My Master Face to Face Concert Pianist—Artist Teacher Miller (3 Part) Effinger .12 Celebrated Spanish Piano Virtuoso x Calif. to Thee. Arioso (3 Part) H 229 So. Harvard Blvd. Los Angeles, pianists x THE PRE-SCHOOL CHILD 35259 I Shall Not Pass Again This Way 35377 Thanks Be Teacher of many famous FOR FE. 2597 « Effinger Handel-Douty .12 M 19 WEST B5TH ST.. N. Y. C. Tel. Endicott 2-8920 35425 Jesus, the Very Thought of Thee X of the On Thursdays in Philadelphia, 132 South 18th Street. „ PIANO This fascinating study book for the very youngest student Thompson Men's Voices Tel. Victor 1577 or Locust 9409 . rote-playing book wherein the child (a) sings 35412 Lead, Kindly Light Spross LAZAR S. SAMOILOFF piano starts as a l Not connected with any Conservatory. x A 35149 Lord is My Shepherd, The.. Hawley 35395 I Shall Not Pass Again This Way what has been played, and plays a selection by rote, (b) reads .12 x 35027 Love Divine . Marks Effinger Voice teacher of famous singers is ad- J M and finally, (c) writes it. Gradually the young student 35057 My Redeemer and My Lord. Buck 35257 Love Divine La Forge .10 * From rudiments to professional engagements vanced until reading and playing are welded into one. All of the 35401 My Spirit on Thy Care MacForlane 35424 O Spirit of Life (Ancient Air) x courses I Used and Endorsed by 35151 O Mother of My Heort Arr. Marks .12 Beginners accepted. Special teachers' EDITH SYRENE LISTER material presented in story form and the book abounds in ^ is (Mother's Day) Davis 35166 One Hundred and Twenty-First M AUTHENTIC VOICE PRODUCTION » illustrations that appeal to the child imagination. Ask for FREE m 610 So. Von Ness Ave., Los Angeles, Cal. w Leading Contemporary 35404 Praise Ye, the Lord. ...Stoughton Psalm ..La Forge .12 405 Hall, N«w York City Carn«gi« 2 copy of brochure on the psychology, pedagogy and procedure in 3S4I8 Te Deum Laudamus, in B-Flat Marks 35396 Thanks Be to Thee. Arioso n Collaborator and Associate Teacher with the late W. n 35370 Thy Will Be Done .12 Educational Authorities pre-school piano teaching with this book Price, $1.00 Speaks Handel-Spross ELIZABETH SIMPSON Warren Shaw and Endorsed by Dr. Floyd S. Muckey H 1 Wednesday: Troup Music Studio, Lancaster, Pa. M Author of "Basic Pianoforte Technique" Thursday: 309 Presser Bldg., Philadelphia, Pa. 2 J FOR SPRING CONCERT PROGRAM USE * Teacher of Teachers. Coach of Young Artists. 1 BUSY WORK FOR * Pupils Prepared for Concert Work. Class Courses II M in Technique, Pianistic Interpretation, Normal (Frank) (Ernetfo) N 35032 Rachem (3 Part) Mano-Zucca .15 BEGINNERS Mixed Voices Methods for Piano Teochers. • 35020 Recessional (2 Part) De Koven .12 2 LaFORGE-BERUMEN STUDIOS 35019 Recessional (3 Part) De Koven .15 m 609 Sutter St., San Francisco; A WRITING BOOK FOR 2627 Defenders Farwell Voice—Piano N 35021 Don’t Be Weary, Traveler (6 Part) 35018 Recessional (4 Part) De Koven .12 M 2833 Webster St.. Berkeley. Cal. of Lawrence Tibbett since IT22 LITTLE PIANISTS Deft 35186 Somebody's Knocking at Your Door N Frank LaForge teacher 2 BY (3 Part) .. Dett .20 1100 Pork Ave., Corner B*th St., New York MARY BACON MASON 35073 Green Cathedral, The Hahn „ The object of this book is to furnish 35008 There's Tel. Atwater 9-7470 35272 I Love Life Mana-Zucca a Meeting Here Tonight entertaining and constructive “busy (Mid-West) J 35209 In Maytime Speaks (3 Part) Dett .15 S Private Teachers work” to little folk beginning piano FOLK SONGS AND 35394 Lark Now Leaves His Watery 35355 When Love Come into Bloom study. Especially is this useful in class Nest, The Parker (3 Part) Steinel .10 FAMOUS PICTURES instruction. It aims to teach the rela- —I 35294 Last Hour, The Kramer 35105 Will-o-the-Wisp (3 Part) Spross .12 1 ARNOLD SCHULTZ RICHARD McCLANAHAN tionship between the fingers, piano KA Sonj(s .1/.' Famous Picture's 35387 Liberty Bell, The Sousa 35002 Wi!l-o-the-Wisp (4 Part) Spross .15 A method book designed to meet the needs of piano begin- keys, and their note representations on Teacher of Piano Representative TOBIAS MATTHAY 35048 Yesterday and Today Part) M fjvr A B. yuutm 35311 Little Dutch Garden, A (S.A.B.) (3 ners from seven to eleven years of age. Notation, rhythm, •the grand staff. All directions are in Author of the revolutionary treatise on Private lessons, class lessons in Fundamentals « scales, keyboard harmony, transposition and fnusical form Mead Spross .15 M Lecture-demonstrations for teachers rhyme. 1 Teachers of private pupils fre- . piono technique » 35411 Zohra! It Is the Morning are presented in a most efficient quently 35094 Mighty Lak a Rose Nevin (3 Part) CW.it- and unique manner. Three assign this book as “home work” to stimulate the child’s interest. "The Riddle of the Pianists’ Fingers" x 35062 Mighty Spross .12 806 Steinway Bldg., New York City dozen art pictures over Lak' a Rose (S.A.B.) . Nevin

MARCH, 1942 145 — . ! r

ET0

mm ai published Monthly By Theodore presser Co., Philadelphia, Pa. EDITORIAL AND ADVISORY STAFF DR. JAMES FRANCIS COOKE, Editor Guy McGiy and Priscilla Brown, Assistant Editors William M. Felton, Music Editor

Dr. Henry S. Fry George C. Krick Dr. Rob Roy Peery Karl W. Gehrkens Blanche Lemmon Peter Hugh Reed Elizabeth Gest Dr. Guy Mater William IX Revelli FRED FISHER, song writer, author, Koepke Clifford Page FRITZ KREISLER’S first concert ap- Paul N. HERE. THERE AND EVERYWHERE IN and music publisher, died, apparently a 1883 BY THEODORE PRESSER pearance since his accident last spring FOUNDED suicide, on January 14, in New York was made on February 2, when he gave WORLD THE MUSICAL was the writer or publisher of a recital at Smith College, Northampton, City. He best known song hits of the Massachusetts. This was one of three some of the a century, among these concerts to be given in various parts of past quarter of HESS, English pianist, received Peg O’ My Heart, the country this season. CARLOS CHAVEZ, founder and conduc- MYRA being Dardanella, Royal Still Burn- (Contents for 1/Yjarcli, 1942 tor of the Mexico Orchestra in January the gold medal of the There’s a Little Spark of Love PAUL WHITE, Ameri- in Mexico City, appeared as guest con- Philharmonic Society of London, before ing, and Ireland Must Be Heaven. can , has fin- ductor in January of the National Sym- a cheering audience in the Royal Albert VOLUME LX, No. 3 PRICE 25 CENTS years ished a new work, Sea- phony Orchestra of Peru, for a series of Hall; this in recognition of her out- LYNN B. DANA, SR., for many concerts for musical life of Warren. WORLD OF MUSIC 147 Chanty, for harp solo concerts in Lima. He was scheduled to standing work in presenting active in the and string quartet. conduct the Boston Symphony Orches- the people of England during the dark Ohio, died recently in that city. He was YOUTH AND MUSIC and was Commissioned by Sam- tra on February 27 and 28, but was re- days of the War. Dr. Ralph Vaughan widely known as a teacher Proud to Be a Go-Between Blanche Lemmon 148 uel Rosenbaum of Phil- fused permission to do so by the Amer- Williams made the presentation speech. president of the Dana Musical Institute, PARCHMENT DIPLOMA adelphia, it is based on ican Federation of Musicians because founded by his father. He was connected or American sea-chanty music department of Chautau- CERTIFICATE Paul of the non-union status of the Boston W. FRANCIS GATES, with the 21 x 16 in. Price, 60c each MUSIC AND CULTURE melodies. It is dedicated White organization. musician and writer, qua Institute and was a former president Philipp This full-size form, suitable for framing:, is CERTIFICATE OF AWARD Highlights in the Art of Teaching the Piano I- 150 to Phillips, Association. Otero Edna former for many years a valued of the Ohio Music Teachers obtainable in two styles—as a Diploma or 12 x 9 in. Practical Steps Toward Better Singing Emma 151 Certificate. The Diploma has the wording: Dedicated to Gustav Klemm 152 first harpist of the Philadelphia Orches- THE MUSICAL ART QUARTET of New contributor to The “This Certifies that... With Text, 12c Without Text, 6c IIow I Became an Conductor Edwin McArthur 153 pres- tra, and its first performance is sched- York City is giving a series of three con- Etude, died suddenly on OTTO KINKEI.DEY was re-elected has completed in a creditable manner A neat, but inexpensive design, for Returning to Vocal Fundamentals John A. I’atton 154 course in Music as follows” under-graduate promotion certificates. Cultural Value of Magazines in America 155 uled for this season by Miss Phillips and certs of contemporary , December 23, in Los ident of the American Muslcologlcal Then follows a design containing the word In a neat border the words “Certificate one of the leading string quartets. under sponsorship of the of Angeles, California. He Society at its annual meeting in Minne- “Diploma,” followed by: “In testimony of Award” surround a figure in classic MUSIC IN THE HOME the Museum whereof have affixed garb representing music. The Certificate Great Music in Great Recordings Peter Hugh Herd 157 Modern Art, marking the first time that was born in Zanesville, apolis, Minnesota, in December. name.” The Certificate form has the same with text has the same wording as in- Important Radio Broadcasts Alfred Lindsay Morgan 158 THE PHILADELPHIA OPERA COMPANY wording, but the design bearing the word the Museum has presented a chamber Ohio, March 18, 1865, dicated opposite for Parchment Di- The Etude Music Lover’s Bookshelf B. Meredith Cadman 159 laurels to its growing Francis Diploma is omitted. Printed on a good parch- has added more W. F.RB, since 1923 ploma. Both styles are printed on a music series. and after studying at Gates DR. J. LAURENCE ment stock. Diploma without text, 50c good paper stock. list of tradition-shattering accomplish- MUSIC AND STUDY Oberlin Conservatory, chairman of the department of music of January The Teacher’s Round Table Guy Maicr 160 ments. During the week 7, Connecticut College, New London, Dear Harp of Country he went to Boston, where his teachers at My John A. Robinson 161 it gave five performances in Boston Engrossing on Diploma and Certificate forms and engraving on Medal, Brooch, Have You a Song in Y'our Heart! Geoffrey O'Hara 102 MRS. NATALYA KOUSSEVITZKY, Wife were Louis C. Elson and George W. will retire at the close of the present Lyre and Wreath design No. 18 and Winged Harp design No. 15 may be arranged Vocal Guidance for Children which brought the most enthusiastic and Adolescents John C. Wilcox 103 the title. Professor for at reasonable prices. Making the Fourth Finger of Dr. Serge Koussevitzky, conductor of Chadwick. For the past forty years he academic year, with Useful Harold 8. Packer 104 praise from all the critics. Following Fifty Years in a Volunteer Choir T. j Huge 105 the Boston Symphony Orchestra, died at was active in Los Angeles and since Emeritus of Music. He has had a dis- Doctoring with Music these successes came the announcement Jlr. Max Bchocn 160 tinguished career in the field of music lhe Importance of College Bands and Orchestras to the Music Brookline, Massachusetts, on January 1916 a member of the staff of The Pacific Education Department that the company has been signed for MEDALS and BROOCHES William 7). Revelli 167 11. She was well known as a sculptress. Coast Musician. He was the author of and leaves a most successful record of An Easy Door to Phrasing Eugeni F. Marks 168 an extended tour next season under the How Pagamm Triumphed “Anecdotes of Great Musicians” and accomplishment at Connecticut College. Medal Brooch Nellie a. Allred 169 exclusive management of S. Hurok. The and Answers... Karl IT. Gehrkens 170 other books. OutstandingM Achievements, Philadelphia performance of “The Bat’’ This illustration is exact of Negro Verna Arreu 171 size. Same design as Medal, without fry It in Your THE NEW ENGLAND CONSERVATORY Community Stales Eellou-.rs 172 (“Die Fledermaus”) 27 The name of recipient, or date chain and crossbar. Technic of the Month on January was Engraving —Double Note Staccato Guy U ait 193 celebrated on February 19, the seventy- of presentation, be Posture and Other the occasion for A MOZART FESTIVAL, the first of its may en- of name, date, etc. is possible Problems Pietro Ee ro 295 a sold-out house, with Ferdinando Carulli, '. fifth anniversary of its founding, with graved on the bar, or 1770-1841 '. kind in the great Pacific Northwest, was on the only on the reverse side of this '.Georye C. Krick 207 many turned away. On February 10, an- reverse appropriate exercises in the afternoon, side of the medal. brooch. MUSIC other triumph was scored, when the conducted by Sir and Classic and the Seattle followed in the evening by an anniver- 'No. 2A 10K Gold $8.00 *No. 1A.10K Contemporary Selections world premiere of Deems Taylor’s “Ra- Symphony Orchestra from Gold $6.00 sary concert by the Conservatory Orches- •No. 2B Sterling Silver 3.00 *No. IB P 8 February 13 to March 3, with a series Sterling Silver.... ’ Mendelssohn 173 muntcho” was presented. This was a gala 1.50 EnUogim ‘0n 12°'Nn"s8 ‘ Robert tra and Chorus, with Jesus Maria San- Hawaiian Twili^h?°' Schumann 174 occasion, with many celebrities in at- of ten concerts in the principal cities of B 7V»o» 176 Voke of ,Spdng -.V.V. tendance. Washington, Oregon, Idaho, and British roma as piano soloist. ADD 10% TO COVER FEDERAL TAX ON JEWELRY, ETC. Leaf Ralph Federer 178 Columbia. LYRE IN SHIELD PRIZE, Come Back to Erin (Solo^x & piano) ADOLF BUSCH, violinist, gave in Feb- ANDRE* MATH1EU, twelve-year-old CLASS or CLUB PINS ! fiirs. c'larn^U^ ISO Arr. ruary, what was considered , by John Finkc, Jr. the first New pianist and composer of , w’as (Clasp Pin No. 90) vocalVn J and , , „ A “SONATA IN F,” a newly discovered Winged Harp Lyre and instrumental Compositions Wreath York performance of Max Reger’s “Con- the winner of the first prize of two ’ Sh work by , was A brand-new tie- W e De Way (YoCa,) Day - - - Trene Rodgers 181 certo for • and Orchestra,” ( v°„ caD when hundred dollars in the contest . sign in musical , given a first hearing in November at the sponsored |l jewelry novelties. Melodyi^ra^VX^ee he played this work in his own revision the People's Ktih imann 184 National Gallery in London, when it was by Young Concerts Com- ‘The lyre and with the New York Philharmonic-Sym- border arc in gold Dr. Waller Damrosch played by Watson Forbes, violist, and mittee of the New York Philharmonic- or silver, the Delightful Pieces for phony Orchestra, conducted by his Eighty Years Young background Young Players Denise Lassimonne, pianist. Symphony Society. Second prize of one in The Whirligig brother, . black, blue, red or hundred dollars was divided between Clasp Pin Clasp Pin Two Little Neighbors • . vxola Slater Sicihart 100 green. (State color prefer- Clasp Pin DR. WALTER DAMROSCH, beloved dean No. 14 No. 15 Little Reaper’s Berniece Rost Cope land 190 Allen D. Sapp, Jr. and Luise ence and quality number in No. 18 Song Vosger- Mister Frog's Richard L Bruce 191 THE SEVENTY-FIFTH of American orchestra ordering.) These Morning Swim conductors, cele- chien. two designs are obtainable in the following qualities: 191 Technic of the Month » L ANNIVERSARY of the brated his eightieth birthday on Jan- "OOA 10K Gold $2.00 “A 10K Gold—Clasp Pin $2.00 Double Note death of Benjamin Staccato .. . .. R. uary 30. Highlights of the celebration *90B Sterling Silver 50 "B Sterling Silver Carl Czerny, Op. 335, No. 192 OLGA STEER, concert —Clasp Tin so 42 Hanby, composer of the "90C Gold Filled THE were a reception in his honor by the 50 *C Gold Filled—Clasp Pin JUNIOR ETUDE . pianist and teacher, died Elizabeth 212 i history-making SOD Gold Plated 30 , Gest song, Guild; dinner D Gold Dipped—Clasp Pin a December 29. in Los jg MISCELLANEOUS Darling Nellie DOE Silver Plated...... 30 E Silver Dipped— |B Gray, is given by the American Academy of Arts A FIRST Clasp Pin Voice Questions Answered PRIZE OF 2,000 ARGEN- Angeles, California. A Asterisk (*) Indicates Pins Have Safety Catch Organ and Choir XicAofa* Gouty being observed this and Letters, of which he is TINE PESOS and Questions' Answered 195 president; a second prize of 1,000 native of that city, Recognition tor Henry Fry she the Composer. 197 mm- month. A native of the and on January 31, a special broadcast pesos are the awards in a contest spon- SEND FOR FREE CATALOC OF MUSICAL |EWELRY, NOVELTIES, A. G. Watson 156 f studied there and in PRIZES, ETC. Stat of hio sored by ° ’ he was a in his honor over the organizing committee of the Benjamin ? WJZ and the Blue Net- Berlin. first Pan-American Following ap- P °' R. Hanby student at Otterbein work. Culminating a career Games, for a song en- 1 - IV. under scarcely pearances with the W by Theodore College, titled Hymn of Sports. It is open to musi- Ber- and Great Britain. Presser Co., for U. S. A. Westerville, without parallel in the history of Amer- cians and poets lin Philharmonic Or- Theodore Presser Ohio, when he wrote the song that was ican music. Dr. resident in any country in Co. Damrosch, since 1927, the destined to be sung Americas; and full particulars may be chestra and other Euro- around the world; has been counsel on music for the Na- ’ IV 1712 CHESTNUT STREET, Rica. Cuba, B ' a ' Brazi1 Colombia, secured from the ' committee PHILADELPHIA, PA. Dominican Rcpubhc’&uador Costa was translated into foreign at Avenida pean orchestras, she Paraguay, r many lan- tional Broadcasting Company. Republic of Nicaragua. His "Mu- de Mayo 695, Buenos Aires, Argentina, Honduras guages, and sold into concertized extensively in America. Since the millions of sic Appreciation Hour” has a listening South America. .sr?;.“A copies. 1923 she directed her own piano school at audience estimated at 6,000,000 a year. 146 in Los Angeles. THE ETUDE MARCH, 1942 147 —

Editorial

Youth and Music

EON BARZIN, the conductor of the Orchestra New of the National Orchestral Association, Go-Between J surprises at per- Be a L York, is accustomed to Proud to lack ex- onvan Wit/, Wutic! are young, Ward, his players J formances, for 3 perience and every now and a raw re- cjCe.emmon then & ElCMC,he cruit has to be EX EST QUI METUIT NIHIL” (“A king is he who music were played daily over a loudspeaker. Four of these were rushed in with- k is the of Seneca’s say- presented during shifts, and two were given at lunchtime. “Bal- benefit of representative “graduates’’ of fears nothing”) one of wisest out portraits upon this page are those of The other total World the lads and Battleships” thus becomes a new slogan for defense. rehearsal to take Orchestral Association now with ings. At the beginning of the War, the Orchestra of the National R the place of a greatest military engine of the Nazis was fear—fear with its The New York Times, in a recent editorial, stated: orchestras.— Editor’s Note. more seasoned terrors magnified by uncertainty. Fear, plague-like, spreads with “The best things that men do, including both work and wor- has player who astounding rapidity through the excited emotions of the so-called ship, demand music. Folksongs would be poor if it weren’t for been fortunate given aid in the form of scholarships, step into the country s tion had masses. In a day or a week, a nation, inoculated with the virus of sowing, harvesting, hauling, loading and unloading, blacksmith- secure that would enable them to Association con- enough to special lessons and loans. The orchestras. The symphonic organizations fear, becomes panic stricken. Judgment and common sense vanish, ing, carrying burdens, raising anchors, making sail and so forth. a professional fine siders the difficulties of its performers but had the imagination foments apprehensions, and the morale of a na- The best artisans whistle. engagement. Mr. needed Orchestra members as its time nor money to tion crumbles. nation demoralized is crushed. “It would be better if the Barzin is a con- neither own, and maintains funds to A by fear a nation music came out of the builders of talented, am- ductor who en- train them; meet urgent needs as they The greatest defense that Britain possesses is the indomitable the Alabama instead of having to be put into them by loud- bitious students, on the other courages his arise. Translated into a hu- spirit of its people who, in the dai-kest hours, met the Nazi speakers. But perhaps if enough music is put into them, some con- hand, were eager to play in players to man equation this means technic of fear with a spontaneous, scornful, almost humorous music will come out. Perhaps they will get to whistling, humming, those organizations but had sider their indi- that hundreds of talented the ex- courage that was the continual amazement of the Axis powers, and singing that sweet, swing, classic, and corny music they are vidual interests no way of gaining and women have Charles Blackman, conductor young men who were apparently greatly upset to find that the Anglo-Saxon hearing. The effect upon the Alabama herself actually perience necessary to place may be something of the Charleston Symphony, first. He been permitted to achieve them there. Demand and soul did not play the fear game as they thought it should be that couldn’t be expressed in blueprints. A battleship whose beams Summerville, S. C. wants them to the thing for which they hope leave him in the supply existed here in the played. It did not lay down and whimper when the Stuka bombs and plates are vibrating not only with the usual strains and and for which they strive to States, yet foreign lurch if, in doing so, they benefit themselves and United shrieked “Boo!” It met them with “thumbs up” and, like as not, tensions of the sea but with the eloquent remembered saxophone, fit themselves. Without this their careers. talent was called upon almost concertina promote help many of them, despite a concert in a subway shelter. And mind you, Britain, the loud cornet, the boastful , and the arrogant echo At rehearsals, however, players are expected exclusively for the reason their ability, would have from the very start, has employed of drums, might be formidable to do his bidding promptly. He expects immediate that there was no intermedi- found it necessary to abandon the inspiriting and stimulating indeed.” ate agency that could bring cooperation. Imagine his astonishment, then, Available promising careers. power of music to preserve Whoever instituted on the twenty-seventh of last November when the two together. It was a this idea to student members of the spiritual and mental balance, to his players listened to his instructions, and then dilemma, the horns of which at the Norfolk Navy Yard under- in- Orchestra are twenty-six combat fear, and to uphold deliberately ignored the beat of his baton. The seemed as incapable of meet- stood mass psychology. This is struments owned by the As- parts of William Schumann’s This Is Our Time, ing as two parallel lines moi-ale. Most astonishing of all, only one of sociation; for their use, also many ways in which were spread on their racks, and he had just until 1930. But in that year concerts in London, during the are two hundred and thirty- the use of music may become finished explaining the effect he wanted from a group of interested persons most severe bombings, were mandatory in our organized the National Or- five compositions for full or- war and de- the brass section in a particular spot. But what finely attended. Those of Myra Louis Pirks of the Indianapolis chestra and eighty chamber fense program. did he hear when he came down with his baton! chestral Association for the Symphony Orchestra. works, in a lending library Hess, held in a bomb-proof Just a simple melody that everybody knows: purpose of remedying this We recently talked with a which was established in shelter, have made her musically “Happy Birth-day to You-u-u.” situation, and placed on the foremost American merchant Barzin the re- 1939 by means of gifts. immortal in England. capable shoulders of Mr. Leon who was up to his neck in “war A Genuine Tribute sponsibility of transforming amateurs into pro- The Association selects its orchestral members It is reported that in London, work” twelve hours a day. In carefully: It was a forgivable breach of discipline, fessionals. only musicians well advanced in the millions of people, during the for his “off” time he played study and mastery of Haydn it was the young players’ tribute to a leader Not until ten years had elapsed did they orchestral instruments severest bombings, kept to their sonatas and a little can be considered for places in it. repertory of they admire immensely, both as musician and publish statistics with regard to their venture Membership homes, and that in thousands when, in they did sum up that decade is probational and places must be relinquished Grieg, Chaminade, Nevin, God- man. They understand the difficulties under and 1940, of homes within the sound of which he works, for this is of effort their inventory if progress at rehearsals seems insufficient. ard, Schiitt, Poldini, and Sinding crashing bombs might be heard an orchestra with an ever- brought a glow of satisfac- The Association does not guarantee any of pieces at home. Someone asked these valiant folk making music. changing personnel. They ap- tion not only to them but its students a job, but no student is graduated him if he was not tired out. He At any rate, the music dealers preciate his artistry and the to every person who realized until he is fully equipped for his professional reported answered: “Tired? Not in the fine work he is doing, and the cultural benefits derived career and actually appointed an astonishing increase to an orchestral least, but you ought in the purchase SOUSA'S "THE STARS AND STRIPES to see my they are grateful for the by a country and its people position. At that time he is presented with a of music for FOREVER" MADE THEM WORK FASTER partner. He’s worn out, but it privilege of playing under his from hearing and participat- certificate of graduation authorized by the home use. Britain will never for- AND BETTER Workers on the 35.000 ton battleship hasn’t been due to work, but to inspiring direction. November ing in fine orchestral music. Board of Regents of the State of York. get what music has done for the U. S. S. Alabama, New at the Norfolk. Virginia, Navy 27 was a day that meant much During those Yard, had music "ampU- worry. He seems to ten years one The average graduate has spent three in nation in its greatest fied" go about years emergency'. to them during the construction of the great vessel. to all of them, for it marked hundred and thirty-seven or- the picking up rumors, Orchestra, during which time he has re- There is always a vast number which he the birthday of this leader chestral pupils had won posi- hearsed for three hours builds up into possible disasters, three times a week of things for anyone to worry who for years has devoted tions in twenty-nine major and has studied about three hundred composi- about not one percent of which will ever himself to the arduous and if one permits one’s imagination to symphonic organizations in tions. In addition run amok. It is the hit us. He has he has played in at least imagination-born crossed a hundred bridges he will never even see. unending task of turning in- the country and a larger worry which often does the greatest num- thirty public concerts in Carnegie damage. If he keeps it up he experienced instrumentalists Hall, in many Thomas Jefferson, will land up with nervous prostration.” ber were active in part and of which one of the most humane, as well as one world famous soloists have appeared. of A nervous, jittery, hysterical, into well trained orchestral the sanest rumor-mongering personality is full-time broadcasting; in of our early great statesmen, said: “How much pain players. Surmounting count- a menace to the civil and military forces summer orchestra work; in The Favored Ones have cost us the evils that never happened!” at this time. The less obstacles in the perform- nation needs calm, unfrightened, theaters; and in the field of The musicians of industrious persistent workers About two hundred and fifty America are lending themselves enthusias- ance of that task, he has players make in all fields. The teaching. They had come to tically to the stimulation of music, the inspiration, the refresh- application for membership in the Orchestra “Forward March With Music!” succeeded in winning the this movement, by ment, the training school from each throwing stabilizing effect of the permanence of an art praise of York audiences, year and by means of auditions approxi- new energy into their efforts to which New forty-one increase musical will states in the Union mately go steadily on, centuries after all of the of its demanding critics and of one hundred and thirty students, with activity in the home, provide more armies of the world and the District music for defense work. of Columbia an average age have vanished, can do more to provide a his players as well. Small won- and of twenty-three, are chosen. Music is sure to play a big part in our defense practical antidote for they had gone out from These program, in the deadly der that his players desired fortunate ones, about fifth making materials poisons of fear, worry, and the Ralph Moster ol the New Orleans it to every a of whom for military purposes. Many apprehensions of part of the land. are non-musical citi- calamity, to sing “Happy Birthday.” Symphony Orchestra young women, can congratulate zens than almost any other thing. Not all of themselves were perhaps surprised when they these students on their learned that in the Nor- A dozen years ago there good fortune. For in this organization, folk, had been able to Virginia, Navy Yard, where the existed no means by which young handle almost free 35,000-ton battleship U. S. S. instrument their financial problems of charge, they receive training in Alabama alone,”c™uenOv to the was under construction, six programs of players in this country could receive training four hundred field in which they are inspiring and sixteen of them the particularly inter- FORWARD MARCH S0Cia- ested and in which WITH MUSIC! 148 ( Continued on Page 202) MARCH, THE ETUDE 1942 149 What his moral qualities ties of a teacher. should Music and Culture Wmic and Culture be we shall see later. As knowledge reaches the brain by way of the and the lips, bespeaks the flexibility of neck of teacher is from senses, the first duty a obviously to singing. throat that is vitally important to good his pupils’ senses of sight and hearing. train This Tone must travel, and the construction of the training must necessarily be done gradually the and human body is such that it travels through must be extended over a considerable length permits Highlights in the Art of of throat. Thus, relaxation in these parts time, accompanying at every step the acquisition Toward A Practical Steps the tone to travel freely, without constriction. knowledge. The teacher must be constantly of tight throat on the other hand, hinders the full, careful to ascertain that his pupils see and hear free, vibrating travel of the vocalized breath. Incorrect sense-impressions correctly. are ex- These principles of support and relaxation tremely common, and constitute a very serious guide me in all my work. I first learned them obstacle to quick and sure mental development. Teaching the Piano during my earliest work at the piano! When is only one way to avert this danger; There it is Better Singing piano to first my studies were changed from to compel the pupil to pay the utmost attention voice, I was inclined to regret the loss of time. to every detail of his work. This ensures progress There I was, all ready for a pianist’s career, with and as the pupil soon becomes aware of his A Conference with all my childhood years of study devoted to a increased technical powers, his interest is medium which was suddenly put into second Waitre 3. Philipp awakened, and he will derive pleasure from the professional place by the discovery of my singing driest exercises. We cannot lay sufficient stress voice. It was not long, however, that I began to on this point. Interest considerably reduces £mma Ot

Music and Culture Music and Culture

>7 in which was this passage: .ID YOU EVER HEAR “As OF a deep admirer of your Beethoven’s ‘“Bridge- genius I am taking the liberty D' tower’ of writ- Sonata?” Or . “Dedicated to ing to ask you if you Haydn’s “Bland" ? would agree to write one, two The puzzled expression on your or three How I Became an Opera Conductor new quartets, for face is answer enough. which i should be delighted But, on the other hand, what to pay emm you whatever you think about Beethoven’s “Kreutzer Guitav ade- *SA LAD, I was suspected by my elders Conference with I A Sonata” and Haydn’s “Salomon quate. should be very much ZX of having an unusual amount of obliged if Symphonies?" The puzzled ex- you would give me the brass in my make-up, and some of of a banker pression vanishes, and you nod a name to whose care my early experiences will bear this out. vehement I have directed affirmative. Yet you can the amount One of them happened in where I lit' would CJwin 7f]c-ArtL doubtless be surprised to of whatever fee you name. The was brought up, the son of a Congrega- know that only is the ’. a very small turn of the Wheel What of the “Rasoumowsky Quartets?” That instrument I study I shall await tional minister. Summer evenings, our of Fate kept Bridgetower and Bland from being is the designation given the “Three Quartets, Op. your reply with the greatest impatience.” family of five went to the park for the as well known to-day as SECURED EXPRESSLY FOR THE ETUDE BY DORON K. ANTRIM Kreutzer and Salomon? 59.” Seldom is there a reference to any of these Beethoven set a price of about one hundred free band concerts. I liked these especially, In the words of a former Prime Minister of Eng- famous quartets that does not include the name and ten dollars for each quartet, but reserved the and followed in rapt attention every move land, the Messrs. Bridgetower and Bland “missed of the one-time Russian ambassador to Vienna. right to sell them to any interested publisher. of the pompous, bespangled conductor. the bus.” “. this, Prince Galitzin agreed; Grove puts its patly by writing: . . the Count To all he desired The bandsmen had just concluded Stars Beethoven originally intended his “Sonata, enjoys a safe eternity in the three immortal was the dedication and a manuscript copy and Stripes Forever one evening, when I On a February night in 1940, an American from Denver, Edwin McArthur, mounted Op. 47,” of for violin and piano, for an English works which will be known as the ‘Rasoumowsky each quartet. The Prince was also one of the strode up to the stand as though it were the podium of the Metropolitan Opera House to conduct Wagner’s “ Tristan and Isolde," violinist named George Augustus Polgreen Bridge- Quartets’ as long as there are four artists in the original subscribers to the “Mass in D iMissa all planned, grabbed the baton and tapped the supreme test of any batonist. No other American conductor in the history of the tower. (*) Both were living in Vienna; and world capable of playing them." Solennis),” and is given chief credit for making for attention. Some of the men snorted, Metropolitan had ever stood up there and conducted this production. His success Beethoven, who had written the work at the possible its first performance. the audience was amused. The band would open the way for other native born conductors. violinist’s request, planned to dedicate it to him Famous Ensemble Numbers The leader said, “Go ahead.” What happened that night teas reported by the World-Telegram reviewer: "A ca- Sonata was first performed at the Augarten And how did the titled gentleman achieve this The "Waldstein Sonata” only four the I pacity audience applauded all to on May 17th, 1803, Though at time, con- one and the echo, and Mr. McArthur, who came at eight o’clock in the morning! immortality? The answer is not definitely known. Every pianist is familiar ducted that number again from start to out for his bows at the end of the opera, together with the principals the cast, (The Viennese, it seems, went with the Beethoven of was in for musical eye We can only assume that openers!) Rasoumowsky must have “Grand Sonata in C, Op. 53,” finish and got the thrill that comes once given a special demonstration, the audience clamoring for him again and again to Beethoven, who was at invariably referred the piano, befriended the composer in some gave the understandably way, and that to as the “Waldstein Sonata.” Count Ferdinand in a life time. I decided then and there to appear alone." nervous Bridgetower a the dedication violin was the only possible reciproca- Waldstein was one be a conductor when I grew up. Since then Edwin McArthur part on which the ink was barely of the first aristocrats at- has conducted other Wagner performances at the Met- dry As tion the grateful composer could for the piano part, make. Had it tracted to Beethoven to whom, A sequel to this happened twenty-six ropolitan, rehearsed and accompanied the company on its spring most of it was still in shortly after their tour and guest Bee- not been for this, the name of Andreas thoven’s head. Despite the fact Kyrillo- meeting, he gave a piano. Beethoven years later. After a rehearsal with the conducted our leading symphonic groups, including the New York Philharmonic- that the perspiring vitsch Rasoumowsky so appreci- Sym- violinist played would have been buried with ated the Chicago Civic Opera Company, one of the phony Orchestra most of his part Count’s friendship that, in 1805, he and the Philadelphia Orchestra. at sight, the trumpet players performance, as a wrote the great sonata to which came up to the stand. Twenty years of struggle went into this achievement. Many were spent in picking up whole, was so “By any chance,” he said, the bare good that the — he gave his friend’s name. “could you be essentials of his craft, getting experience any way he could; others in trying audience demanded the boy who led the municipal for an and re- In this connection, Fischer band back opportunity to conduct. Having to pay his own way from the start, he worked ceived an encore. All in in Denver?” I confessed. “It’s a in a bank, all, a writes: “The Waldstein family small as typist, concert manager, organist and choir director, accompanist, mus- success! world,” he chuckled, “I was a member of ical comedy conductor. But let tell rhaminade became extinct with Ferdi- him his own story.—Editorial Note. But when publication time s Haunting New that band.” Composition nand but the name will live for rolled around, the unpredict- centuries Other instances come to mind. I was able through this compo- Beethoven changed his eight when I met the train bearing Rosa mind, i^omanza —-^ppuAiionuta sition.” so far as the dedication Ponselle to Denver for a concert. Elbowing There is another my asked for the job of lifting and was concerned. Some gentleman lowering the one dollar a Sunday sitting on the bench of St. say that who, way through the indignant ladies of the re- top of the grand along with the unlucky piano at the concert. I got it. John’s Beethoven had a quarrel with ception Cathedral in Denver, keeping the organ- Bridgetower, committee, I confronted the diva and It was my first concert Bridgetower; others “missed the bus.” appearance. ist awake; for he had a habit of falling asleep say that it the 1 ** * grea?literature of The bus, A few was Beethoven’s of women SLaTT^TnJSff that is, driven by years later when De and letting his hand fall disappointment composes and toe ralato with a thud on the immortal melodies. ? Beethoven. over Bridgetower’s Is now imL? to His name is Napo- Pachmann gave a piano re- keyboard. performance merit in Occupied France Wm- retire- of the been spent ln years k&ve leon. This dictator’s very cital at Denver, I violin part. In any case, such fame went to his To further finance music studies, I worked of admirers will be thousands the work surprisedS amfrtenDci dell h nearly received additional luster hotel and had as finally published this fervent and vouthF™i SLlr g ted with myself an- during the summers, on a farm picking of the finest presentin8 one through was dedicated to Rudolph comp^lttons bvy fh» com the dedication of nounced as Mr. Edwin Mc- berries Kreut- score of the best lovert°?;LF Poser of a at two cents a quart, minded children 3 11 zer, a violinist, Issue It appears music - In this Beethoven’s 3 Arthur. Believing and a prolific as a solo'for t , “Symphony No. his caller to for the neighboring also be vi°lon<*Uo. It will mammas, was a runner in a composer, published as t l S in E-flat .” with - f0 & ‘ an (The Eroica) Bee- be the local concert thirty nine Che in ™° P ° S° 1 °' manager, Denver bank, and errand Mme °ther f0 boy in the public and ballets and chammad thoven wrote the work originally the pianist had nineteen She ParlS 111 me shown in. library. was a 1857 - violin pupil of Savard^LervIPppey out concertos to and Godard. ' Marsick of his great Too awed to his credit. She started pnm1?°mposmg admiration for speak, I stalked By the time I was twelve, I But his of eight. Ten years iSfr.S® at the had a job playing name lives on to-day a made her Bonaparte. However, in, sat down concert pianist with ereot debut as when he at the piano and organ in church 5 and the choir. My and ’ will continue to continued through which was learned that flourish— America. me veaL m^Europe Napoleon had been played a Chopin waltz. “Not volunteer not because Her piano concerto and in choir usually overlooked my youth but of the reams success by the ere»i glven with huge offered and, bad,” said of worse still, ac- the great man. “but sometimes I ran into trouble. music he wrote, haus La,"noreuxf Cologne Huffed by a cor- but because a CECItE CHAMINADE Philharmonic. by he L cepted the title of Emperor, he I would do it this Her M!i .°Mon way.” Seat- rection, Sc«7/ my best alto once sreat composer /W? h flew flounced out of a dedicated a into a rage, tore the title- ing himself, De Pachmann great work rehearsal with the remark, “I'll not be to him. A century page in told what half and stamped upon played Chopin as only he to do by a from now still will find snip of a kid.” Her absence made a Kreutzer "faaai Watt: it. “After all, could. St f a then,” cried the When I left the hotel inseparably yoked gap in the choir that Sunday and I to the mighty he°r sp , ‘ f the figured how eS &$£ 1 ?$™ indignant Beethoven, “he is two hours later, I Beethoven. penmanship of her 1' and had box to get her back. Later on, we which any college gin m °wn hald with fift After some thought, I wrote a shall ' nothing a n e ^ but an ordinary mortal! seats for the whole family for discuss the whFch fnd fc 'cSS!lL^ note and sent it by special whim of t messenger. fate that at^Kt£\°/K^ «e short ol He will It read, and others, trample all rights the De took fame often gro£s the Pachmann concert that “You’re from Bland and con- £ t*£l down for a solo Sunday and if you are of men under foot, to indulge night. ferred it upon Salomon, not here, Mrs. S. will have to sing that his ambition, it.” The alto genial gentleman and become a was there. whose many I Earning viitues greater tyrant than any one!” Money for Music stood Haydn in By fourteen, I such And thus had played every church in good stead. But now did Napoleon miss, There was no money in the Denver. that we not Then came an opportunity that was to are in fame, but the dedication of McArthur the Beethoven bailiwick, household for carry me out of let us remain for this great Denver and almost into a career. a while and make brief symphony, an honor music lessons, so at six, I Richard reference to some of the that Crooks descended on the city for others he w" r» ,ot8°it“' went to Prince von Lob- hawked a con- brought to fame. kowitz Aicc v, papers and magazines cert, another owever his accompanist became ill, and I ’ for was sug- nobleman to whom Russian o’ the “best laid schemes on a windy the worm W6S mice” an’ri Denver corner to gested as a substitute. d of three the exist S It was a great surprise to of ^ce ’ the symphony to ' Africa bC'" Beethoven’! i t Persists day pay for my first piano WliTlc'hls" Wolta“l»Jln* wu hlg© pralredV born ln ironically!!' lessons. me, but I was engaged m'iu' ' for Borissowitch 18 NiC°las ” preservinnr the the concert and for Galitzin was a tentions of tho g original in- The organ in father’s church musician; health HU mged an extensive tour of the west. and, as composer and is known fascinated he sen , the “Eroica!” me and I was play- That 152 was the beginning of a career as accom- ing it before my feet reached ( Continued, panist which I later developed on Page 204) edwin McArthur the in New York. I pedals. Then I got a job at have since made world ( Continued MARCH, on Page 198) THE ETUDE 1942 Music and Culture Music and Culture Please note that servers in widely varied fields. the more remark- and in the same way that any other the position of The Etude is all physical de- musician upon rangement due to unnatural strain may able, as there was no professional Returning to be re- Cultural Value of stored; that is: by perfectly natural usage. The the jury. cannot fail to note that the survey The great maestro Lamperti said that singing Advertisers the subscribers who patronize is speech extended into music; he further makes clear that said A class obviously be- that if speech was not the natural way the magazines in the upper to use larger would all have ruined to the higher economic class with the voice we our voices long Homes those who patronize the D class Vocal Fundamentals ago. So concerned was he about American means, while long the destruc- Magazines in decidely more limited spending tion of fine natural singing voices by unnatural magazines have using them, he wrote his possibilities. Shorn of technicalities of measure- methods of “Treatise on appraisal found necessary in making the Art Of Singing” only for the purpose of help- ment and the report ing to prevent this slaughter. And the survey as precise as possible, jUn ^4. f^atton on these Exhaustive Scientific Survey procedures Report of an principles and he established the The follows: 4 of social class dif- semblance “Voice Doctor of Hollywood careers of many great singers. “If there is any American society, the magazines I am sure all musicians will agree the bel canto ferentiation in by Purdue University and Directed public are highly indica- style which Lamperti taught, always has been Conducted read by the American PREPARED IN differentiation. In generations past COLLABORATION WITH MABEL THOMPSON RAUCH and always will be the standard of singing per- tive of that fection. No one questions the correctness as well as to-day, teachers, ministers, reformers, of his Dr. W. A. Kerr teaching, by Dr. H. H. Remmers and scholars, and parents have praised, complained nor that of magazines of John A. Patton, teacher of singing in Garcia’s. They established against or thoroughly damned Hollyioood, teas trained possible by a grant from the Social Science Research for the peculiar influence in the old Italian the standard for beautiful This notable survey was made one kind or another tradition the Advancement of Education, on our of bel canto. His first teacher singing for all time. Council and was first presented by The Society for which those periodicals are said to have was the celebrated operatic publication, School and Society. baritone, The modern singer who Inc., in the prominent educational culture. Achille Alberti. Later he studied with the magazine taken in the home has deeply and sincerely de- “The type of widely known American teacher, Francis kind of index of the cultural level sires to perfect his art come to be a Stuart, who loas a pupil of Manuel Garcia. literati smile upon must go to these authori- of the family; the august Stuart also had received two diplomas certain ties. He must earnestly certain publications and frown upon from Vincenzo Lamperti, for singing and study their others; other learned individuals, more utili- for teaching. writings to be sure he is following tarian than literary, favor other types of John Patton has served on the faculty the right course toward periodicals. Political scientists, economists, soci- of the University of California at Berke- suc- cess. Standards ologists, and psychologists tend to be highly ley; Occidental College, at Los Angeles; have not changed. critical of certain periodicals because of their the Colorado College of Education; and Who to-day would not rather consistent prostitution to immediate ad- the Utica, Neio York, Conservatory of admire the Music. singing of Patti, Calve, or vertiser welfare instead of to general social, welfare. Among the outstanding artists who have Sembrich! And what political, economic, and psychological estimates of the received their fundamental training in his singer would not give all “In order to secure scientific studio are Josephine Antoine, coloratura he has to sing as well as status held by representative magazines in our soprano of the Metropolitan Opera Com- they! contemporary culture, Purdue University psy- pany, and Mona Paulee, mezzosoprano, chologists have successfully assigned numerical who was a winner in the 1941 Metropolitan Wisdom from Lamperti scores to each of 100 typical American maga- Opera Auditions. Miss Paulee has just Lamperti said the right zines—each score representing the cultural value completed three of and a half years of daily kind of music will educate TUDE READERS, many of whom have been heartaches. However, the broad impartiality of the magazine to which it is assigned. lessons with Mr. Patton. He is widely the voice. He specifies the staunch enthusiastic supporters of this the selection of the judges and their wide repre- “Of course, wherever cultural, esthetic or other known as the “Voice Doctor of Hollywood.” music of Rossini as the E magazine, now entering its sixtieth year, sentation of different fields and interests, speak abstract values are involved, there are no abso- —Editorial Note. best for that purpose and will be as gratified as were its editors, by the for themselves. The list comprises magazines of lute criteria which are known to be acceptable to are trivial and / next best he names the following report of a comprehensive survey of all types, embracing several which all people. Therefore, scientific measurement in significance of sensational. Every reader has an opportunity to Mona music of Bellini and Do- the relative cultural present day this field, dependent entirely upon human esti* Paulee. widely lauded winner of the Metropolitan Opera nizetti. the publication. This report is printed with the secure the type of reading material suited to his Air for Auditions of the He says that every mates, must secure its evaluations from highly 1941, with her teacher, John A. Patton. voice must be trained on special permission of The Society for the Ad- needs and desires. competent and well-informed individuals who OU CAN RESTORE health and beauty to well that of the often this music, except the vancement of Education, Inc., as as are presumably cognizant of the major trends, strained and over-worked voices necessary for Dr. A. Kerr, dis- Culture in American Homes Y of radio the up-keep of the baritone, for which they H. H. Remmers and Dr. W. characteristics and interrelationships of our and screen by voice. returning to the sult The re- wrote but simple a blase attitude, little—he meant the high baritone. I tinguished educators, who conducted the survey One of the amazing revelations of this survey fundamentals. As you know, in which is, I believe the complex society. Hollywood, gieatest ' on er teachers of all vocal problems. how many teachers to-day start each of at Purdue University, and is quoted with their is highly flattering to the cultural inclinations have a definite problem in the “In jurisprudence only one judge is often ac- voices But it eir emale which are doing can be overcome! pupils in their studies by using Una permission. of the American home that is, that in the group commercial singing in the Because inspiration — ceptable to make important decisions—but in comes to the student voce Poco Fa of The report motion picture studios who vocalizes in the Rossini, as Lamperti did? I have as a whole is a notable index to of eleven magazines at the top of the list, those psycho-social measurements in and radio shows. Our that Tanner a copy which human chorus nature meant him of Una Voce the cultural inclinations and standing of the singers here are probably the to sing. Exhausted Poco Fa as he used it and it with large circulation are The National Geo- values are being decided, many judges are best in the may seem, as he is in not world; at bored and tired the key of E-flat. individual, and of the home group, because sub- least I am sure there are with sineino- f i,- graphic, Time, The Reader’s Digest, Harper’s, and only desirable but necessary. none better. dally bread, Therefore a group They do incredible things dace he but °7n career as a un- scription to any magazine requires a wholly vol- The Etude, with an aggregate circulation of over as a regular matter * student I had the of 44 judges was selected to evaluate the 100 of natural expression, of good business routine. he receives a hick to find two had untary money expenditure, reflecting the sub- eight million copies. Consequently, over eight strength, 6Charge of h teachers who magazines for cultural value. This group in- Over energy and 1 ralned and over the picture inspiration. in the bel canto first scriber’s tastes, judgment, and desires. One million subscribers (to say nothing of collateral producers have tried v-J ,, tradition. The cluded one professor of English literature, one to get their e celebrated might recorded music by using u„,, Italian baritone, Achille Al- almost paraphrase Cervantes’ famed re- readers) find information, inspiration, entertain- celebrated Natural Expression H teacher of speech, twelve psychologists, two European and Eastern First WaS a mark in Don Quixote, “Tell choirs, and invariably pupil of Capone, who had also me thy company and ment, and delight in magazines which have a sociologists, they ta five professors of education and have had to return to the e great lyric I’ll tell thee who thou art,” and say, “Tell me distinctly Hollywood pro- ., , Bonci. The second cultural objective. The greater part of assistants, fessionals, w one agricultural chemist, one ento- who give them the Am rican what magazines you read, and I will tell you recording that sings with 11111685 he baritone, Francis Stuart, who this immense large circulation is represented by mologist, one research they have been his throat in hud ei f photographer, one artist, trying to get. But the the naTi e W° dipiomas what your cultural aspect is.” The Reader’s Digest. recording which is position from Lamperti and There is, however, a place two housewives, sessions are called “the who alsoai« >, ^ i one student of rural economics, brutal. Day or night, at the open throatnroat had been a The Etude is naturally proud of the that com just sing’’— ’ he cannot pupil of Garcia. fact for every magazine in the total list. and a group venience of the studios, -he «has to ^ ee of sixteen university students spe- the singers have to be ^ V°ke tbese two 1 it stands in eleventh position in this remarkable survey lists and at the same artificiaUy had many teachers The thus The Etude in Class A, in cializing in the fields of ready to sing, and often enough time trv tn who nm T j survey. home economics, various they are kept at SS emotion °n my Voice a11 As a matter of fact, it is really tenth, as which eighteen magazines are Voice and ’ the thin s which presented. The branches it all day or all night, or sSging Were not S of engineering, science and pharmacy. both. e™onTVe to Procedures the Forum and Current History have been com- That is the way be one. of Lamperti or Garcia: average annual subscription cost in this class is Twenty-six of the Singers come out of these sessions naturTf , T hummino- Ahl 44 judges were thus possessed exhausted is Perlng bined. The list, as noted, does not the so-called This - working on the very lowest attempt to $3.86. The annual subscription cost of The Etude and dispirited, and vocally lost art of or yerv h- I ! of from five to eight years of university training unbalanced. As time “befcanto” 8 est n°tes contain all of the 6468 periodicals voice is a ^Uman > singing always fortissimo, published in is $2.50. Thus, the American public spends its . of goes on we have a class of perfectly natural or alwavc and the remaining eighteen were or talented singers who instnimJ^oment. ~ 1 America, but it does had been be used in a It must ™!™' singing my songs in two contain representatives in own free will over thirty million dollars a year are uninspired students and who have natural wav in high nib/ university students. sung for correctly t0 b S n faCt each field, including those magazines of huge for long and to ® USed ’ specializing on everything cultural magazines. periods without the lessons remain healthy except thp t “Each judge was given a list of which are ^e ,Utal mass circulation. 100 represen- 5 be“ misnsM ““ " my v°‘“ Particular attention should be directed to the tative American * ««tore

Music in the Home jority of the far-below-average periodicals OUSSORCSKY: PICTURES AT AN EXHIBITION; the extent t are Music and Culture sarily be arbitrary and, to which often tend to serve as Alexander BraUowsky (piano). Victor set it mi nt those psychological the prevailing conception, 0 differed from outlets for the frustrated, psychologically 861. being made on escape M ‘cultural’ ratings result in the maladjusted, and perhaps underprivileged Brailowsky’s performance of this ingenious criterion. Thus each strata ing to Its cultural value with of “5” the basis of a misleading a rating our reading public. is encompassed with artistic insight and on the basis of his of music meaning "highest” cultural value and a rating judge rated the magazines varied moods cul- “Belief that the cultural ratings made by these notable technical proficiency. The "1” conception of the true meaning of of meaning "lowest” cultural value. own valid tends to be borne are deftly contrasted; where grace the similarity 44 judges are out by the of the pictures "Each judge was asked tural.’ Later statistical study of not to rate those maga- in home-environment study imagination, or where strength and power magazines indicates fact that a of 1,300 and Music the 100 Great ratings of zines with which he was not familiar; therefore, of their pianist achieves the mood. This almost iden- homes in a large city we found that the homes are required, the some magazines were not rated by all 44 judges. that the 44 judges must have had higher environmental status took tonally realistic recording deserves to find a wide — the meaning of ‘cultural’; their of more of the The number of judges rating each magazine, the tical ideas as to that shown by magazines which were given high average audience. It has been said of Moussorgsky name— of the magazine, and the average cultural ratings were in high agreement as is cul- were tural ratings by the judges. The fact that no one can surpass him in the ability to realize rating— are given hi Table 1. the second table. The 100 magazines cer- periodicals tend to represent musically the inner meaning and all the lurking grouped into four successive classes as follows; tain specific social Recordings this in Great economic, interest and gullibility levels in implications of dramatic situations. Surely Avehauk Ciltouai, Uatimis nr 100 Amkhh an MAGAZINES Amer- Review, Saturday Review of exhibi- AH KctJltSP uv 44 J t’OGRH “CLASS A : Harvard Educational ican society is also manifest in ‘carriage is borne out in this musical survey an Harper’s. Forum and trade’ of Literature, National Geographic, his close friend Victor Current History, Nation, Time, New Republic, Header’s Digest, as opposed to ‘sucker’ advertising, in non-fiction tion of the paintings of No. Mean score American Survey Graphic, Yale Review, Etude, North Review, fiction Hartmann. 13— American Mercury, School and Society, Living Age, Frontiers as opposed to content, in quality of paper 1 18 4.72 Hurvartl Educational Review of Democracy. Sonata in E-flat major. Op. 81a (“Les 15—2—27 4.03 Saturday Review of Literature and binding and in prevailing propaganda Beethoven: American. slant 3 — 42 4.50 National Geographic “CLASS B : Wings, Scientific Monthly, Scientific of both fiction and non-fiction content. Adieux”); Artur Rubinstein (piano). Victor set I 40 4.50 Harper's Scholastic, Weekly News Review. Better Homes and Gardens, 19—5- 30 4.50 Forum Vital Speeches, Theatre Arts Monthly, Asia, Town Meeting. “Both the home-environment study 858. 20—0—22 4.45 < 'u r rent History Life, Nation's Business, Verve, Christian Herald. Travel. above There is glow and vigor in Rubinstein’s splen- 22—7—27 4 44 Nation Harper’s Bazaar, Hygeia, Vogue, House Beautiful, United mentioned and certain other facts indicate that 23—8—43 4.42 Time States News, Town and Country, House aud Garden, American recorded performance of this sonata. Per- 24—9—31 4.39 New Republic Home, Parent’s Magazine. the cultural value of the literary content didly 25— of a of life and elation and individual charm. The 10—43 •1.87 Ileader'ti Digest “CLASS C: Good Housekeeping, Ladies’ Journal. haps some decry an excess of pedaling, not Home home tends to be a function of economic deter- may 27—11—33 4.33 American Magazine, Look. Street McCall’s, misleading in these 12—19 Wall Journal. the piano music of Beethoven, title of the ballet, somewhat 29— 4.21 Yale Review Socialist Review, Youth Today, Cosmopolitan, World Horizons, minism, i.e., the economic status of usually heard in 4.10 the family. 30— 29 American Mercury Saturday Evening Post. Aero Digest, Woman’s Home Com- times, concerns itself with the troubles of a group 14 22 4.00 Specifically, this is but it is doubtful that many will refute the fervor 31— School a ml Society panion. Popular Mechanics, Outdoor Life, Pathfinder, Writer, shown by the facts that (1) 32— 4.00 of eighteenth-century dancers. 33— 17 Living Age Field and Stream, Yachting, Redbook Magazine, American economically poor and effectiveness of the artist’s rendition. For 34—10—15 3.93 Frontiers of Democracy Boy, homes take proportionally 7 Rotarian, Country Gentlemen, Open Road for Boys, Brahms: Sonata in A major, Op. 100; Jascha Heifetz 35—1 15 3.87 WingK this work a more enjoyable National Sportsman, Collier’s, Boy’s Life, Popular Aviation, more of the low-rating magazines us, Rubinstein makes 36—18 24 3.87 Scientific Monthly and almost American Girl. Spur, Short (violin) (piano) . Victor set 856. 37— 28 3.86 Stories, Sports Afield, Radio News, experience than any who have recorded it before and Emanuel Bay 38— Scientific American Wee Wisdom, Radio Guide, Physical no high-rating periodicals and (2) the 39— 25 3.84 Culture, Liberty, Popular high- Scholastic Photography, Photoplay. him. “Les Adieux” is essentially a romantic com- Heifetz shares the honors of this performance 41—21 22 3.73 Weekly Newa Review rating magazines generally cost more money 38 3.71 “CLASS D : Argosy, College Humor, Screenland. Zion's with his talented accompanist, Emanuel Bay. 42— Better Homes and Gardens tt than do the low-rating position; the composer wrote it to commemorate 43— 15 3.00 Vital Speeches Herald, Silver Screen, Swing, Song Hits, Western Story ones and therefore tend 44— 20 3.65 s veet heart Stories, Real Detective Magazine, return The piano part here is a difficult one and Bay Theatre Arts Monthly ; J to be somewhat the departure and of the Archduke Ru- ,r n Adventures beyond the economic reach 23 3.05 Asia ! ! & True Story, Thrilling Detective, of 46— does full justice to it. Moreover, the excellently 47—20—14 3.64 Town Meeting Thrilling Love, Thrilling Western, Ranch Romances, True low family incomes. dolph from Vienna, and the titles of the three 48— Romances, Proof for this latter state- 49— 44 3.63 Life irue Confessions, Breezy Stories.” movements Farewell, Absence, and The Return balanced recording contributes to the complete 50—28 27 3.63 Nation's Business ment is given in the following table: 51— 16 Heifetz’s 3.62 Verve “As might be expected, the intellectual periodi- —are indicative of the music’s program. enjoyment of the music. Considering 22 3.59 Christian Herald 24 3.58 cals tend to rank highest, Comparison op Avkiiagr Campos: Puerto Rican Dances; Jesus Maria Sanroma sympathetic feeling for and artistic projection Travel while the “thrill” and .SnitscH 1 ptih \ Cumts 1’er 1 55— 32 3.56 Harper’s Bazaar EAR ANII AVKRAOK ClU.TlIRAI. ,,|i 56— risque magazines tend to rank lowest, Ratings (piano). Victor set 849. of this music, it is strange to find his level of 57— 35 3.54 II y gel a although Coi'r Clashes ok Magazines 58— 36 3.53 Vogue some of the pulp magazines were rated Sanroma, who is a Puerto Rican by birth, has dynamics does not include a true pianissimo. It 59— 32 3.53 House Beautiful high by 17 3.53 Culled a few of the judges. Inspection Average sub- recorded here eight dances would have added much to an otherwise flawless 61— StnteH News of the first table Magazine Average by Juan Morel Cam- 62— 21 3.52 Town and Country indicates class scription pric cultural 63— 33 that the well-above-average pos (1857-1896), the most celebrated Puerto performance. 64— 3.51 House and Garden periodicals per year rating 31 3.48 American Home are those which tend 65—40 29 to emphasize the search for A Rican composer. These pieces, full of subtle Faurd: Sonata in A major. Op. 13; Mischa Elman 3.45 Parent's Magazine knowledge, $3.80 4.32 67— 38 3.39 Good Housekeeping understanding and social, P, $3.27 3.64 rhythms, dynamic shading and melodic charm, (violin) and Leopold Mittmann (piano). Victor 68— 41 political 3.39 Ladies’ Home Journal economic C $2.51 2.87 69— 41 and esthetic betterment, 859. 70— 3.29 American Magazine while a ma- D $1 .69 1.29 are in the character of “songs without words,” set 71— 43 3.28 Look 72—45 and they have romantic titles such as Felices 73— 15 3.27 Wall Street Journal The story of how this recording came to be 39 3.26 Met ’all's Dias, Maldito Amor, 75— 16 Tormento, and Buen Humor. made deserves to be told. It appears that when 76— 3.25 Socialist Review 77— 12 3.25 Youth Today Sanroma’s sensitive artistry does much to en- Charles O’Connell (Victor’s music director) 78— 39 3.28 Cosmopolitan'PO 79— U) 3.20 World Horizons hance the appeal of this music. The recording heard Elman play this work he was so struck 80— 44 3.20 81— Saturday Evening Post is excellent. 82—.52—18 3.17 Aero Digest Recognition for the with the violinist’s feeling for the music that 83—53—41 3.15 Composer ALEXANDER BRAILOWSKY Woman's Home Companion Rachmaninoff: Rhapsody on a Theme of Paganini, Op. he decided the performance 84—r*—42 3.14 Popular Mechanics should be recorded, 27 3.11 Outdoor Life 43; Benno Moiseivitch and London Philharmonic despite the fact that there was already an ex- 34 3.09 Pathfinder -A- Q. 88— 12 ^ W.Uon Orchestra, direction of Basil Cameron. Victor 89— 3.08 Writer It is said that Toscanini has become very much cellent performance by Heifetz in the Victor 37 3.00 Field and Stream Fortune Magazine, set 855. catalog. Both artists give 91— 18 3.00 i achting some time ago, in interested in recording in the past year and that fine performances of 92—60 40 2.97 one of fought 93— Redbook Magazine its searchlight type valiantly for that Victor previously brought out a recording of is a melodic 39 2.96 American Boy articles, told the story two cents, were obliged he to make a series of new recordings with and delicately nuanced work. Elman 94— of the to accept this 95— 24 2.96 Rotarian phonograph and the what they could by the composer and the Philadelphia Or- several is inclined to stress 96— 36 records. The writer get, but the amount major orchestras for Victor. Dissatisfied sentiment more than Heifetz, 2.94 Country Gentlemen of this 0 97— 26 2.88 e b way represents chestra. Although the present set has better re- Open Hoad for Boys ciMsM ".re“Ms at a the vital importance of the with his earlier recording of the Rhine Journey and he is accorded slightly better recording. 22 2.86 »«“ National Sportsman „Tif«Of $1.80.„ t mposer in cording, it is quite 66 13 2.83 rOf this amount, the the production possible that most people will music Faure: Requiem; Collier's dealer gets an aver- of records. Without (made with the New York Philharmonic The Montreal Festivals Orchestra, 34 2.81 Boy's Life age of seventy-two and prefer the composer’s cents; the distributor, his fabor, the whole great industry performance. It is not that Symphony Orchestra in 1935) Toscanini decided conducted by Wilfred Pelletier, with 27 2.74 Popular Aviation twenty nf« , chorus. Mack 21 cents, eleven f record Moiseivitch is not 2.71 American Girl cents is allowed for making could not exist. a fine artist, but the fact that to do it again. There be Harrell (baritone), 19 2.47 discounts and may some who will feel Marcelle Denya (soprano), Sour record return; u s ima he plays 15 2.46 Short fifteen cents gi ne that with less compelling urge than Rach- that this Stories goes to conductors Beethoven is living to-day new version does not completely eclipse and Roland Roy (organ) . Victor set 844. 18 2.33 / Sports Afield soloists, and orchestral reCOrd maninoff did. The work is based on the twenty- 24 2.33 Radio News associations; the perform- manufacturing company has the earlier one, despite the fact that it owns a The music of Faur6 is not sensational, 74— mg musicians renniW being 8 2.25 Wee Wisdom receive five cents; the Sale of one fourth caprice by Paganini, the same piece that 34 2.24 manufacturin'.? hun dred thousand of more equitable balance of dynamics. Particularly perhaps most notable for its restraint Radio Guide costs take g his as Liszt, and mel- 33 2.15 Physical up nineteen cents; erpieces. He Schumann and Brahms used for variations. Culture general , would then receive $2000.00. welcomed is the conductor’s odic 43 2.13 administr a T ^ noble reading of beauty. Here the composer treats a familiar Liberty 6 and Sal6S e e ho Sibelius: Tapiola, Op. 112; Boston 23 2.04 Popular get eleven ™™ sold them would gross $72,000.00; Symphony Or- the Funeral Music. The energy text Photography this’is cen ts. To thP h ? and fervor with in a most moving manner. The melodies in 40 1 .93 Photoplay added^ ! i U chestra, directed S ’ by Serge Koussevitzky. $27 ’ 000 Victor 00 : the “talent” which Toscanini his 21 1 .86 Argosy sicLns «on nnA and mu- endows readings and his this work are, as has been said, often inexpress- 40 l.HO ’ 000 set 848. College Humor 00 ' The 30 manufacturers would pay ingenious arrangements of these two sections of ibly moving. As a recording 1.63 Screen land ^30 oon'nn f This work, this set is far in 15 1 overhea dating from 1925, is one of the .60 Zion's Herald °5. d and advertising. After all com- Wagner’s musical drama give them the charac- advance of the Columbia 31 1.39 Silver Screen e w„s these eesf S poser’s one made a half-dozen ’ the record last large-scale compositions. 85 16 1.37 Swing manufacturer would count It is one teristics of tone poems. years or 86 rr UDon m Q v more ago. On the whole the performance 26 1.31 Song klng of Sibelius’ Hits a P1 ° flt 0f Say strongest scores by virtue of its mag- Boyce: The Prospect Before 87 36 $20-000.00. Of course. Us (Ballet) ; Sadler’s Wells is an excellent 1.26 Western Story Magazine it can he nificent one, although, it should be pointed 25 1.24 Sweetheart Stories tiszszz™*? gU6d hat the orchestration, rather than by virtue of royalty comP°ser and the pub- Orchestra, directed by Constant Lambert. Victor out that Pelletier 25 1.20 RpaJDetcetlv.- t»as first Usher havp n its is inclined to more rapid Magazine insured by sma 1 thematic material. That 90 27 1.15 Thrilling Adventures m ol Ooil2 expenses, but proportionally Sibelius is one of the set 857. 43 through the activity " their evn tempos than are usually associated 1.14 'I rue Story „f the Li . f“o. 6 f0r most eloquent writers for with the 31 promoti°n and is woodwinds and brasses The English 1.10 Thrilling Composers. - production composer and conductor, Constant score. Detective Authors, by no met is Both sets have their attributes as well 29 1.10 Thrilling Western and 1 C0nSlderable borne out here. The work derives its as ptSm ‘ftS?ASCAP ‘ To our the name Lambert, has fashioned 26 1.08 Ranch there was a great > two nunds, a delightful score for the defects, and there is Romances hue and rr„ cent rtv Q i f F from the much to say for superior 32 1.06 ty f°r records ancient forest god of Finnish myth- True Romances monopoly - it ballet theater The composers - representing as from the works of William Boyce, recording in 33 1 .06 True and the does such J a work of this kind. Confessions publishers'^ Very sma11 ology, Tapio. Koussevitzky gives this music 32 1.00 Breezy Stories of trying to CCUSed part of the sales price a a youthful contemporary of Handel. Verdi: halt the of the rprnrH This is Love Duet, Act 1 prog?ess of artTY magnificent performance, — ; because merica f ° ° rti and the recording hearty and healthy they ’ Pr P ° n and music; music which is demanded this - shoSd ° ranks among full (soprano) and Torsten Ralf (tenor) with Berlin pittance ieTcreLTZ' the ' best of the course, was far This, of The composer receives less Boston orchestra. “The word cultural was from the truth. than one hliV - Wagner: State Opera Orchestra (disc 18363), not defined in the ne Per cent Die Gotterdammerung—Siegfried’s Rhine and Otello- Victor ° > and the royalty directions because any Paid uno; °J Willoio Song and Ave Maria; definition would neces- 2 Journey and Siegfried’s Funeral Music; NBC Sym- Tiana Lemnitz (disc Btirkan, wh?^ composer, publisher to the 18364) (Sung tf „ when a^oTal^royal phony Orchestra, directed in German). Victor set 872. Xl'SZb ty is granted, is usually by Arturo Toscanini. RECORDS 156 ten per cent Lemnitz Victor set 853. has such a beautiful voice that it is to be regretted she ( Continued on Page 216) THE ETUDE MARCH. 1942 157 “ w

Music in the Home Music in (he Home The Mystic Mahler Gustav Mahler was in many ways too great personality to be comprehended in one genera- HE USE OF radio as a source of news and a No one could be better fitted to appraise the of communications must perforce come first Important tion. T in genius of this Bohemian Jewish composer and wartime. In England, musical programs have had conductor than Bruno Walter, who shares with to be relegated to second place. To date, The Etude composer of “Johnny however, the best musical programs on American the Austrian, Ernst Krenek, of Mahler, a recent radio have survived, with the major exception of Spielt Auf,” a biography the music room library and just Sunday Evening Ford Hour, which has been Radio Broadcasts addition to the indefinitely cancelled. issued by the Greystone Press. Lover’s Bookshelf Among the tells of his many meetings with Mahler Music musical programs which have at- Walter tracted as an assistant wide favorable comment both in this and of his service under him country and in & this way he has brought out many England is the British -American y conductor. In Festival, heard Fridays from 4 to 4:30 P. M.. ET, interesting points in conductors’ technic which Any book here may over the Columbia network. illuminating to the concert-goer. reviewed This is the program are very be secured from of which we spoke last month. The Columbia Walter’s chapter upon personality is a truly THE ETUDE MUSIC Concert Orchestra oCinddaty orcjcui MAGAZINE at the is conducted by Howard Barlow w< beautiful tribute to his friend. His comment upon given plus price and Charles Lichter and plays English and the close relationship between music and re- postage. American compositions. The English music ranges ligion is especially fine. from works by Purcell to Benjamin Britten, while the American part of the programs ranges from programmed. There seems to be plenty of contrast. Damrosch programs, the Radio City Music Ferdinand Gottschalk to Roy Hall Harris. English in- The programs of the Cleveland Symphony Orchestra, hour, and The New Friends of Music terest toward this program has broadcasts brought worthy conducted by Dr. Artur Rodzinski (heard Satur- all are still heard over results. the Blue Network. Since late in January record transcrip- days from 5 to 6 P. M., ET—Columbia network), On the NBC-Red the . J.man tions of all broadcasts musical roundup of the 13 Ca have been made, and these M~M have been of unusual interest. There will be four week have been for- includes still such favorites as the Metro- broadcasts this warded each week politan Opera Auditions, The Telephone Hour month, and al- The Voice of by plane to the Firestone and the Cities Service British Broadcast- though it is not Concert. Music Quiz, for Youngsters An Epoch-Making Singer ing Company possible at this time During March greets the book upon Marian in three conductors will officiate at This is apparently the age of the questionnaire. Your reviewer new London for to announce the the helm Of re- the NBC Symphony Orchestra. On the The country has for years been bombarded with Anderson, famous negro contralto, with much broadcast there. selections sched- 3rd and 10th, Fritz Reiner of the Pittsburgh Sym- lists of questions, and the air is drenched with gratification. Miss Anderson has won her laurels The uled, it is quite cer- programs of phony Orchestra will be the conductor. quiz after quiz upon almost all imaginable sub- fairly and honestly. Your reviewer first met her tain On the the British-American that they will 17th, Saul Caston, assistant conductor of the jects. The public calls for “Information Please” in her youth when her teacher sent her to the Festival for March be equally as inter- Philadelphia Orchestra and permanent apparently cannot get enough of it. A very writer for an opinion upon her voice. She was esting conductor and offer some unusual as all that of the Reading Symphony Orchestra, will direct; excellent series of musical quizzes by Gladys identified at once as a natural phenomenon of novelties. The pro- have gone before. and on March 24th and 31st, rare qualities, and was advised to leave nothing Dr. Leopold Stokowski Burch and Helmut Ripperger has just been pub- gram of the 6th Rodzinski has returns for the first two concerts of his spring lished and should prove very useful for music undone to reach a great goal. will present three given premiere engagement with the orchestra. material. In the field of music the American Negro has works—“Two radio performances clubs in search of such In- A special broadcast Of the Rochester Philharmonic Junior Music Quiz” had a deserved "break” perhaps more than hi terludes" from El- of such works as “The Orchestra, under the to be gar’s “Falstaff”; Jerome direction of the pianist-con- By Gladys Burch and Helmut Ripperger any other activity. He has never wanted Kern’s ductor, Jose Iturbi, is scheduled patronized or patted indulgently upon the back. String Sinfonietta Scenario for Or- for Saturday Pages: 134 March 7th, from 9 to 10 P. All he asked for just recognition of his tal- by Edward B. Hill; chestra on M., ET (Blue Net- Price: $1.00 was Themes work). This and A Dissonant from “Showboat” broadcast will emanate from the Publisher: G. Schirmer ents and achievements. In evidence of this, four Capital Theatre Overture by the Rachmaninoff’s in Wheeling, West Virginia. of the most successful singers in America at this young Jobt1 ®arbirolli returns from time are the negroes—Marian Anderson, Roland Polish- ,, in “Symphonic r engagements the West as Valuable Talks American com- Dances,” the conductor of the Philharmonie- Hayes, Dorothy Maynor and Paul Robeson. which is iymphony poser, E. Orchestra of New York When a great man passes on, he is or is not Marian Anderson was born in the sec- Gerschef- the latest work of for the month Of southern ski. Maich. In the obliterated in proportion to what impression he On the 13th, the pianist-com- broadcast of March 1st, Mishel tion of Philadelphia in 1908. She studied orig- two las io, concert has left upon his day and generation. The influ- works by Amer- poser. master of the orchestra, will be inally with Guiseppe Boghetti and later with tne icans and one by soloist, playing the ence of his thought may make an indelible im- There has been a Tschaikowsky “Violin other teachers. Her appearances with great or- an Englishman oncerto.” Reginald pression upon all time, as did the words of Jesus, will divorce of the Red Stewart, director of the Pea- chestras in this country and abroad have won her be heard. although there is no record of Jesus’ having writ- The and Blue network 111 Baltimore, will be the soloist wide distinction. In 1941 she won the Philadel- American I l he ten a word. He is quoted his disciples, works are of the Wl11 be heard in the Tschaikowsky by and phia Award (established by Edward W. Bok) of National “Pioi!Piano o’ Andante for Strings Concerto No. 1.” interminable others have held his thoughts as Broadcasting Com- On the 15th, the violinist, $10,000, as one who had done much for her home by Clark Eastman pany ari SCatti a life guide. since Feb- ’ be beard as soloist playing city. Her programs in recitals have been of the and .Star’s the t r!i ?

Music and Study Music and Study Ten Years Ago: Table An Interview With Horowitz The Teacher's Hound he gratifying announce- Here’s a sensible one: “In ment that The Etude has been Monthly the famous Country T Conducted octave passages of Liszt’s “Sixth Dear Harp of list My Included In the top Class A ol Rhap- sody” I use the hand alone, cultural magazines (in the survey con- not the fore* arm or upper arm. All ducted by Purdue University) possessing movement stops the greatest cultural Influence In Amer- By at the wrist. If I used the whole arm ica (close running mates are The Satur- I would be fatigued and the tone would day Review of Literature, The National be clumsy and harsh. So I use the hand Moore the Irish Minstrel it Tom Geographic, The Nation, The Forum, moving IN the wrist only.” Horowitz Time, Readers Digest) is just trying to ought to Impress tell us that rapid octaves Round Tablers with the Importance must be played as of Noted Pianist economically as pos- keeping their Etude flies complete. Back sible. that is, with no Educator lost motion. For numbers often bring and Music in unexpected divi- octaves, Horowitz doesn't use a hammer dends. Matters which seem of little im- stroke, whacking, flapping or slapping portance at the moment often loom up Hoiinson wrist or forearm. There is in fact Un prac- A mightily in the perspective of years. tically no movement at all! (Watch him For example, ten years ago in The Etude and see for yourself.) He himself of March, 1932, Vladimir Horowitz gave says that he moves “in” the wrist only. a remarkable interview to Florence Leon- There —and you will be amazed at your gain you have it again—he has practiced ard. How many Round Tablers possess his " Dear harp of my country in darkness I found thee, in brilliance and endurance. fifth finger and thumb octaves it, cherish it and profit by it? Horowitz, with finger articulation so long and The cold chain of silence had hung o’er thee long.” one of the greatest pianists of all time, so hard that the only movement has, so far as I know, written or spoken Playing From the Hips is the finger Corrcfpondentii with this Depart- movement plus an almost little on the subject of piano playing. ment arc requested to limit Letters invisible ro- to One He is also the first truly great virtuoso tational swing Therefore, when he gives serious ut- Hundred and Fijty Words. of the forearm—to which to put himself on record as to the im- he mistakenly terance to his theory and practice of refers as being “in” the portance of the bodily framework back wrist. O SANG TOM MOORE in the closing refrain sprang from that.” It was his entire life. technic, all of us are bound to listen with of fingers and arms. Again, he puts it so As of his “Irish Melodies” a century ago. In His mother, though a woman of limited cul- sharp ears. In that ten-year-old inter- to memory, he says, “Some musi- The touch itself must reside in the finger. innocently, view Horowitz tries to analyze briefly yet so sincerely: “In playing cians depend more on the ear, S darkness indeed had he found the tradi- ture and education, was intensely fond of his others This is the secret of avoiding a harsh on physical approach to the loud passages I am aware of a slight the eye. In folk music of Ireland, but with a tongue of music, and Tom was early set to instruction in keyboard. The tone.” my own case, I must make tional result is in movement of the hips in addition to many respects astounding. the use of eyes, ears and brain. poetry and a voice of song he had revived it. The piano and voice, urged to a serious pursuit of This means, of course, that he never Probably Nuggets of pure gold there finger movements. This hip movement the eye are aplenty, strikes memory is strongest with me, for old folk tunes of Erin had not even been set down music and given ample means to express it in the piano. Listen again: “I do not brings but sometimes it is necessary to dig very the body to the assistance of the I mentally see the page, use a stroke in playing runs or chords. and also the in written music before his time and most of frequent well attended social gatherings in THOMAS MOORE hard fingers. . . . But, and deep to find them. Why? Be- the body is always keyboard. I must see both In rapid runs there is no lift keyboard and lost, but for the Moore cause a genius or time to assisting when the playing them might have been or forgotten home. near genius like has life and notes.” . Horo- . . high and strike. . . . Furthermore, you vitality.” him. It was he who gave them new life and form Ireland, always musically minded, witz does not always accurately analyze Later, he comes back to it, thus: was especial- twenty years of age, Moore passed his first cannot strike when your “Them’s” wonderful words, coming his physical arm or hand is “In this chord playing them famous throughout the world. ly so in this period. Handel, and mental processes: but I am conscious of from such a source. and made Haydn and Mozart; brilliant year in London. close to an object. So, I prefer the tone It is comforting to when such an artist honestly tries to a connection between the hands and the have so Believe Me If All Those Endearing Young catches and glees, Irish folk music, street songs which is felt by the finger; many of the principles I have But when he undertook to continue the career describe his “feelings" and it is im- side of the body; and instincts as the body again is as- tried for Charms, The Minstrel Boy, The Last Rose of and bawdy tunes all were in high popularity possible to feel the note and at the same years to develop in my own — so auspiciously begun, he met. for a time, with Horowitz has done in that interview, sisting.” a time to strike playing and teaching Summer, The Harp that Once through Tara’s with one class of society or another. precious it.” And here’s the knock- corroborated by Dublin at little success. During the next few years he pub- treasure chest of technical truth In other words, practically the such out: “Even when playing chords and entire a superb artist as Horowitz. Long Halls, The Meeting of the Waters, O Breathe Not the moment, was the musical center of the British is exposed. Its riches simply need clari- framework of your lished several things, but they were Inconsequen- octaves, I body is tied together may he live fication do not use the stroke. I always to thrill us! And let’s pray His Name — these and Empire, and in this at- and classification in the language at the spinal column, whose tial. A visit to Bermuda and America followed, play close to the keys.” base sup- for more such sensible we ordinary folk speak. ports interviews from scores of others—old gems mosphere Moore the whole body—both upper passed during which he wrote lyrics of no substantial Now, will all those wise old mossbacks and great artists. At the outset, Horowitz tells lower portions of Irish melody, newly his youth. us the go climb a of it. And so, when you Yes, import other than the “Canadian Boat Song”; “secret" of his tree—those poor misguided Round Tablers, those back issues own unique and individual Play, if you permit the clothed in Moore’s heart- At Trinity College, souls who still hold that you movement of of The Etude are Dub- and, in 1804, he returned to England. approach to piano playing. His must haul hands and valuable. Better hold teachers off arms to flow freely searching lyrics, were lin, he did not and whack our beloved instrument up onto them tightly! where was a friend mention technic. No one taught through your spinal with forearms, wrists column, coordinat- saved from oblivion and of the ill-fated A Great Work Is Begun him how to play. and hammer-claw ing patriot, He says, “My technic I into a free, elastic swing had fingers! Horowitz can probably produce of your en- recorded among the songs Robert Emmett, to find out for myself. I cannot tire back— Moore Moore found himself back in London, five years tell a greater volume hip to neck—you stand Books for Teachers how I learned technic of legitimately musical (or that never die. In his own made for himself anymore than I t.) a much better „™>u.d you su a pleas- after his meteoric debut, with but poor prospects sound—single tones, runs, chords, chance of playing K6es t some good books can tell how I learned languages. .” octaves the piano which will be day, the ballrooms of Lon- ant reputation, , . than any like an artist. helpful and Inspiring for both as a before him; and the specious personal flattery ne All of which living or dead pianist, yet he achers to read? doesn’t help us much, does L. B. M.. New Jersey. don, the drawing-rooms personality and a dabbler does it aU by feeling the keys. had received might well have faded quickly had it? But it teaches us to be on our of guard What a the great English coun- in things musical. But in against slavishly Gold stimulating question' But he been unable to produce further successes. imitating the technical Nuggets the try longer I thought houses, the concert his last year at Trinity he approach of artists whose The Fifth Everywhere in the of it, the more inade- But soon, by a fortuitous circumstance, he natural gifts Finger interview are nug- quate halls of Dublin and Edin- differ so widely gets of pure were my own lists. Finally had, sitting in the quiet in quality and kind from From no other pianist gold. Here are a in de- found himself engaged on the work which was to or teacher have few. spair I burgh echoed ours, and who have I the ideal turned the question over to his re- of the college library, had unlimited time heard the tremendous equipment for the to my establish 'his greatest literary reputation the emphasis on nianist friend, Professor frains. — and opportunity from childhood fifth finger f m ment Daryl Dayton (Pomona And through the done a more important to de- strength given by Horowitz- the « “Irish Melodies.” The immediate result of the pub- velop their technic. rXSo„°relaxation in o ege, California) nineteenth But, In rthe arm.” , who is a second-to- century, in make no mis- my own technic, the fifth And later thing. He had written the lication of take! fingers, none authority the first two numbers of the “Melo- Horowitz has found out for him- both right and Wi on such matters. the old world and the left, are the basis for ement the “Odes of Anacreon,” trans- dies,” self certain wristl >’ * He promptly in 1806, was highly gratifying. The furore inevitable, scientific playing runs, needed submitted this list new, tech- chords, and octaves. a bVi0 which wherever Irishmen lations nical truths This crude but ^ USly in r gues of the old Greek they created was intense. —and— *has— taken pamspains finger I effectNe'Xs me so much that I • to10 might call the ‘guide’ for Sf sa° t am going gathered together or, in- U’em ln hls rotation and to beg borrow bard of love, wine and What own words; from » is almost as if its controTw or steal all the books in was the inspiration that motivated Moore acute sensitiveness wXhTafe iif deed, wherever the Eng- “l e have much t0 dispensable to it that I pleasure. learn, and for strength and control all good haven’t read. (I’ll bet to write the “Irish Melodies?” In . , . L. B. M., 1792, Dr. which taught the others’ piaiSts lish tongue was spoken, James we are indeed grateful.’ how to play.” ays 1 G ' has not Graduating from Trin- Naively spoken, but ly seen many of them!) MacDonnell, a citizen of Dublin and a patriotic oh distincuy ’ never ln - Moore’s songs how true! Furthermore, Music in Western were sung. ity, Tom went off to he often refers “'oim ry H Stlnct Civilization,” Paul London lover of old Irish music, tice is prac - Henry And had arranged and to his strong fifth finger essentiaf fn^- Lang. Brand new; now, in our own time, "Feeling" the Tone as tone strength- excellent; high- , with letters of introduc- financed a festival in the ener and heing interpreted, ly recommended. scarcely capital, and the fast Throughout proportioner in111 a day or evening the Interview, Horowitz re- Slngingsinging Pas-oas meaXhaf tion to influential people dwindling school saae^Iwh “"T Practices often “Our New passes but of old harpers, who played by turns again and again to the for the uniquely without pedal Music,” Aaron Copland. we hear through and with expression feeling or “ndTby Good, the manuscript ear the traditional airs that ’ °rCheStral touching interesting had never “feeling the to„e”-by which of his can- every n exposition of what the the ether some song of been set he means he plays l A“'e new of “Anacreon” in his port- key contact 2 it. Then he music is trying down on paper, were bidden to Dublin or touching adds to say. Just the this Irish at the the keytop be- wL « passage raPid off minstrel. fore work I ni press. manteau. The next year, good doctor's it is played. Glory be to trength has been av y expense. Only nine of these harpers Allah for veloned tn de- time much of the this! w^*^rediMe staccato so th/f Great 1799, he was a sort of He is positively fanatical power and at e ery ‘° Modern Composers,” A Musical Personality were found. They were closeted on the control This I ne ls cle Oscar with a proficient through a find e’ff - Thompson. subject! . . :°cSe youthful meteor in . says he: “If I always Practlce of clo anda„'d necess The best book yet on present- Eng- musician who reduced the music, feel few ol T a » large hall.” ary in a day By every test of tem- some of which ’ trUto musicians; The Harp that Once through the tone, then I ' thlrds with land. He went am using the suitable . melodic biography and lists everywhere dated as far back as Carolan tones and T And of works. perament and ability, Tara’s Halls and the mythical technic, can practice a long time, nght there you and was a unique success. and have ’tX detached Staccato or Ossian, to manuscript form. Four have a musical, hiS d zling note^practice Gulde Moore showed himself years later, in interesting tone." And “ chords, most to Wagner's ‘Ring of Some of the poems from octaves'^ anrt^^ w fine artiste? With thJ^xiXNl 1796, this first collection of airs again : n° ' ’’ throughout was “From the tes ’ Str Only e Ungen ” a long life published. moment one feels that your engthen can ‘ by°y such Hutcheson. There to be a personality born “Anacreon” were adapted to fifth L f they keen their Prac tice n Pl. ^ music, and he sang Now a firm the finger must sing, it W de a better for music, and, of Dublin publishers, the brothers becomes strong, 1 detailed study than in his formative years, he lived octave clear perspect ( . them himself in the praefi^, and their >ve Mr tj ’ drawing-rooms of the technic^,? eS°n s in town Power, proposed that 6S aUy fascinating book, an environment which developed this attri- Moore write lyrics for these «« „„ “T?f he ™ and country houses of the great. 160 Victor Book of the bute. And when old airs, and they were to be Symphony,” “Music was the only art I was born for,” “Anacreon” rearranged and l was published, the Prince Continued on Page 204) he said of Wales adapted for the purpose by in his later years, “and even my poetry accepted an eminent composer. its dedication to himself. Thus, at Sir John Stevenson. ( Continued on Page 210 THE ETUDE MARCH, 1942 161 ^ — — —»

Music and Study Music and Study “ A T WHAT AGE should voice training be A started for boys and girls?” •iTjL This is a question much in the thoughts many school teachers and parents. It any folk songs were written by of a great persistently in discussion sessions of people who could not read and write their is voiced courses. And always my reply M own names, to say nothing of music. a Song teacher-training Have You training should start when the child for There are actually is: “Voice Guidance two kinds of Vocal "folk songs.” First in importance is the pure folk song, easy to begins to talk.” identify because of its structure and simplicity. It should start in the home—with parents and This was often the product of several persons, other adult members of the household offering sometimes to become a great many, instead of just one In Your Heart? to the little tot, who is struggling composer; and it shows ample evidence of every- articulate, a constant example of good speech. Children and Adolescents one having a finger in the pie. In an evangelistic The fond parents will, quite naturally, find the meeting, for instance, a worshipper "gets re- early babblings of their offspring “cute;” but ligion and calls out, to the accompaniment of adults are not cute when they mimic the thin, an Improvised tune of great simplicity: "I got half-formed speech sounds of the child and religion. Other voices among the worshippers rey 0’J4.rara carry on their side of the conversation in “baby- take up his melody immediately, with a qualify- 4 talk.” They are thoughtless. ing phrase, such as, "You got religion!” or "The learns articulate words Composer of K-K-K-Katy, Give a Man Obviously the child to old-time religion!” Someone else a Horse cries, "Yes, its house- The Wreck Df by imitating the speech of elders in Lord,” and thus begins a song! The Julie Plante, There is no Death hold. In most instances the mother’s speech pro- This manner of development is reported from influences every primitive vides the pattern that predominantly land. Our North American In- the child’s early speech. If Mother will always using their voices freely and “harmony” parts will include dians follow it to this day, as do the Negroes in voice pleasant, form vowels well and spontaneously. This conclu- lower pitches. The teacher the South. In this way, songs keep her are begun; and are said, it is started in dance groups, as well as in reasons. then Publishers are always looking for articulate distinctly, it is likely that by the time sion is expressed in a pro- here faces for The first time enlarged upon, repeated, adjusted new and secular and social gatherings. ideas, and it gradually given has been my experience that her child has reached school age, it will speak nouncement issued by the the problem of “voice classi- definite form. It is interesting editors are very fair in this regard. fication.” decide to follow aboriginal I in a way that will bring joy to the heart of the American Academy of Teach- She must themes from one tribe to an- wish I could Write that Melody Down” other, For many, many years, there pre-school years York) which ones will sing second even from one country to another, have been a few first-year teacher. During the ers of Singing (New down We moderns no longer write songs, as they did “gyp” through the years. publishers who advertise: “Send the child’s voice training has proceeded upon the three years ago; from which soprano or alto. Too often her in the olden days. Of us your course we do write them, song. A hit will make you rich!” As a joke, I have basis of example and imitation; but it has been we quote: choice is determined solely by Enter although perhaps not on paper; but thousands on Sophistication several occasions written the most voice training nevertheless. “We believe that the prac- the ability of certain pupils of people have melodies running obviously But a song written through their worthless lyric I could by an evangelist, himself heads, conceive, including gram- Yes, that’s how voice training should start tice of inducing young people to “carry” a harmony part and they say to themselves: “Oh, good- is quite another question. A matical and rhythmical errors, the through the medium of a good sing in good ear beautiful melody ness, I wish I could and have sub- in home, to a way commonly the ones who have a such as write them down!” In other mitted The Lon- these atrocious outbursts by mail. speech pattern. Some children are so fortunate and inaccurately described as and a natural harmonic sense. words, A reply donderry Air is by they are has invariably come from the “gyp” publisher as to begin their vocal self-expression in such ‘soft’ which should be termed Right at this point, the no stretch of musical illiterates; such as the this: "Of all the beautiful poems environment; but these are in rather pitiful ‘devitalized,’ will result in the voices of girls and boys should they cannot which imagination a folk write. we have received in the past years, this is one minority. Any typical crop of youngsters gather- presence rather than the ab- have the most expert guid- song. The form indi- This, naturally, is of the finest. We think you are a very talented ing for their first year of school will present sence of strain; and therefore ance. How they are guided is cates that the writer exactly as it was in writer, and please believe us when we say various examples of vocal distortion which com- children and adolescents had past that you more important to their vocal had training. centuries. And have come to the right place to bine to dump a knotty problem into the lap of should be taught the vitaliza- it It yet, make your for- future than will be later on is definitely the to-day, there is une. Our excellent staff of writers have read their teacher. There will be whiners and shriek- tion of the body in singing.” when they reach high school; composition of a very a way to get these with great interest JOHN C. WILCOX your excellent lines. Being ers; little girls who gasp breathy sounds and This statement, emanating yet our general school policy great melodist. His melodies out of one’s world-famous, and having behind little boys who twang nasally. And Teacher must from organization name is system, them years of an that in- is to minimize importance of not known onto paper, experience, they are willing to submit for your train them all to sing pretty little songs nicely cludes in its membership a considerable number voice training in the intermediary grades and to us, but his heart and that is by the approval one or two slight changes so that she will earn approval from her superin- is in the song. An- simple which they of America’s most eminent voice teachers, takes wait to hire the “experts” for the high school method of “ lk advisable, from a commercial standpoint tendent and visiting committees from the P. T. on added significance it is years. other example of going to your ,, when we know that nearest jou understand, in no such way reflecting upon your A. What sort of training can she give to work based upon an extended survey by a committee First of all, leaders a melody is recording studio, ability of singing activities in the to as a poet,” and so this Deep River, sing on. miracle? that conferred with teachers in all parts of the intermediary grades should realize again the song. It is that every Well, she or by no means a folk then may may not produce a blue-rib- country who had been outstandingly successful normal girl of ten or eleven years is not difficult for The Decoy physically song. It bon unison juvenile singing ensemble; but there in training was com- a musician to tran- young voices. It expresses the con- able to sing the full range of any part-song suit- posed by the decoy> are a few fundamental elements of vocal train- an unknown scribe that the worm on the hook, sensus of opinion among leading educators in able for voices of that age. Also it should melody. JS^JF*** , be 16 W° ulcl '' ing which "minstrel” of the I be song writer is she can to some extent establish in the child and adolescent voice field. realized that, have had many bite nun supposed to except in extremely rare cases, it Negro race. Wall0W; “For the habits of her little pupils. These are: It is in- such interesting this service ^ make a is impossible to determine whether voices of that ex- charge! Voice teresting to note, in periences. of three dollars. Correct posture "Classification" Begins Only re- to i We will submit age will be high- or low-range in maturity. To 3, manuscn connection with this cently, Pt for your .” Deep breathing It has, perhaps, visiting in an emhrL approval . . The taken us a long time to recog- arbitrarily classify some girls as altos, just be- immortal S Writer melody, a Akron High S usually falls for this, sends in Good vowel formation nize that muscles of the vocal mechanism are cause they School, his thrt> °!i ii may be able to reach low pitches fact which afS> is little one of gets the manuscript return Distinct articulation subject to the same process the teachers TJ ZZ ? by of development as all easily and then keep them continuously singing known: the middle told 1 oks bke a Just how far the teacher goes in instilling such me she dollars to him. other muscles in the human body, that is, the low part, would part had a Then J i? almost certainly result in was composed n6Xt h habits will depend upon several factors: size of song in ® °°k ’ With a bigger through vigorous exercise. her heart worm ’ Voices, young or old, physical habit-reflexes and by Coleridge-Taylor. publication^ psychological in- but could the class groups; time available for corrective are strained not write when used against tension of in- hibitions that would limit their natural voice He made the song 116 laSt practice it down. I ar 1 got more than one hun- and the sort of example provided by terfering muscles not through energetic range and into the A B explained dred'o^vf ^ — use of distort their tone quality. A for- to her ese Published songs the teacher in her own posture and speech. Some about this showino- through the mail, the vocal mechanism itself. Shallow breathing To arbitrarily keep boys of ten, mula, which means substantial eleven and new method, evidence of duplication, many progress can be made if the teacher and tight throat are the that and , causes of strain. Teach twelve years singing in their the song opens 11 ed vitb is alertly unchanged “treble;” not long the same title with watchful and persistent. the child to with the afterward onlv the ! page, and breathe deeply and pronounce full- or allow them to sing exclusively on the principal she 0rdS 0f low parts sent me the title changed. What a throated vowels, and he or she sing in a melody, is the farce- T u . may heartily chest tone would result in followed Ve eceived Value of Hearty Singing exaggerating record in the mail 5 many letters from such with both enjoyment and beneficial development. the later “break” by a contrasting Geoffrey O'HARA I sone writor < and turning them into short- transcribed tbey had In all singing activities these children in the melody, it, made me what been duped, asking There is nothing more technical involved in voice range voices. and then a ° about lower grades manuscript it; ' In fact at should be stimulated to sing vitally training returns to piano in nossessi . one time I was for children under ten years of age. These hazards for the principal melody. 01 and heartily. both girls’ and boys’ voices The lines of copy, and sent more than eiSht hundred such They should not be continually In most of our demarcation between it to letters fnii ^ modern American schools, girls may be avoided if the these two the folk ° heart ' shushed,” or teacher will guide them 1 rending stories. One of these encouraged to use the little piping, and boys of ten or eleven ana .he actual song customers years begin singing in daily, systematic vocal exercises, aS an Uncle breathy, shut-in tone that is utilizing the ’ a missionary, too frequently ac- usually distinct. savS who had part-songs. The voices are then divided into full range True, an evangelist, hTs no r , cepted two of their voices. The oft-reiterated or leader of and dimes as the natural tone of young children. alibi S° - and twice had or three should ' parts. singing, might have be^pohitecf ngS :t sent in thfrt° The upper (melody) part is likely of teachers: “I originated the first ouf to them h° Voices, even have no time for such vocal drills; line but Oldold however, t0 SharkS of such young children, are not that ’ to include those of us who have Biblical truism,truism the to be ^ a somewhat higher range than did it takes all ^ the terribl/ ^ the allotted attended these “Many delved. saved time to learn the ecstatic few ITT’called^ from strain merely through singing softly. part- religious meetings know shall be chosen ” but unison songs used in the lower grades, songs,” will that this is is still q That is and not hold. If there is time anly not neces an exploded theory. Progressive voice to learn rue . The How to song is started in the Dodge the Song teachers part-songs, a brief portion of on, congrel. Shark" now recognize that persistently holding that time may it is an outburst of fervor, and should and, as already b e voices to “soft” singing be devoted to voice drill. Sing fewer 11 m&ny make t0 will inevitably establish falTto ’ * songs, reiii tS2t ^ muscle reflexes sing them better and give the girls ™ ’i ls n°tt° necessary for our which cause throat constriction VOICE — and sonas te he ,, u? , boys published and actually some of the vocal education that is (Continued on Page 206) inhibit the young singers from far more important to their ( Continued on Page 194 THE ETUDE MARCH. 1942 163 : - —

Study Music and Study Music and HE WIT WHO SAID that anyone who was planning for a career in the diplomatic some time in a T service should first spend the truth. volunteer choir was not so far from is meted out to the A great deal of sympathy companies, with their directors of grand opera Years warfare between prima Fifty Making the Fourth Finger Useful years of internecine donnas and primi tenori, but these worthy gentle- diplomacy that men have little concept of the choir must possess. the director of a volunteer Sunday, hot or For fifty years, Sunday after he or clear, day and night, I have been Choir fourth FINGER ur- sume a long curve. cold, wet in a Volunteer ^Jlarolcl j^acLer Much of this time was gently demands the serious 5. a volunteer choir. Particularly note that in Tattention of the V the director. I am partial to the large piano pupil. fourth finger spent as a has an excellent The strength of chain against the quartet. In the latter, the a depends opportunity to act choir as without in tiaining, but I upon its weakest link; so does perfection of viting singers usually have had some undue strain. This position avoids piano technic depend upon this under- the chorus, under a competent director much usual feeling of tension resulting prefer the rated finger. from con- heart, to the frequent hard, D. ~J4oye tracted fingers. with a sympathetic It is the task of the teacher to stress ways metallic voices of the quartet. I would rather 6. Experiment with the left hand and means by which maximum in a like by an old lady in the accuracy and fashion relatively hear Rock of Ages sung minimum one octave below middle fatigue can be achieved in conjunc- C pews having in mind that she was standing tion with this finger as the result of ease in Stressing A Free that Rock, and fully believing in the text, Finger upon’ perpendicularly who has aspirations to become a prima donna movement at the keyboard. In doing this, the operatic voice “reciting” the same song, out your hands and put them The second step, now that than an and who possesses a voice which would scarcely pupil’s difficulties for the moment the previous ex of on your face with the little fingers just in front immediately having for his goal the check at the end gospel disappear, periment has been fulfilled, is to from make her eligible for a street corner and an excellent foundation will be place the all highly trained of the ears. The hands will then stand out arm, hand, the service. However, not soprano who, laid for more advanced and fingers in a position in like blinders on a horse, service. The other is a venerable technic, In which this which like that. A great tenor visited a the sides of your head the down and singers are battles, still holds the finger features conspicuously. up muscles of the fourth it were. The same after years of choir loft With the remov- finger here and was asked to sing something. making sound shields, as ing can be taught to church best solos. of irksome barriers, the pupil will act with maximum by holding a sheet of fort and demands all the take freedom. chose By Cool Siloam and sang as if he had effect may be produced greater delight To do this we He in his musical studies, and must eliminate every possibility right angles from the head in front written the text himself. And at the close of music at the teacher will find the positive of down arm pressure; take the observe Contrast of Choir and Orchestra side of his strain off the there were many wet eyes in the con- of each ear. Now sing a few notes and teaching principles connecting ligament the song blossoming into fruitful re- between the third and how different the vocal quality seems to you. The composer or arranger of orchestral music sults. fourth fingers; ease gregation. the tautness produced by Experience seems to indicate that especially in has a number of instruments from which to Of all the societies in the church, it seems the web between the fingers, and modify the choir must be handled with case of the voice, it sounds sweeter to the maker chose those best fitted to produce any desired Seeking An Easy Position pull that the volunteer of the associated finger tendons. the case of the soprano part A very the greatest care by the tonal effect. In When this finger is allotted its excellent exercise, 1. proper place one that will help the there are four or more which may be employed: as a natural pupil minister and his aids phenomenon, the teacher will dis- to achieve all these things and thus pave the deacons or violin, oboe, flute, clarinet and trumpet. Each of cover that it will function properly. way session, vestry, Quite true to the greater utility of this overtones, or “tone color." it finger, is name they these has its peculiar 2.differs from the other fingers owing delineated by whatever to the in its various stages as like this; restricted scope follows; be called. This ap- The writer of choir music has nothing of its upward movement. 1. may 3. A Without losing the relative tenor or bass, or ligament, a pliant position of plies particularly to the he writes for soprano, alto, band of tissue, transversely the fingers on their Illustration 1 position key surfaces, permit It is for the director to deter- adjoining the third and fourth —A oi ease. the volunteer choir. The paid perhaps baritone. fingers at the hand to lower from the knuckles limits initial playing posi- usually be mine which of the voices has the most desirable the lift of the latter finger tion singer may to the front edge of the piano and become consideration. especially when the third and fifth easily replaced, but those tone quality for the number under fingers are supported there. held down. Any attempt to stretch who serve free frequently Avoiding technical names for the different this ligament 2. Raise beyond all the fingers to an altitude a very limited extent will end ap- have close relatives in qualities of voice, the tenor who may shine in in dis- proximately within aster. A ligament has no their easy, middle range Gounod’s Sanctus, from "St. Cecelia Mass,” may elastic quality, and of the congregation. These there seems movement. no point in resisting a natural church members are sen- fall flat in Handel’s Every Valley, from the fact. On 3. Now cause the fourth the other hand we can benefit from finger to depress sitive about their rela- “Messiah.” An inferior singer might make a this natural ns partmuiar key with condition by operating within precision. The result tives and readily take much better showing in the latter. If you consider it ot this action and by seeking other j S exemplified in means in which this Illustration 2. sides with their own peo- the difference between the mellow tones of the finger can take the 4. Lift this finger with greatest possible ease. This equal precision. ple. One minister said violoncello and the rounder sounds of the trom- can be accomplished o- Begin softly and slowly by means of the following and build up the that the easiest entrance bone, both tenor instruments, this point may be interesting experiment tone and increase which will briefly enu- the speed to moderate for the degrees. devil into a church understood. The director of a large choir should merate the necessary steps and explain the as- is through the choir room know every voice in that choir—its capabilities, sociated facts 6. Once the arm has been experienced as door. An argument in the articulation, whether affected by nerves and so Take an a strong backing easy, natural position support, lift the off of the hand Ladies Aid Society is on, and assign parts accordingly. That is, if he body at the piano, r< t edge with the shoulders slightly of the Piano in gradual stages , n fv usually patched up, by may. Sometimes he may not. Only in rare cases brought forward. This “ *he fin posture gives ideal ease 6er continues to act and the bringing combined with originai in good, com- is a choir director exempt from a number of body support. position has been reached. mon sense before it be- “thou shalt nots” he must watch his step lest Let the right arm, hand, and N0W further increase — fingers the tone to ff and comes hang loosely at thethl' speed, serious. The Men’s it land on tender and influential toes. His great- the side. to Allegro. The Famous “Volunteer Choir" Scene in "One Foot in Heaven" in which Bible Class may disagree est problem frequently in Without moving the hand or Frederic March and Martha Scott were starred. is assigning solos. One fingers from in the this position of Gaining selection of a director sidestepped the issue when alignment with the forearm A Sense Of Balance he had all teacher, but sober assume playing position on 6 ird tep judg- voices of one section sing the solo parts, regard- the five con- is to gain a sense of balance secutive keys, frm« £>iK f ment usually puts the brake there is of the tone than to others. In the first of which is t0 on before almost every less of the fact that he had a number of voices one octave flnger UP through a just dis- above middle C, as Position °7 a crash, and a general hand-shaking follows. volunteer choir may be found singers whose capable shown here in IUustra- of muscular of good solo work. „„° ., strength and weight. It Why, Illustration rev then, should singers cause so much con- voices are very faulty, and yet who seem to 2-A free finqer dr0pp6(J< facts that weight prop- 4. Observe that the eriv fusion? Are they less devout than other members believe themselves to be superior to better Another Difficulty upper arm is hanging develops much on a additional finger vital- of the plumb-line from the itv- snh f-'f church, or are their minds of smaller singers. I believe that few directors of such There is shoulder; the fore * U CS or the another source of trouble when un- arm is at right erroncous use of down caliber? angles with the arm nrp re / choirs will disagree with this. trained voices have glaring faults upper arm- he PS t0 » unknown to the knuckles of ^ overcome the natural the hand are slightly ell tendency fo Lhe Apparently some singers have the precious the possessor. A “certain lady” attacks perhaps vated; the JOints to break in. and estab- The Fundamental Difficulty axis of forearm lishes - rotation is extend -/ov V conceit that the reason for a church choir is a fourth under the desired tone, and then slides ing 0 00 3 thUi fing6r through the head of the which ^ ^ ’ We are inclined to the idea that the give certain ulna (the larger is necess^rvm funda- to individuals an opportunity to up to it. The effect is suggestive of y ^the ^determ key of a hungry the two bones of the forearm, resistance. ination of mental trouble lies in the fact their whose head that a voice display voices. The average choir director cow intoning a request for her daily rations. is situated on the inner side of sounds differently to the owner of that voice has two nightmares. One is likely the elbow) eP e the to be the Another singer seems to be unable to release a on a straight line with Prevlously indicated key than to others the fourth finger and silenfm i ? who hear it. In the singer, it charming daughter of a wealthy church member note by cutting lastly, aSily With the it off at the end, but must slide as a corollary to this, the fourth fourth finger reaches the brain through the ear finger 2dlLTjth6re and by other down several degrees before letting (as well as the other dunng the subsequent bal- channels, go of it. fingers,) tends to as- ance tests while the listener has it through the Yet a director, should he mention these little Illustration ear only. Moreover to his 3—Chart 116 own ears his voice things, 164 wrist UP and down in order may find himself in water much above to relealp f imparts a quality which he alone hears e forearm and ORGAN a comfortable temperature, especially (Continued on Page 200 ) if the which others rarely hear. For instance, flatten singer has had a little ( Continued on Page 196) THE ETUDE MARCH, 1942 165 Music and Study suits show that the effects are all Music of the natu and Study of those bodily processes that are typical ! emotion, namely, change strong of heartbeat pulse, blood pressure, deeper and faster breath ing, and increased muscular tension. Thus th experiments of Dogiel, the first Orchestras scientific worke* Importance of College Bands and in this field, showed that sound The stimuli caused more rapid contractions of the muscles Doctoring With Music of th heart, a rise or fall in blood pressure, and resc/ atory changes. These results have been confirmed by all later studies. The influence of tonal stimu Education Department lation the skeletal Music on muscles is to the stated concisely B, 2>, by Scripture: “With the thumb-and-finger HU SLm grin» he says, “the greatest pressure I can exert during silence is 4 kilograms (approximately 8 pounds) When someone plays the Giant’s Motive background and to the from ‘The does not musical Rheingold,’ my grip shows 4.5 , DUCATION teaching Dr. Schoeii is professor and head and kilograms (ap- formation of sound of the Department of Psychology .” it cannot, and proximately 9 pounds) stand still; are numerous ex- Education at the Carnegie Institute of Technology in Pittsburgh, Penn- UeJfi abilities. There must not. To-day it is By Wiffiam 2). sylvania. He was born 3. Even in experiments in which the it periences that courses in the in Hungary, February 11, 1888, and was brought to subjects combines America are asked to find a pictorial, dramatic, very complex, since it of music in 1900. He was educated at the College of the City of New York or nar- methods and theory rative content of a musical the search for knowledge and and the State University of Iowa where he was a student Dr. Carl E. composition the cannot possibly supply, but of of culture with the Seashore. reports show that, whereas ’ acquisition He taught for six years at the State Teachers College at Johnson the listeners vary can be had in the actual theaters of musi- acquisition of skills. Let us recall the methods course which con- which City, enormously in their accounts mechanics of training and Tennessee, and has been at Carnegie Institute Technology since of what the music expression. The best trained student in music of graduate of our universities sisted of weekly lectures on “How to teach the cal 1921. is is alleged to express, all the The well rounded He the author of several books and of numerous articles descriptions are will receive music methods as a com- on edu- of all of such-and-such instrument.” We were told that education cation, psychology, highly emotional situations. and colleges should have combined in him music and esthetics. His very excellent book, “Tne Thus, B. J. Gilman plement to a sound, well rounded program of skillful elements which best fit the flute or piccolo is capable of trilling like a Psychology of Music," obtained the following results from the cultural and has been published recently by The Ronald Press four persons the orches- musicianship. A student will be better equipped physical world which bird . . . the bassoon is the clown of Company.—Editor’s Note. who were instructed to discover him for the intellectual and the dramatic to make the correct application of his teaching tra . . . the drum is the oldest of all instruments story in Chopin’s Ballade he is entering. That is why methods of educating in F major, No. 2: thorough musi- . . . theories methods if he is a . . . the French horn is very difficult to play and “Two happy lovers are are in constant flux—constant growth, if you sailing over smooth themselves will not make a instrument . . . and cian the theories in will. The modern university has come to realize the oboe is a double-reed — seas; the ship is attacked by pirates, who are so on. Frequently such lectures were not benefited musician of him. Music technics, a really intimate beaten off. A fierce that it must cleverly combine theory and prac- USIC IS A VALUABLE healing agent! This storm arises; the ship bear- inspira- music touches the life of feeling the by the attempt to sound a tone on any one of knowledge of music literature, and the fact more directly ing the two lovers is tice in its teaching. Thus it is that young is well established by numerous cases and more destroyed; and after the from good musical perform- intensively than does any other art. storm lawyer-to-be, after studying cases and principles, the instruments which the lecturer spoke upon tion which comes M cited in the annals of the sun shines again upon the medicine and The other sea some- Education reason is that, since music is an art, jury box which so “authoritatively.” ances are not to be had in Music confirmed by psychological what calmed.” appears before a judge’s seat or and physiological it affects feeling in an artistic way—in other set in the schoolroom, or Perhaps we acquired quite a bit of information Methods Classes. research. But why the art of sound “The piece naturally suggests may have been up produces heal- words, in a wholesome a murder. It ing effects has way. opens with which may be an elaborate replica of a court- about the instruments, all of which was very not been sufficiently or system- a picture of the assassin creeping Rising Standards fine, until we were given our first position in the atically discussed. It is slowly along, room set off by itself in one of the law school therefore my purpose to Music Is the Art of Feeling and you hear the shrieks of his in- music field. own education really Beyond question, the musical standards being throw some light on this question tended victim buildings of our leading universities. education Our by an examina- From the when he is brought face to face common use of music to began then aha, those were the halcyon, the demanded of public school music teachers are tion of the relationship that exists excite as with his slayer. And the neophyte doctor, coincident with the — between feel- well as to Here the music, now shrill, soothe the emotions now is requirement ing and music. we may gather deep and book poring he must do, is brought into the hos- good old days! But these are new days, in more constantly rising. There the that not only low, seems to mingle cries and groans A survey that there must be a close connection as ways than one, and we are coming to realize that somewhere they must acquire a rich, profound of literature on musical therapeutics the deed is committed pitals and operating rooms, and actually probes between music and feeling, and the man finally dies.” shows that, although music but also that music into the mysteries of the human body, long be- college music education training means vastly musical background. And why cannot this acqui- has been prescribed is the “The thumping and haste and art of feeling par excellence. of the latter one- used for every sort of ailment This is a con- third fore he is given a degree, or is recognized as a more than the enumeration of methods. The sition be made in the colleges and universities for centuries clusion that or one-half were nothing to it has finds incontestable me but intoler- proved to be effective only in the corroboration in ably doctor of medicine. In the same way, even the student lawyer must get the “feel” of law, the where music education schools purport to pre- treatment experiments on the disagreeable noise, quite meaningless. of cases which are feeling effects of sound, The student engineer must have the result—either exclusively from first uniform segment teacher of English, history, or any one of the the “mechanic’s pare students for entry into the field. It can be or predominantly— of the piece was delicious of emotional disturbances. noise °f numerous subjects taught in our schools, has touch,” the medical student must feel the surge done—through which the only dramatic suggestion Thus, to cite but a few instances: of dedication to humanity, and the music student was the passage through opportunity to serve a sort of apprenticeship in (a) Serious study of the student’s major In- David played his harp life of a rather rich- must acquire for Saul in the attempt minded sober and a university-operated grade or high school. musicianship! We are faced more strument. By serious study is meant to allay his melancholy; patient sort of man, with one and Elisha called leg and more with the realization that it is not years of intensive for a 1. When people shorter than the other.” * preparation with minstrel when much are instructed to Value of Apprenticeship troubled by importunate musical listen to a “Extremely only advisable but necessary to maintain a thorough knowledge of the literature of kings. composition and report beautiful, especially at first. Early Cassiodorus is quoted by Burton, what it did tn balance between the instilling of the various in his “?«"• part suggested monastic The point which I wish to bring out is that in that particular instrument. Anatomy of Melancholy,” «*»=« b, ei„ „„!t life, as it should have as having attributed otto een, many of our colleges and universities, the music methods and the building of musicianship. We Intensive to phrases. It made me ” in the middle ages. (b) training in band, orchestra, music not only the power to feel,” “I felt like “Tt cm Then war sweeps over expel the greatest the country and education departments have failed to recognize are daily being convinced that where methods and chorus. griefs, but “It doth extenuate “ and similar ‘ones! demolishes the monastery. An fears and furies 5 the importance of combining apprenticeship with and theories of teaching may fail, musicianship y enort is made to (c) A thorough knowledge of the problems appeaseth cruelty, abateth reconstruct the old life, but the heaviness, and to c “oas: theory. and sound common sense abilities such as a resS attempt is not For many years the curricula of the music more often of tone production, and moderate pro- are watchful it causeth SgThtoghoKko' finally successful. The life then quiet rest; it takes r succeed. away spleen downstream while swimming. becomes confused, education department have emphasized various ficiency on all wind and string instru- and hatred ... it cures I wLted mingles with the cruel move- all irksome- myself back to thT® methods courses which supposedly dealt with eavine -" and be carried ” ,°f ruel times ments, including piano. 0f s™ 1 The along > and ends in physical or Music celebrated , ,? Groups More Recognized Ser mg of happiness; moralf “Methods of Teaching School Music.” annelli fis reportedf to followed by battle. At the last (d) The study and close investigation of have rescued King Philin expansfon de moment occurs a recol- It has always seemed to me that it is illogical S leading ’ I of Spain to great lection of cannot refrain from looking back to some of from the slough of excitement and^*?™nd brea earlier peace.” musical literature. despond by per- for a -tolessness my for our universities and colleges to look upon the orming with other moment.” experiences in these “methods” courses. I (e) Firm foundation in sight singing musicians next to his band, orchestra and chorus theory. c bed Different wonder as extra-curricular or lamber, and in like Impressions how many of those of my readers who If these elements are firmly manner to have allaved as an activity program. established before Die morbid with everything.Tt are in the music education field have slept Too frequently, even in inclinations of Philip’s glhSTn me. investigator, June Downey, the student begins his methods courses, or at successor AlTXftT^r obtained through the music education program, they are set aside erdlnand ' these various methods classes, either ' Later least ’ th is amazing °f this contra

Music and Study were fortunate enough that the first note, the unaccented c, ersons who begins tv Music e concerts during the time of Niccolo and Study motive. The note G falls on the following ” to attend acc 11 for his superb technical ends the motive. Therefore, ’ PPaganini, account which the preced'' he was some supernatural seven notes constitute the skill by saying that unaccent enlare if g not an ordinary mortal. Some even go so In rendering such a passage no break be j n should his concerts, they the enlarged chain far as to say that often, at occur in of notes, from Triumphed 't Paganini Evil One standing by his side, helping How the commencement to its conclusion on the saw acce t the difficulties of his composi- Hence this series of eight notes may him to overcome be consid ' An Easy Door to Phrasing tions. ered as a phrase, and should be encased under Be that as it may, Paganini in reality was a Famous Violinist’s Incessant slur. If your edition of Bach does not show The Life Story of the Most such and a very weak one at that. His is a life a slur, mark it yourself for the sake mortal, of claritv declining physical strength, and Do not forget that, in the modern of dissipation, Battle with Incredible Obstacles conception only by an indomi- ’ sustained the end of the slur also designates mental instability, the end of table ambition, and the will to be a great artist. musical idea, which is shown in performance is known of his childhood, except by removing the finger from the Very little key. This short that he was born at Genoa, Italy, February 18, ening of the time value of the last note permits that his father, who was his first a fresh attack on the next phrase. 1784, and stood over him with a “rod of iron,” and Applying a similar analysis teacher, .AIL! to the USIC IS ESSENTIALLY an art of move- second divi- that he never neglected his practice. & Q. it WL Meire saw to sion of this same measure in the ment and sound, a cinema of changing invention we Niccolo was a nervous, delicate child, and During the evolution of music from the motific find that the notes C B C form Little M tones progressing onward in rhythmic an enlarged un- his father treatment accorded him by germ there arises a regularity in arrangement the harsh measures, much as does accent to the second motive and that poetry. All music, how- the D tended to accentuate these qualities. His spirit, which is termed metre, and which determines its (first accent of art, and his ever, possesses tonality, melody, rhythm, the next measure) terminates free for the first time in his life. to lay a firm foundation for his and in truth, might have been broken had it not been stage, he was poetic nature. In building up the musical struc- the motive. Therefore perfect it. proportion. Of these constituents, from the view- this second motive no longer anyone to dog his f 'tsteps, innate desire to be an artist led him to ture may for his great ambition to become a truly great There was point of from the motive, a first motive conjoins also be placed under a slur. so many phrasing, we are interested only in An exemplification tell how, when, and what to practice. His own compositions often contained with violinist. He desired to surpass every player who and to him rhythm and proportion. a second one, thus producing two component of this first measure stands as ten or twelve two brief musical concert stage. he It must have been wonderful for the boy, after difficulties that he had to spend motives forming duple had ever appeared on the And Rhythm is dependent upon metre (four beats) . When phrases, thus: overcome them. At the the tone impulses more. He surpassed every violinist years of servitude, to find himself a free human hours a day practicing to (beats) a third motive is added (six beats) the progres- did this, and and proportion. The amount , the frail master of time em- and after being at last. Is it end of these practice periods, sion adjusts itself into two Ex. both before ployed in the performance of a musical com- three-component was exhausted. In his later years, however, he time. He won for any wonder, then, position is motives forming triple metre. his divided into regularly recurring is story that a certain among vio- that he fell into the did not practice. There a accents, in accordance with The bar, dividing the music, either into duple himself the accepted time of man once followed him from hotel to hotel, or triple metre, linists the place as company bad com- divisions: seconds, minutes, hours. This usable falls between the unaccented peeped through and of them all.” panions, and began leased the adjoining room, and time is exhibited in music notation accented portion of the motive. Thus the “master by the bar dissi- the keyhole, hoping to see and hear the master line bar line designates The eleventh and twelfth He was a good vio- gambling and dividing the staff into measures. Proportion, the entrance of the accent; measures of this all ever was Paganini take the from which same invention offer linist at the age of pating? He who had practice. But he saw symmetrical relationship existing between we learn that the accent ends the another opportunity for a violin its case, pluck the strings to see group motive or any analysis. The treble six. Each Sunday he always been at an- his out of of tones, demands comparative connections expansion of the motific germ into only is given in the follow- between metrical divisions. ing example: in church, other’s beck and call, that they were in tune, and replace it. such groups. It is obvious that a single For this reason, music should played tone does not produce never be read as existing and this required wished to exert his music; two tones at least in measures, but rather Fact or Fiction are required, as the least m its metrical divisions or Ex. 5 him to learn new new independence, possible tonal quantity motives. In order to for his play- to allow illustrate to be He especially excited admiration comparison. This comparison cannot the growth of music from the compositions each and known as be simplest string. is story that he determined m m tlVe “jolly fellow,” ing upon one There a by ’ l6t good a variation in pitch when °, Us examine the familiar week. Before he was a the J tune once imprisoned, and that his only solace in ^ J I was same tone is OldHirndTedm. one of the “crowd.” repeated. In this case it becomes a Scanning the tune as a whole, we eight years old, he matter of stress or find that it is to his cell was playing upon his violin which was accent. Since accent and composed of eight measures of had learned all that Often he had equal The first note in unaccent cannot exist at notes, four notes in the eleventh measure is the pawn his violin to fitted with only one string. the same time, only each measure. The beginning end his father and local one of the of a preceding phrase. Therefore, There is another amusing story which illus- two tones must be stressed; and d 10 followed by the the next teachers could teach secure money for at next accented note, C-sharp, once the question is: which note riv th fi rst begins a new phrase which must trates his ability to play on one string, and also of motive - and lodging. the two should This motive in turn him. And at the age food receive the isIS followedfniinJ H K extend to and include the following the stinginess with he sometimes ac- accent? by another, and so on. main accent, of twelve he was There is a story that which was Thus is formed note F, Unaccent is the normal state a series of sixteen according to the law of the motive. The cused. One night he was late for a concert, hi a mere suc- motives of two notes each taken to the great at Leghorn he had h ’ intervening cession of tones, which which comprises notes, D and E, fall into carriage told the driver to can be broken only by the entire hymn tune. under a slur teacher Rolla, at found it necessary jumped a and accent. Thus, the second extending from the C-sharp or final tone receives to the F. Thus this Parma. When the to pawn his violin, rush him to the theater. His first number was the accent. Unaccent followed phrase exhibits another by accent is the example of the motive boy and his father and could not have the Prayer from “Moses,” played upon one string, smallest which an germ of musical expression, and enlarged unaccent. and he did not want to keep the audience wait- minute this arrived at Holla’s appeared in a con- combination is termed a The remainder motive, equiva- of this measure and the first home, the violinist cert had not a gentle- ing. When they reached the theater, Paganini lent to thesis and arsis in the laws of a f tile twelfth versifica- We notice that are to be treated similarly, ill jumped out. tion. Realizing every fourth was in bed, and man, named Mr. Liv- that the accent ends the accent in no* eieby giving two motive motific phrases of four notes refused to see them. ron, lent beau- “How much?” he asked the driver. we assume that the eac him a motive itself is used , with two notes, as the C and D, yet unanalyzed. While they waited tiful Guarnerius. Af- “Ten francs,” was the reply. main factor in the measurement le D of time duration falls on a count (a secondary accent) and “Ten francs! joke!” the artist in music, and the downstairs, the ter the concert was You exclaimed. expansion of this motific germ plays the 7 ™ and dls ~ is prolonged. Prolongation sSSSt?poetic - nearly always indi- “It is only the price of a ticket to aCCent - character of th twelve-year-old Nic- over, and Paganini your concert," aCCent 8 * VeS music its cates finality, Quality of » p"-' b,e t„ as does the accent at the end of a the driver answered. mo«on stanza colo took out his returned the violin wordsrof SSLx'Jaiffm the mo ive. The C, then, NICCOLO PAGANINI the hymn. must be the unaccent of Paganini paid Of course the kinetical violin and played at to its owner, Mr. Liv- him what he thought the trip progression of music the motive. The staccato The oil portrait by Palagio Palage, in the Red Is produced touch on the note C, sight Rolla’s last was worth, then said, “I will pay you ten francs by the repetition of Palace, Genoa, said to be the most authentic ron said, “Never will the motive, which Expansion of rough contrast, brings is expanded the Motive out vividly the emphasis violin concerto when you drive me on one wheel!” by enlarging the period esired which portrait from life. This photograph was made by I profane strings of the nor- The unaccent of on the note D. At mal unaccent until the motive the same time, the two he found laying special permission of the Museum authorities. His stinginess, however, is doubtful. For it is ended by does not* .» touches on your fingers have on a the accent consist of a single aIway; employed on the notes Now and then, the accented tone as in tv, l C and D must the table. Rolla did touched. The instru- certain occasion when the composer Berlioz beat is enlarged but is be so rendered la frequently enlarged as to show the link the ®ase* of retardation or by 6 between not believe that is was in great need, Paganini is said to have - a boy so ment now yours.” made suspension of the even severa?™^notes oi ° es young could play such Thus the master won the point beats. This fact is V *. an d ye^ d eren of finahty (the feminine ^ tiate them from the pre- a difficult him gift of ending), thus ‘ exbllDited in l composition at sight, so he jumped out instrument which remained, to the end, his a twenty thousand francs. encroach- writings of Bach- as for pv the Phrase of four notes. ing upon the unaccented 6 fS This may be secured of bed beat. For ’ in tile h and hastened downstairs to see the favorite. At his death, he bequeathed it to the example: measure of the flrsf ^ larger first’ two- vof^ y degree of intensity conferred prodigy. Difficult to Understand Ex. I invention upon After hearing him play, Rolla admitted city of Genoa, where it remained in a glass case is written in ^ these two notes. After he gave up his commcnTme^™'lm6, S0 that he could teach in the museum. This was the dissolute life of gambling measure consists of each finali him nothing, but suggested second violin he two accents nr t y a motive and associating with , cadence the cn7^Ho ^ or any musi- that he be sent to another teacher. had won. As a boy, he won a Stradivarius wrong companions, he measures considered ^^wo-four, a S lndicated for as one by a rest; by a prolongs amassed a fortune from his concert tours. This Th int line may a tinn + playing a difficult concerto at sight. ® ?° ° f flnality of the be imagined as ba * a °ne by an motive, ^st™^ -’ accent itself, fortune, oll which whether occur- A Continual Struggle together with the title of Baron which should have occurred before the tely rinp- Paganini’s great success was probably due to on the first beat, third beat (second a pnmar or after the y secondary beat. Upon the had been conferred on him in Germany, he left bar line, has been in mind the aSt^^fh this From the time he was fifteen, Niccolo’s life his father’s severe discipline, and his own ambi- elongated to the second example (treble aS6S ln the elevent was beat only>ivV ' 7 h measure will show to his illegitimate ’ we a struggle son. which enlarges the accented embellishments, stands deVoid of hnm tv, motive against physical, mental and emotional tion to become an artist. His father’s treatment, portion of the mo- thus- formation persistently asserts Paganini tive. However, itcp'f 'rv, ills. From that during the formative was considered a queer mortal, and the accented part Ex. ' time on he suffered from fits of years of his life, forced him when enlarged C shar E, first becomes P’ D - F of the melancholy people did not always know how to take him. He a continuation of the unaccented urally and depression, followed by periods por- divide themselves into two mo- was severe with tion, transferring the accent fives t iv of exaltation, and sometimes orchestras which accompanied from the first beat ^ Wise, the second phrase physical illness. of the of twn is composed him if they made mistakes, but if they measure to the second beat ^ ° When he had finished his musical did their (note C). On S° we have the phenomenon of education, the tet beat we a motivemntiv he carried VIOLIN part, he was very kind. During rehearsals, when 168 have a rest, whtch within a motive, out his childhood wish, and became thus: a Edited by Robert Broine they would reach a cadenza which concert violinist. When he took to the Paganini was ( Continued on Page 200) concert to play alone, the ( Continued on Page MARCH, 199) THE ETUDE 1942 169 Study it was music in one part; but Music and with tv. of harmony Music and Study advent and counterpoint with the growing tendency ' nd to use m0l latlon to other keys, a different svste became necessary. Therefore, a scale w&S Can a Band Accompany a and developed in which all the half Questions steps of the same size, this making 6 Clcc ( lu b? it possihi to modulate freely to any 6 Composers Q. The bend director here wants to use key Such Achievements of Negro high school girls' glee club In a Joint tempered scale was perfected Outstanding my during ta* concert, having the girls sing to band ac- time of Bach, and this great companiment. I have tried this twice this compost wrote his famous series of year, and It does not work, because the preludes aZ Answers fugues in order to band plays too loudly and not smoothly demonstrate that 811all enough. Then, too, I think this is too keys are equally useful. strenuous on high school girls’ voices. Am I right? The music to be used Is of d^tj \Jerna -/vi the highest type and were It to be done Information Service SIlow or to an orchestral accompaniment, I would A Music Fast? not hesitate. We do not have an orches- have Q. I been taking piano lessons tra. How can I tactfully and diplomati- for approximately three years and I cally explain my reasons to the band am eo lng to have a new teacher this director and my superintendent? I am fan" Conducted By However, my old teacher Insisted afraid they will not see or understand that to be a complete and all comprehensive review I play my exercises such as This article does not pretend my viewpoint. What am I to do? I would Czernv’s serious "School of Velocity” and all of the Negro composers deserving gladly do this program If I thought It Cramer's of the tine accomplishments of “Studies" In comparatively slow have com- would work, but since I have already teamo It does, however, include a discussion of several who When I practice them now I consideration. tried It. I know that It will not.—J. R. find that I cannot play interest of musicians.—Editor’s Note. them as fast as the manded the wide attention and A. Your dilemma Is a common one, and metronome signs Indicate. Is there anv I understand exactly how you feel about way I can overcome this difficulty?-- J(arl F. C. the matter. I advise you to have a con- ference A. Slow practice with the band director at a time for perfection, with when you can be alone, gradually increasing when there is a speed as you de- good chance to talk it over; and then tell velop greater mechanical ability—this Professor him frankly what your difficulty is. You of School Music, is the answer. Your new teacher will un- Highly giited composer whose might say that you remember a warning (Left) WILLIAM GRANT STILL. doubtedly instruct you in such matters Oberlin College orchestral works have been played by leading American Sym- that a teacher once gave you to the effect as posture, relaxation, proper fingering, phony Orchestras. (Right) DR. R. NATHANIEL DETT. Outstanding that there is serious danger of over- and like, Musical Editor, Webster’s New the but in the end it is a long Afro-American Composer and Conductor. straining girls’ voices by having them period of intelligent practice that brings sing with too big an accompaniment. International Dictionary perfection in piano playing—as in every- I suggest that you ask the band man thing else. whether he would not be willing to cut down the band to a small ensemble with URING THE COURSE of an evening’s con- the Southland” for only one instrument on each part for Shall a Large Ch ord be versation, the question was put to two in- piano. It is interesting your A Good Booh accompaniment. This would prob- on Harmony arrange to note that he feels Rolled Q. Do you know of D dividuals as to why they did not ? a ably improve both the tone quality and treatise on harmony, counterpoint, fugue, form, and entire program of serious Negro piano music. he has advanced in intonation of the band instruments Q. 1. When the left hand has more than an for composition that Is not Intended for in an octave reach how Is It played? How do One, an impresario, replied that there is too much his musical thought that way the best players only would teaching purposes? I would like you play this chord from Schubert’s a book be heard. I would this that gives the various steps with Illustra- available material, while the other, a colored so much since then do in the case of March Militairef Does the right hand play the the tions but not exercises.—Mrs. R. B. C. not vocal soloist also, and I believe I top note at times and how do you pianist, dismissed the matter lightly by saying that he now does would make know? A. I suggest that you procure quite a point of it for the from that there is not enough material. Now, being regard those sketches preservation of the publishers of The Etude a copy voices is highly impor- of naturally an inquisitive soul, I set out to deter- as typical of his work. tant; and Ex. 1 "Counterpoint and you, being responsible for that Harmony” by Bair- Nevertheless, though end of stow. mine who was right. the game, have every right to do This will not give you all you want, After due investigation, it was discovered that their keynote is sim- whatever seems to be necessary to pre- but it is the best thing I know of for serve is a great plicity, they are much the vocal organs of your pupils. the sort of thing in which you are in- both, in a sense, were correct. There 2. Melodic. No question will be terested. music, not all of it is more characteristic In F Is another piece that answered in THE ETUDE deal of serious Negro but confuses aCCom a ed b the me. Why are eighth . y f«ll name notes In the and~?jjjaddress f V worth playing. Other than writers like John than the majority of bass of the inquirer. Only initials, Stage Fright connected with the treble? Please or ex- pseudonym given, will be published. works that are merely plain how this Is played. Which Is Right? Powell, Harold Morris and Edward Morris, who Q. I would like to know: X. Is there 3. In playing triplets against two labelled “Negroid.” THE FAMOUS HALL JOHNSON CHOIR any way to get over eighths Q. 1. I have taken are not colored, but who write understandingly stage fright, I mean how are they played? piano lessons two by that, I was taught to plav years getting so nervous before one them from a teacher who taught the on Negro folk themes, the race itself has pro- Burleigh’s little com- This choir, often heard over the radio, was the musical back- plays like this even In church so that you weight playing method, and I progressed cant "Just duced a number of fine composers. position, A Jubilee, ground lor the Broadway dramatic success "Green Pastures." seem to hit the right notes"? very well. The teacher that I now have 2. Is there any Ex. 2 way when one hand plays does not like weight playing and is try- It is interesting to note that a large percentage for piano has a char- a trill and the other quarter notes (as ing to have me change my method. He In Paderewski's Methods of the most famous Negro composers of to-day acteristic rhythm and Mcnuet a L‘Antique) of nn teaches wrist rotation and believes in overcoming C U a tendency for the left y,° recommend some book using the wrist were born in our glorious Southland, where they rises to a joyous climax, though it is also simple Chicago Symphony Orchestra on June 15. 1933 hand ' iihnnt hiL , Instead of the arm as to play as fast as c r about how to learn to the right? (I am left- play the guitar a guide. I do not like to change handed). gl elf StUdy? my grew up with that spontaneous folk expression, in melody, harmony and form. It was Burleigh This work, together with William Grant Still’s 3. What exercises are good to 1 have studied the method n b0r inS ‘ StS they v^ol°in btft H because I think It is better. strengthen the right Sh0Uld be but do not know who influenced Dvorak to use, in his . L. hand? 4 Is flnger- playedTke how to read Would you advise Is the Spiritual, which is also native of the South. “Symphony “Afro-American,” was written before William ng one this and play guitar me as to which of the main things In learning music.—G. K. the better method. Perhaps is of have, at from the New World,” musical material which Dawson, of Tuskegee, composed his “Negro Folk a simple piece? I A. that why so many them constantly have trouble I do not myself 2. Where in following some play the guitar but can I get material on how fingerings which seem I have looked to teach weight one time or another, arranged these lovely mel- breathed the spirit of authentic Negro themes; Symphony” and had it publicized as the first a trllle fantastic through a playing?—Miss G. T. to me. Your advice will number of in- be greatly b°° A. 1. odies for voice and piano, or for piano solo. for Burleigh (a church singer) studied with Negro symphony. Mrs. Price also composed a appreciated.— kS ’ and The limited L. C. 1 believe either of space in this column A. the fo!? forbids Clarence born in Tennessee; Dvorak when he taught in America, he spent “Sonata in 1. Stage fright is W0Uld be me trying to explain the relative Cameron White was and E minor” for piano which won for her practically uni- “Furel satisfactory: versal among Eureka TxTuMethod merits of different William Grant Still in Mississippi; Hall Johnson many hours singing old plantation to his performers and most of us for the Guitar” by piano methods. If you songs another cash award. Her Fantasie Negre for or- never entirely lnner; “ favor the overcome it. However, °r Nick weight playing method and in Georgia; W. C. Handy in Alabama. distinguished teacher. chestra (as yet unpublished) is based on two it A. 1. Composers Soankh Manoloff may be brought at do not always mark Spanish Guitarr ^ Method.” have a fear least partially under such The latter work that your teacher will get Although Hall Johnson has gained his fame Melville Charlton, organist and choir director Spirituals and has been reduced to two-piano control chords with a wavy line; has two by two procedures: however volumes; the you away from it, this: (a) overlearn any former has one I would advise largely through his arrangements of Spirituals, in one of New York’s large Negro is your chord that is too large for volume. churches, and form. It usually played by the composer and material so that you may the fin- Either publication See that, when playing, you keep your be abso- gers to span may may be se into which he put as much originality as in his a member of the American Guild of Organists, another pianist interpreted lutely confident that be rolled. Frequently thr°"®‘ arm and in dance move- you can perform if these »>-*“ O. hanging loose from the shoulder, (b) talk chords are started before the V™ methods of teaching his choir to sing, he has is one of the Negro composers who does not al- ment by gifted Katherine to yourself, tell yourself beat SI your wrist relaxed, of Dunham. not to as is your and the first joint be silly, example from March lately composed ways write folk and so on. Mili- your fingers firm. three piano works, as yet unpublished. on themes. His Poeme Erotique taire. The fingering If you do these 2. should be Other Unpublished Practice each hand 5 1 2 things I Similarly, Clarence Cameron White’s works for for piano, published in 1911, is cast in a de- Works separately at Sometimes the low Pythagorean am sure you will not be pushed first, and when note is taken like Scale you put them together a far off the track. rea- piano, “From the Cotton Fields” and “Bandanna cidedly European mold and is not displeasing, William L. Dawson has written grace note before the I There are many an unpublished compel each to beat and the upper 1 a do its part independently thf pTthagmean What sons besides a Sketches,” later though it has notes struck together. ’scalel ? method which hinder arranged freely by Arthur Fried- no distinguishing musical features. piano piece called Ansieta, and Mark Fax of of the other. If at any time you -Hll. find A. The “Scale pupil’s progress. Keep proper mus- heim, all are that taking the top note of Pythagoras” the based on Spirituals. His little “Re- “Three Little Negro Dances” by Florence B. Paine College in Augusta, Georgia, has written 3. Any good volume of technical with the cular studies right hand conditions and always strive for flets” is works better, it an exception; it is a short, expressive Price (whose father wrote the novel “Maudelle”) “Two Preludes.” containing the problems you do that way. Other Negro composers, whose need to 'The eighth good tone quality, and I think you will solve. notes in the bass are reverie for piano in romantic mood, bordering are delightful musical tidbits. con- get They are simple, piano works are as yet unpublished, are: Ray- nected with the treble along. Leschetizky used to say that 4. Sometimes because they form on the modern style, and very pleasant to the ear. clever, characteristically the fingering indicated there are Negroid. They are mond Morris; Ulysses Kay, now studying in part of the melody. The melody no good teachers—only good needs to be changed in order to be notes worthy of note in spite of their “cor- all are played pupils. Frankly, I think pro- size, for it is Rochester; and Samuel Brown, instructor in the rect” for by the thumbs. The the piano Among the First a certain performer. Experi- rolled fession surely no crime to write 6 would be better off if it had in small forms. Better public schools of Los Angeles. ment with different fingerings ^ "* Started be ‘ simple 1 51 Harry until you forftheAeat mathematical ® never heard T. Burleigh, was the first native Amer- a good “little” piece ratios" of levers and fulcrums. than an indifferent “big” Just as one might prefer a good little find the one that seems most served such^& SCa? piece natural. 3. You have very well C 2. The most ican Negro to win recognition as a serious com- one! been taught so long hi - complete and most com- However, this composer does not always to correctly. remained aas thet music an indifferent large work, one would surely in , plicated poser. tbethe same work on weight playing is “The This resulted from the interest of Mac- write in small 170 key—especially forms. Her “Symphony in E minor” prefer a good piece of syncopation to a counterfeit if Ait of Touch” by Dowell’s Tobias Matthay. mother. In 1910, Burleigh wrote “From won a cash prize and was first performed by the classic. The contribution ( Continued on Page 210) THE ETUDE MARCH. 1942 171 Music and Study CLASSIC AND CONTEMPORARY SELECTIONS HOPE FELIX MENDELSSOHN, Op. 38, No. 4 number and were written between Mendelssohn “Songs Without Words” for pianoforte are forty-eight in "his^u^Sn The bridalrld^hymnhy mn '

N ITS FIVE YEARS of existence, the New telligent arrangement of study hours and an York High School of Music and Art has I intensive application to each subject during its progressed from a hopeful experiment to assigned hour, “school” studies and art studies one of the country’s most notable institutions of are fitted into the program of the school day. correlated education. Civic and pedagogic ex- So much for the scheme itself. It still remained perts from a dozen distant states have visited to find a person of sufficient aptitude to carry it through.

A Serious Problem

Mayor La Guardia’s choice fell, happily, upon Dr. Benjamin M. Steigman, distinguished teacher, experienced writer and critic, and sensitive musician. For years, Dr. lane Arnold (at the harp) with Carlos Salzedo and Steigman had struggled with the students of the N. Y. High School of Music and Art same problem that the Mayor wished solved. Dr. Steigman’s chief chance to develop their grief was that most college entrance special interests as part of their school work instead of as harried, hurried after-hour activities. This is made possible by eliminating study periods and using the time to devote one third of the daily class periods (three out of nine) to music or art. In addition, regular academic subjects are allied as closely as possible with the work of (Above) A portion of the string major interest. Thus, for ex- ample, section at the N. Y. High School all students take prescribed high school of Music and Art. (Right) English Re- work during their first two years. During freshment time with Dr. Benjamin the last two years, however, students Steigman, Principal, in his office. with special aptitude are given courses in journalism, criti- cism, and creative writing, it to observe, which count as part to wonder, and to of their English learn. work and which apply the The name of the school tells principles of rhetoric to exactly what it topics best fitting their is: a regular inherent capabilities. Further, the academic high school, subject to arts classes cooperate with the English state Regents’ Examinations and classes in getting out the monthly and annual college entrance requirements, and publications. It is of special interest that these a specialized school for the de- activities are not velopment lar hobbies for of musical and artistic ’ the few who feel willing:,-mrTT?to take talent. part in them, but academic proj- ects counting as The first to envisage a specialized part of curricular work. Re- high quired readings school was New York’s dyna- are covered as home assign- mic 6 Mayor, Fiorello H. La Guardia. tudents are so eager to get on An ed lr < ow ?, enthusiastic and erudite work that they master them music . lover, Mayor boards allowed willimriv ^ La Guardia realized no credit whatever 7 ^amtahiing a school the hopeless gap that lay be- for music or average of 95% tween art work, thus placing min Regentsrpo the prescribed school work them somewhereontte Examinations! demanded of level of marble high school students, and shooting. Dr. Steigman the specialized studies such objected to by a classification. He holds Many Applicants unusual*y gifted youngsters music to be a lan _ who were guage quite as determined to devote their useful, as agreeable, aie leCt6d from study years to the sub- and as disci hundred^ f amo»g some eight th ® ir mai°r interest, a yet were unwilling to PPhcants. Elementary school ose the education U that alone could admit nj°r high sch°o1 students are them i . to institutions of higher learning. V1 ed that they are Formerly, the their recommended by talented music student nrinn° a^S was faced with a dilemma • nd tbey Pass the entrance should he work min 0ine tests nf tvf l at music, y ach°o1 ’ thereby neglecting the ^ SOmethin °nIy two hundred fifty prescribed which should ia?e £ students JS? high school curriculum, or p mSfrudy admitted each should • year—one he educational plane 1 twentv-fivo hundred follow a high school course, with the study 11 thus relegating music of anyY other music and the same in study academic subject. art. The pntr . number to second place during Thus when Dr ance tests four of the 11 probe for most summoned W . musical capac- formative years of to head Mayor ity rather his life? Realizing La ’ this im- projected GuaS^dla ewlyf Steigman s passe, Mayor La school, the effect n p unswerving ^ Guardia set about finding was* °f a match rule if[0 a dro *101 1 Ping into dynamite P' ^Wp ' means of combining art work professional and school work The showmanwmansnip. ThetT entrance? exam- High School of a„*. inatirm i* academic plane. The result Music Partly 2? “ is the regular " ° f acce ted tests (Sea- High School^ of Music high school curriculum ^ s ore and P and Art, where, and K^raSSe r' by an in- at°thf Dykema ' fme, affords hlBhly « »*»« te°ts dev and P artly of elfM ;L in the cbo, °T No 172 whosenose ? student is accepted academic ratings (Continued on Page 201) MARCH 1942 THE ETUDE 173 EPILOGUE Composed in 1837 ’ ' S th ® laSl ° f Schumann s famous set of eight P/iantasiestucke or Fantasy Pieces. Strangely enough, it was written in the samevear

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Copyright MCMVI by Oliver Ditson Company 174

THE ETUDE march 1942 175 HAWAIIAN TWILIGHT VOICE OF SPRING Grade 4. G rude 3. JOHN TIEMAN RONALD O’NEIL

International Copyright secured Copyright 1941 by Theodore Presser Co. British Copyright secured ETUDE MARCH 1942 THE 177 FULL MOON

Copyright 1942 by Theodore Presser Co. 178 British Copyright secured THE ETUDE 179 VOCAL AND INSTRUMENTAL COMPOSITIONS ’CONTRALTO COMB BACK TO BREST Mrs. C. BARNARD (CLARIBEL) Preset! VIB. OFF Arranged by John Finke, BRILLIANT SOLOVOX AND PIANO Jr. JESUS, PLEASE SHOW ME DE WAY S Words and Music by pi.no » » 1«> »-* « «“ °>™ While this' arrangement .f CLribeP, Con,, Soot ,o SHn may b. played «» a Victorian song vri er, w

THE ETUDE i 1 ~

DAY OF DAYS Andante con moto BEARDSLEY VAN DE WATER

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Christ

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J Ji »- i m «hJH J .M- JU -Jn | = B Praise be to Him, the might-y King of Kings, O’er land, from shore to. shore!.

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Heav’n is His throne, and heav’n is ours at last For ev - er and ev - er - rrtoref. marcato

Copyright MCMXVIII by Oliver Ditson Company

THE ETUDE MARCH 194'% 183 Sw. Harp and Strings

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THE ETUDE MARGE 1942 185 187 ^

THEME, WITH VARIATION THEME, WITH VARIATION FROM SYMPHONY No. 20 FROM SYMPHONY No. 20 F.J. HAYDN

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DELIGHTFUL PIECES FOR YOUNG PLAYERS LITTLE REAPER’S SONG RICHARD L. BRUCE Moderately M. M. J -=88

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Two little neighbors 0ut Grade 1*. walking together, Busily chatted | MISTER FROG’S MORNING SWIM M- M. J - 126 About the fine weather. BERNIECE ROSE COPELAND Grade I5. SIDNEY FORREST Moderato m. m. J =80

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190 British Copyright secured Copyright 1941 by Theodore Presser Co. THE etude MARCH 1942 British Copyright secured 191 —

MONTH TECHNIC OF THE ' '' Brilliant staccato with double-notes C RL in both hands. Grade 6. Jzerny The Technic of the Month Allegro D0UBLE NOTE STACCATO ^ V/urlHzer viv l ce„Mj l °P-335,No.42 S ----- ,,u on opposite page. $ With lesson by Dr. Guy Maier n/i/i a name famous in music for over 200 years si . Conducted by L^/UU / V [aier I A PIANO THAT APPEALS TO MUSIC LOVERS AND HOME LOVERS ALIKE

IS THIS WURLITZER SPINETTE, MODEL 592. ITS CONTINUOUS SIDE CONSTRUCTION AND THE WIDE GRILLE OF THE ACOUSTIC TONE CHAMBER PERMIT AN UNOBSTRUCTED FLOW OF RICH, RESONANT TONE. DOUBLE NOTE STACEATD (Czerny Dp. 335, No. 43)

eems as though we just sometimes legato, sometimes porta- get along without that mento can’t (semi-detached) , and then S Czerny “Legato and Staccato again very lightly staccato, you will Volume” (Opus 335), doesn’t it? Here’s be surprised at the ease, speed and another gem ready to be shaped and grace developed. But remember polished by you. It is one of the finest always to play it with key contact double note staccato studies I know finger staccato, with rotative free- short, practical, dashing, and above dom, without lifting the fingers in all, good music. I am bored stiff by the air, and without up and down the monotonous singsong of those per- wrist flapping. If teachers would sons (mostly amateurs with little or spend a little more time giving no technic, or virtuosos who have simple, sensible rotary forearm exer- forgotten how they acquired theirs) cises to students, they would find who drearily chant that Czerny is a technical problems (especially double dullard, a mechanic, a despised notes) much easier to solve. “routiner,” to be avoided like the pest. Before tackling this study, you’d Czerny is what you make him. You better practice the E-flat major scale can turn him out an utterly unmusi- in double thirds, singly and hands cal rogue, or turn him into the solver, together, in triplets for three octaves. coordinator and applicator of all our For such scales there are two kinds “pure” technic. For many of us, a of fingering; the legato scale never careful selection of his studies sup- employs 1-2, but uses 1-3, 2-4, 3-5 in plies the application of scale, ar- various combinations. The staccato peggio, chord, octave and double note scale uses 1-2, 1-3 once in each technic, by means of concentrated octave. pieces of stimulating music. To work Legato fingering of E-flat major over half a dozen Czerny studies for (starting on E-flat, G) MARCH 16, 1942 -r-.l A , a period of years gives one a con- Right hand ascending: WILL BE THE / tn ^Arnnu/erdarij. fident control of technical problems 53434345 D not otherwise achieved. “But,” the 3121212 3, and so on. OF THE DEATH OF amateurs say, “can’t this be much Left hand ascending: better done in ‘regular’ pieces?” Not 12 12 13 2 1 BENJAMIN R. HANBY at all! The bulk of our repertoire is 3434354 3, and so on. not written for the solution of tech- (Finger patterns are clearer OLIVER Benjamin R. Hanby who. in 1856. while an obscure in sophomore nical at Otterbetn College, Westerville. Ohio, problems; technical mastery is each hand if you start the scale on DITSON CO. was started on his road to fame by the Oliver Dltson Co. when it accepted presupposed. “But,” you say, “what C, E-flat; try it that way see.) for publication his song and Theodore DARLING NELLY GRAY. In about Presser Co. addition to the solo substituting the Chopin Etudes Staccato fingering: (also starting arrangement for medium voice, this number is avail* Distributors for Czerny?” able in two arrangements for Women's Voices (3 Good heavens, no! As on E-flat, G) Part and 4 1712 Chestnut Street Part) and in two arrangements for Men's everyone knows, these are not Right hand ascending: Voices (4 Part), one of which has an effective hum- Philadelphia, Pa. ming background for a bass solo part. “studies”; they constitute supremely 52345345 great —and for the most part, cruelly 3112312 3, and so on. difficult—music. In them you put Left hand ascending: your acquired facility and technic 1 3 2 1 1 3 2 1 finally at the service of great music. 3543254 3, and so on. Masterpieces oi nano Music This cannot be done until you have Also practice this exercise in has been termed the library of Piano learned first to control your mechan- groups of threes, twos, and in various Music in one volume. The more than ism in pure scales, arpeggios, and so accents: 200 selections by great composers con- on, and then to apply it in Czerny or tained in its 536 pages, comprise 53 other studies. Classic, 75 Modern, 38 Light. 25 Sacred and 29 Operatic Compositions. This vol- The payoff comes when, after de- ume is truly a source of constant enjoy- crying Czerny, the amateurs take up ment and entertainment to the pianist the cudgel for who delights their precious Hanon. Be sure to work at the skips in in good music. Now I have nothing Sa,e at your f*voritc music counter or sent at all against Measures 8, 16, 18, 20, 23 and 24 with- E?foPOSTPAID that upon receipt of price. Money re- gentleman or his accomplish- out looking at the keyboard, funded if volume does not meet with your ap- instant- proval ments, (NOT SOLD IN CANADA t. Illustrated but if there is anything ly more preparing each leap (that is, folder with contents cheerfully sent upon musically request. pointless than those dreary touching the key tops) before Hanon you patterns, I’d like to see it. play it. MUMIL PUBLISHING CO.. INC. Long 1140 Broadway, New York. N. Y. live dear young Czerny and For the octaves in measures 21, 23 Enclosed find a.11 his Etude S— for which send post- progeny! and 24, stay close to the keys and use paid Masterpieces of Piano Music. ( ) Paper Cloth as little arm and wrist motion as ( ) This month’s study is—I warn you possible. Name —tough, but if you work at it for a It may be necessary Street week to change or two exclusively Paper Edition $2.00 City & State. one handed, (Continued on Page 196) — Cloth Edition—$3.00 E3-42 THEETUDE MARCH, 1942 193 — —

those two and a half hours, I do all Vocal Guidance for Children ' : ;-c Practical Steps Toward my warming up and all my rehears- ing in full, natural voice—without and Adolescents Better Singing the effort of imposing any extra con- DICE OUESTIOIMS (Continued from Page 163) trol or technic upon it—and I begin aHuHl, hhBH (Continued, from Page 151) my broadcast feeling fresh and ready. h immediate per- to A or B-flat with all Complete naturalness should guide future welfare than voices that achievement. are reasonably free from was in good order, then, I progressed all vocal study—even those aspects forming interfering E tensions. Girls there is a fifty- of ten years to the fleeter work Involved in the of it that have no direct effect upon Assuming that whose .JnwereJ t,„ Dfl. NICHOLAS DOUTY practice, voices are free and relaxed arm, wrist, and hand. I voice production. In the matter of minute period for choral who are not should be afraid of high pitches, will carried these technics over into my memorization, for example, I think the first fifteen minutes sing high drill. 1. C without strain; but this singing work, and found that the it is a profound mistake to force the utilized for voice training had better be left for individual will be answered in THE ETUDE unless accompanied by the full name foundation was already laid for me! mind. All of us have seen students the girls and boys stand erect rather So questions Have than address the inquirer. Only initials, or pseudonym given, will be published. of unison practice. As and of "working” at memorization. They (straight spines!) with palms soon as a good How to Practice ribs, el- pattern AH vowel tone concentrate on a few bars, then close hands resting against lower has been es- drink tablished, other vowels in the Service Support and relaxation govern my the music, and make themselves see bows extended. 2. Have them should be in- parted lips cluded in practice: O, A, Artist at Sixteen? broaden or darken the tone. I think an "Ah" conduct of the practice hour. I say how far they can go without notes. in a deep breath through E and 00 I» She a Mature I have read the vocal column in She mouth formation might do the trick. I will "hour,” but that is not strictly ac- Such a process causes tension, nerv- until feel their ribs spread later- Form O with least possible q. they change Etude for a long time. I am sixteen, a high look in The Etude for your answer.-—L. H. R. curate! ousness, of jaw- and two gears. and K. F. It. ...at Home The voice is a sturdy organ and insecurity. It is much ally, meanwhile dropping the jaw lip-positions from the school girl, and I hare studied for and can better AH positions. My teacher is a wonderful musician and A. Your letter is most interesting, be- stand much use, of the cor- to use the printed music until and thinking a full, deep-throated Form A wholly by tone singer, although she is young. She placed my cause It shows such an intelligent knowl- rect kind. The fact is that I never one has so completely and naturally pattern for which position—no change of I edge AH vowel tone (the jaw or lips voice well, anti after six months study of the use of the voice. The young time my practicing. I sing as soon as absorbed the mood, feeling, and you gave as they began inhalation) Form E by closing lower jaw gained six notes, top and bottom. I sang at lady’s voice presents a difficult problem, be- ...in School until a told me cause she has been encouraged I rise a musicale a week ago; and man to develop in the morning, and continue sense of the song that the words and at the pitch indicated, and sing that teeth almost meet. Form 00 by clos- that if I would give him fifty dollars, he her so-called chest voice until the relation singing until, often, music are a part of one’s personal ing lower between my mother AH immediately after completion of jaw until lips almost meet would give me a part in an opera. My teacher the upper and the lower voices has comes to tell to life. Then there is said I was not ready and that I would be been completely destroyed. She now has two piano boost your me stop and rest a no hurried testing, inhalation. Establish a rhythm in and with no pursing of lips, Let the glorious tone of a fine Kimball which do it. She said I had a lot of or three voices, instead of one. In the No- while. I never vary no chance of forgetting foolish to the order of my under strain, this exercise, indicated by move- should remain soft although vember. 1939. issue and passive. foundation work to do before opera, of The Etude, Miss Mar- spirits as America marches on to victory ! Plan to practicing—and I practice before and no nervous tension to tighten up had possibilities. 1 want to sing “Caro ian Anderson has written an article which ments of your hands, so that pupils It will be noted that I have 1 each performance. the body. in- Nome,” for I can reach the high notes. My might have been designed to bring comfort dealer, today, and see the 85tli Before attempt- will inhale slowly, completing inhala- dicated the visit your nearest Kimball coverage of a range from teacher gives me coloratura exercises but no to your soul and to that of your pupil. In ing any scales, I do sustained work. I was delighted, recently, to learn tion and starting the vowel tone in low to arias as yet. My pal, who studies with the It she gives a fine and lucid explanation and Spinets. A high B-flat for all voices jn Anniversary Values in Grands, Consoles Beginning with a comfortable tone that, by recorded same teacher, is fifteen years old, well built, of the problems presented to the singer with count, I hold the perfect synchronization. After a little the classes of intermediary grades with a natural coloratura voice. She has a contralto voice and makes many valuable in the middle register, I sing four or record for the fastest clear diction write for interesting practice this can be done easily. Mid- That may seem pretty radical studied three years, and our teacher says she suggestions as to its training. Please read FDrr five notes slowly, carefully, exploring of any singer. to Many of our Spanish dle-C, or can do it because she is physically mature. this article with the utmost care. You and I II LL leaflet, “Who Am I.” D just above, will be a good teachers who have felt that voices the support, resonance, and general songs call for extremely of I am very small, but my voice is big and Mrs. R. have attacked the problem well. rapid enun- starting point. In the first practice such quality youngsters must be conserved I know how to use it. My teacher teaches Continue with your down scales and see that of the voice. Sustained sing- ciation—Valverde’s popular Clavel- period with a new group of students, by holding me Italian, German and French, and she is there Is no break between the middle and ing "sets” the them within a limited tone; it not only aids litos, for instance, seems to stand very careful about diction. If I sing these lower voices. What vowel or vowels you as this beginning tone may have to be range; but in its correct experiments in the wide coloratura arias at home without telling my should use must depend upon how much emission, but probes the example of fast diction. I sing W.W. KIMBALL CO. repeated many times before a good range training here teacher, will it hurt my voice and trill she the young lady improves. Eventually she it to make it beautiful. Then, when the complete torrent advocated have of words in “pattern” find it out f It is so hard to wait, and I am must learn to sing them all almost equally is established. Good vowel now gone far enough to Eighty-five Consecutive Years truly beautiful tone has been exactly justify this so unhappy. C. Di C. well, hut this will take a great deal of time ex- one minute! Fast word formation — is all-important. It must procedure. and patience; in fact, the whole problem plored and found, one has more technic needs firm, High-pitch tones must be sure memory— be cannot be solved KIMBALL HALL CHICAGO courage deep and full, sung at comfort- sung without forcing, A. The fact that your teacher was able quickly. She must gradu- to go on to other tasks! In and correct tonal however. They ally production. Rapid- able to increase your range six notes top and acquire an entirely different way of second volume (mf) neither repressed will be reached singing, place, then, I work at scales, ly enunciated words without undue effort bottom. In six months, shows that she is a normal one. to take the place of should be sung nor forced. arpeggios If the group is large and if deep breath an excellent teacher for you. She must also the abnormal one that she has been using. and staccato passages—all well from the front of the support, open throat mouth; the unison tone reveals be a wise and well controlled person, even It may not have escaped your notice that very slowly at first, and all their some harsh- and accurate pitch in the vowels should be purely formed, thought are though she is so young, to resist the tempta- many of the singers of popular songs use ness or stridency, the middle register. As the fiom teacher should coordinated. tion to give you songs that are too difficult the chest voice entirely. voice warms the strike of the glottis, never have five or six sing at for you and to force you before the public 2. We find it difficult to understand that up, then, I accelerate tempo and add from the throat; a time; then there should be as before you are ready to appear. The voice there can be any difference between a two or the pupils making the bad tones The Boy three Voice ‘ higher notes (always little facial motion as may Problem of many a young singer has been Impaired "Speaking Voice Resonance” and a Singing possible; and, be spotted” gradually), until and individual correc- and some even ruined by yielding to this very Voice Resonance.” In both speaking and I encompass my finally, the words should be sung If, when boys of ten to thirteen in tions made. natural ambition. You must learn to trust singing, resonance is a reinforcement of the full range. It is important a tone When all pupils sing a that the which I can best describe years of age are included with the your teacher Implicitly. Certainly you should sound by the co-vibration of the bones and as good vowel at first work of the day be unison pitch the voices not practice cavities of the face, nose and head. Some [RECOMMENDED moderate murmuring— girls the forbidden arias /( that is to say, it must in singing activities, they parti- at home, and will merge into a without letting her It is authorities say that even the chest lends gradual. I have heard singers carry well, with smoothly blended cipate know. neither fair the traveling of the in the voice training exercises to her nor to itself to this co-vlbration. Just In propor- begin at composite tone, regardless yourself. Possess your soul once with forte high tones breath, but should of indi- in tion as these resonances For Beginners— never explained patience and, If really occur Is the voice be forced vidual in foregoing paragraphs, you are a colora- —and it always makes differences in voice tura soprano, clear, strong, vibrant, and of good carrying me shudder. into a forte. And, of course, the types The they should later on you will he singing head be able to pass through the very power. Its absence makes the voice dull, Many uniform vowel is the songs that are beyond your ability . THE THREE-C BOOK people think that they save must be entirely relaxed. basis of voice \ the adolescent “change” at fourteen now. Your pal is a little ahead of you now dark and difficult. We wish you every suc- the voice in blending in choral by Matbilde Bilbro practicing or rehearsing The interpretive groups. Work on or because she Is somewhat better developed cess in the solution of this problem, which values of one’s this fifteen without any serious vocal inezzavoce. I believe first “pattern” vowel physically. Take care of your health, and is one of the most difficult presented to the _ A pre-school introduction to the piano for the very this is a mistake singing prove one’s entire tone until “break,” W singing resources a reasonably and without finding it you may catch up with her In this respect teacher. if 1 Ay young. Equally useful for individual students or —for my own voice, at least. of imaginative good blend is No and intellectual achieved. necessary also. You are fortunate also to have found small groups. matter skill. Then proceed to stop using their voices V 50 cents how pure and beautiful The trick to exercise a lady who can teach you to sing in Italian, How to Develop Volume of Tone a is, I believe, to live one’s for singing * 3 at any time. French and Q. Pease tell me how the volume mi A mezzavoce may be, it is song— Sound the half-step German, with a correct pronun- of y nonetheless to enter completely below the voice be 25 FIRST GRADE PIANO PIECES an into its starting The essential procedure condi- ciation and a clear diction. As for the can improved. My tones are good artificial means of singing, re- message tone; give the for and and, conversely, to pattern AH- gentleman who wants fifty dollars to put clear, but decidedly weak.—P. F. by Angela Diller and quiring open have tioning the voice of the pre-adoles- (J Elizabeth Quaile a special and controlled one’s mind and pupils drop jaw, you on the operatic stage, lock up your A. We suggest for you a thorough physical heart so that the think the cent examination Particularly valuable as a supplement to folk-music. technic. And the very owel-tone boy so that its transition from pocketbook when you see him coming, or by a physician to see that your skill, concen- song enters one’s while slowly The material is easy to read and provides much own living I drinking the boy else kiss your fifty dollars Good-bye. heart is functioning properly, that you have tration, and care an the treble to its mature character technical variety. required to produce always begin my study reath that Causes no nasal catarrh, and no glandular deficien- 60 cents a fine of a new the may be mezzavoce puts an extra song with nbT(oribs to spread,: ? and made gradually and smoothly How to Cure Forced Up “Chest Tones” cies. If he gives you the sign to go ahead, strain its accompaniment, again start the on the voice which is: Systematic Q. Over a year ago, a personable and in- you should have plenty of physical exercise, For Advanced Students— while practicing and re- 1 play for ® med ateIy practice of full-vowel myself. This familiar- upon completion of telligent young lady, a high school student, walking, swimming and so on, and you hear sing. This strain, inhalation.in i 'T n tones of reasonable poioer in low came consequently, izes me with the rhythm Proceed in the same to study with ms. 'she hod a well de- should practice some selected breathing ex- MUZIO CLEMENTI robs and the man- range. veloped ercises the voice of complete natural- mood and ner downward by Every boy of ten can sing chest register, well sounding, but her under the direction of a singing the color of the song. half-step middle teacher. Five Fundamental Studies for Daily Exercise ness. I have Next progres- such and high registers were nil. Her for- never used the mezza- in order, I the a tone as low as A (second mer study the words pit* a teacher had no conception what to do From "GRADUS AD voce funless, of — not c w»w MS. added and PARNASSUM” course, it is expressly merely to c hashirsbeen sung. line below treble staff) if in- transposed her songs so that they were memorize them, but ( A -fl at will TRAIN YOUR VOICE WITH FREEMANTEL For the first time, this large work has been reduced needed to carry out to easily be telligently out enough to be entirely in the chest regis- the intention penetrate reached guided. that “At Shanghai, China, / attended a concert given to its essentials the of into their deepest by children Most boys of ter. We at — pianist’s “daily bread.” §59 the composer), mean- of ten to age once began to place her voice, by Mary Stewart Toussaint, an Ambassador's wife and I never tire. ing. Then, twelve after can sing the full- bringing it to Siam, and a pupil of Frederic Freemantel. 60 cents I when I have the a little practice" A-flat. This forward to obtain an easier tone, / was always sing in accom- S,* production. so impressed by her fine singing that I decided to my natural voice— paniment bodied tone The middle tones grew and arc study with that same teacher I ISIDOR and the should be carried upward , and have traveled PHILIPP words “inside” a""' ln far better miles from not louder than is " 1,lson the as than they were, and the upper 10,000 Shanghai to NewYorkCityfor the natural, but no myself, I begin aaceSine de"*' far as possible tones privilege of studying with Frederic Freemantel. Six Octave a third time without strain have strengthened also. Studies In the Form of Little more with the TTc have trained (Signed) Priscilla Pote-Hunt piano, either. My Sunday melody and that her voice from itself. Here again, a thorough will be as far as there is the upper tones downward. FREEMANTEL STUDIO Fugues (Schirmer Library No. 1611) broadcast goes on the air 2'T,- He have had much success at 12:30. It knowledge of adequate breath with what I 205 W. 57th Street New York City These music serves the support and the call a “Speaking justly famous fughettes in- j. — often happens that singer Voice Resonance” which re- the only re- Wh n throat is kept inforces the spire the player to think and to u no lon ?er need open. Many boys will tone and makes it carry much n|Jfr hearsal for which to stronger, listen we have time, may think about! f be able to sing without being forced. The chest —the best means of securing I lIKlVll entrances, progressively upward, voice STRENGTHEN YOUR VOICE! / begin at ten o’clock timing still has its individual "ghost” quality, reliable technique. 75 cents HIM’ and continue rhythm, intervals, and smoothly and the like, merge into the typical middle and upper tones hare straight you a It 1 through until within a scale. diatonic quality, Give Commanding Power! few can put Carrv this „ . treble tone and as yet yourself completely without much if any nht, we have not been Build up yourspeakingor singing voice.End faults' moments of into your * exercise up aoir. to obtain going on the air. During J

whole time and who gave their , HHB singers, Fifty Years in Returning to Vocal Fundamentals thought to studying to be a world and who have had to face the Volunteer Organ and Choir Questions themselves to a Choir and learn to adjust Sal commercial career about ten years ( Continued from Page 154 ) ( Continued from Page done. 165 ) later than they should have watch and This is heartbreaking to more heartbreaking to go training. And some singing which infinitely singers are -Answered ly HENRY S. FRY, Mus. Doc. Lamperti and Garcia living with their voices. Hence it is young men in through. I like to tell totally unaware of these faults have given, are so simple that they his duty to prepare himself in every and about two great film may be difficult to Ex-Dean the cause endless this category convince. of Pennsylvania Chapter of the A. G. O. distress to singers who type of song which his pupils will brokers ’per- stars that I know, who were haps the best cure would have been trained to produce their have to perform. Vaudeville, is not be to thirty and how their No questions will be answered in THE unless accompanied by the full voices till they were record their voices and let ETUDE in other ways than by simply entirely dead, for what else is the them developed by this ex- name and address of the inquirer. Only initials, or pseudonym given, will be pub- singing business ability hear their faults on a them out. These authorities radio variety show? phonograph lished. Naturally, in fairness to all friends and advertisers, we can express no opinions perience has been such a tremen- Still another difficult have both given us In the situation as to the relative qualities various instruments. plainest When I was a young teacher I was making both in of of dous asset to them in a volunteer choir, or words what they consider the rather “highbrow” and dealt only even one of their artistic careers long ones. semi-professional great secret of singing. Gracia says with the "artist” phase of singing. singers, occurs that if tiie singer when the singer knows will master the But when one of my pupils forgot Sensible Guidance Necessary that her three voice is good, and technical elements, the sup- his Mozart and Handel arias and got feels that it should Q. I am enclosing excerpts from two build a reed organ by H. F. Malin. The pub- port, the ting, The student then, who wishes to be heard above organ postludes, hoping that you may be lishers of The Etude would make an effort and the color of the a job in a Revue singing a song all others. Then her make a career of singing, needs the able to identify the compositions, which I to secure it for you if you are interested in voice, that he will be master of all about Blue neighbor, believing her have Bubbles for over two hun- voice to be often heard our organist use, but she it, but under present conditions, cannot the secrets very soundest and most sensible of of voice production. And dred dollars a week, I saw the light! still better, begins the competition Mr. John Mclntire, ORGAN INSTRUCTOR refuses to give me the titles of the composi- quote prices or indicate time of receipt of his exploration of the tions. 1 have access to an old three manual book. he tells us how to do it. guidance in Other singers the I learned that any type of song is must meet this NOR. TEXAS STATE TEACHERS COLLEGE, tracker en- action organ , with no octave couplers Lamperti tells us that the possible musical field. He must learn if he thusiasm church has a small organ made by great as a characterization on a and there is noise a-plenty at a Wicks console of any kind. Is it permissible to play an oc- 0. Our ...... Detroit Michigan. The secret lies in the correct belongs in it at all, and if so, to what tave higher than written when accompanying Clough d Warren Co., , support of basis of bet canto technic. Imagine Stainer’s artists and instructors throughout Also I Sevenfold Amen minent the probably about twenty years old, is a the voice extent his talent may make him suc- congregational hymns? On the organ men- organ, and that this can be ob- learned that it was shouted at the tops E country find the Wicks Organ an ideal instrument. by and has the my duty to help of all voices The tioned, the Ewell to Choir coupler is prac- one manual, operated foot tained by standing erect cessful. And he certainly needs guid- They find its action, tone and reliable performance printed on it. like a soldier my students find the fields of song professional musician in tically useless as it docs not entirely bring words “Auxiliary pipe organ" the choir indispensable in their educational work as well as in makers are still and by vocalizing on the ance to his readjustment in life if down the keys on the Swell manual. Is this Can you advise whether the correct color in which they were most valuable. senses that he is but a cog in the the field of recital. something that will entail much expense, in existence f If not, what is the name of the of the vowel AH, it becomes which will open the apparent that he does would it be wise wheel, and that if he is or is it merely a matter of adjust- successor f In your opinion very Bel Canto for a larger Consider the opinion of these leaders In the organ bottom of the throat. He says All Singing Styles not belong in music. Especially he ment I—E. II. II. to install an electric blower? Are you in a cog than the others, field, who pronounce Wicks “a pipe organ”. unless he be fine position to recommend someone to look over that any one who sings needs if in any other Singers have always to help he is one of the had sing dressed down to uniformity A. We suggest that your excerpt No. 1 the organ and make repairs if necessary T I way than, with the students with support obtained the music which the taste who has spent years in his You wit! want this bank!! may be Grand Chorus in A by Salome, would like to have the names of reliable con- of their other cogs, no matter of what and by this process, does not sing, study good excerpt No. 2 the third movement from cerns which might have new or used, organs and time preferred, otherwise they would and finds he is a misfit in stuff he is made, he “ . can never invites complete Copies of the book — How "Sonata No. 2” by Guilmant. We do not for sale —A. G. H. have a tone which conveys not have been able music. Music study does not to sell their sing- make disaster. And To Play a Small Pipe Orbin'* recommend playing an octave higher when emotion, regardless sometimes the better of the brilliance ing. And so misfits in life if the — are still available. Send 50 accompanying congregational singing, A. According to our source of informa- to-day as in the legendary readjustment in the stuff, hymn or power the worse the crash. cents, to defray mailing and unless tion, the factory you mention was destroyed of voice that he may have. time of bel such a case is The the accompaniment is “adapted.” If canto, singers have to accomplished wisely; printing costs, for your copy. by fire and not rebuilt. The firm has been volunteer choir singer the organ lacks brilliancy and it is neces- The ceaseless search for perfection by And this statement will explain by may never to us perform the music which the which is meant choosing a busi- sary to play out of existence for over forty years, so that people have learned this, an octave higher, we sug- why so many beautiful voices and in some cases, the instrument in your church must be the makers of the Baldwin is amply convey want to hear. This includes every ness or profession in which this vast gest that the accompaniment should be no never will. The much older than the twenty years you name. message and carry no feeling style professional may be “adapted” and, If possible, a 16 ft. stop be to of song: opera, light musical education will be of actual The successor was the Austin Organ Com- rewarded in its use by the great artists the opera, replaced easier included in the registration. We suggest listener. use. than the amateur, (now Austin Organs Inc.) of Hartford, church music, concert music, oratorio that you have the Swell to Choir coupler pany for the reason that it is a Connecticut. We cannot intelligently advise of the present generation. One by one and the contemporary Just what type of business examined by an organ mechanical expert, to Perfection of repertoire, student is the WICF^ you as to the wisdom of installing an electric Vowels proposition between the professional see whether it can be made effective by they have chosen the Baldwin by ear which includes all the styles most interesting to work with, motor, since we are not Informed as to the Most modern men- is a and his adjustment, and to estimate the cost. vocal training is large- tioned little employer. To fire an am- condition of the Instrument, but on general above, and in addition, hard to decide. Talent and by touch rather than by tradition. ly the and principles, taking the age of organ in concerned with the mask ateur may give the director Q. Enclosed is a list of organ companies. the and the commercial type of singing voice, and the correct more ORGANS known as attitude to- consideration, we would not recommend it. nose as resonators. trouble than Will you give the addresses of the firms still For while Baldwin respects tradition, Yet Lamperti and “popular.” ward study to interfere in a family We suggest that you have an expert organ we must have. I find in existence ?—J. C. Garcia Highland. . never discussed them at all! fight; indeed, there are Illinois mechanic examine the Instrument. We do All of these styles can be great pleasure in possibilities Baldwin docs not rest on old laurels. This indicates sung by working with not know any person in your city whom we that the great artists the bel students that it might disrupt a congrega- A. We are quoting the firms who might canto artist, provided he who have been could recommend for the work, and, as noted so rich whom they trained has well pre- be said to have continued the business of And the tone lias become more did not use the the talent pared tion. at the head of this department, we cannot and persistence and need only PED ALIZ ATION! some of the firms you name : Aeolian mask production. to de- coordination of As a matter of fact, velop their Color your Piano Playing with artistic use of Skinner Organ Co. 677 Fifth Avenue. New recommend a particular make or type of golden — the light, flexible action more them all. He can croon energies to the Pedals. both of the per- make them well How to produce the striking effects York, or The Ernest M. Skinner Instrument. great masters were con- fectly Minister and that make & Son Com- with a bel canto voice balanced artists. Choir Director your music “different”. A new effortless. The result is fine music cerned produc- presentation of this pany, Inc. Methuen, Massachusetts. For with the open important subject. Five Operettas of which can not a stick he enjoys b mg , he L A Y a „ be secured they it for what it is tafr\me abused can with the material fob aii Delightfully amusing. Denison's play from the publishers of The Etude. became so round voices, offer at hand, are produced everywhere. Complet as to fill every un OCCASIONSn -'f- c Q. It would be appreciated if you would —diversion. It offers usual or to uuuminstreland material.uiuwiiai. rmoFree vatdHCatalog chamber of a great field for rewards for the recruit other singers if it can Q. I have recently purchased a two man- the head. But they work I do T.S, Denison & Co..2Q3 N.Wahash, Dept.73, Chica suggest supply houses where parts might be never imagination to B ual and pedal reed organ, with electric blower and musical untangling be done purchased for the rebuilding a reetl organ, lost their openness playfulness their abilities. effectively. He must drill of and never failed Their and stops included on enclosed list. Because One responsibility of surprise the also names of pipe organ supply houses. to emerge from the the singing and happiness singers, so that they may work this instrument operates like a pipe organ, mouth. teacher when the r \W & L I TREMENDOUS SAVINGS —D. B. which is Colorful I at loss When they seldom discussed is to together as one Iff BJr HI YARN ALBUM. am a when ordering music whether desired the character 5ta8 group. He must as- 1001 Colors FREE. his guidance for ss MLM SC 111 A. We suggest the following: Gutfleisch to order reed organ music or pipe organ music. in the voice, the student who zzsr sign solos to such voices I ABH « Instructions Given FREE. which as his best % ? most - What is your advice IS. modern desires to % V PRICES GOING UP ACT NOW! & Schopp. Alliance, Ohio; Organ Supply — V. M. be a professional WOOL TRADING COMPANY, Est. 1920 teaching develops singer judgment e * Corporation, 540 West 2nd Street, Erie, Penn- by humming may suggest. He must 361 Grand St., Dept. 1 - City A. Since the or nay, who is New York instrument has two manuals hooting deteremined to select sylvania; The W. H. Reisner Manufacturing into the nasal be one the music to be sung. But he and pedals, similar to a pipe organ ol like chambers, and yet, Company, Hagerstown. Maryland; Durst and they simply who for various reasons should equipment, we suggest that you can use asked for a will Double Note ever keep in mind that the Company, 32nd, Hazel to Poplar Street, Erie, rounder probably be either type of music (reed or pipe organ) more unable to succeed Pennsylvania; Denison Brothers, Deep River, JOSE ITURBI somber vowel. On this in that preacher is the Master of Ceremon- and that you order accordingly. subject! Of course, "Incomparably Lamperti Staccato ies, Connecticut. Superior" gives definite advice. and that the choir’s the Schools—Colleges the variety of tone color is limited to that He Many of part in says that these pupils should service of the instrument you possess, but techni- he earnestly warns be ( Continued should Q. I have been considering rebuilding a the part-time from Page conform to that of cally it is possible to reproduce the music CLAUDIO ARRAU student singers, church 193 ) two manual reed organ and installing elec- against humming, singers, the man in the for a pipe organ of like equipment. “The Great Piano as there pulpit. It is proper SCHOOL tronic action, I desire detailed information of Today" is nothing which °ccasional engagements. that OF tires the throat fingerings the minister should such as to the particular construction of such an Q. In the course TheyThlifhave occasionally. select CONVERSE - MUSIC of my study of the pipe more or p^ty of ta]ent For exan „ COLLEGE instrument; as to arrangement different makes the intonation and VQ hymns as Ernst Bacon. Dean, Spartansburg, 8. C. of organ, I have found Twelfth and Fifteenth more but do thenght hand of may be in harmony with uncertain. not have the certain Measure 20 sets of reeds (best suitable); whether a set Great stops mentioned in several thing easiei K the theme registra- for of his he magnets would have to be purchased which will click in me with sermon, and of for tions. In a recent issue of The Etude I found What about the a big way. each many types of For should have a voice the each set of reeds or for manual; how, if the Twelfth called a 2%' stop, but that does there are few artists 543555 in choosing singing other than of any sort possible, to obtain varied tones from reeds; not help as the organ here has only 2' opera and clas- who 1 anthems, if COLLEGE, — S' are “naturals.” 3 1 2, he so desires possibly DEPARTMENT OF MUS pressure required; and if a tremolo apparatus " sical With and so — and 16 registers. My teacher and l are music?” someone may this type of on. not Galesburg, 111. ruri- ask specifically, but general KNOX James MacC. Weddell. could be purchased f Possibly a book is pub- ous to know what this SERGE KOUSSEVITZKY The 6aChers should that the Chairman. means. Why arc organ answer is that the * insist that thought Catalogue sent free upon request lished with diagrams on such a organ. I pitches given in “Perfection" demand on they devefop combination^S of the service may be car- feet —R. C. T. singers to-day themselves in would appreciate the name of such a book, is probably just the some sort IT ried out. a Surely it is not good that where I might purchase it, and any informa- A. The Fifteenth is a 2’ stop. The Twelfth same as it While always has been. th6y are the is a stop producing a 4' A teacher sermon be of come, tion you might give me.—R. L. J. tone between the has to train stud wrath to stop and the 2' stop namely his students for avail- looted 16 and CONSERVATOR — when Middle-C I have like ," 1 the choir sing: OF A. If, by electronic action, you the is able seen too a "Thou Hast Put MUSIC mean played the sound heard is G, first space markets if they many casps nf SlL blacku SHENANDOAH Wade E. Miller., Pi are to °ut! i of a is earn a students, erased Gladness In system by which the tone reed organ above the staff. The stop is not particularly ’em all° TT My Heart.” Nearly all Courses leading included in young and stu av- i» « r , _ amplified, we are not familiar with such your men> <* to US an<1 organ. Organ pitches are given in feet THE BALDWIN PIANO COMPANY original. preachers ^us - E^. degrees. i 196 are pleased to confer with r?n J?* ^i *t R construction. However, we are informed b e the h rt by because an open pipe of the lowest V.n.S ' I" ™ of the Shenand note of v alley, Dayton,A Emerson Richards, organ architect, that the rank is approximately ( Continued Virginia. that number of CINCINNATI, on Page 198 ) there is a very complete book on how to feet in length. OHIO THE ETUDE MARCH, 1942 197 — —

followed Toscanini to orchestras; I had that reason, move with speed and forced, so I learned a lot b° England where visitors are allowed operas from accompanying Ut How 1 Became an precision. Everything went wrong ! seasoned singers, I musicians, I was probably from the start and Pelletier had to at rehearsals. had studied 4ume°2 overawed. tell How Paganini entire scores Who was I to them take over. One summer I staked my and crashed everv i Opera Conductor w YourSHEETMUSIC how to play a score they must know to shrine of conductor I was pretty discouraged after savings on a trip the at rehearsal Triumphed ^ backwards. As a feeler, I asked how that. I lacked I Wagner, Bayreuth, to attend re- ready. But everywhere 169) (Continued experience, that It was ( Continued from Page from Page 153) Upon ar- the alwa« many had played the score of Got- realized. It suddenly dawned on me hearsals and the Festival. same answer; you have no Z terdammerung. A lone fiddler raised rise that the rival, I found a hard and fast rule perience; you don’t members of the orchestra would tours with John real work of a conductor is look the «.*' Charles Thomas, his hand. Only three were familiar of the done in rehearsal, in knowing how to against visitors. “But I’ve come all you ought to change so as to have a better view Anna Case, Marla Jeritza, Elizabeth your name n with the score. Reassured, I started get the effects he wants out of the the way from the U. S. just for this?” seemed as though artist. He would play the first few Rethberg, , Gladys Swarth- all these years the rehearsal. men I protested to Furtwangler, the con- * * notes, and then exclaim, “Et cetera, out and Kirsten quickly. How was I to learn this been wasted. Then five Flagstad, who fi- IZ The critics gave us good reviews on nally technique? The only way, it seemed, ductor. As we were arguing the point messieurs,” and direct the conductor got me my opportunity as a came to thf these concerts and cable wires to was to crash rehearsals and take in front of the theater, Frau Wagner country. us to proceed with the concerto. conductor. America notes. carried the news. Then the faces But after the Paganini could remember first tour, the bright The Road Mme. Flagstad decided to give me lights called, Carrying a violin case crammed wrote out a pass. Becomes and names of persons he met, but he so on the strength of a Brighter the same opportunity in America and Juilliard with bulky scores, I made myself a I once told songwriter Dick Rodgers I heard could never remember the names of music scholarship, I came her on a Saturday pest at after when we returned I not only played to New York, rented rehearsals. The violin case I would like to know how a Broad- noon Metropolitan towns in which he played. He was a hall bed room Opera broadcast- Beautiful her accompaniments but conducted and found was to fool doormen into thinking I way show is put together. Dick always cold, and even in summer, a church in New Jersey it seemed I had never heard TONKabinet was a member of the a more when she sang with orchestra. which paid sixty dollars orchestra. Once promptly said I might play piano for glorious voice, kept the windows of the carriages in a month and immediately Saves If I have broken ice for other for in, I studied and marked the rehearsals for I traveling, organist and choir director. scores the pending Rodgers wanted to be her which he happened to be To as played, accompanist. Pick- Searching native born conductors, I shall feel meet expenses during then took them to my and Hart opus, “Spring Is Here,” in closed, and the robe about him. He these years in ing up the phone, I got the room, got before an appoint Keeps your sheet music out of sight but in- that my struggles have not been TEACHERS:—You can encourage parents to keep up city, I worked a mirror and which Ginger Rogers made tips. file kept his accounts in a small book in a bank, played her bow ment and also the stantly at your finger Special drawers children's music lessons if yuu don't discourage whipped job. concealed in a beautiful cabinet save wasted. I believe them with the cost of music. EDITION organ and an imaginary orchestra to New York. It cleverly And that American CENTURY directed choirs was good experience. music from fraying, loss, damage and with a red back, and no one but at only cost pieces at a minimum in and into Mme. Flagstad soon your — 15c—keeps the of around New shape. An imperious knock I did the learned of mv bothersome mix-ups. Expertly designed, hand- conductors are coming more and —yet. doesn't restrict your teaching in any vray. York. But choir direct- on same for Gershwin’s somely crafted to harmonize with other fur- himself could decipher the queer attempts to standardised price has not been ing is my door broke in become a niture. WRITE FOR FREE illustrated literature more to the fore. Twenty years ago Remember. this one thing, on this business “Girl Crazy,” conductor an inferior Edition. If you are orchestra another. starring Ethel Mer- They showing many styles. We'll send name of near- marks which told of his assets and achieved by printing late one night. reminded her of at all skeptical regarding this, we would urge you I wanted to do the Opening, I confronted man. her own earlv est dealer. an American singer on the roster of latter and tried it Then I was offered the job of liabilities. most earnestly, for your own sake and for the benefit the struggles and TONK MFG. CO. (Dept. 212) a Century before I landlady and several she decided to help the Metropolitan Opera Company of your students, that you secure copy of was ready. boarders, conducting the if 1980 N. Magnolia Ave., Chicago it with any other existing edition which one orchestra when the she couJd For a long time he suffered with a and compare of whom was armed with Three years ago on was the exception. Now fifty-five per you may havo or may he familiar with, and we are a re- show started. It meant a tour throat trouble, for several years certain that Century will prove positively and con- The volver. more money of , and Need for Preparation Awakened by my commotion, than the Flagstad voice cent of them are native. It should clusively that It has no superior. I had made before, also a made TON/Cdiints ^—4 before his death, he could barely they thought I such a hit at the C All the suitable classics and a multitude of Rtand- was first for s/nvf . Metropolitan being set upon career. It concert, the > — music not be long until the same can be ard modern ((impositions are available In "CEN- conductor, Wilfred also meant, I felt, a part- ^ whisper. In 1838, his voice was com- by hold up men. Austrahan Broadcasting —for p/iotiograp/i records - TURY’* at this standardised 15c price, irrespective Pelletier had ing Commission said of conductors. as to whether the Edition com a Ini two or twenty given me some choral of the ways. If I took this posi- pletely gone, and on May 27, 1840, he conducting I became a familiar offered to supply an pages. on one of his radio figure at re- tion, I might never orchestra as a shows. hearsals. The stand on the fitting died of cancer of the larynx. Here are a few selected at random from our Then Pelletier passed doorman at the Metro- podium background. Since no catalogue: over the stick politan of the Metropolitan Opera con- Like other weak mortals, Paganini for rehearsal passed me without a second ductor was available, of the whole show. House. I turned it Flagstad pro- Century piano solos, eo. If glance. At some down. posed Fifty Years in a professed no religion. About a week 15c I made good it places I had me. “If you would mean a start dif- Through the years make good ” she ficulty. Try as I I never lost said before his death, a priest was sent (Capital If(tar ludlcalea key—number the (rade.) in radio. Radio rehearsals might, I could not “it’s a start for with large sight of the goal, you. If ou 132 Amarylllt y (Air of . . get in to a Toscanini symphony conduct- don A handier, neater way to keep your Volunteer Choir to him to administer the Last Sacra- Loula XIII). E—t. Uhya music casts, are rehearsal. t, well nobody in A.alanehe. Am—3 Heller expensive and The ing. I had America need music. Sturdy Porta-Desk music .?« for rule against picked up a ment. But the master, not realizing •321 Barcarelle (Talea or HuITui n). K 8. Offenbach visitors was vicarious know 500 sheets at 196) — strictly en- about it.” stand holds 350 to (Continued from Page 514 Beautiful Blue Danube. L>—I Hlrauei experience conducting 1606 angle. flat for Betty *a Waite, . easy-reading Folds that his end was so near, it. t;— I ..... 77...... Martin symphony When I refused first stood before storage. Used by leading orches- 2750 Big Ban . The. C— X Unpklne those choir director to insure unity 147 Black Waltr. tras. Sold by your local music store. the in Therefore he died without the rites Hawk Eh—3 Watih 2416 Blue Butterfllea. Value Cun.. for free folder 906 gives U—4. Leon Dora Write No. ; the service. 516 Bridal Charua of the Church, and was refused burial (Lohrnrrin). Hb— 3. . .Waaner I full details and novel decorative 1963 Bunch el Dalalea. A. Valae. 0—1 Marlin ideas. SELMER, There are a few—a very few in sacred ground. His coffin remained 999 Butterfly. The, Ltude. Em 5 Ladle I7M Butterfly op 81. No. 4. X*— Merkel Dept. Elkhart, 3 129 E Indiana preachers who show little coopera- for a long time at Nice. Five years 968 Crimean Bluihea. Caprice. O—4.. Leiter n Geldenredi. 2J73 S* I* !* F—3 Fitzpatrick tion. One lost his choir master be- after his death, his son obtained per- 307 Dark Evei. I)m—3 (bourn. Special 2541 Rf',rr ITran.rrlptlon), -3 Henning Violin cause he insisted upon assigning the C Uroomt Ucccchs mission to put it in the village Irewlaa Glide. Malta. Eh—t .V.nderberk - - DEEP MELLOW SOULFUL Cheat* (Tango Argentine i ~Q.il, I! . Dm —3. Vltlolda For a limited time you can pur- anthem solos; another, likewise, for up. access church near Villa Garona. The master 'Melody), 18. Em— 4. . . .Mcsenct 2 5 ! chase this high-grade violin, with 614 Elizabeth Waltr. C— 1 Martin qualities price the reason that he took matters the of the finest, at a spent his last hours, so it is said, im- ?23 bedding. Malta. C—1 Turner far lower than ever asked for such Watera, Kcrrrle. '222 Kb—I Truaa an instrument; possible by from the director’s hands and in- fth Nactura*. Op. made provising upon his beloved Guar- .222 2 M. Ab—I Urbach our years “e* 1 Parade. many of experience in '252 2 The. Valet C— 1 Martin violin making. Satisfaction guar- structed the organist to play a cer- nerius. 217 Fewer Sene. Op. 39. Why K—3 1 .ante Write anteed. lawer nif F er T™« Poem. O I .Kctier TRAINED tain hymn as he thought it should 222 E ! S . !J' — GUSTAV V. HENNING What was he like, this masterful 1109 General Grant s March. F— 3 Mark MUSICIANS Informal ion 301 Fischer Studio attle. Wash. y”y E"'*"

(This is also an excel- (unaccent-subaccent-accent) of cadences. we will An Easy Door to lent example of alternate unaccented soon clarify the subject. It Phrasing is t0 b JUST PUBLISHED measures moving in observed that three-beat and accented and six duple metre (two measures). The beat rhythms move more OUTSTANDING COMPOSITIONS FOR PIANO SOLO BY CONTEMPORARY COMPOSERS (.Continued naturally from. Page 168) in Meas- and frequently in analytical accents falling unaccented and 2-4-6-8 these measures accented measures ures make than by the sim accented. Thus we conclude that with pie motives. Contemporary American Composers Series motific analysis, harmonic changes Any musician, who will SELECTION PRICE COMPOSER selection PRICE devote his COMPOSER disregarded as we deal only attention to the .Prologue Extatique Victorieuse (Victorious Vision) 50c may be phrasing of motives Frank, Marco_ _ 60c Pearl-Mann, Dora Vision Suite 50c with the melody. cannot but gain a larger Kleinsinger, GEORGE-Menuet Burlesque- _ 50c Siegmeister, Elie Toccata On Flight Rhythms (from '‘Airplane ) This motific idea insight into’ is obviously a Measure motives sometimes assume the minute powerful details of music structure agent in expression by de- We find that the accents, indicat- manding the dimension of a three component and find unexpected beauties Kaleidoscope Editions a differentiation in touch ing the finality of motives exhib- re’ as motive moving in triple rhythm vealed through his between the efforts. E._ .Rondalla Aragonesa 50c Scherzo (from “">tb Symphony”) accent and unaccent of ited by tone prolongation, However Granados, ( Join Schostakovich, D fall in (three measures). a few facts the motive. must be kept in Lesghinka ‘‘1st Symphony”) This discrimination of Measure 9 on the initial note B, and mind Liapounow, S _ (Op. 11, No. 14). 75c Schostakovich, D._ Allegro (from Ex. touch in a single 11 when undertaking such .Italian Polka “ The Bolt”) motive is clearly on B, third count. In Measure 10 they a task Rachmaninoff. S._ 50c Schostakovich, D Polka (from exhibited in among them Bartered Bride"). the following excerpt fall on the B, one octave higher, Medtner, N .Fairy Tale (In E Minor) (Op. 14, No. 2). 75c Smetana, B. Furiant (from “ The from Chopin's Etude, 1. Phrasal endings usually Op. 10, No. 12: third count; and in Measure 12 on occur (from "‘March of the Knights”) on the main (bar) accent, EG, first count. Consequently these except in feminine endings. JUST OFF THE PRESS! Send for your free copy of our recently published Piano Thematic. notes receive greater stress than the 2. The simple masters. unaccented portion of the motive. motive (unaccent- containing the themes of the finest compositions of the world’s greatest contemporary accent) induces Delineating these motives, our shad- rhythm by the beats COMPLETE CATALOGS UPON REQUEST ing 3. Enlarged in performance is indicated by motive induces rhythm Since the rest in Measure 3 denotes by Each of these two the technical signs and abbreviated measures (unaccented-accented isolated groups the end of a phrase, of notes terms we see that measures. EDWARD B. MARKS MUSIC CORPORATION • RCA BUILDING, RADIO CITY, NEW YORK comprises a motive; the ends beneath the notes of the above Measures 1, 2 and 3 are (accents) excerpt. linked with 4. Poetic being designated by Notice how carefully Chopin balance, which is the the three motives instead of most prolonged tones sustains the subaccent the usual essential and decisive represented in the by giving dou- two or factor in the half ble four motives. Measures 5 note and whole note, notes on the third count in Meas- 4, whole field of music kinematics, respec- and 6 are duplicates must the hands of smooth-cheeked boys baton. At another artist rehearsal, tively, occurring on ure 11. The motives of the foregoing exist; so motives the first beat of in Measures 13, will respond antiph- Try It in Your Important Radio each three measures extended by (some in short trousers!) and girls Mayor La Guardia entered the room, measure. The unaccent 14, 15 are rendered like two onally to motives; is en- those in notes. phrases to phrases; manuscript of larged. Measure These two notes, A and B-flat, in socks and hairbows. There are looked at the score—a and each motive is 9, except that a slight and so on. This composed stress may be balance is sustained and gave an in- Broadcasts of two sub motives is given the conceived as forming a sepa- Community special practice rooms throughout a Haydn symphony— (see Example 7) sustained half note on by duplication of musical rate motive, items; two of it, with pene- In rendition, the each second count. as in the case of the the building and credit is allowed troductory analysis touch must be so Measures 16, 17 tones producing ( Continued from Pago 158) , last a motive; two (Continued from Page 172) graduated 25, 26 two notes in the Bach, mo- for practice and performance. The trating understanding of the sym- as to exhibit the unaccent are marked into motives Example tives, a phrase; as 5; or two phrases, a of each motive shown here: as a motive extended sen- school is perhaps the only one in the phonic form. in comparison with to the tence or period, secondary accent. which may itself be facts the 24th, and on March 31st, sym- the accent in that group, Ex. 0 are low. It is Dr. Steigman’s aim to country to maintain a harp class. More impressive than any and at the doubled, thus Ailing four, compositions by various com- same time Compound time will eight or dispel the notion that a child turns The vocal department, under the about the school, however, is the in- phonic show that the two prove more sixteen sub- intricate measures. The continents will be motiyes are and difficult most advan- to music or art only if he can’t suc- direction of Miss Helen C. Moore, fectious spirit of enthusiasm that posers of the two forming a larger one. of analysis tageous than simple method of analysis heard. The intricacy of touch time; yet if is to ceed at anything else, and the re- must meet the special problem of pervades it. Each youngster is imbued demanded by we remem- divide the this ber that each sentence into phrases, There will be three Music Apprecia- expression is indicated Quite often measure in compound and sults of the academic work of the adapting its work to the needs of with the joy of doing what he most by the the motific rhythm ime each phrase into crescendo marks is in reality two motives, keeping in school are his soundest the adolescent voice. does wants to do, and the fact that his tion Hour broadcasts, under the direc- under the notes moves by measures as measures of argument. At no time well as by simple mind that every division In the first group beats; time and each must be Where in the average New York aca- the instruction attempt to build full, work counts as part of his regular tion of Dr. Walter Damrosch, this the C may be thus we have unaccented division pro- displayed ayed and gresses in in rendition by p piano; the D, mezzoforte; accented measures. the motific triple an adroit demic high school class, 88.9% of its mature voices. Its first goal is to education adds to his pleasure. There month. These are to be on March 6, the In Example 9 metre and discriminating first E-flat, , touch. mezzopiano; and Measure 25 students are passed, the average acquaint the student with the riches is no such thing as “being kept in”; 13 and 20. the E- is unaccented while fiat ending, forte. Music and The shading of Measure 26 is an accented passed in the High School of Music of vocal literature. The voice work the students stay voluntarily until Turning to the series, e ®econd suspension gf group is similar, measure. and Art is 95%. students’ IQ’s proper concerns itself with the con- after four o’clock, practicing, polish- American Youth, we find the five pro- , but Measures 33 to 39 in The slightly more intense waltz tX throughout the are alternately unaccented range from 84 to 165, and the average servation and care of the voice, cor- ing up, testing the sweetness of put- grams for March will mostly emanate figure However, and in performance, es- accented measures. age is nine months younger than that rect posture, breathing, tone focus- ting their best selves into the work from the middle West. On March 1, pecially in running Making the Fourth passages, it is Finger of the ordinary high school; some ing, and enunciation, and sound vocal they love best. Class work flows over the broadcast comes from Omaha, almost Useful impossible to manifest Melody Analysis students these ( Continued enter at the age of ten, habits. Only the head voice is used, into numerous clubs that serve, not Nebraska, featuring the Council Bluffs minute subdivisions of from Page 164) tone color. two tones at least many at twelve. as it is in a boys’ choir. as a release from regular work, but High School Groups under the direc- Incidentally, are re- note that qunedo„S ?to , the first make music, so weight upon this In addition to his high school work, The harmony classes combine as an organized means of developing tion of Dorothy Wassum. Various chord in not less finger in increas- this Etude is conceived than two motives ing k as or accents are nec- amounts and to Wben large quantities the music student follows a four -year “the rules” with teaching the stu- personal outlets stimulated in class. Public School groups from Los An- an accent, gain vertical . of the end of a motive, essary to yield weightj , which the smallest muScal iore"" have been released upon course in instrumental or vocal work, dents how to hear—how to listen for There are the Social Studies Club, the geles, under the direction of Louis y ^ by the rests d a containin *“ hana he ^hich 8 a poetic finger tip, theory, Jofiow j f balance “sr.iz the key bottom will composition, and music his- patterns, modes, rhythms. Stress is Composers Club, the Critics Club, the Woodson Curtis, will be heard in the Without this appear counterbalance music t° be exerting tory. Solfeggio and harmony are laid upon dictation and the work is Camera Club, the Poetry Club, and a program of the 8th, and the Hutchin- , a strong, The upward force. taught as given Three-Component aids to musical under- added zest by competition : the dozen more. Weekly teas are held in son Junior College A Cappella Choir Motive Like e a call without i ourth standing The motific anon, sir a° wn ™. and Anal step in our and creation. Instrumental first students to finish their work Dr. Steigman’s office, for discussion of fifty-six voices, conducted by power of a three-com Or a question f ponent without an ”Sy“ot T make the foul courses are in charge of Mr. Alexan- show it to the instructor for ap- and sociability. motive in triple answer. 8 s 'th finger Bernard Regier, will be broadcast time is usu- useful t ally entirely unsatisfactory. s..t t0 find effectiv der Richter, who directs proval, then circulate presented as This « .he“2r , e and nat- the most and among the Dr. Steigman is firm in discourag- from Hutchinson, Kansas, on the unaccent-unaccent- nute mi- r ural E musical conception anS °f Promoting advanced of the seven school or- others, assisting them with direction- ing “professionalism.” in turn de- enr i n independ- That hope is 15th. On March 22, the Maine Town- third mands another By cultivating chestras. and first counts, duplication to give a very short Instrumentalists are taught al hints. The advanced classes study reserved for only the outstanding. ship High School A Cappella Choir respectively perfect downward r rea t equilibrium, stroke of a secondary instrument in their first counterpoint, orchestration, y’ ]t consists and so on. this finger; by arrang- No more than 10% of the students of Plains, „ of unaccent- Des Illinois, direction of . In our subaucent-main]]hn f theoretical Pmg 1^ down term. Pianists learn the violin or a ing, composition. accent; and reading our at- muscles, while and The original are advised to seek professional goals Alexander Hervey, is to be heard. 1Uy the tention is constantly 2?h2 woodwind; f SUCh a called to me ’ deVelopmg violinists learn brasses, works that come to light at the great motive falls quite caden the up —and of that number, several have And the broadcast of the 29th will frequentlyfr»n f? muscLfT tthlle the upon the «**«*<* associated fingers; violoncello, or the harp, and so school concerts reveal powers of con- earned scholarships subaccent « - at the Juilliard come from the (third nnaiity, but SZ merry-go-round n a bv ion National Conference count; as well as a phrase may This P arny removing on. For six months they apply them- ception and construction far upon the principal reach lent an exce1 ' tensions beyond and the Eastman Conservatories. Meeting in Milwaukee, Wisconsin. accent finality without any means of eauspdd tdroughX selves (first count); cadence t ?. to mastering their major and the average scope of high school occasionally what- ‘Stren ‘l muscular opposi- age. The large proportion of the students several ends ?! soever, as shown and balance £th n On Sunday mornings of upon the second in Example l betwfen !hf flnding a secondary instruments; count. Because 0 thehandand n means of gain- then they Each year, Dr. Steigman invites a will go out into the world as busi- late we have we have ^ finger join?s X 6 are tuned into From the two accents (sub and Strength through the act ready for orchestral work. Each number of established artists to visit ness main) of resw men and women who have had Organ Loft, featuring Julius Matt- we frequently encounter a g00d part of the remaining two accents to Side of the road seven terms (with the school, to listen to the students the advantage of special, individual feld side toward « (9:15 to 9:45 A. M., . in succession. on the tin nl n 6r the ET) The un- f Independence will exception of the fifth, where and to give them practical hints in cultural Here we finger as in urth have he ? development and who, one hackneyed programs hus ar our have two turning ! ? band that we have examples of the distinct phrases ^door travelled. This is work is substituted) has its execution and rehearsal drill. f J mo- keeping knob indi- The day, will take a hand at furthering J without > cated heard by tific influence any cadence; the upper L? aw, bCl OTn Mattfeld, and the fine have been in with both °W ' grade orchestra, of guest artists duple ular to 0' ^ ^St lap of about one have included Em- just such development in their the own or quadruple time. n shoulder thffnnrn 6y quality of the organ tone has led us We will now apply the COmmo» aXd ^f^test ’ neXt shown at (B), will hundred members. The Senior, or manuel Feuermann, Elisabeth Schu- variously ’ with communities. In evaluating a similar cS'cESXfff UtTa disnen mainiv ° the to believe that many people are analysis in change - nCern eighth-term, who triple time in har " am0Unts the mental side of Orchestra, which it was mann, Georges Barrere, Albert Spald- using monvmony. BothBnfh weight, for of th? fiL school, Mayor La Guardia writes: not familiar Chopin’s Waltz phrases are 5a hQ , C00perati011 our with this broadcast in satisfactory ^ balance - privilege E minor not forearm. of the In the item- to hear, reveals a depth ing, and Adolf Busch. After Mr. “The founding of the posthumous only to the ear, fzed ome d High School of might like to know but also n S 6 Which follows of tone, a precision about it. sense, 5. is given of attack, a Busch had listened to the orchestra Music and Art is the notwithstanding Make sure that- a benefE f most hopeful The Mutual the omission and Vltal purity of intonation, network has a new 200 enea KM L usS?^ approach to and an ac- for a while, he borrowed one of the accomplishment of my administra- Monday “y dlfficulty of gaining curacy of ensemble evening show called “Music ZZ'Ze , finger give-and-take violins, and joined the practice as tion.” The school offers ( f a practical ( Continued on that are That Endures,” which comes from the Page 204) astonishing, coming from one of the group, under Mr. Richter’s hint for other communities. studios of WGN in Chicago. THE ETUDE march, 1942 201 —

fear and rage up, while the repose one must develop in order to play ganism. For instance, means that an Proud to He a they are anything these vital events are with sufficient confidence to play are emotions, and balanced Th experiences. It must person has therefore The Importance of College 1 pmv it in the well. There is no substitute for such but wholesome attained a stat Go-Belween quite obvious that, while of consciousness that is an experience—the tense trepidation then be free of an composEirs ouin TEmpoi it must worldly before concert time, the gala ex- music does arouse emotion, associations because and to it i Bands Orchestras the ( Continued from Page 148 1 the condition divested of all the pectancy weighted with serious re- also do something to features that mark from a state of ordinary daily sponsibility, the hush as the house that transforms it emotional experiences they hope to continue. lights go down, disruption to one of peace and re- The person is thus Music Education Department That which the vigorous resolve taken out of him costs the Association about four hun- to do or die, the strange exposed pose. What is the nature of this self, removed from his A Definite usual self' dred and twenty-live dollars for each clarity of sound resulting from the transformation, and wherein lies its which is a wholesome and Practical System experience for (Continued from Page 167) trainee i ALL Piano Students is theirs for one dollar; for acoustical properties of the audience. secret? everyone. But it is particularly so and Teachers Should Investigate they pay only the minimum Associ- Then deep absorption in the music. That the feelings aroused by music for the chronically emotionally upset disturbing ation membership fee. the quite peaceful semi- can place a limit on the automatic "Not to be omitted is our good are not of the ordinary sort has been individual Vol. 1—For Beginners . . . *1.00 who is inclined to feed I wondered on consciousness of his listeners. He experience that comes in ensembles just how these young fortune in having a musician and frequently noted. Pope, for instance, his troubles by Vol. 2— For Students with continually rehears people . . *1.00 must be replaced felt about being admitted to conductor of Mr. Barzin’s capabili- ing Fair Knowledge by the individual and rehearsals, when the problems them. I shall cite but one this Orchestra; what they ties to direct in Vol. 3—Advanced Students *1.00 who can demonstrate dynamically of one instrument, or group of in- thought the Orchestra. Inspira- stance of a musical emotion about the training tion which not only his knowledge of the theory, struments, player, they received; is contagious, and sound "By music, minds an equal will one or group of demonstrate both its uniqueness whether they considered their time musicianship and SHEFTE PIANO IMPROVISING and mechanics of methods, but his players are worked out. Even the, good taste should temper know, and its salutary nature: well spent; and, particularly, be lived with actual experience in the field his witness must gain from this work, for true familiarity.” Nor swell too high, nor sink too “When I in — whether they am a state of the were appreciative of To the gain and enjoyment that most Piano teachers close contact with the “laboratory,” let alone the student who is himself low; intense enjoyment . . . Exactly as he wished it to be played the Association’s work they of music I am should write us in their be- found in belonging to the NOA, in the breast for special adver- so to speak. a player. and so indicated on the score. That is If tumultuous joys never introspective. I half. To this end I wrote the never catch Using plan. the big advantage in controlling tempo to a list graduates add, in their letters, arise, During the past two decades, in- In addition to these fine expe- of myself at it. Looking back in the new, the modern, the electric members and graduates asking the satisfaction they on it I strumental riences, have found in Music her soft assuasive voice music has led the field the college band offers ex- way . . . bv THE them what they should say that I have rather FORSTER thought of the idea going into professional symphonic be of public school music activity in cellent training in other activities applies; come the music a and of the organization. In reply organizations fully than remained ELECTRONOME prepared for their Or, when the soul is pressed growth and progress that has given which are of great importance, and I with something apart with (Trad* Mark Rtg. U.S. Pal. Off.) received not diversified opinions jobs. And, once arrived some attitude at the scene cares toward new life and impetus to the entire which are required of every con- put a composite pean of of that it. On the less intense ELECTRIC METRONOME praise for new field of action, most ab- music field. With this growth has ductor of public school music. the Exalts her in enliv’ning airs.” sorption, I For NOA” and Mr. Barzin. Every of them experience should say that music Pianists—Send for fret booklet show- ...first choice of professional, teacher not loneliness, in ing how you may greatly Improve your come a demand for more and better example, there is the organization member a very definite and student in determining for them- and every graduate was, but fraternal joy way restores me in technic, accuracy, memorizing, sight- at meeting - other The noted music critic, reading and playing thru mental equipped teachers of instrumental and administration of the band de- selves the accuracy of their liming. without exception, Eduard body, mind and effort an enthusiast. NOA alumni who have preceded spirit. I am afraid muscular co-ordination. Quick result*. Practice Springs run down, their tension weak- Hanslick, likewise minimized. Used by famous pianists, teachen and music. partment. One can readily see that recognized the I .am a poor ens, the tick-tock of the old-fashioned them. For the gap informant though students. No obligation. that once yawned magic in If the function and responsibility the very nature of the band’s con- A Personal Expression wrought by music on the feel- this case, Broadwell Studioi _Dept _^-C Corina^California^ metronome becomes irregular, like a between demand for I cannot state 1 : and supply has ings, con- of our college music education de- stant activity worn-out clock, but the controlled im- We quote when he stated that it was one fidently any program makes un- from one letter, written been filled in by this laboratory one reaction except that pulse of "The Metronome That Oper- or- of the most partments is definitely that of de- usual demands upon the conductor by a young man chestra. precious and inestimable of a rapt ates Electrically” can't go wrong. It who prior to his It is now a smooth thorough- condition, at the end of Rebuilt Band secrets of nature that music & veloping thorough musicians and and his staff. The staff must be must always beat time at the exact admission to the Association Or- fare over which “should which I take a deep breath pass incoming re- have the and come preparing tempo for which it is set. No springs, chestra, had quests power of evoking feelings back.” Orchestra Instruments them to become expert sometimes large and always com- received some orch- for experienced players and P nothing to wind; simply plug it in. flip estral entirely free from teachers of school music, then our petent. With its tremendous program the switch and the in training. Yet he outgoing graduates. worldly associa- The story HONESTLY REBUILT- FULLY GUARANTEED note improvement found this of music as a healing your tions, and kindled, Please specify Instrument you are in- college bands and orchestras can and of football performance; change tempo with training different, and he as it were, by the agent for pageants, concerts, radio gives some the emotions can now be terested In and we will quote prices. one hand without interrupting beat, interesting spark divine.” Distributors King Band Instruments. should play an important part in and recording information as to simply engagements, as well why and briefly told. Music Allftl A Dept. E-3, 1613 Chestnut GUARANTEED FOR 5 YEARS Now it is the IAIC VM A it is different and why is Hanslick’s keen percep- most WELTIVlMlin vv< Street, Philadelphia, Pa. their training. It is evident that at as its many university or college it is so feelingful of the arts because *12.50 valuable. And, tion that music evokes times music education departments functions, a wealth of opportunity is PRICE despite the advantages Doctoring feelings that its material, sound, he are emancipated is the natural Ask your Dealer about FREE had previously enjoyed, he, from worldly af- stimulus have attempted to make teachers of given to the student interested in like and the natural outlet LEARN "SWING" MUSIC trial offer, or writ* direct to all the fairs, an observation for others, is grateful for the that has been feeling. Quick course to players of all Instruments—make your students whose musical backgrounds gaining experience which will be in- With Music All animals possessing own arrangements of ••hot’* breaks, choruses, obbligatos, privilege corroborated vocal embellishments, of working under Mr. Bar- by experimental re- organs figurations, blue notes, whole tones, etc. are entirely inadequate. This attempt valuable to him later, and which FRED.GRETSCH mfg.co. zin (Continued searches, produce sound when emo- ARRANCINC and in this training from Page 166) that can unveil is analogous to the building con- cannot be acquired in any other Makers of Musical Instruments Since 1183 school. for us the tionally wrought up, Duets, trios, quartettes and ensembles—special choruses "My mystery while the angry, —modulating to other keys— suspensions—anticipations 60 BROADWAY, BROOKLYN, NEW YORK personal feeling about All of musical therapeutics. tractor’s trying to build the roof manner than actual participation. the these results show not only or frightened, or joyous —organ points—color effects—swingy backgrounds Orchestra,” The researches person either Write today. he writes, “is that of that the along this uses before having laid the foundation. predominating effect of line his voice or feels a strong ELMER B. FUCHS gratitude, because show, first of drive 370 Lewis Avenue Brooklyn, N. Y. A Varied Experience it does fulfill its music is emotional, all, that the feelings to do The college band and orchestra primary but that a par- aroused so. This is the reason why purpose—to enable ticular by music are and chorus offer the ambitious stu- In matters of the selection tends to not those of music has organization and ad- young musician arouse a ordinary been used at all times and to acquire experi- daily life. dent much opportunity for musical ministration, there is common feeling in all hearers. Ordinarily our in all climes PIANO Attki no other school ence and orchestral This feelings to arouse, allay and TUNING TAUGHT repertoire which fact about are of a specific nature growth. Here he can develop his music activity that demands so much would music is shown most be- unify feeling, and Splendid field for men and women musicians. otherwise be practically cause they are has earned for r inac- clearly in aroused initiative and individual leadership. from its department as the 1 the experiments of by specific itself the HOME-STUDY COURSES ARRANGED college ISC cessible to him. Of course Kate situation, reputation of being the those stu- Hevner that cal, Write for information Here he can recognize the needs of orchestra on musical expressiveness. acion Brt universal and college band, or from dents who attend large the feeling language of feeling. The Dr. William Braid White, Principal music schools Those of her subjects stimulated by music musical organizations, and how best the high school and grade school (I am a who heard the 0 is other arts can create School of graduate of the Juilliard S e Ci C m0ti0n feeling, but Pianoforte Technology > Scherzo from - they are met. These organizations units for that Mendelssohn’s Music arouses music is feeling. 5149 AQATITE AVE., CHICAGO matter. The band must Institute of “A Mid- a i And, "sen Musical Art) Lnera ? r since music is usually summer Night’s Dream” Stat6> °r a are excellent laboratories for stu- be well set up because of the un- have an agreed that mood - organized sound, opportunity to play in Thl is tL fir it creates an organ- an the music was happy, gay POmt about ized dents who are interested in arrang- usual combinations of instruments, orchestra, , playful feeling state, J> but I believe that the and emotion which is a whole- National, graceful, while the subjects some ing, composition, transcriptions, and its wide variances in types of music N in addition to who condition of the physiological llltlA i? its excel- had listened to the conducting. Most college concert or- played for lence as compared second part of system. SPECIAL NOTICES all occasions from “pep with these, has the first unique SOLD EVERYWHERE an advantage movement of Tschaikowsky’s So ganizations are constantly experi- rallies” to formal concerts. The or- over them—that The second we see that the therapeutic and its Symphony No. point is ane is 6 in B minor” that even value menting with instrumentation, seat- chestra needs fine organization and P nearer the professional, found ° * of music is not that to be created by music limited to i s sad, are ing arrangement, transcriptions, ar- leadership for the audience is an extremely plaintive and not pathological emotional attainment of critical lyrical. These findings states, but ANNOUNCEMENTS audience, that the by Hevner on performs rangements of musical literature, necessary musical and instrumental students are more the that role in all life. Its consistency of the £eras? harmonic sonorities and cosmopolitan In training, feeling effect healing quality tone color. finesse. The prospective public school SWING and that of a is most noticeable in PIANO! piece of music are Learn to play real Swing Piano. Send for free Home the direction is in confirmed by pathological Here the student sees practice and music director who is fortunate closer contact cases, because SPECIAL NOTICE Study Folder. TEACHERS: write for business oner ther StUdiCS 0f the there its CHRISTENSEN with current modern same Prob- e ects are theory commingled. In addition to enough to be a member of a fine STUDIOS. 52 Kimball Hall, Cbfcas. musical per- lern° most clearly observable. ^are Old Violin Joannes formance. a — these important training In short, it is ut music Antonius Gedler. Fiillen 1761. Also Large features, university band or orchestra has a more a Ut fT is a universal healer, — practical ted the faCt and Library of Music, Solos, Orchestra, Band. musical laboratory thafc music it is for the band and orchestra offer the splendid opportunity to reap rich ex- than a and e™?r the musical mood this reason that the great Wanted Old Fashioned Musical Instru- theoretical one. n are closel is unique ?n ments. Prof. Arne B. student ”°l° y related, general public, Larson, International an opportunity for the ob- perience which will be of unlimited WM. S. HAYNES COMPANY what is it that music most of it musically * alls, Minn. “Not the least important does to emotion uninformed, servance of teaching technics. The value in the work he expects to is our that accounts nevertheless seems to SALE: Hammond do Flutes of Distinction privilege of rehearsing for its effectiveness tJEP* Organ Model “B’\ problems of balance, methods and in value eC speaker - of later. perform- the music ,, Used in private resi- treatment of not as a pastime, pro- riftnlf LlT e STERLING SILVER—GOLD—PLATINUM ing - new - - in Carnegie Hall, where emotional dis- fession, £ H E Cooper, 700 Euclid securing good intonation, precision, We are rapidly one can- orders. fad or hobby, Avenue, Syracuse. X Y. leaving behind us not help This is the crucial but as one of Catalog on request becoming aware of question e blend, unity of ensemble, tone pro- the old days of “note-book” the m musical great assets of life, music standards therapeutics, for ns which, like that have been established it Susie feeling, °f stro e duction, the interpretation of band education, 108 Massachusetts Avenue, Boston, Mass. d but not - t ? sun itself, and are advancing, happily, there. After ™ore than arouse m penetrates our exist- ANNOUNCEMENTS the first concert emotion 1' ence and orchestral literature, all are here to the of the ofV°the ordinary cal emouon 0 and constitutes point where it is recognized past season, sort it would S a'sTrT”'re one of the fore- which was my first aggra- tension Vose most PIANO TUNING — Simplified, for him to examine at close hand. that the fitting vate rather The fpn6 Beecher St., Elmira, almost tice is a principle in education like a Ce an phi™ » * Y that veteran, and this is emotional condi- a feeling tion Wood unnoticed experience that comes out cannot be Easy to master . . . is a Tdisrupted circulation! Wflat is really overlooked. The modern state of the or- taSbSST'* best for us lies al- 1 9 CORRECTED and pre- ,,,n ^?^ , of fellowship always popular . . . ways paredfo?^5 ic with other members of public school instrumentalist 202 within our reach, from at‘On. Arrangements made must go though often Original a musical richly satisfying. overlooked.”- to voiir^wif^’3ur music composed organization—one comes far beyond method and Longfellow. wor

corpse lives on, and Under But this dear theater Wagner had planned. With her he went to Teacher’s Round model per- Sand with him. Table he Piano Accord the king’s supervision, November of 1838. Be of Majorca in ‘Dedicated to . formances were given at Munich departure, in tween then and their AMERICAN “,” “Tannhauser, wrote or (Continued from Page 160) February of 1839, he “,” and “Die Meistersinger. Ballad°™ 152) out his second ( Continued from Page the corner sketched On May 22nd, 1872, in C-sharp Posture and Other Problems F major, the third Scherzo stone was laid for the Festspielhaus major and O’Connell. A newly revised edition, with CONSERVATORY in A on minor, Polonaise biographies, program at Bayreuth. Four years Wher Mazurka themes, notes, and It is scarcely possible that the minor, the Polonaise in C so on. Big improvement over the August 13th, the first f “Raindrop first B Pietro 2eir name of Nadejda Filaretovna von E minor, and the “must” for everyone’s f started Before and after this.Lud- in edition. A library. Meek, on being tossed into any mention a few products e^MUSIC to of the Symphony,” R. *ig and the roya y Prelude, “Book h. Hag- conversatlonal pool, would cause the Years later, it As Told to ElVera Collins wiener of this prolific period. gin (Oxford Press). An ideal approach 56th SEASON he rescue of to CHICAGO slightest ripple of recognition, were who prompted Chopin for teacher and layman alike toward *nd again. Notwith tanding itifc was Sand a as- —“le valse letters from our and the posture erect with shoulders it not for her thirteen-year Valse in D-flat “speaking” acquaintance with standard ecent and all other branches of the king who remains eternally the write the Accredited courses in piano, vocal, violin, organ It was * ” dog-chasing- literature. Based readers provide a group back. A chair of the correct height soclation with Tschaikowsky. du petit chien —the symphonic on available Etude Music and Dramatic Art leading to debtor and it is the recent of his the feet can for his “beloved friend” that he or may not, recordings, it gives exactly what the in- interesting topics for this should be provided so tail story which you may, R of favors the great W ® many ' wrote his “Fourth Symphony,” and telligent listener seeks. answering the rest upon the floor, and the seat DEGREE—BACHELOR OF MUSIC see fit. discussion. Before es f®” his:hi believe, as you ?«•, who ca™ through “Music in History,” McKinney again to should be of a size to permit the child MASTER OF MUSIC to her it was dedicated. Nine years with Sand at Majorca and, and various questions we wish DEGREE— tory s pages ecause o While older than Tschaikowsky, she became Anderson. An interesting perspective of to write to us to rest against the back of the chair both earlier and later, at Nohant, invite accordionists State Illinois tions and faith. the development of music in integration never Under Authority of a widow in 1876, her husband leaving work. And, be- their individual playing prob- while he practices. He should died, a wreath, tied Chopin did his best about large for- When Wagner with the other arts. stand should and her eleven children and a her name lives on, in- are sincerely interested in sit forward. The music Unsurpassed faculty of artist instructors, many of national with blue and white satin streamers, cause of this, “Men of Music,” Brockway and Wein- lems. We tune. She was attracted to Tschai- adjusted so the music is in a international reputation. dissolubly linked with his. Some years progress of student accordionists be Ludwlg - The streamers stock. Biographical history of music the kowsky’s music and sent him, in the came iIom with the eyes. Philip Moeller wrote a the careers of professional straight line of vision with bore an inscription in gold letters: ago, our own candid evaluation of the composers. Re- as wen as preparation for concert, radio, opera and teaching posi- of 1877, the of three Thorough summer sum “ hope Naturally the proper light for both in students To the Master , play called “Madame Sand.” We cently published. players. tions. Weekly recitals, lectures, school of opera, training thousand rubles. Prior to this, a cor- > realized that, writes that he has daytime and night practice should orchestra, bureau for securing positions. * rom bis devoted admirer and King, the lady in question A former pianist symphony respondence had started. (The first And here are some highly recommended arranged, as an eye strain draws Ludwig.” Wagner has repaid that de- in so honoring her, the author was recently taken up the accordion and be letter was dated December 30th, cast books of “reminiscences,” biographies, an arpeggio on the nervous system and causes votion many times and the years only recognizing the immortality wishes he could produce 1876). In the autumn of >. 1877, she . and so on, entertaining and absorbing: com- An arpeggio fatigue. The practice time should be SUMMER MASTER SCHOOL will continue his tribute. While the on her by a miserably unhappy the bass keyboard. asked permission to settle on him an “Clara Schumann.” J. W. on Burk: "Jean divided between sitting and stand- future looks precarious for kings, poser, a sensitive genius who often Sibelius," effect can be obtained by substituting annual allowance of six thousand Ekman ; “My Musical Life,” Rim- Three Summer Sessions— May 14 to June 24, sky-Korsakoff “Raclrmaninoff's Example ing. 11 achieved irritated the great literary lady who ; Recol- upper octave. rubles ($3,000) so that Ludwig of Bavaria has chords for the August 6 to September 16 he might con- lections,” Riesemann; 'Man and Mask,” question June 25 to August 5 and a rneasure of immortality through viewed him as a sort of plaything. shows a few measures of an Next in importance is the tinue to compose, freed from material Chaliapin: "Debussy, Man and Artist,” No. 1, this purpose. It of whether the accordion is held cor- cares. All of this was offered very his befriending of a mere musician. The last of our references to the Mahler; “Fact and Fiction About Wag- exercise written for Special Summer Courses in Public School Music, School of Acting, ner,” Newman; "Schubert, The Man and rectly while being played. The shoul- Training (Robyn System), Oxford Piano Course apologetically; great and near-great in music will was taken from the text book “Bass Children’s Musical and, to soften his His Circle,” Flower' 'Toscanini,” Paul George Sand and Chopin the Accordion.” der straps should be fitted snugly so pride, she gave him a few trifling be devoted to that lovable, God-fear- Stefan; “Gustav Mahler,” Bruno Wal- Solo Studies for Schools Music instrument remains in position Member of the National Association of of commissions to execute for her. A century ago, Aurore Dudevant ing Austrian, . To ter; “Music is My Faith,” Mannes; "Mid- the way in My Song,” Lotte Lehmann: “Mo- does not sway from side The unique provision of her gift far better sound the middle “C” of Papa firmly and free catalog. Address John R. Hattstaedt, President known under her pen zart,” Davenport; "Mozart on the Way to Send for side. A back strap, to join the two was her insistence that they never name, “George Sand”—was a cele- Haydn’s name is to hear, almost im- Prague,” Moericke; “Beloved Friend” to (Tschaikowsky), is great help in meet nor know each other personally, brated figure. She was the talk of meditely, overtones of Esterhazy and von Meek; “Beethoven shoulder straps, a Piano AMERICAN CONSERVATORY OF MUSIC Salomon. Sonatas Discussed,” Blom; “Of holding the accordion firmly in place. And, since Tschaikowsky respected Paris, and of all sophisticated world Men and Music,” Deems Taylor. is in a playing 111. the terms of the agreement, they centers, where she ignored the social Prince Nicolaus Esterhazy has When the accordion 572 Kimball Hall, Chicago, Except in a few cases, Professor corner of the never did meet. “I can only serve conventions with the cool noncha- earned enduring fame as one of the Day- position the upper right ton’s suggestions are all books of recent rest against you,” he wrote, "by means of my lance that characterized her smoking greatest of all musical benefactors. piano keyboard should vintage. He assumes that we already should be a music. Every note which comes from of big black cigars. She was a famous For thirty years, the musical staff of the right shoulder. There know those other well known volumes my pen in the future is dedicated to writer, with dozens of popular novels his palatial residence, Esterhaz, free and easy motion of the right was by Huneker, Krehbiel, Finck, Cooke, El- you!” to her credit, not to mention the headed by Haydn. arm as though it were pivoted from During these three son, Amy Fay, and so on. They corresponded at great length various essays and articles that she decades, Haydn was at the beck and the elbow. ^fljr Qb’brlaitilXnHfilulr pf(pugtr for thirteen years, and her name was tossed from the tip in the of her flying pen. call of this royal master. His duties mother writes to ask what phys- If the accordion is held A of of on his lips when he died. She sur- Her lovers were legion; little Confer* Bachelor Music Degree, Master Music Degree, Artist Diploma and there was were many, and they were bound up ical exercises can recommend for correct playing position, very we Faculty of Nationally vived him by two months. But, thanks hardly a famous novelist, painter, or tightly in manipulate the Known Musicians a legal document running Making the Fourth her little girl who becomes fatigued effort is required to to “Our Symphony,” as Tschaikow- poet who had not enjoyed her to BERYL RUBINSTEIN, Director, 3411 Euclid Avenue. Cleveland. Ohio af- fourteen clauses, which Haydn quickly when practicing a forty-eight bellows. In fact, the outward action sky called it, Mme. von Meek will fections. had signed as the on May 1st, 1761, with the Finger Useful bass accordion. The girl’s age was not occurs almost automatically continue to live, along with the com- But, despite her staggering array preceding head of played. The clos- - JUILLIARD SCHOOL the Esterhazy given but it was stated that she is instrument is being OF MUS1C== poser she knew only through cor- of best-selling ( Continued 200) novels, her cigars, and family, Prince Paul Anton Esterhazy from Page ing action requires slightly more ef- respondence. well built and strong. As many little Ernest Hutcheson, President her love affairs, her name would be who died in 1762. pulling Everything was independence. girls from six years upward have no fort. The terms “pushing and We shall now discuss a king, who unknown to-day, This is valuable. were it not for her carefully detailed: Haydn are misnomers because and his (A) 1. difficulty practicing a forty-eight the bellows” has been carried to immortality by association with a Polish Let all the fingers first JUILLIARD SUMMER SCHOOL genius musicians were always is required if they to wear clean rest upon their bass accordion, we are inclined to very little effort great music, and the man who wrote that poet of the keyboard, linen key surfaces. named and white stockings; their wigs properly manipulated. There is a George A. Wedge, Director that music. In this 2. Depress the fourth finger from think that the fault rests with the are case, the composer Chopin. When George Sand met Cho- were to be powdered and worn the little girl’s ac- is Wagner; in a its position in a manner of practice, and suggest that possibility that and the king, of course, pin, in 1837, she was by far the net on the key top July 7 to August 14, 1942 or with a pigtail; Haydn leak air through the is Ludwig II of was not prompt we try to find out what it is before we cordion may Bavaria. The latter’s greater figure. He was merely a gifted to be too and vigorous manner, and familiar with his men; all the valves, and in Accredited music courses leading name lives on to-day for one pianist. simultaneously depres- recommend any calisthenics for de- bellows or through to diplomas, teacher’s reason Chopin was, for Sand, lit- music that with the Haydn wrote was to be case, she would naturally have certificate, and Bachelor of Science and Master of only: his connection with Wagner’s erary copy. sion of this finger lift all the other veloping muscles. There are numerous that Science (She embalmed their ten- the property of the Prince. All these considerable energy to pro- degrees. Instrumental greatest years and the establishment year romance in a fingers as high as convenient with incorrect practice habits which chil- to exert and vocal instruction for beginning novel called “Lu- and more outlined each of the Bayreuth Theatre daily duty dren duce sufficient air. We suggest that and advanced students, repertoire classes, methods and and festi- crezia Floriana”) . equal then adopt unless they are carefully Sand was the dy- of Haydn and his promptness and vigor, vals. men, including the be inspected by the materials, public school Ludwig, as a prince of eighteen, namic, masculine half of the instantaneously release the tension watched. We shall enumerate a num- the instrument music, theory, composition, and corn- fact that they were to had heard “Lohengrin”— eat with the child’s teacher or by a repair man to musicology. Department for high school an en- bination; Chopin, the feminine, deli- servants. on the fourth finger, but hold it ber of these, and although many of students. counter that fired perfect condition. him with a life- cate half, the dreamer of depressed with of ef- them will not apply to this particular be sure it is in dreams The pay was a minimum Special one-week Unit Courses in all branches of music long enthusiasm for small and the duties Wagner and his hitherto unknown to man. fort, as the other fingers fall re- case, they will interest other mothers Children should be taught the im- many. But, fortunately, and music education. music. Three years later, Ludwig be- What a shock Esterhazy laxed with a similar portant lesson of relaxation while it would have been coupled his sincere and take a position of rest problem. Catalog on request came king, with a vast treasury love of music with at to the vanity of the on their without First in importance is the matter they practice. Tenseness produces prolific Sand a respect for Haydn’s key surfaces his disposal. He was determined to great ability, 120 Claremont Avenue Room 122 York, Y. to know that her sole existing claim and moving the keys. of correct posture. This is so vitally cramped muscles, and five minutes of New N. thus ample time was make Wagner s dreams of an ideal to immortality, permitted these conditions is a century later would for the composer 3. After the mind has had suf- important to growing children who practice under r f°r the Production of his be to spend on his based largely on the decade she wilting. ficient time to “catch on,” release are studying the accordion that we more tiring than an hour when re- .^Ff , , Esterhaz was deep Nibelungenlied, a reality. In Octo- spent with in the Xj>am to play the See THE SUPER A a tubercular genius who woods, far from the fourth finger and repeat. never miss an opportunity to men- laxed. A child’s practice program ber, 1865, Ludwig decided that the Vienna; and, aside ACCORDION BY MAIL! loved her, despite the (B) tion it. arranged that there are scathing re- 1 1S duties l; As soon as the above A child should not slump should be so ACME great tetralogy would be produced as kapellmeister, Sole New York and marks she made about him J®? . ^ down periods of short dura- She once which freed him from exercise has produced precision of in a chair and hunch the frequent rest Philadelphia Agents three years later. In the following wrote, “Chopin all material Stf- PIETRO DEIRO ACCORDION is a detestable in worries, fourth finger finger shoulders over tion. It is difficult for a child to con- especially written two—tried there was little movement, this the instrument. This and tested—Correspondence HEADQUARTERS January, architects were called in valid,” for him 46 Greenwich Ave., N.Y.C. and, on another occasion to will act posture the periods of rest and courses—that iruarantoe results. she do but write independent of the other would bring quick fatigue centrate, and Write for FREE information Write for Free Catalog by the king to discuss plans for the addressed out the pieces him as “My Dear Corpse.” fingers even if are most important. Acme Accordion Co., Inc. ( Continued as a whole. It would be well the child were not practicing. relaxation on Page 206) 43 W. 16th ST.. N. Y. C. The (Bet. 5th U 6th Aves.) 204 ( Continued on Page 208) spine should be kept straight ( Continued on Page 208)

THE ETUDE MARCH, 1942 205 ; — »

» tories of tomorrow. We have men- few of . only a those "Dedicated to . tioned who live mm ipM on, carried down to us on the backs — II 1867—Seventy-Fifth Year 1942 great composers they IlSTR of the once ni Page 204) befriended. Many of them gave their ( Continued from help when it was sorely needed; and, as they sit, perched securely atop OBERLIN COLLEGE CHICAGO MUSICAL mind. some special Parnassus, they must Ferdinando Carulli, 1770-1841 which poured from his prolific OF MUSIC writ- with pleasure the CONSERVATORY RUDOLPH GANZ, President at dawn, to begin contemplate greater He would rise ~J\rich COLLEGE the day, there glory each succeeding year brings to ]3ij Cjeorqe C. A DIVISION OF OBERLIN ing. Later, during works; the recipient of their benefactions. Member of the North Central Association of Colleges and would be rehearsals of new seeking new ways to im- first perform- The bread many of them cast so gen- EARLY PART of the nine- Always in the musical world Secondary Schools; Institutional member of the National Associ- and, in the evening, he Graduates are prominent prove his instrument, Carulli spent given for the Prince erously upon the musical waters has teenth century has often been and super- ation of Schools of Music. ances would be concert artists, music teachers to most of them and, the “golden era” considerable time with the celebrated as and whatever royal guests he might returned in T referred to as directors constructed and private schools, presen- cases, it has brought rich Among the talented guitar maker Lacote, who visors in public Bachelor and be entertaining. There were many of the guitar. A Professional school of music conferring accredited according to his of college music de- everything from intimate dividends. musicians who helped make guitar several models of conservatories, deans Master of Music Degrees with major in Piano, Voice, Violin, Cello, tations of with opera in that time, none contrib- ideas, one of which was provided Musicology, or Composition. chamber music to grand history at partments. Organ, Orchestral Instruments, and four additional bass strings and the opera house, which seated four uted more to the development Another of music and was especially advancement of the technical re- called the “Decacorde.” Thorough instruction in all branches Faculty of internationally and nationally famous artist teachers. hundred persons Have You a Song than Fer- guitar much used by Carulli, was excellent equip- built by Nicholas, the “Magnificent.” sources of this instrument 46 specialist teachers . . . albeit a rightly called the made about 1752, by the lutenist STUDENT AID AVAILABLE TO A NUMBER OF DESERVING STUDENTS. This largely idyllic existence, dinando Carulli, (over 200 practice rooms, 23 modem in Your Heart? this beautifully ment monotonous, came to a close in of modern guitar technic. Claude Boivin, and bit father including two large recital instruments) February 1770, made instrument is preserved in the organs, SUMMER MASTER SCHOOL OPENS JUNE 24th 1790, with the death of Prince Nico- (Continued, from Page 162) Born in , 10, mu- of the National Conserva- inspiring concerts by world-famous laus. Haydn was then fifty-nine years Carulli as a youth received his first Museum student in order to indulge in the pleasure of Music in Paris. . . . weekly Write now for Free Summer Catalogue; Address the Registrar old. musical instruction from a priest, tory sicians and organizations of song writing. I actually It is here that Salomon enters the know a several years to the study of these reasons Oberlin Con- devoting Also a Voice Teacher recitals ... for picture, Salomon who succeeded song writer who has completed, and violoncello. Becoming acquainted stu- the the servatory attracts talented and ambitious mentioned, written down in very good style, more began to ex- Aside from his activities as teacher CHICAGO MUSICAL COLLEGE where Bland, previously with the guitar, he foreign countries. composition, Carulli dents from 39 states and 6 had failed. It was Johann Peter Salo- than three hundred and fifty songs, it, and its delicate of guitar and Business periment with R. A. Elmquist, Manager popularity as vocal of Music, Bachelor of School mon who “popped in” on Haydn one without thought of having them pub- beauty of tone and harmonic pos- enjoyed great Degrees; Bachelor lished. This may come rather as a teacher and was a professor in the of Arts, with major in 64 EAST VAN BUREN STREET, CHICAGO, ILLINOIS morning after the gentle soul had sibilities appealed to him so strongly Music, and Bachelor surprise to the who think National Conservatory, where his settled down in the Wasserknst- many that that he decided then and there to music. Oberlin College, on the same campus, as soon as they complete a song they vocal method and studies were Bastei, one of the outer boulevards devote all his time and energies to makes possible excellent combination courses. instantly it of Vienna, and coolly announced, “I should rush off to a pub- this instrument. At this period, the adopted. MILLIKIN OF MUSIC CONSERVATORY BALDWIN-WALLACE I lisher. Strange to say, this is the rule, Among Carulli’s pupils, who later am Salomon of London. have come guitar was quite popular in Italy, For catalog address DECATUR, ILLINOIS rare CONSERVATORY OF MUSIC to fetch you!” not the exception. The tragedy of this but mostly used to accompany the proved themselves artists of Offer* thoro training in music. Course* leading to BEREA. OHIO (suburb of Cleveland) Salomon, attitude is that the young inex- were the two guitarists, Fi- Bachelor of Music Degree. Diploma and Certifi- a violinist, conductor, and songs and serenades heard in the ability, Affiliated with a first class Liberal Arts College. 532, OBERLIN. OHIO cate in Piano. Voice. Violin, Organ. Public School FRANK H. SHAW, Director. Box Four ami five year courses leading to degrees. Faculty and concert manager, had tried perienced composer receives a dis- lippo Gragnani and Victor Magnien, Music Methods Music Kindergarten Methods city streets. Capable teachers were and of Artist Teachers. Send for catalogue or informa- earlier to tinct discouragement if his is quite famous. Bulletin sent free upon request tion to: woo Haydn to London. song non-existent and very little printed both of whom became W. ALBERT RIEMENSCHNEIDER, Dean, Berea. Ohio ST. CLARE M1NTURN. Director Bland, a London publisher, had also refused by the first publisher he music was available; so Carulli was Another prominent pupil was his pleaded. But this time, the answer consults. Frequently, this discourage- dependent on his own resources and son, Gustave, who later distinguished INSTITUTE OF was in the affirmative, it ment is great and teacher and was so that he discontinues was compelled to invent a course of himself as a composer SMOPOLITAN DETROIT MUSICAL ART made to Salomon and not to any composition. According Bland. thought of further composition. studies and exercises for his own of voice and SCHOOL OF MUSIC DR. FRANCIS L YORK, Chairman And so it is that to-day we have the How sad this is, because if only he Romulo Ferrari of Modena, the B. MANVILLE, Pretident Notable Hecent personal advancement. Carulli was to SHIRLEY GANDELL. M.A.. Oxtord DR. EDWARD Publications University, England, President. Music Hchooi*. “Salomon Symphonies,” a measure of is Alexander Guil- Member of the National Association of knew what truly best for him, he celebrated organist, Accredited. Offers courses a musical genius, his powers of con- 38th year. Founded 1897. All branches of Music and Dramatic Art branches of Music. Certificates, immortality that might so easily would Carulli, in all Hchooi of Sacred Mu«tc. Faculty of 70 artist*. Accredit#* have continue to compose feverishly, his per- mant, was a pupil of Gustave Desirable board- centration enormous, and diplomas and degrees. Teachers' Certificate*. Diploma* and Degree*. LITTLE PLAYERS LET'S STAY WELL! filled the cup of Bland. as a cultural advancement for his several other historians ing accommodations. Located in down- sistence resulted in his being looked although town musical center. H. B. MANVILLE. Butina** Manager 52 Putnam, Detroit, Mleh. The successful Box E. 306 S. Wabash Ave.. Chicago. By Robert Nolan Kerr By Lysbeth Boyd Borie Salomon bound own particular self, as a hobby, as upon as the greatest exponent of claim that this honor should go to and Ada Richter Haydn to a contract that called for a great indoor sport, far better than the elder Carulli. Guilmant, by the This new book, by the author of the successful guitar playing while still in his early ‘ an opera, All in One" piano instructor, immediately will six symphonies and twenty chess or checkers, evinced his interest in In keeping with our national crusade for crossword puzzles twenties. . way, often attract the youngster in whose hands a copy is well being, these charming little songs for other pieces. Haydn was to receive or and placed as a first piano book. Issued in the con- anagrams. By discontinuing his the guitar and mandolin was children definitely encourage health habits. venient oblong style, size about x its three hundred 9% 6%, By means of Mrs. Borie's delightful and pounds for the opera, art, he is robbing himself, as he A Career Begins elected President of the International attractive illustrations will at once captivate the amusing texts, one sugar-coated health rule as much for the child. The presentation of the first things that symphonies, two would if he Contests, held at Boulogne after another is implied, and by means of discontinued any other In 1796, he left his native city, and Mandolin must be learned about music and piano playing hundred the tuneful music, they are easy to learn. pounds for the copyrights art, presidential address is by rote and note, all portrait or landscape painting; in 1909, and his made as simple as pos- Some of the refreshing titles we find him established in Leghorn Another are: Bunnie sible. Texts and illustrations bring out familiar and a like amount for the Rabbit Beans; Chew Chew Train; Tooth twenty he is doing himself a great injustice where as a was an inspiration to all players of experiences in the average child's day ami ex- Brush he soon became known Drill ; fresh Air in Your Tires! and other compositions. plicit directions are given for developing, from and irreparable Just Soaposing. The engaging illustrations injury. master teacher and virtuoso. A few these instruments. OF SHERWOOD’S the very beginning, a sense of rhythm. are by Ethel Smyth Price, $1.00 Therefore, that great Price, 50 cents when young aspirants years later he began his triumphant It is a well known fact a that Haydn wrote for Salomon, t\ seek my humble opinion, I always concert tours Europe. virtuoso as a rule is not necessarily DISTINGUISHED sets of throughout In six each (Haydn made t\ stress the point, “Keep on writing, 1808, he appeared in Paris, where he a great teacher, but we can safely visits to England) ARTIST-TEACHERS are known as tl ONCE-UPON-A-TIME writing, writing!” I never fail to re- gave many guitar concerts, achieving say that Carulli must have been an "Salomon Symphonies,” a designate THE LISTENER S BOOK peat Emerson’s wisdom, exception to this rule. His “Method” STORIES OF THE they “If a man his usual brilliant successes. Here he will bear for all time. Most ON HARMONY GREAT MUSIC MASTERS build a better mousetrap, preach a remained as teacher and composer in two volumes, and his books of them were written under great By Lawrence pre better sermon, or write a better book, until exercises and etudes, show that he cQeon Rosenbloom Abbott By Grace Elizabeth Robinson sure, and, during his death at the age of seventy- their compositio though he bury himself in the woods one. It is said that “Carulli ’s com- fully understood the needs of his The outst.mil . inn book on "music as ;t language Ibis Haydn wrote combination of elements—Pictures to a friend in Vienm the Arthur Schnabel, of tones and chords.” By means of able the World will his A pupil of famous discus- Stories—Music is irresistible to children. hew a path to mand over his pupils. They are carefully compUed, sion — “My eyes have instrument was so and thematic illustration, it lays firm, logi- Each suffered, and I pianistic dis- complements the others in such a way ha door.” graded, display pro- Mr. Rosenbloom has won cal foundations for a fuller grasp of music’s that, extraordinary that he never for admirably and as a whole, they form fascinating en- written many a time all was meaning. Be it symphonic, string quartet, through tl tinction through recitals in the music band tertainment. Each of these stories So often, immediately teacher of the music, is of a night, the an instant checked in the execution found care and appreciation or the latest "hot jazz" arrangement, great master, but, with God’s related in language clear to a help, I Sh£ perceives centers of the United States and Europe, Mr. Abbott's book leads to a direct perception child. in a child beginner, the of difficulties usually encountered by Favorite pieces by the hero of each get through it.” the most difficult passages. He of the composer's message. The author is a prac- During his two visil through the training young artists. story are introduced in easy form as slightest and of tical musician and serious the tale evidence of creative ability, gave no the beginner. The “Method,” upon thinker. His experi- is unfolded, he is estimated indication of the slightest and suitable illustrations are to have written sevt ence as assistant to Dr. Walter Damrosch in melody writing, generously placed throughout the book. or of composition, labor in his publication in 1810, became so arranging the notable NBC Music Appreciation The hundied and sixty-eight executing with wonderful twelve composers thus pages Instruction from eminent artist-teachers Hours, and his introduced arc: the teacher at is available to talented students rational approach to bis subject Bach Beethoven. music. once begins imparting rapidity and popular that it rapidly passed five Brahms. Chopin, Handel, Many of these perfect intonation pas- beginning of their qualify him pre-eminently to prepare sucli a Haydn. were writt< the from the studies at Sherwood. Degree courses in all in- Mendelssohn, Mozart, Schubert. laws and rules of composition; long after another work as is here offered Price, $3.50 Schumann, for the discerning sages in double stops and chords ex- editions and not voice, public Verdi, and Wagner Price, $1 .00 Johann Peter Salt struments, school music, conducting, theory, and composition. harmony, fugue, canon and counter- tending edition, much enlarged, made its ap- mon who thus becomes over the entire compass of Enroll now for SherwootFs low-cost a member . Summer Courses, June 22-August I. point, and all the monstrous mathe- the pearance. that select company which, by instrument. His rapid scales in Ask for all-expense estimate. 412 S. Michigan Avenue, Chicago, Illinois. toucl matics of advanced music. As well THEODORE PRESSER ing greatness, lives on single notes throughout three octaves Carulli’s compositions number CO. to bask in tl make reflected a little child study rhetoric supplemented about four hundred and include 1712 glory of the association. by another octave by CHESTNUT ST., 1*11 ILV., PA. and advanced grammar before he is the his Time has a way of doing use of harmonics, were a delight pieces of great variety. Among strans allowed to say, “Da-Da.” teacher usic School things. The benefactor The to the ear. No sound other than guitar solos, we find many descrip- of to-ds obviously sometimes has the cart before the musical, sonatas which have INSTITUTIONAL MEMBER OF NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC earns a page in the ever issued from the guitar tive pieces and hi, (Continued on Page 209) 2(/o under the skillful touch of Carulli.” (Continued on Page 211)

THE ETUDE MARCH, 1942 207 — ; .

in the of of the College Highlights Art Here are some of the attributes of The Importance Posture and a good accompanist: Well developed SCHOOL OF MUSIC sight Orchestra to the EASTMAN technic, the ability to read at Band and Teaching the Piano of Other Problems rapidly, a working knowledge complete knowl- Department of harmony with a very Music Education ( Continued from Page 150) the edge of all chords in all keys, Page 205) ( Continued, from. sight and im- Page 203) never of Rochester ability to transpose at ( Continued from impression to reach time to read each note, but University for the visual The needed. An accompanist to strike a key until his provise when brain; 2. It takes time to trans- permit him the Hanson, Director such control of the bellows laboratories, the real schools of finger is actually over it, and he has Howard of our readers claims must have field. We are the impression received into a One young average in his chosen form Assistant Director perfect tonal the spark of musi- Raymond Wilson, encountered some that he can produce “Music in music. They give the brain; that is, to fully verified through touch that it that he recently beginning to put some command of keeping the accompani- the person who is learn- note. com- measures of accordion music where shading, and our young cianship to from the sensory to the motor corresponds with the printed RCA Victor has released seventeen background for Music Education, switch Eastman School broadcasts of Mile- thirds with one ment subdued as a and ing methods of teaching. If a student for the Most pupils fail in their attempts to American composers re- the treble was in are becoming more nerve centers; 3. It takes time History of Music” heard positions by bringing it out in graduates stones in the Or- note to be held while the other was the solo and then upon cannot become a member of these travel along the read just because they urge both corded by the Eastman-Rochester more proficient as performers brain’s command to over CBS Network each Sunday, full tone when needed. He must own through lack of ability, at a speed Dr. Howard Hanson, Conductor trilled. He asks how this and similar organizations nerves; 4. It takes time for the brain and fingers to work :30 A.M., E.S.T. chestra, to pro- their major instruments. motor 11:05 A.M.-ll an accordion with good reeds initiative, he does not be- measures should be played. Example ago, President interest, impulse to be transformed of which they are incapable; the the instru- Just a few years nervous faculty include: "Technical Pas- duce a mellow tone, and school of music, any Publications t members of the No. 2, taken from speaking to college long to the more muscular movement. mind thus loses itself in a fog, where Eastman School ment must be kept in perfect tune at Roosevelt, in into sages for the Accordion” is self- knew who than the young lawyer who cannot individuals, the it cannot distinguish the relation of students, told of a man he Now, in normal Questions,” T. Austin-Ball; explanatory and provides a good all times. or the young doctor who can- playing becomes “Answers to Some Vocal spent thirty years in getting his debate, to transform the visual impres- notes to keys, and In order to be available for all kinds had time Harold Gleason; example of an exercise in trills where wealth of not grasp the practice of medicine. the time guesswork. Clear realization of, and “Method of Organ Playing,” should not education, and who had a sion into a command, and one note is held. We might add, too, of calls, an accompanist including one in The time has arrived for a closer nervous impulse perfect preparation for what has to of Counterpoint,” Gustave Soderlund; in but degrees of all sorts, to transform the “Examples that it also provides a very fine only specialize between the music edu- medicine. The President stated that coordination muscular movement are negli- be done, is the only sane process. of Conducting,” Karl N an Hoesen; exercise to strengthen the weak should be familiar with the current into “Handbook walking cation department and the various this stage, all questions of the man was a "veritable if either be of appreciable At Bass,” Nelson N\ atson fourth finger. We suggest that popular tunes of the day. He should gible; “Modern Methods for Double never college musical units. One cannot rhythm and fingering must be de- of old familiar encyclopaedia” but, he had length, then the possessor of such students transpose it in all keys and have a repertoire “Chorale Collection,” Elvera Wonderlicli. accomplished anything useful, never survive without the other. Properly nerves or such refractory liberately set aside. All the energy include it in their daily practice pro- tunes memorized as well as many sluggish use of the amazing store of unified, they can be indispensable to unfit for such work, of the mind must be focussed on gram for a while. standard melodies and light opera made muscles is utterly For further information address: acquired. “It is one another. So long as they are clearness of perception and correct- favorites. A diversified group of solos knowledge he had which requires so great rapidity of "for looked upon and administered sepa- responsive action. Ex- should be kept rehearsed, as accom- better,” advised the President, thinking and acting. But the time to ness of the ARTHUR H. LARSON, Secretary-Registrar the rately, the students are the losers, course, be well Allegretto (m.M. t*8) panists frequently are called upon for you to combine the pursuit of the visual impression to the ercises should, of ir carry Eastman School of Music with a practical use of and the cause of music generally reading single notes must solos. intellectual brain, and the time to carry the graded; New York benefit of your suffers. reading of chords. Ac- Rochester, The first rule of an accompanist is your talents for the brain’s commands to the muscular precede the Better high school bands and or- signatures should to listen carefully to the soloist and nation and mankind,” system are appreciable even in high- cidentals and key chestras will eventually materialize so That is why I believe that the col- be introduced in due order, and 1 become so familiar with his par- ly gifted individuals, and the earliest JUILLIARD SCHOOL OF MUSIC lege orchestra, band, and chorus are when the college music education de- to give each pupil ticular style that every whim and steps in reading at sight should be on. What exercises the higher educa- partments give true recognition to give con- HUTCHESON, President fancy can be anticipated, rather than part and parcel of aimed at shortening both periods. and how to compel him to ERNEST extra-curricular the values of band and orchestra his work to be dependent upon the music tive process, not Fortunately no separate training is cise, coherent attention to alone. All of this comes under the activities. That is why I plead for participation. And more than that, the motor are details each teacher must settle ART necessary : the sensory and INSTITUTE OF MUSICAL their acceptance as an important music in America will be recognized heading of practice and we suggest centers can be quickened together, for himself. GEORGE A. WEDGE, Dean part of the music schools of the as one of the professions, one of the will be that this young man grasp every simply by insisting on the pupil con- This valuable discussion higher institutions of learning in our necessities, and one of the joys of Classes in Theory, Com- possible opportunity to get ex- centrating his attention on playing continued in the next issue of The Individual vocal and instrumental instruction. perience while country. They are the living, vital living. education. he continues his the correct keys. Allow him ample Etude. position, and all branches of music studies. Courses leading to diploma and B. S. and M. S. degrees in instru- Pietro Deiro will answer questions mental, singing, and public school music departments. about accordion playing. Letters Catalog on request. should be addressed to him in care of Making the Fourth Finger Useful The Etude, 1712 Chestnut Street, Room 122, 120 Claremont Avenue, New York Philadelphia, Pennsylvania. Heart? ( Continued from Page 204) Have You a Song in Your

(Continued from Page 206) nORTH PARK COLLEGE Accordion Questions to experiment, in like fashion with forearm rotation. This condition, the items regarding independence which particularly involves the enwooJ E. Clifford John regular class of the first grade, just Toren, Answered as shown in chart, Illustration 3. fourth finger during the process of horse, because, as far back as 50th Dunstable (1370-1453), we find that so should that child be exposed to CONSERVATORY OF MUSIC Director Year A young man writes that he wishes 2. To facilitate the reading of gripping variously placed objects, is beautiful music. Dicisionof Lindentcood College Q. I would like to know if a person melody writing produced harmony, music—good music, to become an accordion accompanist the chart, it might be found help- greatest and strongest when the for Women. Thorough prepara- who can play the piano, and under- the and final- For the first two years of its life, this tion for careers in music under Trains students tor active musical careers in and asks if we think there is enough ful to note several important muscles are exerted so as to turn the sensations of harmony, phonograph, a distinguished faculty. B.M. their chosen field. Progressive faculty. Conserv- stands it, is capable of taking up the ly the laws of harmony. In fact the may be played on the degree, certificate and diploma of a demand to warrant specializa- points it. forearm and hand uppermost. Even atory occupies own building. Piano, voice, concerning At (1) a violin, organ, accordion without sung to the child by its in piano, voice, violin, cello, reed and brass instruments, church tion in field. studying under a whole idea of harmony grew out the radio, or harp, other instruments, pub- this He asks what prep- downward force (|) is exerted the very much abused fourth finger and choral music, theory, music education and teacher. I refer songs! Then, lic school music, theory, har- aration is to one who can play of melody-writing. Dunstable dis- mother. Songs, songs, expression. Fall semester begins September 16. necessary. with the fourth finger. At (II) an ligament has its particular value as mony, history and appreciation fifth grade music. If two, it would begin of music. Well-equipped stu- We believe there is a demand for you think it its covered that one melody played at the age of Write E. CLIFFORD TOREN, Dir. upward force is exerted with function is to lend additional sup- dios, beautiful buildings on advisable, (f) 3201 Foster Avenue, Chicago, Illinois. accordion what studies do you ad- against called “humming” its “blocks” and taking 138 acres near St. Louis with accompanists and that up the associated fingers or finger as port and control to of the another, which he vise? M. G. its frequent concerts, operas, until now there have beautiful notice of its “alphabet” music, mak- other not been enough indicated opposite each item. At hand. counterpoint, produced a musical attractions. For A. catalog and view book, write aggressive accordionists to grasp A person who has had piano in- effect. born. Rules ing the next step quite natural, the (III) a new feature is introduced: In conclusion, we quote an excerpt Harmony was Harry Morehouse Gage. Pres. Vacation While You Work struction under these opportunities and develop this a capable teacher to “cat, rat, hat,” stage. Charles, Mo. a neutralized force (-»•*-) keeps from Prelude in E minor, No. 10, of began to grow, and were brought Box 1242. St. HIAWATH&LAND CHORAL CAMP particular field of accordion playing. and can play fifth grade music will high estate later by Please, Dear Reader, be careful to the remaining finger or fingers, "The Well Tempered Clavichord, several centuries A Master Choir School—Certificate Issued be able to as As this young man is only fifteen study the accordion with- note right here that the child has the case may be, stationary Book 1,” by J. S. Bach, to give the such giants as Bach and Handel; Make ETUDE Your Marketing Place HENRY VELD out teacher. at key- THE years old, however, we do not recom- a Numerous text books and then made not yet had its first lesson in “music”; Conductor Augustana Choir, on Faculty surface level in an easy, controlled pupil an opportunity to exemplify the big-wigs of music Etude Advertisers Open the Doors to Real covering every branch of accordion against )une 21 —July 2 Inc. mend that he specialize in training condition. his acquired fourth finger proficiency. the great mistake of thinking that it has not yet been pushed up playing are Opportunities Write Phil DeGroff, S.c'y, Trout lake, Michigan to be an accompanist if it means the available and most of this monstrous impedimenta destined Allegro molto = one must learn these rules in order The modcrato • 8* s them poor fourth finger has un- * have excellent explanations. [ > » a

line and words which bring out the pure, pleasing melo feet form and a Vocal Guidance for Children senting a varied program of the best in him. in- die line. , Strong uses a few Outstanding Achievements works of Negro composers might com- L. A. G. lines Many of the afore-mentioned THE himself in studying some of and measures to illustrate Moore’s and Adolescents terest written in larger forms posers have rhythmical skill. of Negro Composers these orchestral or violin works with acclaim verbal and and have gained critical (Continued from Page 194) a view to transcribing them for his us SAMDILDFF giving 171) Their wisdom in ( Continued from. Page who thereby. own instrument.) Jose White, appre- occasional piano pieces is adoles- AND OPERA ACADEMY was born in Cuba in 1836, also studied tension is encountered. Even merly trained only voices past BEL CANTO STUDIOS the Negro to jazz and to certain piano is still the in- throat of ciated, for the saw from the beach, when with violin at the Paris Conservatory and the practices only in the lower cent ages are being confronted technical elements of writing for the makes music known if the boy that instru- strument that tone, new situation. IN LOS ANGELES These men, su- composed entirely for octave of A in the full-bodied a piano is undeniable. the majority of people! ment. He died in 1920, in France. to serve to strengthen the In almost any class group there preme In their field, represent com- it will OF THE WORLD with bet- MUSIC CENTEH was shin-ing, A bark o’er the wa-ters so soon take on will be one or two students posers from the earliest ragtime era n-ing t muscles which must From the North vocal endowment, jazz: W. C. weight of his maturing voice and ter than average great mu- to the most modernistic the Los Angeles are most of the world’s R. Nathaniel Dett was born in the sudden “break.” and perhaps with superior singing Living today in Handy (Father of the Blues), Spen- thus prevent sicians, to mention only a tew attended Niagara Falls these emerge, their Williams, Clarence Williams, Ma- Canada. He of My Country in this transitory period of facility. As Barbi- cer Dear Harp I came when the sun Boys Heifetz, Hoffman, Oberlin and Co- glo-rious-ly on;_ o’er that Iturbi, Scott Jop- Collegiate Institute, experience should sing in teacher and their parents usually ceo Pinkard, William Tyers, their vocal rolli, Coates, Acbron, Schoen- lumbia University. He has conducted Page 161) should have more Granger, ( Continued from voice in the higher agree that they lin, Jimmie Johnson, Porter their unchanged berg, Cadman, Rozsa, Zador and many enterprises for the advance- than is possible Duke Ellington, Turner Layton and range so long as it is entirely com- specialized training members of Tocli. ment of music among magic formula from beach was de-clio-ing.The bark was still there, but the work. so the teacher Shelton Brooks. And, speaking of fine Here was the fortable for them. When it becomes in group And much for popular manner, his race, and has composed much of lasting beauty upper finds himself (or herself J facing the Samoiloff Studios offer a piano playing in the which so a bit of a struggle to reach the The piano. He believes that as it is possi- giving intensive musical training for who has not thrilled to the work of sprang. pitches they should be moved down whole problem of complete ble to portray the customs of a people the “Melo- artist Successive numbers of wa - ters were gone. training to immature voices. beginner, the advanced Art Tatum? to alto or alto-tenor. As the mature the Foresythe, in England, without using the vernacular, so it is the poet’s principal pro- personally disapprove of teacher. Reginald dies” were quality and weight begin to appear While I and the also possible to portray racial peculi- all,” says Strong, began his career as a composer by ductions until 1816, when the first “First of “his should be again shifted exploiting children, even when they national in a voice it jazz. Few know arities without the use of Songs” appeared. lines have an astonishing forward believe writing sophisticated volume of “Sacred baritone or tenor part. But all have singing precocity, I tunes or folk songs. However, in some to is also the composer of in- mainly selections of com- flow, an impulse running right advisability of that he These were this transition period—from thoroughly in the it is pos- during in a finer, more seri- of his music, he shows that composers through from the first word to the teresting songs positions by celebrated years on the low, full-vowel voice training for boys and girls of SPECIAL COURSE sible music with Negroid ten — ous style! The late Edmond T. Jen- to write Mozart, Beethoven, and others—for last. The placing of the consonants upward. Every should be systematically prac- nine or ten years and recordings titles and still not succeed in making tone Voice trials and lessons by kins, originally of South Carolina which Moore supplied religious at the accented parts is beyond training that has been ticed. Furthermore, boys should be principle of are offered by Dr. Samoiloff. SPECIAL he resided for some time in the music typical of the race. The to-day praise. ‘Shining,’ at the end of the though themes. Some of these are to use this indicated in this article for the ARRANGEMENT FOR SERIOUS of his persistently encouraged England, wrote much piano music. Deserted Cabin section “Mag- first line Moore was very fond of DURATION. among the world’s best known hymns — tone in speech. schoolroom would apply equally well STUDENTS FOR THE nolia Suite” might be a cabin any- low-pitch, full-vowel Samuel Coleridge-Taylor’s father Come Ye Disconsolate; This World a breath attack to brighten the last group training outside — If voices of girls and boys are to private or was a native of Sierra Leone; his where: even Italy or China. This Thou Who important vowel in a phrase, when Is But a Fleeting Show; O during the pre-high the school. suite, composed many years ago, is thus guided mother was English. Therefore, the Driest the Mourner’s Tear; Awake, the lungs might be getting empty; school age, they will be able to enter As a matter of fact, the difference composer himself is classed as an more sentimental than descriptive. Arise, Thy Light Is Come; Oh Fair! ‘gloriously,’ with the the slight delay procedure for the im- INFORMATION Dett’s “In the Bottoms” from which heartily into the more elaborate in training FOR MORE DETAILED Anglo-African. He was born in Eng- of the double consonant, the pictorial WRITE Oh Purest! the upper grades mature and the mature voice should 1912. comes the famous Juba (to which singing activities of land in 1875 and died there in In 1818, came the first number of vigour of the word, opening into the Los Angeles, California contribute resources of be in degree rather than in kind. 610 South Van Ness Avenue In the Royal Conservatory of Music the composer has lately put words) program and “National Airs.” in which Moore had ring and brightness of the rising encourage was composed a year later than quality, range and power that are No sensible teacher would he was educated, won scholarships chosen folk tunes of various coun- ‘on’; the supreme aptness of ‘declin- encountered in our or permit children under his charge his life, this “Magnolia” and is much more char- now rarely and taught. Later in tries for which he wrote imperishable ing,’ which, so naturally, and again acteristic. The various sections of schools. to attempt physical tasks beyond composer became an enthusiastic de- lines in the Stilly Night; Hark so pictorially, comprehends that —Oft training reasonable capacity, whether votee of tone color. “What Brahms this ( His Song, Honey, Barcarolle ) In this discussion of their the Vesper Hymn Is Stealing; Those awkward little run of notes.” or supervising jo»n College of Fine Arts folk music, are very pleasant, as is Dett’s “Tropic methods for young voices I have ap- he is teaching voice has done for Hungarian Evening Bells. on, WILCOX And from then for Moore’s singing of his own crea- no teach- University Dvorak for Bohemian and Grieg for Winter” suite. The “Cinnamon Grove” parently focused upon schoolroom playground activities. And faculty member American Conservatory of Syracuse years, at twenty more there came from tions in a London drawing-room is Music,muoiv, V/UIVOOV!Chicago, will" — - be Dguest teacher muscular ‘ tried is conventional, though in the second teaching; but a large and increasing er would expect normal • Bachelor ofot Mu,,Music the Norwegian, I have to do his continuing volumes TVcrrees pen of “Na- admirably described by N. P. Willis, COLLEGE degrees . Master of Music for these Negro melodies,” he de- part occur harmonies straight from number of “private” voice teachers development without activities which COLORADO tional 21. conducting a Vocal Clinic for Airs,” “Sacred Songs,” and the American poet, who was a visitor June 22-August Piano, Piano Teacher Training, Voice, clared. It was through Frederick a jazz album. are being called upon to meet the bring the muscles into vigorous play. teachers and giving personal lessons to singers “Irish Melodies.” in London at the height Moore’s Violin, Organ, Cello, Harp, Composition, of of voice training for the and speakers. Loudin, manager of the Jubilee William Grant Still bears the same same problems. The development of The problem found! Briefly, how Hundreds of teachers from 35 states have Public School Music may Moore and his f popularity. “The effect of his sing- Clinks. Singers, that first to ap- relationship to Negro music that the during young is solved by inducing them to [help and inspiration in Mr. Wilcox’s | advantages of a large University. Special he began work be evaluated? class (group) voice teaching All the “He brought to ing/’ wrote Willis, “is only equalled announcement and outline of dormitory, with 35 practice for women preciate the folk music of his race. late Silvestre Revueltas bore to Mexi- recent years has involved many use their vocal mechanism vigorously Write for special Summer his task,” says one commentator, “a by the beauty of his own words. study course to C. B. HERSHEY. Director music students, 5 pipe organs When, in 1904, he visited America, can music. He is a genuine creator studio and conservatory teachers, (vitally) without allowing them to School. Colorado College. Colorado Springs, Colo. mysterious quality—the power to ar- Every syllabled SUMMER SESSION—July 6 to Aug. 14 but, while the native shade of thought is capacity. he was so enthusiastic about musical he draws on and the lower tuition rate made exceed their comfortable For bulletin address ticulate the soul of a country.” “And,” and dwelt heritage, he uses folk themes. upon, and the sentiment this ideas of Negroid music that he in- seldom possible in group teaching has in- The teacher who can maintain A Revealing New Book in Two Parts Dean H. L. BUTLER says another, “he contrived to con- of the song goes through your blood. corporated a Negro Spiritual theme He tried to find a purer source: their boys and balance will be able to teach children OF RHYTHMIC COUNTING Room 3 5, College of Fine Arts vey that mingling of mirth and duced parents to start PARAGON musical instincts that We sat around the piano, and after Syracuse, N. Y. into the overture of his “Hiawatha,” were inherent girls in voice training at an early correctly—if he knows how to teach FOR ALL RHYTHMS melancholy, of sentiment and tragic two or three songs he rambled over an American Indian fantasy! The in the race long before the Spiritual teachers who for- adults correctly. PARAGON OF HARMONIZING undertone, of humor and plaintive the age. Thus voice Spiritual was Nobody Knows the was developed. keys and sang, ‘When first I met applied to nostalgia, which the world has agreed thee,’ with pathos beggars de- FOUR KINDS OF HARMONIZATIONS Trouble l see. In this way he quite Although many of his ballets and that | PHILADELPHIA CONSERVATORY to recognize as characteristic of I M Send for explanatory circular confused American musical tradi- orchestra compositions have been ar- scription. When the last word had Erin.” ]W EFFA ELLIS PERFIELD OF MUSIC faltered out, he rose, said good night, Carulli 1770-1841 tions. ranged for piano from the orchestral Ferdinando r 103 East 86th St. (Park Ave.) New York City Chartered by the To be appraised fairly, Moore’s scores, and although and was gone before a word was ut- Commonwealth of Pennsylvania a piano suite lyrics From the South should not be judged apart tered. (Continued from Page 207) 216 South 20th Street from his “A Deserted For a full minute after he had Plantation” from the music they COLLEGE OF Maria Ezerman Drake Negro composers were written to closed the door no one spoke, and I BOSTON UN IV. are not without was published in 1936, it was not Managing Director accompany. And it is a various keys; other traditions. The famous An- matter for could have wished for myself to drop a very exceptional degree of merit brilliant preludes in Thorough preparation for careers until 1934 that Still actually created music. B.Mus.. M.Mus.Ed. and MUSIC Courses leading to Degrees wonder that they stand so highly trios for guitar, flute and in tonio Carlos Gomez, composer of the anything as silently asleep where I sat, with the showing the ability and ingenuity of several A M. degrees, and diplomas. Voice. Piano. Organ. especially for the piano. poetry apart from the Violin, Cello. Brass. Wind and Percussion instru- opera “II Guarany,” music. But the tears in softness the author the various violin, Op. 103, 119, 123, 149, and 255; ments. Public School Music. Theory, History of was a colored Earlier my eyes and the in displaying ventures had not pleased him, essential thing about the Op. Music. Musicology, Composition. Church Music. man. Bridgetower, the mulatto vio- lyrics is upon my heart.” resources of the instrument. He was and the trios for three guitars Distinguished faculty, including many Boston and he resigned himself to the mere that Moore intended Symphony Orchestra members. Cultural opportu- linist them to reach Preeminently a for 92, 131, 251, and 255, all of which give Attractive dormitories. Catalog. SINGERS -r.Y° fHViene who played with Beethoven, Moore stands as the most prolific writer of duets nities of Boston. Theatre Now Casting principal* & chorus for inclusion of the piano in his audience Alfred H. Meyer, Dean, 53 Blagden St., Boston, .rentice — orchestral through the mouth of of his great talent. wrote forty-one studies for piano- genius who in his own person repre- two guitars, characterized by rich- evidence Mass. Hesitation*. Producers & Scouts Invitea. works. In 1934, he wrote “The Black a singer, and his first care (Also Separate Screen Youngsters t>epL) forte. Edmund Ded6, born in New was to find sents the wedding of poetry and ness of harmony, elegance of form, Studying the career of Carulli For terms. Apply Sec’y Suppe. 1780 B'way. N. V. Man Dances,” a series of dances for words that fitted the air Orleans in 1829, entered the Paris and were music, and thanks to him, the old variety in the effects of instrumenta- should provide inspiration to every Open the Doors to Real piano and orchestra, depicting four singable. Etude Advertisers Conservatory where he became an airs of Erin are still with us. tion and individuality of style. His guitarist of the present day. Lacking His Opportunities Diplomas, Certificates of Awards, Medals and different phases in the life expression is clear accomplished violinist and composed of the and imme- “Proudly my own island harp I concertos for guitar with accompani- the guidance of a capable teacher, Other Requisites for Awarding Pupils Negro Race; diate, his sentences short orchestral works. He later conducted and in 1935, he wrote and the unbound thee.” ment of string quartet or other or- having no authentic study material Completing Courses in Music (on a meaning such as can be the Opera of Bordeaux. Chevalier de commission from the League of taken in Thus had he sung in an exultant chestral instruments, in which the to help him along the way, he was THEODORE PRESSER CO. without effort at a RIVERDRIVE SCHOOL OF MUSIC & ARTS Saint-Georges, born in 1745, in Composers) “Kaintuck,” for piano first hearing It mood. guitar self-taught, and in spite of 1712-14 Chestnut St. Phila, Pa. has But the closing lines were in is the most important factor entirely been said of the lines 84 Riverside Drive Basse-Terre, Guadeloupe, composed and orchestra, based on a short poem which another vein: in their rendition, could only eman- all the difficulties usually encountered Moore wrote for New York City also, with musical accompani- but only for stringed instru- two simple themes. In this he “I was but as the wind passing ate from an artist fertile in musical by pioneers in any line of endeavor, Director COLLEGE OF MUSIC ment that the voice FREDERICK G. KOEHLER, —Eat. 1885— ments. died in Paris. (The con- displays cannot helD enviable Dormitories COMBS He a simple but exotic har- needlessly over, resource and musical science. he managed to reach an singing them. The singer SUMMER SESSION Complete musical education. Preparatory cert artist is interested pre- immedi- department for children. Teachers' training who in monic scheme, with a simple but per- And all the wild sweetness I His “Improvisations Musicales, position among the great guitarists Students may enter at any time. ately notices an courses leading to degrees and diplomas. ease in the vocal For catalogue and information address Secretary waked was thine own.” Opus 265,” consists of fifty-four of his time. Bit. 2290 (Phone) 1925 Chestnut St.. Phila. 210 THE ETUDE MARCH, 1942 211 ! — — : ; : :

Peter and the Scales

Continued

used them for the different to me now, since you told the lines and the scale tones. Ut was me so much about them. Just because “And what did you say about the names of do we have to learn scales, historic because they "Why to Do because Ut was clumsy they are so and asked Peter at his whole-tone scale a moment ago?” changed Miss ?” then Si or Ti was added are needed as foundations for pieces asked Peter; “I never heard of that, to sing, and music lesson. make the octave. And this was to make their melodies, I’m sure I “Well, Peter,” began Miss Car- either.” to attention to beginning of the syllables, Do- am going to pay more long story. You know "Oh Peter, have I never shown you the men, "that’s a sing in school.” them.” whole- tone scale? Re-Mi that you that every piece you play has some how to form a Well, him- what I call interesting,” On the way home he said to don’t you? If I guess it’s my fault if you do not “That’s scale for a foundation, “And when did you say self, “Yes, I guess that’s right; tunes it. Let’s build said Peter. we were to stop and analyze the know about one, start- going this monk?” are just made up of scale tones ing on C, and making every step he lived, lovely Song Without Words you have a different directions. I never “He lived in the eleventh century. in just played, we would find that al- whole step—no half steps in this born in the village of Arezzo thought of that before.” most every note in the entire piece scale at all.” And Peter played as He was died in 1050. He And as he neared his own gate he Spelling Bee Game in Italy in 990 and Musical belongs to the scale of E major—it directed. “Yes, I guess made other improvements in said to himself again, Ity Margaret Guiney is just the E major scale turned "Now we will make the other whole also music and began to develop that’s right; so the better we know around every which way!” tone scale by starting on C-sharp. writing call and play our scales the easier it will the system of lines that we now “I never thought of that,” said You see, there are only two whole After and his improvements made be to turn them into tunes. Peter. “I like the E major scale all tone scales on the keyboard, one us- the staff, intervals, the singers.” supper I am going to see how many I but triads, chords and it much better for Spelling Bees are very old-fash- right because it is easy to play, but ing the group of three black keys and combinations of two let- I guess scales will seem a bit can play.” are also very new- which give I get mixed up in the minors some the other using the “Well, ioned, and they group of two intervals, three letters for Junior Club Outline fashioned, as they have become pop- ters for times.” black keys.” And Peter played as letters for chords. radio and at parties. So triads, and four directed. Dear Ji nioii Etude: ular on the Hymn to St. John the Baptist players are sufficiently advanced, Assignment for March Our Music Club is made up of teu girls, musical spelling bee for If “That’s easy,” remarked Peter, here is a as ~ Juniors. triads, 1 the Chaminade I - Ethel Ly- My Favorite Composition You correct answers to tributions will appear on can play it all man; Nancy Hartman; Harriet Kent Black; for on the black keys. this Try Paul is open to all boys and page in a future issue of The and Why it.” Spencer; Althea Broders; Rose Kahn; puzzles. Contest And Peter played the thirty black keys, Catherine Lange; Elsie Marie Brock; Andrew girls under eighteen years of age, whether Etude. The next best contributors (Prize winner in Class B) making the pentatonic McKnight; Ella Mae Young. will given scale. a Junior Club member or not. Contestants be a rating of honorable men- My favorite composition is for orchestra; A great It Is 's Bolero. Chasing Notes many folk songs are grouped according to age as follows tion. This particular are piece appeals formed on this scale,” to me above all others because explained Miss of Its unvarying rhythm and the way In which Carmen. “Try SUBJECT FOR THIS MONTH Ltj 7 Ijariorie .Jit t Pettit it and see,” she con- the instruments are contrasted, yet blend, tinued; “play Honorable one with another. Perhaps another reason I the melody of Auld Mention for prefer It Is because of the fact that this work Up ami down my fingers race, Lang Syne, using only “W/uj J stud. muAic the black December Puzzle is a piece to hear when we are feeling "low.” Chasing notes from line to space; keys.” Earl Office, 1712 Chestnut Street, Philadelphia, It starts with a slow, rhythmic movement, Freemont; Joanne Vercler; Eileen All entries most be received at the Junior Etude Pa., not Up and down, and here and there Peter Patton; than March 22nd. Winners will appear in the June issue. which matches our Immediate feelings. Then was surprised to find David Rittenhouse; Theodora Hoff- later How they scamper everywhere how man; Victor Hewitt; It builds Itself up Into an extremely exciting easy it was to do. Roger T. Petrie; Hugh CONTEST RULES Emerson; Frances Ewing; Erna Kreins; Jo- piece, full of enjoyment and daring: then Yes,’ must contain not over one hundred and fifty words. went on his teacher, sephine Bergner; Jeanette Hiller; Mildred 1. Contributions closes with a magnificent crash, which com- Some I “the Name, ape and class (A, B, or C) must appear in upper left corner and your address in snatch and fling away, When I’ve captured pentatonic Greenwald; Irene Bernard; Armstrong; 2. pletes one’s Inner feelings and wakes one up every one scale is very old Alma the upper right corner of your paper. If you need more than one sheet of paper, be Others I compel to stay; and it is Carl Necke; Doris Marie to the fact that no matter how we feel for a Though they give me quite used in Whiteside; Ruth sure to do this on each sheet. a run- many countries in Olsen; time, or Imagine Some are black, and some are white, the Orient Dorothea Muller; Isabel Palmer; 3. Write on one side of paper only and do not use a typewriter. how we conditions to be They will make a lovely song as Marian well as in Scotland Orr; Georgia Todd Phelps; Virginia 4. Do not have anyone copy your work for you. when we are feeling low, there Is always a Yet they all come out just right. To and other whistle as I walk along. places. Parlow; Nellie Raff; Anna Marie Merkill; 5. Clubs or schools are requested to hold a preliminary contest and to submit not more than brighter side coming. RHYTHM BAND (two for each class). Florence Rathburn; Ralph Price; Roberta six entries Jay Smith (Age 14). Drawn by Dorothy Perry; 6. Entries which do not meet these requirements will not be eligible for prizes. v Houts Ruth DeMay; Marie Nevins. Pennsylvania -il 212

THE ETUDE MARCH, 1942 213 a —— — —

First Exercise Canto method, and deals STUNTS FOR PIANO, A Very book is now completed and on the old Bel Mv of the by Ada Richter—It is a well known TO who play the piano, will want to that the con- exhaustively with such problems as tone Book, A GUIDE Few, assure our readers foundation is otp can fact that a good technical pass up the chance of acquiring this include forty different production, voice placement, program STYLE little actually of a good pianist. MUSICAL THE cover for THIS MONTH— of Waltzes, Tents stage deportment, se- one of the requisites Strauss Album especially making, auditions, that a package reached the lit Also it is granted over a year ago realize that it can be ordered lection of teachers, physical fitness, etc. when they ^' Keating has drawn his material dislike office of The Etude Music Magazine, and children generally the pre -publication price of carefully prepared list of songs for “ now at 40 sources. There are anthems A lesson upon opening it there came to view an from' many this part of their postpaid. Delivery will be made as Ireland, every type of voice is also provided. beautiful cents, folk songs of France, but ^ interesting photograph of two based on and practice periods, FROM soon as the first copies are available. Vienna; arrangements of This book is of great value not only Persian cats contemplating a violin that Fneland, and Mrs. Richter has solved of Sibelius, Tschaikow- to the beginning student of voice but to some one in the home had left unpro- familiar melodies the problem of developing CHAPEL MUSINGS—An Album of Sacred professional singers, voice teachers, and to that we Grieg, Gluck, Bach, Dvorak, madrigal tected temporarily. We wish Handel, in the embryo Compositions for the Piano, Compiled by sky ordered now technique of these Beethoven, Mendels- laymen as well, and can be knew the story of the reaction Schubert, Brahms, pianist by “sugar coating” Roy Peery—Prepared by a practical special advance of publication cash violin was in use, but we Rob and fifteen original at our felines when the sohn and others; good, fundamental exer- MUSIC church musician, this important and price of $1.25, postpaid. Delivery will be MODERN as to whether they Keating. The book have no information compositions by Mr. that it is fun useful addition to the list of piano is off press. cises so sit and listen very by the inclusion made as soon as the book behaved like some pets who further made useful exercises and one Douglas Moore for church use will find a warm is to learn. The seventeen by with rapt attention, or like some pets anthems, two for Easter and University of seasonal pupil in Stunts for of Music, Columbia music, welcome when it comes from the press. IN ROBOT LAND—iln for Men’s duet for teacher and Professor that howl in competition with the for Christmas. Service material not importance will be the three Mr. Piano are for the most part each or like still others that clear out of the Of special fact setting Voices, in Two Acts, by L, E. Yeamans includes a Communion anthem, are cleverly the entire contents are publications operetta will come as an en- over a page in length. They room when any one plays or sings. that Beatitudes and the Lord’s Prayer, Yeamans’ Theodore of the with match-stick drawings transports the reader give you the picture on its own exclusive with the Presser Co., joyable and most welcome addition to illustrated HIS book We six Prayer Responses. children have never before appeared and works for carry titles to appeal to the Tinto the spirit of great music. It appeal and make acknowledgement to and which of the special ad- the limited supply of stage and Take advantage now practicing a pleas- periods—the Renais- Illinois, collection. only does it abound in —all of which makes examines five Mr. Samuel D. Myslis of Chicago, in a publication offer on this forth- male voices. Not vance of sance, Baroque, Classic, Romantic for granting us permission to reproduce Piano teachers will also find Chapel bright, singable tunes, but there is much ure. coming book at the extremely low price new and teaches the tech- Etude front an attractive album for use and amus- Under each new title there is a and Modern— this photograph on The Musings copy, postage in the way of witty dialog that one can of 25 cents for a single an interesting ex- nique of listening so cover. Mr. Myslis has practiced photog- in the studio and with the student ing situations to make it popular with “stunt” (preceded by of a The sale is confined to the identify the style and form prepaid. to develop the student’s raphy as an avocation and has been who needs special recreational material. everywhere. planatory text) it in its States and Its Possessions. audiences piece of music and place successful in selling a number of photo- appealing United finger technique. Entitled Melodious and works by such In this operetta there are eleven prin- hand and proper period. After a general in- graphs to various firms for publication an exercise is presented gives well-known composers as Carl Wilhelm FAMOUS COMPOS- cipal parts, among them two female Stretch Yourself, troduction to each period it CHILDHOOD DAYS OF over a one- im- and advertising use. or Kern, Ralph Federer, C. O. Hornberger, men, can be which will extend the fingers outstanding examples of every Par- ination, copies of any program teach- Child Mozart, by Lottie Ellsworth characters which, played by Crucifixion; Maunder’s Penitence, JtfiS— The Relay Race develops of composition and in any category and at Frederic Groton, and Cyrus S. Mallard more than ludicrous. There are octave arpeggio; portant type IT’S NOT TOO I.ATF, TO PLAN AN EASTER Peace all of which are issued ing publications and Ruth Hampton An especially made don, and — Coit divided between it fits into the temper These “On Approval are to be included, and also among its opportunities for splendid choral work, smooth scale passages shows how PROGRAM—No doubt most church choir in superb editions either in the Presser any grade level. important feature of this delightful $3.77 will several especially hands; Broad Jump leaps about of its age. selections are especially valuable when pages be com- and the score also calls for four solos, the two directors and organists have in rehearsal or Ditson catalogs. publication will be its Tip-toes are 100 per posed numbers. Besides the main con- quartet. entire the keyboard; while Running on 271 musical illustrations all numbers that are to be used on their last-minute materials that several three duets, and a The adaptability to study. There is also cent apropos are needed. Any unused tent for general use, there will be num- operetta can be produced without dif- is a light staccato AVt, N. Y. forthcoming Easter SPRING CONCERTS AND RECITALS— “Be- First of all the au- W. W. NORTON & CO., 70 FIFTH bers that are seasonal in character, such uses. pedal study entitled Pole Vault- Programs. But for heed that items from lots of music secured “On ficulty by large or smaller groups, and an easy ware the Ides of March” and thors have emphasized young stu- Approval” are returnable for full credit. as for Easter, Christmas, etc. costuming will present ing—a fine exercise for the those who have been date as a final reminder that there are value with the staging and being its educational of the beauty produced they will need. This advance delayed, either by the winter Orders are now received for no serious problems as both may be dent since much the parts only six more calendar days of clear and wonderfully cents for single copies of this book at the special a careful study of the other exer- of publication cash price is 20 activities of “defense twenty-first of this month STRAUSS ALBUM OF WALTZES, for Piano cared for easily and inexpensively. by the left. Yes, the informative story of the pedaling. Piano-Conduc- Strauss advance of publication cash price of 40 realm which, cises may be ruined by incorrect each part, postpaid. The work,” or for any is the first day of spring and from that —Since the time that Johann The story concerns the famous composer’s career. of ordered in this satisfactory pro- into his cents postpaid. Immediate delivery will is in- Most of the early fundamentals tor part also may be other reason, a most date appropriate recitals and concerts penned the spirit of old Vienna recital with the exception of two women, A second point is its usefulness as for in a Delivery will be gram may be arranged by utilizing the immortal waltzes the universal love for follow publication. mechanical men indi- piano playing will be well cared manner for 30 cents. will be in order. which, when acted and played habited by the privileges of material interesting to the child through as soon as all parts have come off convenient examination It is possible that many students, them has never waned. cated in the title. With the arrival of manner made by the students themselves, will form an publication Presser’s “On Approval Plan.” Copies of Their irresistible appeal SYMPHONIC SKELETON SCORES, A Lis- romance the use of this new Ada Richter book. the press, and the advance of teachers and performers do not have third sug- two stranded American fliers, (P-1) tener’* Guide for Radio and Concert by addition to any program. A with wifi withdrawn. Presser's Easter Music Catalog programs has always been unde- , and Miss Every teacher who is familiar My cash prices then be everything chosen for special stage, illus- blooms for Miss Simmith and Can- Violet katiner. gestion is that a miniature Book, and Ditson’s Easter Anthems of this type planned to be presented niable. after various complica- First Song Book, Kindergarten special event in Mozart’s Johones and, PUBLICATION OFFERS obtained FREE No. 8, Symphony No. 3 in F Major trative of a to ADVANCE OF tatas (O.D.-93A) may be several weeks or more hence, and conse- Players, dancers and elopement ensues. and Poems for Peter will be anxious for the audience to enjoy tions, an of the most popular of charge, of course, but if you don’t Brahms life, be set up volume. Here, too, is a WITHDRAWN—Two quently, if they act now, they still have listeners, alike, have never An order may be placed at this time obtain this new over the catalogs, just while the story is read by the teacher series issued by the house of Presser are have time to look ample time to peruse thematics, cata- been able to resist the Of immeasurable value to the lovers Land at fine opportunity for teachers unfamiliar the pupils. for a single copy of In Robot publications drop a line to Theodore Presser Co., 1712 of serious music who comprise the rec- with musical interpolations by ac- augmented with the new logs and classified lists that are available sway and lilt of these advance of publication cash with Mrs. Richter’s works to become for building this small stage the low current month. The Chestnut Street, Philadelphia, Pa., say- ord, radio, and concert audiences is this Directions book at the issued during the for the asking from the Theodore Presser picturesque compositions and in recent price of 40 cents, postpaid. Advance or- quainted with her latest a selection of Easter are included. have been described for some time ing: “Send me Co. By simply writing and indicating years, in order to meet the popular de- Score Series which makes it possible for advance of publication cash price works make ders will be filled as soon as the operetta special Music (specifying cantatas, anthems, the listener to follow the melodic line Five easy piano solos and a duet copy. past in these Publisher's Notes and many your interests (vocal, instrumental, mand, some extremely effective choral appears from press. of 25 cents, postpaid, for a single vocal solos, organ numbers, etc.) on ap- the musical content of this book. shown their interest in choral, etc.) literature on material in transcriptions have been made, notable of the great symphonic masterpieces up readers have proval,” and as fast as the U. S. mails with ease. The author has isolated the Special interest lies in the fact that two them by ordering copies in advance of any classification may be procured. among which are several by the recog- ADAM GEIBEL ANTHEM BOOK—For Choirs LET’S CHEER! BAND BOOK, by James. M. will bring the package to you, you will melodic line from the complete score of the pieces were composed before publication. The special prices at which Teachers who are interested in young nized vocal authority and composer. Dr. All church musicians Fulton and Major Ed. Chenctte—This col- have for examination the music re- Too, it is of Mixed Voices— people’s recitals should specifically Nicholas Douty. and has made annotations which indi- Mozart’s eighth birthday. these books have been offered are now re- of Adam Geibel, the lection is sure to satisfy the needs of the quested. When your decision is made a throughout with know or have heard quest brochure L-37, which lists and de- Pianists, too, have discovered cate clearly the formal structure of the charmingly illustrated withdrawn and copies may be obtained that notable blind organist and composer, and numerous school bands that have been wire order or air-mail letter will speed work scenes from the great musician’s child- dealers, or direct from the scribes a variegated group of musical transcriptions of these original orchestral and the instrument which is carry- “field folio” which would be from music our shipment of the desired quantity. recognize him as one of the outstanding wanting a ing the hood, and there is a selected list of if desired for examination. playlets, juvenile operettas, piano ensem- works are most satisfying as solo or melody in each particular in- than just another collection of Publishers Lawrence Keating’s new cantata The will composers of sacred music. His anthems more bles, rhythm band numbers (Folder recreational material, stance. Mozart recordings included which “ Child’s Own Book of Great Musicians U-15 and to meet the for the church marches. ‘Let’s Cheer,’ indeed,” say all Resurrection Morn (60c) easily may be helpful. show a great reverence is a more detailed list of rhythm band need for a good, inexpensive collection The enthusiasm with which the seven prove many times —John Philip Sousa, by Thomas Tapper, prepared for presentation by the average and are written in an unpretentious, of those bandmasters who already have materials) children’s songs, drills with the Theodore Presser previous Scores have received in- A single copy of The Child Mozart this popular series of , Co. is preparing been opportunity of reviewing the is the twentieth in good church choir in a few weeks. The publica- melodic style about which a quiet dignity had the music, and music for piano recitals on a volume giving the best known waltzes dicates that a real need exists for them, may be ordered in advance of biographical booklets, considered by many same author’s popular cantatas, The prevails making them especially well contents and character of this new band special themes. of this great and hence tion at the cash price of 20 cents post- Conquering composer. It is the desire of another has been added to teachers the most practical introduction Christ (60c) and Hail! King immediately suited for Christian worship. book. Of course there are those individuals the publisher that the countless average the series. Brahms’ Symphony No. 3 in paid. Delivery will be made to the fascinating study of music history, of Glory (60c), and Louise Stairs’ The number of the dozen and one Every director, almost without excep- who, lacking the time to check lists, will players will upon publication. Every Resurrection find great pleasure and use- F Major, No. 8 of this series, is truly and used in many junior musical clubs, Sdng (60c) also can be pre- to be included in this collection has been tion, will agree that these medium grade find it advantageous to use the facilities fulness in the contents of this a magnificent composition, embodying pared with a minimum of rehearsal. volume, sales record in numbers are about perfect for that peppy music appreciation classes, and in school of our Selection Lazar S. accorded a fine individual Department which enable and therefore, grading has been kept at only the finest elements of symphonic THE SINGER’S HANDBOOK, by work. That the beloved American “March Excellent new anthems also are avail- Co. catalog—it is for- display on the field and street or in the them to procure immediately for exam- moderate level. in the the Adam Geibel a technique. It is rich in the lights and Samoiloff—An outstanding figure King” should be chosen for inclusion in able this season and church soloists for many that now the Theo- gymnasium and, yes, even in the concert shades of contrasting moods and con- contemporary world of voice and voice tunate among the altos, baritones, and basses Presser Co. has gained the right hall. The scoring is excellent as naturally this series is most fitting, as in his field tains teaching is Dr. Samoiloff, whose excel- dore will be glad to learn passages of melodic beauty that stands as preeminent as the other that William Hod- these excellent anthems under would be expected when two such ex- he are as yet lent volume on singing is shortly to be to publish son’s successful solo of last year Songs unsurpassed. The skillful American composers whose biographies one cover for the first time. Each one perienced bandsmen as Fulton and Joy (60c) analysis provided in this Score will released. His ability as a teacher and of now is available in the Key --Advance oj j~^ul lieu lion Cdjjcrj choir of Chenette have handled the job. But the have been issued—MacDowell, Nevin, greatly vocalist his imposing is of average difficulty for a of C, just the right range for their enhance the listener's apprecia- is borne out by voice. rural volunteer choir important difference is in the variety of and Foster. This booklet is presented in tion of this superb masterpiece. list of successful pupils, some of whom mixed voices. The For the busy organist who has not had MARCH 1942 the same attractive manner as its prede- Place became and will not find them too difficult, and the music that has been utilized. Of course time to prepare for his contribution to an order now for Symphonic members of the Chicago All of the books in this list are in preparation for publication. The town and city churches will original, first class quick-step numbers cessors, in loose-leaf form with cover the Easter Program, Skeleton Score, No. 8 Symphony No. 3 Metropolitan Opera Companies, and singers of many excellent low Advance Offer Cash Prices apply only to orders — and directions for binding. A needle and placed NOW. in others consider them worthy additions to their have been included but these constitute compositions and arrangements appro- Delivery (postpaid) F Major by —at who distinguished themselves in will be made when the books are published. only part of the collection. are silk cord are supplied and with each our special the fields of pictures. anthem repertoires. The choir director There priate for playing at the services on this Paragraphs describing each publication appear on these advance of publication cash radio and motion pages. to know that seasonal also familiar pieces, especially arranged book there is a packet of “cut-out” pic- great festal day of Christian churches price of 25 cents, postpaid. He has been actively engaged in vocal will also be glad Christmas, Easter and and these are sure to please the listeners, tures for pasting in designated places may be had from which to make a selec- teaching for many years in New York anthems for Adam Geibel Anthem Book 35 Let's Cheer—Band Book. well as the players, throughout the book. Price, 20 cents. tion. .Fulton-Chenette LAURENCE KEATING’S JUNIOR CHOIR and Los Angeles, and has frequently Thanksgiving are included in the volume as because no au- Band Books, Each .20 Symphonic Skeleton Scores, No. Chapel Musings For Piano Peery .40 BOOK—One this held well as numbers appropriate for gen- dience can resist a tune they know when 7 Up to the very last minute, so to Piano Conductor .30 outstanding feature of Master Classes in many of the large as The Singer’s new book for gen- use in morning or evening services. played by a band. A spirited reaction ( Symphony, No. 4 in F Minor—Tschai- speak, "Presser Service” will be available Childhood Days of Famous Composers Handbook Samoiloff 1.25 young choirs is the music centers of this country. It is now eral for Mozart Coit-Bampton .20 Stunts for Piano erous contents. In his not miss this opportunity to secure from all quarters can be expected. kowsky) by Violet Katzner brings to everything in Easter Music Publica- Richler .25 previous announce- purpose to make available to mu- Do tions, even to supplying Strauss ments we have stated that it would con- sicians copy of this forthcoming Adam Geibel Parts have been written for all princi- music lovers, radio listeners, concert- additional copies In Robot Land Men's Operetta Album of Watties—For Piano 40 everywhere the sum total of his a tain nearly pal instruments these goers, the fortunate possessors of standard Lenten and Easter cantatas Yeamans .40 Symphonic Skeleton Scores—Katiner forty numbers. This has many years of rich experience. Anthem Book at the special advance of band and may now and of a No. 8, Symphony No. 3 in and , such as Dubois’ Seven Lcwrence Keating's Junior F Moior brought forth the surprised inquiry: “Is In a simple, publication cash price of 35 cents, post- be ordered at a special cash price. Wise library of symphonic records a most en- Las . Choir Book. . .25 straightforward manner B.ahms .25 Words; Rossini's Stabat Mater; Stainer’s this a mistake or will the book really the author explains the basic precepts paid. (One copy only may be ordered at directors can save considerable money joyable and educational companion for contain forty anthems.” final assem- of good by paying, in advance of publication, for the playing of one of the great Advertisement The singing, with special emphasis this price.) Russian 214 Advertisement THE ETUDE MARCH, 1942 215 .

Chopin: Etudes. Op. 25; Edward Kilenyi 473. works. An analysis . Columbia set master's best-loved Great Music in (piano) of the work, a description of symphonic The youthful pianist Edward Kil- biography of the form, a picture and enyi reveals accomplishments more composer precede the skeleton score Great Recordings technical than interpretative in his single-line presentation giving the mel- i Secret ol performance of these etudes from ucceSd odic run of the entire symphony with Continued from Page 157 ) OneS ( 25.” best of Kilenyi’s play- the participation of each instrument or “Opus The indicated. flu be found in the C minor, instrumental group distinctly ing is to the before the Price, 35 cents. never came to this country A minor, and the G-sharp minor the fact Circulars describing the Child's Oion upheaval in Europe. Despite etudes. The recording is decidedly Book series and the Symphonic Skeleton is somewhat WILLIAMS “Otello” in German M. that uneven, and one suspects that the JOHN Scores may be had Free for the asking. Lemnitz incongruous, the singing of noisy quality and rattling in some of Wlontl that few will is of such a high order pieces have perhaps helped SAVE A DOLLAR ON A TWO YEAR SI B- the to is his firm belief in unceasing want to miss these discs. It is unfor- efforts. SCRIPTION—The price of The Etude is defeat the pianist’s that Ralf is not vocally on a $2.50 a year, two years $4.00. We will tunate Recommended: Mozart: Three Ger- accept for the month of March two one- par with his partner. man Dances, K. 605; Bruno Walter and the same progress and betterment year subscriptions if sent at Great Songs of Faith; Marian Anderson the Vienna Philharmonic Orchestra. time for different addresses at $4.00. Club APRIL ETUDE SHOWERS MUSIC with orchestra conducted by Charles Victor disc 4564. Mozartean music of with some musical friend and each of FEATURES OF PRACTICAL O’Connell. Victor set 850. entertainment, delightfully played. you save 50^ by sending $4.00 in one re- INTEREST exemplified by this Shall Feed Martinez as mittance. Here's a musical bargain which The selections are He Flamenco Suite; Julio Oyanguren you cannot afford to pass up. Of course His Flock and He Was Despised from (Guitar). Victor disc 13799. Virtuoso But your own subscription if entered for two Handel’s “Messiah” (disc 183241 ; material for the guitar, brilliantly years, will cost you only $4.00. the Lord Is Mindful Of His Own from performed. Saint-Saens: Omphale’s Spin- Addition “St. Paul,” and O Rest In the Lord ning Wheel; National Symphony Or- me, Iddeviied of- CHANGES OF ADDRESS—When changing from “Elijah” (Mendelssohn) (disc chestra, conducted by Hans Kindler. your address, we should have between 18325) and Es ist vollbracht from Victor disc 18358. Saint-Saens fol- Sequence the .5amouA four and six weeks advance notice. Give ; f-^erflect Bach’s “St. John Passion” (disc lowed in the path of Liszt in his tone THE PIANO both the old address and the new one. YEAR at these FIRST all 18326) . Miss Anderson sings poems, but he lacked the latter’s Keep us posted so that copies will not Are Williams * IJear-Ly- 'ljear ” Pitano go astray. Wrappers of necessity must with flowing beauty of tone, infusing and exuberance. Kindler seems less The Tremendously Successful Beginner's Book be addressed very much in advance of particularly the Handel and Bach impelled by this music than Gaubert the publication date, hence it is impera- airs with a rare feeling of deep sin- did in an earlier recording wiil .. issued by of revised and enlarged edition of this (bourse (Continues tive that we be advised immediately that are happy to announce the publication a cerity and understanding. Columbia. Mascagni: Cavalleria Rus- We you contemplate making a change. To an already invaluable work the author has added much mate- Wagner: Traume, Schmerzen, and Im ticana—Siciliana; and Leoncavallo: Sere- established favorite. and developments in piano teaching, including numerous charts PREMIUM WORKERS, ATTENTION! — Treibhaus; (soprano) nata: James Melton (tenor) with rial representing new SECOND YEAR orchestra. Victor it stands as one of the most important Those who secure subscriptions to The with Philadelphia Orchestra, directed disc 18365. The other aids. Utilizing both clefs from the outset, AT THE PIANO Etude, taking merchandise as their re- Victor set 872. American tenor sings clearly this First Year by Leopold Stokowski. and available. Newly engraved and set up, first book with introductions to piano study Second Year at the Piano continues logically from the muneration instead of cash commission, This very best in smoothly; this recording should find of all of pieces. It is copiously annotated through- Miss Traubel is at her “a worthy successor to its worthy self”, and students special emphasis on the playing will be interested in the following list at the Piano is indeed most beneficial study of each piece these songs; the sincerity of her ap- a wide audience among his many out. and helpful suggestions as to the Williams’ remarkable peda- more technical num- of fine premiums not merely ornamental continue to find it the ideal first book. In it Mr. and exercise are offered. Preparatory exercises to the the fine quality of admirers. ages will com- proach here and included. A variety of excellent teaching pieces by various but decidedly useful and serviceable. are clearly reflected, and a natural result is bers are reasoning to carry’ *«* upu her tonal work remain among the gogical experience and sound posers. representing many styles of work, are utilized P Anything you may select will please you. *1.00 throughout is assured. PRICE, $1.00 along PRICE, Note that for each one year subscription best things she has done for records. that, from the very beginning, smooth progress we allow a credit of one point toward a Mr. Stokowski provides the soprano premium selected; on a two year sub- with a rare tonal background. Have You Song scription, two points: SIR THOMAS BEECHAM A THIRD YEAR Danish and Swedish Songs; Lauritz Mel- THE PIANO Correspondence Case—This handy chior (tenor) and Ignace Strasfogel in Your Heart? AT Correspondence SIR Case has a sturdy leath- THOMAS BEECHAM playing of the easier classics and lighter (piano) . Victor set 851. This book takes the student into the erette binding HAS HIS SAY ( Continued ol exer- and includes a pad of from. Page 209) type pieces. The work here again involves about an equal number No more picturesque character has ap- writing paper, There are Norwegian songs in this the author’s hints on the most advantageous calendar, envelope pocket peared in British music since Charles Bur- cises and pieces along with assortment of finger exercises covering various and pencil or pen holder. Closed it ney and the literary Samuel Pepys than set as well as Danish and Swedish. . practice. An interesting that they wrote myriads of little Edition . . the composers 6" Sir Thomas Beecham. Gifted conductor of Pew, 3(lustrated of phases of technic, is interspersed throughout the book. Among measures x 8(4". Awarded for secur- opera and symphony, he expresses The best musical substance is pro- himself melodies in the tender years of their represented are Concone, Koelling, Chopin, Heller, etc... PRICE, *1.00 ing one subscription. in terms quite as trenchant, if not as cyn- vided by Grieg, whose songs Til ical as George Bernard Shaw. What he has youth. It is obvious that they were TUNES FOR TINY TOTS "Bullet” Camera—This new molded to say will interest Etude readers im- Norge and Eros, are splendidly voiced mensely. exposed to music; music was all book for pre-school construction, compact Eastman “Bullet” A most engaging preparatory by Melchior. Sibelius’ Swarta Rosor is enjoys a around them, beautiful music. Im- pupils, this “happy time” music book FOURTH YEAR Camera requires no focusing, is easy to EASTER IS THE ALLELUIA also included in the album. Most of richly deserved popularity the country over. load, has an eye-level finder, takes pic- SEASON provisation grew in them, just as all the other Right from the beginning there is direct asso- AT THE PIANO Hattie Fleck gives us the story of the music songs of a popular and tures 1%" x 214" on Kodak Roll Film No. nature grows. ciation of the notes with the keys of the piano, of Easter, the music of the new life, the at the Piano has been planned with special patriotic genre were undoubtedly progress is made Mr. Williams’ Fourth Year 127. Have more fun taking your springtime of the soul. will Our both clefs being used. Playing own You find her modern composers are, for the technical advancement. While a number of delightful article most and exercises, many consideration for pictures with this simplified, appropriate, especially at this recorded with Danish and Swedish by means of little melodies candid- time of most part, writing and interesting pieces are contained in this work, it also provides excellent world confusion. only notes, pat- with entertaining texts. The author’s study sug- type camera. Awarded for securing three audiences in mind. Melchior sings all JoUMWJliams training in the matters of dexterity, wrist action, use of the pedal, sus- terns, percussions. Most of them can- gestions are invaluable additions. There are also subscriptions. TWO CENTURIES OF of the tained chords, etc. The author again supplies his useful suggestions on the songs with fine manly fervor. not helpful diagrams and charts and entertaining THE MESSIAH write one melody, let alone two, best use of the book, and his explanations to the student on certain points Comb and Brush Set—A compact ar- A booklet, with pen and ink sketches, illustrating the numerous When Handel’s “Messiah" was first given translations of all three, are especially appropriate PRICE, *1.00 four. They lack the gorgeous can be colored with crayons. rangement including brush, comb two centuries ago in a little hall seating pieces, which and songs by Mr. Melchior, is included six hundred, in Dublin, Ireland, the au- equipment which PRICE, 75 CENTS nail file in a black leather case. Your would be theirs had thorities sought to secure room for one with the discs. reward for securing one subscription. hundred more. Some ingenious person they come by music as they did in "Baby Ben” suggested that the ladies dispense with Duparc; Extase; and Poldowski; L’Heure the glorious FIFTH YEAR —Up-to-date in every de- hoop skirts and, “voild !" the problem was days of yore, the melody solved. Rafael Kammerer’s exquise; Donald Dickson tail, this new design Baby Ben is the article upon (baritone) way, the folk-song way. AT THE PIANO the •‘Messiah” is very graphic and enter- most popular of all small alarm clocks. taining. with piano. Victor disc 2194. Verdi: Addition . . . d^pecicil d^pcLnLili of In his Fifth Year at the Piano. Mr. Williams concentrates largely on inter- It has a reliable movement, steady alarm Don Carlos—Per me giunto; and Skiles: Explicit and carefully prepared analyses of the various pieces RHYTHM MUST BE FELT pretation. with soft or loud control, quiet tick, Ballad of the Duel (Cyrano in the book are a special feature. A clear understanding of many interpre- Perhaps rhythm has always bothered you. de Ber- Letters to THE PARA ETUDE MELODIAS useful in all piano playing, will of to the pierced hands, convex glass and felt It is not easy to catch its tricky accents so gerac) tive points, come dose attention ; Donald that it Dickson with or- cushioned base. Finished does not sound mechanical. Chester author’s instructions. Valuable technical material is involved in the study in ivory with Harris, a newcomer CHIQUITINES 3 to Etude columns, is chestra. Victor disc 18357. Melodias/ " Ckiquitines of this book and many attractive pieces, largely from the later composers, gold color trim, 314" high. a gifted pianist and teacher. His expo- Awarded for are included PRICE, >1.00 sition of the ways of “feeling” rhythm can- Dickson sings with a A Stimulating Letter (Tunes for Tiny Tots) securing five subscriptions. not fail throaty tone to attract attention. To The Etude : which robs Butter Dish—Crystal Glass with Chro- his voice of the essential It might be interesting to know that we are In response to numerous requests from our many running THE PROBLEMS OF vitality needed at top speed to a full house here at loyal friends in Latin America, we have issued a T' mium Cover, Dimensions; 514" square. to make these selec- our school. ORGAN PLAYING Personally I am booked solid from splendid Spanish edition of this book under the JoKaM- Williams tions school time PUBLISHED BY Awarded for two subscriptions. Pietro Yon. enjoyable. The subtlety (2.30) until 9 P. M. and give sev- illus- composer and organist, has and eral title of Melodias para Chiquitincs. It is been widely recognized lessons throughout the day to adults, Send post card for complete catalog as a virtuoso upon style of the Duparc and “ousewives, trated throughout, and the excellent translation his instrument. Formerly assistant organ- Poldowski and people working on the night of shirt. It. by Placido Montoliu retains all the fine points premiums offered. In some cases it ist at St. Peter’s in Rome, and songs are hardly has come to the point where I am de later conveyed. He is more forced THEODORE PRESSED CO. organist for manj to give a few of the original, in reading matter and song is impossible to , years at St. Patrick’s lessons on Sunday, which both replace premiums listed Cathedral successful in I have in New York, a post which he the “Don Carlos” and never done before. Nearly all of our texts PRICE, 75 CENTS owing to still holds, he has other 1712 CHESTNUT ST., PHILA., war conditions covering prior- given us a telling article “Cyrano de teachers report extra fine enrollments. PA. upon organ study which all Bergerac” numbers, I always ities, so please students but try to sign pupils up for The Etude make a second choice read with profit. as soon even here the singing as they are ready to plav first grade when selecting a premium. is lacking in music. true distinction. —Lloyd C. Rudy, Michigan 216 THE ETUDE — .

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