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

11-1954 Volume 72, Number 11 (November 1954) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 72, Number 11 (November 1954)." , (1954). https://digitalcommons.gardner-webb.edu/etude/101

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On Teaching Bach Mildred Leonard

The First Step Is ... Honesty Richard Tucker

The Barber Shop Brotherhood Doron K. Antrim

The School Orchestra Today Ralph E. Rush

Empiricism and Science in Teaching Voice Production Joseph A. Bollew

Make This a Happy Musical Thanksgiving James Francis Cooke

The Selection and Evaluation of Teaching Materials William D. Revelli This Christmas. give them fun for life with a Hammond The new style 10 Everett is available in mahogany, walnut or limed oak (other !Bllcning ~Tonderful things happen when your family finds a Hammond Isn't this the Christmas for it? Hammond prices begin at $975 flnishes on special order). Benches, Organ next to the tree Christmas morning. Lo.b. , for the Chord Organ, not shown. And you can buy made in Everett's own plant, match per- MADE EASIER With a Hammond, you'll discover that music can be [un. It's on easy terms,.often with up to three years to pay. Mail coupon for fectly in style and finish. like having a whole orchestra at your fingertips. You can play any further information. Classroom or studio, here's a pian d wh "ill d n . that a a. piece with dozens of different, thrilling instrumental effects. that makes teaching much moe n- band m a till is al an iospire- Not only that, you can match your music to your moods as never joyable. The reward a e re man . tiou to be inn r or prole ional You can play by Christmas! Surprise the family Christmas morn- before. For only Hammond has the Harmonic Drawbars that give ing by playing their favorite carols on the Hammond Organ. Your Everett action' pond piani t l .' you thousands of beautiful tones and variations at the flick of a Hammond Organ dealer will show you how, without obligation. , easily Ior child 'adult. \11 invit -ou to this n wp,&no finger! Tone is full r sonant . , . at vour Ii, t opportunity. Priced See him soon for full details and a free demonstration! Best part is, even people with little or no music training can play - . au inspiration to both amoog the JO\\ t ou11 agreethat .. a Hammond Organ in less than a month. Thousands have done it. teacher and stud nt, it' an love tm ot in progress- And, there's no installation cost, never any tuning expense-for a The newest style 10 is v n easy 8 ------~ ours a well ur tudents'. Write I Hammond can never get out of tune. Hammond Organ Company, 4210 W. Diversey Ave., Chicago 39, I to move from One place to auotb r. toda for tb free lyle 10 brocbu

© 19U, HAMMONO ORGAN COMPANY II ~------f ETUDe-NOVEMBER 1954 _ ~.._----- $4.00 A YEAR FUNDAMENTALS THE WORLD OF ETUDE the tJlusic JI.aga~iJle OF HARMONY Office., Bryn Mawr, Pa. SIEGMUND lEVARIE. Editorial and Busfne •• Brookl)'11 COllt:gt:

1-11 .s E \\' 'ROO K gives the 51U. Tdent Illastcq or the rudiments J mes Francis Cooke. Editor Emeritus or harmony. Concentrating on fun. Fo,,,,,)eol ieaa hy THEODORE PH ESSER • (Editor, 1907,/9491 damcmal "theory," it pro\ides I firm basis rcr understanding the The Amerlcnn Music Conference first time in the history of the Metro- Guy McCoy, 1I1wwging Edi',!' "practice" or harmon) as e.'\empU. in a poll conducted among school music politan Opera that excerpts from several George Rochberg, 111usic Editor fled by composition or the past and directors confirms the belief that the operas will he given on opening night HfA~ MO~tWITH ESPeY' present. piano is still the basic instrument in rather than one full-length opera. Some Accolllpli'ihc\ 1\\0 tasks. dlOlling Paul N. Elbin Karl W_ Cchrkcue American musical education. Accord- of the leading stars of the "Met" will Harold Berkley Maurice Dnmesnil students how to c1all;~r}chords and Guy Maier Alexander McCurdy how 10 connect them with eadl ing to estimates there are about 7,500,- be heard including Victoria de los An- Elizabeth A. Gest Ceorgc Howerton 000 children learning to play instru- geles, Zinka Milanov, Roberta Peters, Rush Nicolas lonimsky other. ~Ihu thc\ can male har. William D. Revell! Ralph E. monic; anal)M'\ uf {Om~itiolls in ments of various kinds. But 76 per cent Blanche Thebom, Fernando Corena, Ma- tcnu r tlte 1I11dctl\ing runctions of the music educators say that the rio del Monaco, Frank Cuerrera, Jerome ( hord and their sequence, and piano is still the hest instrument on Hines, Robert Merrill, Richard Tucker, II reali! a figured ba< according which to begin study. Cesar Valletti and Leonard ,"farren. to the harmoll) or the me1odl'. November 1954 M30) I11lhi I ilfu\trluion and am. Vol. 72 No. II CONTENTS Alice Rile}', a dramatic soprano from Grace Mal'schal·tocllke, American pi . t:'erd~ "':11 rial are included. Iowa, and Raleigh Isaacs, a lyric tenor composer-, who recently cele- "1 III (Iuhe lmpr '>t'd whh its un- from Oklahoma. were the winners in the brated her seventieth anniversary, pre- II1H131approach and Ihc dirctillal FEf\'l'UIlES vocal competition of the 25th annual sented a recital of her works in New nnd CCOllO!ll) u..cd in (ollollinR Ihill Chicagoland Music Festival held on Au- York City on October 26. The program ON TEACHING BACH ...•..•••. , , , , ' , .. , ... , . . •. MUt/ro·d 1."~III/Jrj' dlrffiIOll."_GORDON W. BINI(UD, MoiIel710 liTUBE gust 21, before an audience of 80,000, included a group of recent compositions WITH CHOPIN IN JAPAN ' , , . , . , .....••... AtlJI·~t JotlllrfH ",vn-dl)" of JIIill";' AM·FM RECEIVER THE BARBER SHOP BIlOTHERIIOOD .. , ...... • , .•••. Dnum 1\.. A,urI", still in manuscript. WAUKESHA'S I'LAN.--I'AYS OFF .. , _ ...••... _F'.orf'II('i! nt'I~f'r '" ills. $3.50 Lansing HatficJd, fonner bass·bari· THE FIRST STEP ]5 ••• HONESTY , . , .••••••. Ru.lwrtl TMkt'r tone star of the Metropolitan Opera, Advanced circuit design with· 2 stages THE STORY OF lHTNA-PART 2 •. , •••••...••••••.•....• Turtler ~iHl". Among the new singers to be heard Broadway stage and the radio, died at Qf limiters driving a Foster·Seeley :l\'IAKE THIS A HAPPY :I\1USICAL TllANKSGIVING, .... lame. FrtWd .. CF,okr THE LANGUAGE with the i\'Ietropolitan Opera this sea- El\IP)RICIS.lU AND SCIENCE IN TEACHING VOICE Asheville, N. c., on August 22 at the son will be Renata Tebaldi, Italian so- discriminator, dri,ft·compensated oscil~ PRODUCTION ...•••••••..•••.••••..•...... !lJllfll,/1 A_ (tnll,,,,, OF MUSIC age of 44. He was a 1941 winner in the prano, already famous in this country lator plus automatic frequency control, :Metropolitan Opera Auditions of the KLAUS lIEPMANN, through her London recordings, who maximum sensitivity obtained b'y tuned DEI' A n 'I' ~I E NT S Air, and made his debut the same year MtJWJrllIIsrtlJ llUlillJle 01 will he heard in the role of Madeleine RF stages, built-in antef!nas, an~i·hulTf WORLD OF l\IUSIC •..•...... , ... , , , . , ... , . , . , .•.•.....•••.•.• 3 in "RigoJello," He appeared in Broad· in "Andrea Chenier," as Desdemona in l\IUSICAL ODDITIES .•••..••••.•....•• ' • ...... icola_ 1()II,m~/:)' <\ r,.,llnolt>g1 control, pre-amp tube for magnetic way productions of "Show Boat," "AIl- "Otello" and in the title roles of "La MUSIC LOVER'S BOOKSHELF ••.. , , .. , , •...... _ ... Dnle A'III",,_oll r. pIe Blossoms." and "Rose Alarie." car'tridges,"23 db bass and treble, THE SCHOOL ORCHESTRA TODAY , _ .....•• Ral,,/1 £. [hull l)Cf(: 'p1he guide: l(J Ihe cnjo\OltlII Traviata," "Ai·da," and "Tosca." An· I. :Ulcl Illlder,ulindinil of mu ie. "Thil controls, Williamson-tYl?eamplifier. A MODERN APPROACH TO CHORAL EDUCATION, _CeQrlf~ lIQll'rrflnl 17 other singer to make his debut will be NEW RECORDS .....•...... •. , , , , .. I'nlll I . Rib/II IR UlHhU:') cnmllCndium of mm The 1954 Audio Fail',sponsored by SENSITIVITY: 3 microvolts, AM; 5 the American baritone, Walter Cassel, THE SELECTION AND EVALUATION OF TEACHING t.,uo\\l 1St. , . 'Iitl Pl'O\Ca, ~~ the Audio Engineering Society, was microvolts, FM, for 30 db.qujet~ng. IUATERIALS " , , .. , . , . , Jr'illitHII D. Ur.N'tti 19 who has done notable work with the \ alullbh: addilioll 10 an\ mu~oaDl held in , October 14-17, with CHOPIN-NOCTURNE IN ".FLAT MINOn, OPUS !), NO. 1- Opera Company. POWER OUTPUT; 12 watts with Y. % lit 1'3 • fin h concci\l'd and a· a record breaking attendance, The A l\IASTER LESSON. , , _ , _ _ . _ ....•. " uy M,.i,.,.. 21 II ntl caned ... there m total hafmonic distortion. AUDIO TEACHER'S ROUNDTABLE •....•••.•.... , ....•... , , .Maurie.- DUIll~."lI 22 thousands of visitors who attended the r \\- bool our re'\ic\\-er b~ 5«11 IUiccszyslaw HOI·szowski is setting RESPONSE: Flat within Y2 db from 20 QUESTIONS AND ANSWERS .. ' •...... ••••••.. _ . Kart W. Ce.llrken" 2' four·day sessions viewed the latest de· OPPORTUNITY KNOCKS ....••••••••.•.•.••.....•. Atexnndl"r McCurd,. 2t. ,\ hich cornprehcn.d a thi< does..the himself a tremcndous chol'e for this .to 20,000 cycles. Hear qualily sound velopments in high n{lelity as displayed PRACTICING AND TEACHING ...... ••••...•••.•••.• _ •••.• Er;~a Morin,' 2;; ntilll or mu 1C31 IruetUTt. season in New York City. In a series of _fTUDI by most of the leading manufacturers .reproduction in a one-chassis job. VIOLIN QUESTIONS ...... •.••.•..••••....•. , .... , .. fltI.rnld nf'rkl~ 52 twelve concerts he will play all 32 of ORGAN QUESTIONS ...... ••••.•. , ...•...... Frederi~k I'liillip_ :'3 •. an be higlth r«nmmend~!lJ of andio equipment . $149.50 JUNIOR ETUDE ... , , . , . . . . _ ... , .••.•...... E/i:nb,.", I.• ,.., 51 the Beethoven piano sonatas, ten sets of me in (oUq;e IlUl\ic apprtOalJCXl variations, three sets af bagatelles, three COli rses." _NOns Cm')elon Coolc~·, fonner principal rondos, three preludes, and several Model 700 14 TUBE ~I US I C violist of the Cleveland Symphony and of )i6 pp. )JJ ill,. $'.00 smaller pieces. The concerts will take Composition", lor I'itlllo (Solo roul Duel) the recently disbanded NBC Symphony AM·FM TUNER place at the Lexington Avenue Y._M. Introduction (froTIt "Introduction .md SonaTina-·). _lllt,r,;arr:' Ir'!f.llOlII 27 has rejoined the Philadelphia Orchestra Third Street Rhumlm . • . . . . , .••• ~/IIII~rn6,.r ,"d Y.W.H.A. Similar characteristics to tuner portion 28 after a lapse of 35 years. In 1919 he PU1Jpet Dunce , . . . . , .. _ , WillMm O"borne 30 AN OBJECTIVE of Model 710 Receiver. Operates with Fairy Tule ...... •. , ...... •.. , . , , ... ' .. , .. _ .• , •.•.. Wi1l4on O"bor"" 31 was a member of the Philadelphia Or- The ninely·fifth Worcester Music Model 501 or any stan'dard amplifier. l\Iilluetto Giocoso (fwm "Miniature Clll""icS, "Vol. II) •••.• , .. _Haydu-Uenker 32 MUSIC chestra for one season, resigning to join Etude in C minor (rrOin "Twelvc Etudc ..") •....••••••.•• Franc.i'~eJ.- Z,.r.horo PSYCHOLOGY OF Festival was held in Worcester, Mass., 33 the Cleveland organization and later the $119.50 EtcrnaL Life (from "Your Favorite Songs") •. _••.••.•••.•.. Dungtul.Ri~h'f'r 31 ROBnT WIlliAM LUNDIN. October 18 to 23. with the Philadel- At Dawning (from "Your F:n·orite Song .... ) ...... •••••••••. Cadman.Rich'rr NBC Symphony, 3. Hnmil,o" Coll~t phia Orchestra making its eleventh eon- Mennet (from ''"i\:Iilitar.y Symphon:r") (Duct) ...... •..•..•. , .• , •• 1. lIaydn 36 Model 501 8 TUBE seclltive appearance at this event. The rrc.'dl :lIppr~c.h 10 the sludv Edward A. Mueller, prominent or- Inslrruncntrtl Co,npositiOlu d Worcester Festival Chorus also played AMPLIFIER . __-,. . hidt faro alt ganist, composer; choral director, died Dialoguc (Org:lII) from ("At Ihe Consolc") , _ Mo:;or,-"'d'orl 10 1U\I 1011 llClanol'. I!' .. ~ its llsual prominent part in the pro- Drink to Me Only With Thine Eyes (from "Thc DitltOlJ AlbLUU of (Hled intO 01 ullIflc:d th nd in Trenton, New Jersey, on September Williamson-type 24 watt; RANGE: 20 to grams of the festival. French Horn Solos")-Horn ill F. . . . . _ .. An. by iV. CliDord 1'£.Ile "Irucu,rt-. C.o\~f"( ~IC:1SUrenxn:';lb. 19 at the age of 72. Mr. Mueller had 20,000 cycfes-distortion less than II Pieces jor Y ou"g Playerll prooiCllon or I11\1S1Q.l ulenl. recently retired after 14 years as director Y2 %. Operates with Model 700 or any Ol ie-I Oll • l t 1 hI lc;:tlPJ" Iliferllatio/Irli copyright $('ellfrd. AI! 'righl; re~~rr'::d. r'Jur Co •• U. s_ A .• Iltl GrId' Brlt.u •. /ong: ~;lin a a \111 ua e _£IUD! theatres in various cities throuO"hout his concerto for Two and Or. in 111 6~ld:' . I K2r1 \\'. the country. Local civic and m~sical chestra. The name "ETUDE" is registered in the U.S. Patent Office. Foreword and appendl')\ s,3.5O groups will sponsor the event in co- MANUFACTURING CO., Inc. Gc.hTkcn . operation with the Metropolitan Opera Aldo l\lancinclli, 26-year old pianist Guild. The opening night presentation 530B E.72ndSt"NewYo,k21,N.Y. $4.00 :I; ye:1r in U. S. A. :1nd Possessions· :1lso' th PhT . O('flu yo.' boob fro.: _of Steubenville, Ohio, now living in Republic, GU:1tem:1h. H:1iti Mexico Nicara In ~ I IppmeJ. Cosu Rica, Cuba. Dominican will include the Prologue from "PagH- Spain and :111South Ame~ic~n countri"es exce,.l~h· Ga')2ma: RepubliC of Honduus. alvador. Rome, is the winner of the Ferruecio MAKERS OF FINE RADIOS & AUDIO foundlan.d; $5.00 a year tn :111other countrf ': Ulanas. $4:2) a year an Canada :and 'c... acci," Act I of "La Boheme," Act II of Busoni International Contest, the finals M:1nuscnpts or :u.t .should be :1ccomp:1nied bes. r~tlng~e copy pnce: )0 cents. Printed in U.S_A. THE RONALD PRESS (OMPA~ EQUIPMENT SINCE 1928. "Barber of Se\'ilIe," and Act I, Scene I of which were held at Bolzano, Italy, for return of unsolrClted m:1nuscripts or :1rt. Y ur post:"::e. ETUDE auurnc.s no mT"On~,blli 15 Eolt 26tlll 5t •• New York and Act 11 of "A'ida." This will be the (Continued on Page 7) 2 9;1 ETUDE-NOVEMBER 1954 ETUDE- ,"OI'EI/HER J 3 "a composer of wines and an im- handsome in appearance, he was, porter of music") was among the however, a poor actor. The famous performers, and also acted as the Maria Malibran, who sang with I impresario. Before the third act of him for two seasons in London, the opera, Kelly appeared at the berated him for his inability to proscenium and announced melo- act. "You are a fine, tall man, but l EVERYONE SAYS: dramatically that Mrs. Billington a very poor lover on the stage," had fainted and could not go 011 she told him. Templeton was very with the performance. The spec- much upset by this rebuke. After tators grumbled and there were the end of the opera, he summoned Absolutely The First Name In Piano Methods! outcries suggesting that the whole enough courage to give Madame THE MICHAEL AARON PIANO COURSE liThe Connsonata SOlAnas thing was an imposition on the Malibran a hearty hug. She disen- The nation's most successful piano method! Acclaimed year after public. Kelly then asked any "med- gaged herself and said: '~yau mis- year as the method which best sustains the student's interest and By NICOLAS SLONIMSKY ical gentlemen" present in the understood me. You may make enthusiasm for piano study. an audience to come forward and ex- love to me only in public." Pertect Uninterrupted Sequence- Natural Progression jlAst like a 'Pipe Ofe !" Engli hman said thai Great Bm. amine the ailing prima donna. A Templeton attained the peak of MICHAEL AARON PtANO PRtMER .60 USIC of eicrhteenth-century ain should be proud of having surgeon and an apothecary volun- his success when he was engaged MtCHAEL AARON PIANO COURSE Geode, J -2-3-4-5 .. each 1.25 M England wasOlargely ma?e in MtcHAEL AARON ADULT PtANO COURSE Books 1-2 each 1.25 pr duced uch a singer. teered, and after a few minutes by Alfred Bunn for both of Lon- Italy, hut at least one g~eat ~mger MICHAELAARON PIANO TECHNIC Books 1-2 each ]S ut h r triumj h were not Ifith· testified that Mrs. Billington was don's great theaters, Covent Gar- of the time '\'"3S of Enghsh btrth-c- MtCHAEl AARON DUET BOOK ...... -..... 1.00 indeed ill. The affair affected the Elizabeth Weichsel, daughter of a out th rn . Tn 1792, she was at. den and Drury Lane, in the same Send for FREEThematic Circularsl sales of tickets for future perform- German oboe player, a r sidcnt r ta k d in n encnymou pamphlet. season. What Templeton did not ances, and the management felt London, She wa born about 1765, and a us d f immorality. The realize was that the shrewd man- Newest Piano Book by GUYMAIER obliged to publish a statement by studied with her father and lut r publieati n 01 thi pamphlet was ager intended to use his services (written with Herbert Bradshaw) Mrs. Billington's personal physi- in both theaters on the same night with the double-be 5 player Jam ~ irnmedint Iy I llow d h) au equal. THINKING FINGERS, Vohnne Two cian, a doctor named Heavyside, fixing the hours so that one per- Billington whom she marri d in Iy on n) mous an~\\· r identified Essential exercises for the development of pianistic control and to account for the circumstances formance would he nearly over 1783. A contemporary pam phi t nly a "wr-itten h) a gentleman." facility in Chromatic and Maior and Harmonic Minor Scales, Broken of her illness. It seems that Mrs. when the other was about to begin. Chords, anCl in Major, Minor, Dim. 7th, Dom. 7th and Arpeggios described their court hip in the The writ r prot~ted against lhe Billington was in the habit of hold- The plan did not always work. $1.50 following words: "Like a s ond s and lou brochure in whicb ing a needle in her mouth while One night Templeton was very late Abelard this srentlemau made th "beauty nnd merit ho\c been most 3 Piano Publications By HAZEL COBB ,0 .• sewing, and some months previ- for the performance of Auber's science of Love one of the prmcr- gro_ Iy, m st illiberally attacked," ously she had accidentally swal- opera "The Dumb Girl of Portici" pal articles of his in rruction, B.nd Lill h r r putati n as a libertine PLAY FOR FUN lowed one. She had then suffered at Drury Lane, so that the manager (written with Eugenia Robinson' like a second E1 i c, ur heroine per isl d. Th II..mori f, ,1I0!,. no ill effect, but on the day before had to ask the orchestra to repeat 26 familiar songs arranged for piano. "Aunt Rhody," "Down In imbibed his 'Ies n with avidity zin I Dublin made a pi,) 00 the her performance she complained the overture pending the singer's The Valley;""Now I Lay Me DGwn To Sleep," "WaYfaring Stranger" and delight." Although he lot r \\lord U inger" and" inner", and and others ,...... 75 of pain in her right arm. Dr_ arrival. When Templeton finally divorced him, she retained his cl lar cl: "~lr. Billington hIlS. Heavyside probed into her muscle, got to the theater, he was covered name, and it is a ~'Irs. Billingt n III r m 1 dious "oi e than weem VARI£TY AND SPIC£ FOR PIANO I made an incision and extracted the with perspiration. The beard and "Fun in music" for youngsters. 11 piano pieces in popular styles, that she became famous. h ord in an' ngli h sinner. ' needle, which had somehow trav- the mustache that he had to affix boogie or swing. Complete section on how to play and makeup Joshua Reynolds painL d a por- Th peak of 11'$. Billingtnn'. eled there through the body. Mrs. for his part of Masaniello would "Boogie" patterns ,...... 1.00 trait of Billington howing ar r wn reached in J801. ,,·hen lVII'S. Billington lost some blood and had not stick. In the llliddle of his aria he r turned to Englaad afte, I RHYTHM her with her eye turned towards a nervous shock as a result. "Her "lVI y Sister Dear" the mustache heaven, as though she ,"ere list n· long lour in Europe. The ri,-aI TO COUNT, SING AND PLAY ORGANISTS, , TEACHERS, STUDENTS and "just desire to gratify the public," de- flew into his mouth. With a des- ing to a choir of aOrTe}s, hen m llB f Orur)' Lane ,nd Ca,· A natural method of training in rhythm with emphasis on the value clared Dr. Heavyside, "has been perate gesture he extracted it and nl nrd n vi d \\'itb each other of the "whole-arm swing" as the simple and natural compliment to plain music lovers" all agree- "Once you've heard the Haydn saw the picture. he said to proved to exceed her power. With- threw it into the orchestra, where rhythmical piano playing ..... "...... 75 lor her T\ ices. Finally, the)'cam< Mrs. Billington: '"It looks like ou out the hazard of her life, she it landed on the violin of Tom Connsonata, nothing else will completely satisfy you. to an agreem n' h hereb)" she was but it has one great fault: the could not attempt to resume her Cooke, the concertmaster. It be- 2 New Piano Books By ERIC STEINER painter should ha"e represented to appear in botl, Lheater>.at an There's just no other instrument that produces such rich, duty that night." came entangled in the strings, and ONE, FOUR, FIVE the angels Listening to you." astronomical figure of two lhou..~ Cooke's violin produced some Mrs. Billington was one of the guinea a season [rom each. ··The At the beginning of his training the young piano student is taught pure-organ tones (except a large pipe organ!):' Besides, • strange sounds. The London Times to play familiar melodies accompanied by simple chords thus most glamorous women of the op- anxiety 01 the public to witness"" was impressed with Templeton's Connsonata offers a wider selection and range of true increasing his interest and encouraging further development .75 era stage. Her admirers ranged exerlioll o[ this a£loundingfem~ ONE OF THE slrangest decrees adroitness in getting rid of the from the middle class to royalty. i in reased rathe.r than dimlD' issued by Napoleon was this: "Be- solo "voices." Get a Connsonata demonstration soon! incommodious lip hair pnd con- YOUR OWN HARMONIES A commoner hearing her for the ished bl' the {,equenc) of heq.'· ginning with the first of next cluded: "John Templeton has final- A natural followup to Steiner's previous book. Teaches the student first time remarked that she must formanc ",\·rote a LondonJour· month, all loges at the Paris Op- ly proved that he can act." how fa harmonize melodies with the three principal chords.. 1.00 have swallowed a nest of nightin- nal. ,. mOT 8ccompliEhed singer, era shall be paid for by those who Once Templeton had to sing the gales. in v ice ience. compas5·ta..~e. occupy them." role of High Priest in Michael New, Elementary Piano Folio by DAVID CARR GLOVER, Jr. She was the darling of Brilish ex uliano nnd e.~pre."'Sion.certaill' The explanation of this cryptic Kelly's opera "Pizarro" on short BOOGIE WOOGIE SCHOOLD/lYS nobility. The Royal Magazine pub- 1 ne\" r wos heard at an . timeor order is simple: the consuls, .the notice. He had no time to learn lished this notice in 1788: "The any place:' f\oother ne,,·s~~ ministers, the chief of police and Five Etudes in bright and bouncy style - 1. GETTING UP BOOGIE the part, and to save the situation, 2. OFF TO SCHOOL BOOGIE 3. LUNCH TIME BOOGtE 4. GOtNG Duke of Cumberland is said to be gave Q d riplion of her out"'.. several other members of the gov- he placed the music on the· altar HOME BOOGtE 5. FRIDAY NtGHT BOOGtE compl.te .75 particularly fond of music. Those appearance: "Mrs. Billingtou,. ernment had assigned to them- before which he was to kneel. The for your copy of the FREE guide, "HOW TO . doe; n~ "1fI'tite who have seen him when a spec- rather etubonpoinL but It selves seventeen boxes gratis. As Hewest Piano Book in the Modern Idiom! CHOOSE AN ORGAN," Tells what to look for ... what sacred flame was simulated by a talor of l\'1rs. BiUington' wonder- t an example to follow, Napoleon (0 avoid-how to get the most satisfactory organ for in the I derange the economy wick saturated with wine. As MODERN MELODIES FOR POPULAR PIANO PLAYING your purpose. Use coupon. No obligation. ful abilities in the musical way, of her personal auraction." Bil. himself sent 15,000 francs 10 the Templeton reached the verse "Oh By MARVIN KAHN ...... will be convinced of h15 partiality. n Oc:ober 21. ISO!. M"jrl" Opera in payment for a season's Power Supreme-Consume with All-time favorite songs arranged for the early intermidiote pianist. CONN SONATA, Division of C. G. Conn ltd. ticket. Surely this harmonious iren can- Iington sang Arne's ope'.',un.and Thine own Hallowed Fire," the Stormy Weather - Sweet Lorraine - All My Love _ Moonglow _ Dept. 1156, Elkhart, Indiana and ?thers illustrating modern rhythms and idioms. Drills, analysis, not boast of a greater palron than xerxes. It was a gaIa...... -- 1lt burning alcohol spread onto the Please send FREE guide, "HOW TO CHOOSE AN ORGAN" practice procedures _ , _.. , , . . . . . 1.00 His Grace." th program allnounced th,t - .. Joh" Templeton, the English music sheet. Templeton tried to Name ~ _ King George HI call d her to House will be illumined '''It.h lfaI. tenor who flourished in the first retrieve it, but it ",;as too late. The . d com' Address _ Windsor for a conunand perform- :\I.iebael Kelly. SlOge' ~ "",' half ,of the nineteenth century, was music was badly scorched and be- City Zone State _ ance to "sing pathetick ongs," :Na- }>OS T who was also a wme . an Imposing personage on the gan to curl. He had to improvise MILLS MUSIC, INC. stage. Six foot five inches tall 1619 Broadway, New York 19, N. Y. I am 0 Organist 0 Music Teacher 0 Direccor 0 Student poleon took note of Mrs. Billing- cbant ( beridan said conte~ , the rest of the aria as best he could. ton, and 1n a con,'ersation with an ou,1 that Kelly 5hould be 4 ETUDE-NOVEMBER 1954 9~ 5 ETUDE- 'OIEI/8ER I fecundity much of the music he CANCAN AND BARCAROLLE wrote for his stage shows never lIfusic Lover's . f ues Offenbach got beyond manuscript. til. 18i6 Life and Tunes 0 Jacq e • 1 Moss (lIlll EVflly", Marvel Offenbach came to Amenca to You will get REAL RESULTS with' the NEW••• by A rt: lUS ' attend the Centennial Exhibition. BOOKSHELF The anthor's of "Cancan and He crossed the ocean in the Bal'carolle" have given us a story- 5.5. Canada and had a very rough ANDERSON ized life of Jacques Offenbach voyage. A band of fifty was sent ADA RICHTER DALE By (1319-1900) which is ve:y read- down Jew York harbor to greet able but much over-amplIfied by him. A terrific squall made most the imagination of the autho~s, of the players so sick that they who make innumerable verba~l1ll could not perform, greatly to the PIANO COURSE otations of conversations which amusement of Offenbach. A unique, up-to-date approach to the problems of clergyman whom he greatly adm~red ~~st have been invented, with the In [ew York Offenbach was 'Uhe Bisho}} of Broadway Piano Teaching, and more _ David Belasco and he adopted the habits of a priest, idea of making the book more dumbfounded by the enormous His Life and WOl'k which he wore to the end of his days. appealing. 'Vhen wise cantor Isaac menus in the hotel and by the Filled with charming illustrations in harmony by Craig Timberlake This gave Belasco an aura of piety Eberst, who changed his name to mod rn luxur iou aeeornmoda. The, main reason for reviewing which was far from the individual with current educational trends. that of his birthplace Offenbach ti ns. this extremely voluminous (nearly himself. His imagination was extraor- Note size, staff size, spacing, layout ... each page graphically moved his sons from the ghetto of John Philip ou a. then twenty- five hundred pages) life of the one- dinary when it concerned his own designed to absorb the early beginner. ~right clear impressions Coloane to Paris to es ape th thre , was on of th first violins time dramatic Wizard of the Great achievements. Many statements he o . .. White Way in a musical periodical made about himself were oft.en far cruelties of German anu-senuusm in OfT III a h' or he Ira on his on the finest quality, Full-weight, white paper, smartly hound is, that two of his productions, from the actual facts. of the early nineteenth century, he Am r-icnn t UT, which after he left in gaily hued covers. "Madame Butterfly" and "The Girl Craig Timberlake, the author of put Julius (violinist) an 1 Ja qu th big iti s \\'8 n ne too sue- of the Golden West," were employed this very comprehensive biography, ('cellist) in an atmosphere that cssful. usa had a great respect by Giacomo Puccini as the basis for is a graduate of Southern Methodist • EASY • CLEAR was most stimulating to them. f I' the r fin ment and exacting grand operas, one of which, "Mad- University; has been associated with Jacques studied 'cello at the Paris th rough» ss of th c nductor's -EFFECTIVE - COMPREHENSIVE ame Butterfly," was a permanent the profession as a singer, actor and Conservatoire for a tim . but 0011 111 thod . He once told the writer international triumph. Belasco was teacher for a number ...of years. He - ENTERTAINING • CONTEMPORARY unquestionably an amazing genius has not tried t.o paint the lily nor drifted to the theatre where he was that fTcnba h wa a very kind in theatrical production. He had has he attempted to hide Belasco's to develop the opera, bOll-De and and onsiderate man with a spar- FOR THE STUDENT FOR THE TEACHER many Joyal friends and many bitter shortcomings. In a way Belasco was immortalize the cancan. kling per nnl ity. Alas, Offenbach enemies. He was so incessantly busy an amazing theatrical phenomenon The music for the ca ncan was Sl k only Fr neh an I ousa only Pre-School Book 60¢ Books I, II, III (Early Beginner) 75¢ that the sum total of his work is who gave New York and London nothing more than the very popu- Enghsh and OU88 th r fore did Book IV (Early Beginner) $1.00 • "Keyboard Games" (Supplemen- staggering. John Luther Long, a u- some of the most gorgeous and effec- lar galop. The cancan connected n t get mu h from him. - - tarymaterial to be used with last half of Book I, and all of Bookll) 75¢ thor of "Madame Butterfly," who tive stage pI'oductions in history. -----,.. it with dances said to hav I en fT nhaeh ould n I under.laad collaborated with Belasco in turning Mr: Timberlake writes: brought back from the dive of Ihc un lay blu la,,' 01 Philadel· the story into a short play (and also "Belasco was not cast in heroic See il al gout dealel', wilhout delag -~------:=- collaborated with him in writing mold_ Few of us are. Human frailty Algiers by returning oldiers. The hin whi h pr "ellied him (rom "The Darling of the Gods" and was compounded in his private and staid families of France were hor gtVlIlg n rt n th abbat~, M. WITMARK & SONS· 619 WEST 54th STREET. NEW YORK 19, N. Y. t "Adrea ,), once told YOUl' reviewer: Ino£essional life. He was a grossly rified by the cancan and its int n Ihe day IVhi h had al"'a) beenh" "Belasco's concenh'ation was incan- sensual man, morbidly preoccupied tional obscenity and vulgarity. 1 u ie t in Paris. lie C I\tended descent, almost frightening, and he with the bizarre aspect.s of sexual Ever since then tourist f rorn c\'cry· that til working man hod only one was tireless when he was working behavior as he observed them in life WORLD OF MUSIC feature works by faculty members, stu- The 92 men comprising the former where have been drawn to th day ofT and had plenty 01 time 10 dents and fonner students, including upon anything tllat interested him." and in his extensive collection of NBC Symphony have organized into a He pI'oduced on Broadway one cafes, bistros, and night haunts of li horge his religiou duties III (Continned from Page 3) Violet Archer, Robert Turner, Alex- group to be known as the Symphony pornography." Belasco was anything ander Brott, Istvan Anhalt, Ellen Bal. . hundred and twenty·one plays. Six the city of light to becomc properly Ihe morning and .hould be ableto Foundation of America, Inc., with Don but a bishop in the higher sense of lon, and Douglas Clarke, the last named Gillis as president. Performing under of these he claimed as original. re-horrified. The cancan became a relax and enjoy him J{ during the in September. Mr. ~'Iancinelli who was The Main Line Symphony Orches- the word. being director of the Conservatory. Miss the name of The Symphony of the Air, About twenty were collaborations. competing with 25 finalists, won an tra with headquarters at Wayne, Pa., Library Publishers 84.75 prop of the restaurant, Iood an I r st f Ihc da -. Quaker Philadel· BaIlon graduated from the school as a it will be the first independent orchestra He paid his collaborators well but award of half a million lire ($800) and will give the opening concert of its wine industry. It soon spread phia until 8 comparnti"ely few a contract for a ten-concert tour of child prodigy pianist at the age of 6Y2 to go into business for itself. The or- was loathe to give the recognit.ion eleventh season on Novemher 12. Under The Young Pianist around much of the world. Offen· yea rs ago \\ 8l: .s.hul as tight as a Italy. years. chestra plans to give a concert this fall in print which they deserved. He by Jacm Last the direction of its regular conductor, bach's cancans became the folk· drum on undar· Louis Vyner, the orchestra will pre- in New York and to make its own sym· liked to dominate all situations. His Miss Last's very practical new The month of October marked the phonic recordings. music of the boulevards. The dance Offenbach became infatuated Richard Maxwell, former radio and sent a program which will include settings were famed for their aC- book (155 pages) is an approach concert tenor, and for the past two Beethoven's Fifth Symphony, "The ninetieth anniversary of the Chicago persisted through the music halls with a beautiful panid) girl of curacy, beauty and good taste. Many to the problem of teaching juveniles years director of the sacred music di- Moldau" by Smetana, .and 1'1'11". Vyner's music house of Lyon and Healy, Inc. Indana Universiry's School of j\.IIusic of the most famous actors of his as seen from an English standpoint. and became the classic background fi {teen who_ \\;don'ed mother had vision of the Shawnee Press, died own transcription of Bachts Toccata Founded on October 14" 1864, by George is embarked on the most ambitious period attrihuted their success to The author is the Director of Music for burlesque shows. married an Engli~hwaD named September 4 at East Stroudsburg, Pa. and Fugue in D minor. The soloist will LYOll and Patrick Healy, the firm has operatic program in its history. Open- Mr. Belasco whom they worshipped. at Warren School, in Worthing, and Offenbat:h wrote more than One Mr. Maxwell was nationally known for be William Kincaid, distinguished solo grown lUltil at present it occupies a ing with a three-night run on October titch II. Th were married in leading position in the music industry. Among his famous stars were Mrs. had years of practical experience. his radio work, both as a singer and flutist of the Philadelphia Orchestra 22 of "Fledermaus/' the subseqllent hundred stage pieces among the the Catholic church when she was Lyon and Healy pioneered in building L~slie Cart.er, Blanche Bates, Robert Herbert Spencer (1820-1903), Brit- as a director of programs. He also was who will play Mozart's Concerto in G productions will be "Madame Butterfly," most tuneful of which are "Or_ siXlC n and he was twentrfi\·e. the harp and today this firm is the "Ariadne," "Parsifal," and "Tosca." Hilliard, Frank Keenan, Mary Pick- ish philosopher and educator, is the sponsor o( 200 "Good Neighbor major for Flute and Orchestra. pheus in Hell," "La Belle Helene," Iter lhat h became a member of Cluhs,t in the United States and Canada. sole source of supply for this instru- Conductors are Wolfgang Vacano, Frank ford, Ernest Tl'uex, Lenore Ulric, quoted as saying, "The value of a "La Vie Parisienne." "La Grand the atholic church. Their mar· William Sylvano Thundel', organ- ment. ETUDE extends congratulations St. Leger, and Ernst Hoffman. Stage Frances Starr, Lionel Atwill, David book is in its quality lor making the and best wishes for many more years of Duchesse de Ger·olstein," (in Msgl'. Licinio Refici, Italian com- ist, choral conductor and accompanist directors are Hans Busch and Ross Warfield and many others. reader think. If a book does not pro- ring wn a \·err happ one. de- service to the music profession. poser.conductor, collapsed and died of for many noted artists died in Phila· Allen. THE END Belasco made many fOI·tunes but voke thought it is wOrlhless." It which Lillian Russell starred) and .pite the fact Il,al Offenbachbada t a heart attack while conducting his own delphia on September 8. 1\11'. Thunder, was in no sense '-'money mad." In would be useful for any American "Mme .Favart." These lively works u "roving elc, " opel'a "Cecilia" in the Municipal Opera who had a career of sixty years as a COlllPETITIONS (For details, write to sponsor listed) Iact, he was so profligate in purchas- music teacher of beginners to read became models for numerous lat I' Offenbach' best known \fork I.: in Rio de Janeiro on September 11. music teacher, received his musical • Composition Contest for an anthem for mixed voices. Sponsored by ing scenery, costumes and proper~ies ·this carefully presented book and comic operas in Europe and in of course uLes ontes d'HofImann Msgr. Refici was known in the United training from his brother Henl)' Gordon the First Methodist Church of Hollywood, California. For Details fol' his productions, that in sevenl compare it with her own method of Anlerica. Rossini even called States, having conducted the Roman Thunder, noted conductor. founder of write Dr. Norman Soreng Wright, Organist-director, First Methodist instances the shows lost money. \, ith its alluring Barcarolle. Singers of Sacred Music from the Vati. approach to teaching problems from Offenbach the "Mozart of the the Philadelphia Choral Society. From Church of Hollywood, 6817 Franklin Avenue, Hollywood, CaliforIl.ia. He was naturally a very generous the earliest grades to grade four. in 1907 when O",ar Ramj can Chapels in Rome on a tour of this 1916 to 1928, Mr. Thunder -was organist Champs Elysees" which is about country in 194i. person.' There are ten pages of half-tone mersl in reyh·ed the "Tales 0 for the PhiJadelphia Orchestra; from • 1955 Ascension Day Festival Service Annual competition for an Belasco was bOI'n in San Francisco, plates showing hand positions which as ridiculous as calling 10zart Hoffmann' at the Manhallan Oper~ 1912 to 1950, he directed the Straw. Ralllh Hunter, conductor of the anthem for mixed voices. Award of $100 and publication by H. W. July 25 1853, and died in New York have been excellently posed. Also, "the Offenbach of the Ringstrasse:' Hou in ~ew York Offeabach·' bridge and Clothier Choms; and from Gray Co. CJosing date February 15, 1955. Details from Secretary, .in 1931. His parents were English rVIen.'sGlee Club of the Radio City 1923 to 1948, he was the official organ- there are numerous lists of teaching Offenbach, however, was n veri . mclodies baye been heard SO Ire- :VIUSICHall and fonner assistant choral Anthem Contest, 12 West llth Street, New York 11, N. Y. Jews. His father,-Humphrey Belasco, ist at Drexel Institute of Technology. pieces. Throughout the book the table foun.tain of melodies. many quenll on Il,e air. that, bad cond.uctor of the of was said to have been the best harle· th~; writer evidences a very warm and of them tnte and conventional but MUSIC, has been appointed conductor • Contest to secure in one individual the perfect composite talents to quin of the London pantomimes. been under royalty. they \>,ouII The Conservatory of Music of Mc- sympathetic understanding of her Some with haunting chann like of. the Collegiate Chorale of New York Gill Unjversity at Montreal, Canada, qualHy for the role of Carmen. Candidates must excell in acting, sing. In his boyhood Belasco became subject. have eanled the composer a sma C1ty~succeeding Robert Shaw, founder_ will present a music festival this fall ing and dancing. No closing date announced. Details from The Inter- the friend of a Roman Catholic the Barcarolle in "Tales of Hoff. fortune from C,IP alone. Oxford University Press 2.00 conductor. l\'lr. Hunter will continue Lo celebrate the fiftieth anniversary of national Music News Syndicate, 30 N. LaSalle Street, Chicago 2, mann." Probably with his great with his duties at the Music Hall. E~posilion Press .00 its founding. The ten programs will Illinois. (Continued on Page 53)

En DE-' or EIlBER 1951 ETUDE-NOVEMBER 1954 7 " ., ~"_fL!!J'~~~~Chg., ~~~~ ~~~~ ~_.""."""'-;,; ETUDE . the things lor that money No other gift gives On Teaching can't buy SO MUCH, FOR SO LITTLE ••• with the pleasure lasting so long! A ETUDE Subscription is a musical value many times n 0tI 5 price.° BACH EACH MONTH-12 TIMES A YEAR-IT BRINGS • Informative "tell-how" articles by distinguished authorities, A member of the piano staff • Interesting success stories about the world's great musi~ions. • General articles on music ... news in the musie world. • Special deportment!. by widely-~nawn musi~ ed!ta.r5, , of Teacher's College, • Fine music (18 ta 22 pages) for piano, organ, vlelin, c;horus. lnltrumentol and for the beginner, (Nearly $9.00 warth at regular pric;es in each of the tost 12. iuues) Columbia University, presents Special (lift Rate" important facts connected with One I-yr_ sub .. _ $4.00 Three I-yr. subs. {one moy with be yours} $10_00 • • • come into your home a Two I-yr. subs. (one may be the study of the works of ]. S. Bach. yours) ... $7.50 Each additional I-yr. sub. $3.00 STEINWAY Add 25¢ per yr. Canadian Postage; $1.00 per year. Foreign POlotoge ETUDE is so easy to give. Just fill out and mall the- order form bound in this issue _ .. we will do the rest and will moll to each by MILDRED STANLEY LEONARD The home enriched with a demands are made on him but ane to wham you send a gift subsc;riptlon, a handsome 9reeting c;ard with your name, timed to arrive for Christmas. Steinway is a garden of growth, the rewards are rich and endur- AN EAGER early-teen-age piano student to the degree needed for intelligent and melodic line, rhythmic element, orna- where beauty and things of the ing. With its capacity to exalt, of mine came bounding in to her effective performance? mentation, dynamics and tempo. These di- spirit flourish. and with the tone and quality of lesson the other day, eyes aglow with a new Undoubtedly, somewhere between the visions cannot attempt to cover, even in There families find release workmanship born of roo years achievement. "Mrs. Leonard," she exclaim- purist school, with its imitation of an a general way, all the requisites of good from tensions and from the bore- of experience, the Steinway will ed, "I did it! I found every subject of earlier instrument plus its application of teaching. Yet, though these procedures inspire your family for years to Musical News Items From Abroad dom of not taking part. The my new Bach Invention and followed each "half-knowledge" to performance on to- should be applied to the study of any mu- Stein way leads your child safely come. The Steinway is not only The Holland Fesuvnts of 1954 iana Bresileras. :\0. -I:' lbert's uite voice right through to the end!" Her ex- day's piano, and the Romantic school, with sical compositions, they are particularly past the push-button ease of the a purchase, but an investment in attracted a total of 180.000 persons HLe Ch valier Errant:' and Fortner's citement was apropos, for a genuine rev- its heaping of the growth of the nineteenth demanding of our serious consideration in machine age into a life where life's most treasured dividends. to the 104 performances in Amster- "Capri etc and Finale." Conductors dam, the Hague. Scheveningen and engaged are ir John Barbirclli- elation had been vouchsafed her: a century upon an earlier writing, there must the sparsely edited works of Bach. in other cities. The Sadler's Wells Hans hmidt-Ls r-redt. Ceerges glimpse into the intricate yet logically be a middle road, valid and expressive. 1. Harmonic Analysis. The first thing Ballet audiences broke all attendance Tzipine and George Weldon. simple pattern that unfolds so surely and so How specifically, as piano teachers, can we to make clear to our students is the form records [or the festivaL rewardingly for the properly guided stu- help students-train them to think effec- of the composition under scrutiny. The \VulliJlgford Ricgge-'s Varia· dent of the masterpieces of Johann Sebas- tively, to perform musically? One of OUT movement from key to key is the pivotal The Donaueseh ingeu l\Iusic tions for Piano and Orcbestre re- tian Bach. first directions to them should be to secure point in the analysis of form, First find Festival in Donaueschingen. Cer- ceived its first performance in Contemplating this young girl's joy at a desirable score-such as that of the the key centers, which usually mark the many, on October 16 and 17, in- Europ when it wae played in p- her accomplishment, I wondered anew at Bach Gesellschaft, considered the Bible cluded music by com posers of eight tember by Frank Glazer with the large sections. In the fugues, for instance, the almost total lack of understanding, the nations. The composers represented Orcbestre de Ja uiee Romande at of the score, or the Stein graber, with its and in many of the inventions we pro- were Marion Peragallo of ltaly ; the Rencontres lnternatienales in utterly pedestrian interpretation of Bach authentic notes. If only a poor edition is ceed in the exposition section from the Hans Brehme, Hans Ulrich Engel- Geneva, witzerfand. so often encountered among new students available, then teach your students to think tonic to the dominant j in a middle section mann and Bernhard Scholz of Ger- in my piano classes in the Graduate Music beyond the score. Encourage them to we may move through various related many; Igor Stravinsky. John Cage The fourth International Fee- Department of Columbia University's listen at concerts and on records to such keys; then back to a final section with at and David Tudor of the United Livu] of Mu i and the Arts in We..;' Teachers College-students who presum- artists as , whose -per- least one restatement of the subject in the States; Pierre Boulez and Darius ford, Ireland. October 31 to I~ ably already had thorough musical training formance on the harpsichord is author-ita- original tonic key. These larger divisions Milhaud of Frunce ; Iutyas Seiber vember 7, wiJI include a performance at many of our leading musical colleges ti ve and rewarding, and to Rosalyn are easy to find; thereafter detailed atten- of England; Rolf Liebermann of of BelJjni's "La n8mbuJa:' wilh and conservatories.' Yet time and time Tureck, ",..ho brings to the piano a thor- Switzerland; Nikos Skalkottas of MariJ)u Cotlow. American sparano, tion should pe given to chord progressions again I have witnessed the pride, the sense oughly scholarly and musicianly interpre. Gl-eece; and Roman lJattucnstock- in the tit 1 role. Otber e\enlSwill be within each section. Color chords such as of accomplishment, the awakened appre- Ramati of Israel. a concert by the Radio Eheann Sym' tation. diminished sevenths and suspended ca~ ciation of these same students after new TH E HAN DS 0 MER EGENCY VERT ICA l, designed with simple lines lor limited spece. 1\ has wealth and !>Ower01 tone phoDY_ directed b! ~lilan Hon-aL Since it is the polyphonic character of dences are frequent and call for nuance as which only Sleinway has achieved in the small piano. Delivered to you by the Sleinway dealer lor as lillie down as ... $14750 Au International Oq;un 'Veck and chamber mu~ic pla)-ed by the horizons have been opened for them seventeenth- and eighteenth-century music well as a change in dynamics. l,berallerms. Slightly hIgher in the.Wesl through proper methods of study. What are was held in Dusseldorf, Germany, 1ew Loudon tring Quartet. that creates the greatest interpretative' The beauty and effectiveness of many of October 9 to ]4, in which some of the approaches through which the serious difficulties for ears trained since child- the preludes lies chiefly in the harmonic the .leading organists of Cermany, Robert Gold&·unl. Viennese- piano student can attain an understanding hood in the Romantic idiom, I shall deal Most of the world's great artish use the Stcjnway Pans, Bologna, Stockholm and the progressions. The familiar C Major Pre~ e.xclusive1y:-Here arc just Ii few: Solomon, pictured born pianist. now an American citi and an insight into both the minutiae and mainly with six fundamental aspects of United States took part. j lude~fortunately or unfortunately (de. at right, also Gcza Anda, Marilin Anderson, zen. has heen making a tour ? the total pattern of Bach's compositions Bach's cantrapuntal music. Of prime im- Victor Borge, DorfmanIl, Ganz, Gold & Fizdlllc, Europe which included concerts In pending on the point of view) made more Heifetz, Janis, Serkin, Sevitzky, Ha>;c1Scott. portance to adequate performance of any The Halle Orchestra concerts lockholm, Oslo. Copenhagen. C0- Mrs. Leonard is well known for her work familiar by Gounod in his Ave Maria-is invention, sinfonia, fugue, prelude, toc- in London whjch hegan in October. logne. and Hamburg. On ~ofem~r at Teacher's College, Columbia University. such a composition. The C minor Prelude Our booklet, "How to Choose Your Piano," il will include the fir:::t performance:, She has recently opened her own studio at cata, suite or partita is workmanlike ap. will he sent free if you write Stcinway & Sons, ;;-'" 6 he will gh e a debut recital )]l of Volume I is a striking example of a Scarsdale, New York. Stein WilY Hall, 109 West 57th Street, N.Y. _ in England of Auric's Symphonic London when he will play the [-ftll proach to harmonic analysis, shape of the simple procedure (Continued on. Page 20) Suite "Phedre," VilJa-Lohos' "Bach- minor sonata by Samuel Barber. 8 ETUDE-NOVE.I1BER 19;j ETUDE-NOVEMBER 1954 9 •

the \Vorld!" It ve~y nearly does SOl\11th years teach- (Albert Faurot has spent man~ .. and ies of concertI, sonatas, folk.songsof .' hools UDlversItleS vo Iun 0 ' , Ing music in mlsslO~ sc a~ and the Philip- both Occident and nent, guitar music, conse.rvatories of C~llna, J;: frequent appear- nd contemporary composers. Works of pines. In Japan I ~ t m~th symphony nrches- ;chonberg, Bartok, Prokofieff a~d Hinde, nnces as guest so DIS tly returned to the itl which are only now becoming known , Mr Faurot has reeen. 'II' mitn, Iehed In tras.uvu- 1 . t aching at 51 nnan . America, were publis e m J apanese Philippines where ie 15 ~'ty -Ed Note) In ". h h" University in Dumaguete 1. • "pirated editions m t e t Ifties. WithChopin In the realm of 78 rpm records, Japan The Barber Shop is a collector's paradise. Bruckner Societiesl H go Wolf Clubs and other such esoteric THOUSAND black heads bent wo r:ups hrought to Japan farge quaDtities,1 eagerly forward, and four thousa~d T theg limited·editlOn. "Sociociety- Reco:diings," Brotherhood black eyes focussed on the stage, .as t : The leading phonograph companies had in Japan house lights grew dim and the curt~l~ rOls factories in Japan before the war, where (L.) The late O. C. Cash, founder of SPEBSQSA in the Asahi Kai-kan in Osaka. Lost III the standard works were pressed, with labelsin and (R.) Hober-t G. Hafer, Executive Secretary nese faces were the blond heads sea 0f Japa "k If Japanese character, Hundreds of second, The amazing story the Society for the Preservation and of Europeans and Amencans Ii e myse , 0/ hand record shops throughout the islands who had come to pay homage to t~e ~ge~ now cfler for sale excellent discs of such Encouragement 0/ Barber Shop Quartet Singing in America French pianist, Alfred Cortot. An ac11 raritie as Edwin Fischer'S, Well.Tempered and blond alike were soon under the spe Clavier Marguerit Long Mozart Con, (SPEBSQSA), and what it means to its thousands 0/ members, of the inspired playing of the master, by Albert Faurot certi the Panz ra and Lehmann Liederal· known to us for so long, and now seen on bum', ani! Krei ler, Caru 0 and Paderes- the staze for the first time. For like my Japanese friends, who. are ski re ords by tho dozen , by DOl'On K, Antrim id d collectors I had known since Radio stati OS mak copiou use of these avr recor , .. re ord , The quullty and quantity of good childhood this artist's recorded ll~terpret~- music from Tokyo, and tions of Chopin's music, with then er~ahc broedcest Osaka y DAY, Al Rash of Teaneck, N, J., is retary of the Mid-Atlantic Association of other cities i remarkably high, secondper- tempi, violent rubato, and splattered mac- B an auto salesman, by night, a barber- Chapters. "They sing with the group for haps only to . n land' lamed "third,pl. curacies. All this was present now, but was shop singer. Al spends two nights a week six months and gain such self-confidence, gram," In my litt! mat,floored Japanese quite forgotten in the moving performances rehearsing with a barber-shop quartet, one . they can get up and make a speech before of this quiet kindly man. My Japanese com· cottarre, my h U~-kee!lCr "vnkened me ea~ directing a barber·shop chorus. He spends any audience." panion com;nented that t~e piani~t was li~e morning by tUllIng lit 'The Composers other nights and days too, hopping about But what the Society means to the men an aged grandmother tel1mg stones to clnl. l'lour." A Iler a londel ohn symphoayor the country filling benefit engagements was shown particularly during the war. dren in tones. Two little girls in green a chumson ong yele, J was entertalO~ with the much·in·demand quartet called "Then," said Deac Martin in "Keep Amer- kimono presented sprays of carnations and at br akla t y Pon clle or Pin,a or Th" the Bergenaires. That he's devoted to the ica Singing," "it became a safety valve for roses to the smiling artist, and a half dozen baud, in the 'c rent Arti ts' cries." My cause of barbe;r shop would seem obvious. thousands, hard pressed physically and co k en j yed the mu ic a much as J, and The f.amous '~Bu:ffalo Bills" of Buffalo, encores were demanded. _..... 'M puis iJ m6r§_C2U.9qu~!!y!''I'm biitefl y ;'y ~lJ!:'!~. Nl y, W.50 Interllaij6ifilrQnantl ~~:lmpiOnWf would have usr n d ju t as de\'otedly hadI xnt1ii«H Wr! ~rk and 5Q1IlJ! Frain his Japanese audiences Cortot reo by the barbe -sllOp bug, and running a membe~s fourtd. at least temporary relief --/ ~ nol b en pre nt, , ceived the saIUe decorous', wrapt attention fever." from otherwise unbearable anguish, others Several symphony Dr hestras WIthJapa' that had been accorded a few weeks earlier Nor is AI's zeal exceptional. It seems eased the strain by pulling down a harmony nese pers nn 1 nnd, for the most pa~ to Gerhard Husch's singing of the Winter· that many more are afHicted with this same curtain. Behind it at chapter meetings, they Japanese conductor bring to eager audio reise. This courteous eagerness, coupled virus: 35,000 males from 16 to 70, scat· relaxed a few hours and returned revital· ences the complete symphonies of Beetho\en with keen appreciation of both performance tered over the U. S.l Canada, Alaska, Hono- ized to sterner realities. But in countless each year. Their program mC'ldaIsou e and music, have made of Japanese audio lulu, who are members of the SPEBSQSA, ways they also gave comfort and inspira- Haydn, lozart Tchaikov.ky, Franck, J, ences a legend that has attracted repeated Society for the Preservation and Encour- tion to the bereaved and harassed through and R, Slrau Grieg and Rachman~off, visits of such artists as Menuhin and agement of Barber Shop Quartet Singing music. No one can know how often the Japanese pianj ts and violinists are legto~ Szigeti, Traubel and Anderson, Gieseking in America. Anyone of these men would Society's quartets and choruses sang for and appear in all the standard CODcerb and Solomon. walk a mile any time to sing with other kin· public gatherings of all sorts during the with the possible exception of Mozart an i Pianists are evidently carefully schooled dred souls. Once a week they congregate in war period." , by their TIlanagers in Japanese taste. Their Brahms, 'th local halls, hotels, school auditoriums to In the 15 years since its founding, the As in the island kingdom 0f Bn\.CLl-l"'.. programs are heavily loaded with roman- 'n '" rehearse and sing into the night. They Society has made some impressive gains. 'One who has spent much 0/ his which Japan has so much ill commond' tics, while for the most part they avoid Lravel miles at their own expense to sing It has become international in scope. It women nre the rno t popuIar planlS."tsan . Bach, Brahms and contemporary music. In benefits, compete in sectional and national has won the acclaim of critics who scoffed Japan there is no god but Beethoven, and violinists. A fe", of the latter are achie\~J pro/essionalli/e teaching and play- meets. At the International Convention held at first. It has rescued something dis- Chopin is his prophet, Most popular of all world· wide recognition. 1any have studlh last summer in Washington, D. c., over tinctly American~barber·shop balladry- (Above) "'The Four HCllrsemen" of Amarillo, works is the Emperor Concerto, and next Tcxas. Second pJacc medalisls in inlcl'national ing recitals in Japan gives an in Europe and a quired pro

ETUDE-NOVEMBER 1954 10 ETUDE-NOVEMBER 1954 HEREVER I travel on my tours, I try Wto be as helpful as I can to the hun- dreds of ambitious young singers who come to me for advice; and in doing so, I have Waukesha's discovered a remarkable thing. There is no lack of fine vocal material among our youngeters-c-but there is a tendency to shy away from the truth. Candidates for honors like to hear how good they are; how rosy Plan Pays Off their future looks; how pleasant and reo warding is the road into art. They take less kindly to the plain fact that natural voice -quality is an enormous distance away from. How the Waukesha (Wisconsin) Symphony good singing-that good singing takes a lifetime of hard, hard work-that a career • Orchestra provides practical experience in art has a large element of make-believe which the wise singer will put aside and to young people desirous of familiarizing leave in his dressing room, along with his Milton Weber, conductor Waukeslm Symphony. wigs and costumes. Still, I like to speak themselves with orchestral routine. truth as I see it. A stud\! in c"pr(>SglOnli. YOllnl!: people The first point of truth, then, is that at l' \V·uukeslla Y1l\phony ecoeen. singing begins in the head. You must know exactly what you are going to do; you must Richard Tucker as the Duke in 'hRigoletto" plan every note, every tone, every effect, in by Florence Retzer your mind before you give it out with your One of the best known among present day voice. This means more Ulan a general, over-all plan. It means that, seconds before singing stars gives valuable words of advice you sing a note, you must know what it is VERY YEAR the Waukesha Symphony attentive. going to be like, how to produce it, what to young ambitious students, A bove all, Orchestra gives a concert for young But what made the concert a milestone E effects you want it to make. And you can't people in the city and county. Last sea- in the history of the Waukesha Symphony accomplish this unless you fortify yourself son's was a particularly important one: a were the excerpts from Rimsky-Korsakoff's with alert, intelligent thinking, and a sound symbol of the musical grow"th of the whole "Scheherazade." Just before it was played, a few veteran members of the Waukesha background of good singing habits. city. . Both of these should be begun as early The First Step is..•. Honesty The weather went berserk on the evemng Symphony gave up their chairs; others as possible. I have been singing since my of January 19, as it so often does in W~s- moved about the stage, taking new posi- sixth year. I started in. the synagogue, as consin winters. A heavy fog reduced VIS- tions. Twenty-one teen-agers (the girls in hoy alto. When my voice matured, I started ibility almost to zero. As if that. ~vere not light colored formals, sharply contrasting Richard Tucker states emphatically my way towards a singing career by study- enough to discourage rural families from with the dark-clothed veterans) then took ing two things at once: I had regular vocal driving their children 10, 20, or more places in the chairs made ready for them In an interview with Rose Heylbut lessons with the late Paul Althouse, and miles °a freezing drizzle glazed the high- by the reshuffling of the regular orchestra learned the ritual singing of the synagogue ways: making motoring. som~thing. close members. These young people, the twenty- cantor elsewhere. I began public work as a to a suicidal venture. Thirty blmd children one teen-agers, were members of the Wauk- Interested shoppers help to boost.the cantor and still derive the greatest possible all the vowels are open, never closed, and from the Wisconsin State School for the esha High School orchestra. sales at the annua! Symphony Fan'. teacher-first, to show him how to sing; spiritual satisfaction from returning to the never in the throat. The second fact I Visually Handicapped had planned to come An through December and January the and later, when he knows, to detect any synagogue on the Holy days of my faith, learned is that all languages can be sung by bus, 55 miles, to hear the music. State youngsters had worked on "Scheherazade" slight slips or deviations. On returning from again to sing the ancient rituals. without diflicnlty provided that the voice authorities, understandably, phoned to say -for the honor of playing, just this once, my tours, my very first act was to hurry to In connection with this work, I am often they could not risk the responsibility for with the full Waukesha Symphony (Irches- is kept well in the masque-not only in the Althouse's studio. "Well, what have six asked whether canto rial singing is helpful masque (which, after all, includes much of thirty young, lives on a night like t~at. . tra. Never before had Milton Weber, weeks on the road done to you now?" he But the auditorium filled up WIth chil- founder and conductor of the symphony, or harmful to general singing. The answer the facial area) but in the pointed masque; would ask. Then we'd begin vocalising from is, there is no difference between the two. dren who lived within walking distance felt that the high school boys and girls never in the nose, but in front of the teeth, the very beginning; and any roughnesses There is but one vocal approach-the cor. or along the main, sanded highways near were ready to join his seasoned musicians, so placed that it hits off the palate and or carelessnesses induced by travel, singing, the city. If it had been a fair evening, even for one number at one Concert. reet one. You can't sing in two different rings off the teeth. This, and only this, and hurried living schedules would soon ways and be honest. The melodies you sing negotiable by rural families, the chil~ren In this, the seventh season of the city's clears the way for the ping of correct be put right. have nothing whatever to do with vocal simply could not have been stuffed into orchestra, the young people were deemed projection. I've always had to work hard, At the emission. Simply (or not so simply!) the the auditorium. eligible. They knew, everyone of them, How to acquire this correct projection start, when I first went to Althouse, I voice must be in the masque. Many a time A 17-ycar-old high school student from what their place on that stage meant, even is the work of a lifetime. Whatever type of couldn't sing higher than A, and this was did I bring my synagogue music to Alt. Milwaukee (15 miles away) heard his own if the youngsters in the audience who music a student sings, he will discover that in my throat, because of my youth and in- house for clarification and practice. As orchestral arrangement of a Bach prelude loudly applauded may not have grasped the all of it can be put into his own particular experience. For the first eight months, Alt. vocalises for the old melodies, he gave me and fugue played for the first time. Four full meaning. Their playing of "Schehera- point of singing. My point is bel canto with house kept me on vocalises-the five open cadenzas from Rossini. The Ecco ridente, high school students then interviewed him zade" signified that a fine corps of new, masque resonance. I believe in pianissimo vowels sung through all the scales with from "The Barber of Seville," was the first over the loud speaker, asking to know young, local musicians were well on their singing, developed by vocalises and scales. varying attacks. Only after eight months full aria Althouse allowed me to sing, and (among other things) what, besides music, way toward actual and final admission to Before every performance-and certainly was I allowed the exercises in Concone, and I used it to lighten up my canto rial chants. interested him. His prompt answer de- the Waukesha Symphony; and further au- in each day's practicing-I vocalise on the in third place, the arie antiche of the Italian From this kind of double practice, I lighted the audience: "Girls, stamp collect- gured that there would be more and more five vowels, always open. This lightens up anthologies. By these means, my voice was learned two important facts. The first is ing, tennis." A young pianist, winner of the of them coming along regularly. the voice. But even under the best condi- formed-s-not perfected, goodness knows, that the Hebrew music can be perfectly Waukesha Symphony's annual statewide In the fall of 1947, when Milton Weber tions, no singer should work entirely by but given shape, like an embryo. Correct sung on the Italian method of bel canto. competition for young artists played Gersh- fo~nded the orchestra in Waukesha {popu- himself. At each step of his progress, he breathing, relaxation at all times, singing Indeed, Hebrew is not unlike Italian in that win's Concerto in F for plano and or- lation 22,000), he said: "A good orchestra needs a wise, honest, and understanding on vowels, master- (Continued on Page 48) chestra, while the school children sat raptly in a city (Continued on Page 50) The slory of "Peter and the Wolf'"'holds the rapl atlention of these young listeners- ETUDE-NOVEMBER 1954 13 12 p: rPM' vnJfntHl:R /9,4 _ •

Orc1lestru Depurt.nent

LTHOUGH the orchestra is only one A part of the total music program now found in most schools, it is becoming a The Story of MTNA most important segment in those schools which are trying to make available to sic teachers and for the improvement of today's youth a complete musical offering. music teaching in this country. If one considers the entire area of music The growth of musical activity in the literature and all the possible repertoire Part 2 remoter parts of this country, and the that is available to us in 1954, that large estabfishment of additional state, county part which was composed for the orchestra and local music teachers associations with assumes such proportions that any fair- The more recent history of the their annual conventions and workshops, minded and open-minded person is forced brought forcibly to the attention of the to admit that any high school graduate who officers of the Music Teachers National Ralph E. Rush has been permitted to complete his school development of the val"ious Association the necessity for a re-evalua- work without some exposure to this liter- tion of the work and program of the Asso- ature has been cheated out of a part of his activities of the Music Teachers ciation. Therefore, ,...ith the hope of bring- birthright. Today one can hardly be can, in tr the activity of the Ass ciation closer sidered broadly educated without some to to members, a plan for the organization its knowledge of the orchestra and its con- National Association of regional divisions of the Music Teachers tribution to great literature. National Association wa f rmulated. To one who has organized and developed Thus, on Augu t 17, 1949, the Western school orchestras for more than thirty Division of the Mu ie Teacher National years, it is exciting and encouraging to As ociation was organized. This Division, by S. TURNER JONES observe the progress that is being made The School Orchestra the fir t of the pre ent four Divi ions now in many communities throughout our, Executive Secretary, MTN A in operation, is composed of the affiliated country in their school orchestra programs. states of Arizona, Montana, Oregon, and During the past two years, it has been Washington. Its first biennial convention a rare privilege to guest-conduct better tory of music, public school music, libra- was held in Portland, Oregon, August 15· Today ROM 1906 to 1950 inclusiv~, ~vith the than a dozen All-State Orchestras and it ries, music appreciation, music in colleges, 18: 1951, with a second convention in Seat, F exception of 1943, the ASSOCIatIon pub- is gratifying to report that in every case conservatories of music, aesthetics, piano, Lie, Washington, Augu t 11·15. 1953. In lished a "Volume of. Proceedings" each much stress has been placed on providing harmony," opera, church music, voice, cer- February 1952, the outhwestern Division year . .Tll~e. for-ty-four .~"'!'olume~ cOl~stitJ.1_te. opportunity for thest; youthful orchestral not' only'. a contribution of-, Inestimable . tification of music teachers; philosophy of composed of the C TO tntes of Colo-. ~~slcians •to gain th~ 'finest insight into worth to music research" aiid pedagogy, but music, musicology, orchestra music, psy- redo, Arkansas, ew Mexico. Texas, and the beauties of good orchestral literature they are also to a great extent a history of chology of music, acoustics, violin, and Oklahoma wa formed. Thi division held and orchestral practice. music in America for that period of almost music theory. Starting with the meeting convention in Oklahoma Cit)" Oklahoma: When in 1946 the close of World War II by Ralph E. Rush one-half a century. - . held in Chautauqua in 1878, the daily March 13·16, 1953, and in all AnLon!o, For three years, starting in 1936, the newspapers in the United States recognized Texas, March 3·6, 1954. In February 1903. provided the opportunity for a renaissance Association published the Advisory Council: . the Association and the membership in- two more Divisions were organized: the of school orchestras in America, an ever creased amazingly until every state in the increasing number of new opportunities (ETUDE is pleased to introduce with. this article total orchestral repertoire. Bulletin; containing reports fr~m the Ad- East Central comprising the states of Illi- the editor of the new Orchestra Departm.ent, visory Council of State Presidents. In Union and Canada were represented. Dele- nois, Indiana, Iichigan, Minnesota, O~io for developing school orchestras was ini- Ralph E, Rush. Mr. Rush is chairman of the 2. They. believe that school orchestras February 1939, the Bulletin took on a new gates from England and France attended and Wisconsin, and the West Central m- tiated. From Maine to California, Wash- Music Department and Associate Professor of under the guidance of enthusiastic and the Association meetings: and a delegate ington to Florida and Michigan to Texas, Music and Education at the University of Soiuh- pleasant teacher-conductors can create, on format, assuming pocket ~ize but e~larged eluding the states of Missouri, Iowa, ern Caliiomia, Los Angeles,~Ed. Note) scope. With two issues of the Bulletin each was sent to England to represent the Music [ebreska and Kansas. The first biennial one can now find healthy and growing the part of boys and girls, a sincere desire year, an outlet' fdr news of the' State and Teachers National Association there. The convention of the East Central Division orchestral programs in schools. This in- In order to answer many of the questions for a self-governing, democratic organiza- Local Associations, plus "articles of national largest auditoriums available were required was held February 15·18, 1954, in Detroit terest and development is still spotty and: that arise whenever or wherever an orches- tion in which to make music. That through interest was provided. to house the delegates. Programs were and the West Central Division held its first of course, there are still many schools tral workshop is held and to give a concrete the discipline required to make great In the spring andsumlner of 1951, two given to audiences of five-thousand and biennial convention in Omaha, Nebr35ka: without orchestras, but progress is being statement of what are considered the neces- music, each performer can be inspired unnumbered issues of American JIllusic more. All classes of musicians began to February 24·26, 1954. In the future, na- made. Some older schools that at one time sary characteristics for the effective school with the spiritual values of our way of life. Teacher Were published to show the mem- ask for a place on -the program. Some at- tional conventions will he held during the had good orchestras have not yet revived orchestra director, and also to analyze the 3. They believe that school orchestras bers what could be done by the Association tempted to get their names on record by odd numbered years, and the Divisional these groups and perhaps never will, but successful school orchestra development working under carefully planned programs in the field of expanded periodical publica- offering motions at the business meetings. conventions will be produced during the this really encouraging trend seems to found anywhere in these United States. can be one of the school's best public re- tion. On August 1, 1951, the Association . Owing to the foundation laid by its even numbered years. In this way the Music indicate that more schools today in every the following educational principles and lations media. That excellent administra- established its national office with a full- founders, to the wise leadership of its Teachers National Association will be able geographical area of America have orches- philosophies are offered as possible helps tive and community support can be secured time Executive Secretary and Editor. Vol- present and past officers, and to the daring to bring outstanding speakers and per· tras than ever before. This advancement in the improvement of existing practices. for a live, wide awake and well organized ume 1, Number 1 of American Music of its farseeing members and officers, the formers to its member throughout the in all areas is largely due to one fact. The These statements of beliefs have grown out orchestral group. Teacher was issued in October 1951, and Music" Teachers National Association now country without the necessity of having its young music educators, the new crop of of many years of experience. They might 4. They helieve that school orchestras automatically replaced the Bulletin of the faces a future that appears to have fewer members travel great distances to attend music teachers that have gone into Amer- possibly be considered a code by which working under capable musician- teachers Music Teachers National Association. With- [imitations than any past period. Today the convenious and take advantage of all that ica's schools since the war are, as a part any school might establish guide lines for should be entitled to and should secure in less than three years the circulation of Music Teachers National Association is such conventions offer. ew state associa- of their training, being made aware of the setting up a thriving orchestra program. from the school and community an ade- American Music Teacher has doubled, really a confederation of autonomous state tions are in the process of organization, importance of the orchestra in a complete The leader who develops this program will quate budget for equipment, both musical while the membership has increased six associations, which in turn are really and the formation of a Southern Division musical education for boys and girls of probably be a finn believer in these twelve and non- musical, for music library, for re- fold within the last four years. groups of teachers from colleges, universi- is now in the offing. the elementry, junior high and senior high principles. Those who are now producing hearsal time and space and for any and all While this publication program was de- ties, conservatories, schools of music music The present work of the Music Teachers schools as well as for young adults at the successful orchestras have all learned the veloping, the Association at its annual support that ma y be required to create and stu~ios, public schools, and private s'chools. National Association includes: college level and in the average American , truth of these beliefs. meetings was giving serious consideration maintain interest in the smooth running of It IS a democratic organization completely 1. The publishing of American MIMic community after school days are over. 1. They believe that school orchestras to such subjects as American music, organ a first-class musical organization. dependent upon individuals who are will- Teacher, the official periodical of the Asso- These young music teachers have seen the under effective leadership can stimulate and choral music, community music, his- ing to work together for the benefit of mu. 5. They helieve that a so-called first ciation, Published (Continued on Page 6ll star, are determined to do something about youthful performers to produce excellent class orchestra is not merely a group of jt, and results are beginning to show. music representative of the finest from the skilled, (Continued on Page 49)

ETUDE-NOVEMBER 1954 15 •

CHORAL DEPARTMENT

A Modern Approach to Choral Education Make This a An Editorial

Happy Musical "One cannot call himself by JAMES FRANCIS COOKE a music educator until he can

Thanksgiving see his work as part of by George Howerton a total program."

ble prayer of thanks which ran: F ALL OUR American festival days in blessed for carrying out such a mission. "Dear Lord, you've been mighty good to which music could have an essential MaW-iolks have blessings and do not real- O me. I've never had very much, but I've part, Thanksgiving should really lead the ize them or truly appreciate them. Some never starved. I was never in a fire: Iwas list. Christmas and Easter are properly cele- have troubles but have learned to laugh at never in a flood; 1 was never in a tornado; brated with music the world around. We them. They remind us of the smiling old was never a nake ; was never in T IS UNFORTUNATELY true that approaches the study of any literature, for experts who perform the musical portions are thought, notwithstanding our short- lady who said: HMy rheumatiz is awful, I bit by I jail, and 1 never had to go to the hospital Imusic at times has been considered by that is what choral work ought to be- of the service for a listening congregation? comings, to be the most blest of all lands. but I thank Heaven that I have a back to school administrators, and also by the pub- experience with the great choral master- Do they know that he who attends the The wealth of our country is more evenly have it in." for an operation. Lord, dear, I thank you lic at large, as a liability in the organization pieces of all time. In performing the com- Reformation church customarily sings him- divided per capita than in any other large The recognition of the source of our for all the awful troubles I never had." of the school program. It is to be wondered positions of any great master, one should self and often right lustily? The group nation. The opportunities offered to our blessing brings up a little story that was r n many American homes of the past, if this frequently may not be due to the think of these works as the personal ex- which is to perform these works properly young people who have ordinary gifts, often told by tbe late Dwight L. Moody Thanksgiving i remembered by 8 carnival fact that music educators have not always pressions of a particular individual, not should certainly be aware of the varying horse-sense, diligence and enterprise in (1837.1899), famous evangelist. It runs 01 gourmandizing, to be followed by gas· adopted as modern an attitude as would merely as separate pieces to be performed making a position for themselves in our thus: "An old atheist was dying and as a tronomic disaster. ot that we dispute the purposes for which they were originally be desirable in the light of present-day more or less well, according to our several marvelous homeland, are fantastic, for all parting taunt he had placed above his reign of his maje ty, the turkey, with all intended. abilities. who will work ceaselessly and faithfully to bed a sign reading: 'God is Nowhere.' He the "fixins" that go together to make the educational philosophy. Do our students see the connection be- One of the cardinal aims of modern edu- obtain a treasured goal. sent for his little grand-daughter and bade family get-together a glorious annual feast, tween the Pre-Reformation approach to On Thanksgiving Day morning every her read the sign. She looked at it a mo- but we do think that we, as a people. heve cation is to give the student an under- FOR example, school choirs have sung a God and the architectural expression of family in our America should make a prac- ment, then read: 'God is Now Here. That's advanced to a. stage of per anal develop- standing of life relationships, a means of considerable number of the works of that day as seen in its churches? Have they tice of getting together to read the short, wonderful, Grandpa!'" ment and control in which we can, with bringing himself into harmony with the Palestrina and Bach, sometimes, perhaps, ever wandered through the aisles of a jubilant One Hundred and Fiftieth Psalm, Surely at this Thanksgiving season we grace, enjoy higher and finer things along various factors in his environment. It is too many. (It would seem that now and then, Gothic church? If so, they must have felt with its wonderful spirit of joy and grati- have all been so wonderfully blest in so with the customary celebration. We are not enough in this twentieth century that the diet of the choral singer has been so the mystical quality of its atmosphere. tude, as well as its call to give thanks to the many w,ays, that the ever-present God de- confident that music will add immensely to the student be provided with knowledge heavily laden with these items that other There is a need not to sing loudly a song Lord with music: serves our unending gratitude. your pleasures of the day. and equipped with skills; he must under- fare has been neglected in choosing the of one's own but to remain quiet and let Praise ye the Lord. Praise God in his Are you able to paint in your imagina- There are hundreds of stimulating com- stand his position in the stream of history; musical diet.] Do our singers who perform music come to one from afar off. The Re- sanctuary: praise him in the firmament of tion a picture of that first Thanksgiving positions from which you can make selec- he must be able to relate himself to that the works of these men know anything of formation changed all that. There was a his power. Day celebration in 1621? After a year of tions {or a musical' background to the which has gone before him and that which the backgrounds against which they ap· personal message for man in that religion Praise him for his mighty acts: praise ceaseless combat with the terrible condi- Thanksgiving celebration in your home. will follow. It is no longer sufficient to peared? Too often, not. Do our singers which could not be easily delivered in him according to his excellent greatness. tions that confronted them in the New Let the house ring with music on this 1954 consider that one has become educated understand the difference in the religious such a place. The church must needs be Praise him with the sound of trumpet: Wor·ld on the rock bound coast of New Thanksgiving Day! when he has become expert, no matter how expression of the sixteenth century Italian smaller so that the worshipper can more praise him with stringed instruments. England, behind which was a wilderness Remember the good old days of the "Col. expert he may be. The present epoch and the eighteenth century German? They easily hear and understand the words of Praise him with the timbrel and dance: inhabited by wild beasts and savages, they lege Songs" published years ago by the demands of the educated man the integra- have heard of the Reformation. but do the sermon and the meaning of the ritual. praise him with stringed instruments, met on that first Thanksgiving Day in the Oliver Ditson Company, when the home tion of his activity into that of a total they know what the Reformatio~ did for The ritual itself had also to change. Hitherto Praise him upon the loud cymbals: praise church, not to commiserate with themselves group used to gather about the piano and social pattern. The isolated specialist can music? Do they know that the Reformation it had been delivered in a tongue the exact him upon the high sounding cymbals. upon their tragic losses by death and disas- "let go?" Somehow there was a unity and no longer be content to develop his own affected all modes of religious expression? meaning of which was not known by the Let everything that hath breath praise ter, but to bow their heads to the Maker of esprit about singing those simple tunes techniques and skills without taking cog- Do they know that one of the great gifts mass of worshippers. In the Reformation the Lord. Praise ye the Lord. all good things, in grateful thanks for their that is lost in these days. Why not get a nizance of their effects upon and relation of the Reformation was opening up to the church the ritual is written in the popular Vast multitudes of people, in their e.ager- meagre crops. No wonder that our country copy of "Favorite Songs of the People" to the skills and activities of others. average man the possibility of expressing language-the speech easily understand- ness to express their gratitude for their has g~own and prospered, inspired by the which costs only forty-five cents and revive Do we as music educators keep constantly himself directly, without the aid of an able by the common man. All of these blessings, never miss the opportunity to magmficent courage and gratitude of the the custom of a home community sing before ourselves, and before our pupils, the intermediary? Unless the singer realizes to things had more than a little effect upon attend cathedral, church and temple serv- men and women of that brave and noble which is certain to become a family feature aim of the utilization of choral perform- some degree the differing religious con- the music of the times. The choral reper- ices on Thanksgiving Day morning. There, colony. As long 35 we the people of our il properly fostered? At small expense you ance as a means in achieving such an end? cepts under which Palestrina and Bach toire of those periods should be a means amid the wholesome tokens of a bountiful nation have this powerful motive in our can add such scnge as May H. Brahe's Bless Too often we do nothing of the kind. V;'e wrote, he cannot be as intelligent as he harvest, they listen to the wonderful chorals for bringing to our students an under- souls, we need have no fear for the future. this House or the old Dutch Prayer of feel the pressure of a certain necessity for should in representing these works to his of thanks for the gifts of the Almighty. standing of and a sympathy for the people Once, while on a speaking trip in the Thanksgiving. Nothing has ever quite taken performance and, under that compulsion, listeners. Of course, there are always those who who lived then. south, the writer had a lesson in thanks- the place of home group singing and noth- completely lose sight of that which should Does the singer understand that in the are grieveously afflicted and need the sym- The choral director frequently has an giving. It was at a Sunday service in a ing can do more to strengthen home ties. be the more enduring goal. Pre-Reformation liturgies 'the music .is pathy of all. Why not mark this Thanks- excellent opportunity to illustrate in a small colored Baptist church on the out. A very useful and appropriate alhum of One should approach choral work as one provided by a more or less skilled hody of giving by taking music to them to help graphic way the (Continued on Page 63) skirts of a prosperous college town. The famous songs entitled "Your Favonte them forget their sufferings. You will be old parson made a devout and unforgetta. Songs" with very (Continued on. Page 62) ETUDE-NOVEMBER 1954 l( 16 17 ._------ETUDE-NOVEMBER 195.~4.... _ BUild Depm·tment

co,·ds Dr, Hevelf l (Willi instrument) "talks shop" with three former pupils (I. to r.), Edward Rima, George lUut'lhum and Charles Hills.

Reviewed by PAUL N. ELBIN

Beethoven: Syw"llOny No.5 in C Mill or Music Plus! When the Book-of-the-Month Club Sigmund Spaeth and Remington H.~cor~s swings into the record business, look out have teamed up on an elaborate project III fc r new ideas and novel promotion. The music "enjoyment "-not "apprecraiciation."ron, Club's first monthly release sets the pattern: says Dr. Spaeth, Twenty l2-inch records The Selection and Evaluation "performance" on oue side of a 12'111ch make use of popular classics previously disc, "analysis" 011 the other side. The ruu- released by Remington but with the "plus" of-mine performance is the London Sym- of program note written and read by Dr. phony conducted by Norman Del Mar. Spaeth. On the three sample discs hea.rd, of Teaching Materials The analysis is by Thomas Scherman, the performances (chiefly by the Austnan young American conductor, assisted by an Symphony Orchestra directed by H. Arthur ensemble known as the M. A. R. Orchestra. Brown) are satisfactory and the reproduc- Scherman's dialect (t'heun cawl'' for horn tion is good. The interesting notes, too School Band Instructors must be alert to the importance of selecting call) may prove a hindrance to music hurriedly read at times, appear to be aimed education in mid-America. Moreover, those at listeners of high school age or older. just the right material for the particular class room situation, who can understand talk about "polypho- You'll have to decide for yourself whether nic writing" and "fugato sounds" would you, your family or your students will pro- sincere reading learl y aims to give Bruck- likely rather have straight music on both fit more from this type of recording than by William D. Revelli ncr hi full due, and that the recorded sides of the record. from the customary records with more music per disc but with program notes you sound lacks tho cohesion of today's best R. SII'an,,;,,: Salome orchestral discs. Baritone Herman chey's read for yourself. DURING the past twenty-five or more The modern, successful physician sees tery of their instruments. That students The folks at London Records have good singing of Mahler's K indcrrotenlieder with years many instrumental methods, to it that he is proper! y informed of all and teachers place such confidence in these reason to boast about their new full- length Tui-rtnl r Concerto in D l11inor (llIfl Soualfl in the same orchestra and conductor is mcv- student texts and treatises have been made new medical discoveries and is constantly prescribed materials can be best under- "Salome." The late Clemens Krauss, con- G Major ingly beautiful. ll~pic ~C 6001-2 discs) Bache Concerto in G l'tlinor for Violin lUlll available to teachers and students of music alert in his research and study of the stood when we realize that from their ducting Vienna's splendid Philharmonic Orchestra everywhere. If we were to make a survey most effective means for their proper and pages and the technics of their application Orchestra and a roster of great singing Handel: Sonata No.4 in D Major [or Violin Vcrdt : Rigot eu o of the various instructional materials now successful application. Likewise, the sin- will finally emerge our future musicians. stars, has molded the score into a power- and Piul/o Certa has issued so many excellent full- being used in our schools, we undoubtedly cere and devoted teacher keep abreast ful instrument for projecting Oscar Wilde's Joseph Szigeti is the violinist responsi- length opera recordings that it would be will Today's materials digest will be found would be amazed at the scope of such of the newly published materials and mod- story of the unnatural passion of Salome ble for assembling this program of eight- pleasant to report Rigalello another sue- to contain an immense volume of instruc- for John the Baptist. For the title role, eenth century music, much of which he had cess. Houtioc, however. is the faint praise publications, both in the matter of volume, ern practices that pertain to their propel' tional and program literature that is of London offers Christel Goltz, obviously recorded previously. His Columbia 78 rpm that must damn the new Rigoleuo. Lina and variance in the materials that compose application. superior musical quality. On the other one of the best Salomes of the day, in ad- album (X-103) of the Tartini Concerto has Pagliughi (Gilda) is the weakest link, their respective and individual contents. It has been aptly said: "A superior hand, there is also a vast amount that has vance of her Metropolitan appearance this long been a favorite in our house, and her declining soprano voice. though claim- The instrumental teacher of to-day is teacher is capable of achieving excellent proved to be less worthy. season. Julius Patzak (Herod) is more than I'm inclined to favor it yet from the ing its moments of beauty. being thin most fortunate in being ablo to select, results even though his teaching materials The problem, and it is a major one, re- master of his role, while Margareta Kenny standpoint of clean acoustics and serene in the middle and not alw ays secure in the from a wide variety of methods and texts, may be inferior." Likewise, we can add: mains for the instructor to be able to the particular one which is designed to "An incompetent teacher is unable to discriminate between the two. It is here t Herodias v sings her part effectively. Hans performance. Indeed the current yen for upper reaches. Ferruccio Tagliavini (the Braun is a successful Jokannan, though live acoustics is the bane of this other- Duke) sings comfortably most of the time, be most effective for his own particular achieve satisfactory results, though his that his training, taste and appreciation more authority in his voice would not be wise fine disc, the Bach being especially and G iuscppe Taddei (Rigolella) is ac- program and situation. In view of the materials may be superior." become the guiding factors; for again, his amiss. Reproductively, the two-disc set is harmed by excess liveness. For the con- ceptable. The real vocal honors go to vast treasure of available materials, we Since we are primarily concerned with choice of materials is indicative of his excellent. The listening point appears to certi, the Columbia Symphony Orchestra is Antonio Zerb ini (il1ollterone) and Ciulio might well conclude that there is little the choice and quality of the materials musicianship and qualifications as a music be about mid-house. (London 1039-1039) conducted by George Szell. For the sona- Neri (Sparajucile). Singers dominate the further need for additional publications. which we as teachers are to present to our educator. tas, the pianist is Carlo Bussorri. (Col- orchestra in the matter of balance, and Yet, without doubt, as these very lines students, and since the decision of our In our selection and evaluation of teach- Lel'oy Andel'sou "POllS" ConeCt't umbia ML 4891) Angela Questa conducts the orchestra of are being written, editors, copyists, en- choice is certain to have a profound and ing materials we must realize that no The Typewriter is included, of course, Radio-television Italiana without much en· gravers and printing presses are busily at lasting effect upon the results of our teach- method hook, regardless of its merit can along with Bngler's Holiday, The Girl in Bt·ueknet·: Sym phony No.4 ill E·F/ot JUlijor thusiasm. (Cetra C1247-3 discs) work, preparing for release, volumes of ing, it is of gra \'e importance that we possibly adapt itself to every situation. Satin, two sections of The Irish Suite, Mahlel': Kitulertotenlieder additional materials which will in due become thoroughly qualified as evaluators As an example~ I recently observed an in- two parts of the forthcoming Scottish Winthrop Sargeant, one of our leading Ballads of Long Ago time supplant, or supplement the materials and diagnosticians of the materials we structor teaching a small class of begin. Sll,ite-twelve Leroy Anderson orchestral Brucknerites, finds this Bruckner perform- The famous team of l\1arais and Mjranda now being presented in our classrooms. would prescribe, whether they be con- ning clarinet students. The text that was pieces in all, conducted by the composer ance by the Hague Philharmonic under ha ve recorded a dozen ballads from their Although the success or failure of a cerned with the young beginner or the being used was one that had been con· and smoothly played by his own orchestra. Willem van OUerloo lacking in "the re- publisbed collection of old English, Scotch. teacher cannot be determined solely by his mature and advanced student. ceived and written for full band and not Well recorded and attractively packaged, quisite touch of magic." Not being one of Celtic, Flemish, French and letherlands knowledge or comprehension of his teach- To·day throughout America, thousands small homogenious classes; hence, the this new disc will find immediate accep· the faithful, I can only report MIat the sym- folk songs. Aiding the duo is the fasci- ing materials. the fact remains that he of budding young school musicians and clarinet text was 110t a clarinet method at tance among the country's many thou- pho.ny is all here-an hour and a quarter nating Pardo Ancient Instrument Enselll- must be alert' to all new publications and their instructors are engaged in the study all, though on this occasion it \Vas defi~ sands of Leroy Anderson fans. (Decca DL of It, that the Scherzo strikes me as he- ble, a quartet using viols that create some familiar with them if he is to warrant the and teaching of materials whkh they are nitely being used as such. Naturally tbis 9749) ing exceptionally good music, that the of the sweetest (Continued on Page (4) respect of his students and associates. hopeful will lead lhe students to the mas- was an unfortunate (Continued all.Page 47)

ETUDE-NOVEMBER 1954 18 ETUDE-NOVE,UBER 1954 19 •

PIANIST'S PAGE precede the dynamic plan, so that it inteUigence this expedient can be in measure three begins on A and almost evolves itself; yet it must he ON TEACHING BACH effective, particularlY for the less ex· ends on A over the bar line, and the definite. The Romantic idea M often perienced contrapuntal player. Yet new figure in measure lour begins on followed, that of progressing from (Continued front Page 9) it has its pitfalls and is not always two-line C and ends over the bar ppp to fff, may be the easiest, but the correct answer. line on F. If this off-beat shape is it is certainly the least authentic; it from tonic through the relative ma- 4. Ornamenl.ation. This is one of CHOPIN- maintained throughout we have an belongs more to the sonata Iorm-, jor key of Efiat to the dominant, the most fascinating yet most com- inherently musical reading-not a with its contrasting subjects, their with prolonged emphasis on G; then plicated subjects in the study of dull, metrical exercise. development, resolution and climax. through the sub-dominant back to Bach' entire books have been de- 3. Rhythmic Element. Rhythmic But it is hardly appropriate 10 the the tonic major. Surely the interest votedto it. A good book to bring to shape is projected by the composer • in this prelude cannot be found in the attention of your students is fugue form, in which the subject through the use of notes of various is unchanged. BJlat Minor, Ope 9, No.1 the outer melodic lines, nor in the Arnold Dolmetsch's "Music in the Nocturne In durations-the short and the long. repeated use of the sixteenth-note XVII and XVIII Centuries." In that In contrapuntal playing we must Even a quick glance at his strictly pattern, but rather in the simplest of period ornamentation was a crea- handle dynamics contrapuntally. contrapuntal compositions reveals harmonic schemes. It would seem al- tive art better understood than at Since the fugue subject is the es- that Bach economically confines him- most unnecessary to stress the im- any period since. Compared with sence of the entire composition, it self to three basic note values; in portance of such harmonic analysis the earlier Italian, French and Eng- must be the clue to the dynamic many instances these consist of the to a serious musician. Unfortunately, lish composers, Bach uses a mini- plan. Familiarity with the subject short sixteenth note, the longer though, many a well-intentioned stu- mum of symbols-but even these few as a musical expression will help us A Master eighth note and the sustained quarter dent possessed of knowledge gained are subject to differing interpreta- determine which level and what de- in theory class has not been taught note. Acquainting om students with tions. Yet we can hardly follow the gree of piano or forte best fits the had never composed anything like it before. I thought of them. Each time now that a to put it to such good use. The very this tendency and explaining its re- advice of those who [eel that most line. Beware of crescendo or dirninu- variation of the despairing first theme re- fact that at least one outstanding lationship to interpretation helps I didn't even know what to call it; so I j list of the symhols have lost their or-ig- endo within any single line, since turns (as in measure 10) it should be system of teaching harmony is based clear the path for them when the decided to name it 'Nocturne' because that inal imparlance and that therefore ri e and fall in pitch accompanied upon a thorough study of Bach consideration of touch is in order- wouldn't give away my heart's sorrow. Do played more subtly and delicately. the best rule {or the pianist is "when by rise and fall in dynamics often Lesson chorales should be enough to con- when to use legato, staccato, tenuto you remember the next Nocturne in E-flat "Oh, I wish 50 hard that you and other in doubt, leave them OUL" result .. in had over-statement, even vince any conscientious teacher that and degrees of each. pianists would do two simple things to my For Bach's music one basic rule in the music f the ninete nih cen- -the one that everyone plays? Well, I students must be taught to use this On the harpsichord it wasimpos- turv. to whi It this style is germane. wrote that aile immediately after, sort of as music. Whenever a phrase ascends quite knowledge in a very practical 'way to slble to achieve a true legato; the to be followed rigidly is that all Episodes always require variation by GUY MAIER an antidote. I suppose it would have been high and rather quickly and then descends, enhance their understanding and in- quill plucked the string and almost ornaments occur on the beat. Also of and sequences lend themselves to better to name the one you played, 'Love's do not try to make a diminuendo descend- terpretation of the keyboard works. immediately the sound was gone, so importance is inclusion of the upper auxiliary lone in starling the shan, change. often well handled by levels Sorrow' and the E-flat Nocturne, 'Love's ing, but hesitate a hit after the strongest 2. Shape 0/ Melodic Line. One that the effect was a constant de- four-note trill which 50 definitely -or "terracing." BS Albert hweit- top tone, then instantly play the whole great difficulty encountered in teach- tachment of tone. On the piano, HE YOUNG PIANIST had worked Joy,' but I just couldn't name them that. belongs to Bach. Otherwise this may zcr so aptly terms this device. When ing Bach is the carry-over of the har- contrariwise, though we do have a long and earnestly on Chopin's first It's even more of a tragedy to me now when descending line very softly. This happens the writing Is freer the dynamics T monic or vertical idea. Thinking gradual loss of t.one and therefore turn into the inverted mordent 50 I hear pianists play these pieces without often, as you see in measures 11, 15, 16 may he freer; this is true in many Nocturne in B-Rat Minor. His teacher, call- must be first contrapuntal, horizon- no true legato, it is possible to pro- prevalent in later writing-and so and 17. of t11 preludes. and certainly in ing it the "Broken-Hearted Nocturne," had understanding them. tal; no voice, no melodic line should duce an iflusion of legato sufficient indiscriminately used by Bach edi- "I wish, too, that players would hesitate slow movements su Ii as sarabandes told him of the youthful Chopin's early love "It seems to me," Chopin continued, be hidden-and phrasing is the only . to satisfy the human ear. Bach also tors. It was impossible to playa real and adagios, in which the line is in. Poland, of the tragic separation from his "that you have been able to penetrate into whenever they reach some especially lovely means by which the performer can wrote for the clavichord, which he accent on the harpischord. hence the u ually single and improvisational in beloved when he left for Paris, and of how my heart; that's why I had to speak with point in my music .. _ just the slightest mo- project line. Devices such as the hal' loved; the tone was very sweet, addition of the short trill and the you. You know that the Nocturne's first ment's wait before playing what follows ... line are often confused with the mu- lyric and personal, but extremely mordent. which should be played 50 character. Chopin had composed the Nocturne with as when you see something beautiful you sic itsel f. Our long-established pro- limited in quantity. As for the piano- rapidly that the following note loses 6. Tempo. Your student will be the sorrow of this tragedy tearing into his motive was saying over and over with cedure of teaching the first beat of forte, there was nothing esoteric to little of its value. helped in hi choice of tempo by the heart. touching variants how I despaired. Will say, 'Oh ... it's so lovely' ... with a pause the measure as the strongest beat Bach in its conception. To quote The long appoggiatura is often de- realization that very few of the mark- Today, when he played it alone in his you play those opening lines over again after the 'Oh.' ceiving. The rule is that it takes ings such as andante. presto, allegro has brought misunderstanding of the Philipp Spitta, certainly one of our room, the young chap had felt especially for me, please? "How glad I was, too, that you did not foremost and most comprehensive half the value of the principal note, and the like appear in the original metrical beat versus the first beat of poignantly Chopin's tenderness and the retard that descending left hand Hflat Mi- the phrase; many editors violate this authorities on Bach and his music: but this stricture is subject to vari- Bach manuscripts; evert the metro- Ex.2~ longing of his grief. He was much moved ~·~b.~.. ' ~ nor arpeggio (at the bottom of page I) and we find accents in the most ab- "The ideal instrument which floated ations. Trills in general begin on nome markings are merely the sug- F t t at the end when he played those three 'I uelr r rftiiiF before the D·Rat Major section! In many surd places. Consequently it is the in the mind of Bach . . . was one the upper auxil.iary ; on a tolerably gestion of the editor. In general. the mp---==:::: P ppfslou,[!l1 ~ =---== etc. Nocturnes I have tried to give the left hand fault of the performer, not of the which should combine the volume of long note they should have a termi- tempos in Bach should be moderate, repetitions of "Oh, My Dear!" ••. "That's beautiful! Y ali enrich the eighth a kind of 'perpetual motion' accompani- composer, when we are overwhelmed tone of the organ with the expressive nation. perhaps a turn. Here, as since he does not depend on exces- Ex.l by the constant pounding of the quality of the clavichord, in due pro- with most ornaments. a moderate sive speeds to make his music speak. o ~'" note pattern as you proceed, then you sing ment figure-often right from the begin. downbeat with its dea"dly, unmusical portion .... The master lived to see tempo is required; the effect should ParticllJarly in conlrapunlal writ- iii! ! &f3 the four F's so despairingly that it is im- ning to the end-j ust to keep the phrase effect. One crit.ic phrases it: "Nine the early youth of the pianoforte and not be one of speed. With Bach the ing there is need of steadiness not !J "Oh, my dear'" possible to forget them; and you played rhythm of the piece moving. Have you tenths of Bach's music is written on aided it by severe criticism. . .. arpeggio was also an ornament and only on the beat. but most of all in making a long pause before the final dev- the F's with a slight crescendo to the last noticed in this Nocturne how the left hand the upbeat-and nine tenths of per- (The builder) worked for yem·s at he handled it in marvelous ways. the smaller division of the beat- astating, descending broken-hearted phrase F which you hesitated over and then played eighth note figure is never interrupted from formers play it on the downbeat." the improvement of the hammer ac- Any solid chord may be rolled-not that is, the sixteenth note. But this (fortissimo, four measures before the fin- softly .. _ like a tender sigh you vibrated first to last? Its shape is changed, but not Since Bach gave us no editillg to tion, and at least earned Bach's un- only from the bottom up but also does not demand a rigidity of move· its rhythm: clarify the inner design of the me- qualified praise .... His satisfac· from the top down_ and even lip and ment. for there must be fluidity of ish), and those softly crying last major through the final tones of the phrase. lodic line, we must find it for our- tion with the instrument sho"'i'.'edvery down. A good rule is to finish upon line and »erspecti,le in motion. It chords. "When you played the next variation of selves. The first step is to break clearly whither his clavier rnusic the note that continues the melody. is often possible to feel a relaxing With a sigh he dropped his hands from the melody, you 'dropped' out those ten down the melodic line into its com- tended." 5. Dynamhs. Perhaps nowhere of tempo at vital cadence endings. the keyboard ... then. startled to hear a semi-staccato tears just as I tried to indi· ponent parts or shorter groupings. In reproducing Bach's music on does the average student need a and even rubato is 110t out of keep· similar sigh like a faint echo of his own, cate. Thank you for noticing just when I When we have recognized them in our modern piano should we imi- teacher's expert guidance more than ing on occasion. particularly in im- he turned to see the figure of a young man stopped the staccato and returned to legato. "The D-Rat section is just a reJl1lnJ- tate the touch of the particular In- our mind, being careful not to state in the treatment of dynamics. Un- provisational writing; no music more with gently smiling face, and thin sensitive Thank you, too, in measures 2 and 3 for not scence of the happiness of your love, before them too objectively, the next step strument we feel he had in mind for less we can teach them that reasons inevitably rubsto has heen wTiue~ fingers sitting in the high backed wing distorting the rh ythm because of the extra the debacle. I noticed that you 1;layed the is to work them back into the larger, a specific composition? Should we for dynamic changes rest on firmer than the Chromatic Fantasy. But It chair. The chap wore a long black cloak. notes added in the right hand. Just play two left hand accompaniment beautifully, be- complete pattern. The music itself, accept the legato and staccato mark- foundation than just a desire to must be used judiciously. notes in the right to one in the left hand, cause you lifted your el~ow and rolled your not our interpretation, dictates the ings of various editjons, many of make the music "more interesting," That Bach as a composer is the had a stiff white collar and a rather large shape of the line. The familiar two- them apparently inserted for no bet. we can hardly expect them to gain most difficult of all to learn. to play, broad, black bow tie. excepting at the end of both measures. Then arm over it. In that way the single notes part Invention in F major illustrates tel' reason than to add a spurious in- any insight into the matter. There to memorize is the consensUS of the ~'Please pardon me, my friend," began just play the last three eighth notes very were not in evidence. Sometimes I think the point admirably. It begins with terest to what otherwise might be would seem to be two logical ap- most mature musicians;' equally ob- black-coat-and-tie, "but hearing you play freely. this D-Hat portion is over.long; I wouldn't an eighth rest, then a six-note mo- deemed a dull, boring piece? Or are proaches to intelligent dynamic per- vious, however. is the fact that my nocturne so understandingly I could not "Do let me hear again that next phrase object if you cut it a little. That is, play tive of the chord of F major ending there any fundamental concepts to f?rmance of Bach: (l) that of levels, proper methods of study will render resist dropping in for a little talk." For a (measures 4,-8). You didn't make enough through measure 38, then cut to measure on two-line F, this followed by an guide us? Ernest Hutcheson sug- Slllce the harpischord had two--the the obscure intelligible ellen to pu- moment the young pianist was speechless, contrast between the top, louder phrase 47 ... aU this section should be warm, calm eleven-note sequence, which may be gested the use of a staccato line mp and the mf. and (2) that of pils as young as the girl I cited at then timidly gasped, "But wh.o are you?" shapes and the bottom softer ones. One and free. Please play those pianissimos broken into its inner groupings of against a legato one as a contra- growth, crescendo and diminuendo the beginning of this article. A "I'm your friend, Frederic, who wrote must exaggerate such dynamic contrasts ... really very softly! (Most pianists don't!) three notes, plus four, plus another puntal device. Rosalyn Tureck Cre. ~ince we are performing upon a~ thorough, painstaking analysis of the four again ending on F. Fo1lowing quently projects lines in just this that Nocturne. You see, I was young and "Thank you! That's much more the way "At measure 51 (Continued on Page 55) III strument ca pable of producing six points discussed i~ absolutely this off-beat shape, the next motive manner. If used with discretion and such effect. All the previous plan"! e~!Oelllial. THE END l~ 20 ETUDE-/YOVEI1BER 1954 ETUDE-NOVEMBER 1954 21 ....'------very source, the composer hi~self: Let ~s take Chopin, for instance. He lived In Pans. George Mathias, professor at the Conserva- TEACHER'S tory, was one of his favor~te pupils. Isidor DOES THE FLUTE INTERFERE WITH Philipp studied with Mathl~5 and when the LEGATO IN PIANO PLAYING? QUESTIONS master died, took over 1115 class. And I studied with Jsidor Philipp and graduated I have a piano pupil sixteen years old ROUNDTABLE from that same illustrious school. Thus, the who began to play the flnte two years ago Iineaze is clear, and we know. rather au- and is now playing in the school band. Her thentically I would say, what Chopin had legato was never very good and she has in mind and how he expressed it through always been careless, but now her legato is the keyboard. All the more 0 since some geuing worse and worse, and I am 'Wonder- of observation and psychology." years ago I' had the honor to present Cho- ing whether the playing of the finte has Several colleges are now offering a f~ur pin's own Pleyel grand piano in a tour anything to do with it. Will )'Olf, tell me year course in Music T.herapy, dur-ing ANSWERS of this country, and was able to judge of what yon think? E. A. A. AND which the students are trained theoretical- the tonal possibiliti s available in his time, 1)'- and practicall yrin all branches pertain- in contrast to th tremendous \ olume of My guess would be that quite the reverse ing to it. Theil they are ready to accept the concert grands f today. hopin buill would be the case if the girl has a good positions which bring interesting financial what seemed to be p werful climaxes. but flute teacher and if the band director knows returns. According to Dr. Underwood, how did he doil. he. a Iruil gentleman how to use the rather delicate tone of the there is much demand for trained gn,duatcs generally ill poor health? . impl) h) start- flute properly in band work. The flute is a ill all parts of the country. "singing instrument" and piano teachers Another field 111 \\ hich young pianists ing so pian i sima that it was scarcely audible. Following this rulr- today will often ask their pupils to sing a melody in call find good reurunerat iou for their talent order to acquire a feeling for a more sing- is accompanying. Rudolph Ganz, who dis- avoid the thumping and thundering which is h ard so fr queutly, and it will preserve ing effect on the piano. I approve of this Conducted by KARL W. GEHRKENS, cussed. this particular phase, mentioned his approach, and in the case of my own daugh- own experiences when he first came to the true patrician, supreruclj c1i'ltinguished Music Editor, Webster's New International character of hopin' music, ter (who plays both the flute and piano), I Dictionary, assisted by Prof. Robert A. America, many years ago and became the felt that the effect of the flute playing on accompanist Jar Mme. Sembrich. His talk Demon u-etiug the po-lt ive through the Melcher, Oberlin College. her piano was definitely beneficial. ,,"lhy not was both eutet-taining and enlightening, negative, I showed how hopin ought 1Iot have a talk with the flute teacher about all MAURICE DUMESNIL, Mlts. and it showed how the art of accompany- to be played. First. by an imitation of a a large amount of music during your four this, showing him this answer of mine if players are always scarce and therefore in i ng-and it is indeed all art-s-calls for great young assistant college pr Iess r who takes years in college, and it would also prepare Doc. discusses Mnsic Therapy. you care to do so. K. G. good demand. K. G. musicianship if one is to become a top- himself vcry seriously. then e moon struck, you for teaching music in public schools. Repertoire m cterial ; and uotcher ill the field. ':1\ rille accompanist sciulmernal teen-ager, and finally ... Lib- K. G. WHAT ENSEMBLE INSTRUMENT DOES MAMA KNOW BEST? beginner's books. must integrate himself into the intreprc- erure himself. All of which S emed to SHALL A GIRL STUDY? tation of the singer or the soloist wilh amuse the audi nee. But. several teachers I am a girl of 15, and I love classical ABOUT A FAMOUS PIECE BY MacDOWEll told mc aftcrward . ··\\C learned a great whom he appears," Ganz said. "He also My daughter has had seven years of pi. 1rmsic very much and would like to !najor NEW OPENINGS deal {rolll thal." ought to know which notes-intervals of ana, and she now wishes to take np some in music when I go to college. I have a (1) Is there any poern or story con- Saul DorLllan was a perfect. tactful The annual Piano Conference of the thirds, and otheI"s-are to be brought out instrument of band or orchestra with the clear, true voice and people seem, to enjoy nected with MacDowell's Scotch Poem? (2) chairman; and Joseph reauza_ dirce.:lorof Roosevelt College School of Music ill Chi- ill order to give special emphasis or ex- idea of possibly making a career of it. She hearing me sing classical music even though I am studying Polichinelle by Rachmanin· the school, desen'cs a special mention for cago took on particular interest because pression to the vocal part. There must be likes several instrUlnenls but would like in general they like to hear popular music off. What does the title mean? B. K. a constant 'feel' on the part of the accom- having made possible such a program, of its featuring new possibilities, hitherto to choose one that wou.ld be in del1wnd for better. But my mother, who used to be a (1) MacDowell called his piano pieces panist, and he lllust blend into the atmos- which met w1th the enthm~iastic approval neglected or unexplored, for young pianists. a girl musician, and we wonld like yonr lnnsic teacher, cliscourages me from going of Opus 31 "Six Poems after Heinrich phere as if he were part of the singer him- of aU those present. The large audience which filled the Recital advice. Mrs. G. P. H. into music, and 1 should lil£e ronr advice Heine." Of this set of six pieces, the Scotch Hall listened attentively as Roy Under- sell. both as to whether I ought to continue with Poem is number two. The following bit of ''It takes a splendid musician to he able NEW REPERTOIRE wood·, head of the music department at You have posed a very difficult question, my piano and other music, and what lan- poetry appears at the top of some editions to read complicated scores at sight, and Michigan State College and leading au- and I cannot give you a definite reply be- guage 1 should be taking in case I major in of this composition: thority on lVlusic Therapy, explained how also to be able to meet the de_lllands of sinO'- At a time when the market i~constantly ·0 cause 50 many factors are involved. If your nmsic in college. P. L. M. Far away on the rock-coast of er:-: whn suddenly say 'l\1.y voice is a little nooded with !lCW materials often hurriedly profitable and often fascinating this rela- daughter likes stringed instruments, then Scotland, lired today, will you tTanspose this song written aBd of doubtful value. it is be- tively new branch of musical activities anyone of the four (violin, viola, cello, I am a finn believer in allowing children Where the old grey castle projecteth one third lower?' And man)' songs-De- filling to call the attention to a number proves to be. contrabass) would be fine, but in choosing to choose the type of work in which they Over the wild raging sea, "Music Therapy requires much morc bussy and Ravel for in!3-tance-require un· of ullusual collections edited by Leo Podol· anyone of these she and you would have to are most interested, and if your music There at the lofty and arched window, preparation than onc would generally im- usual virtuosity and proficiency in tone sk). They include: face the fact that it takes many years to teachers think you have some talent, and if Standeth a woman beauteous, but ill, agine," Dr. Underwood said. "First of all: Goloring and pedaling." "Musical Finds from the 17th and 18th become a really good string player. Nly own you yourself are willing to work hard for Softly transparent and marble pale; one must be not ollly a capable pianist, but NelUe McCarthy heJel a session devoted Cenluries.;' This is a fine album of short opinion is that the end result makes the time a long time in order to make yourself a And she's playing her harp and she's one must be able to improvise, to link vari- to Class Piano Teaching and as usual, held or very short pieccs grade 2 to 21/2' The worthwhile, but many people do not agree good musician, then I believe you would singing, ous compositions without any breaks, to the interest o:f the audience throuO'h her names range (rom Daniel Gottlob Tiirk . ~ with me. be wise to continue your work in piano, And the wind through her long locks select these compositions wisely and ac- explanatIons and demonstrations. Class (1756-1813). George Philipp TelemBlln the playing of trombone in the school band, forceth its way, cording to each individual case. One would Piano is certainly growing, according to (1681-1767), Cillude Daquin (1694·17721, As for wind instruments, a bright, mu- and adding to these a course in harmon y And beareth her gloomy song imagine, -for instance, that when dealing repmts from various States where it has J. F. Dandrieu (1634·1740J,Johann Pachel· sical girl can learn to play anyone of them, either in or out of school. As for languages, Over the wide and tempest-toss'd sea. with a highly nervous, tense, excitablf' pa- lJeen adopted in the public schools. hel (1653-1706), Fran~ois Couperin (1668· and here it seems to me that the wishes of since you have had a year of French I (2) In French comedy, Poliehinelle is a tient, the music should be soothing and Through it some talents are discovered 1733), Jean-Philippe Rameau (1683·17641. the girl herself ought to determine the would advise at least another year, after peaceful. Not at all! On the contrary, one which otherwise would never have a chanc~ Henry Pureell (1658·1695). to Ha~dn. choice. I myself prefer flute or clarinet for deformed, hook-nosed puppet. He corre- which you might take a year of German fnust begin by meeting the patient's condi- to become noticed. Mozart-both ~·Papan Leopold and hi!; son a girl rather than trumpet or trombone, but sponds to the English Punch, a favorite since so many of the world's finest songs tion with music that is in the same mood. Your Roundtable editor contributed an Wolfgang Amadeus-Handel. Bach. Ph. E. this is merely a personal whim, and if your character in puppet shows. R. A. M. have German texts. Then, and gradually, come down to one i~lustrated lecture on "The Chopin Tradi- and Johann SebastiaJl. up to Beethoven. daughter wants to study trumpet, horn, or Because your mother evidently wishes Communications for this department conveying an increasing peaceful and quiet tIon as .observ~~ at the Paris Conservatory." (Clayton F. Summy). even tuba, then she should be allowed to you to prepare yourself for teaching, I sug- should be sent to Bryn Mawr, Pa., in care atmosphere. While doing so one must What IS tradItIon? What does it lllean? All the above will prove to be excellent choose for herself. So far as demand for players is concerned, I believe there is very gest that you compromise with her by of Etude. Questions should not be too long, watch the reactions carefully, dwell longer Does it exist? Well, of course it does. and teaching pieces, and their supreme mU5-ical nor should they involve the solving of too little difference among all the instruments majoring in Music Education while you are 011 a step if necessary, or pass over it more very much so. It is handed down {rom one quality will greatly contribute to form intricate problems. in college. This wonld enable you to take rapidly. All of which requires a keen sense generation to another, and it starts at the (Continu.ed on Page 50) I have mentioned unless it be that viola

22 ETUDE-VOVEl1BER 1954 ETUDE-NOVEMBER 1954 23 N DECEMBER 20TH, 1953, Erica VIOLINIST'S PAGE ORGANIST'S PAGE . . . 1" O Morini appeared as soloist with the r "What an jnsprring service: DUgh t to sa), . I New York Philharmonic-Symphony Or- "What brilhant organ-p ay· rat her tIran, 'd' chestra under the direction of Bruno Wal- i.n 1" It is ridiculous to cons} er a seT,vIce ter. The concert was broadcast over the g D' ., worship as a sort of glorified 0'f rvrne ., radio. Halfway through the first movement . eciation hour. That IS not Its mUSlc-appr I hi k of the Brahms' Concerto, the "A" string and any man W 10 thmks Practicing purpose at a,II d f of her Stradivarius broke. Without a mo- . . temperamentally unfitte or Opportunity ot herWlse 15 . . ment's hesitation, Miss Morini stepped over ' of a church rnusrcran. theI ea IImg 1 . I to the stand of the concert master, J ohn f course that there are )ng It I k now, O ' . hl Corigliano, exchanged her violin with his young men who murmur deprecall~lg 1 mgs and and then resumed her solo with hardly a ti g pearls before swme. The ab out cas m note lost. While she played Corigliano's nd righter they are. the more younger a b . . W II fiddle, a musician in the orchestra put an- I(nocks likely to make such an obscn1allon. ~, other "A" string on her Stradivarius. Just but is it really casting pearls I~e£oreswine before the cadenza, soloist and concert- Teaching to restrict worshippers to a diet of ~ac~l master traded back their instruments. But Buxtehude, Byrd and Palestrina? Thi IS when she was about to strike the first chord specialized music which appeals to a Many organists of today are of the rousing cadenza, Miss Morini real- limited circle of listener. 1 r can. I sub- ized that the "A" string was very much out The secret of imparting knowledge scribe to the philo ophy of such listeners of tune. To avoid playing the bad open missing golden opportunities that by virtue of listening to Buxtehl:~le "A" she decided to improvise a new finger- to another is the basis of an and Palcetr ina they arc wiser or more' rr- ing. When it was all over the audience gave for service by their attitude tuous than their fellow-men. A great d~al her a great ovation. Bruno ""'alter kissed of hokum exists in all branches of music. informative discussion by one.... her and said: "This should happen to you one aspect of which j the fetish of regarding the type of music to Ba h- in every concert. You played more beauti- worship. A dull piece is none tl~e less dull of the world's greatest, violin fully than ever." {or having Bach's name on It. Contrn- be used in their churches. What is the secret of such masterly violin puntalism can be carried too far. Th great artists of the present. playing? Is there a key to it that lesser contrapuntal schools of England and the talents may use to their advantage? If there Netherlands collapsed from sheer pedand- by ALEXANDER McCURDY is a method, what is it? If it can be taught, try. Their complex interplay of VOICes faSCI- how can it be done? These were the ques- nated composers and perf rm rs but left tions that were uppermost in my mind when From an interview with Erica Morini listeners (for whom, when all is said and I rang the bell of Miss Morini's Fifth Ave- done music ought to be written) perplexed Secured by Paul Mocsanyi saying a good deal. His view of music was nue apartment in New York to get this OT LONG AGO this letter arr-ived from and I'Jumed. Asod'Alembert put it: u~oe t.o idealistic and he set high standards for interview. N a city in New York State. that art, the beauty of whose production 1S himself and his choristers. Although young, "Do you teach, Miss Morini, and do you "Dear Dr. McCurdy: he had had enough experience to ensure discernible but by artists!" . have a special method?" I began abruptly. your right arm and you can't playa lofty I want to tell you that during my summer Our organist and choirmaster has .re- A similar situation exists today 1Il the success in his new situation if allowed to "You touch here on a very sensitive tone without having your right arm com- vacation I do not touch the violin at all. signed. Could you help us by suggestmg music being written by the foHowers. of have a free hand, I thought. point," said Miss Morini musingly. "As a pletely under control. Everything must be This is very important. If oue practices some candidates? We have a large four- Schoenberg and Stravinsky, much of whl.ch Clearly there was more here than met the young girl I did not want to teach, only done in a natural way. But, of course, the throughout the year, one gets stale. One manual organ built within the last ye~r, is refined and intellectualized to the point eye. If such a wonderfully qualified man to play. One day a now famous colleague teacher must tell the pupils what they must put away the violin for six weeks or a large congregation and every opportunIty of being nonsensical. Another great ar~ist- had resigned the job, I wanted to know came to me and said: 'Erica, I have a great should aim at. He must tell them, for in- two months. And let nobody worry about for the right man or woman to carryon a o d' reformer is needed to sound a wanung. more about it before recommen Illg some- problem. I cannot learn to play staccato as stance, that a vibrato must be quick and it: the gifted pupil will develop during this complete music program for the church. as Girolamo Mei did to the Florentine one else. I would like to. You do it wonderfully. small. The open, big vibrato does not pro- time too. I do not know how this comes. May I hear from you? "camerata" at the end of the sixteenth cen- Yours sincerely, A number of communications followed Would you let me in on your secret?' I duce a beautiful tone. I find it extremely Maybe the imagination works subcon- tury. ]f composers refuse to meet their The Reverend A. B. B." between the Reverend A. B. B., members of was embarrassed. For the first time in my important that the teacher should play for sciously. listeners half-way, insisting that they be My first thought upon reading this letter the music committee and myself. This is life I had the feeling that playing is not the pupil, because the pupil must be able "Anyhow, vacations come to ail end one taken on their own terms or not at all. was, "What an opportunity!" No long and what I learned: everything, that I have a responsibility and to hear hO\\I-the music should sound. Uri- day and the season starts. During the first listeners cannot much be blamed {or pass- tedious struggle would be necessar~ to de- The idealistic young organist would play that Ishould not refuse my help to those of fortunately, so few young violinists have a few days I practice only exercises and as organ solos only works of Bach, Bach's ine on to music which makes less severe velop interest in the church, mUsIC pro- o my colleagues who needed my advice. But I first class right hand technic. There are not etudes. Then I start with scales. They are predecessors and a few "advanced" modern demands upon its audiences. gram; an apathetic congregatron does not was also embarrassed for another reason: I enough good teachers. You see the result: of extreme importance. Without them one This is a point not always understood buy four-manual pipe organs. Nor ~"ould composers. knew how to play staccato, but I had no how many more first class young pianists cannot acquire technical sureness. If one Instead of a full choir he had developed by young graduates of our music schools- the new organist have to contend WIth an idea how to teach it. A new field opened there are than first class young violinists. doesn't practice scales regularly everything ;--- a small motet choir of about eigbteen as often as not having had their tastes r obsolete worn-out instrument. It was a up before me. My first experience in it was And this is a great pity, because the violin becomes subject to chance: today you can voices which sang only Palestrina, Byrd formed by Teutonic and Teutonizing 5C~01- situatio~ made to order for some gifted helpful to both of us: in teaching him how can be taught as well as any other instru- do it, tomorrow you can't. Exercises, too, and other works of the contrapuntal era, arship. They have a great deal of Specl~C . young organist to create a superb musi.cal to play staccato, I learned how to teach ment. Of course, the teacher must know are very important. I have figured out a all a cappella. information about certain areas of IllUSIC. program for the church .and a reputatlOn staccato. And so it went with all my pupils. how to convey his knowledge, he must have He took very little interest in congrega· but not much perspective on music as a great number myself which I always prac- for himself in the bargam. A recent con- I learn from everyone. And the most im- the enthusiasm for doing it and he must be tional participation in the service. He whole. In this respect they are often less tice. I might one day publish them. Any· servatory graduate with talent and imagi- portant thing what I have learned is that able to inspire confidence. If a pupil has played the hymns in a perfunctory manner than their untrained hearers. who perhaps how: I practice two hours the first day, nation would be ideal for the post. I began you have to teach everyone differently. No no confidence in his teacher, he will never which gave the congregation little incentive never heard of Girolamo Mei but "rho three hours the second day and then four to make a list of likely candidates. two pupils are alike. Their characters are make any progress." to five hours a day for the rest of the sea- Then, somewhat to my dismay, Ifound it to sing. know whether a given piece of music makes different, their temperaments are dif-Ierent, "How much and what should one prac- son. I usually make a little pause at the end was just such an organist who h~d recen.tly When these facts were establ ished, I no them feel good or bad. they have developed different good and bad tice?" was my nex~ question. of the second or third hour. I also playa resigned the position. I knew tIus organIst. longer wondered that there had been f ric· Idealism is, of course, a fine trait in any- natit~9£ playing. T.he l!lOst difficult prob- "That is individual," said Miss Morini. couple of etudes every day. I have one rule: He was a magnificent performer. He could tion between the young organist and the one, young or old, and I should regret .to lems pertain to the right hand. Row often }'Il d;;pelld~ 2!l !low gifted a pnpil is." I playa Paganini etude every day. For the play everything in the bo~k. Trained in one church's music committee~ The youn,g man see a church musician forced to compromIse you see violinists of name holdil1£Ttheir "How much do you practice?;' I asked. of our finest conservatones, he was a mu- had been a show-off organist. He had not his ideals in order to keep his job. But com- -rest I \vouici di~ 12~twe~na Wieniawski, a right arm away from the body! This is "And what do you practice?" sician of the first rank. He could conduct yet learned the most important lesson of mon-sense is a virtue too. Common sense Kreutzer or some other etude. But a Paga~ini wrong, because it loosens your control over "Before I tell you how much I practice, as well as he could play the organ: which is any church organist, that worshippers sees the "Missa (Continued 011 POf!e 62) etude every day is a (Continue,Z on Page 56)

ETUDE-NOVEMBER 1954 ETUDE-NOVEl/HER 1954 24 25 No. 130 ,41143 Introduction (From Introduction and Sonatina) Whatever views one may hold on This will be continued in the December issue. Grade 4,

this question, he is sure to bene fit by this

authoritative discussion on '-==== PIANO f Empiricism and Science in the I . ===

Teaching of Vocal ProductLon ~; ~ J I I I ")-J I I I I'i ,~

• - L '"!f I T r itt ------~. r by JOSEPH A. BOLLEW ~,.. ~A .. ~~ .. _ f ~~ fl+. --- L - -<::: - "* I ..

equivalent to resonance and is a \\'ay of :> ~ .> Upon reflection it will be seen that our ------~II a tempo I I I ~I ~ PARKED OfF by a letter early in the "focusing" the voice. To other teachers .. ~~ - .~. I J .~ empiricist methodology contains a basic .' S year from the singer and voice teacher guuurni tones (Ire not displeasing. They reo . Fraser Gange to the New York Sunday contradiction {or, if we can secure "beau- tiful tones" before we have discovered the gard gutturu lncs as tonal richness and do I I Times. a battle of letters and articles raged ...... I 'dim. e rit~.fff~rr I i operation for securing them, surely we not seek operational pro edures for elimi- for a' time on the comparative merits of -ff J J have no need to seek for the operation. And nating it. They strive instead to develop it 'V- .- I... ~ ~~~ .. ~ _ the empiricist and the scientific approach ~ ~-, if we do seek for and ascertain the opera- further. Some do not like volume a"d power - in the teaching of vocal production. tion surely we should be able to secure and compel their pupils to practice and I The subject is undoubtedly of great im- , 1 T "beautiful tones" in every case by the use sing on the "soft" at all times, even those ~...... / ... :.-/ 1 portance and warrants the most serious and :> of the operation! who he- e naturally powerful voices. On the careful consideration by both sides. But: other hand, some have a preference for unfortunately, this desirable situation does Furthermore, if the procedure "from 'beautiful tone' to the operation 1S the loud, or big voices and do all they can to ,;;;;; , ~ .--.---:> a tempo not exist. For the sake of voice students, make those of their pupils who do not who are now betwixt and between, it is to best," it would be reasonable to expect, (1) a general agreement on what "beautiful naturally have big, oicee to increase their . ~- be hoped that it will soon be hrought to tones" are, and (2) the establishment, after power, mostly by forcing. even to the point .. TT~!S' ~tf '~ ~ itTT~ ~\':; .... Jf~' ~ a reality. of raspy harshness. ~ ~~~ ~r ~i The essence of the empiricist point of all these years, of a measure of exact in- "!f-.- The ear is not as trustworthy for judg- ff rit view was admirably stated by the late W. {ormation on the operations which can be ing tone as our confreres like to believe J. Henderson in his book, The Art of the relied upon to produce "beautiful tones." ----- and there can be no doubt that the wide Singer, in the following words. "The prob- Despite these obvious facts, our empiri- ~ differences of taste regarding beautiful "11 ... ~ .. ". ~~ lem of the great masters of the early period cist camp maintains that the ecr 1Sthe only r~"i~ ~ #~:~~:~~~~ i fi i~i tones has been responsible for the bewild- .> ------was to ascertain the best way of singing reliable guide to secUl'jng "beautiful tones" .> ering diversity of operational procedures beautiful tones on every vowel throughout and that there 1S no other way open to us than to proceed backwards "from the tone in the teaching of vocal production and the the entire range of a voice .... They rea- I ~"J L I I . I _- soned from the tone to the operation, not to the operatjon." deplorably chaotic cOl1clition which has --- a l Is the ea.r as reliable as we Uke to think rharacterjzed the field for \'ery TUanyyears. ------from the operation to the tone. ' More than three centuries have passed it is? And why has our empiricism not been Lt must be admitted that the scientists ~~f - I able to evolve operational procedures have a valid basis for criticizing our em- _m ~~~#!I~..-- ~ ~ "-.:.7 since then, yet the problem of ascertaining 1Jroatl > which can be taught and which can J)e piricist camp and urging upon us a revalua· i'-- ....- '5. - - the best way of singing beautiful tones Ol~ ~ .. b.. te e ie_ - every vowel sound still endures. The prob- reHed upon to produce "beautiful tones?" tion of Oul' aproach and alIT procedures. . - lem never was, and has not in our day ft thereforc behoves each one of us to THE ANSWERS to these questions are acquaint ourselves with what the scientists I I been dependably solved I even though it is "!. !. - =t :: :::; .~ -~ really very SImple. The major cause of have ascel·tainecl about the voice. Too many ~!~:~

'6 F.TUDE- VOVElfBER /954 ETUDE-NOVEMBER 1954 .27 I ~.-.---_.._- ..------_ _._.-_ _.-._. 3 : 2 >~ I'J ,- ..., /' ~, r-, , > > ::> No.IBO·4115! Third Street Rhulnba ~ ~ -;;;00 Grade 4~ CLIFFORD SHAW j",. >- ~ ~ > Arr. by LOll Si,lger - .f f boldly ,., I ::> >; ::> r , . : . , · ,. Medium rhumba tempo 3 I~~ :· · , ~ · : >/> . · · (F- .- -z: ~ > ::> -m . lightly ~ ~ /~ If~ >- · > ~"':i. .r () ff~ /f!:

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I , 1 , , - - - - - • • • • . • 1 • - - - 2 5 Copyright 1954 by Theodore Presser Co, International Copyright Secured Co . ~------pynght 1954 by Theodore Presser Co. International Copyright Secured 30 ETl'DE-NO\-E,lfBER.l.954 - ETUDE-NOVEMBER 1954 31 FRANZ JOSEPH HAYDN Grade 3 Grade 5 Minuetto Giocoso Edited by Karl Beder Etude in Cminor 4 6 2 Moderato • 5 23 8 '* 3 4, 23 = 3 )r~i 4 ;0-----.3 t~5~' y-~~...,...;;.

L,.J Fine 1\ delicat• amente• - . - :

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2 1 4 2 1 5'3 1 5 3 1 5 4 3 4 st rctto 5 5 5 -I 3 3 1 2 3 • 3 < • >-

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2 • 5 3 5 = 4 3 5 . ,'------' From "Miniature Classics;' Vol. II. [4,30·40056] FromoTwelvc Etudes;' by F. Zacharo.. (410·26951] Copyright HJ24 by OJiver Di tSOJl Company Copyright 1940 by Theodore Presser Co. British Copyright secured J2 ETUDE'NOVEMBER 1954 ETUDE'NOVEMBER 1954 JJ Grade 3 Grade 3 Eternal Life At Dawning OLIVE DUNGAN CHARLES WAKEFIELD CADMAN Nellie Richmend Eberhart Prayer by St. Francis of Assisi Arr. by Ada Richter Arr. by Ada Rickler a tempo Moderato (J -80) 5 s 3 »>: L.H.over 3 2 1 s 5 S 1 ~ ~ 1 ~-2 -- ~ ~ . ... ~ - -if .. 'Where there is ha-tred, :t:e taJl:ve; 'When the dawn flames in-stru-ment of Thy peacej PIANO 1~Lord,make me an /-=' PIANO ~ I-&~ - " P 'lr . IPed: simile 2 , , I , '---', I ~ ~ ! S ,s " 5 1 2 1\ L-- -0--. .> " 3 " . ------3 2 '0 ,- 11 ',& I ~ hope; • 'i- Where there is doubt, fai th;, Wh c re there is dc.s pa ir, < Where there is in-jur-y, par.do nj: ..... I love you; _ When the sway - ing blades of corn ~ ;;:-----... f9- ~ --...~~ When the bird - lings wake and cry, - )i )i · #! :--- ,T1f D- = · 2 1 2 1 , C. • ~3 4 a te1npo 3 Ped.simile 5 2 »->: S ~ ',~ Ii 5 ~--- " 4 3 5 ------. -- 1 1 2 rTC ~ I ... ~ ... D i-vinc Mas-ter; grant that I may not so much Where there is dark-ness, l~ht; Whore there is sad-ness, joy.~~11 a -&voco aced, -eo- I~ e- o .- Wh is-pe r soft at break-ing morn, to love you. · 1":\ 1 U 2 1 ~1".o3 3 3 " 5 s 5 5 2 ~ a tempo n >">: »>: 2 3 3 2 3 -----, ~ a tempo . ------. . 3 . . 6)' <:»: ~ F-" I~~. 1-1 .. seck To- be eon- soI'd as •to can -solc, 'To be I~-dcr-stood as to undor.stand, 'To be lov'd as to poco accel, .- ,.. r-it. Dawn and dew pro - claim my dream, YOU; - pp)i )i ->, · . ~ 0 II. 3 2 1 Q 1 I5 2'----/ 5 2 5 5 '---.1 I 2 a te 'in'Po ~, 5 r,~ . " ll.--- . ----- , . . . . --- . ------. , ------. ~ I I I I I -. I I I love; For it glv-lng1_. th at we rc-ceivej It is in are iSL.~in par-d'ning that we 'l'it. -II .- L.. ~ • .. m'e.•c. iii fL Chant the birds one thrill-ing theme, YOU; All the sounds of morn-ing meet, )r ~ #!-."'" )i )r~ 2 --. •s ""7' .-, • fI- ~...... ---.... 3~ 2______>- . . · " ::-- . ----- · ~ -I I I "1 ..... par-don'd; It is in dy ..ing that we are born to e - ter - nal life. L f ~ ~II"--", • -,.. ff L ~ Break in yearn-ing at your feet, come,my love you. . ,,'...... 1":\ 1":\ , 3 1f'- 2 1 2 . ':j. Ig 2 4 L---l '---' 15 I 'E,----:-21 " I~ From "Your Favorite Songsi' arranged by Ada Richter. (4-10·41044] From "Your Favorite Songs;' arranged by Ada Richter. [410·4-1044-] Copyright 1950 by The John Church Company Copyright 190G by Oliver Ditson Company Copyrigl1t 1954 by Theodore Presser Co. International Copyright .secured Copyright 1954 by Theodore Presser Co. International Copyright secured 1--"'----34 _ ETUDE-NOVEMBER 19,)4 ETUDE-NOVEMBER 1951 35 No. ,110-189,7 Menuet Menuet Grade 3 f'r orn "Mili t a r y Symphony'" from" Military Symphony"

PRIMO SECONDO J. HAYDN J. HAYDN

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2~ 1 2 4 t 4 5 3 U, JcJ ETUDE-NOVEMBER 1954 ETUDE-NOVEMBER 1954 39 Itn~ _ 5 5 3 4 OSW. ~ 3 Gt. Dulciana & Doppel Flute Dialogue 'Sw. Soft strings Hammond Regis. Ped. Bourdon 16' & 8' Q!I '10) 00 5563321 D- ; Gt. ~ (11) 007764 321

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2 2 Drink to Me Only With Thine Eyes Old English Air An; byN. Otifford Page , .. .. Andante con moto Gt.solo stop HORN , 3 t 5 -~ 3 lID (11)_ 4 s 2 in F ,., , t 2..__ ~ri't"M .Ji3'l ~ ... P con esp ressione . - -= '-- I r r ..~ ~ ...... I ~'~ f 711/[1 1t:f ~~ 0;;' e !e~ ~ ~ ~ . -::E :.~ I~ I..r ~ == :: c: e t PlANO ,

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Moderato grazioso 4 Sing song 5 4 5 s 5 2~4 ,... s 2 1 " 5 , 1~11 1 flJ.l ~ rz> ~ . . . .0 • . . . Oh, where, oh , where has my lit-tIc dog gone? Oh, where, o h, where, ~e.:::a::n:..-:.h:.::e:-,rb::.:e::.:?_~ ~ 1r:!' PIANO p p .:. .:. PIANO iL ___ ...... ---..- ...... ---..- ~. .. ~ ~ ~. .. • 1 3 3 8 2 1 2 5 5 , 2 • , , 1 5 2 5 2 5 , 5 4 s I 2 8 4 5 4 3 5~, , , I J.l ~ -. . '...--. " . - . . . . I . . With his tail cut short and his cars cut long', Oh, where, ch , where can he bo? 2 '- ' 1 r; r-- ~r=--- < ~ ,...-.... ~,. --...... ~ ~ ~ it- it- ~ ~ - --- I .0 2 1 2 4 1 S 1 1 5 1 4 1 5 2 5 2 Grade 1~ The Darby Ram*' "'~ 2 5 2 Arr, by ELIE SIEG1>IEISTER s 2 " 1 r 1'IJ.l~2 ~ 2 • Moderately 1 ....----- 3-- 4 5 . . . . j' 11'. j' j' j' O!- qt· ~~ r ·r As I went do w n to Dar - by, Twa s on a mar- ket day, And there I me t the --r' Ih~ PlAfW '"if ~ ...... ----- ~. ----... " ...---.... ------a' 0 ,. ,... ,... 2 ," 1 2 2 , 2 1 1 2 2 r ~ 1 5 5 5 2 1 5 3 2~ 2 1 2 1 5 , 5 5 1 Ir.

•1 8 Grade 2~ 1 1 f, J.l~ ~ ~ ~ 1.0 "3...------...!: 'I Goodbye, Old Paint* Arr, by ELIE SIEGMEISTER . : . 5 . Lazy 3 4 · 1 " . . 1 0!- C1'esc. I I : m:/' fr.--, I .;. it. it. it. it. ,..... :;t...... ---..- ~ .:. old Paint, I'm Ieav - in' Chey - onne, Good - bye, old Paint, I'm Ieav- in' Chey- 0 . Good - bye, 0 PIANO uif' , 3 2 3 2 I 4 1 , .

3 2 1 2 3 1 5 1 1 3 1 ...... ---..- 1 1 1~ 1~ 5 I ,---- ] 2 ~ J.l I I I I I I I I r J 2 4 p 1 . . . ~ · . . I 1 I • ,I , , 'J , dim ennc. I'm loav- in' Chey _ ennc, I'm bound for Man - tan', Good - bye, old Paint, I'm Ieav-in' Chey, cnne, ;\ poco 7'it. ~ ;\ II,-/-' . . . . ~ :/ p ';tJ'.. 1":\ 0 · . . . -

,,~ If stretch of hand will permit, play small notes. Copyright 1954 by Theodore Presser Co. ~:rO~I

< , 0 o 0 , .n~~IV 0- _ 8 e ~ ~ ~~~ ~~~~ " " < ~;:l ... -til .~~«$o~ 0°,," t'"'- t'---., ~Ub.£l '- Jid:~ ~~~ Jio. ",o.~ .. o ' b;,~_ v ~ ... ~",0a "'" ::;-.~ ...... 5 3 >,~t" >,~" Z »<0'" " t _ -,,- -'0- -,,- ~ -,,-, , - - ..coif> , ~~. o , f- ..c~' ~~ ::::,...:- I ..!: • ~JI t:~_ ;,-~I-o(ij ....'.1 '0- .... - ~d ! ....- ~ ~~-o , 0" , i-- - _<0- _ < ° .;::= <5 _<0 .0 ' 0-0~ ;,.,= -;, I-- f ~~~0'0 ~~~0" ~~~ ~~~ .", '" ..'" u:;:lb.ll .oo, '" 000 000 00 0 -;, 0' 0 0 ° ° ° ~~~_ 0 ~;~ "':;''''tlD ~ ~'liit;; • •• -<" ---••• :@~~ "'0'0 - " , "'.'" """EEE """En EEE EEE --. ",' I»o~' o~ 0 -oo~:~l 000 000 000 "'- .::!:S 000 '~:5 t: '-:50 - t: .- '5 ~ t: I-- - International Copyright secund :::=:5 :5:55 :::55 1---'" Copyright 1054.by Theodore Presser Co. === 0 • • 0 ilE E! ilE E ~ E.9.9; .9..5.5 1--..--; ~ Ii> 00 - ..::;.c00 ..,- 00 - "'''' 0 ~'" 0 "'-" " . 1--_ -; !l, ~.;::~- - ~I ,,:<~ .." ~I ""~~ .. 1np This morn-ing for Illy break-fast I ate a tall gi - ra[fe; A Ii - on and a - . - PIANO < < < < ~ Ii> Ii> Ii> Ii> , , , ------4 2 5 3 ......

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~ ti-ger, And then a lit-tIe calf. But plea50 do not be fright-en'd! The an - i- mals I -e- L- --. ...>.~ • ~~:: L- , t 8 2 , , 5 , .,,=.- <0: !l I.. 5 3 2 A ~~ 0 0. ~:O~ -ci:O~ ~;;;; V ~ ~ ~~~ - ~000 .~; ; z A 000 :5:5= -l.....l.....l--- ...... 1\3.s .5 ..---.... A jUMI 2 3 2 3 , ..-- 000 000 000 000 I-- - ate Were on-Iy lit-tIc eraek-ors I found be-side Illy plate. This morn-ing for Iny ~ ~,;j - ~ :j 11 ~..;~ ~~>"'; >...;~ >.>.>: u u u u u u u u u u u u ---.. ~ b"_ g-I , , , , , 2 1 1 0-0 , , , Q.,~..::.: A <:.> v" v 5 ~_------! E- E E- A- 00'0 3 1 • ~~~ ;,.> .., ~ v.., " A;,.> - -- I, \ -E -E E -E -E -E '1e e E ~A A --S~ ·0_0_0 L- -.H+I o 0 0 :l.l v .., ~ ~ '-< ~ ...... ~~~ ;:.000;.. > •• 0 CIl<'::<':l~ '" c-: <:: oj oj <'l9.. < " < IL-~- ::i;l d.. r. :I:' :C::I::,,~~ x ,,::,,~ xxx break-fast I ate a tall gi - raffe; A Ii-on and a ti-ger, And then a lit-tie culf. f----' S: === __-----L 4141-0 rit. _-----+_ > .... '"' t":\ <1l 0:., • --- [/1 (/.l....,l ~• 1 , 1 - - - 2 I; 3 2 t , , 5 3 < < < < , ~ Ii> Ii> / Cop;yright .1954 by Theodore Presser Co., ~ 4-1 International Copyright secured '" E T .... E_T_U_D_E_-NOVEJfBE_R_l_9J_-4 .... _ _"_'n_E_"_.NOVEMBER 195-1 45 ------,- THE SELECTION AND EVALUATION � ~, ~ ~ ~ OF TEACHING MATERIALS .New) [xciting A/bumJ ~ ~ e :> ~ ~ lot Piano! ~ ~ ~ :> :> 10" ~ ~ :> :. r- I ~ - ~ - (Conl,inued from Page 19) PLAY DUETS with a RECORD "'00 ....00 "'00 "'00 iI gtltl g-l:'l:' ~l:'= ~~.~ !-~ gob I:' , , , , choice and the results were, of proceed with our questions: .. :l'~;!. !.' , !.' !.' .q]1/ :J{emwllt ;Y{imej " ..... ,.-- 1 !.' • • • course, unsatisfactory . 1. Is the cover durable, attractive ==7"~ -.---~ ,",-- -t·- 0 ...... 0 ...... s-- -·0 ~...., -·0 '; "tp ;.~ ~;.~ :;<.<'< '"'--~ ~ c, In another instance, a session was and of good quality? ~~IlL- ~ '"'-- """ Student plays FIRST piano part of favorite pieces while ~~ .. ,~~ ~t-t- ~~..~~ , ~" ~ss observed where the materials used 2. Is the paper of the text of good • +:- -. ~o 0 ~"'~'"':; ~~~ r. ~ ~ Kenneth Kimes plays second piano parts on the record! 0' c: !!!. "''"''"'~~ • poop.. , ,?-,fl- were conceived and intended for a quality? lit- . r-S"C~. S" e ~. • g;;; ~ ~ e ·.p.p. 'e-P- ~ m. t" r0 ~ ~...... program which was planned for 3. Does the format show good or- ~ 0 .~~ ...... ~;!~. l\lost original, progressive innovation in years! • m • .".". .~~c 0 ~ 0 0 fASCINATING! • ~~ 5" fI> daily class sessions, although in this ganization? g ... o-J :I ....~ e _.o-i ~ 0 0 c c ·g....g Develops rhythmic discipline. Student must s ...~ c c ••• IL- .... &l;)~ c 0 0 000 situation the class met but once 4. Is there a table of contents? .... aO~ 0 0 keep strict time to "stay" with record. He feels ~...., 0 a " a " ~~.( g s g ( weekly for only a brief period. Nat- 5. Are the pages open, cIeal" and ~o~ ~ • •• EDUCATIONAl! a strong challenge to learn his part ... and finds ~ • • l , , , 0"0" , , , , • , t • urally, the students could not possi- not overcrowded? .,f;~ .,.,e. .,.,~ - -; , it en joyable! He always has "someone with IL-r .. r~~.. ~?.. bly maintain their interest or make 6. -Are the notes, symbols and text whom to play duets." Makes piano stUdy "less r~~ 0"," "" 00.'" 00." r ENJ!RTAlNING! c: _. ~- ~q~. o 0."" ·Ill ro> \-: ~qq q~~ ~~~. satisfactory progress. clear, Jarge and easy to read? lonely." Excellent for adults, too. ~ ,- = _.... = .. "m= ..... " 0 < " , " , , ...... ,. . II...... >;; Another point of observation 7. Are the photographs, diagrams, _0 Ul-~ 1.lI .... !e. ;!;!~ II;!;!~ II;!;!~ ~ brings us to realize that many of our ilJustl'ations or sketches attractive, ALBUMI For beginners. Grade 1-2.. Printed music for favorite -; ~ 5'2 ;:;' .,.'"" ...... ~~~ !- ~.~ ~ i:j' 2 ;;' s';·-~:;' "... present day full band, orchestra, or distinct, and accurate? pieces and one 45-rpm unbreakable record. List .~~ ." ".9 ." ". 9 ""."_ •""03 ~~- · ~ ci: · ~~ ." ". 9 ".0 ~ ~ 0 price $1.50. .. ~ • 0 '"- ~ ~ !; (to~; class methods were conceived for 8. Is the fingering chart complete, • • c • • c ~~ .~; usage in our pubJic schools, and accurate and designed in It Illanner • , 0 ALBUM 1/ For more advanced grade, 2-4. Printed music for 0 '-. "ii 0 '-. ~.;.; V 0 0 v -. v g: g: g:v ssg: ~:c"''''o ;: that it is easy to comprehend? v oiv-' '"- o' iii" ;: o·;·~ o' u;' their primary objectives place em- more favorite pieces and TWO 45-rpm unbreakable c c ~ • • ~, , , • ~ ; - • ~ - phasis upon (1) Motivation, (2) 9. Is the exil]anatory material records. List price $1.9S. v . •• ;:Ss; g: 3 s:: ~3 s; ~3 ~ Mass production. (3) Public per- complete, grammatically correct, ~. Sg: IL-- SPECIAL OFFER! - A free copy of "Tunes to Play sV o 0 ~ 00. 00. , , • 00 • formance earlier than desirable. well organ ized and accurate? 8.~ &.~ 8. ~~ U & Color" (List price $1.2S1 with every order of 2 or ~ ~ 0<'-<-<' 0.<0.<0<' ". ~~ Such texts are most necessary and 10. Is proper emphasis placed more albums of "PLAY DUETS WITH A RECORD." .:<~.:; -<~.:; ~~". ~~". ~~ .. ~- III ::::~ ::: III :::: ~ III ;::;..:~ ~ ~ ,'aluable; many of them are serving upon such elements of performance ~". ~ ". ". ... ~ • g • • • • ~••• Bg · . · . a lloble and wortily cause, and if as (a) the instrument, (b) the Please send cash, check or money order (No C.O.D.'s ~. 0.0.0. 0.0.0. 0.0.", g"c.8. ~ .. ".. ~ "..~ "., . IlL- -'" -'" -"" · -'" ~ Please). We pay postage handling. These "..- · · · - used in situations for which they mouthpiece or the reed, (c) care of 3nd ~~~ •·• • o.,~• •• o..~.. ll.~~ c., ~ ., '"I., v. _o.,!.. albums also available at your leading music It-vlf"'l r1Ci'~'~' VciQ'aq'<1q'~" - v;;·;;;;· v aq'aq"aq' _o.~ .... c...!- _o.~ were originally intended can make a Ihe instl·ument and its accessories, v ~~- ". IlL- o~"< o~'< o~~ ".". .... o~'< definite contribution to tlte jostru- (d) hand position, (e) embouchure, deale!' at list price.) a:::::=, , .., a::?:~, , , , • , • ---• . • --• -• mental program. (f) proper breathing, (g) attack, 000 ~ ~ 000• •• 000• •• • • • ~ _.nl..~ - ~$~ c • c .. .. "MUSIC in TUNE wah TODAY" ~ c c c fj ;;; ~ On the other hand. such "lorso" sustain, re'lease? ; Ii .. l:' i' Q; ••• :j l~S I) or short-cut methods frequently fail ll. Is the instructional and solo 000 000 000 '-- ...." 000 "'''''''i "'''''''e:P.::e: '"- I)\rr i to provide adequate fundamental ma- material of good musical quality? MELODY MUSIC CO., Evanston, III. "'''''''!::::::.!:: e:::.!: II iii ""''''~!::= Iff terials, and as a result the products 12. Is it interesting to the student? of such training are found to possess 13. Does it pI·ogress logically and many deficiencies and weaknesses in thmoughly in regard to rangc and their technical and fundamental technical demands? training. 14,. Is the material sufficiently Thus, once again the student is varied in style, keys, meter, and , Now Available penalized, not because of incompe- articulation? tent teaching but through the t.each- 15. Are the dynamics, agogics, UHf> U> er's inability to select appropriate tempi, accentuations, phrase mark- \.. In America! .0 • < < .. ~ "''''000 '" CV'f1?v . , . , , , , .. . , and effective materials. ings, slurs, and all editing symbols , , , , , . ~ - If the teachers 01 our elementary, properly indicated? ~ SUPERLATIVE CLA$SIC GUITARS • • • junior and senior high school instru- 16. Does the material emphasize !~.. , go. o •• mental classes and bands 01· orches- the development of the student's ------"7,0'" \---_.. MADE BY ONE OF p. g, &. • •• tras will give more serious attention musical progress rather dian his fa- EUROPE'S GREATEST 988 8"'''''''3 9 and consideration to the selection of cility and technical aspect.s of per- LIVING GUITAR MAKERS ·. , v oi:i'~'.;q' V oqaq'aq' tl.leir teaching and program mate- formance? ".". ". ::!:?: ;:r On sale 01 leading music slores. , , , , , , , nals, and insist upon the study and 17. Is the text original rather than --- . , WRITE fOR Disfributed in U.S., Canada and - performance of music of superior ...... a "rehash" of other methods? fREE ARTISTIC """ quality, their students are certain in Mexico by Hershman Musical In· 18, Is tbe material characteristic IllUSTRATED - 00 0 000 ~g>~ ..J,; 000 strument Co., Inc., 242-248 Fourth '"",,,,,,, due time Loacquire an appreciation for the particular instrument for BROCHURE '" '" e:~'"'" !:'" e:~e:: ?-:"''''~ '"!: Avenue, Ne,w York 3, N, Y, for the best in musical literature, which it is written and not a com- .... Just as the English instructor, promise method inlended for varied v V ::t:::t:::c t1lrough his introduction and effec- 00 0 v 000 uses? "''''''' , , , '" '" '" , , , ., " , tive teaching of the best works in 19. Is there proper balance be- , .. .. , . ~ the field of literature, has a potent tween the instrucLional and solo or ·. weapon [or the development of program material? --- ••• proper reading tastes and habits. so 20, Does the text fulfill its in- ~•••, - ~" " ~IAGIC KIl"'·S-I"lano Books I & 2 , , ga- ~an the music instructor direct and tended objectives and come to a By LOUISE CURCIO mftuence the musical reading habits , ~ logical conclusion? Shows direct !elotio~ship b:tween visual note and. piano key. " , ., •• • "'''' .. . . and tastes of his students. 1>-- ~t:; ;;~ These are but a few of the more A wealth of Illustrations With a minimum of text make these , , , , , FOllOWingare a few sugcrestions important requisites of an acceptable lessons wonderfully dear for individual and class sessions . "MAGIC KEYS" open the door to piano playing...... p p -:;:, v ~v v-. v 93 9 which may prove helpful in a~sisting method and the elements of composi- .0 0 ~ v each book 1.00 --- "~..~ us as evaluators of the materials we tion that should be of assistance in , , , would choose. our evaluation and selection of WORK& PLAYUolumes-l &·2 ,",,",t- t-,",t- , , , t-..- '"' 00 0 00 0 If the fOnowing statements can be By EUGENIA ROBINSON & MARY McCORMICK 00 0 00 0 ~c-'"'~~'"' teaching materials, p.o.o.~"" "'0."~ answered affirmatively, then the text An enjoyable and educational introduction to music for children. ~-""'''' - - .."'''' 1>-- ~.!::..~. ~.~.~. ~.~.~. Fina]Jy, may I emphasize that I .. A variety of musical experiences which lead to 0 solid founda- , , . , , , , , should be well conceived desirrned have the highest regard for the pub- and I ' 0 tion in piano playing. Excellent classroom material. Second 00 0 00 0 00 0 wort lY of our consideration. lishers who have made so much ex- "''''''' '"e:'" '"p-: ~P-:'"'"'"~ I. IL-- volume follows logical development .. each volume .75~ e=e:e; e: Check each question with the meth- cellent material available for our ?ds or texts you are currently using program and whom I have found to III your class work. The results be most desirous of meeting our THE B. F. WOOD MUSIC CO. INC. should be interesting to you_ Let us needs. THE END 24 Brookline Ave., Boston 15, Mass, 46 ETUDE-NOVEMBER 1!J54 ETUDE-NOVEMBER IQ.l-1 THE fIRST STEP IS ••• HONESTY THE SCHOOL ORCHESTRA TODAY chestras can help build indispensable of the growing importance of the habits of co-operation (team work) orchestra to its cultural life and to (Continued from Page 13) (Continued from Page 15) for an students of the school. its 'citizens every day experience 11. They believe that school or- with music. Several strong organiza- friends used to say to me, "How can technically trained musicians, but tion of the size that tlie school's en- chestras can help build habits of tions are now working to create op- . 1 v you develop . leoato-that IS 10' I you be a tenor without singinglhal?" rather a musical team with good rollment can warrant and properly civic obligation; that group rights portunities for orchestral players mg /';> 'D' those first years. . e in-rug d I told them never mind, I'd be a lrnOT spirit, a fine attitude and pride support. Whether the orchestra in- involve responsibilities as wen as both in communities and in indus- a VOIC b' tI t "'Althouse would stan all right on Mozart. And Ihad another in their workmanship. This pride strum entation should he a small or- privileges and that such attitudes trial organizations, such otganiza- rem~m er ta n <:r and every now behind me as I ~a "" tap on the experience along imilar lines.In should be based on refinement of chestra with 20 or 30 players, a create respect for the ethical, re- tions as the American Symphony 1 I 'd arve me a 1945.1 auditioned for Bruno Walter, style and interpretation of the medium orchestra with 45 or 50 ligious and racial values of others. Orchestra League and the Ameri- and men. ie .'" ding me n 01 '0 gel shoulders. r~mJ~O"ht'" as this was the inging t he great aria from "La FOTtl world's greatest musical master- performers, or a large symphonic 12. They believe that the school can String Teachers Association. e This is indeed a happy moment to set {or a pnz -, '=' to hreatb control. del D wtino." \Vh n I had done,Wal. pieces and a positive concept of instrumentation of 90 to 100 musi- orchestra should not detract from wrong approac 1 I' n ter seid, in hi~ aIm, grave way,"My proper balance, good tone-quality cians, should be determined by the the choral or band program but greet all friends of the school or- This Visual ld this to test my re axano , Trainer Is s n. you 8nnlt it I()() well-at (berate and fine intonation. teacher- leader after careful consul- rather should supplement and round chestra movement in this initial col- ~:d t~ loosen me up if the 5houldtl~5 Alive! yOI1\'1 re going, )'OU wouldn'tlas( 6. They believe that the school tation and with the full approval of out the complete school music pro- umn of ETUDE's School Orchestra d lower throat showed even Many times more an . h "Sing as you through th P ra. R m mber,DeTer orchestra is an excellent vehicle the school officials. gram, That as school orchestra di- Department. It is our sincere hope effective than least aizns of trg mess. 11" giv ver)lhinlt~think of )'OUNlIa~ through which each playing member 8. They believe that school orches- rectors they belong to the Music that many readers will make use of 1'~I e'd tell me. "Be natura . flash cards 01' speak-. 1 d a ra ehors • and guide )Tour~lllor can develop a record of individual tras should study and perform only Education profession and have a dis- this department to help provide R KEEPS ASSIGNMENTS note spellers. Tl . est.ion of naluralnes ne q the tr tch." her that. I avoided accomplishment in technique, tone, the finest and best of music litera- tinctive contribution to make to our practical solutions for the most com- ORDERLY. Spaces for lIS qu. ~ 1 ometim:; tn lk foster 100. No cards to shuffle ... no pages consideration. Peop e l' th great emotiona'. red- meat p3J\j range, articulation or bowing, in- ture. That their standards and choice music professional unity. In marked mon day-to-day problems of the to turn ... 3r notes af your linge, tips. of a natllral voice. Natura VOl. • Lenon Anignments tl RJI' iduou ..l)· a I had once long~ terval and scale playing and sight of music materials, their selected contrast to the divided music de- school orchestra. • Practice Record Saves lime... saves money. Rapid advancement de· quality, yes; naturally pede t em\,;;. for them, and kePi at Moun. reading. That by the use of an or- repertoire, is in most cases the chief partment, as operated in past dec- It is also our desire to make • Scoles, Special Exercises pends on fluent note reading. . 0 Nobody masters th te l· SIOO, 0 • b' . • In due cour ..e. I WI pri1il~g~ chestral development record card, secret of interest on the part of their ades, today's orchestra leaders are valuable contributions to all en- • Record of Music EVERY BEGINNER NEEDS THE NOT~. fiNDER . f' g',o"'" enlirely Y IIUitlnc . Memorized lllques 0 SIn '=' • 1 to audition for To anini, who had each student, as well as his parents student performers. attempting in their plans to include gaged in music education. If you Price (complete with "Five Minl/tes a Dalt ), . ,$1.25 . t ,'s that the vanOU5 e • Th e pOlO. , h a.rcl me in lila iocund •." H~n and other teachers, wiII have a con· 9. They believe that school or· orchestra as a part of the complete have ideas that have proven helpful Price ..• t5¢ f breathing. resonatmg. et ., ments 0 . \ 0 prepa.rinF: a pcrffirmante o( I;Aidl stant check list by which to chart his chestras, like all other educational music program which provides for and succ.essful, we urge you to share t be acquired-but acqulre(!' award seals and n ked m. if Ihid .... , O!'" progress and through which they can organizations, should have as their an pupils in all schools at all levels. them with others who may be look. ;.'~';'M-ttJ/iP{ :a~:fullY and practiced so d~lig. ntl~. ten r P rl. Wh.n lid. o.be "I. keep up to date with his growth, chief purpose the providing for each They believe that it is high time ing for exactly that kind of inspira- r d . 1 motifsdcsiF;nedexpresslyfor that they become natural. IOglng tS (jJ m \'I h '-m w rk in IoGiocoa.dl' 7, They believe that school or· student the opportunities which will that every music supervisor and mu· tion. Please send such problems or A veryco,"plete~t. of Awordsbased ~~V,:,~~IC:wide,;ngeofsubjects.they.are a science as wen as an arL youngmusicians,.~n.lhantlycolore~lr hn thegentireseriesispresentedin rota· had pl.a-.'ung into ,h. """"_: MILO WRIGHT them. But my teacher. Althou~e. my among (lung ..in .... loeb,. art tUI' · ..:',;,:;". 2346 ALOMA excellent coach. Garnett. and lh mcrcioli ..tn and. _,u"in CIU1 olt!li:. Teacher's••Diploma WICHITA 16. KANSAS _ '- 10 ~~... liM. eminent conductors "Fritz Sliedry and perhop . Ihf' Itnd~ II IN M·U·SIC Max Rudolph. whose friend ...hip 1 hf'8'\ • (1\ r.f'motiooal CD.•. ~ C"O~ IS, Bachelor's Degree cherish, kept at me 10 wait a bit and which 'he ine"0 00. ~a1 I .. ':: '" curriculumhave been developed and perfected by the Conservatory over years of time. Their value ••••••••••••••••••••••••••••••••••••••••• to master the eillot iona' role~. but .. k .• nd , .• ha...... lid< and soundnessis proven in the careers of thousands of musicians and teachers, who owe their success UNIVERSITY EXTENSION CONSERVATORY. Dept. A-BOB good wishes go to the Guild and its emi- largelyto the personalized and painstaking coaching of this great Conservatory. Courses include: 2000 South Michiqan Blvd .. Chicaqo 16. Illinois infinitely better to keep frif.'nd~ with nent Founder-President for continued suc- "oice on judK' .. tr -, ti; Please send me catalog, sample lessons and full informa· Mozart. It is he. rather than Yerdi Ii • I ·ou can 0' aD. . r ~AR~O~Y:-Written by two of the finest HISTORY:-A modern course including all types tion regarding course I have marked with an X below. cess." or Puccini. who keeps. one'~ tone~ .han u .... I! 1\f' b"'-\!~ • 0 Ear Training & Sight Singing 0 Guitar Austin, Texas b, .. Wi' give hOU a useful knowledge of musical forms ing drawn from the experiences of the biggest Box 1113 mit no breathing for anywhere (rom and t e general processes of Composition. "name" arrangers in the country. o History and Analysis of Music 0 Mandolin eight to ~ixteen mea$ure~. Aher that Tu,l~ o Harmony 0 Saxophone Cornet-Trumpet 0 Double Counterpoint experience. I stuck tightly by )(ozan. ill i: . NORMAL PIANO:-Especially designed for o teachers or future teachers. Treats and solves CHORAL CONDUCTING:-Brond new course o Professional Cornet-Trumpet 0 Banjo and consider him the foundalion of • eVeryproblem of the progressive teacher-• includes all the modern techniques-even broad- all vocal mastery. ...' casting. Name' Age' _ It is only within the la ....t two vear~ ,I PU~L~CSCHOOL MUSIC:-Fits you for actual Street No. _ w'lr In the school room. Our model lessons de. YOICE:-Includes all essentials, such as Breath· t~at I first sang the great V ,.~ri In ,....IJrt veop"I'f orrg,lnaIty ond give you an excellent guide ing. Resonance. Vocalization, Enunciation, Phras· Cily- Slote' _ gwbba aria hom "PagHa('ci.- ,tv or teaching others. ing, Style, etc. Are you teaching now? If 80, how many pupils have

IllUSTRAno you? Do you hold a Teacher's CerliHcate? _ ll-Cathey's Stvd,o UNIVERSITY EXTENSION CONSERVATORY Have you studied Harmony? Would you like to 80m MeN WItt 00 J 0tI Te scherf 2000 SOUTH MICHIGAN BLVD. (DEPT. A·SOS) CHICAGO 16. ILL. the Degree of Bachelor of Music7 _ 12-Howor-d NTQu;s

48 ETUDE-NOVEMBER 1954 49 nition as the symphony orchestra. Waukesha alone. Some of Reuter's TEACHER'S ROUNDTABLE Thus the climate grew more and pupils in Milwaukee already are (Continued from Page 22) more favorable for young people to playing in the Waukesha orchestra. tudy music. To carry a cello around In 1950, a young man named in Europe is the lovely Trio (or • • • • • • • • • • • I t dents at the start ;s not considered outlandish. It's fast Dana Connell was teaching music Sonate a trois) in B minor, for becoming part of the pattern of liv- in the Scheboygan (Wis.) school ~et~:~~e s;~d~~e I: ~ill also s.ti~u~t: piano violin, and 'cello. The "Suite" ing, the mores of Waukesha. It m~k~s system and conducting the high their curiosity toward ~~slca will ~rove equally enjoyable to stu- sense for parents to develop a child s school orchestra. He looked enviously from the early perroc- . ., ~~I dents and to concert pianists. (Clay. talent, or to have his interest ~tirred to the southward, toward Waukesha. tory. b k f "Select Sonatmas FIve 00 s 0 ton F. Summy). . the easy or preparatory by the brief taste he gets In the He had heard of the symphony or- /01' tke enjo';!ment 0/ pianijlJ 0/ an';! a'Je areaSO1m ' h Five books are devoted to "Re- city school's classes where he is in- chestra there, and of the rising inter- rades. They are a welcome c ange cital Repertoire" and they are classi. troduced to the instruments. The est in music in the city. 'He had Trom the hackneyed works of Cle- r h fied preparatory-intermediate-prG- youngster h«as somew here t0 go " listened to some of. the symphony for students halfway through (he pre-grade books. ContaIns menti and they contain some c arrn- BEGINNERS CAROL BOOK. , .. ficient-advanced-and virtuoso. with the talent he may further de- concerts from aukesha, which are . ,. eight carols, plenty for ~he beginner, all in the. ~a7i~Ce~~ in Little Suites by Turk, Leopold 'l,' aIrangemenlS P Here al 0 one will find much music velop from private lessons, alter regularly broadcast by the Wis~ I Mozart,g an d J . W . Hassler. SonatmasC book of duets or solos for grade one. Contains eight songs that wa n e popular but became many hours of practice and work. cousin State Radio network. He CHRISTMAS FOR TWO ...••••..• -...... ranged with primo and secondo in the same grade for the are by Jacob Schmitt, F. ~e cup- gradually unduly 1\ glected. (Clay. It's not a lonely, wholly .introspec- wanted very much to get- a job in purpose of easier performance , .. price 75c Antoine Andre, Ignace pey, Jean h d ton F. ummy). tive kind of pursuit. It leads to an Waukesha's high school. He made r students in fade one. Contains twelve well-known carols Pleyel, C. Reinecke, an~ t ey .e- CHILDRENS CAROL BOOK fo, _ h g de Students will enjoy playing everyone All material have be n a~sembled important part of the community application and he dreamed. "It was al !O t e same S"3 . .. rice 75c be brought to Light nguru. t 0 ~~ero~. p serve '1S. whh In 1 and cere, and the editing life fellowship with other musicians beyond my wildest hopes to get a THE NAME WITH A S d f the miniature LIlt e unes f d es in grade two. Contains seventeen favorite tu yo· d f Son a shows nc rn for making all points you'ng and old, and membership in job in a city like that," he says IOO-YEAR HERITAGE SANTAS CAROLS FOR BOYS AND GIRLS., ~~ri:a::imesongsincluding the ever popular "Star ?f The prepares for later stu Y 0 - of int q r muon e1 ar to the 5tU· the now-famous Waukesha Svm- today. Finally the coveted vacancy East", -oe Holy Night". . .pnce 60c . which in turn lead to the OF QUALITY twas, I . d nt. Year go there existed a phony. did develop for the school year 1952- study of the Sonata. T iere 1S no for srudents finishing grade two. Contains seventeen Christma~. numb r of book publi hed by Breit· 53 and Connell was hired. CAROLS fOR JUNIORS, .... " ••••••••••.. 't,me songs. Thi~ is a reaL show.off book, each arrange,:,ent 's better or more logical. way to ~e- But teachers there must be to full, yet easy.. .•. , .. puce 60c kopf und Haertel, and Lilalff, _ndel nurture the young sprouts when the The musical climate was all that velop sound musicianshIp. (Beh-flll, The h1u~ol1 & Hamlin nnme In your; home or ..tudio h~in~s "illl it or students of second grade. Tbis collection contains ten the titl of u It ~t iI" r." The climate becomes satisfactory, and Dana Connell had hoped it would SANTAS fAVORITE CAROLS ··c' h . ,. , " 'rranged in li,h< p'pular style. many prestige nOli pridf~, (lIH) a gllaranlce- of unex~"IIf'd Wile. flstmas· Imc_ svn . 40<: Inc.). d I lOll r finn tte m 10 ha\'c gone out Weber was right about the orchestra be. He threw himself eagerly into pc-dorm- student. will lIke tbis variation...... prJce For more advanced gra es,. f e:cis-t nee, and the former was attracting teachers and developing his work in the public schools, morn- ance aud l:ltal1lil1a. The St~'lc ~B Salon Gr"ud, l:lhi)wn her·e. i,l:! for studenls in grade three. Contains seventeen Ch.ristmas. would like to give a special men~on MUSIC Of CHRISTMAS _ k f both ri,ht and left hand m these r poncdly d ..-troy d by bombing them, too. Back in 1947, when Weber ings in the grade schools, giving imprCl'>6i....e in a(lpeMallce and glorious in tone. , .~'bllilt 10 reUller tIme songs-more war or . 75 to the "Suite" by Jean' Baplts~e atrangements .. ,...... , , prJce c during the 10 I w r. Therefore. Leo arrived in Waukesha to teach at youngsters a taste of what violins 6awle88 performalH.le under exa<:ling condiliolll'. ExclulOive ten~jol\" Loeillet (1680.1730). Modeled III a ou of sevenleen Ouistmas-time songs in special arrange· P d I ky' n w ollcc'ion o_&blro Carroll and (with the hearty ap· and cellos etc., are like; afternoons resonator It) >lufel!uard 10m' and performance. Genuine j\:oJ")'keys. CAROLS fOft THE FAMILy .•••.••••• ······ get fo adults older and third grade students------'4ii; I Search of tissue paper, empty spools and \ iI ken. lor «hom he DearJunior Etude: a PU~Iil!hU. It tells_ how we earl pUbllsh. prOlllote In,I board (copying pictures or tracing hardly anyone knows the names o l perfect major and mi.nor scales. dfstrlhote vour book. B8we hay,", done tor hUridreds of paints, such as you use to color r have been reading ETUDE for eiaht other writers ... \11 subjects considered. New BUlhon wrote numb r of small ccmposi- Beth has played ill seven recitals. "Take your time with that final ",eleoOled. WrIte today tor Booklet ET. It's free. them) ~ and the finishing touches the children, except that of Karl yearsand it is my favorite magazille~I VANTAliE PHESS, Inc .• 120 W. 31 sr.. N. Y. I. pictures, etc. li n wh i h many of ou also play, We all write music and music tells II' Cal-if.: 62;;3 Hollywood Rlvd.., HolIlJt/;uml28 can be added with pencil or pen Philipp Emanuel, who composed havestudied piano for ten years and ,heart-burst; don't accelerate too For each musician in the or- The hildren were named Chri;- alsoplaythe ,:iolin and saxophone, and us 3 st.ory. We are sending you our much; keep it. .ver.y lQud. until the. and ink. Spools, painted or un- the well-known Solfeggiclto. which am .accompamstfor our High School chestra, place two pipecleaners side t\!lne 0l,hie 'l1enrielle, GotUri,o pictures. Charlie and I are wearing last two soft slow chords before the p~~nted, can make the ylayers rna!!;, !>! Y9'l ~l~}'(Some ¥~~rs aso MUSIC Department.I would like to hear Py ~ ~!!d 1W!1?tth~n sot~p~the! fro,mother readers. our medals. - B-flat (second last)' me'asure: pray the Junior Etude gave the -names Heinr; h_ lui tian otdieh,I:I'., for half their length. The twisted chairs. Nanc)' E. Blevins (Age 16), Indiana Don 111acNeil (AgeLO J, Illinois the B-flat chords tenderly 'aud lin- Assign an instrument to each of Bach's children, and now. by beth Julian Frid rica, Emestus section forms the body and the two gerirg.lY; and Toll .the! last chord ndreas. Regine Johanna, Chri5- untwisted parts become the legs. player, and, by bending the flexible request, they are given again. very PP and slowly." tiane Benedi ta, hrisl1ane Doro· Arms are added by hvisting a third 's first RESULTS of SUMMER KODAK CONTEST As Chopin spoke these words his CARILLDNICBELLS or ._. thea. J hann Christoph Friederich, image began fading. The pianist, pipecleaner around the body a wife was a cousin, named Maria Prize wiim ers : 'Honorable Mention Barbara Bach. The seven children Johann August Abraham. Johann much moved by it all, listened in· CATHEDRAL CHIMES? 5 little below the top, where the Yon can luakc Class A_ Betty Andrus (Age 16), Chri tian. Johanna Caroline. Re· (in alpbabetical order) tently to every syllable. "Forgive head is to be added. For the head, other instru- were named Catherine Dorothea, Canada Marian Arnold, Belty Ayres, !I'lae Boles, me," Chopin whispered, "I do not stuff a round of crepe paper with lllcnts and play- Wilhelm Friedeman, Karl Philipp crine usanne. \'Emof these died Class B. Lucile Moyer V\.ge 15), - moos .. George Benners, Geraldine Colton, Jack know what has made me say so ers, too. in infan y or earl - childhood,lear- cotton and tie this head to the top Emanuel, Johann Gottfried Bern- Pennsylvarua Dietz, Donald Earle, Anna Marie Fen- much ... I never talk ... my music MAKES BOTH! of the body. (You can make this hard, Leopold Augustus, and twins ing six who grew up. ~xeral 01 tied wilh wick, Georgia Folwell, Anita George, I' talks for me. Perhaps I've said all them becomiu composers. OnJo· l\'1ary Lou Hummel, Ed Hanson, Frances neck juncture still stronger, if you w~o died soon after birth, the boy Tita Green (Age 15), Illinois Jackson, Edna Lahr, Herbert Lewis, Pat this because you have made me so SINGLE BELLS • PEALS r-l wish, by wrapping it with a bit of bodies and using small pieces of bemg called Johann Christoph. hann bastian famil ~ tree 01 Class C. Ela;ne Bohn (Age 10) Moly, Carolyn Nason, Cathy Neff, Agnes happy. You hear and feel my broken- CARILLONIC SETS iii scotch tape.) Now use your water the tape, the players can be per- Only four of these children lived fift -nin Bach. lortr·three 01 Illinois ' Norton, Nancy O'Darc, Evelyn Pease, hearted Nocturne so perfectly. Bless Virginia Peck, Roberta PraU, Floyd Whether you prefer ~ suaded to hold their instruments to grow up~ the other three (1) ing them bor the lUst name JobllJ]ll! tied with you, my son ... Au Revoir. ... " Cheryl Mae Scheinuk (A 8) Roberls, Judy Schein uk. i\'fariam Small, electronic bells or the mellow • correctly. Stand the conductor on ge , Doris Salz.man, Myrtle Sandhallser, Mil- Last to fade out was Frederic's Louisiana tones of genuine cathedral iIIiIf]1 a match box, or other very small dred Tillerman, Civia Weiss. slow, understanding smile .. THE END chimes, you'llfind the finest Ii-.'~. box, for the podium, and put the in either made by Maas. match·stick baton in his hand. The more than 25,000 ; "... The members of a club or studio ? Who Am I ? CHRISTMAS CONCERTO installations of group could assist each other in By Rose Conl(li" Maas-Rowe chimes. making such an orchestra, while An insect and a heatinrr place, Did you know that Tchaikov- carillons and bell color paints for the face, but be others may prefer to make theirs Within my name are seen~ one at sky's Piano Concerto in B-flat mi- systems attest careful not to have the brush too by themselves. At the next recital the start, one at the end; two let- nor was first played by his teacher to their ,vet or the colors may run. Bits of the orchestra can be on exhibition, te:s lie between. By a German just before Christ.mas of 1874? superiority. Read Norma Ryland Graves' fas- cotton may be glued on the head and it will be surprising to find RI~er I., was born, The lovely cinating story about this in the for hair. how it will amuse and please the Rlune, It s nam.e· But -t - . ' I was ltl December ETUDE. Now, make the instruments. audience. VIenna that I found my lasting Use notched pieces of match /Ulne. My music came from _ ture' b k F a sticks for piccolos. For drums, s 00, rom song of birds "DEAR PIANO TEACHER" make a half-inch wide ring of PROJECT of the lHONTH ahnd streams; But it was from the cardboard, holding it together with for NOVEMBER eartsn of me I d rew my greatest A Jayman tells what he thinks the scotch tape. Cover the open tIwnes. Though I h b is wrong with some piano teach- Learn the dates of your five l' d d ave ceo a long ="a ends with the 'same kind of tape ing. It's very much to the point favorite composers, together with 1..Ille ea, A hundred years and Charlie ~l k . Story Solo Club, Flossnloor, lllinois Wrile for for the drum-heads. Match, sticks the names of two well known and very thought provoking. Also more, My music still is played for BobHaU,Joear uSlck,Orr DHop~IYp H'ememan, Hathaway Dorrie Orr, Beth Donnelly, '" ._,1 ETUDE-NOVEMBER 1954 55 54 I/£RI" .... _ .... , "'" Efl nr. \01 EMPIRICISM AND SCIENCE ...... - ..._~ WITH CHOPIN IN JAPAN IN TEACHING VOICE PRODUCTION -Sherwood MusicSchool- (Continued from Page 10) (Continlted frail! Page 26) Thorough professional training for successful careers. One and two- severe decorum, and enter the ap- of sensing the subtleties of Mozart attitude? Knowing as we do the year Certificate courses prepare for private studio teaching. Bachelor or · proved vocations, The introduction Scarlatti and Debussy, as the Amer- been greatly improved since its in- and Master Degrees, four and five years. Piano, voice, organ, violin, Con:jerval '! · of baseball and the supercilious iean of-say, Scotch-Irish and Scan. ionand that to It has been added thousands of benefits science has venl . 'cello, wind instruments, composition, public school music. Faculty American attitude toward a boy's dinavian extraction. And the works numerous and more Important ap- conferred upon humanity, how is it of renowned European and American artists. Many opportunities · studying music, have aggravated an of Carpenter, Copland, Harris, Ives pliances as, for instance. the lary~- that we do not understand that we OF MUSIC attitude which is depriving Japan and Barber, when sympathetically gostroboscope,the c~thode-ray osc~l. are standing in our own light and for public recital, solo and group performance. Member of the of much great talent. presented. found a ready response [ograph, the applicatJOn of X-rays. 10 impeding our advance by rejecting National Association of Schools of Music. • the proffered help of science? Dedicated to the Superior Training of American Talent: Arriving in Japan to teach and among Japanese youth. makingmotion pic~ures of the VOIce Founded 1895. Splendidly equipped lakefront building, Spring I · play, I found that Japanese pianists One bitterly cold day in December in action harmOnIC analysers, the There are many matters related to I' • the singing voice and to singing term begins February 3rd. • Intensive professional study of MUSIC, bal- : could. play both louder and faster I arrived in Kyoto to play at the useof high-speed motion pictures In anced with a liberal arts program in Amer- :- than I. Since speed and volume had Imperia.J University. Emerging from filmingthe voice in action, the acous- which are obscure to us and upon For catalog, write Arthur Wildm.an., lUusical Director ica's first coeducational college. Dormitories, never been my criteria of good the warm "green room" with its tic spectrometer and the high-speed which we disagree sharply, but which science can elucidate for us, Sherwood Building· 1014 So. Michigan Avenue· Chicago 5 • Illinois concert series by guest ond Oberlin artists, music, I determined to make a dif- charcoal brazier, I strode onto the level recorder, among others. Also, ferent approach. Specializing in the that not only anatomists, physiolo- if not in the present, then most cer- excellent practice facilities, faculty of 55 stage in tails, which are "dl rigeur" harpsichord school and contempo- in Japan even for an afternoon re- gists,acoustical experts and engineers tainly in the future. There are also eminent musicians. rary music, my programs presented cital. I found the hall completely areincreasingly devoting themselves, a number of fallacies connected with these unknown" works through the unheated, with windows wide open individuallyand in co-operation, but our teaching of vocal production Member National Association 01 Scnooll of Music medium of the lecture-recital. The and the audience of five hundred psychologists,neural specialists and which science will be able to correct. picturesque music of Rameau and students bundled in overcoats and physicianstoo are joining in the.ef. (l) Are beautiful tones an endow- Write for: · the sparkling sonatas of Scarlatti scarves. The piano keys were like fort to discover what makes VOice, ment of nature, or can they be cre- woke a ready response. Brahms, too, why some voices are naturally so ated by the teacher with an ear for Conservatory cat_loa deacrihin. de- ice as I began the Brahms left-hand found admirers and imitators, and beautiful tone? aree. awarded transcription of the Bach Chaconne. muchbetter than others, and towards the moderns were eagerly absorbed. By the end of the number my idle ascertainingthe conditions which re- (2) Can real power be developed Bulletin on admi •• ion and audition Alarmed at the ignorance concern. right hand felt frozen. I looked up sult in defective vocal production 011 in a voice which is not naturally procedure. .ing American music, I began to fea- to see if the audience were not leav- the one hand and correct vocal pro- powerful without destroying beauti- Calendar of muaic events for tke cur- ture this on my programs. Students ing. Instead they stayed through two' ductionon the other. ful tone? SHENANDOAH rent year expressed great surprise on learning hours of lecture and recital, and de- It was not curiosity alone which (3) Can real power be developed that the United States had composers manded encores for Hindemith and promptedscientific investigation into at all in a voice that is not naturally CONSERVATORY OF MUSIC Proaram. of concerta anel recital. of serious music, having assumed that Szymanowski. I played Chopin voice.It was due equally to the jus- powerful? In the Beautiful Shenandoah Valfey aiven durin. pa.t aeaSOD all Americans cared only for jazz. Mazurkas. tified dissatisfaction with the ines- (4) Whether it is true or not, • PIANO • B.MUS. & B.MUS.ED.DEGREES Such an attitude is comparable to many teachers declare it is true that Back in the green room with my capable hit-or-miss character of the • ORGAN • MEMBER NASM that of the New York critic who Director of Admissions. Oberlin CollefJe fl~wers, I autographed programs methodsinherent in our empiricist anybody can voice a note on pitch if • WOODWINDS • ACADEMIC COURSES ap- marveled that a Japanese artist with numb fingers. A student ap- practice of vocal pedagogy. they are able to think it on pitch. VOICE. STRINGS • CO-EDUCATIONAL 10. 5114 Ollerlln, Ohio pearing in Town Hall could play peared before me, inarticulate with Dare we ignore and scoff at the (5) That people who cannot voice PUBLIC SCHOOL MUSIC. CHURCH RELATED "Occidental Music" with complete a note on pitch have a defective ear ...... ' excitement and joy. But he had no fruits of their efforts, as nearly all • B.MUS. IN CHURCH MUSIC • LOW RATES ...... understanding. Ancient Japanese or are tone deaf j or is the inability need to speak. There were stars in of us do? And can we be oblivious for catalog write music stilI exists and has its de- his eyes. And that, for me, was re- to the positive advantages which of some people to voice a note ac- votees, just as jazz and hillbilly Shenandoah College. Box E, Dayton, Va. STATEMENT OF OWNERSHIP, MANAGEMENT, CIRCULATION, ETC. ward enough for the coldest hours I science can bring to the teaching of curately, and this includes many songs have a following in America. had ever spent at the keyboard. rocal production and the art of sing- famous musicians, due to lack of Require" lIy the Act, of Cen.ress-.f August 24. 1912, anllllWarch 3, 1'33 But the Oriental is just as capable THE END ing in the future? Life today is re- control of the vocal organs, of BUTLER UNIVERSITY breathing, or some other cause. ~f ETUDE, the music magazine pub. 3. That the known bondholders pletewith benefits bestowed upon us JORDAN COLLEGE OF MUSIC lished Monthly at Philadelphia mortgag.eei'l and other security hold: bysciencewhich We take for granted (6) The real relationshi p of ~ennsylvania, for October 1. 19S1 PRACTICING AND TEACHING A rich tradition, a progressive philosophy, an outstanding faculty, complete accred- ers ownmg or holding I per cent or but which, at their inception, were breathing to phonation. itation. Baccalaureate degrees in Dance, Drama. Music, Music Education, Radio. State of Pennsylvania I more of total amount of bonds, mort- County of Montgomery .f 55. (Continlted from Page 25) ridiculed,thought to be impossible, (7) The most effective kind of Write for calologue and desired information gages. or other securities are: None, JORDAN COLLEGE OF MUSIC (Box El. 1204 North Delaware Street Before me, a Notary Public in and frowned upon and even fought breathing for singing purposes. 4. Th~t. the two paragraphs next must. "Then I work hard on my pro- Indionapolis 2, Indiana for the State and county aforesaid above, gn'mg the names of the own- able. to r~ad and to imagine the against, with the result that they (8) Whether more or less reso- personally, appeared Guy McCoy' ers, ~tockholders, and security hold- gram. For instance. I will play the mus,IC. It IS of extreme importance wereretarded in their development, nance in a voice is due to differences Founded 1870 "Y'ho,having heen duly sworn accord: ers, If any, contain not only the list Beethoven concerto next season with of physical structure, or whether the ~ng to law, deposes and says that he to learn to hear what one reads" practical application and utility. PHILADELPHIA MUSICAL ACADEMY of stockholders and security holders the New York Philharmonic under various degrees of it are the result Associate Member, NASM JANI SZANTO, Direefor IS the Managing Editor of ETUDE the as they appear upon the books of the "Is. it necessary for a pupil to Havewe not yet learned that sdence ~usi.c magazine and that the follow- the direction of George Szell. I will play In public?" I asked. is simply knowledge, the pursuit of of special methods by teachers. EIGHTY-FIFTH SEASON company hut also in cases where the Music and Dance Courses leading to Degrees & Diplomas mg IS, to the best of his knowledge stockholder or security holder ap- start working on it about six weeks (9) Whether or not we should u "Of . co~rse, " said Miss Morini. tested,verifiable, exact knowledge? Distinguished faculty and belief, a true statement of the pears upon th~ books of the company prior to the concert. I always work owners?ip, management, etc., of the Playmg m public is the only way The factors contributing to the abandon our quest for beautiful tone Write or phone for information as tr,ustee or In any other fiduciary slowly! This is essential. First of aforesa!d publication for the date relatlOn .the name of the person or one can learn to play freely. It is phenomenonof the singing voice are in our teaching, since conceptions of 1617 Spruce St•• Philo. 3. Po. PE 5·5053 all one concentrates much more if shown In the above caption. required corporat_lOn!or whom such trustee is also v~ry important psychologically numerous,complex, inter-related and it are so varied and conflicting, and hy the Act of August 24, 1912, as actmg, )s gIven: also that the said one plays slowly. To play slowly is as an mcentive. interdependent. Science althouooh substitute for it the aim of freedom amend,cd ~y the Act of March 3, 1933, PEABODY CONSERVATORY two paragraphs contain statements like enlarging everything one does. of production, that is, the production embodIed In section 537, Postal Laws F~r .my last question I asked Miss its manifold researches i~to the pl~e- COLLEGE OF MUSIC embraci~g affiant's full knowledge One notices the smallest faults. I and Regulations, printed on the reo and belIef as to the circumstances Monm whether she plays the nomenonof the voice are in its in· of voice without the interference of instruction ill all bnnche~ or music for the beginner or advanoed student. B.Mus., M,:M:us.Prepares verse of this form to wit: want to emphasize this: all work for Ilrorelslonnl careen In mu~lc, inclt ..dlng composing, music therapy. teaching, sacred llluslc, public and conditions under which stock- Beethoven concerto today different :ancy, recognizes this and realizes, muscles, etc., which are alien to the school music. Accredited Summer School. Scholarships, ~Icrlll;cr N.A.8,M, Catalog, Dormitory facilities must be done slowly: scales, exer- 1. That the names and addresses holders and security holders who do from the way she played it before 10 addition, that its work IUUSt be act of phonation and which must.be for mell lind I,-oplell. of. the publisher, editor, managing not appear upon the books of the cises,. etudes and program. To play Re9inald Stewart. Director "I think that nobody under 40 ~an suppl~mentedby the long practical used in the creation of tones wluch 9 East Mt. Vernon Ploce, Boltimore 2, Md. edItO!. and business manager are: company as trustees, hold stock and fast IS to work superficially. Pubh!iher Theodore Presser Com- securities in a capacity other than play the Beethoven concerto with the ~\;penenceof our empiricist camp. appeal to the individual tastes of "A pupil who studies the Beethoven pa~y, Bryn Mawr, Pennsylvania. that of a bona fide owner: and this n.ec.es,~ary maturity," said Miss Mo- ut we stand aloof. Many centuries teachers. EdItor None affiant has no reason to believe that concerto or the Brahms concerto r~m. Yet one has to play it all the o~empiricist teaching have not yet (10) Whether or not. we mu.st Managing Editor Guy McCoy 111 any o.ther person, association, or cor- must start by reading the score. For tmIe, :-therwise one never can grow Y,leldedus a reliable set of opera- forever follow the contradictory, Int- Sut~on Road. Ardmore, Pennsr';ania. por~tlOn . has any interest direct or tl~ese masterpieces are not concertos Busmess Manager Herbert L. Brown, mdIrect III the said stocks, bonds or ~p to )t. It is not that I feel different. !Jonalprocedures for assuring our or-miss process of working "from Bachelor of Music, Master of Music, Bachelor of Science in Education (B.S. in Ed. by w~th acco~paniment, but symphonies tronsfer to Kent Stafe University or Wesfern Reserve University) 3730 Wood,land Ave.. Drexel Hill, o~her securities than as so stated' by cherished aim the production of the tone to the operation," or PennsJ'lvama. Jum. wlth. an )mportant violin part. The Ii today than I felt ten years ago. WARD DAVENNY, Director utI to develop means to learn to con .. beautifultones: We do not yet aooree whether it is possible to evolve a 3411 Euc.lid Avenue • Clevelond 15, Ohio 2. Meml1er 0/ lhe ,\IaUona! ,(ssocl"lIofi oJ School, "J MII,;e That the owners are· (Signed) Guy McCoy,Managing Ecli. SOJOISt mu.st kn~w exactly the part on b b 0 tro one' s fee Iings. Art is controlled w at eautiful tones are, nor do technique of preventing the. use of Theodore Presser Com~any Bryn tor of every smgle mstrument" f Mawr, Pennsylvania. • reed om Wh I comprehend the fallacy insepara- muscles, etc .• alien to phonatIo~ that .Sworn to and subscribed before me "Is there a method fo; learning . en started, my temper .. ~t Th.e .Presser Foundaaon, Plliladel. will assure freedom of productIon of tillS 7th day of September, 1954. something by heart?" trament controlled me Tod ay I con- , e from that aim and the futHity of CINCINNATI CONSERVATORY OF MUSIC phta. Pennsylvania. 1 . \Vllllulll S. !\illylor. ph.n., Director lind Dean of li"ltclIlty .0 my temperament. When I It. We have been flounderinoo for the voice and thus remove students Estat~ of Theodore Presser, Philadel. SEAL EDWIN J. KRANE "My method is to read the music mallY " ... A dis/ingtlilbed /Jrofenion:1! JChoot of millie ,/lid the allied arts. YIelded to m t centunes III our work desplle from the dangers of having their phUl. Pennsylvania. Notory Public I. do it in bed. As I have absolut~ I y emperament I thought som • DEGREE COURSES WITH MAJORS IN PIANO. VOICE. ORCHESTRAL INSTRUMENTS James Francis Cooke, Llanberris Rd., was free. was wrong. was its , e successes here and there (that natural voice timbre or quality al- ORGAN, COMPOSITION. MUSIC EDUCATION. • (My commission expires April 4, pItch I always hear what I I I I Afflliated with the Ul'iversity of Cincinnati. Member of the National Assotiation of Schools of Musi' Bala-Cynwyd, Pennsylvania. 1957.) d· B . am tered to accord with the teachet·'s rea mg. ut It is not necessary to 'b ave. Today I know that I am free ~ why we are called empiricists). entalog Irill be sen' on feq,jed ecause my te . cODception of beautiful tone. \Vl"1telJcI,t.l!.::, Highl:.lIIlIA,,·e.:Il1d Ouk St. ClllelunlltJ 1.D.Ohio have absolute pitch in order to be t " m perament has to Yield et we stand aloof from science, Do o me. THE END wenot deserve condemnation lor our (Continued on Page 59) 56 57 ETUDE-NOVEMBER 1954 - ETUDE-NOVEMBER 1951, pagethehotel for a 'Barber- shop lead asks a guest to a chapter meeting. MUSIC TEACHERS!! andbass." A gentleman from Seattle He may not be able to read music or THE BARBER SHOP BROTHERHOOD even carry a tune. His host coaches Tired of Buying from Have Not and one from Dallas, Texas, re- RAY GREEN him in the preliminary stages. He MUSIG READINESS PROGRAM (Continued from Page 11) Stores? sponded.Reluctantly the boys broke up at 2 A.M., and an idea was goes through the rote singing with At your service, through the moil is By Sister M. Xaveria, D.S.F., Mus.M. {or symbols (cimbals), we mad~ the others. It's pure drill and not College, Columbia University. Grand one of the notion's largest sioth' 01 born. Th. MUSIC READINESS PROGRAM, barber's music with which My Lor music ond instruments Back in Tulsa, Cash set a place unlike Army training. Then the widely acclaimed and endorsed b,Y Rapids held a concert in its schools. was well pleased." . and evening and invited any male members break up into groups. If pano prominent piano pedagogues, IS At a music contest at Omaha, bar- Pedogogical Music of All Pliblisllen In his "Oxford Compal1lon}o Mu- Our Speciolty wholiked to harmonize to attend. the guest comes back lor more. at adapted to various age levels. bershop quartets were likened to Rich in teaching techniques, the sic," Percy A. Scholes says:. C?ne o~ Over70 showed up. A Tulsa World the third or fourth meeting, lle's string quartets and critics recognized PROMPT Mill ORDER SERilCE A Piano Course of MUSIC READINESS PROGRAM in- the regular haunts of mUSIC m t.h REfERENCES Will DPEN IN ICCOUKl reporter, noting the jam of cars asked to join. And he usually does. troduces the child to music via pic- a "new art." 16th, 17th and early 18th eenturres aroundthe hotel, asked a cop where In six months he knows how to hold OUTSTANDINGmerit! ture stories, rote pieces, ensemble In proclaiming this new art, au- SAM ASH playing, rhythmic activities, an~ note- was the barber shop. Here c.ustol1l~rs rho wreck was. "There's no wreck," his own in part singing. And this thorities say it developed 'like folk 242 Utlco Ave" BrooklYIl U, N, Y. learning gomes. The teacher will find waiting their turns found Simple in- hobby begins to demand more and Designed for music in the barber shops o l Amer- Sj)Oclol conlld"Ollon 10,ellooll , 1~t11 saidthe officer."It's just some darn tho MUSIC READINESS PROGRAM strume~lts on which to strum. T~lC more of his time. both effective and gratifying. For the ica. What are the characteristics of foolsup there singing." A thorough foundation barbers themselves took up the m- To get men to sing and to keep child, it is stimulating and delightful. this indigenous American music; The accompanying news story MY MUSIC PICTURE BOOK · .75 struments and thus acquired orne them singing is the Society's per- in musicianship particularly of barber·shop har- broughtout 150 to the next meeting. MUSIC AND GUIDE BOOK _ 1.00 skill as performers." sistent objective. "We shan, by our MY MUSiC COLOR BOOK 1.00 mony? It differs from traditional Then the AP put the story of the MY MUSIC LETTER BOOK 1.00 Most of the early barbers in Am r- stimulus to good music and vocal Enjoyable progress MY MUSiC NOTE BOOK 1.00 four-part harmony with the melody revivalof barber shop on the wires. ica knew how 1.0 play the guitar and postpaid for cosh with order on top. Barber-shop harmony has Cashand Hall were swamped with harmony," says the Code of Ethics. at the piano played it as an accompaniment for THE SERAPHIC PRESS the melody or lead below the top letters,phone calls, telegrams, [rom "endeavor to spread the Spirit of singing. To quote from UK ep Am ~- 1501 South Layton Boulevard tenor voice. The melody is usually harmonyhungry gents over the U. S" Harmony throughout the world.' ica Singing": "This barber' rnusrc MilwCI!,Ikee 1S, Wisconsin directly below although it frequently wantingto know how to get in on And with this spreading of the came to our shores and graduull y shi fts into the baritone and bass. The the fun, The stenographers of Cash Spirit of Harmony will go more good took on a distinctly American flavor, four- part harmony parts are listed as and Hall threatened to quit with the will, and the spreading of the spirit ABILITY10hear music accurately There is little record of its evohu i n. tenor, lead, baritone, bass. extra work. So question answering of democracy. "Imagine what it bears directly on but in the 1880's and 90's, barb r Moreover, every melody note has formswere printed. would mean," said John W. Salin, shop was recognized as a Iorm of ABILITY TO PERFORM one and often a number of chords. The Society went through its in- president of the New York Chapter, harmony and definitely as a part of ABILITY TO MEMORIZE Doubling notes in a chord is avoided evitablegrowing pains. At first the "if we had a chapter of the Society small town life in the mid-west- ABILITY TO WRITE MUSIC whenever possible. Dominant seventh publicdidn't take it seriously. Crit- in the U.N_. with men of different "In the days before Mr. Gilt t1 chords are popular, although chords ics were condescending. Choristers nutiona.lity joining in the fellowship Prcetlce Pipes ore 0 set of pitch pipes made the razor safe, the mull town especially designed for self help in ear of every known genre are used. And whofollowedthe notes, belittled the of song. Wouldn't singing together barber shop was a clubby rt ( training some of the chords and chord pro- boyswho didn't. But sentiment grad. help the men get together in their place. It was a hang-out and gath r- Write for "Guide to Use of Practice Pipes" gressions, as Stravinsky stated on MUSIC ARRAH(;ED , •• uallychanged as the Society tight. tbmklng ?" ing place for the gay blad h n 11...... ,IUf1" .,nl\lt..d'U f.t C"'I,. ROBIN PRACTICE PIPES investigation, are "out of this world." .l'Id Ar,I_,_ tft .11 .h .r lk Muir ened up a Code of Ethics and pro- It seems plausible. We can stand as not the porter filled in am purt., The follo .....ing books are no .....ovoilable Notes of the chord are usually in f>r'Ctfauol n. ducedbetter and better groups. a lot more harmony in this world of Dept. E In those days. the baritone wac; '" U,..tA'. .lMlaltt .... tlUtncttr,I 4246 West End Ave .. Chicago 24, Ill. close position, Instrumental accom- O~kl" on-t,..-".",., ')l-*.)lr.'wr Today the Society has proved ours. The Society is attempting to BEGINNING BOOK ·.7S called S. c. the broad inner ledge of the treel strive to smooth out the rough spots mountingalmost daily. A member THE END so no accompaniment is necessary level window, many more could con· Mr. Green .....i11 make the following personal appeoronces. Please consult .....ith yaur MUSICORD to cover them up." Accompaniment tribute vocally and did. om 'one locol dealer for more specific information. is not even used in rehearsal. would start singing a melody. some- Phoenix, Ariz. " , ...... ••..... Oct. 25th & 2bth SINCE 1941 It's only late years that barber- one else would chime in on lenor. at San Antonia, Texas" ...•••••.•... , ,Oct. 28th Musicord Publications are al- shop barmony has been written Usually a bass was available. and EMPIRICISM AND SCIENCE IN ways in demand by the fore~ down. The harmonies are created by sometimes a fill-in. Then as now. who Dallos, Texas ...... •••••••••••.. Nov. 3rd TEACHING VOICE PRODUCTION most teachers, schools and the singers themselves, since many the singel' was mattered le~s than Houston, Texas _ Nov. 5th conservatories. of the boys don't know how to read his ability to carry a cr With An I.P.T.A. Teacher Of Studying Piana (Continued from Page Lo ) modern is anachronistic and not panied by McKinley or Purvis, he would go home fired with deterrnin- The l nternc tloncl Piana Teachers Association. the world's withoutelements of musical snob- AT YOUR FINGtt\T1PSl entire Thank God for largest piano teacher organization, devotes its playable accompaniments (each of bery. There are few churches in at.ion to learn how to play hymns pleasurable America Madalyn Phillips .f :ou .wave your h~nd. in the air ..• and the room echoes with spellbinding. energy toward making music learning the special which makes an excellent piano solo this country where such a musical properly and rna ke them come off .asclnahng tones. ThIS IS the exciling music of the , the amazing e~perience it should be. Here oce some of the Thanks for in the early grades) arranged by program could function. At the with a large congregation. ~strument that creates the newest sound in the world .•• e'ectro~ically. benefits it offers. T h.anlesgiuing Harold Rome cw, ofter 2S years af absence from the commercial market, the new, co.,,". ~ Ada Richter, has just appeared. This momentI can think of only two, Let me I~ot seem to disparage fine Thanks Ceoffrey O'Hara pletely perfected THfREMIN is once ogain available to the musician. Several _ Student Membership in the World's Largest Fraternity of Piano Students - Annuol seems a "natural" for the music of Notional and intemat ional Piono Playing Examinations - Exclusive I.P.T.A. Academic and I am not at all sure that the organ-playing. No one can have too hours of practice is all it takes to maSler the THEREMIN and achieve the most Music Courses _ Over 65 Copyrighted Teacher Aids Enabling the Teacher to do the Best Thanks be ro a home Thanksgiving gathering. congregation of either church is much technical facility but the fa- extroordinary mood music and unusual effects. Send for FREE, fosc:inating Job _ Annuol Notional Conventions Alternotely in New York City and Chicago God ranley Dickson _ Periodical Educational Bulletins - AIII.P.T.A. Teochers ore Certified. Another recent publication which cility ought never to become an end brochure packed with information. \'l A.MOO The Croum o! particularly happy with its music. Under the ~uidonce of on I.P.T.A. teacher, you learn to play the world's finest piano should be especially welcome in the in itself. A church organist is not the Year Easthope Martin WhenIthink of the varied musical literature. he Assocloticn advocates the teaching of the best music of all publishers. home during the Thanksgiving sea- a virtuoso in the manner of a R. A. MOOG CO. ~ You ore invited to write ROBERT WHITFORD, I.P.T.A. Founder-President at the Inter- \Vhy not have a Bach Festival in fare offered by choirmasters like notional Headquarters for a complimentary copy of Piano Time. a directive that son is "Highlights of Familiar Mu- CarlMcKinley in Boston, Clarence Heifetz. Horowitz or Rubinstein. We explain, the As>ociotion's philosophy of music: learning. your home 011 Thanksgiving Day? sic." This is an album of seventy-five Dickinson,Robert Bakel' and others all know fine organists who can play International Piano Teachers Ass'n. 204 N. E. 31st St •• Miami 37, Fla. The Columbia Mast rworks Heeord easily playable compositions for pi- all over the keyboards but can't A NON-PROFIT ORGANIZATION in NewYork, Barrett Spach ill Chi- ano, edited and arranged by Denes (L1) 0# 1L·4635, i • remarkahle Three great I.P.T.A. Academic Music Courses in KEYBOARDTECHNIC, PIANO PEDAliNG and MUSIC cago,Federal Whittlesey in Dallas, playa hymn so that a congregation I.P.T.A. ries of OIl! tanding Bach numbers, INTERPRETATION are now ovailable, exclusively to I.P.T.A. teachers ond students 01 Agay. It consists of American pa- and Richard Purvis in San Fran- can sing it well, who cannot play CLASSIFIED ADS teachers. They ora the mast camprfO_hen,ive courses ever published an these subjects, and were da- by Ih mincnt organi.,t E, Power signed and written by Robert Whitford, I.P.T.A. Founder·President. Write lor descriptive literature. trio lie songs and marches, Folk cisco-to name only a few-I won- an accompaniment or fit the orean Tunes.USA, Folk Tunes from other Biggs, with Iamcus trumpeters, trom. I~AIUUOi\'Y. Composition, Orcheatra- ltECOllDING '['APE, plastic 1200' der how a young man could allow 'into an ensemble. There are, also, tron, Musical '.rheory. Priva te 01· re el, $3.29: 600' reel, $2.18; postpaid bontsrs, ba~!looni. t • and tympanists, Correepo ndence j ns truc tton. Manu- lands, Old Favorites (Cadman, Lleur- organists who seem to have little I.". :M. Leichhardt, Augusta, Kentuclq': us w 11 as larg oocened chorales himselfto t.hink that music of one SCl"lpts revised and corrected. Music ance, Nevin, deKoven, MacDowell or two periods should fill Ollt the interest in finding out. One could arranged. Frank S. Butler, 32-46 107 HAltGAINS Ii\' FINE VIOLINS .'\..l'IBJ SHALL I GO TO STUDY? and others), Dances of several coun- dire ted by Ro-ari Man o. It pro- St., Corona, N. Y. llO\VS. All certified. Concert instru- WHERE entireservice of a fine church. No wish that some of these "tap-dancers ments 11 specialty. P.O. Box 342. tries, Sacred Songs, Themes from vides an xcellelll and 0\0 ...1 inspiring I.E,ARN l'IANO 'l'UNli\'G-Simplified Potsdam, N. Y. McCLANAHAN ALFRED TROEMEL evcn!. th r x client Thank~giving one would deny the beauty of a on the pedal boards" would spend authentic instruction $4.00-Liter~ RICHARD Standard ~I(usical Literature, and a;tul·e fl·.ee. Prof. Ross, 456 Beecher OLD VIOLINS AND OTHER IN- Taacher of Piano LEOPOLD AUER'S violin principles pre· Palestrinawork sllng a cappclla by a little time with 0 God, Our Help Novelty Songs, all in all, a surprising records are: R .Victor DI 1117 St., Elmira, N. Y. S'I'RUIUEN'l'S. Repairing. Suppliel>. Matthay exponent, formerly his representative. sented in on original way. Faculty member: a small.well·trained choir; but this in Ages Past. Eaken, 310 E. 'Vashington St., Cham- Private lessons, technic cour~e,; ovailable as MANHATTAN SCHOOL OF MUSIC and intriguing variety of material .. rcat acred horu .... by IheRob- "'RITE SONGS I Read "Songwriter's bersburg, Pa. visiting lecture-recitalist. or critic·leacher. isnotthe only music which is beau· Hymn-playing, like most branches Heview" Magazine, 1650-ET Broad- 8.M. & M.M. Degrees ert haw h ral and Ih Columbia Six· Day Piano Seminars made pleasantly available to the tifuland appropriate to the service. of music, is a technique which must way, New Yorl{ 19, 25¢ copy; $2.00 'I'HE SCIENTIFIC ~IUSIC TEACHER 80' Steinway Bldg., w. 57th St .• N.Y.C, 238 E. I05th St., N. Y. c. las' rwork (LP) I\IL4603, "Ca· year. -Monthly-$3.00 year. Request sam- thousands whose keyboard facility i Asfor the playing of hymns: Al- be learned. I remember once on a "' lhedrul oluntari"", and Proce5sion· VIOLINlUAKEH.S, A1UA'l'EURS. Rl:~vWg:.·k~g·, Box 21, Brooldyn 25, limited. trip to Europe attending Divine serv- PUOFESSIONA.l.S. Fine tone Euro- EDWIN HUGHES a I..' I y '. Pow r lligg . thoughthey look deceptively simple PUBLIC MIROVITCH Children should be schooled at an pean wood. Materials, supplies, pat- ':IOLIN hobbyists. students, fledg- PIANISTS PREPARED FOR ALF.RED on paper, they are one of the most ice aboard the ship. I was pleased terns. tools and instructions. Illus- COLLEGE, early age to appreciate the real ~ hy n 1 make Th8n\.~gi\·ing Day lings, amateurs, da.bblers tinkerers PERFORMANCE AND FOR Eminent Pianist demandingaspects of the service. to see at the piano, ready to play trated catalogue 10¢ refundable. dawdlers and dilettantes: "How To UNIVERSITY AND CONSERVATORY meaning of Thanksgiving. The fol- this)' or a lturprio;ing l'lluJ al treat Premier Violin Supplies. 430 South P.Iay Better"-$1.00. Prager. 289 Em- Teaching in New Yark The Protestant service is, histori- for the service, the young man who Broadway, Division VB, Los Ange- pue, Brooklyn 25, New York. TEACHING POSITIONS lowing is a list of second and third by IDling hom a f 'II new records 117 East 79th St., New York, N. Y. cally,a singing service. The many had played jazz beautifully in the les 13, California. 23 Edgecliff Terrace of tho~ Il8rli ularly xuhant and F~;EE lUAIL-ORDER CATALOGl grade selections for the piano suit· S"lVING PIANO-BY MAIL. 30 self- Yonkers, New York finehymnso[ the church are a rich ship's orchestra the n·ight before. He VISit. Ameri~a's largest display of YO 3-2637 able for Thanksgiving, which should rhapso Ii po n of lriumphanl grati· teaching lessons $3. Enchanted For- self-Im;~ructlve books for musicians. HELEN ANDERSON musicalheritage. And they will not was a wonderfully skilled performer, est $20 (classical). Over 50 publica- tud . 1r ·ou ha\-c 8 Fr que.nc)' Moon· All subJects from jazz to symphony. "Teacher of Successful Pianists" HAROLD BRADLEY interest the little ones: tions. Order the 825 page book- 'Valter Stuart Music Publications sing themselves. A congregation with marvelous fingers. The speed "My Autobiography", 01' "I com- 421·B Chestnut St., Union, N. .T. . , Moster's Technique- Tone-Interpretation Harvest Tinie loti n rndi 1 r a High Fidelilyradio Assistant to ISIDOR PHILIPP left to its own devices will draO' and accuracy of his playing aston- posed, engraved. edited, published Special Courses: Hormony, Improvisation (E Minor, Gr. 2) Edgar L. Stone or a , 1 \'i..ion t. OU can easily Illy Illusic on a handpress in skid WAN'rEDI Good, used recording of 166 W. 72nd St., N. Y. C. Tel. Sc 4-8385 thetempoand mutilate the rhythm~ ished me. But he could not play a row", $10. The fabulous true story W. H. L. D. STUDIOS Ovcr the River & Throngh the pick Ottt a !:lUil8bl program. Blitzstein's "AIRBORNE SYM- Theymustbe guided by the organist simple hymn! It became so hopeless of a scientific musical experiment PHONY". Omar Midyett, Box 392 Hotel Niagara, Niagara Falls, N, Y. Wood (C major, Gr. 2) P rhaps 01 the end o( )·ourpro· under the word "Manuscriptotechni- East St. Louis, Illinois. ' Mme. Giovanna Viola Hull (Desmond) as dexterouslyas a cowhand· riding that he stopped and left us to our compo musicology". Phil Breton Pub- Teacher of singing-European trained an. by Stanford King gram ·ou may choo 10 read Alicf lications, P. O. Box 1402, Omaha 8. iUUSICIANS "lVANTED. Air National LUCIUS DUNCAN a herd o[ fractious steers, firmly own devices. I am reminded of this Nebraska. "Bel Canto" Harvcst Tim,e (G major. Willi3m~ Brolhe.rton· beautiful ~uard Ban~. ""'hite Plains, N.Y. Serv- Voice culture-diction-coaching Concert Violini,t supportedby the organ to overcome Ice exemptIOn, ratings . .T. Losh Bed- Phone: Trafalgar 7-8230 incident when I hear today's prima HAND BUILDING EXERCISES ....OR ford Y.1\1.C.A., Brooklyn. N.Y. ' Pupil of Schrodieck Gr. 2) Wallace A. Johnson poem. ··Thank~gi\·ing··: PIANIS'I'S by Wetdon Carter. Tea- 608 West End Ave. New York City ~hecongregation's timidity at lift- donna organists, WJ10 can play every· Lo 7-0723 104 N. Mole St., Philo. 2, Po. Turkey Gobbler (F major, '·11 ap high Lb. board with chers. concert pianists. advanced mg up its voice in song. If our thing except what is the most im- students. A better technic with 20 Gr. 2) -Mae·Aileen Erb pi nteoll ch rand galher minutes daily practice. Send $1.00 for CRYSTAL WATERS ISABEL HUTCHESON youngfriend whose playing of the portant part of the church service. copy to 'Vashington Musical Insti- Thanksgiving Song 10 the f a ..t. Teacher of Singing Refresher Course for Piono Teachers: hymnswas so perfunctory would go THE END tute. 1730 Sixteenth Street. N.W., Popular Songs ond Classics Modern Piano Technic: Coach ing Concert Pianists: (C major, Gr. 3) Jessie Gaynor And loa~t lit _lurdJ' pugri. Washington, D.C. TV.-Rod io-Stoge-Concert Group Work: For further information addren: 405 Eost 54th St. New York 22. N. Y. That Turkey Gobbler (C major, band who COUTa@e nenr LEARN PIANO 'l'UNING AT MOillE. Studio 202, 10051/2Elm St., Dollos. Texas Coul·se by Dr. "Vm. Braid White, Gr. 2) Louise E. Stairs c a~ d. wol'1d's leading piano tecllnician and LEOPOLD WOLFSOHN HARRY EULERTREIBER: Mus. D. Thanksgiving Turkey (F major. he llra.i to thai a.U-gracious teacher. Write Karl Bartenbach, 1001A Wells St., Lafayette, Ind. Composer. Pianist ood Teacher Voice Building A MODERN APPROACH TO CHORAL EDUCATION Gr. 2) Virginia Obenchain one. b)· whom tbtir ~tepS A'J."I'EN'l'ION '.I'EACHERSl HOiUF Teacher of Aaron Copland, Elie Siegmeister Pupil of the lote Wm. l. Whitney Thanksgiving A100n (F major, RARIUONIZING :ilIELODIES A..'l' S'I'UD-y COURSES in Piano Groul; and many artists and teachers. (Vannucini Method) were led. (Continued from Page 17) SIGH'I'-24 pages of solid instruction TeachIng, Pre-School and Music Kin- BEGINNING TO ARTISTIC FlNISH Gr.2) Louise Garrow and easy-to-follow charts on impro- dergarten -NEW 'VAY Keyboard Hotel Ansonia, B'way at 73rd St., New York City Studio 509: 270 Huntington Ave., Bostop, Ma~s. And thank unto the blr'ie5t's connectionh t I I . vising, transposition and harmoniza- Har~ony. _De~ree Cards for Note Turkey in the Stra.w ord. who ~ nd.:: our daily d e ween c lOra repertoIre respect. We teach our own people tion. $1.00 postpaid. Free list of thou- Reading 7a¢: Note and Key Corre- EDNA GUNNAR PETERSON (C major, Gr. 2) Ou.o Bonnell ~n the architectural conditions of to sing and sing well but it does not sands of popular songs, books and lators, 6-$1.35: Keyboard and Staff WILLIAM FICHANDLER brtad:' folios sent on I·equest. Lewis Arflne Tablets-sma.ll 3~¢, large 50¢; Music Concert Pianist-Artist Teacher lis creat' 11._\ Piani,t, Teacher Here also is a list of vocal 0105 H PPY TIIANK lVl~GTO , Ion. It any school uroups invariabJy occur to us to instill in Music, 117 W. 48th Street, New York Wall Board, penCil and e)-aser $1000 314 We~t 75th St., New York, 5u-7-3775 gIvefrequent . o. 36, New York. MILLER ~E\I\T WAY MUSIC EDUCA~ 17447 Co,t_"ommore Pacific Poliiad_s, Calif. concerts In varIOUS these same students a desire to hea.T Compositions publi,hed b, G. Schirmer for adults s~li.table for Thanksgiving: ALL ET DE FRlE.\'DS TION,.l1::o S. Wabash Ave., Chicago and Theodore Presser. EX 4·6573 tvpesof h I A SACRIFICING 200 ACCORDIOl\'S- 90, IllInOIS. ThanksgWUlg Jessie L. Pease THE E:'

ts I•••••••••••••••• ::-::c::-:...,.------c-::;;~"·'IIlla "'''II S •• , .. I ClIlUrl .:...- .-...... _ ------Inspires whets musical appetites

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