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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1953 Volume 71, Number 04 (April 1953) Guy McCoy
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w- r L8TTeRS
T 0 T D E EDITOR
let Them Sing 1 mean pounding out the notes, Dear Sir: Now, my real reason singing along with them, etc.) William M. Felton *MODERN FRE CD ORGA T for writing this letter was the ar- numbers they were going to per- ticle by Grace C. Nash, "Let Them form-and their universal wail I' ti and contemporary *tAT THE CONSOLE. Rowland W. Dunham was: "Oh, if only I had learned Familiar transcriptions of c assic, roman IC~13_40004 $1.50 Sing," in the August 1952 issue. Fifteen French compo itions of medium difficultywithori . to read music." And not only is writers, for ~o manual organ. inal registration and phrasing. Fingering and pedaling adde~. Miss Nash touched on a subject that has been close to my heart it the soloists; choir-members 433-<0022 $1.50 *AT THE CONSOLE William M.Felton for many years; and frankly, it have the same problems. Many made me heart-sick as I read her times when helping singers, I have (Registration for the 2E and 2D connsonata.) tORGA TR CRIPTIO OF FAVORITEHYMNS article. And I was surprised at the found that they can't even recog- 413-40009 $1.50 lar nee Kohlmann ETUDE for apparently supporting nize that when a note stays on the Twenty rather IT nscripti n of Hymns of the Protestant such an attitude. In the first place same line or space, their voice stays on the same pitch. It is such *tCHANCEL ECHOES William M. Felton faith. .13-400 II $1.00 why do you have to "take the do- re-mi out of music to let the pupils elementary things as this that I am Forty-two transcriptions for two manual organ, mostly secular. teaching my intermediate choir; 413-40005 $1.50 sing," as Miss Nash suggests in EIGHT E HOR L PR L D J. . Bach- Krait her closing sentence. Statistics when they should have learned it Well cho n and un urp sed f r both church and rerit~. show that 80% of all children are years ago in school. *CHANCELECHOES William M. Felton .. 13-00350 $1.50 musical. I think I am qualified to And that leads me to ask Miss (Registration for the 2E and 2D Connsonata.) speak. First, because I went to Nash this question: "If children . . 413-41010 $1.50 IX ORGA cnon school in a city where the do-re- aren't taught these things in school, h-Rl menschneider mi's were taught 'and a great deal where should they be taught?" more about the fundamentals of From at least the third grade up, *tWEDDING MUSICFOR ORGAN ompr hensive sour which studies of the music; secondly I taught public- if presented in the right manner, Bach int rpr t ti n m .33-40001 $1,50 George Walter Anthony school music in that same school children can be taught to learn These pieces of medium difficulty include: The Wagner and system; and thirdly (and most im- music-reading. At this time of Mendelssohn Wedding Marches, «0 Promise Me" by DeKoven t IX ORGA rn i FROMBACII portant), 1 now have three musical their lives, learning is easy. They (with text), "At Dawning" hy Cadman, "A Dream" by Bart- daughters coming along-the two are in a class where {hill is easy. lett, "I Love You" by Grieg, and «Sweetest Story Ever Told" ft • 33-' 00 20 $.50 eldest. 15 and 12, who were not As for using the syllable teach- by Stults. 433-41008 S1.00 taught to read music in school. I ing of do-re-mi or A, B, C, I can't t IX ORG TR RrPTIO FROM MOZART also am the director of the inter- see the difference. But since the tCONCERTO GROSSO No. 8 (Christmas Concerto) . Kraft '3'-'0007 $.50 mediate choir in our church (First do-re-mi is the accepted and uni- Carelli-Moschetti Two small but distinct contributi to the literatureof organ Baptist Church, Birmingham, versal system used in all English- mu ic and II tudent lh r r. .Michigan); and since I am an speaking countries (as you can Superb for recital, this excellent transcription retains the pure organist, too, do a great deal of learn from your English or Welsh spirit of Carelli's inspired conception. One of the most beauti- accompanying. I have also di- friends); why not use it? And ful examples of the concertante style. 433-41007 $1.00 tTE ARI FOR OR rected adult choirs. then, if by the time a pupil is in a J. . B ch-Pfatt icber and Ames I can remember no occasion of high-school or adult choir, he has tORGAN VISTAS Taken from th ant Ias of B ch. Presents ,dditionellrio "tenseness, fear; no stiffened forgotten the names, and reads by material nd v luable pedal stud! . shoulders, or long faces" (Quoting position-what difference does it Twenty-nine easy, transcribed and original compositions. 12.00 Miss Nash again) either when I make? He has retained the basic 413-40019 $1.50 was in school as a music pupil, or knowledge that he needs. tTE CHOR L PREL D FA A Y as a teacher. When I taught, some- All through Miss Nash's article tEIGHTEEN LARGE CHORALES o FAMILI R BY H. A. Matthews times the pupils came to me in a runs the thought that you can't "music-room," and sometimes I enjoy singing if you know how to J. S. Bach-Riemenschneider Simple in difficul ,these well·Jmo-· went to them right in their own read it. It would be interesting to An eminen~ ~ach autho:ity lends help over difficult passages hymn tun nand Reneral use. room. In either case, they had and melodic mterpretations, but avoids over-editing leaving • 3J:.-f 100 I S1.00 make a survey of well-known per- scope for research and creativeness. 433-41006 ' $3.00 their "music-seats" and of course formers to see how many of them a variety of music books. They got part or all of their musical GOLD 'THEA RY were always ready for music class. training in school. No one would LITURGICAL YEAR (Orgel Buchlein) PEatteich r and Davison I never had any discipline prob- quarrel with her that school sings lems, because, as Miss Nash says, are a lot of fun; and no one would A superb ri of preJud In· J. S. Bach-Riemenschneider three-velum and postludes. children love to sing. We always suggest that in community singing Forty-five organ chorales, each preceded by the vocal ar c1uded are some of the best works of such classical masters as began the class by singing favorite of any kind note- reading should be rangement-with scholarly annotations on interpretation. - Bach, Bobm, Han.lf, Kreb , \ alther, and maoyothers. &left $3.50 songs. Usually then came note- taught; and no one would want 433-40003 $2.25 reading and theory. This part of " Sold only in U.S.A. Volume I, 433-oCOO2' VolufIle It 433-41003 Volu • Ill. 433-41005 the fun and delight taken out of t Hammond registration. the class was fun, too. class room singing, or the fun of Miss Nash says' that only if learning some rote-songs be taken studying an instrument is it neces- away from school children-but sary to study note-reading. I have for goodness' sake (and for good THEODORE PRESSER COMPA MAWR, PA. always considered the human voice music's sake) let us put note read- Y BRY the most valuable instrument of ing back in our public schools. 70 Years of Music Service all. I have helped many, many Esther R. Meily singers-from young beginners to Birmingham, Mich. highly paid soloists-to learn (and (Continued on Page 3)
ETUDE-APRIL 1953 1 MANHATTAN Letters to the Editor "My TON~ahin~t ,"".de ~oga=ine (Continued from Page 1) SCHOOL OF MUSIC ETUDE",c Articles ing from the field even while pu- is indispensable 'ness Janet D. Schenck, Director Editorial an,d BtlSl Offices, Bryn ,;\Iawf·, Pa. Dear Sir: My subscription to pils are still coming. And how I ETUDE expired with the October have enjoyed these many years; to me" issue. I began in 1896 and have and even now some pupils insist James Francis Cooke, Editor Emeritus Founded 1883 hy THEODORE PHE55ER e (Editor, 1907./919) received it without interruption on staying until they can establish says MARGUERITE PIAZZA SUMMER SESSION these 56 years, and until I came to mutually satisfactory connections Managing Editor Darrell Peter, Director Guy McCoy, my present 'quarters a few months elsewhere. l\'Iarjorie E. Mosher, Business JlIatlfl{{('r June 8th to July 31st, 1953 ago, I think I might say I had a All this leads up to what I wish Harold Berkley n'Ma urtce, Durneenll- Karl \V . Gehrkens Elizabeth A. eat complete file. to say with regard to ETUDE Guy Maier Alexander .:\IcCurdy Nicolas Slonim ..L:.y BACHELOR and MASTER You will not find me in WHO'S which has proved of inestimable Songs From WHO, but if I were listed it prob- value not only to the writer but to of MUSIC DEGREES ably would be as a country music all who happen to have fallen into "It keeps my mus!c all sorted out Bud Vol..71 No.4 CONTENTS April 1953 HANS CHRISTIAN ~~~mJm teacher. I began as a private my category. You have done a neatly filed in those clever drawer- MASTER in MUSIC By Frank Loesse, teacher of piano and reed organ great service for us. The many in- n-ays," S ETUDE-APRIL 1953 ~_2 _ ETUDE-APRIL 19;J 3 from his pen was a major musical ity. The scheme will not work if event. the package is returned to the For all his modernism, Reger composer unopened. Chosen for its beautiful stuck pretty closely to the aca- singing tone quality by ... • MUSI~IANS· demic rules of composition. He • poked gentle fun at ultra-modern- Rosemary Clooney FOR ALL INSTRUMENTS PIANISTS ists. In' 1906, he published a REDI CTION 01 future ferne for her own home for child prodigies is a hazard- Cat. No. Cat. No. h parody on extreme modernism, a P ~ 19_PIANO TECHNIC. analyzing, f e ...-""''''''..;..----,~:''------,-~,~ 52-HOW TO HARMONIZE MElO· piano piece entitled "Ewig Dein," ous occupation. But in one aignal DIES. The principles. of impro- secrets of advanc~~ technl~u: vising correct harmonic progres- problems. A scienftflc 120 p .. ~ .$2.00 marked opus number 17,523. He case. a music critic made a pretty sions for ony melody $1.00 course ' . 50_LATIN-AMERICAN RHYTHMS. indicated the tempo: "Faster than good prophecy in the following 41-HOW TO TRANSPOSE MUSIC, Authentic versions of the 39 most including special exeecises to o ulcr rhythms ?nd h.ow to possible," and in a footnote he dispatch from St. Petersburg, pub- practice transposing at sight ... $1.50 ~I~y latin_American Instru~$1.25 57-HOW TO MEMORIZ.E MUSIC;. A ments .. ' . recommended that the piece be lished in "Musical America" of scientific method With exercises 17-HOW TO PLA.Y M.AMBO N I CO LAS S I, 0 N I III SKY played backwards "in order to May 25, 1912: that develop and improve the PIANO SOLOS. Including ou- By cc pccity for memorizing music .50 the ntic solos as illustrations .. $1.00 please those who hate dissonance "Our celebrated violin teacher 40-HOW TO WRITE MUSIC BO_THE BLOCK CHORD STYLE. Leopold Auer is again favored by MANUSCRIPT. A study method Full explanation and examp~es and love harmony." The piece in- for the music copyist...... $1.25 of this modern piano style, In- deed sounded more normal when chance. To the list of his many 16-HOW TO PLAY BE·BOP. Full cluding a block chord horm.~~~$1.00 analysis, theory ond many ex- chart . performed in reverse. pupils, such as Zimbalist, Parlow amples $1.50 88_MODERN BLOCK CHORD PROGRESSIONS. Examples a,nd huge nightingale." and Elman, is now added a young 47_IMPROVISING and HOT PLAY· HEN JOSEF HOFMANN ING. Hundreds of improvisation ~~~~i~~es .. f~~ .. ~~~ .. ~~~~.r.e.s.s~~~ .50 Max Rege,. was Iamous as a genius named Yasche Chaifetz, patterns shown on 011 chords. A W toured Russia in 1908, he chord index Iccctes many Ion 901_PROGRESSIYE PIANO PAT- Jr/hen the fatUOUS French teacher. During his classes at the who is only eleven years old, and phrases for any chord combino- TERNS. Modern style Ian visited the great novelist Leo Tol- phrases in all popular keys. .50 Munich Conservatory he noticed who bids fall" to rank with the Hens .. $1.00 stoy in his country estate south tenor Ad Iph 'ourrit ang the 04_MODERN CHORD SUBSTITU- 903-HOW TO USE 11th AND 13th title role the first that one of" his students was busy greatest. In his recital a short time TIONS, chart of chords that may CHORDS. Examples of modern of Moscow. They talked about mu- in p rformance be used in place of any regular chords applied to popular .50 I Meycrb r' 01 rn "Robert Ie reading a pamphlet. "What have ago, Chaifetz took the musical pub- major, minor, and 7th chords.. .50 songs sic-Tolstoy himself wa an ama- THE NEW JesseFrench CRESCENDO lie by storm. The boy's father 66_PROGRESSIVE PIANO HdAR. Diabl " in 1831, he became so \ ou there ?': asked Reger. "A cat- 99-MANUAL OF SYNCOPATED teur musician and once compo ed In her studio work, and in personal appearances, RHYTHMS. 78 study exercises MONIZATIONS. The mo ern .dogue 01 works by Richard fortunately proposes 10 give his son that teach syncopation .50 way of harmonizing ?ny melody a waltz. Hofmann asked Tolstoy overwrought that h forgot his Rosemary Clooney has sung 10 the accompani- note using uncenventicnc! chord Strauss," the student replied, the widest possible musical educa- 902_PROGRESSIVE JAZZ PAS- formations .50 to name three essential qualities stage dire it i ns. In the 1851~ct of ment of many different pianos. Hearing them all SAGES. Typical Be-Bop ex- J leger was stunned into silence, for tion." Chaifetzi:-. of course, a in action, her final choice for her own home is . YOU'tL BE AMAZED amples in all popular keys... .50 63_PROGRESSIONS IN 13th the pera, th aS nt of alan Jumps CHORDS. Examples ?n~ exer- for a musician. Tolstoy replied: Jesse French! See why. Inspect and play the new Strauss was generally considered phonetic spelling for Heifetz. AT ITS REMARKABLY 43-CHORD CON,STKUCTION AND cises showing all. va~lohons of "Sincerity, sincerity, and incer- down the trap door into the in- Jesse French Crescendo. Let your dealer explain ANALYSIS. How to use chords 13th chords as used In modern as Reger's greatest rival. Finally as fill-ins, background for cor- music .50 fernal reg! n . Distrn I d, ~our- its many outstanding quality features ... and the LOW PRICE! rect improvising, etc $1.50 ity! " convenient budget terms which will put this new 65_MODERN PARALLEL CHOR.D rit loll w d him to llndcs instead he remarked: "The catalogue is In a collection of glees, 67-MODERN BREAKS. Up-to-date PROGRESSIONS. The harm~nlc well put together." "Social Harmony," published in value triumph in your home. now! breaks in all popular keys. (For background for modern plano Rossini distrusted modern in- 01 depnrling t glory through th, all treble <:Ief instruments) .50 styles How to create the "New London in 1813. there is a male See your lesse French deoler, or write for free "Piano Facts" Booklet toJ o..~pt. E-4J Sound" in harmonizing basic open 1 r I the nlhcdr.1. 6l-DICTIONARY OF 6·PART HAR- scoles .50 ventions. He feared the railroads, MONY .50 quartet with individual parts JESSE FRENCH & SONS PIANO DIV.' H.&A. SElMER INC., ELKHART, INDIANA, 64-NEW CHORD STRUCTURES. and continued to travel by the • 58-BASS IMPROYISING BY This chart shows the basis for marked yawning. sneezing, sob- CHORDS. How to find the cor- 1152 unorthodox modern chor.d stagecoach even when trains be- I". (Ill. oltl rman opera, the rect bass notes from popular structures that can be used ,n LTHOUGH REGER himself bing. and laughing. The yawning sheet music diagrams .50 came the accepted mode of tran - baritone, imprisoned in a dungeon place of conventional chords.. .50 A' wrote music of heavenly length, was represented by a slow down· I-======-- OS_TRANSPOSING CHART. chang- 69_P1ANO BASS PATTERNS. A portation during his old age. by hi n mi ,der, th m to THE ing music to all keys $1.00 variety of left-hand figures an replete with academic elaborations, ward progression; the sneezing by all chords .75 03-CHAR'r OF MODERN CHORDS, Dwight's Journal 0/ Music 01 July cau c him to cry out under tor· 204 practical 9th 11th and 13th 6B-PIANO ENDINGS. Two and one he advised his students to cut down descending octave skip~: the sob- chords ' $1.00 measure endings in all popular 7, 1885 reports the detail of Ros- ture. uring a performance of the keys ...... 50 the development section in their bing by quick grace notes, and the 02-HARMONIZATION CHART, 372 70-S0LOVOX COMBINATIONS. sini's anachronistic journey from opera, a piece I Ihe scenery fell ways to harmonize any melody large works. "People listen faster laughing by staccato passages .. AlI Chart of instrumental imitations Florence to Paris, which took him down and tru k the baritone on note $1.00 for the Hammond Solovox . .50 nowadays than in the nineteenth of this was neatly encompassed 01-CHORD CHART. 132 popular 09-MODERN PIANO INTRODUC- forty days: "Within the last twelve Ihe head. He gave out. cry 01 sheet music chords .50 TIONS. In all popular keys .... $l.OO (;"cnLury," he commented. within the framework of G major. PIANO METHOD 53-SONGWRITERS CHORD PRO- lO-MODERN PIANO RUNS, 180 years~ all the roads wh ich were angui h thnt utlerll' belied the professional runs on all chords.$1.00 GRESSION SYSTEM. How to formerly mail routes between Flor- words of his aria. The curtain W35 find the correct chords for ll_MODULATIONS. 2 and 4 meas- Anwng Reger's students were The sent;"nenlal attachment popular songs, Complete text ure bridges leading from and ence and Paris have been furrowed qui kly run down. the baritone's with over 60 written-out ex- to all popular keys $1.00 :identical twins. One of them wrote that Brahms felt for Cla-ra Schu- amples ... $1.25 07-ACCORDION BASS GUIDE. ex- with railroads. No more inns, no head was 6alldarred up. and the an exercise in which he used a pair mann was a matter of COlllment in 54----:MANUAL OF HARMONY. Basic plains all bass buttons and notes KEYBOARD FUNDAMENTALS contained in bass chords .50 more relays, no more post.horses scene promptly repented. music theory covering scales. of consecutive fifths-a dire of- Vienna in the 1870's. Although chords, inversions, cadences, in- in readiness on the way. Rossini by BEATRICE HATTON FISK cluding many exercise. .50 MUSIC TEACHERS fense in those days. "Which one Brahms was fourteen years younger trusted to luck. He sometimes 35-MUSICAL DICTIONARY, 64 of you is the first born?" asked than Clara, he liked to feel that he The purpose of this new approach to piano playing is to acquaint" pages of musicol terms. .50 20-POPULAR PIANO TEACHING • COURSE, how to teach breaks, waited for two days in a little town 51-MUSICAL SLIDE RULE. Each Reger. "I am," replied the olle who was the protective spirit in this the beginner with the fundamentals of reading and playing from monual odjustment answers runs, bass, transposing, improvi- to procure two quadrupeds and a T PERFOIUL>L,CE o(··La· sation by sheet music chords. had sinned. "Then tell your father friendship. When Brahms grew his the printed page. The pupil develops a skill to play the more questions on chords, scales, keys, Used by successful teachers in postillion. When he reached Aix, hengrin·· in frankfort in transposition and instrumenta- A to change his and leave his patriarchal heard, Hanslick quipped tion .$1.25 all States, 40 popular songs in- wHl, difficult pieces with ease. cluded .... $5.95 it was impossible to go any far- 1884, the leading tenor became 62-CORRECT CHORDS FOR 100 money to your brother," said that Brahms made this change in STANDARD FAVORITES .... $2.00 ther; there was a total absence of indisposed. the management ORGANISTS and Reger. ayour brother is more his appearance in order to pose as stables and horses. His friends summoned the singer Goetze from descrving." Clara's father. 59-CHORD SYSTEM OF POPULAR Three Volumes - I, II, III ARRANGERS t2C ORGAN PLAYING. Explaining wished to take him to a station Cologne 8 a substitute. Go.e the principles of popular organ and show him that he was need- 24-DANCE ARRANGING COURSE. improvisation, using only melody took the expres train and arrl\"ed Each, $1.25 Harmonization, ensemble group- A pieee of gratuitous advice is A m.usie love,. sent invitations and chord diagrams. .50 lessly alarmed at these winged car- in Fraokfort jut in time ,for 8 ing, instrume.n~ation, .madula- OS_EFFECTIVE HAMMOND ORGAN hereby offered to desperate com· to lunch to several friends~ with WRIT!; tion, transpOSition, scoTlng, etc. riages which flew across space with TODAY Complete •••• $2.50 COMBINATIONS. chart of spe- hasty make-up and Ilis ride U1 t~e posers who send their scores to a cryptic note: ~:TlIesday, G cial sound effects and novel the swiftness of an arrow. He saw For "Examination" Copies 06-0RCHESTRATION CHART. tone combinations .50 swan boat. s he held Elsa in hIS celebrated conductors: furnish major." The guests understood, Tonal range of instruments and 3D-HAMMOND NOVELTY EF- the smoke issuing from the engine correct transposing instructions .50 FECTS. a collection of amusing arms, he fell it necCS5ary to in~o- each symphony with a pop·up and arrived for IUllch at one sharp. 28-168 MODULATIONS. Fully trick imitations for "entertain- and fainted." . duce him If fomtallr to the pnma scored for modern orchestra .. $1.75 ing" organists .75 mechanism, the kind that is used 82-HOW TO ARRANGE LATIN. 33-COMPLETE DICTIONARY OF donna. He bo"·ed politely "d HAMMOND STOPS, correct in. in children's picture books. When Al1l0ng musical curiosa there is AMERICAN MUSIC. Authentic terpretation of organ sounds. .75 whispered: .:.I am honored by the fully scored examples $2.00 • the conductor, or the orchestra an arrangement for three hands of 75-MODERN RHYTHM PATTERNS. 81_SPECIAL TONAL CO,LORS Left hand and pedal coordina_ occasion. Permit me to present librarian opens the package, the Liszt's "Rakoczy March" made by AND EFFECTS. Interesting, tion for Jall and Latin-Ameri_ HEINRICH HEINE was tre- tested effects, fully scored ..... $1.25 can rhythms ...... _...... $1.25 myself: Goetze 01 Cologne." ~core will pop up open, too. The Count Zichy. Why for three hands? mendously impressed with the mUSlcto. _Money_Bac;k GuarCintee on Every thing- conductor will be so startled_ by Because Zichy lost hls right arm ~ston gigantic 'dimensions of Berlioz's Established 1885 PLEASE ORDER BY NUMBER The m.usie of Ma.x Reger i5 l'his phenomenon that he will be in a hunting accident. Liszt him- C.O.D. SERVICE on orders FREE CATALOG musical designs. Yet he felt that over $2.00 rarely performed nowadays, bul compelled to look at the music, self played this arrangement with melody was not sacrificed to size eady in the century he was reo 1227 B l\IORRIS AVE. and may even perform it as a Zichy, who took the bass part with WALTER STUART music studio UNION, NEW JERSEY in these large structures of har- BOSTON 16 MASSACHUSETTS garded a a leader of the modern: Lrihute to the composer's ingenu- his left hand. THE END 1 , _ mony. He said that Berlioz was "a ist school, and c\-err new work 4 ETUDE-APRIL 1953 ETUDE-APRIL 19;J 5 = - • 1llt1Si,C L"ver's At the Metropolitan she became a very severe effect upon her health. Naturally the discussion of For accurate tempo the leading Wagnerian soprano and won even greater success than her treatment makes many excit- GUY MAIER BOOKSHELF Ternina, Nordica, Gadski, and ing pages in the book. use the precision Lehman. She sang all of the great After much persuasion, Mme. MOZART PIANO RECITAL ~, - ALE ANDERSON Flagstad returned to the Metro- By D Wagnerian music-dramas in New instrument •• r York many times 1 politan in New York and closed In 1940 when hostilities broke her career by a series of triumphs TWO 10" which sent New York critics into out in Germany, she was "all LONG PLAYING The Flagstad l\1a" uscript packed up" ready to return to her rhapsodies. May we hope that her An AUlObiogl·aphy. II' home in Oslo. She expected to de- retirement may be like that of RECORDS L .. BloIICO I Nllrrated 10 OUlI; . l Nor vote the rest of her life to her Patti and Bernhardt-the overture This is the story of a lu.t e . home and to occasional opera and to another tour. Guy Maier's dramatic recorded performance of favorite MOlort selections ceo- . . 1 who was born at Oslo, tained in his own piano text - "YOUR MOZART BOOK." Students can now METRONOME de Maelze g concert appearances. Her devoted G. P. Putnam.'s Sons $4.00 we J3;' g;~ 1395 and lived to be- hear the subtleties of technique which are illustrated in Guy Maier's classic by SETHTHOMAS an Ju Y , f the' world's greatest husband, a prosperous business. piano book. come one 0 man of Oslo, was anxious to have . H father was an amateur Bulgai-iau-Macedontan Folk Music TWO 10" LONG PLAYING RECORDS Students of music and dancing singers- er a their home life restored. know the importance of correct . . d her mother was timing. That is why so many mUSICIan an d ls However, the war situation be- by Boris A. Kremeljfiev Catalogue No. BC-l00l " 3.95 . 1 Her sran paren Includes: Sonata In C Major (K·330) (3 movements); Minuet In 0 Major (K-594); depend on the ~nest precision projessiou a - . 1:1 k If 11 came very grave. Her husband in Gigue in G Major (K·574); Fantasia in C Minor (K·3961. instrument nvailablc - Metro- were sturdy Viking stoe. yo prewar days had belonged to the The largest linguistic group in nome de Maelzel. ' dauahlcr on a rail h Catalogue No. 8C-1002 3.95 are a f armer 5 1:1 .11 " party of the Norwegian traitor, Europe today is made up of the This fine mechanism is made ., fT hch md them thar hi S Includes: Variations on "Ah vovs Dirai-je Momon" (K.265); Allegro from . way 0 I k Quisling. When Quisling became Slavic speaking peoples and num- by .Seth Th?mas,. famous fo~ Sonata in C Maior (K·545); Fantasia in 0 Minor (K·397l; Sonata in Eb Major r i'f you are a salesgirl, a r bers 200~OOO,OOO.The Bulgarians (K·282l (3 movements). precision time lUstrume,nts o . to r ach the dupe of Hitler, Mr. Johanson since 1813. It measures time or a waitress who a pirc resigned in disgust and repudiated are an important part of this group. both audibly and visibl~-w.ith the topmost height of an I rn Quisling. He was instantly put in Most Americans are very slightly AND. YOUR MOZART BOOK a definite tick and oscillating . or concert career, it will bchoov prison and Mme. Flagstad fought informed about the Mid-East coun- Here's the book itself! These Mozart compositions, include favorite shorter and pendulum. Tempos are easily a~Just. you to invest .. 4.00 in this n w all obstacles to go back to be with try bordering on Houmania, Yugo- lighter works. Guy Maier has added fll1gering and suggestions for e xecufinq able from 40 to 208 beats per OUllute. hardwood case ... lightweight and embellishments - and discloses the subtle techniques necessary to faithful The workmanship of master crafts- book if only to have y ur.. y him. He contracted a fatal malady slavia, Greece, Turkey, and the interpretation of Mozort 1.50 portable. I 1 a prod,gl us Black Sea. Its largest city 1S Sofia men that characterizes all Seth Thomas See this fine Seth Thomas(' Metro- opene d to W 'in . in prison. His wife was not per· products goes into the manufactur~ of nome at your music dealer, depart- amount of labor and cxpcncn mitted to see him and was inccn- with a population of over four- OTHER PIANO BOOKS BY GUY MAIER this enduring key-wou~d mech~msm. ment or jewelry store. Only $12.95t. is demanded by su h a car cr. 10 solably crushed when he died a hundred thousand (slightly larger And it comes in a beautifully polished, 293 pages NIL Binn 'olli ~a , ' ith few days later. Worst of all, sen- than Pittsburgh, Pa.}. Macedonia • YOUR BACH BOOK • IT'S EASY TO READ! -u ••. V., .•• <.M. ~ 1.50 great clarity, put down In Mm . sational papers in America made is a region on the north- west bor- (written with Memo Beyers) • THINKING FINGERS A new simplified approach to note Flagstacl's own words what it toke. it appear that she and her husband ders of the Aegean Sea, and the (written with Herbert 8radshaw) ·thrpl'omas Clock'·'s;«"'"'·::~~~;::~:.c.""~ to aet to the top an 1 stay lh r were anti·Semitic. The contrary Maceclonians as a people reach 1.00 reading. A most enjoyable way for . J Dlv. of General Time Corp. " d . beginners to leorn fluent reading. ItlJ 11 Mme. Kir~ten Flag~ta 1S 1I1\qu • was true as she was then giving into Greece and Bulgaria. • YOUR CHOPIN BOOK Se tionably the greatest f a~(h. her services free for Jewish char· Mr. Kremenliev's volume 1S a 1.00 1.50 navian singers ~inc Jenn)' Lind. itable concerts in London. rare dissertation upon the subject Indeed. her huge rcpcrt ry and h r On her return to America for a with a particularly readable and books by ~ ~a4H glorious art pUl her in an ntir ~ concert tour she was abominably illuminating text. The instruments BEGINNER'S GUIDE TO POPULAR PIANO PLAyiNG 1.2S different category from th l lO treated by those ·who sought to of the region are accurately cle· which we find Jenny Lind. ~ on persecute her. Her concerts were scribed. Most important, however, CHORD CONSTRUCTION AND HINTS instance o( this take just n of picketed in different cities. Grad- are the 219 notation examples FOR POPULAR PIANO PLAyiNG 1.2S Flagstad's famous: roles, thal of ually she proved to the world the which should prove inspiring to MODERN STYLES AND HARMONIC CONSTRUCTION isolde. which requires lrem nd u jnnocence of her husband and her- composers in search of melodic FOR POPULAR PIANO PLAyiNG , 1.2S physical and cmotional ncrgy and self. The injustice of the cabals ideas. PRACTICAL TECHNIC FOR POPULAR PIANO PLAyiNG 1.2S a consummate musical under~tand· and the frustrations resulting had University of California Press $5.00 In ,,..o<.,i.n/- BREAKS, FILLERS, ENDINGS & INTRODUCTIONS ing. Flagstad has given Wogn r~ written with MURRAY ARNOLD masterpiece over one hundred and eighty-three performances in thL . Look and Learn Workbooks' & " powerful role of hold ,On per- FROM THE ETUDE OF 1883 ~ .' .' (written with EUGENIA ROBINSON) ~ formance of such a part puts mor "a . Workbook One teaches note·readi!l9 in as direct ood effective --Il N a column entitled "Cautions for Pianists," performers are warned: a way as possible. strain upon the singer than a dozen I Workbook Two offers a more progressive method for note count· such roles as Jenny Lind sang. In WI> 1. Against any showy and unsuitable display. Why should you wish ing and reading. Includes voluable charls and diagrams. to attract attention and to create an effect by foppishness and all sorts fact, Mme. F\agstod ll1u ~, 12 ETUDE-APRIL 1953 13 .------ETUDE-APRiL 1953 Another highly important phase Attack more like a shopkeeper than Apollo. Casals was born in the little town of of vocal study is here discussed in detail Vendrell in Catalonia, 30 miles from Bar- celona. His father was organist in the vi]- lage church, and Pablo sang in the choir. by a well. known authority in his field. "The core of any He also made music, almost from baby- and hood, on any instrument that happened to important enterprise be around the house-piano: flute, guitar, or activity must even the violin. His muscular coordinations were as phenomenal as his instinct for mu- be character sic; impressed by them. his musician father Emission and kindness." arranged an apprenticeship for him with sense of pitch. Conductors in particular sometime due to mu cular weakness in the the village carpenter. vocal mechani m and n am unt corred Such philosophy bespeaks .• cannot be accused of this defect. Why then f But his mother, though she knew little are they also off-pitch when using their ba ic training n Iiminote it entirely. But about music, knew that he was a genius, in 1110 tail i due to a mistak n COn- • voices? The explanation is to be found in and decided to make the world know it. ception f r laxation, to a lack of CM· In improper vocal production, in a lack of Using her saved-up pesetas, she took Pablo knowledge of what is involved in correct troflc 1 vigor n the on hand. and to faulty to Barcelona where he could stud y at the attack and emission. breath conrr I and nuack and emil:l:ion on THE municipal school. Although only 12 years As a means to curing off-pitch singing the other, whi h, if n t given proper and old, the boy got a job playing the piano at many teachers advocate "thinking" a note timely atterui n degenerates into a chronic a popular cafe. He soon persuaded the pro- before attacking it. Others advocate "think- e nditi u. prietor to let him playa program of classi- Singing ing the note in the right place," believing In th gr t mej rill of pe pie whohere cal music one evening a week, performances it helps to cure off-pitch singing and in- had no vocal training, and CHn in those GREATNESS which made a sensation in local musical correct placement at one and the same who hav ,th xist nee 1 th 0 e defects circles. His fame increased when he took up time. They forget that it is impossible to usual! I ro e ds from thr atiness, guttural. the cello, which he knew to be his own in- know whether the pupil is thinking a note ness, na ality, lar ngeal stri rure, or strument the moment he drew a bow across on pitch or thinking it in the right position. breathine ss, Th eradi arion 01 the defects its strings. At 17, thanks still to his mother's by Asking such pupas to think notes all pitch makes it p ssible f r th m to sing true to force, tact, and adoring faith in his genius, cannot in itself ensure accuracy of pitch, 0 OF PABLO pitch and I I a ntly in other r peers, But he was in Madrid playing before Maria JOSEPH A. BOLLEW just as asking them to think correct place- the real pr bl In i with singer who hare Cristina, Queen Mother of Spain. ment cannot ensure proper vocal poise. Be- had many y ar of training and who. de- It was not only the music he made, but fore either can be effected it is essential for spite the presen of ne or more of these the sheer goodness-no one uses any other them to know what is involved in correct faults, do not ing ofl-pit b, do aot slide word for it-shining out of his eyes, that N°EXT IN IMPORTANCE to correct a~tack and emission. As soon as its p-in- up to note , ha Ye no tr mol a nor gaps of CASALS captivated the Queen Mother. She granted breathing and breath control in voice ciples are understood and mastered , singing c silence and do manage to 8 hieve an un- him a pension to continue his studies, and training and singing is the correct attack on pitch and correct placement present no broken vocal Line, for the mere absence 01 practically adopted him into her household, and emission of the voice. Attack is defined difficulties. these faults does n t betoken correct attack where he became the playmate of the future as the phonation of a single note, of the Then there are singers whose voices by Max Eastman and emission. There are other essentialCOD- king, Alfonso XIII. initial note in any musical phrase, and of burgeon anew on every note, or almost ditions. In the first place, the voice of a In acknowledging a debt of gratitude for any new note after a breath. Emission is every note; who execute each note more or professional singer who is habitually this royal patronage, Casale is careful to defined as the flow of the voice following less softly and then swell in volume reo throaty. guttural. laryngeal. or has. a mir- explain that it is "strictly personal. That attack. . gardless of the dynamic requirements of the tu re of these defects. cannot Jag long. . EOPLE who bought the recordings of French slopes of the Pyrenees, where Casals contact with the 'great ones of the earth,' " I ncorrect attack and emission has many music. Sometimes it is not their fault. There onelly. a high level 01 aesthetic aod arti,tic P the Casals music festival of 1951 were now lives. Drawn there both to his interpre- he says, "had no influence either on my queer and offensive vocal results. Who has ar.e some teachers who advocate this queer performance is the desideratum. and i£ e.'(. surprised to receive as a bonus a record tation of music and his spiritual example, thoughts or my conduct." He is a (lemocrat not heard singers who ,slide or climb up to trIck of vocal production. This is how their pccted. and where L.h _e fauJts exi:l it i~ musicians and music-lovers from all over and a libertarian to his fingertips. notes and, upon reaching them, if they are with a cello solo by Casals on one side, and instru~tio~ go.es: think the note, lllentally the world, many of them as famous as he, And so was his mother, for, after two to be sustained, sag about halfway through chok~d at the very SOUTce just as il would on the other~pressed into the vinylite in place It, Sll1g It on piano and then swell to gather each June to hear him play, to make years in this position of luxury and high and go flat and anaemic; and often, in an be With a string player who fingering pro- Casal's handwriting~this motto: "The core n~ez~a.voce o~ forte. Now, to crescendo and music with him, to do him honor, and to privilege, she announced abruptly one effort to amend the deflection, suddenly duces accurate pilch but whose bowing re- of any important enterprise or activity must dImmuendo o~ al~ notes of the range is an dwell for two weeks in the radiance of his morning: "It's time for a change." shoot up as if stuck by a pin, and go sharp sults in scratchy. scrap tones. he character and kindness." excellent exerCIse In vocal dynamics, but as spirit. "What character!" Casals explains. and shrill? And who has not heard singers . The essence of corr t attack and emij· Behind this unique phonograph record a method of attack and emission it is in- Musicians who do not attend the festival "What a debt lowe her!" who never seem abl.e to hit notes accurately stOn is lonal purity. a complete absenceoj stands one of the most extraordinary per- correct and its aural effect is not unlik are apt to be a little scornful of the exalta- At the suggestion of the queen's coun· and nearly always sound sharp or flat? . " e a throatiness_ gUlturalncss, laryngeal slne- sonalities in history. Great musicians have· pe.rson gro~mng 111 the convulsions of im- been famous for many startling traits and tion in which others return from it. These cil, Count Morphy, and still with a pension The latter is believed to manifest defec- mInent seaSIckness. lure, nasality and breathiness. Tonal purity seem to have drunk from a mystical spring from the court, they moved to Brussels. tive musical hearing. However, tests reveal e~lsures freedom Jar Ihe vocal tibral;ons to abilities, but no man ever before so com· And there are also si ngers some of tl bined musical genius with moral and spirit- which turns the very life in their bodies where Pablo could study in the famous con- o II '1em rue: reach and impinge upon ,he rtsonalOlJ, that the great majority who consistently velY we known, who have almost a dObl ualleadership. into music. From this you might expect in servatory. The director sent him to the cello sing off-pitch can immediately detect off- f'l b u 1 e wlueh supply the voice wilh ils beollii/J'in gaps 0 SI ence etween notes The Casals the face and figure of Apollo. On class of Professor Adouard Jacobs. Pablo pitch singing in others. More interesting is o b . Y seem hanna· mes, bn.'U'lance and carrrinll polfer. Pablo Casals has never had a rival as a 1I1capa Ie of merging consonants and the contrary, he is a dumpy little man with slipped in and sat down modestly in a back the fact that very many trained musicians, I d vow- Indeed, it may be said thai rdihout tilt cellist: and many will add that he is the e s, an not even vowels with vo\vel s, Into. greatest string instrumentalist of aU time- chubby hands, big round eyeglasses, a per- row. He didn't look like much; his hair was conductors, composers and instrumental- b k resonanlal harmonics there' is no -r;oict. an un ro 'en, even flow of voice It . fectly bald head. and, if the sun is shining, cut short, while all authentic musicians in ists, among them some of our world famous . bl . . ]S most Fritz Kreisler, the famed violinist, spoke of notIcea e In legato singing . t I To~ml purity also ensures cloril)' oj arlicu, ' JUS W 1ere an him as "the greatest man who ever drew a a bright red umbrella held close over it to those days wore it almost to the shoulders. artists, are also gullty of being off-pitch b k LeUlOn and makes the voice an inslrument un ro. en, even flow is most desirable bow.:' shield it from the heat. There is both sensi- When Jacobs asked him what he would when attempting to sing. Trained musicians obedient to the artistic ,cisheJ o/Ihe s;n!!er. And then, of course, there are those" with tivity and tremendous strength in his face play, he said simply: can hardly be accused of having a faulty /t' I '. • The Casals festival is an annual gather- pronounced tremolos. or wobl>les TI' . tS t to begmnmg and objecti,.. 0/ good l , .. . 11S ]5 ing in the little village of Prades on the if you study it: but at first glance he looks "Anything you li,ke. ' vocal Iraining. (Continued on Page 591 ~. 14 ETUDE-APRIL 1953 15 ._------ETUDE-APRIL 19;3 ,------_ ...... ~~-~ NEW RECORDS Conliullcd {"om pagc 15 The professorial eyebrows rose. "Well, well, you truest be remarkable!" The class roared with laughter. "Can you play the so-and-so, for instance?" the pro- fessor asked ironically, naming a little Here is the heart-warming story known and difficult composition. of 90-year old Sophie Charlotte Casals said, "Yes." "And the so-and-so, perhaps?" naming Gaebler believed to be one still more difficult. The Phonograph Again Casale said "Yes." "Very well, then, I suggest that you play the Souoenir de Spa. And now, young gentlemen, prepare yourselves for a treat' Discovers the Organ from this remarkable young man who can play anything we like!" Although he hadto use a borrowed cello, The-Last Living Pupil Casals played that obscure and especially difficult composition without a flaw and with a brilliance that left the class and the by Paul N. Elbin teacher transfixed. of Franz Liszt Recovering his breath, Professor Jacobs president, West Liberty (W_ Va.} State College invited him into an adjoining room and From an interview with Miss Gaebler urged him to enter his class, promising him then and there the annual prize for the cur- Secured by Julia Hauser 'Velc" organist and is giving him an opportunity concert-ball quality is on records and m3}' rent year. But Casals had not liked this OST OF US remember how it used to to play Lor a tremendous audience of music be heard realistically at home. snooty reception: it offended his ideal of M be. Albums of organ classics could l)C\ lovers. We now have plastic discs with smooth civilized conduct-of character and kind- T HERE WAS great excitement in one of cut for eral y ar and then t:8me to be numbered on the fingers of two hands. Credit for the change is attributed mostly surfaces, facsimile-quality magnetic pick- ness. He said he didn't care to stay. the studio apartments at 712 Milwau- Watertown, Wisconsin where, in 1862. I There were the three famous Albert to the popularity of long-playing records, ups, multi-speed turntables, and amplifiers The decision cost Jacobs a lifetime of kee St. in the city of Milwaukee on last was born. Schweitzer Columbia albums. There were introdnced by Columbia in 1948. Long- and speakers that can reproduce anything regret. And it cost Casals his pension, for November 18. Early in the morning and "My father directe I the principal rches- the Carl Weinrich Musicraft recordings the human ear can hear. And to top the the court insisted on his remaining in Brus- continuing through the day telegrams and tra and choral groups while in Watcrll>wll made at the Westminster Choir School, our playing records certainly smoothed the way. blessings, we have records good enough to sels, and he very politely explained that he special delivery letters arrived from many and also built pipe or-gans. lie took part first baroque recordings. E. Power Biggs Nobody ever really enjoyed chopping up a didn't want to. parts of the world-Washington D.C., Flor- in many a aengcrIe L besid s. had been introduced to record buyers by fantasia and fugue into three four-minute warrant the purchase of the best in playing He went instead to Paris-he and his ida, California, Arizona, Germany and "My father wa a geniu .., and it i to the little Technichord Company, though la- sections, disregarding entirely the com- equipment. even Japan. mother and his two younger brothers- him lowe my fine foundation for piano ter RCA Victor took him under its wing for poser's design. Continuity of recording and Such equipment is expensive. From five penniless, ignorant of the language, and The concert grand piano was covered playing and voice culture. a while. Charles Courboin, Joseph Bonnet, play-back has surely improved organ re- hundred to a thousand dollars is the re- without friends or letters of introduction. with boxes of gifts, and in a corner of the "I began teaching piano when I was 14. and Virgil Fox were each represented by cording. Clearly, moreover, a turntable quisite investment for those who want to His mother had her wish for a change-a room stood a table on which there were six and when I was 19, we moved to Lacrosse one album of serious music. Most of the re- speed slower than 78 revolutions per nlin. hear reproduced organ music that sounds plunge, indeed, from regal ease to penury. large and ornate "Happy Birthday" cakes. where my father built a pipe organ in the maining organ recordings consisted of ute was necessary to achieve long-playing much like the original. But those who buy The father sent them his small savings, the People had been coming all day to extend Cathedral. and when I was 21, he sent me singles made by Edouard Commette and discs. wisely will have in their homes genuine mu- mother took in sewing, working far into congratulations to Miss Sophie Charlotte to Germany. a few other organists, mostly in Europe. Yet I cannot resist a kindly word in me- sical instruments-not just phonographs. the night, even selling her beautiful hair for Gaebler, the well known pianist, who claims "I visited my mother' brother in Dres- The contrast today is so good as to be moriam for 78 rpm records. Many of these We have, then, good records and good a few francs in one crisis. Pablo got an ill- the distinction of being the last livinu pupil den. and since it had always been my weat exciting. One organist alone, Helmut Wal- records were much better than we knew. playing equipment. We also have a grow- of Franz Liszt. 0 paid job as second cellist in the Marigny d~sue to meet Franz Liszt, my uncle de' cha, is represented in the record catalogs by Heard through a high-fidelity record player, ing segment of the population interested in Follies. But he had to walk back and forth Following an informal concert in the cided that I should go to Weimar where I no fewer than fourteen long-playing rec- many of these faithful old discs sound all kinds of serious music, including organ evening presented by friends of Miss Caeh- twice a day from their tiny flat in the out- might get an opportunity to meet the great ords. E. Power Biggs is represented by ten amazingly good. The Schweitzer records, music from Buxtehude to Messiaen. .skirts to the center of the city-for lessons ler, the distinguished lady who, in spite of master. Hence, I began studying voice with LP's. Two record companies, Decca and for example, though twenty years old, com- Since readers of this magazine are an an arthritic condit.ion is still able to playa ill the morning, for work in the evening- Frau VOn Milde, the famed Wagnerian eo- Columbia, are well along with projects to pare favorably with some of the brand-new important part of the "growing segment," great dea.l o~ classical music from memory, carrying a .cello on his back. "We learned pra~o, and also was accepted a a piano record the entire organ compositions of LP organ records. At 78 rpm there is little a resume of recent long-playing organ re- recalled incidents of her contacts with the by direct experience what misery is," he pupil of Professor Mueller-Hartung, the di- J. S. Bach, and others plan to record the likelihood of pitch deviation. Moreover, the cordings with a record reviewer's comments .great master, says. But the lesson was too costly. He fell rector of the famous Weimar Orchestral major works. With the puzzling exception wider grooves make room for heavy bass. may be helpful. sick, and they had to abandon the glamor- "Were you born in Germany, Miss Gaeh. School. of RCA Victor, nearly every maker of rec- But we had serious playing-equipment In the organ recordings of Helmut Wal- ler? " ous idea of an education abroad and go "I ords has adopted at least one outstanding limitations in the old days. Shellac surfaces cha, Decca is gradually unfolding the great- "Oh "h I- d "I . t was not an easy matter to contact back to Barcelona. ,no, s e rep IC, was born in were apt to be noisy, limiting drastically est series of its kind ever undertaken. When Watertown. " Liszt and only through the influence of inti- Good luck returned there. Pablo's old mate friends of his was it possible. So one the dynamic range of recordings. Pick-ups the project is finished, 23 long-playing "Oh, 1 thought that having been a pupil music teacher was moving to Argentina, day I asked the professor whether he were limited in range to the middle fre- records containing practically the entire or- of Liszt, you must have been born in Ger. and Pablo, at 18 fell heir to his pupils and quencies. Turntable motors were not steady gan works of J. S. (Continned on Page 61) many." thought that Liszt might want to bear me church position. His wonderful mother play, and he replied: 'Why not? There arc except at the relatively high speed of 78 could rest now, and watch happily his "No, I wasn't born there, but when I was rpm. Amplifiers were given little consider- ETUDE is pleased to present on this page 21, my father sent me there to study voice" many Lisztianers who don't playas well as steady rise to fame. you.' Through Mueller-Hartung who bad ation, and speakers were usually inefficient. its newly enlarged record review department. "Tell us how you happened to become °a devoted this month and next to a discussion of He was SOOl1 reconciled with the queen, been a pupil of Liszt and who ;150 was a With the long-playing record has come a pupi! of Liszt!" her friends urged. some of the outstanding recordings of pipe and at 21 was famous throughout Spain very close friend of his, my greatest wish gradual revolution in phonographic equip. MISS Gaebler sat lost in thought for a organ music recently issued by various com- and Portugal. At 23 he returned with his ment. To be sure, the average commercial minute, then began: was at last fulfilled, and 1was admitted to panies. Dr. Paul N. Elbin, former dean of the mother and two brothers to Paris. He had lh L- . I phonograph sold for home use today is not "My father, Professor Emil C_ Gaehler .e Iszt eIre e of artists who assembled at Dr. Albel't Wheeling (W. Va.) chapter of the American saved enough for all of them to live OD, and h.IS home three afternoons a week; and Schweitzer much better than it ever was. But the as· and my mother, the former Baroness VOn Guild ot Organists is an authority on organ he had a letter from Count Morphy to the SInce the master's faith in his friend's judg- sembling of high-quality phonographs has and organ music and his comments on new Beu~t came to America in 1848. He taught become a passionate hobby for thousands (Continued on Page 57) mUSICand languages in Danbury, Connecti- rnent was so great, I was spared an audition. organ records should prove very helpful to (Continued on Page 63) of people who have learned that music of our readers. ~ 16 ._------ETUDE-APRIL 1953 ETUDE-APRIL 1953 17 The audience in the great Music Hall never sees many of the important musical chores that are ,performed by The gt'cal stage and proscenium ureb in the Music lIall. Here's an interesting story of the behind-the-scenes work necessary to produce a smooth-running stage spectacle. by Rose Heylbltt HE HUGE stage spectacles at New general, over-all ideas of his music direc- should' have compositional talents and T York's Radio City Music Hall provide tor and producer and translate the desired training, together with a thorough knowl- entertainment for millions, and stage jobs effects into music. At the Music Hall we edge of musical periods and style. And for more than two hundred orchestral have four main ensembles, each 'with its whatever his own instrument, he should be (L. to R.) Rayburn Wright, David Per-r-ie, and Robert Swan in confCI'cnce in the Music Hall's Music Librury, players, organists, soloists, choristers, danc- own directorial head: The Corps de Ballet able to work at the piano. Beyond these, ers, and act-specialists. They also furnish may be doing a Chopin number; the Rock- there are no fixed requirements except, employment to a sizable corps of trained, ettes, a lively swing routine; the stage spec· perhaps, the ability to remain flexibly un- experienced musicians who are never seen tacle may center around Latin-American fixed, capable of turning out any kind of on the great stage, whom the public knows strains; while the overture may come from good musical job at any moment!" little about, yet whose skills are a vital opera or the symphonic literature, After With all this musical activity, the vari- factor in keeping the production mecha- discussion with the other group directors, ous scores, parts, songs, etc. must be read- nism in motion. Raymond Paige, our Music Director, indi- ied and filed under the supervision of Similar employment may one day be cates the music he wants and the effects he another unseen expert, the music librarian. waiting for those of today's students who, has in mind: something warm, brilliant, At the theatre, the library occupies a by temperament and training, can prove romantic, 'cute.' The orchestrator then series of huge, loft-like rooms three floors similar skills. Let's have a look at the reo works these effects into the score through below street level, and two below the great quirements of these unseen yet necessary his use of rhythm and instrumental color, stage, where chief librarian David Perrie, Music Hall jobs, often bringing different feeling out of the former violinist, and his assistant, Mar- Music Hall musical material is seldom 'same theme by varied orchestrations. garitis Michos, one-time assistant librarian acquired over the counters of the music "Standard classics are generally used in of the Boston Symphony, are responsible store. Its highly special orchestrations and their original form; yet we sometimes have for furnishing the performers with clear, arrangements are in charge of Rayburn to adapt them to the requirements of the accurate copies of their parts, and for 'in- Wright and Kenyon Hopkins for the or- orchestra or to the acoustical properties dexing and filing every part of every work A spectacular night view of lite exterior of Radio City Music HaH. chestra, and of Ralph Hunter for the Glee of the vast Music Hall. Whenever we do ever. heard from stage or pit. Club. Mr. Wright, previously a trombonist, this (through extending, warming up, ac- The scope of the Music Hall covers a whose orchestrations and arrangements centing, coloring), we try not to intrude wider field than that of the regular sym- have been played by the New York Phil- , upon the composer's own style. After work- phony orchestra, and so do its librarians' harmonic-Symphony, and such popular ing hard on an orchestration of this sort, tasks. "First," Mr. Perr-ie informs one, bands as Glen Miller's Orchestra, begins we find our best reward when the adapta- "there is the matter of copyright clearance by explaining the difference between or- tion passes unnoticed. In mounting popu- for performance. Whereas the symphony The Music Hall Corps de Ballet slrikes a highly chestrating and arranging. The orches- lar numbers, however, we cut loose, devel- orchestra works chiefly with the classic nnructive pose in one of the stage spectacles. trator, he states, is the skilled craftsman oping moods and styles of our own to fit repertoire (much of which lies in the pub- with a thorough knowledge of all possible the requirements of the show. lic domain), the Music Hall uses popular means of making the orchestra sound, and "A successful orchestrator-arranger needs music, show tunes, dance numbers, etc. in of utilizing instrumental colors; the ar- imagination, solid technical musicianship, addition to classical works, Whether copy- ranger is more creative, developing the and the ability to assume responsibility righted numbers are used whole or in part, Raymond Paige, Musical Directoe, working music he works on, adding effects, compos- under the pressure of show production. the librarian must clear them. both music with orchestr-a and choral group in r-eheaesnl r-oom at the Music Hall -, ing transitions, etc. In practice, however, We sometimes find ourselves working on and lyrics, through publishers, composers, the two jobs overlap. two shows at the same time. Mr. Paige may and authors. There is also the problem "The orchestrator might be called the send in his arranging assignments for a of 'grand rights,' that is clear-ing a number 'speech writer' of music," says Mr. Wright, future production while I am still polish- for visible performance before an audi- "and, like the speech writer in words, he ing details 011 the one coming up, and all ence and different from unseen production must have versatility and a facile imagine- demands must be quickly and accurately (music alone, or 011 radio). Usuallv. the ticn. The orchestrator's task is to take the met. Further, the orchestrator-arranger words and music of (Continued on Pag; 58) ETUDE-APRIL 1953 ~, 18 19 Ib _ ETUDE-APRIL 1953 ---IQl------~~~~-- PIANIST'S PAGE Decentralization A challenging suggestion Springtime Sparks [or the solution of an euer- In Music growing problem with present- Barbs, Brickbats day young musicians. Is Necessary! and Pleasant Items By GUY MAIER frOID Here and There there are problem to cope with con tandy. A recital hall doe not exi r, There is a by HAZEL GHAZARIAN SKAGGS very fine old grand pian housed in an ugly building that 01 0 serves as a gym. As the time for 'our first recital was ap- UBLISHERS are bringing out too many There goes another one of those high and excellently arranged, and the simple prop- to remain in the city. To prove this, .let proaching, I dreaded the appearance our N OUR present-day super-abundance of Pthin beginners' pieces. I am weary of rnighty "educational" dicta balloons! erties needed for a party make it a wonder- him make a list of all the young 50101st- music was going to make. After carefully I talent, the young concert artist, because receiving quantities of original composi- ful holiday project. teachers he knows living near him. It will training the pupils in stage deportment of an overcrowded field or the lack of the tions and arrangements with just a single "EASIER THAN EASY" All the books are easy second year mate- be a very long list and not one person (although there was no loge) 1 darkened right stage personality, often suffers from thread of melody and an occasional bottom rial, and are delightfully illustrated. frustration. He practices assiduously in his on it, very likely, has ever paid an income the hall and set lamp along th walls and tone. Such items may suffice for the child's I have always been agin' any piece or city apartment and waits for that big op- tax. One girl has five pupils. She is t~venty- beside the piano. omehow it did create a very first piece, but after that we want book with 'easy' or 'simple' in its title, SEVENTEEN PIANISTS portunity which, even when it comes, may six. Her income pays for her mUSlC les- recital atmo phcre. more substantial stuff. The essence of good because no student, however elementary, leave hlm financially no better off than sons. Her family supports her. The fees The talented untry pupil owes a duty piano texture is the cluster or handful of wants to play easy or simple pieces. But A revealing incident occurred recently before. Perhaps his parents or some kind she gets from playing do not pay for her to his school band and r he Ira. is He notes. Contrary to general practice, thicker I have found a shining exception: Ada at a Parisian benefit concert where Chopin's benefactor supports him, or he subsists on gowns. She lacks the feeling of success and encouraged to play s ver al th r instru- chord pieces can be introduced in the first Richter's little book of beginners' pieces, 17 waltzes were played by 17 well known occasional recital engagements and a few independence that every adult craves, How ments be ides the piano. He sings in the months if chord playing is taught and per- "Easier Than Easy." I know, because I French virtuoso pianists, each pianist play- lessons. He is too young to. attract pupils long will she continue in her present role? chorus, and he ide all the music-making sisted in from the beginning. This applies gave it recently to a bright five year old ing a single waltz. In the Christian Scien..ce away from the conservatories or the many Her friend is thirty-four, and still a stu- he is expected to lake part in other outside to very young beginners as well as older girl who loves the snappy title (often re- Monitor, the eminent French critic, Emile older big-name teachers. Besides being dent. Her recital fees are larger, but she activities. The country teacher has to he students. peats it very fast for fun!), and adores the Vuillermoz commenting acidly on the event, anxious about his living, he has to pay has only two pupils in spite of her great twice as inspiring as the city teacher in easier than easy eighteen items in it. The told how these "stars" of reputation made for weekly lessons for his own musical success as a pianist. However, she is not order to insure faithful, erious practice THE STARTING AGE book is excellent reading material for very a terrible showing; how they had lost all advancement. In view of such conditions, self-supporting. Her widowed mother, sev- and interest. young beginners. musical discipline and control; how the it would seem that some such idea as de- enty miles away, works in order to keep The only sacrifice I have had to make in A distressed reader writes: "As a piano succession of so many distortions and centralizing music so that there might be the artist going. return for this marvelou feeling of satis- teacher in a new community and school I THREE WONOERFUL BOOKS heresies in the music was overwhelming. experienced artists in all the rural areas The list is a long one. What will become faction and usefulness, is the lack of com- have run into difficulty with persons in Said he, "Chopin was certainly maltreated. would be advantageous not only to the of them? What useful purpose do they munication with fellow performers. There authority who believe it is a waste of time Of the many excellent "fun" books re- One could measure the danger as the file artists themselves, but also the people in serve? Will humanity be enriched by their are no more sonatas for violin and piano to begin piano pupils before they reach cently published, the tip-toppers are all of the 17 pianists went by. Many had lost the isolated areas. lives? Two years ago I was asking myself worked out to near perfection. 110 more those very same questions. I knew I had the fourth public school grade (8-10 years from Marie Westervelt: all light and shade from using the piano- If the young artist approaching his late after-concert hashing over of the program, twenties, would take a moment to analyze absorbed all I could from the city: and the old). When I explain that the piano 1S now 1. "The American Traveller." Here are as is now the fashion-as an ordinary per- no more exchange of ideas, no more mo- time had come for me to be a useful adult being taught to very young children, 4, 5, thirteen "folk': pieces telling the story of cussion instrument. One whose reputation the situation. he would see his own folly. ments of complete understanding of goals. in the field for which I was trained, that of and 6 years old, I am told with sarcasm, American travel -in the days before the is based on very 'advanced' music showed First of all, why must he have weekly les- I should add that there are no more tete-a- sons? It is his feeling of insecurity that pianist and teacher. Having no home other 'WeIll maybe you could educate us, but we auto and airplane. Zestful, zippy tunes herself incapable of even playing her waltz teres on the gripe and frustrations of a prevents him from standing on his own than the city, I adopted a little village of know it is useless to start before the fourth abound like De Midnight Special, Pop's Old correctly. Except for two or three real musician, but since I have been here Ihave feet. When Paderewski was studying, he 4200, the largest in a county of wilderness. grade.' " Tr/agon, I'm Wtt/cin' My Way Back Horne. musicians none of these 'masters' could felt no despair except in professional lone- states in his autobiography, he was ap- Now, for the first time in my life, I am That statement is, of course, sheer non- ... Perfect for a spring recital program. have won that first prize he had brilliantly liness. However, music magazines, letters, palled at the great number of older men truly happy in my 'work. If I have an audi- sense. Anybody knows that physical co- 2. "Mardi Cres." This is a delightful col- carried off a dozen years before at the and periodic trips to the city arc very ordination is better at 8 than at 5 and that lection of Louisiana songs telling the story Conservatoire. What a dreadful lesson!" who took lessons week after week. He goes ence, it is not one bored with the standard helpful. on to say that some men will be students repertoire. The popular Chopin Scherzo or consequently some children should not try of the exciting New Orleans carnival. It Alas, it is almost impossible for players It is only natural that students of serious all their lives. They have not the greatness the Polonaise has a fresh appeal. The peo- to play piano earlier. But, listen further makes an ideal party program with the to hold perspectives and ideals clear in the music should be drawn to the cities for to probe within themselves for the answers. ple listen to me as a musician, not as anoth- to the correspondent: children playing: singing and dancing. face of public acclaim. Only the true ar-tist their training, but they should not detach I recall rehearsing with a violinist, thirty- er personality that must be sized up in re- "Like many other teachers I have been Rhythm sticks, triangle, cymbals and bells survives the blandishments of "popularity." themselves permanently from their own five years old, who stopped at a certain lation to a friend-pianist. As for the practice very successful with young pupils. The can accompany some of the tunes. What a How few are the true artists! small towns. They should return as soon as passage and said, "I must ask my teacher schedule, it is uninterrupted by morning modern methods contain so many attractive . hilarious time the kids could have dancing practical to their native communities and whether I should make a retard here or teas, personal lessons, and sessions of frus- books and pieces to appeal to the very to Canal Street Boogie and The Grand A SCANDAL do all in their power to spread the gospel not." tration. There is nothing so relaxing as young. My 5 and 6 year olds not only play Ball! of enjoyable music making. Those who can- Assuming that the perpetual student has practicing in the country where windows tuneful little pieces in recitals but have 3. "Christmas in Mexico." Remember this One night last winter ill New York's not find success in the overcrowded metro- been convinced that he need not study for- look out on scenic beauty rather than dirty a knowledge of key signatures, note values, book when you plan your next holiday pro- Carnegie Hall a mediocre French woman politan centers should Dot bemoan their mally any longer, except perhaps for occa- brick walls. phrasing, scales, triads and can read well." gram. The traditional Mexican celebration, pianist was the honored soloist with the fate. Greater happiness awaits them in the sional coaching, there is no reason for him Yes, you bet they do! ... and many the posada, telling the story of Mary and Boston Symphony Orchestra. She played Since this is practically virgin territory, country. THE :El\"D youngsters learn to read music before they Joseph seeking lodging, is presented in a mediocre concerto by Ernest Bloch. The can decipher their school books ... Poof! pageant form. Attractive Mexican tunes next night in the (Continued on Page 60) ETUDE-APRIL 1953 21 ._----[ 20 ETUDE-APRIL 1953 s cut but somewhat obvious and transparent THIS PIANIST HAS ONLY ONE HAND! ten; 3) lower the entire accompaniment see how much more poetic, mellow and • Because of an accident three years ago 1 figure one octave. songful the flats are! At once the tone lost complete use of my lett hand. Since quality is improved and it becomes rich I love improvising and composing, I have and full. I believe this is the best test by kept on practicing the piano with my right which we can abide with confidence. QUESTIONS TEACHER'S hand, playing all the notes, and joining the !'- etc. treble to the bass with runs, arpeggios, and CLUMSY FINGERS octaves down the keyboard to the bass. I have studied piano lor six years, and But now I have come to a place which there are two things I am having trouble puzzles me. In the Hungarian Rhapsody I 'wonder if you have thought of using ROUNDTABLE with: 1. Gaining speed and smoothness.2. No.8 by Liszt, in the turensy-sixtli measure any of the music written originally for the Feeling rela:xed when perjorming a cora. from the end, I have trouble with a jarring left hand alone. There is a fairly good AND position requiring speed. My wrist seems break. I play the C#-A#-C# [our times, amount of this music, as you probably to become tired and my fingers clumsy and striking first the bass A# octave. A run jrom know, and by seating yourself at the bass uncontrollable. Still, I practice scales and the high C# to the octave F# does not bel- of the piano instead of at the middle as watch my hand position and correct finger, once, and a complete break from tlie treble one ordinarily does, I believe you could MAURICE DUMESNIL, Mus. Doc., ex- ing carelully, Whal method of practice do with an octave below or midway trill makes manage this music quite well. plains a puzzling notation; gives advice yOll,advise to overcome these difJicullies? the bass weak. To use the bass as it appears Another suggestion I might make is that ANSWERS on descending scales and other matters, C. J., Keatucky in the fourteenth measure from the end you study "music arranging" for a while would give strength and balance, but that with a fine teacher of composition, theory, There might be t \\ 0 r asons for the trou- makes the uoeniv-sisah to the [ourteentlv or arranging. In a rather short time you ble you de eril e : measnres from the end merely repetition. could probably get a good many ideas that 1. You say that you practice scales. and would make your work in transcribing Only one D is played on the first beat. Can you suggest a wa)' to obtain balance DESCENDING SCALES this is right. But you octaves much more practical. Give it a little accent (be careful, not too all do pre rice and smoothness, using the notes as written Pablo Casals generally uses a different Unfortunately I know of no one who much! ), and also on D and E on the third in order to exercise your wrist action? Very and maintaining a, joyous dep/.h, even fingering in descending scales on the 'cello. plays the piano with his right hand only. beat. Count in triplets-12 counts to the often stiflncs in speedy finger play comes tholtgh con.necting with other notes? Can this apply to the piano as well? AI· But there surely must be some who have measure-but play the sixteenth notes just {rom a un-exercised, un-flexible wrist. Try Though I am by no means expert with though no methods published since time suffered afflictions similar to yours. Per- a shade faster than counts one and two of and practice anything that call for light, one-hand playing of the masters, still I take immemorial ever dared to indicate such al- haps some the readers of the ETUDE can a regular triplet, while "leaning" on them elastic taccato motion. But remember, it real enjoyment in this sort oj thing. Per- of terations, it has long been my exp~rience offer suggestions. There is a famous con- to give the impression of distant bells. And lakes time and results do not show at once. haps yo/£ know a one-handed pianist with that more smoothness can thus be secured. cert pianist, Paul Wittgenstein, who lost his you will have it, especially if you use the 2. The fingering. Ea hone should find whom I might trade ideas and exchange Try, for example, the following fingering right ann in the first world war, and who damper pedal cleverly: it should make those his own. Those marked in your edition mar arrangements each 01 us has made. in the descending scale of D major: plays with his left 'hand. Possibly in his bells hazy in tone color, as if heard from be good ... for someone else. Trying to -Mrs. G. A. K., Montana travels he has met, or has heard of some afar on a dreary winter day. observe fi nger ings wr itt n by the editor pianists who play with their right hand, Only the first slur can he thus called: may cause awkwardness and thereby stiff- You are surely to be commended for ness and lack of speed. the zeal you display in continuing your If you were to write to him in care of his the second and third are ties. Conducted by KARL W. GE/-IIiKEtVS, Experimentation is in order. Try differ- music in spite of your handicap. I think, manager, Bernard LaBerge, 119 West 57th While this notation seems to be the re- Music Editor, Webster's New In/emotional however, that in arranging music for the St., New York 19, N. Y., he might be able This applies not to all scales, but to a sult of a little mannerism in writing, it ac- ent possible fingerings, then select the one to give you the names of some people with Dictionary, assisted by Prof. Robert A. number of them depending upon the rela- tually carries a visual message which helps that suits your own hand, and stick to it. right hand alone, you should not attempt to play all the notes that are written for whom you could correspond. R. A. M. lVlelcher, Oberlin College tive position of white and black keys. The much toward an accurate interpretation. You might look up the July 1949 issue of structure of the hand also has something to ETUDE and "'l' paragraph "or fingerings, both hands. Any transcription must vary HDW CAN I TRAIN MY EAR? do with the advisability of using such fin- FLAT, DR NATURAL? and shoes." which deals with this problem. somewhat from the original, and I think it that you have written down-but start with gerings, which suit many descending pas- Schubert's Impromptu Op. 90 No.3, in will be better for you to attempt to retain • I play piano and violin, and I study har- very simple harmony such as that found in sages in masterworks, for instance, this the Peters Edition, is written in G·flat with THE BEST MOTTO the spirit and correct tempo of the com- mony in school. I intend to continue study· a hymn tune. (3) If you have a friend who passage from Beethoven's Concerto No.4,: a loot-note saying that the notation in G I am enclosing a list oj mouoes and 1 position, and to bring out the melody lines major as published till now does not agree plan to use one oj them: [or my studio. I clearly, rather than to adhere literally to all ing music in college as I hope to become a is studying music, or if some member of music teacher. But I have trouble with ear with Schubert's original. A noted musician would greatly appreciate it if you "ill tell the notes the composer originally wrote. your own family is musical, get them to training, and because I know that this is once wrote that the key of G-flat is a mod- me which you prefer. Thank you very much. Since the melody lies in the left-hand play or sing the melody of some song or very important I wish you would mggest ern translation and that the Impromptu was A. L. L., .lIaine part, I might suggest that you play the hymn tune for you, listen intently, try to originally written in G major. Which is cor- passage of the Liszt Rhapsody as follows, something to help Inc. sing it back to the other person, have this rect? 1. Application is everything playing the first three measures at the oc- -F. T. M., tV. Y. person play it again if necessary; then It is my conVIctIOn that many students E. F., Wisconsin 2. Truth crushed to Earth will rise again tave I have indicated, the next three meas- write it on staff paper. (4) Have this other More or less aU music study is-or at and pianists will benefit from that principle 3. Work i life ures an octave higher, and the next six person play some very simple harmony for least ought to be-ear training, but prob- you, slowly-you to write the entire chord and in any case, it costs nothing to try. In my 0pll1lOn the Peters Edition is ab- 4. A tree is known by its fruit measures two octaves higher for increasing solutely right and the Impromptu was oriO'. 5. The Fine Arts lift the soul brilliance. This will bring out the melody ably you are referring nwre especially to on staff paper and then compare what you what is often called dictation~ this consist- PUZZLING NOTATION in ally written in G-Rat major. Harold Bau;r 6. He profits most who serves best and still suggest the accompaniment figure have written with what was printed. Maybe Regarding the first bar oj Debu-,ssy's Des -who was an authority on Schubert and 7. Forward march ,,'ith Music given in the right hanel. ing of writing down music that is played or this other person needs ear training too, in Pas sur la neige Prelude: Are the first two one of his finest interpreters-played it in 8. He conquers who endures sung by someone else. This is a bit difficult which case you might "exchange services." D's played and why the six slurs; and just that key and edited it that way. One easily 9. Music study exalts Life to manage by one's self~ but here are some (5) Buy a copy of the little book hy Heacox ~ ,,..1 why are the groups 17wrleedas triplets? ull.derstands why the key of G major was 10. As we li,'e we grow "'~ ideas that may be of help to you: (1) Get called "Harmony for Ear, Eye, and Key- some staff paper and try to write down the board" and require yourself to work each (Mrs.) C. R. H., California prmted, however. ~ne sharp in the signa- Everyone of the abm'e mottoes is good, etc. The following arrangement adheres more melody of some song that you know well, lesson carefully-noting the ear-training ture makes the readmg ever so much easier and it would be difficult to decide which is -=-t-.:.::::t=:=~ ::::::=:r= c1.oselyto the original, but is much more compare what you have written with what part especially. o~=. .-. a-·, --*==- than all those Aats. And in Schubert's time the best if one of them didn't stand out like 1·....-..:,------. ...-:,---- ~ difficult to play. If you can manage this, is printed in the book, and see how you By the time you have done all these the publishers were probably as careful to the brightest star in the firmament. I must he frank and admit that I never avoid difficult keys as they are now for fine. You might, of course~ simplify it in come out. If you are not good at this, then things several hours a week for a year your I unhesitatingly recommend ~o. 9: examined the orthography of that figure purely commercial considerations.. ' one of several ways: 1) play the melody repeat the same process in the case of a ear training should have improved greatly. WIthonly the top notes of the octaves I number of other songs-hymn tunes, folk If it has not, then I think you ought to give which indeed seems strange. When I played In the particular case of this Impromptu MUSIC STCDY EXALTS LIFE this Prelude for Debussy he raised no ob· I find the G·flat version easier to play if have written: 2) reduce the sixteenth-note songs, the melody part of your piano pieces, up the idea of becoming a professional mu. It tells it all and is indeed a beautiful jection to the way in which I interpreted not to read. And then, just try a few li;les acc?l~paniment figure to only octaves by etc. ~2) After a bit try your hand at writ- sician and choose some other r,eld. K. G. thought. Its author was Mr. Theodore this particular rhythm, so here it is: OOlltlmg the middle notes that I have writ- ing some of the harmony of the melody THE END in each key. While G major sounds clear Presser. THE E\D I 22 l ETUDE-APRIL 1953 ETUDE-APRIL 1953 23 ..._---- L VIOLINIST'S FORUM ORGANIST'S PAGE What is the best shape for the fin- supplied when the instrumeo~ was inslal!ed. gers to take on the strings? Should they Such thinzs are worth studymg; one neser always be in the same shape? J ani spe· knows wh~n the information they contain cially anxious to know if the first joint of will come in handy. the finger (I mean. that part of the finger Many organists write that their reed between the tip a.nd the fi·rst knuckle) stops are painfully out of tune in the mid. should always be standing straight up from Shaping the Fingers dle of the week when the church is not as the string _. It seems dl:fji.cult to keep In Case of warm as it is on Sunday. Don't forget that them in this position all the time. particu- this is normal. The organ is finished to be larly when using the oibrmo ... ~' played at a given temperature, and when -R. F.,Missouri the temperaturc goes up or down the organ on the String goes sharp or nat. Rced are more sus- There are few aspects of left-hand technique for which set rules can be laid Emergency ceptible in this re peel than nu~s '. down, and this question of finger shaping When a reed does n t peak, It )5 usually because of dirt. Experts say that "Icr clean- is certainly not one of them. All the writers on violin technique give authoritative pro- ing a reed stop, th r i nothing like a nouncements on the subject-the trouble twenty-dollar bill." A wally a one-dollar Part 2 is that most of these writers contradict one bill is j list 3S good. Paper money, as you another! My own conviction is that there by HAROLD BERKLEY know, contains silk, and this i" what makes can be no one correct shaping of the fin- it excellent as n cleaning agent. gers, because so much depends on the build The techniqu is thi : R move the bell of the hand and on the type of passage Irom the reed, slip the dollar bill under being played. tile reed and work it g ntly ba k and forth by ALEXANDER McCURDY As a matter of fact, it would be a physi- until all foreign matter has been removed. cal impossibility for all types of hands to tone be harder and colder, but the vibrato cept that the finger pressure should always Put the pipe back in th hole, always being play all types of passages and still keep the also will be more difficult to produce and be heavier than the bow pressure. In other careful not to disturb the wire. Then tune third phalanx (what you call the first joint) much less flexible. In passages that are words, in the playing of a marcato forte the pipe to the next octave nl 0\ e or below of the finger vertical to the fingerboard. made up of melodic phrases and phrases passage, the finger grip must of necessity in the same set of I ip s. Take, for example, the following chord: of rapid notes, the hand must adjust itself be stronger than in the playing of a deli- Emergen y repairs of this rt are, ~f T IS 10:55 on Sunday morning. Your taining the faulty pipe until an export can to the needs of the music, taking sometimes cate piano passage. course, no sub t itut for regular. ystemauc I service begins in five minutes. You sit he called in. one shape and sometimes another. Yet there are many delicate passages, maintenance by a train d expert. All organs down at the organ and discover that the If the pipe cannot be found or is too The young student should be trained at especially in the works of Haydn and should be crviced t least twice a year. Great Trumpet has a loud cipher on Middle inaccessible to reach, go back to the con- Only a very large hand could stop this first in the vertical, or technical position, Mozart, which need as strong a finger grip oftener if possibl _ It is only common sense C which will drown out the minister's sole and trill rapidly on and around the chord and keep the end of the third finger for in this position strength of finger grip as any forte passage. It is a question of to give to a finely made preci ion instru- voice and make the organ sound like a set troublesome note. Sometimes this will shake vertical. It would be impossible for short is most easily developed. Also, it is much the kind of tone color that is wanted. ment, the cost of whi h may run well into of ill- tempered bagpipes. the armature free so that the note will no fingers, unless the elbow were brought so easier to become accustomed to the sloping, When a bright, crystal-clear quality is five figures. not I than the amount of The situation "is serious because of the longer cipher. far under the violin that the first finger or melodic position after learning the ver- called for, as is frequently the case in care one would give to keeping an auto- time element, hut not desperate. Keep calm H this fails, try switching the power on could only rest on its nail. tical than it is to learn them vice versa. Mozart and Haydn-s-in fact, in the clas- mobile in good running condition. and work 'fast. and off several times. It may be that an Quite apart from technical demands such Some students have a strong tendency sics generally-then the grip must be Even the electric and electronic organs, If there is an organ-builder anywhere armature which has defied your most rapid as the chord just mentioned, there are to play expressive passages with their fin- strong. If a more sensuous, "soft-focus" though sturdy and capable of hard service, within reasonable traveling distance, your trill can be freed in this way. musical requirements which must be met, gers in the technical position. The teacher quality is desired, the player can well first move should be to telephone him and In some types of wind-chest, merely put- need looking over from time to time. orne and it seems to me that these often call for can usually help them to overcome this, use a less intense pressure, for it will get him to come as quickly as possible to ting off the Great Trumpet and remember- of them never have to tuned: but they be variously different shapings of the fingers. if he goes about the work gently, showing enable him to obtain a more flexible and repair the instrument. ing not to use it during the service will take are afflicted with a variety of other ills Take, for example, a passage of running by demonstration the differing tonal reo relaxed vibrato. There is no getting away Unfortunately, the organs most likely to care of a cipher on that stop. Llnfortu- ranging from worn-out tubes to interfer- sixteenths, such as the third page of the sults of the two techniques. Once a stu- from the fact that a very strong grip cipher are those which are remote from natel y this is not true of other kinds which ence from police short-w ave radios. Bruch G minor Concerto or the third page dent has found out by his own experiment- frequently hinders the free use of the available experts and therefore maintained cipher as soon as the power is turned on. A problem not easily solved is that of of the Goldmark Concerto. The player's ing how much easier it is to produce a vibrato. But this again is often a question somewhat haphazardly. If the nearest A sound rule to follow whenever possible finding good maintenance men. Today few- first thought, after accuracy of pitch, must good tone by using the melodic shaping of of the individual hand. Some hands are builder is a hundred miles away, you are :isnot to wait until 10.55 on Sunday morn- er and {ewer men appear to be taking up be for clarity of articulation. This cannot the hand, he will not need persuasion to so built that they can keep a powerful on your own. jng to discover that you have a cipher. If the trade of organ-building. Craftsmen be obtained unless the tips of the fingers continue along these lines. finger pressure while maintaining a relaxed Tn that case, go into the organ-loft and mechanical trouble develops in the middle who know the business are becoming hit the strings with instantaneous firmness. and continuous vibrato. Other hands can- locate the offending pipe. Leave the organ of the week and you are unable to get smaller in number. There are not many Such a quality of firmness can be produced Finger Pressure on the String not do this-which must not be taken to turned on so that the cipher will continue service, you have several days in which to men today, for example, who know how to only if the fingers are well curved over the " .•. But just how strong should the mean that they are inferior in techn ical or to sound. The note which is playing can be get the organ in playable condition for the voice a mixture properly. In engaging an pressure of the fingers on the string be? located through the trial end error method Sunday service. strings, which will automatically bring the artistic potentialities. Fo~, as I said above, expert to tunc and maintain your organ. be third phalanx of the finger into a position Should it be always as strong as possible a continuous~y powerful grip is not always by listening or by touching all the pipes For example, when the cipher is a key sure that he is recommended by the origi· vertical to the fingerboard. This applies to (as I was taught), or can it be sometimes necessary. in turn until you find the one which is cipher such as a broken spring, it is not nal builder or by someOne in whom you lighter? ... Another point I think about is vibrating. In some installations the pipes impossibly difficult to rig up an arrange_ the first, second, and third fingers: the That last statement must not be taken have confidence. how high should the fingers be lifted above are clearly marked in such a way as to ment of rubber bands which will last until fourth finger, being so much shorter than to mean that a weak grip can sometimes Finally. if your organ gets out of ord~r the strings. Should they always be lifted i:acilitate this part of the search. an organ-builder can repair the key prop- the others, has to be straightened a little. be allowed. A weak grip, never j a less and you ha ve neither the time nor technl· A quite different shaping of the hand as high as possible? I don't find that intense grip, occasionally. Every student When the pipe is located I simply pull it erly. Even persons who thlnk of themselves cal knowledge to repair it, make a virtue of out of its socket. Stuff the hole with paper is necessary when an expressive cantilena easy. . " of the violin should have it continually as non-mechanical minded may be sur. necessity. Have a piano pushed in or, a5 to suppress the whistle of compressed air is being played. Here the main objective Miss R. M. /IV., British Columbia. in mind that his finger pressure must be prised by what they can do when they have many have done. do your service a cappella. escaping through the opening. If the pipe must be a warm, singing tone, in which an strengthened, and by thoughtfully directed to. After all, if one did not have average You will be astonished at how your choir turns out to be immovable, a twist of paper ~asyand relaxed vibrato plays an important Some authorities maintain that the exercises he should seek to develop it or better than average muscular coordina- will rise to the occasion, and how Ule con- jammed into its upper end may cure the tion, one would not be playing the organ. part. This quality of tone is most easily finger grip should always be as strong as until he can exert, when needed, the full gregation will cooperate. Best of all. the trouble. Diagrams clarifying the internal work- produced if the fingers slope backwards, possible; others insist with equal confi- strength of his hand without stiffening. In church fathers, if they have been a trifle lax Either method will eliminate the cipher ings of the instrument are to be found in so that the fleshy part of the fingertip is in dence that it should be only strong enough some passages, even the strongest hand js about maintenance of the orgall~ will lose by putting out of action the pipe which is the many excellent manuals on organ. contact with the string. If the third phalanx to produce a clear tone. Personally, I not too strong. 110 time in seeino- to it that the im~trument ciphering. The organist, therefore, should building available from music publishers. of the finger is vertical~ not only will the would hesitate to lay down any rule, ex· With regard to (Continned on Page 60) is restored to fir~t-c1ass playing condition. make a mental note not to use the stop can- Or a book of instructions may have been THE END ~! 24 ETUDE-APRIL 1953 ~o...... -- _ ETUDE-IPRI/. /9il 25 2 rrhird Movement No,130·41119 (from "Sonatina") _, ._.J ~;- In the March, 1953, Etude we presented the ANDANTE from Berger's SONATINA. T-his movement, the last, . ~rings ill.to play flashing, arpeggiated figures (not unlike some keyboard music of the 18th century) and full, sonorous c?lOrds, gIVIng the pl.ana va- . ty and richness of tone color. The spirit is joyous and playful; the tempo must not lag; and everything should be a r t icu la.te d r ie < ) • 1 "d' G d 6 clearly. Here again Berger uses poly tonal combinations (as in the ANDANTE but the key center IS clear y . ra e .' JEAN BERGER Molto vivo ( = 1'<~) 1\ II - }r; :t:t ~ ~"'L ~ - ~ r '~'11 t mf non legato- ~1'rr;[1i -b"L ~... PIANO il ~ dim. - - : ... ~ .. .. t .... 1\ il - • -- .. .. · ,. ~ .. .. ~ 9Mfle~ ~ ~_ 'Il~ ==- b"L · h..;. mf • - - " $rywlV gDdo~M~ --= ~ ~- ~ I . ______,...- 1/ 1\ II II _--::-'--. #~~ --..... : ~ • - The sound philosophy 0/ his teaching principles x. t ~. rr x~-!t~ fl' x~ - g ~! - - f ~... h...~ affected all who came in contact with them. II -: I~~ ~ : • • ~ ..--=./ l:l ~.. qT' T' (\ T i q ..2- ... q'r V by James Francis Cooke ~ II .. ~-~. ~ - ~~.~: .. - - - · - I I - TEOPOLD GODOWSKY first came to the felt strongly that no matter how fine the in- of Godowsky illj 1938. He was not in good ~ mf 'Ii - ...... ~ - : struction the student might receive, there health and realized that his touring days r c. L United States as a youth of fourteen in 1884. He was immediately thrilled hy the came a time when he must start to think were over, and suggested that we cooper- ,~ ~ ~ ~. ~. ~. ~. opportunities and spirit of the new world. for himself and drive ahead on his own ate in wr-iting a book upon some of his At the age of twenty-one he became an power. He realized, full well, that many stu- ideas relating to pianoforte interpretation. American citizen and remained a loyal dents did not have the capacity for self- His rapidly failing health prevented this, - American until his death in New York City, study and needed continual instruction of Godowsky was a tireless worker as a ,'ir- >-:> - - ~ ~ !R November 21, 1938. He was born at Vilna, the best kind obtaiIiable. However, he felt tuoso and as a teacher. Although he ,fas a II - .;::. ;--; -... ::: ---...,.., in Russian Poland (Lithuania) in 1370 that far too many students depended too ~" r--..." disciple of relaxation, time and ha.rd work ~ where he made his debut as a child pianist much upon their teachers and did not try look their inevitable toll, resulting in a - , """ t t I ~ I at the age of nine. Although he toured as a to help the teacher by depending on their fatal breakdown at the end. f I prodigy in Russia and East Prussia before own efforts. He learned llluch however, There were however, several ideas which ~ -== ..~,,~.=-' ,;. mf,,".~~i~ J.. he came to America, and returned fre- from the advice of lllany artists who were came up in our conferences which seem ~. ... quently to Europe for tours· and master startled by the prodigious ability and men- worthy of preservation. No teacher was e,-er class engagements, the better part of his tal capacity of the young man. ll1o~e insistent upon precision, ret none had ...... ~ R- ...... - ~ life was spent in the United States. He had It was never my privilege to study with a lllgher regard for the artistic the emo, - - a very distinctive outlook upon the philoso- Godowsky but I knew him very well indeed tional and the spiritual. provid'illg it did phy of musical art that influenced great for many years and had numerous confer- not lead to "sloppy" playing. first, how· 1l~ • >- numbers of musical students in all parts of ences with him upon the philosophy of mu- eve.r,.I:l us sketch Godowsky's widespread the world. As a child he studied for two sical art. He was a genial, high-minded, actlvltlCS after he came to America. years at the Vilna Conservatory and for a widely read, witty friend with a keen, well- 1884·1886: Toured the United State, as ~ I few months with Ernst Friedrich Karl Ru- balanced outlook upon human affairs. On a .virtuoso and also toured in joint recital~ ~ =f mf dorfI and Waldemar Bargen at the Berlin the wall in my office is an autographed pho- WIth the Belgian violinist Ovide ~'Iusin_ ~ II ~I Royal High School for Music. But he in- tograph reading: "To Dr. James Francis 1886·1890: Taught in England and in - sisted to me several times that practically Cooke, in old friendship, Faithfully, Leo- france, mostly ill Paris where he became all that was worth while about music he pold Godowsky, New York, Oct. 15,1935." :> I a protege of Camille Saint-Sacns. froUl ,I had taught himself. (Ein autodidackt). He This was three years before the passing whom he never (Continued 011 Page 621 - COpyright t952 by Oliver Ditson Co. International Co.pyright Secured l 26 ETUDE. APRIL 1953 27 ETUDE-APRIL 1953 ~---- • ~ ...--;:---...... -,h~ n. . . • - A A . • - r -:1 mf mp pp~ mf I ' -, - - ~ 1 11~·'11_ ...._ ....' • .?' ~ cresco poco a poco mp subiio 8 . A J! ~ :> - =--- u ~ ~ b. <. ,b~ bq~ : · ~. -, ~ it !T' ,,~ "~ ~ IT ,rl-:r-. '!" q'q~ ~ ~ 1"': .:... IT "~"II~ sempre creso. e slringendo, ,. 1- D ~ ~-sf.fz fff , , I I ;-J11 poco cresco mf q~. ~ • ]I . . • = - In Deepest Grief q-----l~ • ~ · ~ ':j Here, in an effective piano transcription, is the closing chorus from "The St. Matthew Passion." There are few pages in the lit- erature of music which can evoke such pathos and deep poignance as Bach does in this music. This is music to play over andover again; to take into oneself until its ennobling serenity pervades both heart and soul. Grade 4. r': JOHANN SEBASTIAN BACH Andante (J = 60) Edited by Henry Levine 3 3;;;;;;:;'• 3. " ~• 3 2 5 5 5 ~ 5 5~ i i i ~5 4 3 3 2 2 I n I 1 5 ~ "_2 5/1'~ri i i I . 1 1 ". ~ III I I t: rl~iq~1 L r i~ 1=- =====f;l{il PIANO r r r:::::.: --::-....:::: f -= - rrr "J- ./ • = • f 212 1 2 3 'I .. :j :j .. .. :j 0 5 111 .. = f • • , u v 4 ;:; ~ 3~ I " ~~ • i •I 5 ~ ~ ~3p- ~ 5 ------II' ~ 11····················································· ...... ••.....••.•• ; A f- ...... pp • · # P .. 111" i:: · ;: I --...... • t ··C -- ~ a ... I- A 4- :::=- f..._ · trrr- ~ I 1 mf: bJt J I :I f- l' ~ . ff _____ ~ :> - - - 1II~. 2 1. ... 2 3 f 2 /- A- f .~ lJ=J =i :: 24~~ ~ Inl I a ~ __Po_, =i. ~ ' " ~ ../ ~pp~ '! 11 • ,,--,,'.. : -e::--- 11 -- , , f- ~ " r .. ==== '.!" 7 ([f From "Ih emes from the Great Oratorios:' arranged and edited by Henry Levine. ~ CopYright1952 by Theodore Presser Co, International Copyright Secured l. 28 ETUDE. APRIL 1953 ETUDE-APRIL 1953 29 ~---- L • ·l-- No. 120.30757 The Billboard (March) JOHN N: KLOHR J~: Grade 3. I . Arr. by John W. Schaum ,.". In march time (J = 10~) 3 1\ ,~4 , 3 3 , , 2 - 1 1 : , Ii '. :> :> f.f:.- e'e .fL":.. - ':h• I .. mf ...... , -, - 1 , • 1 " '" 5 . , 5 5 3 3 I 1 . 1 4 , . I 2 3 1 2 , 3 2 I •I ..,. . <, . " . :> II mf _ •• :> " " cresco I'' ~ ~ - .- _.- v; .. ... - - - ... L_ $: a: - I 5 , ~ 1. 2 3 v" •. 1 i 2 3 2 5 .~' , 11 5 112 1 z 1 ______2~.":' 2 , .,.-----..... ~ A • 1 ~. ~ A . ., " - 3~"~3 I I I' .==--:> .mf -=:::::. mp ~ I"'-;-.~ I • .... LM ~ :e e ee he .:: - ..... • . . - I , I . " 1 5 i ~ 3 t 3 " I a 3, " 2 3 3 3 3 1. 11 I~~. 2 1 ~2 3~ 1 ----,J 1.....--- 2. I I I~ rHf f I -= P ~~ ~ ~ -- tJ • " .. .," I " . I 1 3 " 2 3 % TRIO 5 i dim. 3~ 2 3 i i 5~ i • 3 i ....----...- i 3 i 3~ - ~ , • mp - I - ,-- - I -G? .- ~ .- .; t-, q:e :. b~ ~ • ... 1- - " "" .- "" 4 5 ,.2--'1" !j 'f/"" '5 --...... : 5 3 2 4 I , " 5 i 5 3 v" 3.. Las t t1me 3 5 I 2 ~ 2 I~ ..--- only 3 1 :>~ -- -~ ~ IT ffi:- 'ff ..;. h. q:e e b~ ~ Fine e~...-:: \' ; - I. ----. "'"" 1'-.- -.- , i .-> 5 i 2 i 3 - 5 3 5 i 5 I 1 1 DC. alii' (J I 4 3 2 I A •i :> - , A 2 i. i 4 ., !. , I T maroato p~ f ..;. q~ -= - - : 3 . I 1 1 , 2 I 2 i 5 1 ~ 5 3 2 ..1 -1 - .. D.S. at Fine Co . PYflght 1939 by The John Church Company International Copyright ETUDE.APRIL 1953 30 L l' 31 ETODE - APR! . Melodie No. 110-16609 .. .' .' . Rachmaninoff carried the romantic traditions of the late 19th century well into the 20th. Musically, he stems from TschaikoVSky, but fortunately, had a strong enough personality to evolve his own speech. This early opus exhibits the melancholy Iyricism"hich has endeared Rachmaninoff's music to those who seek musical satisfaction in a romantic expression. The piano writing is full # .. and sonorous. The important thing is to make the melodic phrases sing over the repeated chords which serve as harmonic and 4 rhythmic support. (Turn to page 3 for a biographical sketch). Grade 6. SERGEI RACHMANINOFF, Op. 3, No.3 -:t, Adagio sostenuto ..,.. ... ,.. ,u-i 3 3 3_ 3 3_ 3_ 3_ 3. • • 'I Jl II - - , !l Jl II .' . . .;, ~k';'" .. .' 3t 2~ I~ 2~ 1f1 ,'- !! !ft !! ""!~ "!! I:;;" cresco PIANO !i~"!!~ ~~ ~~ 3Z3_ ~ mf- ~ .....-----" 'I T---- In I :..c ,L P ...... T'/ ---p , ~ 1'- ~- - ~ 3 I 4 2 3 " L..- '----' ~ __ ,'_ ~'~ A'_ ____'A'______' d, r 7i~.h3~~Lm b~~h ~~J)J~m#m"m --:: I"'" ii ii ii- l ~~ ~-- •• i";h-- - <:' • r' L' -' " L.1 II •.• ... -- #- L-..J ~~ I- I- - - -- f ...... I- .... 1..0.. I- ... I- ...... ------'- ,..;--- dim. e3~ I~-;----'- -~ . e ~ lr ~ti~·--' . PP 1 2 I I 3 2 3 '- __ ,"------.J L--J~ , L--J mf 4 --iU i i i --- P3__ -- P 3 .J. cresc: mfl ~~-- ~nLL _ 3 P 2 '-_..J' L...1''__ __ -----.J 5 I PP 5 I ! nppPP L-.J ! t 2 ~ A 1\ L.1 II ______3 ~ ~ 3 3 : . : : 1-6 • I - I e :zt'-... fT: ;Y- itii '11 '--r~. '_r: v r ...· ~ ..------~~1 -- PPP --- I\all __ - cresc: ~ - - .. - -- - e q~~ ill ll1i llti !lil,! '!!.f- )r . , 3 4 ____ A'-__ ...J : \ l~\ ~ I , I>- 1"-· : 5 2 11 It f< I-- psempre f con brio PIA:-:O F-- r,-:-- , ;: :;,. 2 : C'l'esc. maroato , I ~ . 1.1 ~ '*! -&' , 3 , G~ • :J :J -'*' ~ I, 3 __ 2 \ 2 I I ,.., , .....J. ~t \ .I ~3 ~. 3~ 2 3 I 2 - . , 'R"' R- I P t: dellcato. -- f~\::::: - ,;.. ~...... - .,.' ' ' I~ I".~ I... ~ IC- - dim. molto .. ... -. Ie "e' Senza rit. 0 . 3 I . I . I I I 3 3 4 I 2 I 2 I 3 \ 2 2 3 D.S.al Coda 2 3 2 3 3 f P CODA ff acoel. molto r.'I I I .I 3 3 . 5 ..J 3 21 Copyright 1914 by Oliver Ditson Company " International Copyright Secured 3 34 ETUDE. APRIL 1953 ETUDE-APRIL 1953 35 L ..c.. = '. Meditation No. 120· 30'l22 Meditation Grade 4. SECONDO PRIMO C. S. MORRISON, Op, 90 C. S. MORRISON, Op. 90 Largo (J=56) a te1llpo Lar-ao< (J 56) ~ ~ to = I ,.j ~ a tempo .I1:iJ" a J, I ..J J hi ----... /j"'l J I, J J ,It I iBIt " I I J j~ ~~~ ,n n ~ -- ::§ I I 1 I cresco 'lP oresc. '- pp-=== pp pp-== - pp cresco f rit dim. = -;--.. pp PIANO , I-- I I' 'lP cresco .firit dint. 1----14--.) .> PIANO pp = 'U U U ~ I I -.f~~·- ;': '- ~ "" . ~ . (;; u .e- u u .-. C~ ('i ~..__ ..._ .._ .._ ..__ ._ ....._-_ ....-_. 0 u ~ ~ 'j ~, I , ~L -6r .- ...... I":'. :.' <, J L I J j J LI ----... · J~~j"~~ g: I~ ~ ~ I~ I~~ ~ I":'. ~: I I I . '~-ft= l' ~j,Jj pp . :§ fdi1n. P _ ,*'J_ '--.i---- pp pp--== ores:... , r-c.. l ' • pp pp pp cresco f,.it di'm, ~ ·• f I":'. 'U U ~~ l 'I ~j"ji U . .''J ~ 0 -e- ~---.----. a tempo ~-_....-.__ ._ .._._ ...... ; - - -0-. U 0 " <- ~~ - u I , _ J .~_h_: J~J .,"- l?L l? ---- I":'. '_-----..... ~=---6 ~~z: ~ · -- Mo derato (J=132) I I ~.~ l pp ... a te"'po ~1:i:J'I a I":'. ~P-: II- .firit. T d'un. pp-=:: = dim. "ii~ IfIt- a il:\lI~ ~ R"~ ...... ~-== f I I . . · ------~ I · pp : pp t U 'U f I I I · dim.. pp f f .,.. = I":'. .. . · M 0 d~~~~.?-__(.~::~.~:! _on. _•••. _.__••• _••• ~ _ _._ __L~ ~.. 2 ,_ 1:'\ ! l . 8 . · • b-' I -/l • r • ~ . .. U- U - rJ· . -.~i~ '~ ~~~~ ~ Z . · . . · ~ • · · I r -- It =5l:E!S, 11 112 I":'. I Largo (J=56) s,£,z f ,- ;":'\ I.J If l- t' .J1Q' ~~ ~ I • 5'------. I. f J II- 1-1- • • - 'i · · . . · , · t ~I I /" .'if..z pp pp I":'. ~ \, . . r J~I J""I ~ ~I J ;"~'~'~~': . . . · c • -/l • c c - " . V u u 1 I I I Z • ~ . U I l I pp---== pp creh'C, frit. • dim. I • a te11lpo J~d" ~,~~ ~ I":'. --- I~ ~ ~ LR .. ...- a ~ R,,~ ~~: - I · l 'U 0 U" ~~ 7' - · I v a tempo pp 'lP orosCo pp • d. ~ I ~ ~ ~;;'''''''--'''''''''''-::;::'''''''': oresc. frit. di1n. f • r I":'. J~J u -c II pp cresc, -~f:;;: n n 1~~~i - rJ· 'lP f dim. .'*~~~~pp ~~ := = - I , ~ii ~ I I i I ~ , , -- cz , ---- """"'" -• -- ~.Ji Also -availablei~-lIYour Favorite Duets;' compiled and, edi ted by George Walter Anthony. [410.4102·1-] I 'U 'U f-- I I Copyright 1005 by The John Church Company International Copyright secured ETUDE· APRIL 135J JC hET(JDE APRIL 1953 J7 a SECONDO Allegro (J = 100 ) I I: I: PRIMO . !- t ·1 -, 'I. ! All egr0 (J 100 ) · ~~_.~.~.~ ~ ._ ~_ _ : ------_._---._._------_._-_ ..__ ._-_.------" I 8------.------_ ._------p cresc. . · p cresco "!: "U" TJ" 3 " I -tJ I I I f f • I - I - I • dim. p dim. p 8----·-·--·------··------··------ : i i I cresco C1Y3SC. ~---_.-----_ ....._._--_.------f f 11 II 2 r.\. 11 8------····--·-----~----·--·-----·---·----··------~------.------.----.------·~1 dim. slower and sOfte )dying away dim. p stower andsofter; dy/ng away 38 8 ETeDE'APRIL 1953 ETlJDE'APRI£ 1953 3{) No,133 ·41009 Hammond Registl"lltiolt Overture in E minor @ 007262510 FUllOrgan-s.& 4' couplers (From "The Messiah") 01J iJO 8765 .11 Nocturne FELIX MENDELSSOHN (From'l\.Midsummer Night's Dream") of all manuals to Great Solo: Founda t iOIlS & Tubas Abridged and arranged byN Otifford Pog« I Repeat on Choir-Manuals Sw. Full without 16' couplcd- off Gt. to Pe d. II Gt. Foundations 8;-1~2' } S\\: &Ch. GEORGE FRIDERIC HANDEL ~ Start with Boxes closed Ch. Full without 16' 8'& 4' to Gt. Freely Transcribed/or Org on by 1\ IIAndante tranquillo ------I Ped. Itj' & 8; all 8' couplers Giuseppe ,lfosch e /I', I Grave 1 . , ~ 1\ HORN IJ.i II I. =•. - •• . •. & in F . : : . • -. p.' • ~ r- , .. ·~c, ~I:~ ~~ ~~ : · · . · · . 1\ -. ~---.- · · ,:-. · ---- • V II · · I ...Lr':W 2- :.~ 01 Manuals ~~fath rt~r &i 1 e ,/ -a-: _ .. :--} ) , , . ft'if l' • ) -.. . :... Ijjt::H__ I~df~· J I:t- r~lm pp ~'!· . : . PIANO . . · · . ~= \ ...... ~ I I~I T"---' I I :61:. ~:.. .=- jf~lI:f on 1'epeat] * rr ~. ~. ~. <, 11 ---- . ------.- . . · . Peda l · · . · ~ Pod.03#-· .'#- .- · • , r;ll.------~112 r:"\lnAllcgro moderat9 tr Gt0 Gt.o -.-.. off GUoPed. r:"\ I\lI . · . ------. - #~ ..... 1'!f··• ~ .f "1' IU ,.~.~. j2~r1"'1l_ I. I , r-.: ~- . r"""I I '" . I ~ ~ ~ . -' · ...... I · · I I · I' "I • ~ l,;~ I UJ.IllP i, ~. ~ • ~ 7- ~:' po:;;escJ .r_' r-- t---- _ - -= - ~~.~ t Il~~:. iriti #J i~~ li_~ Wi·", ,.....~ +-- I~ . L[~ Ch, @ < ?>if : ./ " ... , , . , · . J I · "-- ~ V r;;'" v v~::: V :..~ v I f" :6t - - r I --i r~i f a. tempo l\ I ' rit. 1":\ '-' 1111 ...... ::::- _ n"M r""I""M - " " " " " · - . ,u J >, I . l ~JJ.... , ,'. I .. , , -.-:" '- "",, '--- P--'...-/ f: p••• a tempocreo'ic. l::::=-: f. !---" --'- T ~ I. I I:.J V I [If] U 1\ ~ :> nJ ~ Gt.@- IIA~G~ ,,) ~ Girt.fl s07J"'" : !CW --- ... Solo .Gt,~ Q . '.~ -fI _ I,~ SOI~J l.:'J- .Jj J=- H - .• h II-U 1# & 5- , · I ~ · 1. ~ll~~1!ilj - l'it. P I I~: 1":\ = .::J....:i ~ '"i V V V . . . . '"'----: '" ::: ::: - i- :6t. 6-' • -fI-,J #- , '#- .., - - ~ - ~ L-----' " '" • . ·i 11 11 • " " r~---- t":\ ____rrr ~ ~ IU I I 'T IJ uCt1 ~UD 1m ~ P-Ji. ~ ,,~,~ 1111 - . · . ~ :~p [. ~ ~ . '" ,I.. ,~ .. I; I"W [d,,",l ~' Illr"1.-.ll _ lit: ...... ~ ~ ~ r.-.. '!;t;#l •• ------...:I.H. :&- , . .. ------. I , I , v~ -; 1 ~~:~ ~ 11. i • "'I ) ) pp' t":\ .. ••• , , I V ,,:J,.;i.., ~ 'j, ..., v . . · . -~ . . II II II II I .. CJ --. ~. ji '~I r ~. ~ :4 t '" II A '" T~r F " , .Alldynam~em"''' '" 'd· t" k E---'d" 1 From "The-Ditson Album ----of French HOfn Sol05." [430-4-0041] Co . po in lea lOns In brae ets are dona suggestions. PYnghIIG-2 b . Copyright 1940 by Oliyer Ditson Company Er tI y OlIver Ditson Company International Copyright secured ETUDE - APRIL 1953 L 40 UDE·APRIL 1953 11 [GrandiosoJ ~ I ~ ,--- ~ j-JftrJ .. r"l~I&JJ .. IA :.oL 11 r"'I I K'. ~II ~ J~ L-. rm rrr "'TT" rm rrr M"l'" ,[01 -~~:J'''J ~. ~~ t:\ r"I_ J---:---~m:·I. 0 II . 0 I _ ~ I I I 'I I , , ", I' II 1 . '"" ...... ~, I' 'I II Tutti I .. I I ' i I' 1\ 1.'1 I r r - [PiU~] -/_ Solo Gt. Solo Gt. 'fft. ~[< .... ~.e- fG;;[I.'I] 0 ~ I~ < f: '.lie -- I~tb~ J.• )i!~.~O 0 ;- "- I~qn~~ 0 ,. -~ I. e , n .... . #-. - : ~ ~I.: e-l r 11 -j -j Ii'" ff~ 17: ¥f 1.'1 1 C"fT ..... , [t:\] - e- , 1 I-'j .:J...:;/. n ~ .. V V V" xs " o V V V V 0 . A A A ".,. #.,r .,. Tl . -6 1 1 A" A" A A I.:.J 0- "I Nicolaus Lenau Plea A ROBERT FRANZ,Op. 9,No. 3 ,_ I""TT' Eilghsll Text by Constonce Wardle . cBittel Gt.@ ~ l llJ I'rr1 rrn r""T""I""" Edited by Walter Golde ,. .. _'I JJ1JrJ1J rrr jjiiJr:J Slow and sustained with d t d t' -60) I -,;; eepes eVOl~( J 0 0 . I I VOICE II 'I ",@r....- riEl I E .. IIL'-:V r r r I , ~ Solo ~p 10. i[dimJ 1\ ~ the_ 1\ 1\ ~ ~ ~ Do not leave me,_ eyes of vel - vet, Dark, ly shad, owed like night; Weil auf mir, du dunk - les All ge, Ii • - be de/ lie gall z~ Muehl, ~ r ~ I Solo - V - " ii ii V V V V V ...,V V ~ V V V fJ .. j - -i :2 ~ iI ~ "'" IAN p~ .. • -~ , 0 A A "1' ' A " A -&' A "A ...... A A \\ ol A " ..A A A , #- .. ~~ z; ----# "- ~ I I ITTI .... it- ,. r-rT"1 I'TT"1 ~~ ...... ~ -- rm "" fl L - lfP I 11"- f!~ ...... 5·010 ~ I. .. r r i9- ~j r I b I r tlr Gen, tIe, ear· nest, qJiet ' Iy dream - ing Wells of_----- deep and tend er_ light. [pOCO a \poco orosc.] [If] ern· sle, mil . rie, tr(iu - me - ri - sche, un ' er grit'nd - lick siis se Nachl, ...- L 1"-1 - I " l!+tf~, ..., V V V V I- -j i ~:;; IIT.. I" , L....1 ..., ..., - ~ Iq~ ,~ i~ i i -& u T # ' " 'riA " I A II ., A A " A " r :;; .. :;; • I 1J :=====:L V 1 ii i , I ,.., II .. ~ J"1. I, I ""'. J--J f1e:-. ""p:- ....J ~ , • Eyes to charm 'neath shad " owed lash· es, Eyes to tempt the world a way, I. I , I I Nimm mit dei , Ilem _ Zau - bel' dUll - kel d{e se Well von hin lien mil', .. r'---..:.. v~ IGt.' ~ , , Gt. Solo Solo I J .01' ~tA ~ ,#;Olt ~ II ~ - --- : . , I. ~ L p- 'j ~ • ~ Iql ;; r' 0. tl' 't!' ~ ~ p i i ~V L..:: r--" ..., ~ ..... ~..., V 'k .. ~..., ~. ~ .(;L. .fi::. • .. ~ :;; :: :;; :;; ki ~ ~ 11" A A feudedy :;; i1_ A" [G t ] ''1) I rr;men: .,....l>+ I I j L-I I I , I -;- -~ J' f r~JJ J ~ i~ t: I I ~ Eyes to drown my_ soul in beau, ty, ~ to bless me, day by_ day. 0. I I ..l..I.J u.J.J UJ,.J Vv .:. _ , , ,UJ,.J W..J J ...- 'LL rlass dll u ber mei nem Le - bell lin sam schwe . best fi,'r ufld fiir. 'GJ.5>iit.f] Solo to Gt. -;- #j: ~ , , [ri~. ~ till it- r IJ • rl • ~.J ..... ~ .... • ~ A AA A;;'" ~ : : 10 , I oj ~;1 ~ -0: p~ r q~ ~~ p ~ ~ "~ .:. I r tlr " - ~ V V,. V V V V V V V V i .. 1 :;; : ' r ~76 ?; - i i =:., i ~ From"E G r ----# 431,41002 c ,Y as erm an ClaSSICSongs, ed, ted by Walter Go Ide, [ ] --- J " II "A I • " A ' A " -W - ,,~ °PYTlght19-2b 0 . , International Copyright secured " ..II E il Y lIver Dltson Company " " ETUDE-APRIL 1953 42 " " " rlfDE, APRiL 1953 13 A Little Bear Oub Sees the World on His Own III 2 1 2 1 2 5 3 2 No.HO·40208 Grade 1. MILDRED HOFSTAD rt ..-../ ~ ~ ~ ~ . ...~ .,. • "!....-- ....--../ .. • 2 1 " Moderato 3 4'---- 2 3 1 ~ := 2 . . . .;. . -= = ... . . , • ...... \ ... 1 1 I I .. 3 ... 1 I~ ./ his warm and co - zy ho m e; 4 I Once a lit-tie cub just wa.n-de r'd off a - lone, Lcft JJ. C. al Fine L. "l'he mot/cer bear speaks) III PIANO < Moth- e rs here to take you horne" "~;ugh-ty lit- tIe cub to wan - del' off a -Tonc, ",' _ ... • " - " t ..-.-/ ...... -- .. -.-.....-- ""-"" .~..~ "'J V · ...~ "'J rit"'~ 2 --=:::: 3 2 3 2 4 3 2 = /' <, I .. . / r:1F::-jC-r-s-'-t-t-:-i-m"e-o-n7Iy------'11 La st time only .. . . . 4 3. 3 ·1 - 2 1 - " I 1 4 1 '3 I -, rit 1 ~ -: ...... • ... : Out in - to the world he t rav-e l l'd on his own, N ev-er drcarn'd how far he'd roam. Fi"e Grade 2. < more to roam. The Tortoise Has Won!* Hun -gry Iit-tle cub no long - er on his own, Pr orn-is'd n e v-cr- Allegretto ADA RICHTER ...... Jl .. - ~ · (11fr. Fox) 2 1 2 3 3 2 1 3 2 4 3 2 1 ~~ a tempo 4 5 4 3 2 4 "5 PIANO cv - or see such a won-der-ful thing? Our friend the Tor-toise has won the , Lost, he sat be- side the road to rest, Try - ing to de - cide which way was best; mf 1 1 3 5 2 2 (Other animals) (llfr. Fox) 4 2 1 3 5------... • • 2 3 (:rIte little cub sneaks) IJ. C. al Fi"e 4 5 4 3 2 4 " f race. Hur- ray, hur - ray, hur - ray! __ I-- The fool- ish Hare thought he'd have some ~ .. -, rd. , < Tired, he fell a - sleep, but soon a - woke, "\Vho was that! L'rn sure some - bod . y spok'e." , ...... -6- · 1 1 - ~ 2 3 CopyrIght 190'0... by Theodore Presser Co. InternatlOna..l." CopyrIght secured COther animals) Mr, Sho\v-off* 1 5 ADA RICHTER Alleo-I'o >- " - 1 2 Oi. 1 3 1 2 .. 1 3 ~ " , •• fun; He took a nap and the Tor - toise won, That's why we're all so hap- py to- -, r < ~ ,,:/' ';"I/pre sta~ 7' PIANO #: . e 1: J - #: · . . .~ 3 ad hb. 11 1[2 8----·"-3>": (Look, onefoot!) ., 1 II 5 , ~• 'n a tem}!o 5 5 ------~ 2 .. .u. 3 1 3 " .. - 3 . · . l I ~ --- < ~ F~'ne p~ ~ .. ~ ~ ray, hur - ray, hur - ray! 1(. ~. .. day. jI.' .:rit. Hur - ray, hur - ray, hur - ray! III. ..;. ~ III': >- .- t--- , ~ 1-- , . . .. -== 9 ~ . . . .. 1~' 9 . · . . . " . . 1 · ~ I 1 · I I :* From"The Hare and the Tortoise;' by Ada Richter. [410-41022J Cop;yright 1952 by Theodore Presser Co. :~From"Th H [ 44- International Copyrightsecured.L0. e are and the Tortoise:'by Ada Richter. 410-41022 J PYrtght 19"2 h T I:;.ternational Copyright secured ETlIlJE-APRIL 1953 Er" Y heodore Presser Co, lJDE,APRiL 1953 45 ____ ..... I' ~ 5 3 No. 110·40196 • 2 a tempo Dance of the Green Grasshoppers >- :> Grade 2~. 5 WILLIAM SCHER 2 2321 25 1 4 3 1 ...... , Allegretto ( =84) 5 . 2 3 2 ~1 3 1\ 3~ • ~#~- . '- : mp cresco , f 1'it. <, fl. . '---' poco'"rit. O!. P 'J/:f • >- >- 5 2 '!' 3 . It"!' 2 sempro staccato . 1 1 O!. 1 ~ ~ -:J- 1 8 Jl .. 11_ ~ 2 2 3 4 li. jj • H. ~ f*" ~ H... ~ l~ ~ H .. li. jj H.. 11_ H si1nile 5 "H; • • 5 1 , , , R.N. 5 1I.N. :> , , a tempo 2r- 3~? 2 o~ 1 2 • I') ~ . , ...... ~ . . ~i 1 JJ i~11 J's i-j Ii~ ] Ii.. .I ... Ii~ ~ ...... 10"",1 .... • O!. ~~5 .2 Fi"e L.N. <:./ p . 'lIy f, ! 1\ a3----;-te",p~o~ ______c> Pi) O!. ~ ~ :J ~ ~ ~ ~ sempre staccato 1 2 4 5 3 liN. 5 3· a tempo 2 f 3 4 . 1 1\ 1 5 3· 2 . I -=+=H=R ,- ~. 3 O!. .. L i ~. 'L Hr ~!!.7 ~'lj .~.lj ~"J 3 .3 poqo < ===--PiJ ;. =- Grade 2, 1I'jJ 3 U mp L.N. r-u: 'lip ~ .> It. L.N. 3 ·5 = .'!f Poor Little Zizi . Lyrics by Jane Flory Tradi t ionaI motion (J=lOO) Arr. by Marie Westervelt 1 7 Moderately, witll 1 1 1'- 3 ___ 13 I~ 2 3 8 5 2 5 3 ~5 3 5 5 5 Andante 2 3 3 liN. IJ (J -;'al Fi"e I f.\ 2 3 3 1 . 1'\ 2 • - 3 3 mp she is feel so sad; Pa - pa says she PIANO Zi z i, she is feel so bad, Zi zi, ,-. O!. ~ ~ J H· r ~. r 11* rq... ~ ~T~ 3 S ,; -3-U ~P'3 3 ' . -- -- :t 4 l-r3 • 3 3 = d 3 rit a I A L.N. .~ , . 5 5 2 semp,'e legato , Copyright 1Qo2 by Theado re Pre, ser Co. • 3 V Int ernabonal CopyrIght secu~d 3.-- No.110·40201 ----...... 2 ----4 1 3 2 --...... Grade 2!. Topsy- turvy Toy ------Moderately fast (J = ca.108) ELIZABETH E. ROGERS S8'1n p 'I'D staccato 1'\ 4 3 2 2 • 2 • 5 • n:t' . may not go, May not wear a dom - i - no. Pa - pa says she may not mask, I J I I I I o!. mf J 'I I "I J J "I J :J ;J 1'\ r ... 2 S 4 3 g 1 5 o!. . 3 1 1 5 1 2 3 5 5 3 3 3 4 5 3 ___ ate-mpo 5 1 1 S 4 5~ 3.-- "2-- 2 ------mp rit must not ask For per-mis,sion, nO,no, no! Lit-tie Zi - zi may not go! mplegato cresco Pa - pa says she poco rit. ;J 3 I 2 2 S 5 2 Copyright 1952 by Theodore Presser Co. International Copyright secured Fr01U"Ma . 46 Cop' rdl Gras;' by Marie \Vestervelt and Jane Flory. [130 -41014J ETU])E-APRIL 1953 Yl"lgh119'2 b O' . International Copyright secured A'TU U Y lIver Dltson Company 47 ...... J__ DE-APRIL 1953 HOW TO BEGIN PRACTICING A PIECE into an address which, if read by an was not in agreement with "unveri- ordinary speaker would have little fiable accelerandos and ritardandos" (Continued from Page 10) significance! interfering with the rhythmic hon- Grove's Dictionary of Music and esty of the measure. He refused to Grade 31, Gavotte Gracieuse onwardcourse, that, by i~s sur~ing, labored effort, or sing-song accent in Musicians gives the following reo admit them. Yet Schnabel himself dulating character brings Itself slow practice. Let the ear remain marks on rubato : "Rhythm seems to played with freedom and great feel- (Fromthe Ballet "Les petits Riens") D . I d WOLFGANG AMADEUS MOZART naturally into the emouona ~n sharply discriminating as you pro- hold together with the time, a num- ing, whether he expressed it in the Edited by George Walter AIILJZOlry psychologicalrecesses of the mind, ceed. Play the piece softly without ber of minute, unverifiable acceler- lyrical beauty of simple melodies or 5 5 3______Gavotte gracieuse , , 3~ ~ 5 5 1 andadapts itself to them. the use of any accentuation. andos and ritardandos, or else reo in richly variegated harmonies; and 5 2 . fljj jj 1 3 2 4 .. Musicalnotation, though theoreti- In slow tempo, much that is melo- fuses absolutely to admit them. all of it was "the playing of true - callytrue, does not always remain so dious and pleasant to the ear such Whichever it does, it is that fiddler's time." whentransferred to the instrument. as simple musical figures, ordinarily reading, or expression of the music, One can engrave a certain sensibil- e. ~ ....-/ ~~ It is then that the practical applica- obscure when executed in quick the outcome of musicality that is in ity into the measure itself by carry- .P tionof mathematical accuracy fails a tempo, are discovered and brought him, his special creation, inimitable, ing out what the writer terms "na- ~ it. . " ------· · littleor a great deal, according to out of hiding into musical expres- and not recoverable perhaps even by tural nuance" in the ups and downs · · the failure of the student to give sion, thereby giving the player a him again. But where did he get this of melodies. Where notes succeed · 2 3 , uncompromising, honest value to better understanding of the melo- rubato from? He got it from the ups each other in upward tonal succes- 3 '3 5 2 _4 5 4 eachnote and to each rest, careful dious inherencies contained in the and downs of the melody. What these sion, "Crescendo" is the natural 5 harmonies themselves. 2 5 , 4 notto play notes of eighth note value put into the strict time is, as Lussy trend; (unless the composer states , 2 =---- 4 5 3 5 , 3 5 , >y----. for quarter notes; or thirty-second It is stated by Schindler that pointed out, pathos-e-Ta nature dou- otherwise). Where the notes recede I ;. .;. ~ J l 2 I'1jj# - · · notesfor sixteenth notes, and vice Beethoven, in playing his own corn- loureuse de nos sentiments.''' in tonal retrocession, "decrescendo" · · versa.Leaving out Tests altogether, positions, whether solo or chamber Henry Purcell said: "There being becomes the "natural nuance," the ~ , y or habitually slighting their value music, used tempo rubato. However, nothing more difficult in music than general utilization of which combina- e. , _5 _ , ~4 r '4 3 5 '- 2 ...... 5 " 5 3 - - 5 3 3 5 3 , 3 , 3 , 4 4 ,;;--~ _3 2 ~jj# '15n . . -----. . "1 511 1903 THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC 1953 I e. ~p f. ~.P WHAT PROGRESS ARE EQUIP YOURSELF FOR A BErTER POSITION This is Your Opportunity-Mail the Coupon Today! P YO A proof of quality is important for one m· 2 ~ U MAKING? terested in further musical training. Our UNIVERSITY EXTENSION CONSERVATORY Dept. A.770 ~ J ~ t- ~ J f::: , Yourm.usicalknowledge-your positionand courses offer you the same high qua1it~ of "2000 So. Michigan Blvd., Chicago 16. JIlinois inCOmetodaY-are Ihe result of the training preparation which has developed and tram~d Please send me catalog, sample lessons and full informa. ~ouhave given your natural ability Addi. many successful musicians and teachers m bonoltr ' , . . tion regarding course I have marked with an X below. I r OppOrtun~l~lllg will open up new fields, new the past: 4 r 3 o Piano. Teacher's Normal Course 0 Voice 3 5 4 standing'~:Siliegreat~r income and higher NATIONALHOME STUDY COUNCIL o Piano, Student's Course 0 Choral Conductinq 5 5 - Tb' mUSicalworld. The Council is an Association of which we o Public School Mus.-Beqinner's 0 Clarinet 5 5 5 sion~ valuabletraining, through our Exten· are a member. It includes the outstanding· 3 3 4 2 o PublicSchooIMus.-Supervisor's D DanceBand Arranqing ... inter!Ourses,~ay be taken at home with no correspondence schools in the United States Advanced Composition 0 Violin 2 , . o jj jj ~r;---, ~ ,;, - .,... ~~ ,:-.. .;. ;.- . .. - devot~ren~eWIlhYOurregular work just by with headquarters at Washington, D. C. Mem· DEar Traininq & Siqht Sinqing 0 Guitar day U:~o~d~e1f-~tudythe many minutes each bers are admitted only after rigid examination o History and Analysis of Music 0 Mandolin sivelllusic' manly go to waste. The progres- of the training courses offere~... . o Harmony 0 Saxophone e. ~ the val lan, as busy as he may be, realizes We are the only school glvmg tnstruct~on o Cornet-Trumpet D Double Counterpoint • .. il Welre~fSUCh.~tudy and finds the time for in music by the Home-Study Method, whIch o Professional Cornel-Trumpet 0 Banjo Who a paid POSitionsare av:";lable to those includes in its curriculum all the courses < P .f~ rit. Name Age . it. I.- t- ~ re ready lOT them. necessary to obtain the Degree of Bacbelor " ~ ~ ~ #,ti \"Jf" Street No...... •...... ••....•.•.••.•• YOU tan do il 100' It's u YOU1 of Music. I . • P 10 A Diplomo Is Your Key to Success. City ....•.....•.•....•...... •..... State...•..••..•.•.. I Are you teaching now?.•....•. If so, how many pupils have r,; , 2 , 1 . '.1 ... 2 , 5 5 4- -5 you? •...••.•. Do you hold a Teacher's Certificate? ..•.•.. 5 UNIVERSITY EXTENSION CONSERVATORY Have you studied Harmony? .••..•. Would you like to earn From "1l1iniature Classics" Vol. II, Haydn and Mozart. [430- 40050J the Degree of Bachelor of Music? ...... •••••••••••••.••• Copyright Hl24 by Oliver Ditson Company 2000 SO. MICHIGAN BLVD. (DEPT. A.7701 CHICAGO 16. noL. 48 ETUDE APRIL 1953 I ETI __ ---'LUDE-APRIL 1953 49 r;======;r!"" MUSIC SHOULD SERVE THE COMMUNITY GUY MAIER WORKSHOP (Continued from Page 11) AND MASTER CLASSES new at PRESSER · · · schools place first emphasis on CHICAGO-SHERWOOD MUSIC SCHOOL edge of them is at a disadvantage what's • music rather than on performersor PRIVATE LESSONS-JUNE 29-JULY 3 in the world of his own time. Advancing to the music school potential genius in students. Let A D V A NeE OF PUB LI CAT ION 0 F FER TEACHER'S WORKSHOP AND YOUNG PIANIST'S level I think that music education the children develop normally! If REPERTOIRECLASSES-JULY 6-10 These books are now in preparation. Orders are limited to two copies per book. should be an integral part of com- genius is present. it will showit. Address: Sec'y Guy Maier Classes: Sherwood Music; School Please send remittance with order. (Check or money order requested.) As each 1014 So. Mlehigtln Ave., Chicago S, III. munity life. Music schools should self without hothouse forcing. Final. book comes off the press, delivery (postpaid) will be made. look further than the class room Iy, I should like to see the Honorary NEW YORK CITY-STEINWAY HALL needs of music students; they should Directorate of the letterheads be. TEACHER'S WORKSHOP AND YOUNG PIANIST'S ornanize in each community the type come an active counselling body GrandPartita in D Minor Baldwin Book of Organ Playing REPERTOIRE-JULY 13-17 of Cmusical entertainment that com- meeting with students and parentsa; -by Bernardo Pasquini -by Dr. Rowland W. Dunham ADVANCED PIANIST'S REPERTOIRE AND munity needs. This can be done by regular intervals. explaining goals Transcribed [ov ogmn by Giuseppe Moscheltti An Introductory Manual To the Organ PRIVATE LESSONS-JULY 20-24 setting up an advisory service and and progress, answering questions, Address: Elsie Stein, Sec'y; 703 West Ferry St., Buffalo 22, New York letting the people know they can widening the student-teacher reh. A brilliant theme with variations by this master composer, performer Rowland "V. Dunham, Dean of the Music Department of the Uni- turn to it. It can also be aided by tIonshi p into a cause that has mean. and teacher of the 17th century. Freely transcribed for the modern versity of Colorado, and a Fellow of the American Guild of Organ- Many Special Features ... Lectures on Pedagogy, & Group Piano, by Notionally Known organizing public concerts at which ing for all. pipe organ, the selections provide excellent con~ert ~nd recital Authorities ... Teacher's Accrediting for new "Maier Way To Ploy," etc. ists, has prepared this instruction book to aid the pianist through the school's own students perform. On the still higher level of the material [or the advanced student. Hammond regrstranon, the transition from piano playing to playing the organ, whether In either case, the emphasis should budding profcs ional I believethat 433.41009 List Price $1.25 Advance of Publication $.95 be on community music which all his teachers should be able to offer under a teacher's guidance or not. can understand and enjoy. Here, the him practical advice about the kind This is not a book of "short cuts", nor is it a book of arrangements SUMMER NORMAL COURSE trick is to study community tastes of prof salona! music that is wanted, Ballet Music for the Dance Studio -compiled by Alberta Ladd or organ registrations. It is a sound and fundamental book of organ LOUISE ROBYN SYSTEM OF MUSICAL TRAINING and plan programs which keep to which he can turn on the basis01 instruction. The techniques recommended have been proven by Piano book [or Dance Studios FROM THE PRE-SCHOOL TO THE ADULT AGE. slightly ahead of the taste. A town supply for demand. In my workwith actual experience and are applicable to any traditional organ. The which already accepts Bach and the a tionn l Orche tra. I makeitmy Eachpiece of music has been selected for its fitness to accompany writing is simple, interesting, and easily understood. Brahms can be initiated into more busine s to study trends; thrcugh re JULY 6. 1953 to JULY 16, 1953 balletsteps, such as pointe tendue) ronde de [ambe a terre) rende de modern works; the town that prefer-s ports, news, the grapevine. oneman. 413-41011 List Price $1.75 Advance of Publication $1.30 MORNING AND AfTERNOON SESSIONS jambe en l' air) pique. They are also suited for toe work combina- ballads and operetta must be led to ages to know what's going on allover tions and waltz combinations as well as the polka, galop, and Bach and Brahms by way of Men- the world. When 1 find an upswing01 Direction-ETHEL LYON and associates schottische.Miss Ladd says: "This collection of music for dancing delssohn and the simpler Schubert. interest in opera, let's say, or ballet, schoolsmay be ada pled ro any method of teaching. The selections Modern Methods of piano instruction as applied to children of all ages including pre- The wise educator doesn't plan by or the larger chamber works, Itrain Pianorama of Easy Pieces by Modern Masters school will be presented. used [or each exercise at the Bane have been suggested for their rule, or even by his own taste. He our young p ople in those techniques The course is open to teachers cs well as to advanced students who wish to prepare to Compiled, arranged and edited by Denes Agay themselves to teach the Robyn System. finds out what is wanted at the time. along with those of the standard adaptability the exercises." For information regarding closs schedules, rates, etc., write to and goes on from there. He remem- symphonic repertoire. At. all times, 410-41025 List Price $1.50 Advance of Publication $1.00 Following up his successful "Pianorama of the World's Favorite bers that culture cannot be drilled we give attention to those manifests- AMERICAN CONSERVATORY OF MUSIC Dances", Denes Agay now presents thirty pieces for piano solo by into people; it comes only through tions of good music in which there At the Hammond Chord Organ 25 of the leading composers of the 20th century. Some of the com- 25 EAST JACKSON BOULEVARD. CHICAGO, ILLINOIS being wanted and absorbed. is current interest. posers included are: Stravinsky, Debussy, Ravel, Prokofieff, Bartok, The best absorption results when The goal of music education is to A collection of melodies which include choice selections from the Kodaly, and Puccini. Most of the compositions are original, some art is freed from stuffy academism build musicians capable of perform. Pressercatalog as well as other old favorites. Some of the 25 numbers are arranged, while others have been revised to reduce their difficulty. and made a part of natural living. ing any worthy musical task. I am includedare: At Dawning by Cadman; Stan and Stripes Forever by ORGAN INSTITUTE CHORAL SCHOOL 1£ you want to teach a young class often asked. what makes a competent lousa; Venetwn Love Song by NeVIn; Minnetonka by LIeurance; All the selections are refreshingly melodic, clothed in imaginative, about the oboe, don't prepare a lec- player? In' reply. I point to the Vest,La Cuibba by Leoncavallo; Song Of India by Rimsky-Korsa- harmonic settings. The collection offers ideal material fo~' study, Andover, July 27 • August 16 ture! Bring an oboe into the room. men of the BC Symphony Drches kov;How Can I Leave Thee; and Invitation to the Dance by Weber. recital, and sight reading sessions, for the pianist of moderate skill. .it Faeulty: OLAF CHRISTIANSEN. ARTHUR HOWES, put down, and talk about some- Ira who perform under Toscanini 433-41011 list Price $1.50 Advance of Publication $1.10 410-41026 list Price $1.50 Advance of Publication $1.10 thing else. In no time at all, some today. carry through a script show IFOR JONES, ERNEST WHITE child will tug at your sleeve and ask. tomorrow, and fill in jazz spotsin "What is that? What's it for? What For choral conductors: Technique, Interpretation, Vocal Tone, Selection between. There is no question of FINAL ADVANCE OF PUBLICATION OFFER do you do with it?" That's the time of Voices, Repertoire. Less intensive curriculum for choral enthusiasts. "preferring" jazz or script shows. (\ -ananged by Tom Scott to answer him. Once his own interest There is simply the realization that Sing All Men Also moster classes in Organ with E. POWER BIGGS, CATHERINE has been aroused, he'll absorb far these forms are there as part of our ;\1 American folk sonzs are always favorites to sing and to hear and these arrangements for ~ CROZIER, ARTHUR HOWES, ROBERT NOEHREN, ERNEST WHITE. more than he would from "lessons." contemporary life. Giving them at- male chorus by TO~l Scott are "tops". The 20 co.mpositions are gToup.ed into five categories I( Spontaneous interest always creates tention involves no "disgrace"; on -Sing Of Work, Sing Of Love, Sing Of Fun, Sing of Heaven and Sing In the Saddle-all Combine vocation in picturesque, historic its own demands. I remember heine the contrary. it develops the versetil- of medium difficulty. New, appealing, excellently arranged-a perfect combination! New England with adranced, accredited study. called to visit the Boys' Club of : ity of genuine musicianship! 412-41005 List Price $.75 Advance of Publication $.60 Organ Session at Tacoma, June 29. July 18. settlement house to see if the lads On each level. then, music educa· were ready for anything musical. I tion can be improved by taking it out ORGAN INSTITUTE, ANDOVER, MASS. came upon the boys during a rough of the vague category of '·culture" *************************************************** game. of basketball. After watching and making it part of the current NEW RELEASES a whIle, I. suggested they might im- pattern of living. Each few years PIANO SOLOS CHORAL prove theu technique by movin'" in produces its o"....n pattern. and some SATB EIGHT SENTENCES FOR THE SEVEN Wm. ~. J!)apn£~ ((0. rhythm, and played a few record"'s to patterns are more pleasing than Grade I FLYING SQUIRRELS PLAYTIME. Mildred Hofstad 110-40221 $.35 SEASONS OF THE CHRISTIAN CHURCH Giuseppe Moschetti set the rhythm. A few days later. others-to those who haven't shaped (Legato study, Words) 312-40132 .20 the boys demanded the records. A (Easy, EHectire sections) them! The important thing is that Grade Ph ECHO ••••••••••••••••...•.•••••• Beryl Joyner 110-40223 .35 GOOD OF CO~TENTMENT Jeon Berger month later they were listenin.,. to the idiom of each age is normal to (Good lor dynamic contrasts and legato study, Words) 312-40131 .25 them apart from their sports rhY~hm (a cappella, Dinlcult, Dramatic setting of a text based its contemporaries. For which r~a· .35 on Ecclesiastes) value. Before long, they had started LITTLE SHADOW •...... Mae-Aileen Erb 110·40222 Solid Silver Flutes - Piccolos son, we should insist that the Halll· (Good study in fundamental triads Excellent lor lelt NO MAN IS AN ISLAND Jean Berger their own chorus-spontaneously. r 312-40130 .20 ing of our young people include.an hand control of intervals, Words) (0 cappella, Moderate difficulfy, Composed to the Another way of arousing interest famous poem by John Donne. Powerful eHect. lOS massaciJuselts QIbe. jL!loslon 15, mass. awareness of the conditions in which Grade 2 is by teaching children to play to. BLACK EBONY , A. Louis Scarmolin 110-40224 .35 they themselves wilJ have to lh'e. o COME AND MOURN ..... , .. Frances McCoWn 332-40097 (Recital piece, Tune/ul. Based only on black keys, it .20 gether at doubled instruments or Once we realize this and do some' (Dramatic, Medium Difficulty, Contemporary PIANO TEACHERS combinations of instruments; two has a plaintive melodic quality derived from use of thing practical about it. we shall pentatonic scale) SNEEZING, A Spring Song .; Ruby Shaw 322-40024 .18 This is your invitalion 10 attend the INTERNATIONAL PIANO TEACH_ can e~e~ work on the open strings (Medium DiHiculty, Piano acc., Novelty choral work. for ERS ASSOCIATION 1953 Notional Convention, at the Hotel Siotler, build eager audiences as well as 110-40215 .35 High Schools, In popular idiom, Syncopated rhythm) New York Cily, July 13, 14, 15, 16. Convenlion will offer America's of a vlO1m. Group playing stimulates technically proficient performers; MARCH OF THE GNOMES .•..•••• Ella Kette", oulslonding Teacher Training Course tor 1953. For complete informa- ~he companionship of music, obviat- (Recital piece, Colorful, Rhythmic study) RED, WHITE AND BLUE Jeno Donath tion and catalog of over 65 I.P.T.A. Teacher Aids write and both groups wilJ step naturali] SSA 312-40153 .22 (Texts of "God, Our Fathers" and "Columbia") lI1g th~ lonely (often boring) aspects into a world of art for which they ROBERT WHITFORD, Founder-President of solItary study. 204 N.E. 31st St., Miami 37, Flo. are ready and which is ready for Again, I should like to see our them_ THE END THEODORE PRESSER CO., Bryn Mawr, Pennsylvania ~. 50 ..------~ ETUDE-APRIL 1953 ETUDE-APRIL 1953 51 Hacn tne HammondOJ;5an- ./Or a oetter income t:A Beat yoa coo see... ~iolin lftluestions ~r9an f!uestfons t:111 . A Beat Y;:.:; hear! Answered by FREDERICK PHILLIPS By HAROLD BERKLEY • Please advise how to play the quar- you should be able to accomplish METRONOMA AN INTERESTING POINI HERE l y not too old to do so now, if your hand has average flexibility. First. ter notes in the composition, In dulci quite a bit by self-study, and you Electric Tempo Indicator juhilc (No. 35 in Vol. V of Orgel. will be able to help your students, Mrs. I. S., Michigan. Before vou get hold of the idea that the fourth werke, J. Bach-Peters Ed.). though if any of them plan to be- with the flash Baton make plans for selling your violin, finger is not solely responsible for S. Should they be played two against come really proficient organists, it Now at a new lower price ... the vou should have it examined and ap- any wide stretch; the first, or some- three, as would be supposed [coni would be well for them to arrange world's most dependable time beat! }naised by an expert of wide experi- times the second, finger must take Selmer Metronome gives you correct the time signature, or with the for instructions from a regular organ ence. It is interesting that a man half the re ponsibility. In other 3/2 tempos two ways ... (1) by a sound teacher if at all possible. beat that can be set loud or soft, and who knows something about violins words, the hand should be in an in- first and third notes oj each group oj In addition to the books mentioned, (2) by a sight beat through a visible, says it is a Joseph Cuanertus copy termediate position between the two triplets? flashing light. Easily set for OIly tempo notes of the interval. the first finger -N. C., Illinois we suggest "Master Studies for Or- from 40 10 20S-Largo to PrcslO- of Stainer. I did not know that any gan," by Carl, and the "Cradus ad with a twist of the dial. o l the Guarneri Iarnil y copied stretching backwards and the fourth Yes, play two against three. To do J n pLaying with a band or orchestra, Stainer. so I am wondering about finger forwards. Put your fourth otherwisewould spoil the effective- Pernassurn,' by Koch, as well as you arc expected to follow the beat of finger on G. A Siring third position. "First Elements of Organ Technic" the conductor's baton-not the sound your vi'olin. It may well be that it nessof the composition. of the bass drum or other members of was made by some unknown copyist and your first finger on F, D string by Jennings (good for pedals, reg- CAN'T WEAR OUT -co,,'1 ,low down. the group. The Metronorna, with its who put a fake Guarneri label in the second position. If you are conscious • Seural oj my advanced piano istration and stops). The beal is alway, sleady, accvrale at flashing visual beat, helps you learn to of any tension. hold the interval for pupils have to take over positions (my tempa. do this. Simply turn the sound beat instrument to give it an aura of au- volume as low as possible and follow about ten seconds. then put the hand as church organists in their partic- • Please explain more fltlly than the NO MOVING PARTS-it vses tbetbvr e- thenticity. But why not a Stainer the visible flasher. Get it now- Metro- Iron "heart beat" Ivbe developed for label? Anyway, you should have it down from the violin and relax it ular churches. The organs are Ham- dictionar-y definition the meaning oj noma is your biggest tempo bargain! radar. hclvsive des;gn (U. S. Polenl No. appraised. completely. Repeat the process a mond Church Models, with chimes, "introit:' What is its actual mean- 2,522,492). On Sale at Better Musk Stores number of times over the period of a and one two·manual pipe organ. My ing, its place in the service, etc. Can Distributed Exclusively by VOLUME CONTROL-moke Ihe beat ONLY AN APPRAISAL WILL TELL couple of days. or until you can difficulty is that my background is you suggest a few well known in- IN THE LAST FEW YEARS the number of people 'who want lessons on the os lovd or sofl os yov like, Or vary from lake the interval easily. Then put piano and voice, but I ktuno little troits? Hammond Organ has grown by many thousands. That is why you 'can sharp 10 mellow. Mrs. H. D. B., Manitoba. Whether the fourth finger on the C and stretch about the organ. I have read some -W. A., Indiana earn more by teaching the Hammond Organ than any other .keyboard NO CLUMSY ADJUSTING-no s e t H. & A. ~tlmtr INC. your % sized, Strad-Iabeled violin back to E on the 0 string. going things, and have examined some The following definition is given instrument. screws. Diol it like yovr rodio to any DEPT, E-42, ELKHART, INDIANA was actually made in 1716 or is "l ust through the same procedure. When tempo-40 to 208 beal. per minvle, methods. What do )'OU suggest, since in Stubbings' "Dictionary of Church But there's more in it than extra income. You'll find the Hammond a model of one made in that cen- this interval is easy. put the first the pupils cannot get into Minne- Music"-INTROIT: a verse of a Organ easy to play and interesting to teach. In a very few weeks you tury," is something nobody could finger back 1.0 Ecflat and go through personal study? Can you psalm with the Gloria Patri, pre- apolis lor will play surprisingly 'well. Well enough, in fact, to begin teaching. tell you without examining the in- the same routine. The important suggest material which will help me ceded by the antiphon proper to July strument. It is impossible to describe point is to hold each interval firmly get on the right track, and to help the day, which is sung at the open- Special Plan for Music Teachers in words "what a Strad looks like." il the hand begins to tire. and urn these students~in piano work they ing of the Mass. The Gregorian chant A cooperative purchase plan devised especially for qualified music August So described they would appear to then to relax at once. When you HOLIDAY-STU DY havestudied from one to jour years. for the Psalm of Introit is more com- teachers is now open to you. Your dealer will explain how easy it is be like any other well-made violin. call hold any of the three intervals We also need something for pedal plex than that used for Psalms or give. by to own a Hammond Organ on this plan. Hans Barth It is rarity plus name plus quality for twenty seconds without tiring. study. Slap list and details of pipe Canticles, and Gloria is chanted in Five Day Refresher Course-Group and private lessons that gives old violins their value. begin to tril.l slowly in the second organ are not listed here [or lack a peculiar way, the first verse being A promising future for you In the following places: Texas, Tennessee, North Carolina, Pennsyl- There are violins older than Strads position with the second and third 01 space. sung to the first part of the chant Of the many thousands of families who own a Hammond Organ, a vania and New York. that are not worth a tenth as much. fingers. This will tire you quickly -B. E. B., Minn. only, the second verse sung to the large number want teaching help to extend their study. Far more I am sorry that I do not have space at first. but relax as soon as you • Weare enclosing a marked list of whole chant as normally. The term adults choose this instrument with the result that student turnover "The Barth Refresher Course is most inspiring. This is my second one, and. enough to answer your other ques- feel fatigue and return to the ex- I enjoyed it even more than the first. The Course is a musical triumph." organmethods, studies and collec- also applies to a hymn or anthem is lower, your income hig-her, Playing engagements and rental fees tions now. I will try to answer them ercise. Within a month you should Lelya C. Sli1lll'ell tions,and suggest that you have the with which a service opens. Thus, in a future issue of the magazine. can bring you additional profit. Meridian, Miss. be able to play the "Devil's Trill" PresserCompany send you any or all the first hymn in the Anglican church The Hammond Organ is the world's leading organ. It is the one passages quite easily. of these for examination. The basic is often termed the Introit hymn. "1 was especially gmt.ejlfl to find that Mr. Barth presented technic, that i,s, MODERN SCALE FINGERINGS most people are interested in playing. It requires very little space in the technic oj t,he professional pial/ist, in "slow mOI,ion" so to speak, enabling thingfor the Hammond organists.to. Short anthems sung before the serv- your studio. It is true to pitch, never needs tunjng. u,s to Itse it in teaching the earliest. beginner." J\1ar....aret B Hall A REPAIR JOB WAS DONE he, would be "The Hammond Or- ices jn Free churches are also called E. E. 117., lHontana. The most com- A'lan~field, Ohio gan," ?y Stainer & Hallett (an "introits." "The Organist and Choir- You will thoroughly enjoy playing the Hammond Organ. Its respon· plete scale book for violin is that For c:irc:ulor and information send postal to: K. H., Illinois. The label in your master" by Etherington gives the siveness and vast range of beautiful tones give your music added depth of Carl Flesch, but it does not give adaptatIOnof the well-known Stainer Mrs. Lilian Brandt, Rt. 3. Chapel Hill. N. C. violin stating "Tonal Reconstruction p 0 following explanation: INTROIT and vivid color. the most modern fingering for the ·Ipe rgan method to the Hammond by So-and-So" means nothing more There are Hammond Organ models suitable for every teaching harmonic minor scales. FurLhermore, mst~ument).Then for the pipe or- (not prescribed in the Prayer Book) than that a repair job was done on ganistwe suggest the Stainer Pipe is a short quiet anthem which may llGed. The Spinet model is only $1285 (E.o.b. Chicago) including tone it is bulky and expensive. Neverthe- the instrument with the presumed ~rgan Method, edited by Rogers. be sung (preferably kneeling) while equipment and bench. Other prices on request. Any Hammond Organ less, it should be in the possession objective of improving the tone. of every violin teacher. So far as oth of these books contain pedal the priest is making final prepara- can be the beginning of a lifetime of profit and pleasure for you. HAVE YOU HEARD ABOUT studies,hut these could be supple- tions at the altar. Words should be Mail the coupon for details. I know, there is no small and inex· THE DIFFICULTY IN APPRAISING pensive scale book on the market me~tedby the pedal studies we have such as will assist the people in their lUdlcated,especially the Dunham preparation for Communion, rather which gives the modern fingerings. fr-. L. R .. PCllllsyJuania. The only b ·ook. Tb e "p'nmer of Organ Reg- than seasonal. Anthems beginning ETUDE TEACHERS' CLUB? However, you can derive the basic way anyone can tell whether a violin .ElAMMOND OElGAN ~stration"by Nevin, will help a lot with the words "]esu, Word of God principles from my articles in is an "original" or not is to handle Inund.erslandingthe proper use and Incarnate," "0, Savjour of the MUSIC'S MOST GLORIOUS VOICE ETUDE for December 1945, August and examine thousands of instru· Organized for the exclusive benefit of music teachers. 194B, June 1949, and January 1953. oPderatlOnof the pipe organ stops World," "Lord, for Thy Tender ments over a period of years. And an meh . ----·MAIL COUPONFORFULLINFORMATlON---- ... b K' C ~~lsms. The book compiled Mercies," or "Come Unto Me" are Join now for extra financial and professional dividends! even then he is liable to make mis- TO PLAY THE "OEVIL'S TRILL" Yh' JUdeI'Organ Compositions With suitable. As soon as the first hymn Hammond Instrument Company takes. (2) If a violin is labeled C Ime~" '11 . 4244 W. Diversey Ave .. Chicago 39, Illinois · -, WI gIve you a good selec- js finished, organist should improvise "Antonius Stradivarius Cremonensis Please send details about how I can become a Hammond ~Ionofnumbers the Hammond organ- briefly, making any necessary.modu- Organ teacher. For information, write to 1. R. F., New York. There is one Faciebat Anno 1716"' it could be Ists Can . 1 lation to the key of the IntrOIt. The Miss Marjorie E. Mosher, Executive Secretory good reason why you have trouble worth as much as 50.0QO--or as th use WIll the chimes, and SPINET MODEL with. the stretches in the Allegro little as 10.00. depending on e~e.are also many individual com. Introit may be used even when there Name . POsltlOnsw'tL L' • Hammond Organ for assai passages of Tartini's "Devil's whether it is a genuine instrument pill CUlmes whIch the is no hymn, the organist modulating ETUDE TEACHERS' CLUB homes. schools and Address Trill" Sonata-you have never £rom the voluntary and arriving at churches. Ideal for begin· clo ETUDE the music magcHine Bryn Mawr. Pennsylvania h or a Japanese factory product into s::~se~orCompa~y~ill be glad to b k exammatIOn. With your .desired key as choir and people ning organ instruction. t oughtIully developed the ability to which a fake Strad label ha<: been City Zone Statc . ac ground d . h kneel. In thjs case a quiet hymn may stretch your fingers. You are certain_ inserted_ to 0 .' an WIt out the desire @1913, H~NMOND INSTRUNENr CONPANY S g seriously into the organ field, be substjtuted for the Introit. ------. 52 ETUDE-APRIL 1953 LETUDE-APRIL 1953 53 ~ ~---- No Junior Etude Contest This Month EASTER CAROLS [----~-- Christ is Risen Today: the melody YOU ever sing Easter Car- DID of which comes from a book called Did you know? ols? Of course Christmas Carols "Lyra Davldica»," 1708: and the by Marianne Kuronda have become so well-known to words are from the fourteenth everybody and so well loved that -that the word conservatory them wherever there was a gay century. people think of them as the only comesfrom the Italian "Conserve- crowd ready to sing and dance. carols there arc. But different sea- torio," which actually means an -that clavichords made during sons have their own special carols, orphanage? The oldest of these the seventeenth and eighteenth too. Did you ever hear of May-day institutions was founded in Na- centuries had keyboards with the Carols? Some of these are really Two less serious ones are the plesabout 1537 lor the purpose 01 colors reversed-black for the beautiful but rather less well- Easter Eggs Carol, representing giving an extensive musical edu- lower and white for the upper INNESOTA known. cation to talented orphans. keys? Some of these instruments -The dictionary defines carol as the verv old custom of children giving Easter eggs to their friends, -That during Schubert's Iile. me y be seen in museums. Edited by Elizabeth A. Gest "a hymn of religious joy." The time there existed in Europe a so- -that tunes can be played on a SESSION called "picnic piano," not larger steel saw when played with a bow SPECIAL COURSES IN MUSiC AND MUSiC EDUCATION FAIRY ENIGMA than a suitcase? People used to or struck with a felt-covered mal- It's fun to study on Min- staff of professors, augmented take this little instrument with by Jl1arion Beneou 11lnuhclVs Easter eggs, Ea.ster eggs, let? The tone is rather pleasant. nesota's cool, friendly campus, by outstanding guests. flanked by the historic Missis- Preeminent library and labo- and the Spring Carol. Some au- My first is in saber, but not in In truthfulness, but it is not in lie; New Encyclopedia of Music gives sippi, just 15 minutes from six ratory facilities present unusual thorities say this tune orlgi- lance; My seventh's in dollar, but not in this definition: " ... a festal song: enticing lakes, and close to the opportunity for graduate work nated in Sweden ill the thirteenth cultural, shopping and enter- and research ... an exciting pro- My second's in ballet, but not 10 cent; usually of a popular character, Letter Box century. \Vhether or not this is dance; My eighth is in straight" but never associated with Christmas or Eas- tainment areas of two big cities. gram of concerts, plays, lectures true, it has been in print since the More than 1,000 courses, em- and social events assures stimulat- . My third is in sunshine, but not in in bent; ter, occasionally with some other sixteenth century, and it is also bracing every field of education ing recreation. You may choose rain; My ninth is in arrow, but 110t in day or with a season." So, you see, bow; any season can have its own car- used as a Christmas carol with the Send replies to letters in cur-e of Foreign mail is 5 cents; some for- and scientific interest, are of- either or both of two independ- My fourth is in pleasure, but not Junior Etude, Bryn Mawl·, I'D., eign airmail is 15 cents and some is fered by a nationally-recognized ent terms of five weeks each. in pain; My tenth is in speedy, but not in ols. The American Indians more and they will he forwarded to the 25 cents. Consult your Post Officc My fifth is in praise, but never in slow. or less carry the carol idea writers. Do not ask for addresses. before stamping foreign air mail. FIRST TERM June 1S-July 18 SECOND TERM July 20-Aug. 22 blame. throughout the year in their own Dear Junior Etude: Write for helpful complete bulletin. And now you've discovered. half In Fairy-tale opera, me you will lives: as they sing very important words Good King Wenceslas, Ia- I have taken piano lessons five years and Dean of the Summer Session, 801 Johnston Hall. of my name. find. planting songs, harvest songs, miliar to everybody. I like the Junior Etude very much. I My sixth you'll discover, if you I make children sleep; I'm friendly hunting songs, and. others, as well Another gay one is called We would like to know when you are going to have another poetry contest. I would UNIVERSITY OF MINNESOTA but try, and kind. as Christmas songs. Deck OlU Holy Alters: which men- also enjoy hearing from other readers. MINNEAPOLIS 14, MINNESOTA Anslver: Tlie sleep-Fair)' in Hum.perdinck'e opera, "Hal/sel (UHI Gretel." Marilyn Weide (Age 16), Minnesota (N.B. The dates of the J unior Etude ~ J J J J I J r r J ~J 44) J contests arc never given in advance) Jesus Christ is r Leen to-d.1y, Jl,1- le-lu- 1a. • Who Knows the Answers? In England and France in the rions many musical instruments. Dear Junior Etude: EASTMAN SCHOOL OF MUSIC old days Easter carols were sung We deck our holy alters I play drums in our High School band of Arithmetic and niunher s, Keep score. One lJlwrlrcrl is periect, and many have been preserved With sweet flowering spray, and have had lessons on percussion in- struments for several years. I am en- and are still in use. How nice it In memory of Christ The University of Ilechester 1. How many symphonies did thoven write? (10 points) tering my third regional and State con- would be-and something of a Who rose this Easter day. test ill snare drums. I would like to 7. If a major scale has six flats Tchaikovsky write? (10 points) hear from some one interested in per- HOWARD HANSON, Director 2. How many whole-steps be- in its signature, how many sharps Dear Junior Etude: cussion. are in the signature of its parallel tween C-double-sharp and G- Twicea monthan American bookmobile Joe Tarry (Age 15). Kentucky RAYMOND WILSON, Assistant Director We deek our holy al-ters with s~eet flo_r-iroi spray, sharp? (5 points) minor? (5 points) comesto our town and people call get • 3. How many sharps are 111 the 8. In what year did Mozart die? hooksand magazines and I was very The following writers would also like novelty, too-if you could procure Undergraduate and Graduate Departments signature in key or C-sharp minor? (10 points) , The Angels sing in jubilant ring pleased t~at I could get ETUDE. My to hear from Junior Etude readers. (5 points) 9. How many thirty-second a few Easter Carols. and have your With dulcimers and lutes greatestJOY was to find Junior Etude Space does not permit printing their LeiterBox.I would like to hear from notes equal one dotted-quarter elass or club and your other friends And harps and cymbals, trumpets, letters in full. Follow regular Letter SUMMER SESSION 4. How many strings are there readerswho are interested in music. I join you in singing them. They pipes, Box regulations when replying to them. on a guitar? (15 points) rest? (5 points) amenclosinga photo of myself. Nancy Read (Age 17, Massachusetts) June 22-July 31,- 1953 are easy to learn. Some interest- And gentle, soothing flutes. 5. How many measures are there io. How many valves on a trum- I playaccordionand mouth organ. plays piano and hopes to be a concert ing ones include: in the tune America? (15 points) pet? (20 points) PeterRode (Age 17), Germany singer; Richard Griffen (Age 10, Con- Ye Sons and Daughters of the And so, as we say Merry Christ- .FALL SESSION 6. How many sonatas did Bee- A"SlVcrs on lIexl page necticut) takes piano lessons and would Lord, musie by Palestrina (1526- mas through the singing of carols, • like to hear from others interested in I amstudyingviolin and have also be- September 21, 1953-June 4, 1954 1594), with words dating from let us sa y Happy Easter in the music; Pal Throm (girl, age 14, Ohio) g~ncello.I playin our High School Or. the fifteenth century, and Jesus takes piano lessons but likes all music; same wav. c estraand in our Civic Symphony I For further information address Would lik . would like to hear from other music \ , die very much to hear from students; Ruth Harris (Age 13, In.di- reaers in other countries as well as in ana) reads Junior Etude and would like ARTHUR H. LARSON, Secretary-Registrar -, Our Own. IT'S GREEK to hear Irom some of its other readers; . '- NiccoletteGanshaw (Age 18). Indiana loan Crumet (Age 15, Minnesota) has EASTMAN SCHOOL OF MUSIC by 'Vilburta !\lOOl·C studied piano six years and would like to hear from others. Doris Seeley (age I havetak . • Rochester, New York We have received many things words relating to music carne from pi en plano for six years, also 15, New Jersey) studies piano and her Y and many ideas from the old Gre- this same ancient civilization. scb ~rganand flute. I play flute in our hobbies are sailing, music and dogs; by Frances Gorllwn R~sser ch?O hand and sing in our church lunet Mohan (age 13) Pennsylvania, cian civilization hundreds and hun- These words, having Greek roots, OIr,.r have an engagement to play plays piano and expects to start organ 8ALDWtN·WALLACE ROOSEVELT COLLEGE The stars are golden notes 'upon Repeat the melody the waves dreds of years ago: and also many IOC. IU d e: acoustIcs.. callon, co,h rd organloou,' ChUTeb whiIe our organist goes on v . soon. CONSERVATORY OF MUSIC SCHOOL OF MUSIC The staff of moonbeams bright: Beat out upon the shore. words which are a part of the c h orus, episode,_ harmony, hymn, . acahon. I enjoy ETUDE BEREA. OHIO (suburb of Cleveland) especiallythe ' Applied and Theoretical Music, Composition. As nature leads a symphony The burnished harps of water-falls English language of the present lyric, melody, meter, orchestra, or· isisp organ music and Organ- Aftlllated with a tlrst clau Liberal Arts AU3weTIJ to Quiz Collelle. Four end ft~e yeer courses leadlnll Musicology, I&ndMusic Education. Bachelor Upon the stage of night. _ Toss grace notes: tinkling, gay, time. The Grecian civilization a180 h lunioa'E" ldwould enjoy hearing from to degren. Faculty or "rUst Teachen. SCUd of Music and Master of Music degreea. gan, polyphony, program, rap' r tn e readers. 1. Six; 2. three; 3. four; 4. six; 5. tor catalogue or lntormatlon to: The breezes trill their silver flutes: Against the mutter of the drums left its very important mark on the Bulletin on Rcque"t sody, rhythm, scene. symphony: Johnny Wadhams (Age 16), fourteen; 6. thirty-two; 7. three; 8. CECIL W. MUNK. Director, Berea. Ohio theme, tone, and many others. Massachussetts 1791; 9. twelve; 10. three. 430 So.l\liehil;:m Ave., Chicaco 5, Illinois ..... 54.w_i.n.d.'s.V.iO.l.in.s.g.a.lo.'.e••••••• O.I•.•Lh.u.n.c.lc.r.,.f.a.r.a.'.va.y.!•••••• a.r.t.O.I.m.U.S.ie_.a.n.d_m_a.n.Y_O_I_o_u_r_ ETUDE-APRIL 1953~TUDE_APRIL 1953 55 fF--- WHY NOT A COMMUNITY flOY CHOIR? AMERICA, INVOLVED IN MUSIC, IS BECOMING GREAT IN MUSIC ********** ****** * (Cont.i.nued from Page 13) SHERWOOD MUSIC SCHOOL (Continued from Page 9) The thorough, specialized, professional training essen- amount of compositions in search cl First, we must prepare the choir in~this, Mr. Copland felt that he of music unless he experiences tial to success in a musical career, Sherwood com- adequate and worth-while material. BAND DIRECTORSl boys physically. 'We teach them cor- it became obvious that nothing was w:s". ' . not an expert in public so great a compulsion to it that bines with a general cultural background designed to rect posture, proper breathing, and being contributed to the boy choir schoolmusic; nevertheless, we have he. would be unhappy doing any- dung else. stimulate self-expression. Individual guidance by a introduce the exercises to be used field from the modern composers of so muchmore music in all America fae,ulty of internationally known artists. Degree, di- from time to time in the course of America. We felt a compulsion to do that in the very nature of things 2. ~e must be friendly. Public INSTRUMENTALISTSl relations playa large part in his ploma and certificate majors in piano, voice, their development. something immediately so that in the results must be much more Secondly, there is the intellectual goodthan bad." Pausing a moment success or failure. violin, 'cello, wind instrument, organ, composi- years to come the zenith or our civil. preparation which must be accom- ization would be represented in musi- theeminentcomposer gave expres- 3. He 'must be accessible. To tion, music education. Many opportunities for plished ; theory of music, hist~n' cal form through the medium 01 hoy sien to one of the most profound hold oneseJf aloof is never to The New and Bigger public recitals, solo and group performance. of music,.as well as the preparatrou choir, as were the heights of the philosophicaltruths of the hour gain friends, OJ" even to be cas- for the singing of music in a foreign we spent together: "You know, uaJly liked. If one is not liked Splendidly equipped building with easy access Baroque and Hennis ance. language. Om' boys commonly sing At this point, we realized what Mr. Brant, when people really try or respected one will not gain to rich cultural facilities of Chicago. Non-profit: in at least three languages; Latin, clients, therefore one will not needed to be done and took steps in for good things they create more PRESSER German, and Engf ish. At present., have a living. established in 1895. Summer term beqins June that direction; namely, a series of of beauty than of ugliness. Don't 17th, Write for catalog. t.hey are also prepared to sing in major works represeutarive of various youthinkso?" A young oriental had quietly en- Old English. This is something not schools of cOmpOqilioll. Eommission- AaronCopland laid down certain tered and seated himself as we quickly accomplished with 8 and 9 ing seemed the best way in "which very definite patterns he felt the talked; he was waiting for his Arthur Wildman, Musical Directar year old boys, but patience and clear LO get the job accomplished. young musician must follow, lesson in com position. The mes- BAND thinking will always prove the child sage of musical America was heinz .1014 So. Michigan Ave. 'Ve next considered the relation. whetherhe contemplates a con- capable. certcareer or that of a musician heard in the Far East. Why should Chicago 5, Illinois ship of the boy choir in the field of Lastly, after the first two phases in his own community. These are not the people of America herself music, and the likel) composer iO of work have been accomplished, the realize the importance of that mes- undertake the initial step in this sopracticalthat I categorize them: CATALOG remaining aspect which brings the 1. He must NOT follow the field sage, and its aUlhority? THE END proposed cries of commi-slons. choir into its fullness may be com- The medium of boy choir he, in it pleted. This is the spiritual ele- muuy of the qualities of a chamber ment which is actually in existence THE GREATNESS OF PABLO CASALS is now available gJ"ou p. at only does it produce before the rest, and is at work when ST. LOUIS INSTITUTE of MUSIC sounds mer suitable to such a group (Continued from Page 16) the choir .first begins. This sph-itua l than to the concert hall. but its John Philip Bloke, Jr., President side of boy choir work is accom- • • • • • • voicings are v r)' similar to those 01" famousFrench conductor, Charles with a mastery never before • • • plished through the boys' oneness Lamoureux,who was then prepar- equalled by him. of purpose, their association with a chamber group. We then began to if confains a complefe listing of: Bachelor of Music Degree in 24 Fields look for the O1o..t Iikef composer for ing a series of winter concerts. There is a selflessness, a lack of one another, through their un- Thefamous man grumbled when vanity, in Casale' devotion to music Master of Music Degree in 23 Fields derstanding of their director and this initial work. '\ e knew. of course. that we were looking for a master of Casals presented the card-he that has hardly a precedent. He • MARCHES choir mates, and through their en- didn'tlike to be disturbed when would far rather conduct an or- Graduates Music Education Major program well qualified to teoch 011 phc ses of chamber music. thusiasm for the choir's wo-k. All at work, Cesals offered to with- chestra than win glory as a vir- • CONCERT BAND SELECTIONS Ernest von Dohnanyi. the noted Music in public schools. A cotalog will be sent on request. totaled, these qualities bring about tuoso. Moreover, as a conductor pianist and compo ..er. and composer. draw,but Lamoureux took a look at • BAND FOLIOS Institutional Member Notional Association of Schools of Music a unity which gives a wonclerfu 1 hu p- his visitor, and crumbled azain : he enjoys the rehearsals more than in-residence at Florida State Uni St. louis 5. Missouri piness to an already enjoyable work. "No, go ahead ~l(1 play, y~un~ the final show. It is "making • SOLOS WITH BAND ACCOMPANIMENT 7807 Bonhomme Avenue verah y. was elected since his COil' We also have found it most im- man-I like you." music" that he loves, and he loves eerled chamber workslul\+e long been portant to surround ourselves with Casalstuned his instrument with to teach people how to do it. While· persons who think clearly and posi- highly valued by the world's greale;;1 • INSTRUMENTAL SOLOS AND ENSEMBLES , , he was growing to world fame as , CONSERVATORY OF MUSIC OF KANSAS CITY, MO. arLists. and since his cotllpo~ilions sp~c.ialdeliberation, serenity of tively. We feel the choir has been o~JrItbeing, after character and a cellist, he used his earnings to have alway had a fres.hness and • INSTRUMENTAL METHODS, STUDIES, particularly hlessed in ha\'ing a choir k~ndlless,a- law of life to him. the amount of $600,000 to create FOUR-YEAR COLLEGE OF MUSIC mother who has worked continuously youthful enthusiasm ahout tbem. He COLLECTIONS ~mallY he began to play, and with and train a "people's orchestra," with us since the beginning of our is a composer o[ melody with a touch Offers ,Ie first note Lamoureux turned the first one in the world, at Bar- days, Mrs. O. L. Haughton, affec· of modern in\"el1ti\"ene.s~. TIle~ oul· • ENSEMBLE COLLECTIONS ~nhi~ chair. He had a physical celona. To make its music avail· Bachelor and Master of Music Degrees sLanding qualities in hi~ work led U5 tionately known to all members of n,lfirmaywhich made it an effort to able to all the people, he formed • STUDY MATERIAL Bachelor of Music Education Degree the boy choir as '":Mama" Haughton. to choose him for th.i5; fir::' 5tepin noe,but when Casals finished the a Workers' Concert Society with enlarging the modern repertoire 01 When on tOllI' she is not only ward- great,conductor was standing' be- dues of one dollar a year, and gave Located in Kansas City's Cultural and Educational Center at 4420 Warwick boy ehoi r music. robe mistress whose job it is back· forehIm, concerts for it.s members at greatly • • • • • • • • • Fall Term, September 10 stage to manage the vesting of the l\[r. Dohnanyi. when conlacLed, Summer Term, June 5 "Y,~ushall l>lay in my first con- reduced prices. boys, but she is also, as her name most graciously accepted the com· cert! he said, Casals also satisfied his love for Gef your copy NOW implies, a mother to them all. In the mission andi at present at work011 LCasals'debut in Paris with the simple people, his wish not to let most glowing terms she is a person the composition which is to be pre· . amoureuxorchestra was an event fame and fortune divide hjm from for a Ready Reference endowed with palience, understand. miered this rear. In thehislory of music. them, by going back to Vendrell iug, love of the work. and the know}. ASPEN INSTITUTE OF MUSIC Like all per~on~ who keep their It was' V' for two or three weeks every year edge of boy choir which comes only h' 1·£ H1 lenna, however, that heads in the skie~. ",'e Rlmetime, IS I e·rule of . to live again with his old friends, June 29-August 29, 1953 from actual experience. serenity was put to THEODORE PRESSER CO. have difficulty in planting our feet ~ ~\'ere test. Vienna was then the the carpenter, the blacksmith, the From the beginning days of the firml)' on the ground. Tho~ times Address: Genevieve LynCjby,Rm. 505, 38 S. Dearborn, Chicago 3. Illinois apllalof the musical world and shoe-store keeper. And his special Bryn Mawr, Pennsylvania . Denton Civic Boy Choir when the when we have accompli5hed this he Wass w 0 joy was to get together with the works of Dyke and Barnb nervuus that his hand y were two-way stretch. we can see what town's musicians and play a con· BUTLER UNIVERSITY masterworks for the untra'ln d r:sj,tenbse~vhenhe lifted the bow. ------THEODORE PRESSER CO., Bryn Mawr, Pa. .. e par- the destiny of our mi~~ion i~to be; Imerlthet'd d cert in the public square. tJclpa.nts, the Choir's repertoire has twirlh [' ne to 0 a little JORDAN COLLEGE OF MUSIC a boy choir ~hool to be founded One day, when climbing Mount Please send my copy of the steadily enlarged by constant search drum.e .lad learned when playing A rich tradition, a progressive philosophy, an outstanding faculty. complete accred- here in the Southw~t which willbe major as a child. The bow Tamalpais after a concert in San itation. Baccalaureate degrees in Donee, Dramo, Music, Music Education, Radio. for mal~rial in this undeveloped field new PRESSER NEW BAND CATALOG the first suh::.tantial breach of the Out £ I' Francisco, he barely saved his life Write for catologue and desired informotion of .~uslCal accomplishment. Com- inthe ,~ us fingers and landed JORDAN COLLEGE OF MUSIC (Box El. 1204 North Delaware Street vastness bet",een tIle 1>0,- choir it ml st of the audience. While by jumping aside from a roWng Indianapolis 2. Indiana pOSitIOns considered standard are schools of lhe £a~t Coa~t. and the Wassolemnl Name from the pens of di Lasso L ' rowI Y passed hack from boulder. It struck the first finger 'l " B I . otll boy choir school- of the W~t Coa~l, orowhehd' iI1 artllll, ac 1 Handel H d ii' . from h" a lIme to summon of his left hand, apparently smash· ' , ay n. 110Z· We have begun to take the initial IS mem I 5 I learned£ ory w lat he had ing it for good. To the astonish- Address lAMERICAN CONSERVATORY art,d Kc lubert ' Mendelss am.I W agner steps in thi larger project. and al· Jet an rom his mother-never to ment of his companions, his first an , odaly, Among the major wo k though it will take cons.iderable time , Y external . OF MUSIC-CHICAGO are: Pergolesi's St.abat Mater' B r ,s hiS pur CIrcumstance alter words were, "Thank God I shall City . State Ofi:ers courses in all branches of music and dramatic art and energy to complete the thought, ~antasy on Polish Carols' an'd s aess Phoseor disturb the calm never have to play the cello Zone enh year. Paculty of 135 artist teachers ;x we kno~~ that it will be rea.lizedas Wit wh' h . Member of National Association of Schools of Music Jamin Britten's Cerema .' I C en· When the IC he pursued it. again!" Fortunately for the world i Send for a,.free catalog-Address: John R, Hattstaedt, Pres .. 573 Kimball Bid!::., Chicago Ilk' n) a arals all such po ...ith"c and (ar_reaching n 00 -Ing throu ...h I' ' hand Wa how reached him bis he was a poor prophet. "" a vo ummOU8 work mll 56 ETUDE_APRIL 1953 57 ofhandling sheer business problems clear of over-egotistic, tempera- RADIO CITY'S UNSEEN EXPERTS in an efficient way. He also needs mental, inconsiderate types as C31·e. the kind of human diplomacy that fully as we avoid inferior musician- -.._-_._--_ _------_._._-_._------_.~ (Continned from Page 19) a new teachinff collection! • canstraighten out any of the assorted ship. The orchestra manager must rubs which arise when a large num- know his way about-and I certainly lin parts meant twenty separale an operetta number can be rea~i1y ber of men work together. try toJ-both in music and in human copyings; but mechanical advance. Music for Children cleared, but actual stage production "Harmonious relationships are nature." ment has obviated that. Today at the at the scene where the numbel' oc- vital at the Music Hall where we Jobs like these are essential to 8 pieces for piano-grade II-III Music Hall, we make one copyof curs involves different handling an.d work together longer than in the the functioning of every large mu- each part on transparent music a much larger fee. Copyright la\~ i s average orchestra. We're in the sica! organization. They are inter- by George List manuscript paper called Deshon. clear enough and a music llbranan theatre ten hours a day, every day, esting, wen-paid, and carry the from which we run off as many parts needn't be a lawyer; but since his working, rehearsing, and spending prestige of expert musical craftsman. OF MUSIC as we need on one of our duplicar, job depends, in part,. on personal in between hours in our backstage ship. Similar chances will be wait- 90 cenl» complete ing machines. dealin as with copyright holders, he club room. And the manager must "A good copyist must have a ing for those who can prove fitness Blue Gray Fog Follow the Leader shoull have fairly wide personal seethat harmony prevails! The best for them. It might be a wise idea • For the serious student who wishes in- background of solid musicianship: Day Dream Mandarin March contacts, plus an ability 10 gel along assuranceis to take in only men of to begin taking stock! tensive professional study of music, bal- quick, accurate reading, and a thcr- Discontented Cow On the Water anced with participation in College Iibe r-eI with people. harmonious potentialities. We keep THE END "Next the music librarian needs ough knowledge of transposition, The Factory Square Dance arts program and general campus activity. a thorough knowledge of cataloguing orohestrution. lind instrumental use. af your music dealer, or from Dormitories, co_educational dining. exten· and cross indexing, so that a work He also needs a bent of mind that sive concert series by guest and local takes naturally to accuracy and de. ASSOCIATED MUSIC PUBLISHERS, INC. (or even a few bars) may be easily ATTACK AND EMISSION IN SINGING artists, excellent practice facilities. located, both by t.itle and composer, tail. and a skilled hand at turning 25 West 45th Street • New York City 36 and by mood and use. Before he can out neat, clear. legible notes. For (Conl.inned from Page 14) Memher National Association of Schools of Music index the music, he must know it! this, the best training is to copy! This presupposes a thorough musi- Tn time, one works lip speed along A large degree of tonal purity is opening of a musical phrase. But no Write for: cal education, and that Intimat e fa ". with accuracy. The experienced copyist should he able to turn out alsonecessary before a voice can be method takes cognizance of the fact Conservatory catalog describing de- miliarity with musical types and styles that can, at short notice, dig a full page in fifteen minutes." accurately classified j the real, na- that only purity of tone is the es- grees awarded StoiowJ!d up tour bars suitable to an airplane Of all these unseen musical e. tural quality of a voice is most often sence of correct attack and emission .c»: Bulletin on admission and. audition scene or a peasant wedding. Also, it per-ts. one is visible. though not in concealeduntil it has been achieved. and good vocal production. procedures is an advantage to a librarian to have the field of his special task. Asthe There are infinite varieties of vocal How are tonal imperfections re- su.: (Judd giant 'lusic Hall orchestra elevator quality, or timbre. Many that are moved and tonal purity achieved? Calendar of music events for the CUI" routine orchestral experience. yOlI "Because my childhood wcs spent in a country where no rent year "The librarian is responsible for moves the men up to stage level. heard are artificial and foreign to Like most things pertaining to sing- keeping the files in good order. At see in the percussion section an alert the individual and are usually the ing, it is simple although not easy. encouragement was given to the musically gifted either Pro grerns of concerts and recitals the Music Hall, they include orches- young man who duties includea result of faulty production, imitn- First, the teacher and pupil must be by society or by government, I am in 0 position to endorse given during past season tral scores, orchestral parts. vocal great deal more than playing the tion of a favorite singer. or the able to detect the tonal imperfec- heartily the wonderful stimulation every young pianist and choral parts of everything we've tympani. He i Robert Swan. or fabrication of a teacher, for there lions, must know what throatiness, receives in this progressive country. The National Guild of Director of Admissions, Oberlin College ever presented. Arrangements can chestra manager. Graduate and Icr- gutturalness, laryngeal stricture, Piano Teachers has created the means to stimulate the aremanyteachers who believe that a !lime. Sigisnlond mer faculty member of the Eastman Box 543, Oberlin. Ohio become obsolete, but we keep them standard of "tone" meaning quality nasality and breathiness are. Many StojQlIJ8ki development of the young piano student by encouraging anyway, partly for reference. partly School of 'lusic. and alumnus of or timbre is dependent on the "good do not. Next. correct breathing and 16 East 96 si. a yearly appearance before a judge who can check on his New York 28, N. Y. for possible revivals in which the the Ro hester Philharmonic (and taste" of the teacher. This is a breath control are necessary. progress and qualify him for various awards." ------~------_._------_.~~ obsolete atmosphere may contribute the .S. Iavy during the warl·lle fatal mistake. Neither the tastes of (In a previous ETUDE article, -Luisa Stojawski to a production. We also maintain a joined the Radio City Music Hall the teacher nor of the pupil should February 1952, I have described the BOSTON CONSERVATORY of MUSIC complete file of new popular re- Symphony as substitute. becamea beallowedto interfere with the qual- processes which, in my opinion, con- NATIONAL GUILD OF PIANO TEACHERS ALBERTALPHIN, Dk. 26 FENWAY, BOSTON. MASS. leases. And the librarian must put regular member in 1951. and was ap ity or timbre of a voice. Men who tribute towards correct breathing (Founded 1929 by Irl Allison, M.A., Mus.D.) A Complete School of MUSIC, DRAMA ond DANCE. his finger on what's wanted the mo- pointed orchestra manager lessthan arereally tenors have been distorted and breath control. I would like to BOX 1113 AUSTIN. TEXAS SummerTerm Degree, Diploma, Certificate Courses. Faculty of 60. Fall Term ment it is wanted. a year later. intobaritones because of this, bari- add a short comment on posture. June 29-Aug. 8 Dormitories for Women. Catalog on request.. Sept. 2. "Work of this kind needs a mind "Every orchestra has its mae- Associate Member of National Association of Schools of MUSIC tonesinto tenors or bassos contraltos The body must be held loosely erect; equipped for detail. accuracy. con- ager." says Ir. Swan. "and sincel~e intosopranos and sopran~s into con- a floating sensation should be felt centration, and patience. A strong is usually one of the players. hiS traltos, usually with destructive re- in the whole of the chest-front, constitution is also a help! When a first need is to be a thoroughly sults. The inherent, natural, per. back, sides; the back of the neck new show is in preparation. I'm nf USU trained orchestra musician. He need, :onal, distinctive quality of a voice and head must be held in a straight (i)l1r(llrhrlRtW Inatttnte m sometimes at my desk till 5 A.M. Re- something more. though. as the qual· TANGLEWOOD-1953 IS evident only after its tonal im- line with the spine, but loosely, with Bachelor of Musk-Master of Music-~achelor of Scien~e in. Education cently, one of the numbers required ity of the orcheslra depends Jargel, BERKSHIRE MUSIC CENTER (B.S. in Ed. bv arrangement With Kent State University) perfectionshave been removed and a complete sense of freedom; an WARD LEWIS, Acting Director two bars of harmonic change which on his judgm nt. Working withthe CHARLE~ MUNCH, Director 3411 El.lclidAve., Cleveland 15, Ohio sincequality determines the categor; overall buoyant feeling must pervade meant rearranging two bars for the musical director. the manager con· Aaron Copland, Assistant Director MembeY of tile Nfl""""! A.,."",j"h"" 01 Sch""I" '"~ <11''''1: of a voice, it is the job of the the whole body. fifty-three instruments of the Music cerns himself with the hiring andfir· t~achernot to make a quality but to And finally, the teacher and pupil A summer school of music maintained by the Boston Symphony Orchestra in Hall orchestra, pasting the inserts connection with the Berkshire Festival concerts. ing of the men. . r~dthe voice of its tonal imperfec- must see to it that phonation is ef- into fifty·three parts, and recopying "There is great demand for MUSIC COSMOPOLITAN SCHOOL OF MUSIC lIOnsso that its natural and individ- fected with the much prized and in- July 5 to August 16 six or seven bars whenever tl'''": page Hall jobs. and we ha\-e a constanl Preparatory, College, Special, and Graduate Departments. C~urses leading t.o ~l quality is freed. The quality is dispensable condition enjoined in the Courses in Orchestra & Conducting (Leonard Bernstein l. Chamber Music Bachelor of Music, Bachelor of Music Education, Master ot MUSIC,ond Teacher s happened to turn at the spot in flow of applications. :'I{y job is to (Richard Burgin, William Kroll and Gregor Piatigorsky), Chorus (Hugh Ross). Certificates in Music and Theatre Ads. question." t ere and does not have Lo be made' phrase con la gola libera, "with a sort these over according to back, the tid • Composition (Aaron Copland & Carlos Chavez). and Opera (Boris Goldavsky). Clarence Eidem William Phillips ona ross has to be removed so free throat," or, as some prefer to Dean The li~rarian is also in charge of ground. recommendations. and \.~. Faculty includes twenty members of the Boston Symphony Orchestra, including President Member NASM • thatit Can emerge. A teacher should translate it, "with an open throat." the Principals. Stephen-Mgr., 306 South Wabash, Chicago 4, Illinois t.he copyists. Years ago, the copyist riety of experience. for future audl' Edwin L. neverclassify a voice at the com. Related to the free throat, necessary was generally a venerable, retired tioning. We give two different :l'pei Tanglewood Study Group-Ingolf Dahl orchestral player who did Co!}ying mencementof training. Ease within to it, and following from it, if p.r?p- Shenandoah College and Conservatory of audition. In the case of a sklll~~. A special course for music educators, general music studenls and amaleurs. Enroll- because he could find no other em- experienced player. we may inl'Jte a certain range is no guide. Bad edy done, is the smiling posuwn menfs of two, four, or six weeks. 4-year B. Music and B. Music Educa· ThorolJgh prafeuionol preparation. vocal h h' 'f . For Catalog please address Miss E. Bossler ployment. Today. with Improving the candidate to come in and pla~ a ItS 1 perSisted in will im- of the mouth and the completely. re- tian degrees in piano, violin, voice, Also occredited Junior College. conditions of work and pay. fixed part a sense of ease, albeit a false laxed, flaccid drop of the lower Jaw. Berkshire Music Center wilh the orchestra durin~ II p;rj organ, 'cello; public school music. Shenandoah is under church sponsor- senseof ea Wh ' Symphony Hall, Boston 15, Massachusetts Theory, conducting, woodwind, ship but non·sectarian in nature, em· page rates prevail. and a number of formance. at which :'otr. PaigeanI t' se. en tonal Imperfec- Correct breatbing and breath con- brasses, academic courses. Church phasizing awareness among her stu· you~g. men and women. all able judge of his ensemble abilities.~ IOnsare eradicated and there is trol, phonation with la gola Libera music. Class and private instruction. denh. Est. 1875. Summer session. mUSlcmns, are turning from pit and other cases. 1 audition the playerpllj ct?rrectattack and emission the ques- leads to purity of tone and the so- Cotolog: Dir. of Admissions, Dept. E, Dayton. Va. platform to copying as a lIseful. IOn of I ·fi· • v~tely so that I rna}' for'.".an i~eail c assl catIOn ceases to be a called connection with the resonators. ~ften 1~lcrative profession-especially prohlem Th li h IS technique and rou5JClanshIP" 'd . e qua ty of voice is Without this there is no correct at· m radIO, television. and films eVlentad . CINCINNATI CONSERVATORY OF MUSIC t1lat goes well. )Ir. P'hr'hl'31ge ea ~ e or . n steps mto its true cat· tack and emission of the voice. William S. Naylor, Ph. D., Director and Dean of faculty "~he copyist takes each fuil man- "Gb' I b orche~trl g Y WIthout guesswork. A great deal has been written in SANFOH!!:'!:'o",~~~!~,"CAMP VIOUS y. t en. an I E:>toblished 1867, Operated under auspices Cincinnati Institute o.f Fine Arts uscnpt SCore which the arra " hOp an ~ev.eral methods of attack and recent years about the "1ost ar,," d " nger manager needs rouSlClans I 1. Coeducational 13-19. Four & eight weeks. Courses in Bond, Orchestra, Chorus, offiliated with University of Cincinnati. Complete school of mUSIc-Degrees, sen s down, says Mr. PeTrie U d . e ~r emiSSIOnh b critical judgment. ~mC {avo dave een advocated. Most the "secret" of bel canto. There is Ensembles,. Music History. Theory. Private instruction in piano, all bond. orchesfra instru. And. Diplomas, Certificates-dormitories, 10 acre campus. For free Catalog address, from it copies out the indi'vidaunal ments. Seminars C1ndlectures by prominent musicians. Dormitory, sporfs facilities on 170 a Iso keeps the books and ~ an/~e of all .is the coup-de-glotte no secret about it. Tonal purity, cor- REGULARSUMMER SCHOOL COURSES parts. Formerly, there was a cert ' acres. Full information on request. Registrar, Dept. E. T. Highland Ave. and Oak St., CINCINNATI 19, OHIO , 1 am pares the payroll.. he n M" b f prefacmg of a soft aspirate rect attack and emissjon constitute monotony 1I1VO ved since twenty vio- e orethe Robert J. Rittenhouse, Director, Hockessin 14, Deloware a busines.!-like mmd cap! consonant or vowel at the the basis o( bel canto, THE END I 58 ETUD£-,4PRIL J9i ETUDE_APRIL 1953 59 THE PHONOGRAPH DISCOVERS THE PIPf ORGAN SHAPING THE FINGERS ON THE STRING (Continned from Page 25) (Continned from Page 17) notes "at a tempo not faster than BOSTON UNIVERSITY the height the fingers should be Bach will have been recorded by one 1=88, each finger holding its grip for Fritz Heitmann 01· Albert Schweitzer. for the lifted it is once more a question the full duration of each note. of the world's foremost interpreters These men are also authentic Bach of the type of passage being played. College of Music As soon as the fingers have been of Bach on instruments that faith- i~terpr~ters. but they know that the The artist playing a rapid passage All Branches of Music trained to spring up from the strings fully reflect the composer's inten- VIgor of the big works should be will lift his fingers very little: the SPRING and to fall like steel hammers (only tions. Since the ambitious Decca ~atched by the simple dignity and and Music Education student who is striving to develop the experienced teacher can decide project is now beyond the half-way smcere spirituality of the medita- strength and independence in his Robert A. Choate, Dean when this moment arrives), then the point, a fair evaluation is possible. tive pieces. fingers will lift them as high as he student should be-encouraged to lift The first reaction inevitably deals Working with Deutsche Grammo- Courses leading to the degrees A.A. PIAN 0 can when practicing exercises or the fingers less and Jess high and to with the organist, Helmut Walcha in Mus.; B. Mus.; M.M.: M.M. Ed. In scales-always keeping them wel l p~on, Decca is accomplishing some- play the exercises, etc .. more rapidly who has been completely blind al- conjunction with the Graduate School curved, however. In a certain type ~hmg of a technical triumph with -while still maintaining the same most since the day of his birth in -M.A.: Ph.D. In conjunction with the of romantic novel there is quite Its Gold Label Archive series of RECITAL finger pressure-until the grip reo Leipzig 45 years ago. The concert Bach organ recordings. To be sure, School of Educatian~M.Ed.: Ed,D. often a reference to a long-haired, mains vitally strong even though the world has known blind organists Grede 1 exotic-looking violinist whose fingers baroque organs do not offer record- Year-round Projects ondWorhhops include- COWSLIP BELLS Louise E. Stoirs 110-40181 $.35 fingers are lifted hardly at all. Never. before, and the achievement of a "fly" over the violin as he plays. ing crews the difficulties presented Workshop in Music Education (6/8 in C, Wcrds.. Legoto melody, Alternoting hands) thelesa, no matter how advanced a playing repertoire by these physically HERE'S THE CHURCH! Louise Christine Rebe .. 130-41096 .35 The authors either have never ob- 30E. Adams St.-Chicago 3, Ill. by modern organs in cathedrals or Opere Worhhop player may be, a few minutes of each handicapped performers has been great concert halls. Nevertheless, (4/4 in C. Words, Diatonic study in 1/4 ond Va notes) served a really fine violinist or VIOLIN SPECIALISTS Pianists Workshop HIGH-STEPPING HORSES ·· Mae-Aileen Erb 110-40172 .35 day's practice should be devoted to they have allowed a more or less THE NEW CATALOG NOW READY applauded but not thought phe- clarity from lop to bottom, artistic (4/4 in C, Steccctc, Cross hands, Fanfere melody) exercises in which the fingers spring FOR MAIL[NG nomenal. dynamics, and smooth record sur- Eminent Faculty of Artists, Com- KITE .. . Beryl Joyner .. 130-41103 .35 divine affiatus to run away with them. up as high as possible in order that Publishersof "VIOLINS & VIOLINISTS" posers, Scholars and Educators (3/4 in C, Words, Legato study for alternete hands. 5 finger position) For the fingers of a wen-trained vic- But Walch a is recording from faces prove the excellence of Decca's they may keep the flexibility thal MY PIGGY BANK ·· . Hilde B. Kreutzer 110-40207 .35 lini st do not «fly" when he is play- memory with a technical mastery engineering. Mester Classes under such feeders os- (Tunefu\, Legato, Stacc_eto) ing rapidly. The hand moves rap- has been acquired. CHRISTENSENPIANO METHOD realized by few sighted organists Recently Columbia Records sur- Arthur Fiedler Paul Ulanowsky WHAT COLOR IS TH~ TREE TOAD? .. Mildred Hofstad 110-40183 .35 idly up and down the fingerboard, So far, we have considered the lift Successfulthrough the yellrJI tor awing the entire organ works of one of the prised the music world with a new (4J4 in C, Words, Hands alternately and together) Jazz. Ragtime. BoogIe. Blues, Brellb. key; Albert Spalding W·OODLAND SONG Ello Ketterer 110-40141 .30 but the fingers actually crawl. They of the finger only in relation to tech- board harmony.etc. A~ your dealer or sent, most intellectual composers who ever series of recordings by Albert po,ll!lllld for$2,50. (3/4 in F, legato, Broken chords, l.H. melody-crossing, Introduces pedel) produce the necessary strong grip nical playing. Melodic playing is an- Sf~d 20t for current monthly ecneun of lived t It's almost unbelievable. His Schweitzer. now 77 years of age, a For information, col%gue, illustraled other matter. Here the fingers must breaksand fill-Ins for hit-songs. or $2 tor folder, write Grade I V2 from a distance of about half an 12 month!.MentionIf teacher. method is to memorize one "voice" man who has become legendary in COME, LITTLE BLUEBIRD .. Richard Kountz 130-41108 .35 inch to an inch above the strings. be lifted higher to avoid having an THEAXEL CHRISTENSEN METHOD at a time as his wife plays it for his own time. The three lcng- playing DONALD L. OLIVER (4/4 in F, Words, legato phrasing) idle finger inadvertently touch the StudioE-P.O. 80. 427 Oioi. California COWBOY CHARLEY .. J. Ulion Vandevere 110-40206 .35 The ability to produce this grip with him. discs (and several others to be re- Director of Admissions the finger falling so short a distance string when an intense vibrato is he- The labor and the incredible mem- leased later) were recorded at the (Tuneful, Study in touch control) JAMESMltliKIN UNIVERSITY DRUM MAJOR .. Mo.e-Aileen Erb 110-40173 .35 is not to be acquired in a hurry. ing used. Although they are lifted ory involved are forgotten, however, parish church in Gunshach, Alsace, fairly high, the fingers must not snap SCHOOL OF MUSIC BOSTON UNIVERSITY (4/4 in C, Lively merch in staccato 3rds) There must be strength in each fin- DECATUR, ILLINOIS when a Bach devotee gives himself on an organ of solid, silvery tone JIM DOLAN, PRIVATE EYE .A. Louis Scarmolin 130-41118 .35 Room lIS ger and independence in all the down at the str-ings a they were O~m thomuJ:~mining In euste. CoUrliU lead- l~g 10 degreesor: Bachelorof MUllc. nachelor or to the spell of one of the more spa- redesigned by Dr. Schweitzer. One (Legato, Srcccctc. Descriptive) trained to do .in the exercises. This lJllSlc EdUWlOll. llaiter of Uualc. and Malter 705 COMMONWEALTH AVENUE LITTLE TRUMPETER ... G. Alex Kevan 110-40209 .35 fingers, and these qualities can he Dr,lulicF,ducatiun. cious works played by Helmut record, the best, is devoted to fa- sort of finger action produces a hard. BOSTON 15, MASSACHUSETTS (Bright, tuneful study in 8th and 16th notes) obtained only through many hours MlmberollheXaliona! AnOC:latlon Sciloollor 11ulic Walcha. No four-minute 78 rpm rec- vorite chorale-preludes of Bach. WISE OLD OWL.. . .. Louise E. Stoirs 110-40193 .35 brittle efIectin melodic playing. The nulletlnSClit U(Hln request of thoughtful practice. W. ST. CLARE MINTURN. Director ord could ever have held the art of With the exception of the Men- {6/8 in G, Words, Short spen in both hands} fingers should s Albert De Vito 110·40153 .35 exercises too fast. Speed is, of used left hand. The- two hands must --PIANO TEACHING MUSIC sorption in the art of his favorite Dr. Schweitzer reveals that the rev~ (2/4 in G. Stacceto, Legato, Parallel scale passages) course, a necessary accomplishment, be developed as a team and must TOURS erence for life which is at the heart LITTLE TIN DANCING MAN ... Charles Huerter 130-40022 .35 but a sustained grip is just as neces- work as a team. each aiding and com· With terrific pupil-oppeal • composer. The 1953 program includes: If I were to suggest one recording of his philosophy is his key to great (4/4 in G, Gey dance, Triplet figures) sary. To attain it, exercises and Boy·musicwith "punch" '••. UNESCO'S International MEXICAN HOLIDAY . Stanford King 130-41110 ,35 plementing the other. music. He seems to play only for the V scales should be Inacticed in eighth to represent the art of Walcha, I (Tengo in G, Accent, Phrasing) THEE D BIG discounts .•• l\1aster Creator-who has no need MUSIC EDUCATORS NAVAJO LULLABY George Frederick McKay 130·411 16 .35 Send for circular should recommend Decca album DX CONFERENCE to he in a hurry. (Excellent legeto study, Pleintive melody, Contemporery flavor) SteadmanPublicatians 117, Volume I of the Preludes and Brussels. June 30-July 9 SWEETLY SINGS THE BROOKLET Ella Ketterer 110-40149 .35 SPRINGTIME SPARKS ~==="::':",c::hester, Vermont Fugues. As customary, Walch a di- To be frank, most of Dr. Schweit- " the great festivals of (4/4 in F, L.H. crossing, Singing melody against R.H. arpeggios, Pedal) vided the recording sessions for this zer's tempi are very slow indeed. TOCCATA Johan Franco 130-41112 .35 LUCERNE-SALZBURG (Continned Iro/11 Page 21) album between the Small Organ in He has contended all his life that (4/4 in 0, Excellent "touch" piece emphesizing control of deteched notes in BAYREUTH-EDINBURGH St. Jakobi church, Lubeck, and the Bach is usually played too fast. But alternote hands) same auditorium another mediocre New York appearance with either of HOLLAND-AIX EN PROVENCE famous Schnitger organ at Cappel- a comparison between the new Grode 3 French woman pianisl had the priv- lhese orchestras, and who would cer· POPULARLATIN AMERICAN concerts, visits, lectures CANDLE LIGHT .Charles Huerter 130-41038 .30 both organs dating back in part to Schweitzer recordings and the fa- ilege of appearing with the New tainly give a more commanding ac· ACCORDION SOLOS t/ and important meetings in (3 stoves, Small chords) -Easylfrranqemen . the time of Bach. I'm inclined to mous Schweitzer recordings of York Philharmonic-Symphony Or- o HEAR THOSE EVENING BELLS! .Morgoret Wighom 130-41064 .30 count of their abilities and the music. Co~tentsincld !s by P'etro Deiro. Jr. twenty years ago shows that the PARIS-LONDON chestra in another hammered out- GIANDE' t.1~MAYOURS: EL RANCHO rate this Walcha-Decca album as VIENNA-ROME {Chords, Independent voices} For young pianists the most co\·eted SAy SI: 51 and fjINEZ; ANDALUCIA; aging process has had its inevitable PARADE OF THE POOKAS .. Vladimir Padwa 130-41107 .35 and mediocre~concerto by Albert one of the two or lhree most success- FLORENCE-VENICE, etc. honor is to appear with one of these Lor ve other favorites. influence on the great man's organ (6/8 in F, Bright staccato and legato march) Roussel. ge nale~with word~-S I 00 ful Bach recordings ever made. SPANISH LULLABY .Anne Robinson 110·40185 .35 magnificent symphony orchestras; POP . style. Graduafe and undergraduate credits I should think those distinguished ULARACCORDION SOLOS Walch a, a confirmed classicist who (2/4 in F, Typicol rhythm, Without oeteves) yet here we are importing non· The sufferers from the slowing- The Faculty audiences would have protested lonO" Eos~ VOL. II always plays on baroque organs, is Wil~ert Hitl;hner, Temple University 1 entities. honoring them. paying good C I orrongement b . down (and the organist's varied in- Grode 3 12 LOUIS G. Wersen, Philadelphia Pllblil; DREAM TIME .. Rolph Federer 110-40164 .35 and loudly at having to sit throuO"l lees to pIa)" dull work, dull)'. Why O~o~;T~include:SINJIJ,ldro Deiro, Jr. least successful with quiet works of lOW BLAME ME' I IN THE RAIN· terests) are such show pieces as the Schools (4/4 in Eb, Melody playing in octaves. Chords, Rhythm) such exhibitions. ",Vhy permit ma~)~ intense feeling. The lovely Pastorale M iss Frances Robinson, San Jose College don-t our young artisb their friends, hit N:CHARMA1N'E NdA UTILE SPANISH Fantasia and Fugue in G minor and DREAMS TO REMEMBER Francis Hendriks 130-41097 .60 agements to flaunt mediocrities in I. on $evenother standard in F major he handles very beauli- Robert Grotters, Temple University their teachers rai~e TOICS about it, the "Fanfare" Prelude in C major. {Suite of 4 contrasting numbers of a highly melodic nature) Lorge nat . fuJly, but his chorale-preludes tend IN LAZY SPRING ...... Donald Lee Moore 110-40058 .35 our laces (and ears) when we ha\c send in petitions. letters. protests to Thelen, . e~ WIth words-S1.0o r------~W~II~I~:MP!'tol0/ Ihd mOr The dramatic Fantasia is one of the I STUDV ABROAD, INC. - - -, 50 excellent native pianists who l1 to be cool in the manner preferred (Dreamily, Legato, Chordal study in C) the directors? IQI MllIlr eo.2 ,led 1ft OM' fr~I":nl.,J,oOO occllTdiOfl finest lhings in the old Schweitzer- SUNRISE AT SEA ..... Johan Fronco 110-40210 .'35 would give their eye teeth for one F. OdOl. U u tiD .•• II"rito by many present-day crusaders for I 250 W. 57th St .. N.Y.C. 19 : THE E:"ID Columbia colleclion. It has such (Impressionistic, Contemporery flavor) Dept. a return to the baroque. Such or- I Send me full information concerning the I vitality, such stamina and yet such I Brussels conference and the music tours. I ganists, in my opinion, should be dignity as to be unforgettable. The I Bryn Mowr, Po. Com-A,m,l,o'9 Ro~~~t~STRATION CREDITS sentenced to sit for an hour a day I Name I THEODORE PRESSER CO., I6--John E. P1ol: new Fantasia, I fear, is tired and for one year listening to the chorale- I Address I 9 l8--Cosmo-Sileo (Continued on Page 63) preludes of Bach played either by '------...: _.60 '.'-.V.O.'.' .P.h.OI.O. '_O_P_h'_' £TUDE-APRIL 19;3 ETUDE l.... -APRIL 1953 61 ROBERT WHITFORD PIANO METHODS REPRESENT THE PHONOGRAPH DISCOVERS A NEW MOVEMENT IN PIANO EDUCATION on the Art of Piano Playing," which . lhe THE GENIUS OF LEOpdLD GODOWSKY reproduces a series of interview, THE PIPE ORGAN You will be pleased with the innovations Mr. Whitford perfecI has brought to present day piano teaching. Yes, there spring· previously published in ETUDE. (Continued from Page 61) oc1uated have been some worthwhile changes made. silenl (Continued from Page 26) Mr. Godowsky states some of the practice original principles of his art, relating - . ired: Fantasias are not ideal duplication of chorale-preludes in- Write now for a free copy of PIANO TEACHING TO- L.....;_ ...... device .•. unw~PI . ., to "weight playing and technical DAY which reveals Robert Whitford's personal method look any lessons, but to whose advice Sometimes I have even asked ad- piecesfor players neanng eighty. dicates that Schweitzer is playing FRANK SAAM'S principles now widely used, in the for teaching children and his method for teaching adults. and artistic counsel Godowsky at- vanced pupils, 'With what d? yo~ Butjf the showy works of Bach everything more slowly than he did With your copy of Piano Teaching Today you will also tributed much of his later- extraor- play the piano?' The answer mvarr- following words: werebetter played by Dr. Sch- earlier in life. Yet the net result ably was: 'With the hands and the "In this method of playing, the be sent complimentary, Mr. Whitford's master lesson "'d;' -'3-~" dinary success'. weitzertwentyyears ago, the deep- in the chorale-preludes (Volume ~"TE,"T '"A, 2,01919 fineers are virtually 'glued to the 1891.1900: In America teaching fingers. of course.' Then I t~ok the II' spiritual chorale-pr.eludes h~v.e II) is all gain. Schweitzer, with on MUSICS MOST UNUSUAL CHORD. Just send your A godsend to beginners and ~tudents .. pupil to a table and had lum rest keys' in that they leave them the Robert Whitford a tlme saver for professionals. and touring with notable success. nowattained a maturity of spmt keen meditative insight, interprets name ond address and state w~ther you are a piano A few minutes daily will greatly improve his hands down upon the surface; least possible distance in order to He became the teacher in Piano De- seldomequalle? W,e have only these profound works with awe- teacher, a student or a 'parent and we will send you the above. Mail to: ARTICULATION - INTONATION - TRILLS then I asked, 'Suppose your hands partment of the New York Col.lege accomplish their essential aims. This o Menschbewem dem Sunde gross inspiring nobility and strength. Robert Whitford Publications. 204 N. E. 31st St.• Miami 37, Fla. VIBRATO _ FLEXIBILITY AND TONE were separated from the body. Could results in no waste motion of any Endorsed by Berkley, Oounis, Mischokoff, of Music and in 1894 became Direc- lordirectcomparison, but this one (To be continued next month) they play?' The student at once kind no loss of power and conse- and many others ... tor of the Piano Department of the Plan now to attend the ROBERT WHITFORD PIANO TEACHER CONVENTION at the Hotel Write for full particulars Combs Broad Street Conservatory in grasped what I was getting at. Then que~tly the greatest possible con- Sherman, Chicago, Ill., Aug. 6th and 7th, 1'153. Sponsored by the Certified Robert Whitford I said, 'When I count, 1, 2, 3, 4, servaLion of energy. In this manner THE LAST LIVING PUPIL OF FRANZ L1SZT Piano Teachers of America, but open to all piano teachers and interested students. Write Philadelphia. In 1895 he went to for details. FRANK SAAM'S Chicago to head the Piano Depart- raise the forefinger instantaneously of playing the arm is so relaxed that (Continued from Page 16) .. Cltrell1ona· JLII~tre" and Iet it fall.' I explained that it would fall to the side if the kev- ment of the Chicago Conservatory YOU WANT TO BE A SINGER? WORLD'S OUTSTANDING ClEANER & that is the way in which the thought it. so of Music, succeeding Liszt's famous board were removed from beneath HowwellIremember the load that Illy apartment, time doesn't hang By Irving Wilson Voorhees, M.S •• M.D. POLISH FOR STRING INSTRUMENTS. pupil, William H. Sherwood. . is telegraphed from the mysterious Since Ihe hand and the arm are reo wastaken off my heart, for I was heavy on my hands. My dear MTS. . formerly Associate Professor of ~tola!yngology, College of Used by even the most discriminating Phys""ans and Surgeons. Columb,a Unlvers,ty. pag<,s 23: Postpaid $1. central station in the brain to the Address: S<'cr"tary, 8E. 140 Ea.t S4th Street. New Yor~ 22. N. Y. owners of genuine Sfradivari and other 1900: Godowsky went to Berlin laxed, the back [top} of tbc hand is so nervousthat I wouldn't have Heinzel-the faithful soul-and 'rhl~ Iittlo hl'O"hu,'O comos r"om tho 1''''' of .a ~ounsclor and guide to sinzer" for many )'c"I"s. It tell" nne musical instruments. fin O'er's lip. and that the great litera- almost on a level with the forearm. huw lo ",""i,! \'ucal "tl""ln, the lIang.,l's of ""1'1111{ thrOll!l:h a col F.H O£-JPRIL 19i1 ETUDE_APRIL 1953 THE GREATNESS OF PABLO CASALS ADS (Continned from Page 62) for {Jraduation CLASSIFIED day. They seem to lift him out of vitations to tour that country. J-lARIUONI'. Composition, Orchestra- LEARN PIANO 'rUNING A'l' HOl\IE. this world. The ease and spontaneous tion, Musical Theory. Private or Course by Dr. w m. Br-aid :'Vhite• "My only weapon is my cello," he A MUSIC lOVER APPRECIATES A MUSICAL GIFT world's leading piano tecnntcta n and freedom of his movements seem m]- Correspondence Instruction. Manu- says. "Not a very deadly one perhaps, scripts revised and corrected. Music teacher. Write Karl Bartenbach, raculous, as though some supernal Select the gifts and awards you will need for end-ef-the-seoscn occa- 1001A WeIls St .• Lafayette, Ind. but such as it is, it fights on the side arranged. Frank S. Butler, 32-46 107 power had taken possession of him. St., Corona, N. Y. "·IOLINl\lAKEnS -i-Amateurs Pro- sions, recitals, concerts or personol gifts. of freedom." He has pondered over every note of LEARN PIANO 'l'UNING-Slmplifled. fessionals. Fine tone murcrieau wood, When Hitler attained power and authentic instruction $4.00-Llter- materials, supplies, patterns, Instruc- every composition he plays. He stud- a.t ure tree. Prof. Ross, 456 Beecher tions. .muetre.ted catalog 10¢, refund- began persecuting Jews and labor ed. Premier Violin Supplies, Dept, ied the Bach suites for cello, which St.. Elmira, N. Y. unions. he declared the same boycott LYREAND WREATH PIN V.E., 430 S. Broadway, Los Angeles no cellist before him had tackled. INSTRUMENTS IN MINIATURE NE\V PIANO ~lu'rJJ1 LETS YOU 13. California . against Germany. When Mussollni .. RAe'I'ICE nAY OR NIGHT ,\VITH- for 12 years before he ventured to reads Music Piano, Violin, Cornet, Cello, Banjo, Trom- I?OR SALE. Rare records. Lists. Col- took over Hitler's policy of anti- J-70 OU'.' DIS'l'UnUING"O'l'HERS. Mutes play them in public. He is still study- bone, Guitar, Drum, Saxophone. piano about 85%. Easily attached or lections bought. E. Hirschmann, lOO Semitism, he extended the boycott J-71 reads Choir detached without harming mecban- Duncan Ave .•.Jersey City, New .Tel'sey. ing them. In the presence of all great J·22A Gold Plated (Pin Back Only) ••.. _ .60 Ism. State upright, grand, or spinet! to Italv. When Franco seized power Plain Bar or Engraving tJ·22B Sterling Pin or Charm Sold only on money back guarantee. FAUL'1'Y TONED 'VIOLINS RE- music he thinks of himself as a stu- J·72 Send $5.00 for mute and fun t nstruc- YOICED-gi yen the fine tone of a in Spain, he left the country, declar- (Specify which instrumentD •.•.• 75 genuine "St ra.d" by an expert nco u s - dent. He will announce with delight , rlon s, Ricllftrd Mayo, Dept. 004, 1120 ing he would never go back until the ~70 Latona Street, Phlla. 47. Pa, ttctan. Free information. Chelsea ·BRACELET WITH NINE CHARMS Fraser. M.V.M., 2025 g tn rIc e, Sag- that he has found a new way of fin- LYREPIN, Enameled center tyrant was overthrown. ).508 SI.,!;n. • ...... •...•...... 8.00 'VIU'I'E SONGS: Read "Songwriter's inaw, Michigan. gering some passage that he has Review" Magazine. 16;:;0-ET Broad- Exiled from his country, his prop- ATTEN'I'ION, SONG'VRITERS • been playing for 50 years. J-190 With Black, Blue, Red or w a.y , New York 19. 25t copy; $2.00 erty confiscated, Casals took up his "BRACELET only ·MATCHING NECKLACE only YOUIt SON"G POEl\I SET '1'0 IUUSIC, \Vhen a pupil complained to him year. piano-arranged. ten professional residence in the three second-story Green enameled center. J-20B Sterling .1.50 J-21B Sterling • 1.80 UACJi: POPUl.AR SHEET MUSIC. TO copies. $25.00. Stein Studio, 429 South that she had forgotten a piece she St. Andrews Place, Los Angeles 5, rooms of a gatekeeper's lodge in the lMO. Ballads, j-ag t lrne, evervuuua- had known well and played many Catalogue 15t. ClaSSICS exchanged California. village of Prudes on the north slope for popular. Fore's, E31S! High, Den- times. he said: "That's fine! Every- WINGED HARP PIN 'VIOLINS for sale: Stradivarius, of the Pyrenees, some 20 miles from ver 5, Colorado. Guarnerius del oesc, Amati, Guada- thing should be new every time you 8'''ING PIANO-BY MAIL 30 se.If- gninis and others. Hill, Hamma, the Spanish border. Here for 14 ~190 J-BO reads Music Mono PINS teaching lessons. $3.00. Six rottos Herrm'ann w uru teer certificates. play n." e years he has lived a life more like (classical and popular), each $1.00. Fine Arts. 402 East Third, Flint, It was in the Swiss village of Zero J·81 reads Choir ~J'60 J·60 J·61 J·62 Chance to win $200.00 on new theory. Michigan. that of a Franciscan monk than of Order 46-page original classical tm- matt, where he conducted a course pr-ovteatl on composed on a new the- THREE OU'.rSTAl\"DIl\"G nECEl\"'l'L"l' a world-famous musician. Everybody J·82 Plain Bar or Engraving ory price $20.00 (money back guar- PUBLISHED NUlUllERS: Mother of in the village and the surrounding last August, that I heard a brilliant At 10K Gold •...... 2.50 Hntee), samples. Phil Breton Publi- Mine song. The Cross, sacred song. 'ric •• lor obon o. 'ot/ow.: en tlo ns. P.O. Box 1402, Omaha 8, Love'Orchids, waltz. 50¢ copy. Be a.co n countrv feels free to drop in for ad- pupil compare him to a Greek phi- Nebl'asl{a. Music publications, c/o AUred Sevig- losopher. And watching him teach, At 10K Gold .. 3.00 C Gold Ploted ..• 50 Sterling .75 ny, 405 Broadway, Lawrence. Mass. vice 0; help, or just to bring him the ~J'61 B ACCO;UPANIlUENTS RECORDED ON I understood what she meant. It Sterling •... BS D Silver Plated ..• 050 RECORDS on 'rAPE BY FINE ART- VIOI~IN-COLLECTOn'S ITEM 18th news of a birth in the family, or the IS'I' for a nv and all vocal music. For cent urv German with lion's head, high marks a small boy has made 'IBe impulsive-be fanciful," he ft Gold Filled .... 1.20 c Gold Plated .40 circular, ...vr-t t e Esquire Recordings, double' p ur-fl i n g', elaborate inlay on G90'wa shtng ton St .• Br-oo k'llne, Mass- in school. He has made almost a life said to his pupils. "Let the music On J·72 or J-82 .08 per letter for engraving. back. Perfect condition. $350.00. Mrs. .40 achusetts. G. S. Reimann, 20 Hazelton Drive. mission of help ing the Spanish refu- flow out of you as freely as though o Silver Plated ,"';rhite Plains, New Yorl~. J-62 )IEi'UORY-PLAYING and Sight- gees, giving both good counsel and you were speaking. But remember rPI Reading by proved methods over 30 HARIUONIZING l\IELODIES AT veal'S. Free syllabuS with American SH';H'l'''':''24 pages of solid instr:uction material aiel. that freedom is not disorder. " ilnd Canadian appreciation. State in- and easy-to-follow charts on Impro- strument and if elementary, moder- vising transposition and harmoniza- People make him happy because A long thoughtful pause. "That is ate or advanced player. Director of tion. $1.00 postpaid. Free list of thou- something that has wide application LYREPIN in enameled field Studies, "MASTER - METHOD" sands of popular songs, bo.okS and he loves them. He finds time to an· DIPLOMA OR CERTIFICATE FORMS Courses, (Studio 16) 14, Edgeworth folios sent on request. Le\vls Arfine swer hundreds of letters in longhand in our times." Another pause. "Hold J-90 reads Music Crescent, London, N.W.4 England. Music, 117 48th Street, New York 10 x 8 fine Parchment Deed stock for Di- "'T. and file them away in folders he yourself at the same time within the J-91 reads Choir ploma, Certificate or Teacher's Certificate. THE SCIENTIFIC l\lUSJC TEACHER 36, New York. makes out of sheets of newspaper. bonds of the rhythm to the last frac· The b.~ckground of circle in Lyre design is 35 Cents. Holder Frame of imitation leather, -Monthly-$2.00 year. Request sam- B.'\.LD'VIl\" CON"CER'r GRAN"D Pl- red With lower panel in black' in Cross de- ple. Morong, Box 21, Brooklyn 25. ANO, ebony, length, 9 feet, 5 years He has kept every letter that was tion of a second. Be spontaneous $3.50. New York. sign, blue, with lower panel in ~hite. old, perfect condition .. ~:hvner will ever written to him: If a visitor men- and yet be controlled. That is what DANFORD HALL, COiUPOSER~AR- sell for $3.500, f.o.b. \'\, rite: 1247 N. .----~_._. CERTIFICATE OF AWARD Cheyenne, Tul~a G. Oklahoma. RAl""GER. All types of compositions tions "that letter my father wrote you have to learn." CROSS PIN in enameled field 12 x 9 classical illustration .with wording, corrected. Lyrics set to music. 1914 FOR I~IANO 'rEACHERS ONLY We you a couple of years ago." Casals Spontaneity in Casals includes an 'V. Lunt Ave .• Chicago, Ill. have a special money-saying deal J-92 reads Music 12 Cents. Without wording, ~ame illustra- PLAY BY SIGHT. Pianists Sight worked out for ;rou. '''rite for full will go to his filing system and he uninhibited expression of the tender J-93 reads Choir tion, 6 Cents Rea,ding made easy. Improve your information about our new "FTO back in a very brief time w.ith the emotions. The same pupil who called playing by studying THE ART OF Plan" Use vour letterhead or enclose 'ric •• for abov. o. follow.: PARCHMENT DIPLOMA SIGHT READING. 5 lessons complete a bt;siness' card if possible. Lewis letter in his hand. His sympathy with him a Creek philosopher called him $3. Danford Hall, 1914 W. Lunt, Chi- Adine Music, 117 '\T. 48th Street, New At 10K Gold ..•..... 3.00 21 x 16 classical illustration with wording, cago, Ill. Yorl{ 36, New Yorlc people is so eager and inexhaustible "sentimental." lIThe main thing in It Silver ..... ~...•..• 85 60 Cents.' Without wording, same illustra- PI ANO 'rEACHERS. "THE PIANO- l\IUSJCAL BINGO is the delightful that after the festival last summer life is not to he afraid to be human," C Gold Plated .60 tion, 50 Cents. GnAPH"-Note indicator and sight answer to many problems. (Free lit- he answered the 600 letters he re- Silver Ploted .60 reading aid. Invaluable 'for beginner erature for 3¢ stamp.) Developed by he said. "If something is so beauti· o students. Complete with 5 Discs, $2. Prof. Lloyd C. Rudy, after 50 years ceived in his own hand. ful .it makes you want to cry-cry!" Danford Hall, 1914 'V. Lunt, Chi- experience as teacher, composer, cago. Ill. concert, dance, critic, lecture and Casals has found it possible to live At 75 Casals often speaks of him· merehandising. $1.00 per set. Any OLD AND NE'V VIOLINS, Cellos, number can play. 12113 'Yoodward in the modern world with all it~ self as an old man. But when he Bows. Supplies. Repairing, Eaken, Ave., Detroit 3, Michigan. speed-up and frenzied multiplication takes a cello in his hands, a trans· BAR PINS 310 E. Washington St., Chambers- LYREPIN J.120 burg, Pa. STR.INGED l\IUSICAL INSTRU- of the forms of social communion. CLEF PIN J-133 lUEN'l'S expertly repaired and refin- formation occurs that is like D Pidurecl 'h tin. HAND BUILDING EXEnCISES FOR ished. "'ork guarantee(l. Collection somewhat the life of an early Chri~- miracle of resurrection. A famous PIANISTS by \\Teldon Carter. Seven of old fiddles for sale or trade. Ja.mes At 10K Gold . exercises with twenty minutes daily E . .Justus. Route 2. Box 24, Bristol, tian saint-a life dedicated t.o the musician who attended the 1952 fes· .2.40 Highly polished design against rose back- practice bring almost immediate re- Tennessee. love of the neighbor. But although sults. Exercises concentrate entirely tival-rather to honor Casals than 8t Sterling . .B5 J·111 ground on weak points of the hand. For busy ATTENTIONt '.rAPE R.ECORDER ready to give himself so lavishly to to hear him-turned to his neighbor teachers. concert pianists and ad- O'VNERS: Tape recordings expertly C Gold Plated . .50 tJ-ll1A 10K Gold •...... $4.BO vanced students who wish to build a transferred to phonograph records. t.hose who truly need him, Casals is when Casals began to playa Bach Sterling 2.40 more perfect technic. Send $1.00 for Tape returned unel'ased. Sent any- not gullible, nor is he blinded by o Silver Ploted ...... 50 tJ-111B copy to 'Vashington Musical Insti- where in United States. Write, ES- sonata. Gold Filled...... 1.80 tute, 1730 Sixteenth Street, N.W .• QUIRE RECORDINGS. 690 Washing- good will. He has, on the contrary, Ft Gold Filled 1.20 tJ-111F ,"Vashington. D.C. sent prepaid. ton St., Brooldine. Massachusetts. "~lhy he's playing it better than an almost uncanny way of knowinO" he used to!" he wh.ispered in aston· Black enamel design against metal. exactly ·what everybody in a roon':: ishment. fnl of people is up to. "Nobody eve J-63 tJ-63B Sterling · .$1.10 CLASSIFIED ADVERTISING RATE IS 20¢ a word. In order to Few outside the musical world J-63C Gold Plated .60 fools him," his pupils say. And h: realize how much tltis means, II, at partially cover our typography and clerical costs, we only accept a takes only a few friends deep into J-630 Silver Plated .60 minimum order of $3.00-or 15 words. Copy submitted is subject 75, a gymnast ,,,"'ere to run down8 his heart. They are the ones he II spring.ramp and turn a double son1- SCAnER MUSICALSYLLABLE PINS Lo approval by the editor. Copy will be set by ns and ETUDE box "good". ca s Enameled in Red. Black, Blue or Green numbers are available for those who wish them without additional ersauh over the backs of four ele- (Specify color). And goodness includes self-disci- phants, that would be world ne,l'" charge. Cities and states of more than one word each (i.e. Los pline. Like an Catalans and ~?'RE,.MI 0' LA in Gold on Black Enamel. tJ-113B Sterling $1.10 Anueles, Rhode Island, etc.) are counted as one word, No charge for . . C . most But the coOrdination and control 01 . so plam Black Enamel Notes. J-113 J-113C Gald Plated ••... .60 mUSICIans, asals is loaded lik nene and muscle, the sheer flexjb~· JJlo95 cit)~ zone numbers. Copy must be received the 5th of the second bomb with explosive emotions ~ ~ J-113D Silver Plated .... .60 month preceding publication. Example: copy for July issue is due ity and power, would hardly be more ',,",,~ I . tJ·95 75 h h.e never ~lows up. He never behav~s 'AIr "d,"Ca.w.da , ••••• , , ••• eac by May 5th. Forward your order and copy to: Advertising Manager, remarkable than that of Pablo Cas· Grfitl.. Ilietu tSofety Ccrtch like a pnma donna. Only when he also His life-rule, serenity based on rtd CIt, octllClr Ii Tca indueMd in all taxabl. it.m~ Address all orders to Dept. EMJ-5-5~. . ETUDE the music magazine, Bryn Mawr, Pa. un/ ... ofherwi•• ,~ilied. cauona draws a bow across. the strings do character and kindness has sef\'ed T ~. For prompt aerviCe pleaae use number and give spee'fi . those pent-up emotions have their him well. ' THE END HEODORE Bryn Mawr, Pennsylvania 64 PRESSER co., II Yl6t ~ i:b MAKE A LIVING bit LD I.JVE .•. A well-rounded curriculum, A practical Christian philosophy of life, A cultural approach, An evangelistic emphasis produce well-balanced young people trained for a life of success ond service. Standing for the old-time religion and the absolute authority of the Bible, the 'Warld's Most Unusual University· prepares its students to meet successfully the emergencies of life. MUSIC. SPEECH, AND "RT WITHOUT ADDITIONAl COST A80VE REGUlAR ACADEMIC TUITION. BOB JONES U IV RSITY GREENVillE, SOUTH CAROLINA ACADEMY "NO JU lOR HIGH SCHOOl COU SES co fCT a