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

8-1-1935 Volume 53, Number 08 (August 1935) James Francis Cooke

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THE ETUDE AUGUST 1935 PAGE 441

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THE ETUDE Associate Editor EDWARD ELLSWORTH HIPSHER Published Monthly By Music Magazine THEODORE PRESSER CO. 1712 Chestnut Street A monthly journal for teachers, students and all lovers OF music PHILADELPHIA, PENNA. VOL. LIIINo. 8 • AUGUST, 1935 The World of Music

Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everyw er

THE “STABAT NINA HAGERUP GRIEG, widow of MATER” of Dr. Martin ROBERT SCHUMANN’S one hundred Edward Hagerup Grieg the composer spends AN ALESSANDRO and twenty-fifth birthday anniversary was G. Dumler won for him an . SCARLATTI oratorio, much of her time, since her widowhood m enthusiastic ovation when celebrated on June 3rd and 4th, at Zwichau, 1907, with a sister in Copenhagen. 1 he com¬ f “The Martyrdom of Saint Saxony, by the unyeihng of a memorial tablet Ursula,” in unpublished poser and wife were cousins, which accounts Cincinnati May Festival on the composer’s birth-house, and by a sym¬ for the identity of their middle names. As Alessandro manuscript, has been re- phony concert and a performance of his with Eugene Goossens conducting. As vlVe" Scarlatti vised by Ennemond Tnllat, Nina Hagerup she became early known as a HERE THEY COME! “Paradise and Peri.” president of the College of Music o{ a widely known pianist of Lyons, France. pianist; and she, Edward Grieg and Mme. nati and as a composer of works for the ritual The manuscript is the property of the Norman-Neruda (later Lady Halle and one of the Catholic Church, Dr. Dumler has ren¬ THE BETHLEHEM BACH CHOIR has of the greatest feminine violinists of all time) Municipal Library of Lyons, and it is con¬ presented its annual festival m tbe Packer dered a valuable service to the musical art ot sidered one of the most precious Scarlatti gave in 1868, at Christiania the first public Memorial Church. On May 17th the St. concert ever devoted entirely to Norwegian America. relics in existence. It was first performed at Matthew Passion” was given a divided per¬ the Academy of Lyons in the early part of formance in the afternoon and evening; and THE FLORENTINE MAY MUSICAL Forty Years in Showdom the eighteenth century. y. the “Mass in B minor” was presented similarly FESTIVAL, of six weeks from April 24th to on the 18th. Bruce Carey was the conductor; AT THE THEATRE DE LA ZARZUELA June 4th, offered the world premiere of a new THE PHILHARMONIC SOCIETY of of Madrid, which is temporarily replacing the Norfolk, England, brought its season to a and the soloists were Louise Lerch, soprano; opera, “Orseolo,” by Ildebrando Pizzetti; a Rose Bampton, alto; Dan Gridley, tenor ; and Madrid Opera House, the season of Italian gala performance of “Norma, in honor of ‘•r ■ ihe Billboard,” the oldest magazine of the show “pitch man” mean in the foregoing paragraph, you would close with a program at St. Andrews Hall, opera opened with “magnificent productions^ Julius Huehn, bass. The “Mass in B minor the centenary of Bellini’s death; Glucks I world (founded in 1894 by W. H. Donaldson), has probably find many lines in “The Billboard” that would be on April 4th, of works by British composers. had this year its twenty-eighth complete per¬ of Puccini’s “La Boheme” and “La Tosca. The big achievement of the event was a “Alceste”; Mozart’s “The Elopement from the A recently had its fortieth anniversary. At first this as little understandable to you as the proverbial Greek. formance by this choir. Seraglio”; Rossini’s “Moses”; Verdis Ballo “magnificent rendering” of the “Sea Sym¬ unusual publication had almost entirely to do with printing Perhaps you may not know it, but there has been develop¬ phony” of Vaughan Williams, with the orches¬ HANDEL’S “SOLOMON” was given a in Maschera”; Rameau’s “Castor and Pollux, tra augmented hy some London players, the THE ROYAL OPERA of Budapest has performance, on April 30th, by the Boston and other works, with Tullio Serafin and and bill-posting to advertise entertainment. Thus, it be¬ ing a new language in America, which can be called only presented the “Carnival” of Schumann in a Symphony Orchestra, with Serge Kousse- Vittorio C.ui as leading conductors. Norfolk Chorus, and with Isobel Baillie and came an adjunct of that army of men with buckets of paste “Broadwayese.” Here, for instance, is a specimen of musico- Roy Henderson as soloists. choreographic and scenic arrangement by vitzky conducting, and with the assistance of •3--- Gustave Olah and with a new orchestration chorus and soloists. Though it had not been ALLAN ARTHUR WILMAN, a twenty- and long brushes who inaugurated the glorious campaign to dramatic criticism of a vaudeville act in this language, ATHENS, GREECE, has celebrated the of the Schumann work done by Otto Berg, heard in Boston for half a century the event five year old composer of Chicago, has been conceal all possible of the beautiful scenery of America. which is taken from “The Billboard’s” contemporary, the orchestra leader of the Opera. is reported to have been one of the most two hundred and fiftieth anniversary of the awarded the Paderewski Prize of one thousand Out of those theatrical posters came most of what we now “Variety.” birth of Bach, by performances of the St. successful of the season. dollars for the encouragement of American John Passion” and the “St. Matthew Pas- call “out-door advertising,” thus making a large part of “Dated material and uninspired THE CONCERTGEBOUW ORCHES¬ composers. ^ ^ salesmanship puts this mixed team in TRA of Amsterdam, Holland, celebrated in CHARLES MARTIN LOEFFLER, dean America appear like a huge riot of brilliantly colored poster the small time class. They throw May the fortieth anniversary of Willem Men- of American composers, passed away on May THE TORONTO SYMPHONY ORCHES¬ atrocities. The twelve-sheet on the barnside, proclaiming everything possible into the soup and A “MASS PRO DEFUNCTIS (Mass for gelberg as its conductor. In recognition of 19th, at Medfield, Massachusetts. Born J an¬ TRA and Mendelssohn Choir held a two day come up with malarkey, neither their the Dead)” by an unknown composer of the the event there were two orchestral concerts uary 30,1861, at Mulhausen, Alsace, he studied Spring Festival in May, for which they tried the unbelievable wonders of “The most colossal, unsur¬ singing, dancing, musical work or gags, seventeenth century, had its first performance and two programs of chamber music, all de¬ violin under Rappoldi, Joachim, Massart and giving the programs more popular appeal and passable, unconquerable circus of the universe” soon grew the latter predominating, hold any¬ in America when given on May 15th, at the thing. voted to the compositions of Hollands com¬ Leonard, and composition under Kiel, Bar- reducing the prices of admission; with the up into other signs of vast dimensions which recently broke University of Pennsylvania, by a chorus of giel and Guiraud. He came to America in Girl is a flashy redhead, while man posers. result that for the first event, by the choir stamps himself as a comic via an up¬ two hundred voices under the leading of Dr. £•«— 1881, played under Theodore Thomas and out into electric lights and neon tubes advertising every¬ Harl McDonald. It had been secured from and orchestra, there were eight thousand in turned hat brim. As it turns out, she’s GEORGE L. LINDSAY, Director of Music Leopold Damrosch, and from 1885 to 1903 attendance, and for the second, by the choir thing that might be sold. the comic and he’s her straight, but, the historic Monserrat Monastery of Cata¬ Education in the Philadelphia Public Schools, shared with Franz Kneisel the first vio in lonia, by Dr. Jean Baptiste Befk, a noted and a five-piano team of leading pianists ot “The Billboard” is a very comprehensive publication. It considering their material, it makes was elected president of the Eastern Music desk of the Boston Symphony Orchestra, after the city, twelve thousand filled the Arena no difference either way. musicologist of the university. Educators Conference at its recent meeting which he retired to devote his time to com¬ Gardens. A hint to managers of similar en- includes everything from occasional reviews of grand opera Deuced here in a five-acter.” in Pittsburgh. position. Among his best known works are terprizes in other communities. to advertisements (pages of them) dealing with automatic THE MONTE CARLO opera season the symphonic poems, “A Pagan Poem, ‘La opened with a gala performance of Verdi’s Mort de Tintagles,” and “Memories of My game machines, looked upon by some as gambling devices, For the curious person, “The Billboard” reveals that there “Rigoletto,” with Desi Halban Kurz—a INDUSTRY’S RECOGNITION of music HANDEL’S “MESSIAH” recently had a is assuming great proportions. Following its Childhood,” the latter of which won, in 1923, the radio, the side show, the theater, the pitch man*, vaude¬ is a peculiar fascination in the lives, the travels, the trage¬ daughter of the eminent Viennese smger, a prize of one thousand dollars offered by the performance at Dublin, Ireland (where it had magnificent series of symphony concerts at also its world premiere on April 13th, 1742), ville, night clubs, the circus, moving pictures, costumers, dies and the romances of these play folk (largely nomads), Selma Kurz—as the Gilda. the Chicago “Century of Progress Exposition, North Shore Festival committee of Chicago. with an audience of ten thousand filling the music publishers, dance halls, and so on. Anything, for which any reader with an imagination can find “between THE EDINBURGH ROYAL CHORAL the Ford Motor Company is sponsoring eleven great Agricultural Hall of the Royal Dublin the lines.” We are impressed by their cleverness, their in¬ SOCIETY (Scotland) ended its seventy- weeks of music at the California Pacific Inter¬ RABAT, MOROCCO, has its own opera Society, and at the same time demonstratmg which people can be induced to pay money to see or hear seventh season by a performance, on March national Exposition at San Diego. The sym¬ company which lately has given productions the excellent acoustical properties of this new something, is “copy” for “The Billboard.” Mixed up with vention, their untutored smartness, their ambitions, their phony orchestras of San Diego, Los Angeles, of Puccini’s “La Tosca” and Rossini s Bar¬ 13th, of Elgar’s “The Dream of Gerontius, auditorium._ all this, of course, is music in its various forms. Could you humor, their sufferings, their kindheartedness and their with Dr. Greenhouse Allt conducting. San Francisco, Portland and Seattle, each will ber of Seville.” play for two weeks in the Ford Bowl seating imagine a circus, or even a merry-go-round, without music? tolerance. Their sacrifices and human sympathy often make .*---»• DR. SIDNEY NICHOL¬ three thousand; and the Tabernacle Choir ot “THE TROJANS,” by Berlioz, had its Because millions of dollars are spent for music in this show us ashamed of our own sententious contentment. From the EDWARD JOHNSON, Salt Lake City also will give a series of con- SON, director of the American tenor of Cana¬ first performance in Scotland, when given at School of English Church ^ w world, and because thousands of “The Etude” readers know ranks of some of the most menial show people have arisen, dian birth, has been selected Glasgow, on March eighteenth, as sponsored t Music, of London, has re- little about this picturesque field, we are taking a little time now and then, performers whose after lives have been suc¬ to succeed the late Herbert by the Glasgow Grand Opera Society. The turned from a tour of New ■fV' DR. WILLIAM CHURCHILL HAM¬ libretto had been translated into English by Witherspoon as general MOND celebrated recently his fiftieth anniver- Zealand and Australia, on WV k to congratulate “The Billboard” upon the part it has played cessfully devoted to real art interpretations of a very high Prof Dent of Cambridge University, and the manager of the Metropoli¬ sary as organist of the Second Congregational which he traveled thirty- Jw, through the years in serving its subscribers. character. There is evidently something about the peculiar tan Opera Company. Mr. work was given a full stage production, with Church of Mount Holyoke, Massachusetts; three thousand miles and Taken all in all, this publication has afforded us much combination of grind and glamour of the show life which Johnson finished his vocal when he was the recipient of a testimonial an orchestra of seventy, conducted by the visited one hundred and education in Italy and had service and of many beautiful and valuable British musician, Erik Chisholm. twenty-three churches, for exciting entertainment. The world of amusement is a world broadens the human outlook of the individual and makes several successful seasons gifts. He has been also, for thirty-five years, a study of the condition of S^houon with its own philosophies, customs and even a language of him more sympathetic and understanding of the sorrows Edward in leading theaters of that THE PHILHARMONIC SYMPHONY director of music at Mount Holyoke College. church music m those its own. In fact, should you not know what the words Johnson “Land of Opera and Song” SOCIETY of New York announces that for realms. On his arrival at home the BUi P and joys that come the way of his fellow man. before returning to his native heath. He has THE VILLAGE OF MITTENWALD, the its ninety-fourth season it will have as con¬ of Fulham presided at a meeting in his hono, been for some years a leading tenor of the ductors, Arturo Toscanini for ten weeks, Otto at which messages were read from the A Metropolitan Opera, having been particularly “Cremona of Germany,” is celebrating the two hundred and fiftieth anniversary of the Klemperer for fourteen weeks and Hans bishop of Canterbury and the Buhop successful as Pelleas in the “Pelleas et Meli- Lange for four weeks; with Ernest Schellmg sande” of Debussy and in the title role of the beginning there of the violin maker’s art London. which was to bring world fame to this tiny again in charge of the Saturday morning Con¬ (Continued on Page 491) American opera, “Peter Ibbetson” by Deems certs for Children and Youths._ Taylor. community. Music Study Exalts Life THE ETUDE Early Plans Make Easy Autumn's Music Work. AUGUST 1935 PAGE 443 Music Axiom for August AUGUST 1935 PAGE 445 THE ETUDE

making TRIUMPHS at sixty "And the Twain Shall „ r A rpprira’s most famous comic In “The Billboard’s” recent anniversary number an issue qyTARIE DRESSLER, onelendid book, “My Own of three hundred and twenty-six pages there is a^large> se - Jo t opera singers, did it “h P „? How she took ,i„„ devoted to the adverti.ement. of d.nce Story.” My, wasn t she ^ glo PsmiUngj clean in spirit Meet" whose leader, show their appreciation of what The BU blow after blow and yet always^ ^ CQuntry. Then at hoard" mean, to them by print,n6 congr and warm in heart thought she was done, and when obviously pre.ented not as advertisement, but a. 8™t.'"d' sixty, when most of the ^ t human opportunity By the Eminent Armenian Tenor of for what the publication has been to them as a means ot she herself suspected it, she met J ^ triumpheci glorious- keeping them in contact with their fellow performers, presented to her by the ta publishers (Little, Brown and Com- the Metropolitan Opera Company fact the mere index of advertisers in this issue covem ix ly. With permission of the P A quotation from My large pages. From an advertising standpoint, the lssue 1 S3 oPf journalistic miracle. The advertisements run from Armand Tokatyan rat poison, Mickey Mouse balloons pop-corn machu.es, medical show curealls, razor blades and horoscopes to popu " spend'the^best part lar musical performers and actors of the highest standing One of the youngest members of the music he has learned to portray. In For instance, Paul Whiteman and Rudy Vallee express their the following article, he outlines some miserable worrying Now I pro- Metropolitan Opera Company to as¬ felicitations in full page advertisements for each. sume leading roles, Armand Tokatyan of the characteristics of oriental music, celebrating the impending a lightning is going to is constantly winning distinguished at¬ as well as some of the problems of The issue contains several articles of.8pf,C1t?l~r ip ” “The eeed on the I interested in “The Story of the Radio,;’ ASCAI, The tention for his sterling musicianship the oriental student. Mr. Tokatyan gave this talk especially for The Musical Union,” “Vaudeville” and “Moving Pictures. ££ oTi—g ” much’Sremess » possibk .„to the good and the vigor and versatility of his performances. His career is all the Etude, on the eve of sailing to fulfill Here are some unique examples of the way in whic some hours that are mine. more interesting in that by race and engagements with the Berlin Staats- “Want” advertisers in “The Billhoard” approach U^readers “Worry and hurry are twin scourges that more tradition he is far removed from the oper.—Editor's Note. in this intriguing world of the tent and the fo 0 • hope that this free publicity may help these artists.

not to music students but to all children, a train from Alexandria to Cairo, riding in the schools, in the form of age old songs, out to the Pyramids, watching feverishly a lusty joy in fighting back. presented by rote, partly for their purely for day to wane and the full glory of an musical value and partly as history and African night to settle over us, donning tradition. These songs are placed on a a costume, marching out, and singing in WHY POSTPONE MUSIC STUDY? par with the native literature and legend, a professional performance of opera! That dress MUSICIAN, 1 which every cultured Armenian must ended my ideas of becoming a church (7° HE manner in which some parents P9fP?ne know; and they form a part of the national singer! After that, my one goal was the for their children is often pathetic. If the child is ill, of \3 background. This, then, is our musical stage. course the doctor is properly called at once The parent who blacks comedy bears; training, and every child receives it. Mu¬ When I was sixteen my voice matured rare Black’s Animal Acts. Booking Free neglected such a responsibility would he despised by all, just sical instruction, in the western sense, is and settled into the tenor it is today. I Acts fo? 1935. L. E. BLACK, Mgr.. Murry © Mishkin as would be the parent who avoided giving the proper food and ARMAND TOKATYAN practically nonexistent. did nothing to force it; it was a perfectly • clothing to his children. These things are all so obvious that Another reason why there are few Ar¬ normal change. That year I got a chance to sing with a musical comedy company, no one thinks about them. menian musicians is that the emigrants and soon I was singing “leads.” I sang When it comes to the health and the raiment of the soul, who leave the land usually have more urgent matters in mind than the acquiring two hundred performances of “The Merry however, many parents hold on to the purse strings as though As told to R. H. Wollstein of occidental musical values. And, finally, Widow,” touring through Greece and they were being asked to put out money for something which, the world outside knows too little of Ar¬ Egypt. I was not yet seventeen. An if not unnecessary, is at least dispensable. Yet, very frequently menian music to care much for it. The Italian opera troupe played one of the in the future life of the child, the investments in spiritual, cul¬ towns we were in, and we exchanged pro¬ high'Khool auditoriums and lodges. rebuilding of Armenian territory is to tured and educational work are of infinitely more importance A YOUNG vocal student came to me terize oriental music in general and Arme¬ include a splendid musical conservatory; fessional courtesies. We got a chance to even than the extravagant food and clothing given to him. /A recently. He had had one of those nian music in particular. I soon learned and I rejoice that the people of my race hear real opera, and the opera people saw Let the parent remember those vital words of Horace in his X A. “bad days,” and he told many of his western music, of course, from the people are at last to be taught not only their our “Merry Widow.” As far as I was troubles. First of all, it had been stormy about me and in the Conservatory at lovely traditional music but world music concerned, the exchange had results. I “Epistles”: and he had had to wait in the rain for a Alexandria, where I studied; but my first as well. Once Armenia is taught to think once more underwent a change of am¬ “Why do you hasten to remove anything which hurts car to carry him to his lesson. His teacher tones, heard at home and therefore inex¬ in terms of world music, you will hear bition and decided that I must, at all your eye, while, if something affects your soul, you post- had been irritable. He rather thought he plicably close to me, were the church litanies more of Armenian musicians, I’ll warrant costs, sing opera! And, to my delight, would change to another teacher, in the and the native songs of Armenia. Familiar as the Italian impresario advised me to go pone the cure until next year?" FOR SALE OR LEASE—ONE MALE same studio building. Then, he had been I am today with the classics of the West, y0U A Fruitful Exodus to Italy to study and to try to break into Horse^one^Buciingf Mulef twManon Lescaut.” Then, at last, came the disappointment. Montaigne, the great French essayist, said: practice. There were other annoyances. —English, French, German, Italian and music; and there is a fine conservatory in Metropolitan. ATTENTION! THEATRE He finished, at last, and I sympathized. Spanish—are strange and different from Alexandria, which has turned out some “La pauvrete des biens est aise a guerir: la pauvrete Managers—Organist-Pianist, open for en¬ “You do not know how lucky you are,” my native Armenian. splendid artists. I have had advantages As Linguist and Dramatist gagement. 20 ylars’ experience organlogues de I'dme, impossible. (Poverty [of wealth] is easily re¬ I told him. “A five minute wait and a which the average Armenian boy could not 1ET ME, in passing, give some of the End special overtures °a“ make them Music Deep-Running vaudeville.o^i attraction oI flesh will out¬ paired: poverty of the soul is impossible to repair.)" five cent fare will carry you to a first dream of getting. J fruits of experience. I should advise law “shadows” of the greatest names, class teacher. There are other first class HERE ARE comparatively few Ar¬ “Western” music was no novelty to me you as a student to master languages—as ■parks fairs outdoor shows have taken the Music teachers everywhere should, as a matter of profes¬ teachers under the very same roof. You menian musicians—which does not im¬ after my ninth year. There were al¬ many as you can. Do not just sing in crowds you could have kept inside this year. sional responsibility to their art, call the attention of as many “TOink it over,” and they it with some¬ have your choice of half a dozen excellent ply that Armenia is unmusical or that its ways fine concerts and performances in them, but know them thoroughly. Since thing you refused to offer. Flesh. May parents as possible to the essential, practical, human need for music shops. You hear the finest music in people lack appreciation of or perseverance Alexandria; and reports of the first great my own tongue is an unusual one, I have this ad receive the results intended, not for tup nne but for the many artists. Cordial music. They should also stress the fact that the child who is the world, on your radio. Now, over and in the art. Nothing could be farther from performance of “Aida” to be given under been forced to learn languages, from neces¬ pvoiritTv wishes to all and to the Billboard. above all that, you live in a musical the truth. The Armenian nation is of a the Pyramids, in the full splendor of a sity more than from choice. And they PAUL7FORSYTHE, Macon Hotel, Macon, denied a musical training may be seriously handicapped in the world of tomorrow. metropolis. You speak the language. Best deeply musical temperament. It has pro¬ native setting, amounted to legend. I have have proven of immense help to me, not of all, you need no adjustments to help you duced, through the ages, an amazing wealth sung since my ninth year, and I early only in mastering songs and roles but also to understand the music you study. You of native music which stands today as an determined to devote myself to music. in getting to know the spirit of the people d Pony, Riding Dogs ai have a tradition of familiarity with your unexplored mine of riches, offering a prac¬ At first, it was decided that I should be which produced the music and the temper ul snow white High-SclK work that you take for granted. The tically limitless field for interesting and a church singer, as the Armenian litanies of those who hear it. S. Carnival music of your people is well annotated and fruitful research. And yet Armenia has require special and rigorous training; and, Learn to act. No matter how well you The September Etude will be another memorable widely known. You do not know what produced few “public” musicians—but for with that in view, I was sent to the Alex¬ sing, the ultimate veracity of your per¬ issue of the type which has inspired so many teachers real troubles are!” excellent reasons. andria Conservatory. I was then only formance will depend upon your acting. I am an Oriental, an Armenian. Al¬ Everyone in Armenia is a naturally born fourteen and had a heavy baritone voice. Get as much acting experience as is in to make their classes 100% Etude subscribers. though I was born in Alexandria, of musician, and the country is too poor and While I was studying there, plans were any way possible. In this respect my Egypt, I am of Armenian race and back¬ too harassed to spend its energies on train¬ made for another performance of “Aida” musical comedy experience was invaluable. ground. My native tongue is Armenian. ing its young people to become more than under the Pyramids; and, to my rapture, At all events it was the only training I My earliest acquaintance with music was that. There are in Armenia almost no I was one of the conservatory students ever had. Musical comedy is not a purely not with the polyphony of Bach, Beethoven “studios,” as we use the term, with lessons, selected to sing in the chorus. It seemed musical art. It depends quite as much on and Schubert, but with the distinctly By¬ classes in composition, and lectures on like a tale of eastern magic transformed theatrical effects as upon music for its zantine scales and intervals which charac¬ music appreciation. Our music is taught. into real life. There I was, traveling in success—which makes it an excellent

PAGE 444 AVGUST 1935 THE etude AUGUST 1935 PAGE 447 THE ETUDE THE ETUDE

Musically, Armenia s minor to the religious or secular character of its ! school in* which to learn theatrical technic and routine. And, finally, if you would C°Qassic music is the church music, which of the West), the repetitive wail ’d On Hearing the Lesson succeed, work—work—and then work some stands closer to the people ®fg(;ner^tl’;a" and the frequent use of.the_ aug^ ^ church music does in the West. An 1 second. In most cases, * (a Ber- mMilan; but it is djan - —— that women have been always _ allowed a S'SrUSoS oH« * It would be of the greatest advantage to By Hope Kammerer far ahead of what a boy in Armenia would share in teaching and producing it. Church get As I have said, Armenian musical good example Armenia to have its music better known, music is regular in form and PurPorts and to learn, in its turn, of the musical training is entirely different from western have been written by the priests and the training, and the music itself is different, development of other lands. The projected early saints of the Armenian church. It conservatory will doubtless work towards too. Armenian music is probably the oldest is not the work of individual classic com- this end In the meanwhile there is a rich Miss Kammerer s lucid and practical expositions of her highly in the world, the country itself being the posers like Bach or Beethoven. Ornate in field of effort here for courageous musi¬ scene of the earliest chapters of Genesis. form and mystic in content, it 'sreallyan successful pedagogical ideas are widely ivelcomed by teachers cians who are seeking, not money-let me Since it is dominated, geographically, by aural form of racial evolution. The same make that clear 1-but a career of service. Mount Ararat, it is no exaggeration to is true of our popular music, which is not say that our music began with the Arkl At all events, let me urge upon you that popular in the sense of being a song hit, Some of our melodies have an almost but in the sense of springing directly from Armenia is by no means unmusical. If The First Notation Czechian flavor of verve and^"fran die she has sent forth few sons and daughters This trouble can be warded off by the that it makes him too dependent. There is the people. Here are found even greater ALL TOO OFTEN we, as teachers, mistake marking for the player. When he WE HAD music before the third to represent her in the musical league of teacher. little danger of this. Think of all the prac¬ liberties and varieties of form /A do not realize the tremendous in- is thus checked up by one of his own play¬ century. It was then that Gregory is- nations, it is due to her national misfor¬ First. Keep the place on the page, for tice time when he works without help. d. A-fluence that the way we hear and mates, he. is more impressed with the need the Illuminator converted Armenia to tunes rather than to a lack of mus.cal talent. the pupil, with the tip of. a pencil, while Stumbles in lesson time are not only bad Folk Songs in Minor Mode conduct the lesson bears upon the way the • for correction and practices with more care. Christianity, destroying all relics of pagan dir Armenia’s music is rich but limited. It standing on the right side of the pupil and psychology; they are also time wasters. THE POPULAR SONGS of Armenia pupil practices the lesson. Much faulty, There is a real science to marking mis¬ times. Thus, though, we have no records in had crystallized into its present form long using the right hand And, when keeping Let us avoid them. are of many different types, most of practicing has its origin in lesson time, in takes. If the mistake has been caused by of an earlier music, its sound still persists M music of the Magyars. »■ “ before young Johann Sebastian Bach stood the place, point above the notes, not below. them sad, all of them in the minor. They spite of the pupil having been given com¬ inadequate attention to fingering, then have as tradition. Armenia was one of the . first m«ic reveals the heavy in the courtyard of St. Thomas' church, How often does one see children trying to Hearing the Reading are not art songs, and they boast no in¬ plete instructions as to how to practice the pupil to insert the correct finger number nations to write down its traditional of a suffering race. Yet, in sp listening to the drone of the organ. Yet dividual composers. The nearest we come we have some bright, spirited rustic dances, correctly. For the force of example is and circle the number as in Ex. 1 A, dodge the teacher’s pencil, which is point¬ NOW IN READING music there are melodies. „ to composed art songs are the songs of the 5 is not static. Like a giant snowball, it ing beneath the notes and is consequently two definite and distinct methods. We have records of notes or neumes which often incorporate tonal reflections o much stronger than the force of precept. wandering minstrels. These singers ex¬ has been gathering spiritual intensity which between the eyes of the pupil and the The first is the way in which an adult introduced in the twelfth century, by the nature (water, birds, and so on), and ot A silent “do as I do” is infinitely more tolled deeds of love and valor exactly as makes it still perfectly suited to expressing -music. The illustration, here given, will would set about study. The composition is Archimandrite Khatchadour, of Taron. domestic work (ginning threshing, and effective than an oft repeated “do as I did the early French and Celtic trouba¬ the soul of the people. It is this deathless show the way. played through at a certain steady tempo; Even before these regular “neumes were stamping the earth). All “ dours, who were the first to tell of Ar¬ spirit which makes the music alive, in on no account is a pause made; if used, Armenian priests set down our chants music reflects, in some way, the national Here is a sample of procedure of which thurian legend and of “Tristran and Yseut spite of a somewhat traditional and primi¬ necessary, false notes are played, or notes in a peculiarly individual notation, which thoughts and habits. many of our readers have been most and who gave Wagner themes for the tive form. Even today, Armenia has but t as in Ex. I B. If the mistake has been omitted, rather than lose the continuity of did not designate distinct tones and rhythms A lovely ceremony is bound up with the fortunate if not at some time the victim. legends of “Parsifal,’.’ “Lohengrin, and few composers; and those there are, like the i of incorrect notation, then circle the the beats. In other words, notation is sac¬ as notes do, but which merely indicated spring festival, which figures in the tradi¬ Lesson I: The teacher hears the piece “Tristan und Isolde.” The songs of the three mentioned before, engaged in compil¬ te only, as in Ex. 2 A, rificed for the sake of tempo. In this way the direction the voice was to take and tion of every country, be it “A Midsummer which the pupil is learning “hands to¬ troubadours were improvisations. These ing existing music rather than in experi¬ the player obtains a bird’s eye view of the the number of times it was to be heard. Night’s Dream” of a Shakespeare, or the gether.” There is a fault in the middle of minstrels wandered about without either menting in original composition. But there piece and attends to the details later on. This earliest method of notation is a re¬ “Walpurgisnacht” of a Goethe. 1 he the piece. The teacher points this out to glory or position to maintain. Hence they He studies from the general to the par¬ minder rather than a transmitter of melody. Armenian ceremony is that of. Djan Gulum, is a glorious future for Armenian music. the pupil and marks it with colored pencil were free to sing exactly as they pleased, ticular, from the whole to the part. But written music was at best confined and occurs at the Feast of the Ascension. When Armenia learns the musical language as requiring special practice. She instructs quite for the love of singing, and they in¬ The second method sacrifices tempo for to the church litanies. The far larger The maidens of the village, dressed in their of the West, and when the West learns the the pupil to study these weak measures vented singularly spontaneous and untram¬ musical idiom of my people, then East and well, before practicing the piece as a whole. notation, and this is the method to be used body of Armenian music takes the form best, form a procession and cast their most not as in Ex. 2 of popular songs, originating with the meled forms. cherished possessions (rings, brooches, and West will meet in a greater unity of musical The pupil must thoroughly understand that by the beginner. The reading is done very Armenia’s songs depict the more primi¬ wrong, circle the people and expressing so vividly their so forth) into an urn which has been understanding. a chain is as strong as its weakest link; slowly, so as to be absolutely accurate as tive emotions—love, longing, patriotism, in Ex. 3 A, temper and their sufferings. These songs blessed. Then they strew roses into the and that in the same way it is only when to notation. The beats must “wait,” if war and tender recollections of absent ones. necessary, to find the difficult note cor¬ have endured, solely through rote trans¬ urn and over it, chanting Djan Gulum, best SELF-TEST QUESTIONS OS the weak parts are made strong that the Songs commemorating historical deeds rectly. Pauses occur, therefore, quite fre¬ mission, from generation to generation. translated, perhaps, as Spirit and Rose MR. TOKATYAN’S ARTICLE interpretation of a piece of music as a were early used to transmit the facts of Many of them have not yet been written One maiden is chosen as a sort of vestal, whole is strong. quently; for it is better to have a pause Armenian history to those who could not 1. Where is Armenia and what countries down, notwithstanding the magnificent to keep watch over the urn all night, and Lesson II: When the pupil comes for his than a false or omitted note. By this read, and were sung—indeed, are still method, there may seem to he danger of work of compiling and editing done by this, of course, is a great honor. In the bound itf next lesson, the teacher must comment on, sung—by the women at their spinning. 2. How it music taught to the children in the pupil getting a wrong idea of the time, musicologists like Father Komitas, Kal- morning, then, the girls meet again and and hear, that weak link first, in the same They are comparable to the old French not as in Ex. 3 B. but if he counts faithfully, he cannot but faian and Servasdianz. their objects are returned to them, with Armeniaf , manner as the pupil was expected to prac¬ spinning songs or chansons de toile. All 3. What studies besides singing mim IHe Once again, this takes more time at first, feel what the music should sound like, were Armenian music falls into the two the blessing of the Virgin upon them. The tice it. If the weak link is correct, the Second. Cover the hands of the pupil our songs are characterized by a spirit of but the more care and intelligence the pupil there no pauses, and consciously or un¬ groupings of classic and popular, although vestal maiden and one of her group tell vocalist pursueT piece as a whole is then heard. If the with a book or cardboard, using the left piety, fervor, sincerity, and purity. Even 4. What arc "neumes" and when were they weak link is still incorrect, much atten¬ has to use in marking the piece during the consciously he aims at this ideal each time these terms are used very differently from “fortunes,” as the objects are returned; and hand to do this as is here shown. our most impassioned love songs are free tion is given it, additional colored marks lesson time, the more care and intelligence he plays. the way they are here in the West We great, indeed, is the merriment, as all the in use T „ from sensuality. In this, Armenian music are put on it to show it has been wrong he will use in practicing when by himself. Repetition and practice of this second make no distinction between “highbrow handsome husbands are predicted. They 5. Describe the Armenia folk song. How is notably distinct from other oriental does it differ from other oriental folk twice; then the piece as a whole is not Added interest can be created by having method, in the case of a beginner, ulti¬ and “lowbrow” music! There is simply sing the traditional Djan Gulum motif, as music, such as that of the Turks, the heard, for the chain can be no stronger a differently colored pencil for each week mately ends in steady tempo as well as one great national music for all, which follows: songsf of the month—blue for the first week, red falls into these two categories according Khurds or the Persians. than that weak link. It would be most accuracy. Practice, by method one, in the unwise for the teacher to commence the les¬ for the second, and so on. This makes five hands of a beginner, is bound to end with son by hearing the piece as a whole, for different colors each month. A pupil hav¬ many wrong notes. The first way, though then the pupil will undoubtedly practice ing to mark the same mistake twice—What theoretically ideal, is not quite sure to work the piece as a whole, from the beginning, a disgrace!—he has two different colors out in practice with a beginner; because, no matter how often he may have been in¬ conspicuously circled around the same though he is capable of studying the piece structed to the contrary. He will do as note! This has an advantage to the teach¬ as a whole, mentally, yet he can only at¬ The Parent's Musical Opportunity er, who can tell, at a glance, just how old the teacher does, not as the teacher says. tend to one note at a time, technically. If Lesson III: If the weak link is not cor¬ the mistakes are. he once plays a wrong note, that note is rect at the second lesson, then it should be By Esther Valck Georgns Three Time Saving Devices liable to persist all through his study of heard first again at Lesson III. For the the piece. First impressions are undoubt¬ teacher must be consistent; there is no ANOTHER THING many of us do not edly the strongest, and the finger-mind spoken to about it she justified the condi¬ is costing him money. Nevertheless in the gain in trying to get the good habit fixed .sufficiently realize'is that the teacher’s must have no opportunity of obtaining a HERE ARE THREE factors of rules and what not in school, but we do T tion with, “But Mary practices so long above cases that is exactly what the par¬ by following this procedure only once. attitude during the playing of the piece can wrong first impression. great importance to the child study- know of several parents who object audibly save, or lose, valuable minutes of the lesson and at such peculiar times!” When the ents are doing. Habit is formed only by constant repeti¬ Bearing these things in mind, the teach¬ ing music: A good teacher, a good and often because their children practice period. Particularly in a piano class are parents are complimented about their tion, and by perseverance. Those of us er would have certain concrete and defi¬ instrument and understanding and encour¬ scales and finger exercises. No child wants A Brighter Picture minutes precious. daughter’s playing they are immensely who have trained puppies know only too nite stages in the course of learning a aging parents. It is difficult to determine to practice technical exercises any more Let us suppose an eight year old be¬ proud. Just why, it would be difficult to BUT AGAINST ALL this let US bal¬ well how results are obtained only by con¬ piece, based on the cultivation of good the degree of importance of these, but than he wants to learn the multiplication ginner is reading a new pjece at, say, his determine because everything the child does ance the mother, unmusical hersei. sistent perseverance; and the same laws reading habits; and she should hear the surely no one has to be told which is the table, but both are necessary for the de¬ fifth lesson. The pupil naturally does not she has to accomplish without a bit of help but who desires her children to be m apply to the training of children, and to the piece at the lesson accordingly. Of course, least expensive! Teachers cost money—so sired results. And when the parent com¬ feel, at his lesson, the same assurance as This, together with the guiding pencil, at home. cally educated. A year before the oioes training of ourselves! these would be preceded by: do musical instruments but it does not cost plains in the child’s hearing about the when at home; and he more often loses removes all temptation to look at the hands was ready to begin lessons this pa 1. Preliminary study of the piece as a a cent for parents to be helpful and inter¬ unpleasantness of exercises, that parent is In another home the mother has deter¬ Marking Mistakes his place by dropping his eyes to his hands. and thus to lose the place. The cardboard mined that twelve year old Peggy shall be whole, away from the piano, by means of ested in their child’s musical progress. giving the child a very good excuse for started to study the piano herself. iw Also, in his desire to make a good im-. should be held about six inches above the Regarding marking with colored ear training and written work. It is true that there are many people not doing something he does not want to a pianist. Yet here are the obstacles that when the child began lessons her mo' pression, he is liable to set too fast a tempo hands. pencil; instead of the teacher doing 2. Exercises, at the piano or on paper, making great sacrifices, financial and other¬ do anyway. That parent is also wasting are placed in the child’s way: an old, out already had a firm musical foundation for himself, which he cannot possibly keep Third. Steady the pupil’s tempo by count¬ this, it is better still for the pupil to take based on difficulties that may arise in the wise in order that their children may be money because he is hindering the teacher of tune piano, simply groaning under the which to help her. Perhaps few P3^ _ up without stumbles. The pupil knows ing slowly with him (not instead of him), the pencil and to do the marking himself, piece. Or the separate practice of actual educated musically. In some cases perhaps in the work he is paying her to do. weight of “Sweet Daddy” and “Hot would care to go this far but all P3 that he should count slowly; he also knows both before he starts playing, and as he Mamma” sheet music; a baby sister who under the teacher’s guidance. This may excerpts from it. the sacrifice is greater than the talent of can help to this extent: by being pa that it is unnecessary to look at his hands plays, until he has established a suitable Practicing Under Difficulties bangs on the bass while Peggy is valiantly- use a little more time at the moment, but the child warrants. But there are also a with the unpleasant things: with enw the mistake is certainly more likely to re¬ (if he has been given the right kind of be¬ tempo thoroughly in his mind; then drop N A CERTAIN home there are two trying to practice; and at times a cry of Definite Stages in Hearing a Piece great many who open the piano, take their I agement for the times of discourag ceive its proper due of attention when prac¬ ginner’s music and has had the correct out, unless the tempo becomes unsteady or daughters. Mary studies the piano but impatience from mother if Peggy prac¬ child to a teacher, and then their interest ticed. In a piano class, where there is al¬ preliminary hand training). Also he has too quick again, in which case join your A STAR or reward of some kind should Ethel is a different type. Many weeks Mary tices anything the least bit unpleasant. that come to all students; by m in the whole thing ends. After that they ways one pupil playing while another is probably been practicing correctly. It is voice with his again for a while. be given for each stage successfully comes with a poorly prepared lesson, and It does not seem reasonable that any facilities for practice as convenient* refuse to be bothered! listening and watching beside him, it is simply due to being over-zealous at his Some may feel that the pupil should not her excuse—a legitimate one—is “When¬ intelligent human being would be so incon- pleasant as possible: and by seeing t There are very few parents who grumble often politic to let the little listener do the lesson that he gets himself into trouble. get the habit of being helped in this way, 1. Aim—to read a piece which has been because their children have to learn un¬ ever I practice over a half hour Ethel turns sistant as actually to hinder the advance¬ child has before him and hears ony pleasant multiplication tables, grammatical on the radio!” When the mother was ment of something he desires—and which THE ETUDE AUGUST 1935 PAGE 449 THE ETUDE

PAGE 448 AVGUST 1935 Aim—to play the piece a previously . practiced, very slowly, hands "F'"'he tenlp0 slow, but per- A Program for "Our „par?.ely,co^™, »ith p«fecUy»Sr»« fectly steady; no waitingwaiting' (of tots. The >encil any part necessary as in the second method of read- teacher marks regular, for % Tthe piece is very long, then, of ^ Mothers" How Scotland Si course, the pupil is assigned only a part of 5 Aim-to play correctly, and with it to be practiced and to be heard at the temp0j any parts marked with col- next lesson. ored pencil. , . By Louise H. Watke 2. Aim—to play the assigned piece, or g Aim_t0 piay the piece as a whole, Her Sto part thereof, very slowly, hands together wjtj, expression. this time, counting, with perfectly accurate 7 Aim_to play the piece from memory, notation, “letting the beats wait” if neces- Very 0ften the pupil will receive his re- sary. ward for two stages correct, * sarne 3 A;m_to play any “weak links” that day. And also very often it may take By C. A. F. Macbeth i achieve the (formerly Leschetizsky s assistant). mav have been marked with colored pencil, longer than the next lesson that there is STS attended the University of perfectly correctly, as discussed earlier in desired goal. Eut the .pomt ' m each time a definite goal at which i months, as the children knew so little about this article with the beats still allowed to GYPT HAS LEFT the records of the pupil meets the teacher. rhythm and expression. Which was one of E her civilization in pyramids and giant the reasons for this innovation. moved TodypulLan, Washington, the pylons ; Greece has perpetuated hers The “Alpine land of our great West. A Dance Program in sculptured marble; wherever went the tnllnwina- is■ ani account ojof one of her Roman eagle, military roads and arched Etude Day' the Public School successful programs. She write£a Antique Group bridges still echo with the tramping feet of all of the music came from The Etude. Gavotte .Gossec ghostly legions. But Scotland, with her Gique, Op. 42, No. 1.Cramm Celtic whimsies, has written her history By C. E. Cornwell Longyear —Editor’s Note. Minuet (“Don Juan”), Duet.Mozart more permanently than all of them. Just The waters worship shall his race, • __,i Polka (Time for Play).Anthony as long as the human race lasts, so long Likewise the waves of the furthest sea E GAVE this^^fJ’J.^oout^ide Minuet Classic .Johnson will Scotia’s story be perpetuated; for while For they shall ride the ocean wide The first part of the program ' ly, for “Our Mothers”-no outside the love of minstrelsy endures men will With hempen bridle and horse of tree. guests-one Saturday afternoon Waltz Group programs that bring music t sing of her victories and defeats, her lovely i charge of the music tamea iu November. As all these mothers Walts (Wreath of Roses).Blake The tragic death of Alexander III, in before each num- iabt i _-j * dm queens and laughing cavaliers, her dark re¬ Swift Swallow's Walts...Hipsher ligious struggles and her glorious triumphs 1286, and the drowning of the Maid of “urs“.yv"‘;t ^.ith wide reception from ber was given and the following numoers "";.gested that we entertain them at .. Walts Petite .Ketterer of arms. Norway on her coronation voyage to Scot¬ the first and they have supplied a need of found on pages 112 to were p aye (harp accompani¬ who, as they row out to the North Sea on the part of pupils. Under the direc- ishedi one Qf the teachers of the school Tomato Cocktail—Polonaise by Bach— Pcrlas) .Pa.rks ment, the earliest authentic song which has herring banks, ply their oars to the rhyth¬ • y teacher played Val[ey porge March by Goldman short and spicy. Danish Peasant Walts.Christian! come down to us. It was translated from mic beat of e a suc_ and ushered in the pupils of the upper Bee{ Roast—A/murf by Beethoven— Chaconne (from Spain).Durand the Gaelic by McAlpine: I saw the new moon late yestreen grades singing the accompanying words gm00tbj with no strong accents. Gipsy Rondo . SmUUUl, Willi IW -- . , Wi’ the auld moon in her arm; 1 Let it be understood that, „ the proper time. After both verses Whipped Potatoes—Minuet by Beaumont Tarantella (Italian dance) Through Scotland’s glens the clarion And if we gang to sea. Master, tain day of the month an “Etude Day were sung, the first three grades marched sounds, —Trio, all staccato. Descriptive a > Characteristic I fear we’ll come to harm. program will be given. All pupils who to their class rooms while the music con¬ Sweet Potato—Mighty Lak a Rose by With rapid clanging echoes far; The White Moth. . .War Each verdant glen the note resounds—.. can get copies of The Etude are asked to tinued. Nevin. An’ forty mile off Aberdeen, Dance of the Gnomes.Williams But when return the sons of wart The pride of our latui lie cauld in the bring them to school on that day, and to A local piano teacher, the orchestra Lettuce Salad—Fur Elise by Beethoven Tis fifty fathom deep, that his native land might be supreme upon Procession of Lanterns.Brounott Peace, born of stern necessity the sea, founded the Scottish navy; and, clay. follow the program from their own copy. leader and the supervisor of music —Flowing, in one color. And there lies good Sir Patrick Spens 2. The principal and music supervisor go gave introductory remarks of educational oautu ^ Grasshoppers .Scarmolin And death, the desert yields to thee. being poet as well as sailor, he wrote for Salad Dressing—Tumble Weed by Bliss Wi’ the Scots lairds at his feet. Strange as it may seem, the colorful and through the current number of The Etude vaiue relating to each composition before piquant. Claire de Lunr.Debussy his oarsmen a sea song which he set to a From such a record it is easily gath¬ romantic reign of Mary, Queen of Scots, ML _ „la. .3• available. TVipvThey arranerearrange _3 rendered.~^A~mA TheTVia -fnllowincrfollowing numbers ,^ 1 Morris Dance .Rogers Scotland’s struggle to throw off the yoke monotonous yet well marked tune, thus Hot Biscuits—Tokio Fair by Williams. ered that the Vikings, on their piratical added but one song to her country’s melo¬ for a local piano teacher to play the piano I am a Pirate.P',cher of the English Edward gave to her music proving himself a better rimester than .- . . used in the upper grade program: RelishRelish—/»_In a Cave by Lemont—Strong J forays, employed the Roman method so dies. When, as a child, she was sent to Marionette Dance (duet).Blon three songs: Stirling Brig; Wallace’s Ad¬ musician. numbers after the selection has been an- ^idek ^wans At Fontainebleau.]. F. Cooke accents, both soft and loud, lucidly described by Tacitus—“And haying France for safety, four young girls, each a dress to His Army (sung to the border air nounced and commented upon, the- pupils Country Qardens (Morris Dance) Coffee—Tag by Cramm—It runs. devastated the land, they called it peace.” Mary, were chosen as Maids of Honor. being asked to watch for certain features Varied Group of Hey. Tittle Tattie) ; and, best loved of Hey the canty carles o’ Dysart, Arr. by W. Baines Cream and Sugar—Slumber Song by One of these, Mary Hamilton, loved and such as time, rhythm and mood. A vo With My Compliments all, the stirring Scots wha ha’e. Tradition Ho the merry lads o’ Buckhgven, Gavotte Du Petit Trianon.E. Lehman Mana-Zucca. A Battle Hymn was loved too well by Lord Darnley, the ist may be called upon to interpret the (Minuet) .Beaumont has it that, on the evening before the Battle Hey the saucy limmers o’ Largo, O No, John (Duet in costume) ' Bisque Tortoni—Love’s Plaint, Nocturne HREE HUNDRED years passed and Queen’s Consort. Their intrigue was dis¬ cal numbers and, no doubt a violinist may German Dance .Beethoven T of Bannockburn, Robert the Bruce was Ho, the bonnie lassies o’ Leven. Arr. E. E. Braun by Franz—Smooth and flowing. gradually the Gaelic tongue was sup¬ covered, and the unhappy lady’s fate was be available for the violin number. Even ..D. Clafflin Ballet—“Tambourin’’ .Gretry-Schutt scouting round the outposts of the English Speed . Salted Nuts and Candy—Steppin’ on the planted by the Doric dialect. Then there sung on the streets of Edinburgh in The pupils engaged in the study of music may Fox Trot (Steppin’ on the army and captured a minstrel who was After the most bitter of all border bat¬ Consolation (school orchestra) Ivories by Johnson—Crisp and snappy. was born, at Ercildoune on the Tweed, the Queen’s Maries. be called upon to play ; of the easier Mendelssohn-Klohr Ivories) .J°hnson busily engaged in trying out meters to his tles when James IV and all his army lay first real Scottish songster, Thomas the numbers. G. O. Martin harp’s melody. “What are ye doing, lad¬ dead upon “Flodden’s fatal Field,” in 1513, • uiiutio. ■ r At the Fountain.^ xyj.*n. Second Program This is but a suggestion, as there is an Rhymer, or, as he is more popularly known, Yestreen the queen had four Maries, Taking the February, 1934, number ot piem^ Cradle Song (violin and piano) die?” he questioned. “Making a battle song the sorely stricken heart of Scotland poured abundance of this material to be had. The “True Thomas.” He looked before and This night she’ll ha’e but three; The Etude for example, let us see how This dance program > for my king,” came the reply. “Then forth its sorrows in that most beautiful of of ^ y gar" gi ven“the * 12th of May.g The program may be abbreviated, exploded or after; and his prophecies, adapted to tra¬ There was Mary Beaton and Mary the idea works out. “Etude Day” was gf ^ agm^.v> ... . make one for Scotland instead, and after dirges The Flowers of the Forest. Stand J studio was decorated like a festive ball- varied to suit the talent and occasion. Also, ditional airs, had an uncanny knack of Seaton, combined with Washingtons Birthday. The Dance gr fhe jFin* (piano duet) the fight I’ll set ye free,” promised the b a lochside at dusk and catch the wailing room, and we dressed accordingly. But in arranging for the program, one pupi coming true. So great was the nation’s And Mary Carmichael and me. pupils learned to sing the words by James Arr.■ from A.at, J. Peabody Bruce. And the next morning the English notes of the chanter, as some lone piper Francis Cooke embodied in Edwin Franco few of the selections were other than from may play two or three selections, or even trust in the songs of Thomas that one of plays the lament for Flodden; and you will In this, as in so many of the Scottish The piano solos were presented by a local were greeted with the strains of Goldman’s VaUey Forge March on page 94. The Etude. We worked on this for one of the shorter groups, at a sitting. them was sung by the Scottish army before hear, over the lapse of four centuries, the songs, the air is traditional and all clues to of her pupils, Bannockburn, to hearten the fearful as they Scots wha ha’e wi’ Wallace bled, sobbing grief of a land bereft of its king; its composer are lost. the program, one faced the serried ranks of English bow- Scots whom Bruce hath often led. you will ’sense the despair of clans whose children s‘ngin® ^adle “song" was of the above dances could have been in- A Couppey Suggestion Welcome to your gory bed; honor and revenge rests in the puny hands Militant Cross Bearers played by^an advanced violin stadent ac- terpreted by the physical education de- The burn of bread Or to victory. ' V of unweaned sons; and you will share the THE STRUGGLE of the Presbyterian companied by the music supervisor, a short partment of the school, Shall run fu’ red terror of the threatened city, too stunned Lay the proud usurper low, Church and the signing of the Cove¬ ske ch of the life of the composer, Carl It is easy to see the advantages de- By Annette M. Lingelbach For Scotland’s victory. by defeat to consider defense. It is all nant produced the martial gems of Scot¬ Wilhelm Kern, being given first by the rived by the pupils from a program like Tyrants fall in every foe, there in the song preserved for posterity A “bannock”—as in Bannockburn—is a Libcrty’.s in every b' land’s minstrelsy. It may be true that the supervisor A local piano teacher selected the one outlined. It was enjoyed not only through the efforts of Jean Elliot and fiery clans marched forth to battle in the In an etude from Couppey’s, “The Al- it provides excellent drill-work in *°nic flat oaten cake used by the northern peo¬ Let u do r die. two of her students, pupils in the school, by the whole school but also by the stu- Sir G. A. Macfarren: cause of religious freedom, led by non¬ to play Dance of the Winds by A. Jackson dents of music, especially those who - phabet,” the left hand plays this brief chord formation, in the identification o ple as bread. Another of his ballads, more often quoted For many years only fragments of the militant preachers; but from the music of Peabody The arrangement by Edith ceived TheTv, EtudeExude in their homes. MusicM phrase every black key on the piano, as to bo I’ve heard them liltin’ at the ewe milkin’, by historians and dear to all true Scots, song remained, sung here and there in that period it would rather appear that the Evans Braun of an old English Folk Song, lovers in the community were linked with its sharp and flat name (when P,a> Lassies a-liltin’ before daivn o’ day; fulfilled itself when James VI, son of Mary lonely crofts and isolated Galloway cla- Covenanters gained liberty of worship with O No, John was presented by two of the the school by common interest and in full through the various signatures), ® But now they are moanin’ oh ilka green cooperation. And music teachers found it agility and smooth execution of Fyi^> Stuart, ascended the English throne and chans, until Burns gathered together the a claymore in one hand and a Bible in the oldest pupils, in costume. The school various lines and gave back to his country loanin’. other. For the army dourly marched to a great help to them to have their pupils ;'ll>l l-L-L "l . finger-patterns and runs, and in the ch*n= united the crowns of the sister kingdoms. chestra played John M. Klohr’s arrange¬ Bruce’s battle song to the tune of Hey, The Flowers o’ the Forest are a’ wede Bothwell Brig to the rousing piping of take part in such a worth while event. ing of fingers on the same key, As a dai y ment of Mendelssohn’s Consolation. With the rhythm changed to four-four Tittie Tattie, used- by Wallace centuries' away. drill in fingering-work, its benefits are t Bonnie Dundee and The Campbells are time, and played thus through one octave, Dule for the order sent our lads to the cornin’ and as dourly retreated, after de¬ stantly noticeable, while 'ts repetition in the key of Q Border, essential but all too often uniamiliar blac The independence ' of Scotland as¬ feat there, to the March of the Cameron sured, there began a succession of border The English for once by guile won the Men, keys, as B-sharp, E-sharp, C-flat. and f- wars and plunder raids between the day; Under General Leslie some of the more flat, helps to place them in the s,udfI’ , “In like measure with the soloist, the accompanist too should possess those sister countries. They were, after all, he¬ The Flowers o’ the Forest that fought mind for all time as to their location a intrepid souls carried their convictions into same qualities of poetic imaginativeness and the same musical insight and reditary foes. Sir Andrew Wood, in order aye the fairest England, singing as they went: grasp of the inner meaning of any given composition. —Harry Kaufman. most practicable finger-combinations. AUGUST 1935 PAGE 451 THE ETUDE THE ETUDE

Away on the waves, like a bird on the PAGE 450 AUGUST 1935

March, march, why the deil do ye no And aye as it lessened she sighed as she

. Stand by your arms, Laddies, fight in Farewell to the lad I shall ne’er see Making My Family Musical good order; Front about ye musketeers a’, till ye come to the English Border. With a united nation, England and Scot¬ What It Has Meant to Their Lives and Mine Stand then and fight like men, true land under one flag, one king and one Gospel to maintain. parliament, came a united army to fight That all the world may see, nane’s m the a common foe. In the wars against Na- right but we. poleonic aggression in Spam and France, By Mrs. Daisy F. Baker This song, in its modernized version, is the Highland Brigade swung gaily to vic¬ known as The Blue Bonnets are over the tory, inspired by Border. In the garb of old Gaul, with the fire of THE STORY OF THE UNUSUAL ACCOMPLISHMENTS OF Loss and Lament old Rome, CAME THE ATTEMPT of the Stu¬ From the heath covered mountains of A MOTHER OF SEVEN CHILDREN arts to snatch back the crown and Scotia we come. This is a true narrative of a mid-western mother who had the ambition and throne from the “wee German Lairdie.” We’ll bravely fight, like heroes high, for the courage to combat apparently insurmountable obstacles, in attaining her Under the glamorous and romantic Charles honor and applause. ideals in the education of her children. Through all these years she was the Edward, all loyal Scots rallied to the roy¬ And defy the French with all their arts alist, cause and produced for posterity the good and efficient housewife, the musical mentor of her children, their source to alter our laws. Jacobite songs. The supporters of the of inspiration for the best attainments in all they undertook; and, most val¬ Young Pretender gathered at Inverness, And, while the men were waging war uable of all, she retained always a true mother’s place in their hearts and while the pipers blew The Standard on the over the water, the lassies at home sang lives. Her tale is a splendid recital of what determination can ^accomplish. Braes o’ Mar. Bravely they marched their praises, explained their absence and —The Editor. south to the strains of Charlie is my longed for their return (with true north¬ Darling and Wi’ a hundred Pipers an’ a. ern economy even of words) in one song, They derided the routed English forces The Blue Bells of Scotland. with time she was but a few months over six¬ Looking back through the pages of musi¬ are children. Each child must be handled ticed and played over five hundred duets. My SEVEN children, three boys teen. Today she is a violinist of note in Hey, Johnny Cope, are ye waukin’ yet, cal history, Scotland has produced no according to his disposition, his mentality A soloist at nine! Just application—that’s and four girls, were born within this city, with a beautiful tone of her own, And are your drums a-beatin’ yet, world famous composer, no outstanding mu¬ and his receptivity. One system cannot all! a period of fifteen years. As a and is also a very successful violin teacher. If you are waukin’ I maun wait Far over the hills of the heather so green, sician. Yet her songs, with their tradi¬ work with all. My second child presented other prob¬ ern Isles, while the adherents of his lost mother, without outside assistance of any When she was eight years of age I began To gang for the kye in the mornin’. And down by the corrie that sings to the tional airs written for the skirling pipes, My youngsters always heard in the home lems. Exasperation, patience, application, cause mourned for him with Will ye no kind whatsoever, it has been and is yet a her piano work, teaching her as I had the will live on in her people. Those vibrant the best of classical selections. When the comedy—what not? I have enjoyed many But a remnant of an army—men who come back again? His months of wander¬ problem to rear and care successfully for boys. She was interested and for five years The bonnie young Flora sat sighing alane, melodies of the northern minstrelsy are seventh child was born the oldest child, a laugh over this student; and he is now had suffered defeat and loss under the ing in the Hebrides, his long waiting for that many children—let alone trying both studied her piano thoroughly. She plays more than mere songs, more than stirring a boy of fourteen, was playing Beethoven’s nearly twenty-two years old. The second white cockade—they retreated to the wail¬ a ship to take him back to France, and his The dew on her plaid and the tear in her to help them in general educational sub¬ all accompaniments for her violin pupils history. They are the singing soul of the Sonata, Opus 27, No. 2 (the “Moonlight”). child was another boy—not quite so recep¬ ing dirge of Wae is me for Charlie and love tryst with Flora Macdonald; all of jects and to teach them music. Yet I did on their recital programs; and she is the these are immortalized in Over the sea to Scottish nation; and, being so, they are The first sound to greet the new arrival’s tive as the first—and full of the “Old Mackrimmon’s Lament. She looked at a boat wi’ the breezes that it, and am still “eternally at it.” head of the violin department of The Ham¬ Skye; Farewell to Fiunary; and The immortal. Though obliged to earn a living since ears was that sonata of the great composer. Nick.” After four months of work over An exile, with a price upon his head, swung. mond School of Fine Arts. Prior to her Lament. the age of eleven, I have had through all the same ground, I decided that either his Charles Edward Stuart fled to the West¬ A Practical Course Necessary mind was not right for the reception of senior year she took up the baritone horn the years a love for the art of music that but had only two lessons; then in the three has been equalled by nothing else that I WHEN THE FIRST child had music, or he was too full of life. Having reached the age of seven, I decided become disgusted with him, I decided to months of vacation, she did ninety-five know. In time I became a teacher in the hours of work on this instrument in con¬ Know Your Piano public schools, instead of the routine it was time to start his musical education; wait until he was a year older, and this and I began to cast about for suitable proved a very wise delay. nection with her violin and piano work. teacher of music. Because of being an The fourth child, another girl of seven, orphan, I needed a steady income. As I studies. The “Standard Graded Course” Though those two boys were but two Your Piano Has Over Six Thousand Parts. It Pays to Know Something About by Mathews seemed to be the most thor¬ years apart, their personalities were as was started over the same ground. She worked my way through high school by was a great deal like the second boy—too playing with orchestras, “troupers” and ough, according to my ideas; and the con- different as day and night. It takes many full of life, too full of play; and she had a church choirs, as well as by clerking, I stand use of that course has proven the moments and much thought to convey in¬ By Margaret Ann Ahlers sharp, fearless way of telling me about it, was enabled to get the foundation of an wisdom of my choice. For seventeen years struction—but, “a teacher once, a teacher too. Disgusted, I delayed her instruction education in music along with the general I have used it, supplemented with Czerny’s always”—and I put forth my best with gauge, to determine uniform thickness studies, with scales, classical selections this second one. until she was eight years old. In time she of poplar, quarter-sawn, and the outer subjects. or blood-curdling trumpeting. which is necessary to insure pure tone. from the old masters, and popular classics, became the best pianist of my children (the WHEN YOU PICK UP a beautiful surface is of mahogany or walnut. The The Value of a Piano Foundation oldest son having died in the interim) and Only the best grade of felt, made from The shortest time required to build a A Musical Religion as outlined in the start of each grade of the book, feel the texture of the paper, rim of a grand piano is not one thickness is known over the entire city, in all musical the finest wool, is used in making the deli¬ piano is six months; and in many cases EVEN YEARS in a schoolroom and Mathews course. These studies are very THE SECOND CHILD had five years examine the quality of binding and of wood, but a series of plies of very hard S activities, as ranking among the best ac¬ cate hammers that strike piano strings. several years are necessary, depending on almost a lifetime in music surely have helpful as to (1) fingering, (2) print, (3) of steady and thorough instruction in type of printing, there is an appreciation wood for the inner rim so that there may companists. She has “placed” in several Likewise, only the finest material will do the size, style, and case design. given me a general outline of knowledge, footnotes and (4) themes. pianoforte playing. Although at the age of fine workmanship and materials; but be great strength to support the sounding contests on piano. Incidentally she is a for the keys, so that human fingers may pedagogy, routine and descipline, along with At the beginning, the plan of study was of fourteen he relinquished the piano for when you sit at your piano do you give board and plate. The outer rim has a core good trumpet player, and can be heard know no hindrance in movements of any Make Friends With Your Piano the pleasure of teaching music to my seven adapted to the child. Although seven the clarinet, he has not forgotten his piano any consideration to the instrument as the of maple or poplar, with mahogany or every Tuesday evening at 6:30 (D.S.T.) tempo. The elephant’s tusk of valuable OULD IT NOT be a good thing for youngsters. It has seemed as though all years of age, he had never attended school, foundation. It is as thoroughly imbedded perfect result of a combination of fine walnut for the surface layers. The action W over WO WO, playing solo trumpet with craftsmanship and materials ? Do you ivory furnishes the smoothest and most sat¬ teachers to devote a little time to through my early life, I had really wanted but he already had a high type of mentality. in his musical background as if he had been parts are made of specially selected north¬ Fort Wayne’s “Rhythm Queens.” She was really appreciate the instrument that re¬ isfactory covering for the white keys. explaining how tone is produced in a piano nothing but my music and my high school Beginning with the staff, notes, rests, and taught but yesterday. His ability was ern hard maple. first pianist in the High School Orchestra, sponds so readily and fully to your love From the depths of the dense forests of and why so much care and skilled workman¬ diploma. There was, though, one other so on, the first lesson or two had to do enough to enable him to play the clarinet In fact, all the wood in your piano was and first trumpet player in the band at India or Ceylon comes a heart-wood, called ship were applied in its construction? ambition: to marry and to be blessed with with purely instructive and memory work. for two years in school bands and orches¬ and desire for music? specially selected. Each piece in the rough that school; also accompanist for glee If children were instructed more fully ebony, that is used for the black keys. No It is not the purpose here to enter into children. With this was the desire to teach I think any teacher will agree that the tras. At the same time his piano training was struck to see if it had the proper ring; clubs, her entire four years. Each of these about the instrument they so patiently try other wood will do so well for this pur¬ a technical discussion of tone production each of my children to play the piano. The student who ultimately becomes a pianist enabled him to play accompaniments, in pose, since ebony is noted for its hardness, its texture had to be up to a certain stand¬ two girls has had two and three lucrative to learn to play, perhaps the times for or of piano building, but rather to suggest result of these efforts is seven good piano must practice persistently and consistently. public, for Lucia, Humoresque, and other heaviness, and deep black color. ard and its grain true and straight. After offers, respectively. As a teacher, I insisted practice would become far more interesting. that music students and owners of pianos players, and some very excellent ones Any student, to be successful, must have violin compositions, for his boy friends and the wood was delivered to the factory it upon their having a high school diploma, If a child knew how various woods, wires, would realize and appreciate more fully among them. Besides playing the piano, the will power to practice regularly. Bet¬ his sisters. I have been doubly rewarded Choice Woods was stacked in the lumber yard and there before attempting other work. and metals are employed to produce mu¬ the value of the piano, if they gave more two are clarinetists; two play the trumpet; ter two thirds practice and one third real by hearing and watching the pleasure in HE SOUNDING BOARD of your seasoned from two to four years. sical sounds, he would be more concerned T consideration to the various elements, ma¬ one, the slide trombone; another, the bari¬ talent than vice versa. The school teacher’s the faces of my two good-looking, six- piano, could it speak, might add a Won State University Contest about how to make his own fingers bring Myriads of Parts terials, time, and painstaking-labor that tone horn; and two, the violin. All of routine was my principal asset in making footer sons during their piano duet per¬ wealth of beauty and inspiration to your formances in public. The older one has ET ME TELL you about the crowning forth the tone so marvelously created. EW OWNERS of a grand piano were involved in its construction. them can sing, though no special instruction successful musicians, of my children. In 1 playing. It would tell of some virgin for¬ F passed on to his reward these few years J reward for practice and patience, We tell our children much about com¬ know that its action contains about five The gap between the production of raw has been given them along this line. My the seven years I taught the first child, I est, undisturbed by matters of the world, ago. Music was the attainment which gave study and application. It came with the posers and fill them with musical appre¬ thousand, six hundred and eighty-four materials and the sensitive instrument, that first two children, however, were actively missed only six lessons. Practice—eternal, carpeting the mountainside with an ever¬ him the keenest pleasure. It brought him fifth child, who was born on Washington’s ciation talks; but how much do we tell parts. Students know how many notes can be made to paint the most delicate engaged for seven years in a boys’ choir, everlasting practice—and still more prac¬ them about the basic musical instrument? lasting tapestry of glorious grace and color. financial profit and the deepest delight. birthday. She brought fame to her brothers, there are in a scale; but how many of or the most majestic tone pictures at the and my small boy is now a member of a tice, was my motto. I laid much stress If they knew more about how the piano It would tell how sturdy woodsmen came What a mother’s neglect it would have sisters, teacher, friends and high school, them know anything at all about the work¬ player’s will, is indeed a wide one: but 1 church choir. upon teaching the oldest child correctly. seeking only the finest spruce trees, and been if I had failed to give him that exalt¬ by winning the gold medal, first place, in is made and something of the romance of ing interior of the instrument that pro¬ has been successfully bridged, and today All the girls have sung in school glee As the first child is taught, disciplined and its construction, they undoubtedly would how proud giants felt the sharp sting of ing joy. The other son, now a man of the Indiana University State Violin Con¬ duces them? An upright piano action has one of the finest accomplishments man ca clubs, and one was for two years a mem¬ trained, so the others in a family follow, have more respect as well as interest for flashing ax and the heart-breaking cut twenty-two, married, comes regularly to his test of the spring of 1933. She had been six thousand, six hundred and fifty parts possess is that of bringing forth music ber of the city’s Philharmonic Chorus. My naturally. I used the same method and of a wide saw. Yet the sounding board mother’s home and never fails to play with playing the violin about five years, with the instrument. in its action; and a single key action from this miraculous combination of meta, boys have taken parts in light operas in studies in teaching all of the children, ad¬ has no tale of woe; for is it not more real delight. her only instruction in the home; never¬ wonderful to have a part in producing for either style piano has approximately wood, and felt. school, church, and civic affairs. I have justing them to the peculiar needs of each. The Animals Contribute The third child, a girl, began to study theless she was gladly accepted in all the eighty-five parts, many of which are fin¬ A piano never should be looked upon as never tried to do anything with their When the oldest child was nine he was OVE OF NATURE and music is uni- music than to stand idle in the sun? the violin at the age of seven, under the orchestras in which she could find time to I Only the closest grained spruce is used ished and assembled by hand. The plate a piece of furniture, or as just something voices, though I, myself, have spent more playing in public, and proficiently, the J versal, yet do we often consider how supervision of an outstanding violinist and play. When she won the gold medal she for sounding boards; for the closer the of a concert grand piano weighs nearly to fill a certain comer. The same in¬ real money on the cultivation of my voice secondo parts of the most difficult and much music owes to nature? Without the orchestra leader. His patience and strict had had but one year of outside instruction, grain, the greater the resonant quality of four hundred pounds. visible spirit, that breathed life throug than in the study of the piano and so was longest arrangements of such piano duets assistance of plant and animal life, we instruction have given her excellent pro¬ this under the guidance of Gaston Bailhe, the wood. Other kinds of wood also are There are approximately two hundred the great spruce on the mountainside, lire5 capable of instructing them. To me the as “Poet and Peasant,” “William Tell,” certainly would not have the musical in¬ outstanding violin teacher and soloist, later used in the piano, and each could tell why and twenty-five strings in a grand piano today in your piano, ready to respond o highest type of music has been instrumental Bartlett’s Grande Polka de Concert, “II fessional openings in this city. She was struments of today. The quiet sheep, supervisor of music at the Central High it was chosen. Poplar or chestnut fur¬ of medium size; and, when tuned to pitch, the touch of human fingers and to release Trovatore,” and other compositions. Duets the winner of the silver medal—second munching meditatively on a hillside, and School. I am sure not only that she has nish the core of panels, while fine ma¬ the tension pull is from eighteen to twenty beauty beyond price. Parents know that in any family one finds are invaluable in helping to teach the keep¬ place—for her violin work in the Indiana the mighty elephant, crashing through just as many different dispositions as there ing of time. In seven years my son prac¬ University State Contest of 1930. At that been the youngest violinist in Indiana’s high some dense jungle, contribute more to the hogany or walnut are used for the outer tons. In instruments of finer quality, all Do you really know and appreciate you production of sound than a tremulous bleat layers. The lid, or top, also has a core single wire strings are tested through a THE ETUDE AUGUST 1935 PAGE 453 THE ETUDE PAGE 452 AUGUST 1935 nade and Country Gardens by Grainger. schools to win this coveted medal and state The fourth girl is working on Mendds- recognition, but also that she is the young¬ sohn’s Rondo Cafriccioso, Op. 14, and the records and radio est concertmeister in the local graded schools. She commenced her study of the secondo of Wach’s Capncante. The Romances of Great Musicians My children have been trained to give violin at eight., I had started her piano their talent to the churches. This they By Peter Hugh Reed work at seven. Her technic on both in¬ have done, without discrimination as to struments is such that it attracts wide at¬ sects, to give pleasure to others, as God tention. Her ability to memorize is very has given talents to them, as well as hav¬ Romance in the Life of Schumann unusual. Although the violin is her major tyque” (three panels or moods). It is ing blessed them with sound bodies and HE RARE musicianship of the instrument, she is almost equally proficient T excellently performed by the string section Kolisch String Quartet, whom our of the St. Louis Symphony under the di¬ upon the piano. own Mrs. Elizabeth Sprague Coo- The second sister is the official accom: ""'My' deceased son was one of the first rection of Vladimir Golschmann. This is radio artists in Fort Wayne to be paid for lidge imported from Vienna for the By Stephen West panist for the violinists. The older violin¬ the debut of Golschmann and the St. Louis his work. He was an accompanist, ar¬ Library of Congress Festival of Cumber ist won her silver medal by playing Monte’s Orchestra on Columbia records and in¬ ranger and dance pianist at seventeen. Csardos; and the younger violinist received Music in April, is ideally ,set foi* “ cidentally the first of Columbia’s new “wide- Practice becomes habit; and habit was so Schubert’s “String Quartet m G Major, range” recordings. Rhythmical energy is ing, was deeply in love with him, there her gold medal for playing Souvenir de HE YOUNG MAN from Zwickau through the extraordinary vision that made the creative gift within him and worked strong in later years that he would get Opus 161” (Columbia set 215). We T existed not the least thing romantic be¬ Haydn by Leonard. The accompanist was the chief characteristic of this music, its smiled to himself as the diligence her playing so remarkable, knew with cer¬ at his piano with nearly superhuman zeal. up from the morning and evening meals highly recommend this set to our readers. harmonic coloring being secondary to its tween them in those years. Clara was at but fourteen at the first contest and had rolled along towards Leipzig. At tainty that Schumann was the one man in Success was his dream. To hasten it, played the piano publicly but a few times and go straight to the piano. The “G Major,” like Schubert’s so-called impulse. It is most effective. he invented a device of weights and pulleys the height of her fame; and her father, Help? I have had no help from anyone last he was on his way to the home of the the world who could be her husband. and then in school. I was on tiptoe at this “Death and the Maiden” Quartet, is_ one It has always seemed strange that which would “strengthen the fingers arti¬ eager only for her career, kept a rigid in raising the children, only the things they great Meister Wieck! He pictured him as Never was she to waver from the affection preliminary contest, because both had so of his greatest chamber works. It is Chausson's “Symphony” has never attained ficially,” and assure him, within a few guard over her. Each year brought her could do for me as they were growing. 1 genial, kindly, all that a music master she bestowed as a precocious child of nine. much at stake. Winning at this event more symphonic than the other work, and the popularity enjoyed by that of his weeks, the virtuoso technic which it takes fresh triumphs. In Paris, Chopin was have done all my own work, without wash¬ should be. But, when he arrived there, he Meanwhile, at Heidelberg, Schumann brought much, local glory to both of them. truly Beethovian in part. In its ay, teacher, Cesar Franck, for both works are years to acquire at the keyboard He charmed with her music and spent hours ing machines and such mechanical acces¬ saw a very different sort of person. He was doing all he could to get himself ex¬ When they went to Bloomington, they went which curiously did not start aurally until similiarly eloquent and exalted. The in¬ showed his invention to Wieck, who sen¬ with her in an exchange of musical ideas. sories; I have baked my own bread for found a tall, gaunt man, with sharp fea¬ pelled. He was censured a hundred times alone, as I could not leave the rest of my 1852—for the work was not performed fluence of both Wagner and Franck is sibly forbade it. But when Wieck left Mendelssohn entered into a friendship with twelve years; I made every shirt my hus¬ tures, hawk-like eyes, and a masterful for recklessness and extravagance. A very • growing family. Imagine two young girls until twenty-six years after the composer s her that was to last his life through. band and sons ever wore—even the traceable in Chausson’s music, and yet manner. Wieck, in his turn, noted the human figure he made, choking back tears home with Clara, on one of her tours, alone on such a mission! America! death, the resistless impetuosity of the Schumann lost no time in putting it to the Wieck let it be well understood that an knickers, coats and heavy coats. As a it owns a sentient fire and emotional spon¬ youth’s broad brow, his generous features, of disappointment as he saw his beloved Let me tell you more about the younger finale must have seemed most daring. impassable gulf lay between this phenom¬ woman of education, with cultural ambi¬ taneity distinctly its own. Like Franck’s and flashing eyes. There might be some¬ music snatched from him. test. By the end of the first week the violinist. Four years ago I decided she For even today it is most impressive when enal daughter of his and any struggling symphony, Chausson’s is in three move¬ thing to such a fellow! “But I’ll show them what happens when third finger of his right hand felt stiff , and should play a horn. Having selected the tions I had no desire for many of the performed with such precision as it is in ments, and in the “cyclic” form. The long “Play for me,” he said curtly. they tie a musician down to dry law!” he lame. The doctor tried to put his diagnosis young music student. But as far as Schu¬ slide trombone, with a dozen lessons and things which attract some mothers from this recording. opening tune gives birth to all the thematic The young man seated himself at the stormed. “When I have disgraced myself as gently as possible. As the result of mann was concerned, Wieck’s precautions “oodles” of practice, and despite a per¬ the home. The home, from an educational Cesar Franck’s first real public acclaim material in the work. Chausson was a piano and played something of that daring sufficiently, they will have to let md go!” exercising with his machine, Schumann had were unnecessary. He did not seek the sistent dislike for any horn, she has become standpoint, has been my vital interest. The came when his “String Quartet in D nature lover, and it is the subjective spell “modern” in Vienna—Beethoven. Wieck so crippled the muscles of his hand that girl. Clara, to him, was just a pleasant a very good player. She plays trom¬ standing of my children in school and in Major” was performed. This was in of nature which we feel and enjoy in his smiled. Indeed, there was something to A Muse as Victor and Martyr he would never again play brilliantly. little girl. bone in a high school band, in the News- music has been my chief concern. There April 1890, seven months before his death. music. him! ITHIN eighteen months, Schumann He tried to bear up bravely. Perhaps After the loss of his playing, Schumann Sentinel Girls’ Band, and she and sister has been but little financial income for Consistent with his retiring nature, he Victor's recording of this work (set “What did you say your name is?” had won his point. He made it plain his hand might heal in time, he wrote had floundered like a ship without a rud¬ (the trumpet player) are the only female music lessons; the instruments have been could not accredit the applause, which fol¬ M261), made in Paris under the direction “Robert Schumann.” that he would work seriously at nothing Wieck; perhaps he could “write little der. His early compositions were but members of Fort Wayne’s pride, that prize- borrowed; it has been practice, practice lowed the initial performance of this quar¬ of the versatile Piero Coppolo, should On his first day as pupil in the Wieck but music; and, rather than see him waste things” while he waited. There is small moderately well received, and he felt that winning crack band, American Legion, and still more practice! For every hour tet, to himself. It must be, he contended, prove a popular one, for Chausson’s music household, Schumann made it his business himself, his mother allowed him to return doubt, though, that this cruel accident life was against him. He now assumed an Post 47. They attend all rehearsals of the of outside paid instruction they have each for the players. But the applause was in is truly emotionally elevating. to listen out for Fraulein Clara’s practic¬ to Leipzig and to Wieck. But she found sowed the first seeds of that mental depres¬ air of bravado, to hide the fear and the band, are prompt, efficient and business¬ done fifty hours of individual practice. truth for his fine quartet—one of the most It is difficult to believe, when today we comfort when that master wrote that sion which was later to darken the lives grief within him; he worked less and What do you mothers think of that? essential works in that form. Today, ing. Clara Wieck was a celebrity—the like, and their training under’ this director “Robert’s gifts should place him among the of Schumann and all those close to him. flirted a bit, becoming engaged, finally, to when we applaud a performance of this listen to Rossini's Overture to “La Gassa greatest feminine pianist of the day. He (Earl Cheever) is of the best. I think School Work and Health world’s great pianists within two years.” a wealthy and over-lively Bohemian girl, quartet, we too applaud the composer, for Ladra" or "The Thieving Magpie," that entered the music room and found at the that now she is rather proud of her horn Not Neglected So 1830 saw him once more installed in Friendship Platonic Ernestine von Fricken, who was also a even though the artists perform the work the double drum roll which opens it could instrument a little girl of nine, small, deli¬ playing. Children’s likes and dislikes vary EGLECT school work, to accomplish Wieck’s home, and little Clara was happy. ESPITE THE FACT that Schumann pupil of Wieck. with each growing period—things once N outstandingly as in the present case have offended anyone’s aesthetic sense. cate, with wistful dark eyes. She wel¬ D all of this? No! Being a teacher, Up to that time Schumann had composed showed a hardy courage in most Wieck, as far as he gave the matter any disliked may become those the most en¬ (Victor set M259), it is the spirit of Yet in Rossini’s time a conservative comed him timidly, with a dignity better the work of the school came first. I made nothing serious. He was unconscious of things, and that Clara, who showed noth¬ thought at all, was more pleased than not joyable. This third girl seems to be the Franck which primarily sustains our ad¬ musical contemporary is said to have suited to her father’s years than her own. a demand that each child should get through threatened to shoot the composer for his “And this shy, frail little child,” thought by this “student romance,” and Schumann, most talented of all, musically. high school in just four years, with good miration. wearing his mask of gaiety, took his new The sixth child, another girl, is almost Another outstanding performance from "musical audacity.” This tuneful work is Schumann, “is the greatest pianist in the grade marks. The first four have come good fortune rather boisterously. No one as good a musician (piano) as the preced¬ the Pro Arte group is that of Borodine’s “alive in every phrase,” and when a con¬ world!” Wieck never tired of telling how up to that standard. The oldest one made suspected the bitter grief which the be¬ ing one; and she has had three years train¬ “Second String Quartet in D Major” ductor like Beecham interprets it, it is a he had “made an artist of her.” the grade school in Fort Wayne in four “I, too, had my dreams of becoming a trothal caused the celebrated Clara, whom ing in clarinet playing. (Victor set M255). The slow section of real musical treat. Columbia gives this an years; high school in four years, and great pianist, but when they came to naught, all the world envied! The youngest child is a boy of nine. He this work, a pleasingly tranquil Nocturne, excellent recording (disc 68301D). graduated at sixteen. He worked in offices did it discourage me? Not me! I still “To be finished with life and not yet is playing Grade III of the Mathews has long been available on records. Why The Leeds Festival given yearly m and, at the end of two years, entered In¬ had the future to gamble with! Even be¬ sixteen,” she wept privately. “And it is Course; and he has had one summer’s work it has been featured to the exclusion of the England is one of that nation’s outstanding diana University for one and a half years fore Clarchen was born I determined that all my own fault! When Ernestine first on the violin, and three years of work on balance of the work is difficult to under¬ choral events. Columbia is said to have of study, working his way. Death, by ac¬ she should be a musician, endowed with all came to us, she was not especially at¬ the trumpet, as well as two years of boy stand. For the essentiality of this quartet made some verv fine recordings during cident, removed him at the age of twenty- I lacked. At five, she could neither speak tracted by Herr Schumann. She found choir experience. is certainly better attested by its other the Festival of 1935. The first of these, a one. The second boy worked during four nor understand speech, but I encouraged him too serious; she liked livelier, more three movements. Hence, it is good to massed duet for male voices. The Lord Is years in high school, as a delivery boy her to express herself at the piano. And worldly young men; and I kept praising Must Children Be Forced have a fine performance and recording of a Man of War from Handel's “Israel in in a drugstore. He graduated at seventeen. at nine, she is the greatest of them all. him up to her, just because I could not to Practice this spontaneously lyrical and melodic Egypt” whets our appetite for more, for Are the children undersized? In poor Even Goethe has said so! And it is I who bear not to see him properly appreciated! work played, in its entirety. this recording is an exhilirating expe¬ MUST THEY be forced to practice? health? Defective? All are in the pink rience. The excellent direction of the choir have done it! Not even Fate could balk Oh, if only I had minded my own I say, “Yes.” The law forces chil- of physical perfection, rather large in body. Two supreme examples of Bach’s musi¬ business!” cal eloquence and genius are to be found and the orchestra (the London Philhar¬ dren to school for a specified number of Never sick—physically perfect. Am told “What chance,” thought Schumann, “has in the Musical Offering and The Art of monic) is due to the interpretative genius years; religious parents force their off¬ all are good looking. a wistful child of nine against a father The Dawn of Womanhood the Fugue. After the splendid recording of Sir Thomas Beecham. one of England s spring to church for religious education, Advantages of music? My last gradu¬ whom not even Fate could balk?” He felt ORN BETWEEN the hurt she felt of the latter, which Columbia recently gave greatest conductors. (Columbia disc 17044- T parents force children to obey. Why not ate, this June, from high school, remarked, genuinely sorry for the little celebrity and and the task of hiding it from her force children to practice music? Mine “Mom, we wouldn’t be anything if we us, it is good to have Victor bringing us D.) father’s watchful eyes, Clara welcomed an¬ Recommended recordings: Beethovens made it a point to be gentle with her. In happen to be talented, they say. Do not didn’t have our music.” It brings them a part of the former work. The Musical other concert tour which carried her away “Kreutzer Sonata" played by the Menu¬ those days, Schumann was merriment believe, readers, that talent has every in contact with the best of people and into Offering, dedicated to and founded on a from the scene of Ernestine’s happiness. hins. brother and sister (Victor set itself. Such games as he knew! Such sto¬ chance, unless constant practice is empha¬ many places where otherwise they would theme of Frederick the Great, has a richly But the years were working a subtle change M260); the album of Johann Straubs ries of fairies and elves as he told at twi¬ sized. This is true in every endeavor, is not gain admission. fluent six part fugue section, known as a light! As one of his games he invented in Clara. Young womanhood brought her music played by Eugene Ormandy and the it not? Mine have been eternally taught A few straight-laced people, with limited ricercare, written for the keyboard, which a set of varied personalities, each with a a poise and a dignity which were not as¬ Minneapolis Orchestra, which contains good music; they have heard it all their experience, still look upon music as a pro¬ Edwin Fischer has arranged for string or¬ different name and symbolic of a different sumed merely to please a strict father. that lovely study in contrasts, the “Accel¬ lives. Did they rebel? Certainly, like any fession which may lower the moral stand¬ chestra (Victor disc 8660). We classify mood; and by assuming them, he and Clara What, in the child, had been blind obedi¬ eration Waltz” as well as the "Blue other children. But—they were not allowed ards of the individual. Quite the opposite this as one of the most notable single disc “made believe” they were different persons. ence to parental tyranny, now developed to participate in their own coveted pleas¬ is true. My oldest played under the worst releases in months. Danube,” “Tales of the Vienna Woods Those names and the moods they represent into a remarkable strength of character, ures until so much daily practice was done. and the best of influences. He had every op¬ Another notable single disc release is and the overtures to “The Gypsy Baron —Eusebius, Florestan, Chiarina—live to¬ which enabled her to perform whatever After thorough grounding of classical portunity to lower his moral standards. Edwin Fischer’s superb performance of and “The Bat" (Victor set M262); Lalos day as the subtitles of Schumann’s "Car- tasks her duty set for her, without subject¬ music, thev have been allowed to play any¬ Did he? I never smelled liquor on his Handel’s Chaconne (Victor disc 1597). "Symphonie Espagnole" played by Huber- naval. ’ With all her fame, Clara had ing her inner spirit to the dictates of any thing and everything—the only way to breath, and never saw him smoke but three The pianism exhibited on this little disc man—a virtuoso performance, brilliantly never had such fun! will but her own. Without rebellion, Clara become a true business player and a real times (did not care if he did). It is the is most unusual, a rarely balanced emo¬ recorded (Columbia set 214); and Bachs developed a firm independence. Curiously musician; but I have noticed that they individual which counts, no matter in what tional and intellectual achievement. Choral Prelude. Out of the Depths I Cry Romance in the Bud enough, Wieck’s excessively masterful never get very far away from the classical work he may be engaged. Correct home An ingenious work, reflecting the pulse to Thee, played by the popular organist T WAS ALL too brief, though. Herr methods of training produced one of the of contemporarymntemmrarv lifelife, iis Tansman’s “Trip- I music. training is the best character insurance. Archer Gibson (Victor disc 36165)- Schumann was still very young, and most free and most resolute personalities In assigning “pieces” I never have given These children have always had the respect much under the domination of a severe in the history of music. anything but classical and semiclassical se¬ and admiration of the best people of our mother, who ordered him off to Heidel¬ The tour was over, at last; and, with the lections. My best pianist is this summer community. berg, to study law and to learn “more knowledge of Schumann’s betrothal upper¬ working on Hungarian Rhapsodie, No. 2 The Fun of the Thing serious things than music.” Outwardly; most in mind, Clara returned to Leipzig by Liszt; my gold medal winner is work¬ Music will not satisfy the desires of all people; zee need variety of inter¬ his departure meant that Wieck lost a with dread and loathing. What good did ID IT TAKE a great amount est. But zvhere music, good in quality and easily available, is furnished, it ing on Chopin’.? Impromptu, No. 29; she D gifted pupil and that another dream-mad it do one to be the greatest pianist in the patience and endurance, of cour shows remarkable appeal to great numbers. It seems to be established that has just finished memorizing Chopin’s music student was forced into “a more world, when the heart ached with an almost and will power, to teach them ? Of cot a majority of people who give attention to music come to find in it a major Funeral March, and Liszt’s La Regata proper calling.” But quiet little Clara, physical pain? She would gladly have Vcncsiana. She plays Callirhoe by Chami- (Continued on Page 48S) pleasure.—George Eastman. AUGUST 1935 PAGE 455 THE ETUDE THE ETUDE

Heder were the fruit of his years of frus¬ PAGE 454 AUGUST 1935 and defaming ^ ^^vSbuzIeff trated hopes, and include some of the Once, while W.ieck was off his guard, world’s most glorious love songs, among changed places with Ernestine, who Robert managed to speak to Clara for amounted to nothing important, but whom them being Die Lotosblume Der Nuss- few hurried moments; other few tim baam, Widmuiuj, and Du bist me erne The Lure of Musical Instruments Schumann had chosen! secret meetings were arranged at the home Wieck six weeks in which to bnng definite Blume. They belonged utterly to Clara. of a friend. But that was all they saw of proof of his damaging charges. The career of Clara Wieck had now A Man is Born each other; and, when Wieck got wind of Leipzig knew Schumann. Whenthenews LARA MIGHT have spared herself ended and that of Frau Clara Schumann Something of the Romance That Surrounds These Music Makers C those hurried meetings, even they were got abroad that Wieck had ^ccused h.m of had begun. Though the girl was young that pain, however. Those first few stopped. Clara, who was still a minor, had habits of life of which he was entirely and accustomed to public adulation, she was weeks of enchantment with the boisterous, to promise not to see Schumann again. innocent, public opinion turned. shanffy wise enough to realize that her husband’s somewhat ordinary Ernestine, had com¬ Yet, with the fortitude which made it pos¬ aeainst the malignant old Meister a By Dr. Julia E. Schelling pletely disillusioned Schumann. It was one sible for her to obey without bending her creative gift was of a higher order than 5f«5»l friends stepped in to her own gift of interpretation; and she thing to romp with a girl like that, but spirit, she remained faithful to her love. i>air At last fate turned against the cruel quite a different matter to think of her as never wavered from the allegiance which Their courtship was continued entirely by SMm "who had tried ... his life .. ™ « a life’s companion. The quiet magic of placed his welfare in her hands. Except the mountains, saying, “When you enter letters, which had to be smuggled m and her. When time came for the final hea ANDERING THROUGH the Dr. Schelling takes the reader on a visit to many musical instrument those long twilight evenings of fairy tales W the tavern, the band will recognize you as out of Wieck’s house under fictitious names. for rare appearances, when her playing musty corridors of an old museum, museums. American readers need not go to London, Pans, Berlin, Munich and music was gone; and, almost without ing, the court judged Wieck s Proof an American and immediately strike up These letters, which today cover hundreds insufficient and decided the case in favor meant a definite advantage for one of Rob¬ it is intriguing to try to under¬ or Copenhagen to see fine assemblies of fine instruments. The Steinert knowing it, Schumann missed it. He longed of- closely printed pages, stand unique for ert’s new works, she retired from the con¬ your national jazz. Let them play it for a of Robert and Clara. stand the thoughts of the captive instru¬ Collection, the Crosby-Brown Collection and the Stern Collection as well time, for it is delightfully amusing. Then for sympathetic comradeship and quiet their unwavering affection and gallant cert stage at the very zenith of her powers understanding. Somewhere at the back of ments hung on rusty pegs or peering, like as many others resident and exhibited in our country, are as complete hand the director this note; and, after his courage. , , An Idyl Begins and with a public following equalled only caged animals, from glass cases. Silently his mind he had a. picture of just such com¬ Clara’s greatest source of comfort, dur¬ a the ivorld.—Editorial Note. reading it, you will hear some genuine six¬ N SEPTEMBER 12, 1840, after more bv that of Paganini. they gaze after the passer-by, as if long¬ radeship, but for the life of him he could ing those hard years, was the fact that she O teenth century Gypsy music.” than five years of stormy courtship ' “From now on,” she said, “Robert is my ing to be heard again in marble halls or in not tell where it had been, where to find deliberately used her position as foremost A Royal Flute of Hungary times were used to punish a piper who We drove through the darkness, over it again. And then Clara came home from and bitter heartache, they were quietly career.” . milady’s boudoir. The lutes, especially, piped a false note, or to pinch the fingers villianous mountain roads, to a dilapidated pianist of the day to “make” Robert . Schu¬ UDDENLY before our astonished eyes married. As a wedding gift, Schumann And that was the position which the seem pining for the touch of the fond lover, S of one who struck a wrong key of a clavier inn filled with native Hungarians; and, as her tour. ... „ mann This, perhaps, remains her greatest for the glance of bright eyes from behind a huge flute loomed up, a very giant Something had happened to Clarchen. achievement. But for Clara, the very orig¬ gave his bride a specially bound copy of greatest pianist in the world was happy to or blew a false note on his trumpet. The expected, the band recognized Uncle Sam She had gone away a little girl and re¬ his songs (Opus 25), entitled, suitably maintain until Schumann’s death, after a the latticed window, for the moonlight and in size, over six feet in length. It was poor culprit was placed in the stocks set and struck up a marvelous concoction of inality of Schumann’s works might have made of a dark, heavy wood inlaid with turned a woman. There was a new beauty enough, “Myrtles.” (The myrtle m Ger¬ cruel mental illness, ended one of the love¬ the whispered response. up in the public square, to be ridiculed and what they thought was American jazz. It postponed their public welcome for many silver—the coat of arms of the Royal about her, a new desirability. Something many, is the equivalent of orange blossoms, The trumpets, how they long for the abused by his neighbors. What would was .intensely interesting, as it consisted of years. But the crowds who remembered liest romances in all musical history. House of Budapest emblazoned upon it. shone from her eyes which Robert had symbolizing a bride and a wedding). These tramp of heavy feet, for the comradeship of happen if today we punished our radio snatches of everything picked up here and Clara, “the little prodigy,” and who flocked muffled drums and merry fifes, for the “Ah!” we cried excitedly, “how beauti¬ never seen there before—perhaps because to hear the masterly playing of Fraulein bands in this fashion? Our public squares there from the passing stranger. Caught shrill calls of command, the approaching ful! But it is voiceless.” he had never sought it; perhaps because Wieck were willing to hear and accept any would be crowded, and what a rise in and retained entirely by ear, these natural enemy, and the crash of battle. “No, not voiceless,” answered its keeper; it had been but lately put there, by his stocks 1 musicians grasped any melody, if one could music ’she gave them. Perhaps there was Every country has its treasure house of “but it takes two to make it speak; one own doings. And how she had developed! an added quality in her interpretation of Why Every Child Should Have A Gypsy Instruments be found, and sentimentalized it gleefully. captive instruments; but there is only one to hold up its body, another to blow it; She talked amusingly of her tour; and then her lover’s works, of which her hearers The sting of jazz was extracted and what museum where the spirits of the dead and then it speaks with a wonderful soul.” IN BOHEMIA and Hungary the instru¬ the amusement vanished and she spoke with were naturally ignorant, but which none remained, when translated into Gypsv return, and where these precious instru¬ This giant flute now graces the rare col¬ ments are never captured. In the hands gentle understanding of his own work and Musical Training Hungarian, was not even near-jazz. the less reached their hearts. ments, representing a glorious past, may lection of ancient instruments owned by of Gypsy bands they are never lost, they of all the splendid things that were open I beckoned the leader, a greasy Gypsy, be heard again in all their primitive sim¬ descend from generation to generation as to him, regardless of his poor, maimed Ernest Schelling. who, after reading the note already men¬ A Will and a Way By Mrs. Elvira P. Roberts plicity; where each captive may shake off Another interesting instrument in that descends the wild and fascinating music hand. Gentle understanding: why, that tioned, almost knelt at my feet. Then, ITH THE APPROACH of Clara’s his rusty chains and, forgetting the silent collection came from Montenegro. It is a they create. One, who has heard the bar¬ was what he had been seeking. He knew W fiddling close to my ear and literally beam¬ twenty-first birthday, however, the (One of the letters zvhich just missed winning a years of captivity, lift up once more his lute with a carved face. Another such in¬ baric, almost fierce, music of the Gypsy now' The comrade he had dreamed of and ing with delight, he played the most beau¬ young pair, after five years of hopeless voice on high and sing his own song of strument was found hanging by its neck in his native land, has had an inspiration had not found was Clara! Before the girl prise in our recent contest under the above heading) tifully weird music, accompanied by his waiting, took matters into their own hands. praise. in a junk shop in Santiago, Chile. It is not found in any other’way. had been in the house an hour, Schumann band, all seemingly improvising at once. Since Wieck still refused to sanction their said to have been made by the native In¬ A few years ago the writer asked a had fallen genuinely and deeply in love The music was now wild, almost fierce in marriage, Robert had recourse to the law. tion of the other arts which a knowledge The Wizard of the Museum dians and copied from a Spanish violin. musician in Budapest where she could hear with her. Taken from the viewpoint of the laity, character, again soft and gentle as the According to an old Saxon statute, a of music gives, the unity and harmony of HE DEUTCHES MUSEUM in In the Castle of Nuremberg one may find some sixteenth century Gypsy music. He I would have every child receive a musical T morning glow just visible over the rugged A Gathering Storm betrothed couple, whose union had been education and for many and varied reasons, a wonderful painting, the rhythm and flow Munich has a custodian who, as a instruments of torture which in mediaeval directed her to a certain little tavern in forbidden, could summon the objector into mountains; which surprised us as we E BROKE off his engagement to both practical and esthetic. It is a boon I of great lyric poetry. keeper of hundreds of captive instruments, H court and force him publicly to prove rea¬ I would not have him miss the power listened spellbound to the real music of an Ernestine with greater zeal than de¬ would humbly pray for my own child; for— understands their longing to be heard. He sons of sufficient weight to stop the mar¬ given him by the coordination of brain oppressed people seeking to live their own corum, and the happy old days returned. I would not have him always voiceless also understands the language of each in¬ riage. Depending on this proof, the full with hand and eye and ear, gained by con¬ free, lawless life, though surrounded by Again there were music and twilight talks at home, in church, or at the community strument, all its characteristics and artful burden of which fell upon the objector, the tinual expression through a musical in¬ civilization. Almost they might be men¬ and the spirit of understanding. The old sing, because the notes of a new song mean tricks. He is a very remarkable person¬ court could permit or forbid the wedding. tioned as trapped by convention but still house pulsed with such strange, secret nothing to him. strument. age, so chubby that he is almost globular. Clara and Robert resorted to this law, and I would not withhold from him one whit With his fat stubby fingers he invites an free. A few bottles of native wine for the aliveness these days, that rigid old Meister I would not have him miss the fun and band, kept them smilingly improvizing till Wieck himself wondered, “what is the hailed the irate Wieck into court. comradeship, in school and club, of his as¬ of the sympathy toward the joys and sor¬ old spinet to sing Haydn and Mozart; an Because of the prominence of the con¬ the sunlight beckoned us to zigzag down matter.” Little did he suspect the soft sociation with his mates in glee club and rows of his fellows, which must come to Italian clavier to play Scarlatti; an organ testants, the case became the center of him if he thoroughly understands and en¬ of 1620 to talk Bach; and then he moves the mountainside and return to nineteen words and glances that were exchanged m orchestra. hundred, realizing that such music eludes wild notoriety. It took place in three hear¬ I would not have him silent and embar¬ joys good music. on to a most modern organ which answers the famous Clara’s music room. ings, after the first of which Clara found the grasp of this generation. No wonder “When you first kissed me,” she wrote rassed through life, when the conversation Last, but by no means least, I would not in Cesar Franck or Guilmant. the atmosphere of her home unbearable and that Liszt named his paraphrases of Hun¬ in a letter to Robert, “everything went turns on great musicians and great musical have him deaf to the music of every day Now the wizard pauses before an old left her father’s house. Her refuge in her garian folk music, Rhapsodies’ compositions. the beauty of the siren call, the chime of hammer-piano, and Beethoven calls to you black before my eyes.” distress was a natural one—her mother, She was just sixteen and felt that now, I would not have him prefer jazz to the bells, the throaty note of the foghorn, from its muffled keys. Now a pair of vir¬ who had divorced the stern Wieck when at last, she was rewarded for her years of classical music and thus miss the joy and the eerie chirp of the cricket, or the liquid ginals twang away an old dance time from Other Museums silent love. In reckoning her happiness, Clara was a baby, and who had since re¬ inspiration of a fine concert, a great opera note of the lark. In fact, I would wish the time of Louis XIV. A golden flute is erhaps the largest collection married, at Berlin. Frau Bargiel was the P though, she took too little account of her or an evening of symphony. that his nature might respond in sympathy next grasped in the firm but chubby fingers of musical instruments in the world is first, perhaps, to look upon her gifted stern, ambitious father. I would not have him miss the apprecia¬ with the music of the spheres. of the wizard and soft notes greet our ex¬ housed in the Museum of Berlin. The Wieck had liked Schumann well enough daughter not as a musical prodigy but as a pectant ears. An Irish harp, with broken British Museum has a very important col¬ heartsore girl, and afforded her the great¬ as a pupil, but fate had closed the boy’s strings, holds us breathless as it sings lection ; and our own Metropolitan Museum est comfort. She inspected Robert Schu¬ pianistic ambitions, and Wieck grew irate melodies long dead to this world. in New York is widely known for its mann, approved of him highly, regardless that a struggling youth, “with neither fame As the wizard of the Museum, followed treasures. In the Museum de Cluny in of his lack of wealth and position, and Fifty Years Ago This Month nor fortune,” should dare aspire to the hand by his fascinated audience, passes down Paris hangs an Amati, one of the rare of his famous daughter, “who could have opened her house to him. a long corridor lined on each side with gems of that treasure house. To see that any duke or princeling in Germany, if I r LORA m.. n untlk enaea an lnieresun ■of the work can be made far more inter¬ cases of captive instruments, each seems rare fiddle, silent in death, is like gazing A Storm Breaks chose that she should!” Schumann had article on “The Development of the Hanc esting, by explaining to the pupil what it to hold out its hands to him begging to upon the face of Caruso from his tomb in declared his feelings honorably, and had THOSE WEEKS in Berlin were com¬ with this very sensible advice: is that you wish to be gained by the prac¬ be heard once again. When he pauses A Piano Carnival in Enid, Oklahoma Naples and remembering the glory of his asked for Clara as his wife. As a result, forting; with her mother’s solicitous “Let the pupil play etudes for styl tice of certain things. Certainly the pupil before a chosen captive, he pats it (so to wonderful voice. care, and with the daily presence of Robert, rhythm, expression, and such pieces as 1 who practices blindly, because he is told say) on the back as he shows off its tricks Wieck forbade him the house. This remarkable picture, taken in the If only we could bring back the lost who’ assured them that “all would turn out can master with what technic he has, 1 to do so, is much to be pitied and would with the skill of a true artist, but there are Waltz of the Flower Fairies . Marie Crosby Education Building in .Enid, Oklahoma, chords of silent instruments, as science has well.” For the second hearing of the case, all means; thereby, at the same time edi find it much easier to work if he knew captives that will never speak again. The (Ages 8-10) Years of Waiting shows fifty young players playing at brought back the actual voice of Caruso, though, Clara had to return to Leipzig and eating him in other ways. But do n exactly what he was working for. harp that dwelt in marble halls is there as Le Secret.Gautier URING THE NEXT five years, the twenty-five grand pianos, under the direc¬ we would indeed be listening to the heaven¬ D face her father in open court. The scene crowd this technical work into everythii “After this technical part of his practice silent as the cold stone arches which lovers saw each other scarcely half a tion of Dr. Charles D. Hahn, Dean of Contra Dance.Beethoven ly choir. In Camden, New Jersey, the of the trial was intensely dramatic. Wieck that is put before him. is over for the day, let him put it aside echoed back its beautiful song of long ago. dozen times. Clara was kept busy on her Fine Arts of Phillips University. The Hungarian Gipsy.Seeboeck voice of Caruso was reproduced from his darted looks of fury at his daughter and “There is time enough, after he has a entirely and devote himself to other mat¬ Still following our guide, we pass through concert tours, while Robert, finding Leip¬ program was presented by the Enid Music Ages 11-13) caged records; at the same time it was used such violence in giving his testimony quired a considerable amount of skill, ters. Do not stop him in the middle of a rows and rows of fiddles and fiddle sticks, zig now intolerable, went to try his luck m Teachers Association. The chorus on the Gondoliera .Nevin freed from its antiquated accomplishment that the judge had to restrain him. Schu¬ put Bach, Cramer, Czerny, Clementi, ai Chopin Nocturne, for example, to point fiddles large and fiddles small, blonde and Vienna. There he met with but scant stage is from the boys and girls of the of twenty-five years ago; and, by the mar¬ mann managed to retain his dignity, though so on, before him; and even then each a: out some fault of technic, else how can he brunette fiddles with square and with Country Gardens.Grainger success. Vienna, wThich had bred and neg¬ fourth and fifth grades of the Garfield and vel of science, the glorious Caruso voice, his lips quivered and his voice broke. And every study is not needed. Select three ever learn to interpret? round shoulders; violoncellos with wonder¬ (High School) lected such geniuses as Beethoven and Lincoln schools of that city. Here is the singing from its prison of steel, was fitted Clara, herself, young and frightened for four of Bach’s Inventions, a few of the me “Rather, let him learn to use his hands ful carvings and inlaid work like em¬ Marche in D-flat major.Hollaender Schubert, showed not the slightest interest program of the piano numbers given. Miss to an accompaniment by the Philadelphia all her poise on the concert platform, trem¬ useful of the others, and let them be studi elsewhere; and, when he attempts to play broideries ; basses and contrabasses; then in the stormy young man who poured his Aline Wilson, President of the Enid Hungarian Dance No. 6.Brahms Orchestra. That voice recorded twenty- bled with such terror that she “sat as if far, far beyond the reading and the playi works of art, let him be able to devote brasses of all sizes and shapes; then more heart’s pain into novel compositions. He Music Teachers Association, has kindly Valse Brillante in E major five years and now heard with a modern writhed under the lack of appreciation he nailed to the chair.” of them in time. Be assured that this p; himself entirely to their interpretation. flutes, flutes of clay, of wood and of silver; Wieck offered Robert’s youth and pov¬ furnished us with this material. Moszkowski-Gruen accompaniment, is a glorious triumph of encountered. He found, too, but small but it was in a junk shop in ~ Part One—Juvenile Groups Russian Rhapsody.Hesselberg art and science. consolation in going to Clara’s concerts, erty as his first objections. When they that the crowning glory in flutes Military March.Schubert (Continued on Page 496) along with all the rest who paid their were overruled he broke into a towering covered. Amaryllis.Ghys admissions, and then slipping away un¬ rage and hurled entirely false accusations "The geniuses are always less inclined to speculation than the talents.’’ against Robert, berating his mode of life —Mr. Ernest Newman. noticed, afterward. THE ETUDE THE ETUDE AUGUST 1935 PAGE 457

PAGE 456 AUGUST 1935 AND orchestra department I \ The Teachers’ Round Table BAND I The Etude has the honor of announcing that a piano virtuoso and pedagogue Conducted Monthly by of wide distinction has consented to conduct this Department, as successor to the late Professor Clarence G. Hamilton. His name will be announced in the VICTOR J. GRABEL near future. FAMOUS BAND TRAINER AND CONDUCTOR

No question mil be answered in these columns unless accompanied by the full name and address of the writer. Only initials, or a furnished pseudonym will be published.

assume you are familiar. A very attrac¬ will find the following exercise for relaxa¬ Organized Technical Drill The Best Hand Position tive collection of second grade pieces will Kindly tell me which is the correct tion. "Preparatory Exercise—Allow one be found in the second grade of “Stand¬ hand to hang listlessly by the side; while by practicing scales and a ard Graded Compositions,” which every in this position, shake it backward and for¬ The Importance of Correct Tempo pegglos for an hour and a half eat teacher should know. We do not feel, ward at first by pushing the upper arm with I have tried to emulate hi A very great piano virtuoso said some mplf’ by extending my technici however, that the modern teacher should the other hand, all the joints of the arm forty-five minutes. Hai give too many pieces from a book. time ago, “The best hand position is that and hand being in a limp and unresisting mg^estions for the best ui the tempo, and that it is only through a The “why” of this is that the pupil which is most comfortable.” As a matter condition, so that the hand and fingers pete satisfaction with the Pe;tf™layin°g complete comprehension of the musical of fact, the writer has seen pianists in all swing limply with a wave-like motion as and to whom the great credit for this per¬ this symphony, when given at the'aying is not stimulated by the surprise and ABILITY TO SING well upon what- content of the composition that he can do Forty-five minutes each day seems a rea¬ parts of the artistic world play with many the impulse passes downward through the formance is due, was not a conductor of of the corner stone of the Bayreuth Fest- joy of getting a “new piece” with a pretty Z\ ever instrument one plays, and a sonable time for technical drill. You will melody and a pretty cover. Write your differing hand positions and produce beau¬ length of the arm. special genius. Whilst rehearsing the th*To be an able interpreter of the great tiful, artistic results. After all, the great right comprehension of melody m symphony, during an entire winter season accomplish more, however, if you will vary publisher for a selection of new pieces. “Second, swing the arm and hand in SP'Tnaconnection2with this I am consdous music of all races and all moods one must aim is aesthetic, not mechanical. If the all its aspects are the two essential factors he had felt it to be incomprehensible and the monotony of this work by dividing it The following are among many that will exactly the same manner, but by means of that the impression of dynamical mon<>to y be as subject to change of feeling and effects were fine and the hand position was requisite to a proper understanding of cor¬ ineffective but he persisted throughout a up into three periods each of fifteen min¬ be found helpful: Step High, Kerr; With its own upper arm muscles, without using together with the unusually vaned and mood as is the actor who portrays such a considered terrible, it would be ridiculous rect tempi. This is according to the dictum second and a third season until Beeth¬ utes, devoted to (1) scales, (2) arpeggios, Charm and Grace, Kohlmann; Blue Dais¬ the other hand; and be sure that the limp ever irregular movement of »lte^ls variety of characters as Hamlet, logo, to criticize the hand position. of Richard Wagner, who was not only a oven’s melos (melody in all its aspects) (3) finger-exercises. This order may be ies, Mana-Zucca; Cock o’ the Walk, condition is not impaired, and that the the ascending figure entering ... Puck, Romeo, and the Merchant of Venice. T he Etude for years has been trying to great composer but also a quite equally was understood, and correctly rendered by varied from day to day, as well as its in¬ Klemm. wave-like impulses propagate themselves distinguished conductor, and no one has longed G-flat to be sung with such infinite He must have the ability to become so dividual items: scales, for example, may help its readers in providing their pupils each member of the orchestra. I cannot delicacy, to which the G natural answers downward through the arm precisely the yet risen to dispute successfully this con- infused with the mood of the music as to be practiced plain, in thirds or sixths, or in with a pattern of a hand position that might same as before. attempt to describe the beauty of this per¬ with equal delicacy, initiated me as D> feel very much what the composer felt canon form; arpeggios through one to four Marking the Pupil’s Progress be instantly understood and kept constantly "Practical Exercise—Swinging the hand formance. However, to give an idea of magic to the incomparable mystery of the ClTn°taking to task German conductors of when inspired to write it. Correct tempo octaves, in triads, seventh chords, and so on hand for observation. Accordingly, the in this limp condition upon the keys, play it I will select a passage by the aid of spirit. Keeping my further practical ex- In reply to your request for other his time for their laxity in the perform¬ must be the first consideration for lacking on; while finger exercises may involve end¬ methods of marking the pupil’s prog¬ following design in large form, 12 x 4 the following musical example with this which I shall endeavor to show the reason nerience in view, I would ask how did ress, I use the following : ance of classical works, Wagner makes the correct pace at which it should move, less variety. inches, was prepared. same limp touch, the impulse for each group why Beethoven is difficult to render, as the musicians of Paris arrive at so perfect Each pupil keeps a notebook in reference to the fact that their professional a realistic or artistic interpretation be¬ which assignments are recorded. At AN IDEAL HAND.POSmoN of tones appearing to come from the upper well as the reason for the indifferent suc¬ a solution of the difficult problem? By the the close of each lesson I grade as work consisted largely in rehearsing and comes quiet impossible. arm. The tone so produced will be very cess of German orchestras when con¬ most conscientious diligence. They were follows: Time, Fingers, Posture, conducting operas. Set at an improper pace a fiery and Troublesome Memory Work Review, Scales, Memory, Sight read¬ light in volume and will be almost totally fronted by such difficulties. Even with not content with mutual admiration and ing, Written or oral work, Note reail- “They ought, therefore, to have made colorful Spanish composition—even though One of my pupils is a married wanting in character, but the condition of first-class orchestras I have never been congratulation nor did they assume that woman who finds memory work so it their business to understand the theater able to get the passage in the first move- all nuances are meticulously observed- difficult that she develops headaches. issible ten points for each the arm while playing in this way is one _the opera—and to make themselves difficulties must disappear before them as may become listless and pale; a stately She is very ambitious, practices three fn!hae ment performed with such equable per¬ hours a day, and uses the correct of the most important of-all, since it is masters of the proper application of music a matter of course. ■ . ceremonial march may become a mere jig, method of memorizing—one which X the indispensable starting-point from which fection as I then (thirty years ago) heard “French musicians in the mam belong l the to dramatic art, in something like the an adagio fraught with deep religious emo¬ many of the finest nuances of phrasing and it played by the musicians of the Baris to the Italian school; its influence upon manner in which an astronomer applies tion may become nothing more than an This became so much in demand that it was interpretation are to be evolved. It also Orchestre du Conservatoire. them has been beneficial inasmuch as they mathematics to astronomy. Had they un¬ amiable andante devoid of any intensity oi reprinted on cards and on slips and has been has an important bearing upon the develop¬ have been taught to approach music derstood dramatic singing and dramatic made the honor i . _ widely used by teachers. It has also appeared ment of strength and responsiveness in the mainly through the medium of the human emotion. Memory work is a good thing, if it can awarded a prize. This works quite expression they might have applied such It then devolves upon the interpreter to in many different instruction books. The fingers. Observe the rests. voice. The French idea of playing an be accomplished without too great a mental well, as each pupil is anxious to keep knowledge to the execution of modern in¬ develop a comprehension of such an in¬ ahead of sister or friend. design was based upon a photograph of the instrument well is to be able to sing well strain; but it is by no means a necessary However, I have one girl of twelve strumental music. finite variety of moods and of the charac¬ hand of Leschetizky and is therefore authen¬ upon it. And that superb orchestra sang factor. With modern pianists, however, it who has a lovely personality, is presi¬ “In the days of my youth, orchestral teristics of varied nationalities as will dent of the club and really talented, tic in representing one of the greatest of the symphony. The possibility of its being has become a kind of fetish to “play with¬ nieces at the celebrated Gewandhaus Con¬ make it possible for him momentarily to modern schools. Note that on this the fin¬ well sung implies that the true tempo had out the notes,” even if they could perform her to make her interested enough to certs were not conducted at all; they were change character or mood just as the actor gers are curved. been found: and this is the second point to much better advantage with the notes simply played through under the leader¬ does. He must be able to become in turn Copies of this card are on sale in the ship of the concertmaster, like overtures which impressed me at the time. Old before them. “Often in later life have I recalled this the fierv Spaniard, the care-free gypsy, tne best music stores or may be obtained from Habeneck was not the medium of any ab¬ Let your pupil, therefore, memorize her and entr’ actes at a theater At least there passage, and tried by its aid to enumerate gay Viennese, the melancholy Slav; to your publisher. was no ‘disturbing individuality, m the stract aesthetical inspiration—he was de¬ stock material, such as scales and finger eyes on her fingers and does not the desiderata in the execution of orches¬ simulate sadness, longing, jubilation, anger, always play as it is written, hut im¬ shape of a conductor! The principal clas¬ void of genius: but he found the right exercises; but let her employ her music provises, usually correctly. She has High Wrists tral music; it comprises movement and mirth, or lamentation as may whenever this conduces to freedom and sical pieces which presented no particular tempo whilst persistently fixing the atten¬ When plnying the piano my wrists sustained tone, with a definite degree of to the occasion. An exacting knowledge with me. She "is in Grade^h* of technical difficulties were regularly given tion of his orchestra upon the melos of the confidence in her performance. Let us not Mathews, progressing very slowly are unusually high, ami it seems my power. The masterly execution of this of tempi must be relied upon, attempt to make modern Liszts out of our through it but she is capable of Grade teacher has given up the struggle, for every winter; the execution was smooth passage by the Paris orchestra consisted symphony. inland IIIpieces. I would appre she does not mention the fact as she and precise; and the members of the or¬ i ne Tiyrib ^..- ability to analyze correctly the pupils who have not his Titanic ability or help if yon could offer did a few years ago. in the fact that they played it exactly as of a composition is the most reliable gu strength! any.—F^U. ^ have been playing a chestra evidently enjoyed the annual re¬ it is written. Neither at Dresden, nor in is the sole guide to the right tempo: these and a half y e first in determining the proper tempo of a par „ __ - ,._s taught entirely by currence of their familiar favorites. > London when in after years I had occasion two things, are inseparable: the one implies “With Beethoven’s ‘Ninth Symphony ticular movement. Your inquiry about your unusual pupil my sister, who was a beginner herself to prepare a performance of the symphony, and qualifies the other. and taking lessons. My poor position “In this exercise the forearm will retain Very Small Hands is very interesting to us. Such pupils re¬ originated there but I feel iu the alone they could not get on, though it was did I succeed in getting rid of the annoy¬ “As a proof of my assertion that the the position usual in playing, i. e., nearly considered a point of honor to give that Doubtful Markings I have a tiny six year old piano quire a great deal of care, patience and latter period it should have been cor- ing irregularity which arises from the majority of performances of instrumental pupil who is very talented, but be¬ level with the keys, and the fingers will be work every year. I had copied the score HILE METRONOMIC indications cause of her small hands I am at a judgment, because usually they are the ones Recently another teacher heard me change of bow and change of strings. Still music with us are faulty it is sufficient to W a little straighter than in the usual five- for myself, and made a pianoforte (arrange¬ are now in quite general use, so* loss what book of studies to give her with the most talent. They demand a cer¬ play and asked if any mention had less could I suppress an involuntary ac¬ point out that our conductors so frequently been made of my high wrists. She finger positions.” Within the next two weeks she will tain amount of discipline, but not too much. ment for two hands; but I was so muc centuation as the passage ascends; musi¬ fail to find the true tempo because they arc indications are not always to be bw ""!d it gives me a harsh tone, though Try this exercise a few times and then astonished at the utterly confused and be¬ upon. In a recent contest a conductor have finished the second book of They are the race horses of music and if helps the finger actior cians, as a rule, are tempted to play an ignorant of singing. * * * * The whol< Mathews’ “Standard Graded Course” Will you kindly exp] play the scale of C in the normal wrist wildering effect of the Gewandhaus per¬ and "Student's Book,” Presser. She you hitch them to a cart, you take away ascending passage with an increase of tone, duty of a conductor is comprised in hi: received severe criticism from an a j vantages, if any, and t position, neither raised nor lowered. In formance that I had lost courage, and enjoys working hard on a piece and their spirit. tages of a high wrist? 1 ivuu&v uuw and a descending one with a decrease. ability always to indicate the right tempo cator for having employed a tempo is absolutely accurate in her playing. difficult it will be to correct myself a few weeks you should by this method gave up the study of Beethoven for some “With the fourth bar of the above pas¬ His choice of tempi will show whether hi in the opening of the ”Flying Du r but a nail ‘ Such a pupil should have someone to cure yourself entirely. time Later I found it instructive to note practice with. What happens during the you.—I. M. sage we invariably got into a crescendo understands the piece. With good players Overture where a tempo of 72 was «“ Perhaps you have heard of the story how' I came to take delight in perform¬ n between.—Mrs. F. S. practice period is more important with such so that the sustained G-flat of the fifth bar again, the true tempo induces correc cated upon the score. High wrist position in pianoforte play¬ told of the famous pioneer of the study of ances of Mozart’s instrumental works: it a pupil than during the lesson period. If was given with an involuntary yet vehe¬ phrasing and expression and converselj Now. it seems quite improbable tM ing is not looked upon with favor by most ductless glands in Paris, Dr. Brown-Se- was when I had a chance to conduct them It delights us to hear from a teacher a child has had four years of music and is ment accent, enough to spoil the peculiar with a conductor, the idea of appropriat Wagner placed such an indication r piano teaching experts. If you see a promi¬ quard. One day a wealthy lady came to myself, and when I could indulge my feel¬ who shows sensible consideration for the still in Mathews’ “Grade II,” she prob¬ tonal significance of that note. The com¬ phrasing and expression will induce th He was a thoroughly capable con<1 • nent pianist in his recital apparently ignor¬ him and placing the thumb in the palm of ings as to the expressive rendering of delicate hands of a child of six. The ably feels that the work is a little repres¬ poser’s intention is clearly indicated; but conception of the true tempo.” and often complained of the slow ing this fact, you should remember that the hand, she put the tips of her fingers human hand is perhaps far tougher than sive. Get one or two of the good duet Mozart’s cantilena. . . . it remains difficult to prove to a person employed by others in the performan in all interpretative art it is often necessary under her arm-pit and said, in great ex¬ “I received a good lesson in Paris in most of us realize but it is very easy to books described for this grade in the whose musical feelings are not of a refined his works. I have heard this overtu* for the artist to do extraordinary things citement, “Doctor, when I remove my 1839 when I heard the orchestra of the strain a little hand by over-stretching it. “Guide to New Teachers” and have her sort, that there is a great gap between a HESE OPINIONS may serve, 1 performed under the direction of now and then to produce special effects. thumb from the palm of my hand and try conservatoire rehearse the enigmatical T One cannot safely accelerate nature with¬ do quite a little duet work with one of the commonplace reading, and the reading less due study is given to the subji . the greatest conductors—including ^ However, the performer does not make to put it back again, it gives me indescrib¬ ‘Ninth Symphony.’ The scales fell from out possible danger. more advanced pupils. Encourage her with meant by the composer; no doubt both to convey to the amateur an exaggera 1 canini. Stock, von Schillings, and these keyboard evasions unless he feels that able pain. Please, Doctor, can you cure my eyes: I came to understand the value Is it not better for you to continue your stories of music history. Praise her ac¬ he has some good artistic reason for doing readings convey a sense of dissatisfaction, conception of the matter. It is inevita : ski-and I do not believe any of me, or must I.suffer for life?” of correct execution and the secret of a regular work with attractive pieces until curacy while you deplore her blunders. unrest, longing—but the quality of these, so. High wrists are the opposite of the Dr. Sequard told her he could give her good performance. The orchestra had that if the tempo is incorrect, the perfoi - played this movement at a pace ° the little hand expands normally? Any When she makes a blunder, challenge her the true sense of the passage, cannot be relaxed position generally sought. a prescription that would cure her but learnt to look for Beethoven s melody in ance will be either weak or utterly b ; than 114. This movement [A'jf? xocth stretching that is done should alternate to play the same passage ten times without conveyed unless it is played as the master You are doubtless familiar with the very assured her that the fee would be large. every' bar—that melody which the worthy but choice of the correct tempo need t brio) depicts a raging storm «"“* with contraction, as described in the ex¬ a blunder. That is, ten times in succession, imagined it, and as I have not hitherto helpful exercises in the first volume of Dr. The lady went home and opened the pre¬ Leipzig musicians had failed to discover; imply that everything else will be entii y Sea—at a speed of 72 (to a *G_ristj« pansion exercises in Cooke’s “Mastering and see if you cannot get her to do this heard it given except by the Parisian e note) it would take on the characteristics William Mason’s masterpiece of piano scription. It read, "Don’t do it.” and the orchestra sang that melody. 1 nis satisfactory. Nevertheless, it remains t the Scales and Arpeggios,” with which we each day. This ought to prove very helpful. musicians in 1839. (It should here be that the first and most important duty technic, “Touch and Technic.” In this you The lesson is obvious. was the secret. if of nothing more than a robust lu* “Habeneck, who solved the difficulty, noted that Wagner later expressed com¬ the conductor or performer is to dei e (Continued on Page «5J THE ETUDE THE ETUDE AUGUST 1935 Page 459 FASCINATING PIECES FOR THE MUSICAL HOME PAGE 458 AUGUST 1935 MAZURKA A LANTIQUE ella ribble beaudoux This Mazurka in Polish style is redolent of the Chopin Mazurkas although it is much simpler. Keep a sharp lookout for the rhythm which must be marked Should I Change except where the player feels at liberty to indulge in a suggestion of tempo rubato. Grade 4. Teachers'? Con energia m.m. J= 120

An Interview with the Eminent Baritone

Lawrence Tibbett

Secured Expressly for The Etude

By Juliette Laine

signing of the armistice he received The infancy of Lawrence Tibbett an honorable discharge. His first was spent in Bakersfield California operatic appearance was at the age of but early in his childhood the family twenty-three, as Amanasro in Verdis removed to Los Angeles, where he was "Aida " at the Hollywood Bcnvl. Sub¬ educated in the public f iools eve,du¬ sequently he went to New York City ally graduating from the High School for further study, which led to a con¬ of Manual Arts. His first work on tract with the Metropolitan Opera the stage was in small roles with Company. During his second season Tyrone Power’s Shakespearean Reper¬ with that organisation he made a tre¬ toire Company; and later, after a brief mendous success as Ford in Verdis period of vocal instruction, he appeared "Falstaff,” and his greatest success has in travelling light opera companies on been in the title role of Gruenbergs the Pacific coast. When the United "Emperor Jones.” States entered the World War he —Editorial Note. joined the Naval Reserves; and at the

possible for the tension and resistance m discovered that there must be an entirely the vocal organs to be so slight as to be LAWRENCE TIBBETT different adjustment, going into halt or imperceptible to the singer, and yet be full voice at certain points, then you may serious enough to work harm. Others, be sure that your tones are being produced even though they realize they are strain¬ incorrectly. A voice that can sing only other matters, what we swallow in the ing, continue in the practice with the idea HE AVERAGE student seems to in full voice is not being correctly pro¬ T way of fake vocal teachers passes under¬ that resting the voice afterwards will on¬ spend a lot of time trying to make duced; and, unless this tension or muscular standing. However, be his teacher s set the dangers of such strain. up bis mind whether or not to change interference is eliminated, it is actually method sane or silly, any pupil of moder¬ If a student, after a few months of work teachers. Many never remain long enough dangerous, as well as useless, to continue ate intelligence should be capable of with a teacher, discovers that instead ot with any one teacher to find out really practicing. A good tone never will be determining whether he is making any head¬ an increased facility in execution he finds whether he is good for them or not; while obtained by merely strengthening a bad way or not. No one can expect to acquire others, through a misguided sense of loyal¬ a greater difficulty than before, and it ms a fine technic in a few months, but he one! range is lessening instead of extending, ty, remain too long with the wrong teacher. Any teacher, who allows a pupil to sing should be able to do a few things well he should go to a throat specialist and Some spend their days going from one in full voice before he has acquired a fairly enough to know whether he is on the right have a thorough examination of his vocal studio to another, vainly trying to get an good management of his pianissimo and road or whether he is just grouping in the organs. Such a physician can usually tell honest, unbiased opinion; while others try half voice, is working along the wrong with accuracy whether the difficulty i just as carefully—or so it would seem—to dark. lines—to put it very mildly 1 It is only in avoid those teachers who give too honest Most of the singers who are on the in a faulty method of singing or whetner wrong road discover that fact by the dif¬ the beginning, before he has been per¬ and unflattering an opinion. mitted to strain or tighten his throat, that there is something organically wrong witn It is sometimes very difficult to convince ficulty they begin to have with the tones at the throat. , the extremes of their compass. Tenors and he is able to abandon the faulty manner¬ a student that he is on the right road and It would seem that too many teachers sopranos find their top C’s and B-flats are isms. After these habits have been allowed that he is progressing as rapidly as could to continue for a year or two, it is almost decry the physiological method of teachin.ej be expected; and it is usually just as diffi¬ not so free and clear as before. Bassos in favor of the so called psychologies begin to lose their lower tones without impossible to get back on the right track cult to convince another that he is all school. It is of no use to tell a student any increase in the number of upper tones. again. It is difficult to unlearn things and wrong and cannot expect to get anywhere to begin again at the beginning; it takes to “listen to the birdies” or to just t unless he makes drastic changes in his Sometimes they quiet their fears with the a beautiful tone and you will get it- hue thought that their voice is changing; but time and endless patience. method or his teacher. talk is just bosh! You may think of your that is rarely the case. Moreover, they Another acid test for the voice is the What to do? Ah, there’s the rub! messa di voce. This exercise consists of ideal tone until the crack of doom; bub It is impossible to lay down any hard now begin to have difficulty with the if you try to sing it with a tight jaw messa di voce. They find they must sing taking a single sustained tone, beginning and fast rules about the matter, for the very softly, and then, without any appar¬ a closed mouth, you will not getffi , simple reason that no two voices respond everything at the same degree of power; is all right to educate the students taste crescendo or decrescendo becomes first ent change in the vocal mechanism, grad¬ to cultivation in quite the same way or in ually increasing to full voice, and then and cultivate his sense of tone, but * the same space of time. Some voices de¬ difficult and presently impossible. These you have done that you still will have things are danger signals of the utmost again diminishing, very gradually, and velop with amazing rapidity, while others teach him to sing. importance and must not be ignored if the letting the tone fade out into a finely spun seem to require an interminable length of An Intelligent Basis voice is to be saved. pianissimo. A singer who cannot do this time to show any progress. Therefore it cannot be said to have control of his voice. EVERY TEACHER should thorough is sometimes difficult to determine whether Testing for Truth Of course, no one can do it beautifully at understand the mechanism ot the fault lies in the teacher and his method, THERE IS ONE way that every first; that is not to be expected. Never¬ vocal organs and should know exa } whether in the pupil and his lack of appli¬ theless, one should be able to do it well what physiological processes are ,nv0' cation, or whether the difficulty is largely student can test his voice, and it is as infallible as it is simple. When in enough to rest assured that it lies within in tone production. These essential • physiological. And, until one knows the his possibilities. Careful practice will should be briefly explained to the puP cause, there is little that can be done to¬ doubt, repeat the note or phrase just sung, but very softly. In the lightest pianissimo eventually bring it to perfection. during the early stages of his study, ward rectifying it. _not just a thin, pinched tone, but a true so much in an attempt to give a conscious , Lurking 'Evils control of the various muscles, but me: - The Method Fetish pianissimo—sing that note or phrase at STUDENT usually thinks he is sing¬ to show him for what to be on the HERE ARE TODAY a number of the pitch at which you had been singing, A T ing correctly and without strain or out. It a teacher explains strain, tensi , fearful and wonderful methods being and then work up and down the scale, effort, because he feels no bad effects in¬ the forced tone, pinched tone, and so > taught; and, though most of us are pretty throughout the entire compass of the voice. side his throat. Unfortunately, it is quite (Continued on Page 496) quick at detecting fraud and bunkum in If this is found to be impossible, and it is THE ETUDE THEETUDE AUGUST 1935 Page 461

Page 460 AUGUST 1935 rxiTTT T~PQ MONTAGUE EWING SEEN IN THE EMBERS ’MID THHl 1 U ° r WQi;ks. Like aJJ Of his compositions ’Mid American students have been criticised because of a lack of individuality in the handling of the left hand. Here the left hand is largely the soloist and the right hand the accompanist. The very tuneful American composer Charles Huerter provides in this composition an excellent opportunity for the development of pianistic ambidexterity. Grade 4. CHARLES HUERTER Moderato m.m. J = 88 Moderato e grazioso M.M. J = 138 mol to espressivo tenser- . . .j ■ —'

H col Pedale ftp -f

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simile International Copyright » Copyright 1985 by Theodore PresserCo. THE ETUDE THE ETUDE AUGUST 1935 Page 463 Page 462 AUGUST 1935 A MARCHING SONG ELLA KETTERER Grade 3. Moderato M. M. J = 108 with strong accent

AT THE DONNYBROOK FAIR JOHN PRINDLE SCOTT A brilliant concert caprice or encore number in rollicking Irish style, with a suggestion of the old song “Johnnie’s so Long at the Fair.” In the composers recital work,this number has been played from the manuscript with much success. Grade V. A AT AT J _ A .i/?

British Copyright secured Copyright 1930 by Theodore Presser Co. HUNGARIAN DANCE

for teachers.lers. Grade ji.3. „ „ JI _ „A Allegro moderato M.M. * - 116

Cnnyright MCMXXVI by Oliver Ditson Company THE ETUDE FANTASIA IN C MINOR AUGUST 1935 Page 465 Among all of Mozart’s 528 compositions the Fantasia in C Minor from Sonata No. 18 stands in the front rank.The Etude presents the Third and Fourth Movements of this delightfully fresh work which exemplifies the master’s sense of balance and his consumate technic in fluent composition. THE ETUDE AUGUST 1935 AUGUST 1935 Page 469 THE ETUDE THE ETUDE Tempo I JESUS,THE VERY THOUGHT OF THEE ’ HERBERT RALPH WARD

(Swell: String tone and Flute 8' p ] Great: Soft 8'Flute (Chimes) A MEMORY P j Choir: Dulciana and Melodia ( Pedal: Lieblich Gedackt to Swell JAMES R. GILLETTE Andante cantabile m.m. J=63 a tempo

MANUAL

PEDAL

^ igitatcr | , 0Ij jTjJ, ii^n j e) -e- poco piu v IOSSO Z^rrit..

)tT s— L~ ■&=: ^ g tT Ji 1 1 -A-1 f -1 = tS Ch.Dulci ana and Melo dia L. 1 ~ M J 1- " lo- 1° lo ^ British Copyright secured Copyright 1922 by Theo.Presser Co. Copyright 1914by Theo.Presser Co. AUGUST 1935 Page 471 THE ETUDE Page 470 AUGUST 1935 CHANSON ELEGrIAQUE J. WEISSHEYER

Andante cantabile m.m. J = 80

VIOLIN

PIAN

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tv r aL % Copyright MCMXXXI by Oliver Ditson Company, Inc. * Arpeggiate chords only where so indicated. International Copyright secured AUGUST 1935 Page 473 THE ETUDE THE ETUDE Page 472 AUGUST 1935 BALLET MUSIC BALLET MUSIC from “ROSAMUNDE” from“ROSAMUNDE”

SECONDO FRANZ SCHUBERT PRIMO FRANZ SCHUBERT AUGUST 1935 Page 475 THE ETUDE J>age 474 AUGUST 1935 pR0GRESSIyE MUSIC FOR ORCHESTRA CLARINET in Bt> GARDEN OF ROSES irene marschand ritter Moderato k- * # gardeFoF ROSES 1 ^Arn fc>y^HARRY^NCO L

rit. rit •

Bk tenor saxophone GARDEN OF ROSES irene marschand ritter Moderato a tempo

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rit rit Z==-D.C. TROMBONE or CELLO GARDEN OF ROSES Moderato IRENE MARSCHAND RITTER

British Copyright secured AUGUST 1935 Page 477 THE ETUDE Page 476 AUGUST 1935 ^ FTTTDE READERS FASCINATING PIECES FOR JUNIOR ETUDE ^ A PIRATE BOLD LOUISE E. STAIRS Grade L Moderato M.M.J=96 YOU can’t CATCH ME! GERTRUDE KEENAN l Grade l. Allegretto M.M. J. = 72 W ¥ main, Id capture all the Span-ish gold and rnf I’d like to be a pi - rate bold and sail the Span-ish 5

r 1 ~ 5

i 3 5 13 5 1 3 l 5 4 .5 _3,

10 ?nf < -f ™f = j / r 15 1 y l V 3 3

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MUSIC EXTENSION STUDY COURSE Analysis of Piano Music A Monthly Etude Feature appearing in of practical value, For Piano Teachers and Students the Music Section by an eminent of this Issue Specialist By Dr. John Thompson

an acceleration in the tempo takes place, emotional intensity with each repetition MAZURKA A L’ANTIQUE The melody should be practiced with the from piano to forte. After the two stac¬ same fingers to be used when playing the to last for two measures after which a By Ella Ribble Beaudoux cato chords in measure three the tone drops piece as a whole. The player should not ritard is in effect. It is important to apply Out of the land which gave us Paderew¬ back once more to piano. At this point proceed until able to play the melody with the sforsando marked on the last note of ski, little Poland, came the dance form this section. observe the two-note groupings in the so¬ known as the mazurka, afterward to be the exact tonal inflections he has decided prano voice. In fact the phrasing through¬ upon together with correct phrasing. As Of equal importance is the sostenuto in¬ adopted by the Russians and made in a out the piece is of vital importance to the next step add the remaining voices of dicated at measure 25 of the second section. measure theirs too when the subjugation of This is in effect for four measures after proper interpretation. Guard against hav¬ Poland was effected. It is one of the most the left hand and not until this is thor¬ ing the tone sound too “thick” in measures oughly under control and can be played which the piece jumps back suddenly to interesting of the dance forms, demanding eleven to sixteen where the right hand goes with ease should the right hand be added. a tempo and forte. The first part of the real subtlety of rhythmical treatment lest it down into the bass. Unless this passage The right hand acts as the accompaniment G major section—measure 33—is played be confused with the waltz to which it is is handled with care the effect is apt to be and the chords fall on the weak part of presto. Then follow two measures tran- closely allied. A moment’s reflection will quillo, alternating with two measures more like Brahms than Mozart. call to mind whole sections of the Chopin the beat. They should therefore be played At measure forty the tempo accelerates lightly and with a somewhat shallow touch vivace, the change in pace being effected waltzes which stray almost imperceptibly considerably. The transition section which so as not to obscure the rhythmical line as very abruptly a la Hungary. Staccatos and into mazurka rhythms. The tempo of a follows is abundantly filled with tonal and given in the melody or tenor voice. Again legatos are clearly marked as well as fin¬ mazurka is slower than that of a waltz and rhythmical effects, all of which are clearly the pedal must be used with care. A beau¬ gering and phrasing. Any pupil following an accent falls usually on the second beat. marked and cannot possibly be overlooked tiful tone avails nothing if blurred with the marks of the editor is sure to approxi¬ Chopin refined and elevated the mazurka by any student who uses even a moderate bad use of the pedal. At measure nine the mate a typical Hungarian rendition of this form, eliminating from it a certain peasant amount of care. It is, however, a lamen¬ melody is taken by the right hand, again on famous little dance. coarseness which characterized it before his table fact that too many students never be¬ the thumb side. Give this the same sort of day. AT THE DONNYBROOK FAIR come really self-reliant in this matter. The particular Mazurka under consider¬ practice as outlined for the left hand. The By John Prindle Scott Editors go to a great deal of trouble to ation opens rather vigorously. The six¬ next section in D minor presents a theme Here is a piano number which deserves indicate with an elaborate system of signs teenths following the dotted eighths should doubled for the most part between soprano to gain immediate popularity with Etude the various effects desired by the composer be played with a certain rhythmical snap and tenor, or, if one be thinking in orches¬ readers. It is cheerful, intriguing and bril¬ —but most students need to have the and with well defined accent. A smooth tral terms, between violin and violoncello. liant with the added advantage of being teacher call attention to the signs! When legato should be secured on the intervening This section is played with more animation actually not nearly as difficult as it sounds. pupils can be made to read all the marks phrases so marked. Note the rallentando than the first section which should be taken This piece will make an excellent encore on music copy with the same care that is and diminuendo marked at measures seven at moderate pace. The whole composition is in lyric style and successful performance number or can be used admirably to round presumably used in reading mere notes, in¬ and fourteen of the first section. terpretation will cease to be a mystery and The second section is in the relative major depends upon tonal color and general out a recital group. Play it allegro vivace as marked. Establish a good six-eight the playing of piano will take on new key, C major, and is definitely brighter in expression. A certain rubato is not only swing at the beginning and keep it intact meaning. mood. Pedal exactly as marked since pedal¬ allowed but indicated by the very nature of the piece. Let it be applied however throughout. The pedal is to be used very At Tempo Primo, measure 76, the first ling is important to the rhythm as well as to theme reappears in all its somber dignity. the tonal progressions. The third section be¬ with caution, discretion and forethought. sparingly. Try to effect an even legato in the upper voice against a staccato accom¬ Just in case the foregoing paragraph on ginning at measure 41 is in A major and There are few things more distasteful than a “chills and fever” performance perpe¬ paniment in the left hand and lower voice reading signs has failed to “take,” the pu¬ is somewhat more tranquil in character. A pil’s attention is called to the dynamic good legato is most important in the play¬ trated under plea of “playing with ex¬ of the right hand. Observe all accents and sforsando signs as indicated. They are markings given this theme. The first note ing of this music. It should be such smooth pression.” essential to the tonal and rhythmical flair is sounded forte with all possible resonance. legato as contrasts well with the brittle A MARCHING SONG It should fairly roll its way into the next rhythm resulting from the characteristic of the piece. Note that the melody appears By Ella Ketterer in different registers. Try to achieve a melody tone, which, however, is played use of the sixteenth notes. Dynamics and A march to be played in true band style softly and followed by the swell and dimin¬ phrasing are clearly marked throughout. different quality of tone with each change is this of Ella Ketterer’s. Keep a moder¬ of register. Again the best advice that uendo as indicated. This in turn is an¬ ’MID THE TULIPS ate tempo, even pace and accent strongly. can be given in this regard is to consider swered by two little echoing phrases, the By Montague Ewing The typical trombone passage at measure the piano in the light of a miniature orches¬ first of which is played piano and the sec¬ Mr. Ewing’s graceful little number is in eight should not be overlooked. The biggest tra and to try at all times to simulate ond pianissimo. A close observance of dy¬ the style of an English dance. It offers possible contrast should be made between orchestral effects. There is nothing com¬ namic markings is absolutely imperative if definite possibilities in the development of the chords marked sostenuto and those plex in this number. It is obviously a bit this closing section is to be accorded the staccato playing. Too many performers marked staccato—both clearly indicated. of Irish humor in musical form and clever¬ interpretation intended by Mozart himself. are prone to dismiss a staccato note with The second theme is in the relative minor ly and brilliantly arranged for piano. Prac¬ This composition should most assuredly be the idea that it is merely a short note, for¬ key and the melody for the first two mea¬ tice carefully and follow the indications included in the repertoire of every serious getting that there are as many varieties of sures is taken by the left hand, thereafter given and behold! An excellent addition to student of piano. staccato playing as there are legato. In alternating with the right. Think of this the repertoire. this piece for example the staccato eighths as a dialogue between brasses and wood¬ YOU CAN’T CATCH ME should not be released as abruptly as stac¬ winds. Try to preserve the military air ’FANTASIE IN C MINOR By Gertrude Keenan cato quarters. Some staccati call for more associated with marches and make this By Wolfgang Amadeus Mozart Not a great number of the little tunes depth of touch than others—they vary also little number as stirring as possible. This excerpt from the C Minor Fantasie written for first graders call for wide tonal contrasts as this one does. It is written in the matter of crispness and brilliance. HUNGARIAN DANCE of Mozart begins with the andantino move¬ in the six-eight time which develops a nice Of course these are things sensed by the Arr. By Hans Harthan ment. The opening motif of the first move¬ sense of phrasing—one phrase forte, the gifted pianist and cannot readily be taught. Who does not know this Hungarian air ment is identical with that shown in measure next piano, and so on. Play it at fairly The second section lies in the relative which is so popular among pianists through 76. A rather interesting fact is that fast tempo (allegretto) and toss off the minor key—A minor—and contains stac¬ the Brahms arrangement? It is as a mat¬ while the Fantasie is composed in the key phrases gracefully and playfully. cato progressions which call for a flexible, ter of fact often called the Brahms’ Hun¬ of C minor Mozart uses the key signature bouncing wrist. The third section is in garian Dance. Of course the melody was of C major. The only similar example that I FEEL LIKE DANCING F major, the subdominant key, and is very in existence long before Brahms was born comes to mind immediately is the Schubert By Mildred Adair sustained throughout. The melody in this and was played all over Hungary by roving A-flat minor Impromptu, written with the section lies in the upper voice and should bands of gypsies. This arrangement by signature of four flats. This work of Miss Adair presents in this issue a short be played with all the resonance possible. Hans Harthan is quite easy and playable Mozart’s ranks among the greatest of his tune in dance form, grade two in difficulty. Observe the portamento—long but detached and will afford an opportunity to the young piano compositions. One cannot evade the The little mordant figures written as a —appearing in measures 51 and 59. In this pianist to' become acquainted with this feeling that in writing this composition triplet in the right hand should be slurred as in all compositions, the marks of dy¬ dance long before he has advanced suf¬ Mozart, ever the personification of grace into the second beat and tossed off sharply. namics should not be neglected. ficiently to play the Brahms arrangement. and delicacy, was experiencing dramatic Note too, that the left hand also phrases heights and tonal intensities far beyond the the first beat into the second. At measure SEEN IN THE EMBERS Characteristics of Hungarian music are the compass of the Harpsichord of his day. 20 the theme is taken by the left hand and By Charles Huerter abrupt changes of pace, mood, and key The “bigger” moments in this number can carried thus for the rest of the section, Here is a fine study for the development signatures—major to minor and vice versa. well make use of the possibilities of the then D.C. to finale. of the left hand as solo player. The mel¬ These are all in evidence in this little num¬ modern piano. At the .same time the harp¬ ody for the most part is carried on the ber and are carefully indicated. The music sichord must be kept in mind when playing A PIRATE BOLD thumb side of the left hand and lies in the opens with the melody in the right hand the many delicate passages which weave By Louise E. Stairs violoncello register of the piano. This played passionata against a rolling left and interweave throughout the Fantasie. This piece is well calculated to catch should be significant in itself. The wise hand accompaniment. A robust tonal treat¬ The opening figure of the Andantino is boyish interest. The bold pirate begins pupil will of course practice not only left ment is in effect until measure 13 is reached repeated three times, growing in tonal and (Continued on page 490) hand alone but melody alone first of all. when the tone suddenly drops to piano and AUGUST 1935 PAGE 481 THE ETUDE THE ETUDE PAGE 480 AUGUST 1935 a body fit for its lofty association. A weak, , 4—Positive, prideful intent and pur- hanging .back, bent shoulders, drooping chest, and dragging feet do not suggest ex¬ 5— A conscious attitude of cause and actly an active mentality, or a spirit of effect. high-strung, keen perception and dignity. 6— An evident understanding of the The rib frame is the bony top or cover finely poised balance between the THE SINGER’S ETUDE to our breath box. If the cover has col¬ mental and physical. lapsed to the last degree physically possi¬ Wrong Standing Position Earn a Diploma ble, not much may be expected of the con¬ 1— Drooping chest, and collapsed, It is the ambition of The Etude to make this department a “Singer s Etude comple tents of the box. Only one thought-point is necessary to closed ribs. correct standing position, and that is the 2— Forward-hanging hips and shoul- distention or expansion of the extreme 3— Lack of positive intent and purpose. Certificate lower rib curve or outline. When these 4— An evident lack of coordination and rib edges are opened away from each other, understanding between the mental like the open floodgates of a clear and beau¬ and physical. Do you feel that if you were given the Opportunity you could tifully flowing stream, the lung cells stretch 5— Too much balance and weight on accomplish more in Music—qualify for the bigger and better Breathing and Breath and expand, the heart is held high and firm, the heels. opportunities that are ready and waiting just as soon as you are and the whole thoracic house is open to A comparison of these two charts will qualified to grasp them ? Their Natural Acquisition and Control elastic action, a thorough breathing, and a make the right way stand out again in the right position. mind and memory. Your musical knowledge—your position and income today A singer or speaker must emanate physi¬ —are the result of the training you have given your natural By Bernice Hall Right Standing Position cal fire as well as tone-emotion, culture of ability. Additional training will open up new fields, new oppor¬ 6—The movements of the outgoing 1— Raised chest walls. body and spirit as well as culture of voice, ordination of this movable floor, the costal done immediately after the four exercises tunities, greater income and higher standing in the musical WHEN IS THE BREATH supply breath should be now practiced 2— Lower curve of ribs opened away and the beauty of grace and ease in the rib muscles, and the strong abdominal sup¬ preceding it. And it will be found to be world. equal to the needs of the tone? without tone, until well understood. from each other. physical as well as flexibility and color in port from below. This trio of powerful impossible without making a sound that is When it is left to its own natural The chest wall should be kept expanded, 3— Hips well back. the tone, spoken or sung. You can get this invaluable training right in your own home, breathing muscles, if left to do their own actually funny. processes. but with no strain. It will be seen that, as without any interference with your regular work, and at but a How, and in what degree? work in their own way, without interfer¬ This breathing exercise should be prac¬ ence, will support the breath, which is the ticed, without tone, till it is thoroughly the abdominal wall recedes, or draws away fraction of the cost in time and money otherwise necessary. The The only really beautiful singing is that in from your hand, there will be at first an which the breath action is perfectly free carrier of the tone, with a smoothness of grasped mentally and the correct physical Building the Singer's Program Extension Method of Musical Training developed and perfected inclination to drop the chest walls. This and elastic, so that the tone is poured process that is far more perfect and com¬ action is established: and at the same time by the University Extension Conservatory—-whether for be¬ can be overcome by practice in keeping the forth on a wide, easy stream of floating fortable than any directed effort, under the the chart should be so carefully followed ginners or advanced musicians—is not an experiment, not a chest wall high all through the exhalation By William D. Armstrong air. No tone can be natural and beautiful idea of training, could begin to comprehend. that there will be a certainty that breath is exercise. As progress is made, it will be makeshift, but has stood the test of a quarter of a century’s under an attempt to hold a forced, mechan¬ After the singer-student has made a very being taken to the bottom of capacity, and Commence your program with a number a program. One can become satiated with unqualified success. ical control of the breathing muscles. In¬ careful study of these ideas, so that the not just a top breath in the upper chest. found that this firm, high position of the which is noble in melody and sentiment, the best of things, and when satiety ap¬ variably such a tone will be oversupplied picture has become so clear in his mind This mistake cannot be made under slow chest walls will bring added breathing Thousands of professional musicians, teachers and artists and of a range which will cause the best pears, appetite disappears. The wise singer with breath, hard in color, straight and that he is ready to let the breath do the and careful attention to each section of the strength and dignity of poise and position. throughout the world owe their success wholly to the authori¬ tones of your voice to predominate. Please always leaves his audience hungry for a rigid instead of elastic, and extremely diffi¬ work that he may have been trying to do inhalation chart. The next step is to sing the tone, with your audience in your first number, and, return appearance. tative methods and the painstaking guidance of the master cult to manage. Then the opposite feature hirrjself, then he should follow Chart I as At this point, while paying attention to the greatest of care that the breath acts having done so, you may sing what you Never sing publicly when physical con¬ teachers of the University Extension Conservatory, and gladly of the mechanically controlled tone is the here given and see how very smoothly and only this one subject of inhalation, the exactly the same as has been studied and please, for you will be singing to receptive ditions are below normal, for remember testify to that fact. sudden collapse into a weak, breathy, loose easily the incoming breath will cause the singer should stand as before, with the practiced in both inhalation and exhalation. minds. When responding to applause, do that an impression created at a first hear¬ tone, which is such because of its lack of muscles to do their work in their own way. hands kept in position, while a correct Easy, single tones should be now sung, not test enthusiasm too far by innumerable ing is lasting, and that the singer is remem¬ coordination with the breath pressure. And; in this let there be a certainty that breath is taken as has been practiced and while there is a careful watch for that ease Let This Great Conservatory Open the Way for You bowings; it is your voice that is wanted, bered always by the quality of a first per¬ One may try showing nature what he there is no direct operation of any muscle this used to sing a tone. Only such tones, and flexibility with which this automatic Whether you are a professional musician, a teacher, or just a beginner, this not your stage deportment. formance. thinks should be done with the breathing during the study of this exercise. as are comfortable throughout the middle breath will carry the tone, and for the great Musical Organization will open the way to the sure attainment of your Never tire your audience by too long —The Musical Leader. muscles; but nature surely and swiftly re¬ and lower voice, should be used. These natural equalizing of the supply and de¬ musical ambitions. You will find the small cost of our training to be in no CHART I bells against such presumptuous attempts, should be sung with one of the bright mand. sense an expense, but a real investment that will pay you big dividends in by a stiffening of the whole body and a vowels, “e” or “a,” and the tone should be The singer must “go with" the flowing satisfaction, in culture, in standing and in real money. Your satisfaction is Inhalation GUARANTEED. resultant straight, hard tone on driven air. sustained as long as is necessary to observe breath in exhalation. There must be no 1— Stand straight—so that the chest So much for any indirect interference. the breath action. In this exercise the first effort in any way whatever to retard or Judge for Yourself walls are lifted, and the lung cells concern should be the doings of the breath control it. The flowing breath should be free and open. We want you to know how interesting, how valuable, the training of the Seek Beauty First and its improvement, and a thorough un¬ imagined as pouring in a comfortable, easy 2— Place one hand flat on the ab¬ University Extension Conservatory will be to you. We want you to be the HE OBJECT of training is, not to derstanding of what is being attempted. stream into the extreme top of the dilated CHICAGO MUSICAL COLLEGE judge—without any risk or obligation whatever on your part. T dominal wall, and the other on the set any muscle and then expect that After the point has been reached where head cavities. When more power is needed, Return the Coupon and we will send you a number of sample lessons in muscle to respond to conscious effort, but chest. there is a feeling that inhalation has been 3— Now breathe in deeply, slowly, and more air must condense in the bony cavities any one of the courses in which you are interested, for your examination— to find a clear and successful plan of pro¬ mastered in all its details, and where it Rudolph Ganz, President Harold E. Ray, Business Manager fully. of the head and chest When softer tones ABSOLUTELY FREE. cedure, through which the singer may gain seems comfortable and free to do its own are used, less air is required and, naturally, freedom and beauty of tone along with work, then exhalation must have attention. These Sample Assignments will prove to you why University Extension Correct Result less pressure through the whole breathing Conservatory training in Music has gained and held such a high place in complete bodily relaxation. From the be¬ 4— If inhalation is correct, the abdomi¬ First there must be a certainty that inhal¬ system. Study for a Degree at an accredited institution whose require¬ the Musical World, and has meant so much in recognition and real money ginnings of voice training, the mental con¬ nal wall will move forward and out ation is low and deep enough to bring into When a high or loud tone is sung, more to so many thousands of ambitious musicians. cepts must all lead away from ideas of di¬ correct action the abdominal muscles, against the hand automatically. motive power is used to energize the tone, ments represent the newest and highest standards in applied Just check the course in which you are most interested. Sample lessons rect physical control. 5— There will be no rising of the chest which, in exhalation, contract and press in¬ and therefore more resistance on the will be sent to you, with full information of all our Courses and our re¬ Perfect relaxation in singing does not wall. ward, pushing the diaphragm upward and breathing muscles is needed to carry the music under master teachers whose records of success are a matter markable and exclusive method of teaching. There will be no obligation mean an entire collapse. It means singing Believing that a well understood mistake thus lessening the breath space. In exhal¬ tone high into the head cavities as well as whatever. on a naturally controlled breath pressure; ation there is also the abdominal-dia¬ of national recognition. is soonest corrected, it is suggested that to supply the strength necessary under the This Is YOUR Opportunity—Mail the Coupon TODAY! the discussion and acquisition of which is here at the start there should be a thorough phragmatic action. If the act of inhaling added pull and stretch of the muscular ac¬ exactly the aim of this article. demonstration of both sides of this most is carefully and easily performed, the act tion. It may then be said, as a helpful idea, Write at once to the Registrar for detailed information regarding How often the question is heard as to important subject, by examples of the of exhaling will follow naturally and cor¬ that these higher and larger tones of the University Extension Conservatory how much breath should be retained to breath that is exactly wrong as well as of rectly, if not interrupted by interference. voice lie the highest above the floor of courses offered. Dept. A-30, 1525 E. 53rd Street, Chicago support a particular kind of tone, or the the one that is exactly right. It is of course very necessary at this the breath supply, and that the soft and length of a certain phrase. In correct sing¬ Being able to contrast the opposites in point that the study of inhalation has been lower tones, lie tlie nearest to it ing, breath is never retained, for retained this exercise is absolute proof of being so well understood and carefully developed Persons are usually quick to respond to UNIVERSITY EXTENSION CONSERVATORY, Dept. A-30 breath never can be a right or healthy sup¬ surely right, leaving no room for doubt that the breathing-in will be easily enough imaginative thoughts and pictures, and 1525 E. 53rd Street, Chicago, Illinois. port. Support is always the result of free¬ and guess work. managed so that attention can be mostly those mentioned here will be found to be Please send me catalog, sample lessons and full information regarding dom of the breathing muscles and of the FIRST SEMESTER OPENS SEPTEMBER 10TH turned to the out-going breath. very helpful to lead to right and in¬ course I have marked with an X below. breath stream. Support of the tone is never CHART II The following exhalation chart should □Guitar gained by direct control. Freedom, and its teresting results. All the time, though, □Piano, Normal be carefully studied before there is an at¬ Course for □Ear Training and consequent control, are reached through a Wrong Inhalation there must be care that all conditions are Registration begins September 2nd tempt to practice these three principles practically correct. Sight Singing release of the breath and all muscular effort 1— Stand with the body-muscles loose, combined: One more vital point must be added, to □Piano Course for □History of Music □Mandolin and through localized controls. Let the the chest drooping. An inattentive Inhalation □Choral Conducting □Saxophone make this lesson on breathing complete- Students singer give way to breath action, and there attitude. Exhalation □Public School Music □Clarinet □Piano Accordion a point that cannot be separated from it will be a gain of support, release, and of 2— Place the hands the same as in¬ Singing on Automatic Flow of Breath. Complete courses in Music, Dramatic Art and Dancing □Harmony □Violin □Adv. Composition free, beautiful tone. No effort must be structed in Chart I. This is the standing position and its dis¬ tinct and keenly noticeable examinations. Tuition fees are in keeping with the times made, at any time or for any purpose, to 3— Breath fully into the upper chest. Exhalation Name .Age. set any gauge on the breath supply. In 4— Take particular notice how the ab¬ 1— The same standing position as de¬ Personality Wins Street No. natural breathing the supply is always equal dominal wall under the hand is scribed in Inhalation Chart. HE FIRST message, or impression, to to the demand. forcibly drawn in and up under the 2— The hands in same position. T City . State. go from an entertainer to an expectant diaphragm with the high pull of 3— Inhale, with a certainty of correct- Breath Mechanism this upper breath. audience is not the first sentence of the How long have you taught Piano ?.How many pupils have IGHT BREATHING position and ac¬ 5— Now try to sing a tone without re¬ speaker or the first phrase of the singer, CHICAGO MUSICAL COLLEGE R you now?.Do you hold a Teacher’s Certificate?.Have tion are not direct results of dia¬ leasing any of the load of breath but the radiation of what the personality 64 E. Van Buren Street may contain as to strength or weakness, phragmatic placement and action alone. held in this forced position in the 5—The abdominal muscles under you studied Harmony?.Would you like to earn a degree of beauty- or awkwardness. The body is al¬ Chicago, III. The diaphragm is the rubber-like floor of upper chest. hand should contract automati ways the material reflection of the spirit- Bachelor of Music? . the thoracic space; and natural, automatic Right here there should be a test to inward, to assist the diaphrag breathing is the result of the perfect co¬ learn if number five of this chart can be pressing the air upward. A rightly poised mentality is proud of its physical home and desires to dwell only >n ™e etude AUGUST 1935 PAGE 483 THE ETUDE PAGE 482 AUGUST 1935 Beware the Mastodon! of the lazy, the careless or the incompe¬ tent. One can rest the foot so nicely, and N THE Pedal Organ probably as many A Genuine Pipe Organ a pedal note offers such a convenience to sins have been committed as on any keep things going while turning a page other keyboard. It is unnecessary to dilate or changing the registration! Also such upon the grandeur and magnificence of a help to improvisation! THE ORGANIST’S ETUDE tone emitted by these gigantic pipes—more But the pedals are used not only too to be felt than described. The variety continuously and indifferently, but far too here, too, has been remarkable in recent often they are employed also illogically. , , . „„ “Oreanist’s Etude” complete in itself, years. From a shadowy background, o make this department an U g There are many compositions, where the the ambition of The Etude scarcely more than a whisper, varying de¬ bass, in addition to being the harmonic grees of power are built up from the foundation, forms an interesting study in Gedacht to the fine round Double Open itself—a real part and not merely some¬ Diapason and the militant Trombone. We thing for all else to stand upon. But in have here that which invests the “King of the way some organ music is written, and Instruments” with a distinctive nobility more often the way much of it is per¬ possessed by no other. formed, there seems lacking a nice sense Complete mastery of the pedal board is of both taste and reason. The Organ—Its Use and Abuse yet a rare art. All too often some few A PIPE ORGAN FOR THE PRICE notes, easy of access, become the refuge (Continued in next Etude) OF A GOOD PIANO By H. C. Hamilton diet. Certain articles are really useful as discretion needed than where “Ham solo condiments—but only in that sense. Salt My Faith Looks Up To Thee NE OF OUR MOST eminent i- used with a feeling for varied beauty. O and fancy stops are concerJ“St ” is good for seasoning but not as food So, thorities has declared that no too much candy is not advisable, so too By Mrs. W. Henry Herndon The Lure of Noise in the realm of organ tone, the player has strument offers such a field for much tone of a saccharine quality is apt to ANY FAIL to exercise judgment various commodities at his disposal, which triflers as does the organ, because on no M sicken the ear. An effective Vox Humana regarding the instrument’s power. may serve in their way. Author:—Ray Palmer, 1808-1887, was the children of the Sunday Schools with a other are so many effects to be produced by certainly occupies a legitimate place on a y view of fitting them for choir work when It must be always remembered that We might cite the “mixture” in par¬ a native of Rhode Island and a graduate ' merely mechanical means. This marvelous complete organ; but, because of its un¬ they were grown. organ tone does not affect the player— ticular as a sort of salt shaker. Unusable of Yale. At the time he wrote this hymn contrivance of man’s ingenuity has de¬ deniably sensuous tone, overemployment is One day Dr. Mason met Mr. Palmer on especially when the console is near—as it alone, or in combination with a limited he was teaching in a select school for young veloped into something resembling a com¬ all too common in the hands of the un- the street and asked him for some hymns affects hearers some distance away. An number of stops, still this device to infuse ladies in New York City. Although he bination of many instruments; and, from thinking. It will be found that this stop was only twenty-two years old, his health for a new tune book which he and Dr. organist, having drawn every stop and mechanically supplied overtones imparts a its comprehensive nature and the ample gains in effect by a sparing use; a little too was broken. Poverty also added to his Hastings were about to publish. They accommodation required wherever in¬ coupler, may blithely continue playing as brilliance to full voiced combinations ob¬ WICKSPIPEORCANCO much, and we easily have a surfeit. Be¬ misery. stepped into a store and Mr. Palmer gave stalled, it gives an effect of permanence long as he feels disposed, with no distress tainable in no other way. Any flatness of 'T/Mland. 111. to his own ear-drums or nerves, from the fore the advent of the “talkies cinema CENTURY PIANO SOLOS, ] 5C ea. One day while sitting alone in his room, him a copy of the words. When Dr. Mason second only to the building itself. Organ organists had the habit of featuring this sound (by which is not meant out of and without the influence of outside excite¬ reached home and read them, he was so tone, too, not being restricted in fullness unending fortissimo. Strong vibrations, tunc) is remedied to a marvelous degree (Capital latter Indicates key—number the grade.) which create tremors throughout the audi¬ and other fancy stops to a sickening ex¬ ment, he wrote the song, almost as it is impressed and interested that he im¬ W0W and’ duration, further emphasizes this tent. There is nothing that will satisfy in by the addition of these cunningly added sung today. He has said that he wrote the mediately wrote the tune Olivet, to which WRITE TODAY FOR FREE BOOKLET idea—there seems a suggestion of eternity torium, he feels not at all. Consequently, harmonics. They give savor to the ear if a player’s judgment fails in this re¬ a good menu so well as plain and whole¬ words with a consciousness of his own it is almost universally sung. Several days some fare, though a certain proportion of similar to that where a dash of salt adds needs and without thought of writing a later the two men met again. Dr. Mason Now in spite of the instrument’s growth spect, others are bound to suffer. something lacking to food otherwise in¬ Full organ, is today a thing not to be other things, on account of their flavor, 24J6 B|ue*lB^tter41^«!l^\^l^C^ap'..A>--LLeon^ore hymn for Christian worship. His choice told Ray Palmer that he (Palmer) would to mammoth proportions and of the multi¬ sipid. The piquancy resulting also from prodigally displayed in either church or certainly contribute to the pleasures of the of words is quite remarkable. In a few be known to posterity as the author of plication of pistons, buttons and whatnots, all mutation stops certainly gives zest but concert hall. It has its place, but only at table. The 8-foot manual tone of less strong phrases he pictures life, death, im¬ My Faith Looks Up to Thee. physical force is no longer, as formerly, a for such reasons moderation must never 1704 Butterfly! Op,’81.tNo! '.'.'.'.'.VMerkel long intervals. Our large modern organs colorful exhibit, but which, like good bread 968 Crimson Blushes. Caprice. G—1.Lester mortality, and the reach of the human soul Interpretation: The hymn should be necessity in its playing. Thanks to the be forgotten, especially with two foot stops 2973 Dance of Goldenrods. F—3.Fitzpatrick are too powerful to use in this way, and butter, satisfies more than the richest toward God. played and sung in a reverent yet not too pneumatic and the later electric action, confection, is the real substance of the organ. and supercouplers. Tune: Olivet was written by Lowell everything is now so light that manual either suddenly or too long. A shock ?385 Edefwels,selGrad"?^The.nValM^ C—i!!!! ^Martin taught a singing school and led a choir. is needed to set any combination, depress of pipes under high-wind pressure. The it should be used sparingly. Humana, possibly the Oboe is the one made hearers and possibly to contribute towards 1070 Flowers mf'Farm. Tone Poem. G^V.'.Keiser He later moved to Boston, where he trained the keys and even the pedals. These lat¬ proper place for such stupendous paeans of ■ to work most overtime. Any outstanding empty church pews, with probably more ter, too, have now a more easy and elas¬ tone is the climax of a crescendo, or pos¬ *238 Gypsy Encampment. Am—2 .Behr secure positions and more satisfying re¬ ^828 Gypsy Ro^ndo. G-^3 . „ . . „. „ „ .... „Haj^ tic’“come back” to the ankle; and the sibly a fortissimo unison or chord, where in reed has a limit to the period it may con¬ Uty Soofcs Up to Cfyee. radiating variety has made the pedals of addition to all else a high-pressure reed tinue with good effect. There are some muneration. such as the Pedal Trombone may be added. delicately voiced flute stops we might hear the extremes more accessible. Certainly Preserve Ideals Ray Palmer. Olivet. 6.4. Lowell Mason. the modern organ ranks easily among the But such extremes, if frequently indulged, more often—their pure and somewhat triumphs of musical advancement. advertise a want of good taste; and, like all liquid tones seem almost to slake the IT HAS BEEN well said that an art¬ things loud, or in any way startlingly ob¬ thirst of parched ears. Also they are more ist is not known altogether by what Beware of Riches vious, they proclaim a lack of refinement. apt to be in perfect pitch. A reed, in he does—we recognize fine taste quiteas M75 MlSStl Waltz!*'op.) 6l"no. TV Db—3.' lOwpin UT, WITH ALL these advantages any way “out” is most distressing. much by what is not done. A little reflec¬ 2972 Moonbeams on the Lake. C—3... .Fitzpatrick 1. My faith looks up to Thee, Thou Lamb of Cal - va - ry, B Where Wisdom is Rare over the days when mechanical helps But, while sugar has to be dispensed tion on the work of any performer oi «»- *328 m“"!1i|'PMyerNuMp.6 F—2 ''itreabbog 2. May Thy rich grace im - part Strength to my faint - ing heart, were in their infancy and when real physi¬ T with discretion, no less also have things of sicianly attainments will bear this out He 3. While life’s dark maze I tread, And griefs a - round me spread, cal strength was absolutely needed, _ this avoids the commonplace and scorns catch¬ |l|j Poet and PM5ant^)vertui-e?^i4.'j,V|uppe 4. When ends life’s tran-sient dream, When death’s cold, sul - len stream penny tricks. Organ playing, as 1028 Prelude. Op. 3. No. 2. Cfim—5.. Rachmaninoff modern ease of manipulation, along with a 2423 Robin’s Return. The. Ah—4.Fisher resplendent variety of tone color, may any other branch of music, must be poetri 376 Rondo Caprlccloso^Op. 14. E—5..Mendelssohn easily become a pitfall. There is often 2740 |chooll Pictures. C—-l .. . - *.. • •. -^Hopkins to be found that type of mind which, find¬ m The^Tremulant is an invaluable blessing, ing so much ready at hand, imagines little if noiseless and in good hands. But I j 2932 Trip to NBb^3?y •••• - -^ornish remains for the player to do. Too many, petual tone-shaking, especially in k>“d e' not serious in their aim, or who rate fects, is irritating. For that fad j 2695 Whoo'fl'Er’up?'(March)’.' G^-3^4.3 .’’. "wood technic and earnest study at a discount, to thank (or curse) the moving picW Say - ior di - vine! Now hear me while I pray, Take all my can waste innumerable precious hours at player. He did much (perforce he » VIOLIN AND PIANO DUETS, ] 5C ea. My zeal in - spire; As Thon hast died for me, 0 may my the console, revelling in one tone color often obliged) to propogate acceptance after another, encouraging an appetite for Be Thon my guide; Bid dark-ness turn to day, Wipe sor-row’s the ugly. But in church and Shall o’er me roll; Blest Sav - ior, then, in love, Fear and dis- merely sensuous tone, and ignoring the have no excuse for profaning the content and spirit of real music. The organ builder has done his work and To pursue the thought a little done it so well that it is quite possible to scarcely needs to be mentioned that be led away by the mere indulging in color continuously loud playing, a dwclr'g effepts and to imagine this to be organ long on the extremes of pitch—w« study. Nothing could be farther from the high or very low-ts a reprehensible pf^ truth. The vast opportunities certainly tice and creates a strong aversion o captivate the fancy; but the gravest respon¬ guilt a - way, 0 let me from this day Be whol - ly Thine! sibility is. assumed by the organist who listener. “Truth lies in the middle oti love to Thee Pnre, warm and changeless be, A liv - ing fire! sees in this illimitable treasure house of road” is an axiom certainly fW1 , tears a-way, Nor let me ev - er stray From Thee a - side. sound not a chance for running amuck but here. Moderation is sorely needed _ MUSIC PRINTERS rather of weighing to the finest degree of in many walks of life and in no ■ trust re-move; 0 bear me safe a-bove, A ran- somed sonl! A - men. ENGRAVERS*™ LITHOGRAPHERS nicety all that the builder has here dedi¬ ment of art is such a return more MANDOLIN and GUITAR and VOCAL. PRINT ANYTHING IN MUSIC- EY ANY PROCESS cated to the interpreter. But anything than in the music of the civilized s' Ask your dealer for Century music. tfbe can’t not tempered by good judgment and skill¬ To dwell interminably on the highes WE PRINT FOR INDIVIDUALS plete catalogue will be mailed you FREE on request. ESiAditSHEOi9TA REFERENCE ANY PUBLISHER ful handling may become a nuisance, if not ual or lowest pedal *3 tte an actual menace. A fine sense of values nerves unpleasantly. All wul r CENTURY MUSIC PUBLISHING CO. must ever walk hand in hand with these relief when such prolonged sounds Other hymns ivill be presented in similar increased resources of the instrument, re¬ JSS tts, *• ceased and a return to something ZIMMERMAN sources' for "our delight and satisfaction, if manner in later issues of The Etude. *»*> ”'<* hundred .JItveZyUf, normal is heard. the etude THE ETUDE AUGUST 1935 PAGE 485 PAGE 484 AUGUST 1935 ORGAN AND CHOIR QUESTIONS Bands and Orchestras Answered NEW YORK SCHOOL of MUSIC and ARTS (Continued from Page 456) By Henry S. Fry, Mus. Doc^ Ex-dean of the Pennsylvania" 310 West 92nd Street, New York City (At Riverside Drive) It is true that a speed of 84 is quite RALFE LEECH STERNER, Director in THE ETUDE unless accompanied by the full mmt Z^rof'iheTnquirer.Ho questions will be answered ~OnIy ti initials, or pseudonym given, unll be published. correct for the second subject, but it can¬ not become the main tempo of the allegro Special Summer Courses movement. Is there a note in music Tinmen a, , n New York City. j/e"—occasional!y found in old organ Starting May 15th :T What is its valuet—Inquirer. We do not know of any note termed building, piano in every room, ■fe.” We presume the note referred to is e baths. Rates reduced one-half from $300 to $150^for_entire It does not seem logical that Wagner would have indicated these erroneous d diplomas given. Students studying in New York School have the tempi for the allegros of these two over¬ advantage of spending week-ends at our beautiful country school on Greenwood named on the enclosed list What stop tures, for he took occasion to complain Lake with no extra expense. Bathing, boating, tennis, horse-back riding, fishing should he used to a^"Vfpa”^n^>g^ng thirteen, bitterly that, while he used to conduct his and mountain scenery unsurpassed. lanoTlrom children ’of twelve jaars^to and equals four half-notes. Tatuthauser overture in twelve minutes grown people whose voices with on ,e p tion have never been trained. *»«<” “‘ur Q. I have a problem which doublletslii when presenting the opera in Dresden, a should be used far accompaniment to a s troubles other unemployed organitti. / Ka, „ few years later he found his successors prano solot Sometimes ™%n0/h*ul°r° church organist and director tor tit peart until TINDALE depression hit the last church I vat ten. taking twenty minutes for the performance The saltiry of the organic" ~ ‘ of the overture. Music Filing Cabinet Poor Wagner! How must his mu !S^

Answering Etude Adver-

and delights the reader. 1 s=niaii]ijiaiiiE3

for TEACHERS of PIANO and PIANO ACCORDION

Making My Family Musical

CONSERVATORY wmm.^ BALTIMORE, MD. #PEAB0DY}|y OTTO ORTMANN. ToJ&sr.4 »i00 s of the Oldest and Most Noted Music the etude THE ETUDE AUGUST 1935 PAGE 487 PAGE 486 AUGUST 1935 tion of the bow will be in a straight line. be confined, as nearly as possible, to a Holding the bow with loose fingers will spot on each string half way between the' not produce a big tone. With practice, the bridge and fingerboard. Then, the prob¬ A ONCE-A-YEAR fingers of the right hand will be able to lem of drawing a perfectly straight bow carry a greater' relaxed weight; the finger stroke will be simplified if the student will pressure will then automatically increase keep the stroke at the point of first con¬ with the- weight. tact. This should be given regular atten¬ Another advantage derived from prac¬ tion for several months until it has become GET-ACQUAINTED tice in holding the bow with relaxed fin¬ an unconscious part of the technic. Dur¬ gers is the ease with which certain ing this time, the student must avoid bowings may be mastered. In fact a great making the crescendo and diminuendo by part of the difficulty in executing saltato causing the bow to move nearer the bridge OPPORTUNITY and ricochet bowing may be overcome if for the crescendo and father away from the pupil will concentrate on holding the the bridge for the diminuendo. bow very loosely. If this principle is It is well for the violinist to realize that FOR ALL MUSIC correctly observed it will not be necessary the strings of the violin are not parallel. to take any of the fingers off the stick to When the bow is at right angles to one LOVERS . . . increase the bow’s elasticity of rebound. string it cannot be at right angles to the The Problems of the Beginner in Violin Teaching The fingers of the right hand should never others. The trained violinist’s feeling for be spread apart, but should remain close tone, however, makes these necessary, fine together, the little finger on top of the adjustment:, of the bow arm an unconscious By Nathan Weinberg stick. process. The fact that the strings are not A great many students no longer in the parallel adds to the difficulty of playing he will not play it well. It may be hardly double-stops smoothly. The student should half-bow strokes from middle to tip. When These simple exercises are followed by elementary class have difficulty in making THE ESSENCE OF modern peda¬ the connection of both strings. For ex¬ recognizable. But it will sustain his in¬ accurate bow strokes. By giving careful not use a bridge cut so that the strings are gogical thought may be expressed the arm has adjusted itself to the position terest. And his work for the first few ample : attention to bowing practice, a fine accu¬ far apart, as this increases the relative very simply. Teach the child not at that part of the bow, short strokes at months should consist almost entirely of the frog are practiced, followed by half¬ racy of bow control can be developed. divergence of the strings from the paral¬ what we think he should know but rather such songs, preferably those which he has For this practice the bow movement should lel. that which the peculiar nature of childhood bow strokes from frog to middle, and lastly sung at school or knows by hearing. whole-bow strokes. This is the first les¬ is most capable of learning. After hun¬ After he has played a number of them son. No notes, no names to remember, no dreds of years of child torture through they may be transposed to the G and D talk on the nature of music, and so forth. various so called “systems” of juvenile in¬ strings, and later to the A and E, a simple At the following lesson if the bow is struction, pedagpgy learned at last that matter which children usually enjoy. Let the Violin Sing and Help Sing drawn fairly straight and the tone is not the child is only nominally intellectual, that SEND COUPON too impure we are ready to proceed to The various placement of the fingers his essential mechanisms are physical, should be approached not with the thrilling motor and imaginative. Hence in our fingering. Fairly straight. Not too im¬ By Gordon McCorkle WITH 35c TODAY! pure. I do not believe in the doctrine of information that we have in music twenty- kindergartens and modern schools the four keys which represent a synthesis of OFFER EXPIRES AUGUST 31 ST! greatest emphasis is placed on handwork, each step “perfect” before the next step. It is very necessary for the young vio¬ The writer knows of a violinist who has It sounds beautiful but it does not work. the church modes, but simply by introduc¬ play and imaginative literature. ing new songs which require an alteration linist to develop as early as possible that done perhaps an unusual amount of play¬ Piano pedagogy, taking advantage of There is no perfection, and our quest for it ing for various singing groups and who of a finger; My Country ’Tis of Thee, for vibrant, singing quality which is one of these forward movements, has made much is long and arduous. We can never even derives great pleasure and practical bene¬ THE ETUDE MUSIC MAGAZINE instance, which uses our original placement the outstanding features of a good tone; progress in recent years, and in the works approach perfection in a problem when we fit from alternately playing the alto and on the D string, and a lowered second and because there is so much in common • Theodore Presser Co., Publishers * of John M. Williams and others we see are learning it, but we get the important between the violin tone and the voice he tenor parts of the hymns for the Sunday finger on the A. decided evidence thereof. In violin peda¬ points somehow, and as the years go by school singing. In addition to the tonal Gradually, very gradually, notation may should seize every opportunity to play with 1712 CHESTNUT ST.. PH1LA.. PA. gogy, on the other hand, there seems to be we file a little here and polish a little there vocal soloists or ensembles. There are development involved, this procedure gives be introduced. By doing so we follow the very little of this modernization. until we reach that limit which every one many fine songs that have a violin obbli¬ (in the case of the latter) splendid prac¬ natural process. After the child has played The basic difficulty in teaching the child of us has. gato part and the violinist should associate tice in reading the bass clef—something music well or badly, we may introduce him music is due chiefly to the extensive theo¬ himself with a good singer and practice not every young violinist can do! Another Step to the written symbols of that which he retical paraphernalia of the art. The actual these pieces. The results will be extremely Playing an obbligato part for the church HERE ARE TWO devices which are has already done. The theoretical work handling of an instrument is very natural T beneficial not only to the violinist but to choir is also excellent practice. There used in teaching fingering. Hofmann such as names of dtords, transposition, and to most children and they are also as a All of these exercises should be played the vocalist as well. It probably will be are a number of anthems in which the teaches string by string, and most of the rule musical. The technical difficulty of with short strokes at the lower and upper so forth, presented in some otherwise high¬ a delightful surprise for each one to find others finger by finger. Both procedures violin part adds much to the rendition, elementary instrumental work is certainly parts of the bow, not the middle. ly intelligent modern piano methods we how the tone of the violin blends with and are bad; the former for the bow and the and in playing them the violinist has a not greater than that involved in many of may consider injudicious, and not in accord supports the voice. This, of course, will latter for the fingers and ear. Children in Tunes to the Front wonderful opportunity to make his violin the intricate constructive games of children. with the natural learning mechanism of the develop with continued playing and sing¬ school are no longer taught the alphabet, “sing.” And the average child has a fairly good AT THE THIRD lesson (if possible, child. ing together. but words and phrases, and we should pro¬ Take advantage of every chance to make ear and rhythmic sense. The great - even at the second) the first attempt As notation is introduced the teacher The violinist could gain much beneficial HARMONY, ELEMENTARY AND ADVANCED: ceed similarly. The tonal unit which is music with others. It is a valuable asset stumbling block is notation. Notation is at a tune should be made. Within the should select from such technical works as practice also in a Sunday school orches¬ the basis of our music and musical hearing to be able to “fit in” wherever one is the factor which prevents the child from compass of our D major scale we can play Sevcik “Opus 6, Part 1," and “Opus 2, tra playing for the singing. This would is the tetrachord. And with the tetrachord using freely his native mechanical, aural a great number of folk songs and other Part 1” such material as he feels is in¬ be splendid practice for developing a “big” placed and the ability to accompany a end for 2 free booklets tb and rhythmic endowment. Knowing noth¬ we begin. tunes. We can start with Old Folks at dispensable, and mold it to the needs of the singer intelligently and to play a sympa¬ emarkable method to 1m Assuming that most violin teachers have tone, and it would furnish opportunity also Kinne memorize music ccuracy. sight reading, ing of the higher mathematics of notational Home. The teacher should write it out individual child. for sight reading, especially if he were thetic obbligato is something not every vio¬ ^nd playing through mental-mi- advanced at least to the stage where Sevcik Memorizing Course a111* sure co-ordination. Quick results—prac- time relationships, he would play Yankee just the same as the exercises given above. If the teacher has not stifled that original inclined to play the alto part of the hymns. linist can do. >rt minimized. Used by famous pianists and Doodle in almost perfect time. Knowing reached fprty years ago in his semi-tone ends forgetting 8 of classical and popular music. No obligation. Rhythm should not be mentioned except spark which lives in every child, but has .11 Studios, Dept 11-H, BenJii Bldg., l« Angeles, Cali, nothing of whole and half tones, flats or system, it does not seem necessary to point for a general remark as to long and short nurtured it with that food for which it is MARION KINNE, 1324 So. Lindenwood St„ W. Philadelphia,Pa. sharps, he would, given the average ear, out the fallacy of beginning in the key of notes. Not ivhole, half or quarter. It most hungry, then the path to our glorious recreate the fine strut of that air with few C major with its diverse finger placement should be left chiefly to the child’s spon¬ art has been opened to another fortunate errors in pitch—he would, were it not for on the different strings. The tetrachord taneous aural, motor capacity. Most likely that elaborate system of metaphysics which most natural to the ear and fingers (the we call notation, so alien to his natural third finger clings naturally to the second) processes. is the major tetrachord starting on the Let us, then, consider a procedure for open strings.. So we start with the tones elementary child instruction which elimi¬ A, B, C-sharp, D on the A string, and D, Violin Practice nates much of this early torture. E, F-sharp, G on the D string. The fourth finger is brought in later. Remember, we The Play Approach are not concerned with the development By Lawrence Mettersheimer THE CHILD HAS just gotten a violin of hand position or strength; they can and wants to play it, or perhaps play wait. We want to let the child play as Without the discipline of regular prac¬ position of the thumb certain passage work with it. The play impulse of the child is quickly as possible a tune which he knows tice it is impossible to develop and main¬ cannot be played in an easy manner, to of great value to the music teacher. He and can enjoy so as not to allow the first tain skill in violin playing. To benefit demonstrate the correctness of this low has that advantage over the teacher of flame of enthusiasm to cool on theory and from regular practice it is necessary that thumb position, play the last eight meas¬ arithmetic or spelling. To leave the violin gymnastics; We have, then, a D major certain principles be observed. Seemingly ures of the solo part of the first movement on a chair and to open a book in which is scale, a do-re-mi-fa-sol-la-ti-do which is endless repetition has no valuable effects. of Vieuxtemps’ “Concerto No. 2 in r* presented a mass of textual knowledge is natural to the child’s ear and fingers. We The will is then so fatigued that even the sharp minor” with the violin resting in the SPECIAL NOTICES and ANNOUNCEMENTS | a pedagogical crime against a child’s in¬ do not teach the child the names of these basic principles of technic are no longer crotch between the thumb and hand, a™ Write; J. L. C. Song Service Studios, notes, but write for him a few simple exer- SPECIAL NOTICES most nature. No book should enter the given attention. The imagination freed then with a relatively low position of the ONE OR TWO OLD VIOLINS and fine 135th St. & Walnut Ave., New York City. studio for at least the first month. from restraint goes where it will, which bows for sale. Guaranteed, good, cheap. CORRESPONDENCE SINGING COURSE. thumb. Reference Etude. R. W. Ferrier, Eliza- Small Monthly Payments. Starting with the simplest possible in¬ 0, 1, 2, 3-0, 2, 1, 3—0, 3, 2, 1, and so on, is usually far away from the etude or Frequently the pupil is directed to l*> bethtown, N. Y,_ Dr. Wooler, 1511 Boone Court, struction as to the holding of violin and scale undergoing this mechanical repeti- __Lakeland, Fla._ the bow firmly. The effort to hold the ANNOUNCEMENTS TUNE YOUR OWN PIANO. Simplified bow, and without placing too much stress to be practiced on the A and D strings. course. $4.00. Prof. Ross, Mansfield. Pa. The practice on the D string prepares the bow firmly results only in his holding" HARMONY BY CORRESPONDENCE. on these matters, we proceed to the first The technic will not produce an impres¬ with stiff fingers and this makes a goon Standard text book used. Inexpensive. MUSIC Arranged, copied, harmo- bow work on open strings. Almost every pupil for playing later on the G, and if E sion of perfection unless the execution Edmund Severn, 1063 Franklin St., Mel- nlzed. Prof. Cianfracco, Rome. N. Y._ string preparation is necessary, it being the wrist movement impossible. It is nulc THE WORLD’S SMALLEST VIOLINS rose, Mass. _.__ NEED MORE PIANO PUPILS? Write method starts with whole bow strokes, a seems easy. Ease of execution depends CLASSICAL, PIANIST and Students— now to John Quitmeyer, 7940 Wetherby, easiest, the A takes care of it. His right obvious that when the hand is moving Herr A. Th. Heberleib, of Germany, has made the world’s smallest violins. decided error^ which any teacher should be “,rst °f ,al' a, correct position. The Learn to play “blues,” fox-trots, etc., in Detroit, Mich. _ _ from the wrist, the bow will swing n They are one and one-third inches long and weigh about one-sixteenth of an Ultra Modern Styles without affecting CORRESPONDENCE HARMONY able to see. Sevcik was the first to recog¬ arm acquires a placement at the center of thumb of the left hand should be held low • e held side unless the fingers ■ ounce each. The heads and pegs are of ebony and the G string is of silver your classical "bearings.” Be able to en¬ COURSE. nize this, and he starts with short strokes the violin, so to speak, from which he tertain friends with popular music. Musical Theory Institute, Audubon, N. J. the tip may be permitted to project slight^ loosely enough to permit the necessary wire. Compare their size with the hand in which they are held. at the middle, then at the tip, followed by works outward. above the fingerboard. Without this low compensatory movement so that the mo- ' AUGUST 1935 PAGE 489 THE ETUDE THE ETUDE PAGE 488 AUGUST 1935 VOICE QUESTIONS Question and Answer Department Conducted by Answered Karl W. Gehrkens By Frederick W. Wodell Professor of School Music, Oberlin College the full name in THE ETUDE unless accompanied by Musical Editor, Webster New International Dictionary Mo questions mill be answered Only initials, or pseudonym given, mill be published. and address of the inquirer. No question will be answered in THE ETUDE unless accompanied by the full and address of the inquirer. Only initials, or pseudonym given, will be publ

SEND FOR CATALOG SHERWOOD MUSIC SCHOOL 410 SOUTH j j f FACTS De =ABOUT THE - PAUL UNIVERSITY SCHOOL OF MUSIC Standard

GRADED COURSE standard sonata! B„™.. good or ill. To rid yourself of — - 2. —Does the sharping or flatting of one note — In Ten Grades — tenseness mentioned, first get genuine control affect the same note an octave lowert For of the outgoing singing breath, that is. acquire instance, if A is flatted at the first of a meas¬ By W. S. B. MATHEWS ure and you play A later, in the same measure, the ability to send out the breath very slowly an octave higher, is it flatted if not so desig¬ Bradley Polytechnic Institute and steadily, while singing, compelling the tone to speak fully, not necessarily loudly, nated, or does it remain a. natural t with the greatest possible economy of breath- 3. —What is the correct wag to play the COLLEGE OF MUSIC pressure. As you become more skilled in this, ninth and tenth measures of Chopin’s >oc- A SUCCESSFUL MUSICAL CAREER Peoria, Illinois you will be able to “let go” at the jaw more ECONOMY tal£—wfcatSis the correct way to play the depends largely upon the type of training you re¬ Principal branches of music taught by an 2. —Not necessarily. Consult a good teacher fourth measure from the end of Gershwin s experienced faculty of outstanding ability. The only thing that is cheap about the Q. Please tell me the proper procedure for M. 20 ‘‘Rhapsody in Bluc!”—J. H. ceive and the intelligence and understanding with Courses offered leading to the B.M. and Standard Graded Course of Studies for the execution of staccato notes in singing. of the saxophone. B.Mus.Ed. Degrees. Further Information the Pianoforte in Ten Grades is the sur¬ Are they executed by means of the glottis, or 3. —Better under-practice than over-prac¬ which your talent is developed. and bulletin sent upon request. tice. Try practice periods of ten minutes prisingly low price. The individual studies the diaphragm alone, independent of glottic each, several times daily, with rest periods of at least five minutes' between. Tou can read over your music at the piano, or silently. THROUGH STUDY SCHOOL OF THE DRAMA Courses made in imitation of the Standard When not singing. Watch the tone quahty Graded Course have been marketed at and the presence or absence of “throat com¬ THE GOODMAN THEATRE “attack” of a tone may be accomplished In fort,” when practicing. Stop at the first in a university of national reputation, you can obtain ART INSTITUTE OF CHICAGO prices which some have called scandal¬ either of three ways: (1) With an incomplete appearance of unusually bad tone; try again, ously high. High pressure salesmen and adduction of the vocal cords, resulting in a more intelligently ; and, if the tone does not credit for academic courses as well as for your pro¬ special courses of lessons to distributors “breathy,” unsatisfactory tone; (2) by a have been used to compel purchases. complete closure of the glottis, momentary "T-lt w"oiflda beB necessary to hear you sing fessional work. compression of the a*** -, in order to be able to deal intelligently with The Standard Graded Coiir.se has been sold these questions. Dr. Carl Seashore, scientist, rt Institute, Chicago, III. on its merits alone and its employment s usually results in the e and Dougins Stanley, vocal teacher, have re¬ cently published books in which the vocal UNDER RECOGNIZED ARTISTS bined. There is no way in which the student “vibrato” is discussed. The publishers of Tit* can acquire this adequate study material Etude can procure the volumes for yon. of our faculty you receive expert technical and for any price comparable with that at by a complete closure of the git 5.—The true “Head voice” can be developed which the Standard Graded Course has but at the instant of willing the somewhat, and joined smoothly with the lower artistic training. Artist faculty: Blanche Barbot— 3SMOPOLITAN breath and the sounding of the tone, in tms been sold. range. Falsetto cannot. We do not of course Isador Berger —Monica Mast Boggs—Arthur C. SCHOOL OF MUSIC case, if there be no interference through con¬ know which type of tone production you are current stiffening of any part of the vocal using on your very high notes. Why worry Becker—Adolpfi Hoffmann—Walter Knupfer—Wes¬ Mathews' “Standard Graded Course" in Ten apparatus, the usual result is a tone without about extremely high pitches? The effective Grades (Price $1.00 each grade) has its breathiness or undue harshness. The dia¬ working range for the professional tenor voire ley LaViolette--Margaret Lester—William Lester— Grade One Volume with both Clefs from the phragm is at work in all these types of ordinarily is less than two octaves, say from start (Revised Edition) or with the Treble “attack.” There can be no “tone” without the low G to high B-flat. Otto A. Singenberger—Sergei Tarnowsky—Theodora glottic action. For staccato singing, in most Clef only start in the first few lessons (Orig¬ cases it is helpful to start each note with an Troendle—Michael Wilkomirski. inal Edition). Any or aU grades of this extremely slight H (aspirate), one that can course will be sent for inspection to teachers scarcely be felt, and certainly not heard : this requesting the opportunity to examine a to avoid the danger of setting up an inflamed MILLIKIN CONSERVATORY OF MUSIC volume or volumes of this course. condition of the throat by the use of the DECATUR, ILLINOIS FALL SEMESTER SEPT. 16 harsh “glottic stroke” or “dry” staccato pro¬ Very seldom is a “High C” called for, and less duction When the slight aspiration referred often a “High D-flat.” We would recommend Bachelor of Music Degree, Diploma ai [id Certifi- THEODORE PRESSER CO. to ts skilfully done, there will he a slight throb that you simplify your thinking about voice cate in Piano, Voice. Violin. Organ. Pub ilic School "J fl"lv'er. ™ the region of the pit of the production. Manual Garcia, a world renowned Methods. stomach indicating diaphragmatic action. Write Arthur C. Becker, Dean, for literature Music Methods and Music Kindergarten 1712 Chestnut St.. PHILADELPHIA. PA. This is to be considered as automatic; not as teacher of singing, in his old age once said Bulletin sent free upon request to a professional friend of onrs: “In these something that is consciously done by the iMT-i-• *■ ve reduced my teaching W. ST. CLARE MINTURN, Din singer, but as something that occurs whon rol breath, render the A Professional School With University Prestige the singing is upon a rijfht basis tongue supple, and—sing.” the etude the ETUDE AUGUST 1935 PAGE 491 PAGE 490 AUGUST 1935 World of Music Music Extension Study Course Harold Flammed -Dealer in Music of All Publishers (Continued from Page 479) (Continued from Page 442)

BLUE DAISIES DANA’S MUSICAL INSTITUTE his song way down in the bass in the key “SAINTE THERESE OF THE CHILD BOOKS YOU SHOULD KNOW: SPECIAL MAIL ORDER DEPT By Mana Zucca of D minor. After the pause at measure JESUS,” an oratorio with its text and music Address: Dep’t M.—10 East 43rd St., N. Y. hy Evangeline Lehman, was performed on and eight he continues his song in the relative Thisinis snortshort uuuiucinumber byuy Mana.vidiid Zuccaz*ucca givesg major key against a broken chord accom¬ April 29th and 30th, at the Exposition Audi¬ with new tunes For Telephone Orders: fine practice in chord playing as well a* m torium of San Francisco, before an audience paniment on the tome triad and dominant for kindergar¬ melody playing. The time is alia breve of four thousand, with the composer as solo¬ Murray Hill 2-7S12—2-7813—2-7816 College of Music seventh.' Because of the melody and which indicates two counts to each meas¬ ist and Maurice Dumesnil conducting. It was tens, classroom rhythmic patterns this little composition ure, one count to each half note. The little produced at the Baptist Temple of Philadel¬ Cable Address: "Flammarion New York” lends itself well to rote use. triplet figures should be practiced until phia on April 27th, by the Choral Society of mer camp, beau¬ Warren, Ohio Philadelphia under the baton of Dr. Henry they can be figured with ease and made to tifully illustrat¬ Gordon Thunder. sparkle. ed, endorsed by To Order Music “On Approval”: A school devoted to the study of music in all its branches. SURF RIDING ■3-S> CHARLES HENRY DOERSAM has such peda¬ By Rose Copeland A BIT O’ BLARNEY been reelected warden of the American Guild gogues as of Organists, a position- which he has filled > Teaching Pieces Voice, Piano, all Wood-wind, Brass and Stringed In¬ The teaching interest of this piece as Rose By Gustav Klemm Operettas with marked success for the past three years. Frank Damrosch Wm. E. Brown ( Arpeggio Copeland points out lies in its use of the □ Grade School □ struments. Public School Music, Ear Training, Theory, •«---!> o 2 < □ Descriptive chromatic scale. A short preparatory exer¬ A Bit O’ Blarney opens rather slowly in P. W. Dykema Ernest Schelling □ Junior High School WILHELM FURTWANGLER, after con¬ ( □ Melodic Musical History, Appreciation, Composition, Arranging, cise is given and the suggestion is made that song form and sings its rather wistful way Hollis Dann □ Senior High School cessions on both sides which patched up his For Boys it be practiced with both hands since the to the pause at measure 16. Thereafter the □ Conducting, Languages, Chorus, Orchestra and Band. tempo quickens considerably and the tune differences with Hitler and the Nazi regime, Cash postpaid, 60 cents □ For Girls □ Chord Work chromatic scale appears only in the right has returned to leadership of the Philharmonic Bright & Tuneful becomes a real Irish dance. In the first (32 pages) □ hand in the piece. Most youngsters rather Orchestra of Berlin. On the occasion of his □ Friml Pieces Degrees granted by State. Authority. like to play chromatic scales and this little section a good singing tone is the prime first return concert, on April 25th, it is re¬ Secular Choruses requisite. In the second cleanly articulated □ Rhythmic composition should prove usable and popu¬ ported that he was greeted with a popular □ Mixed—A cappela—4 to 8 Parts □ Novelettes finger action and good "tight” rhythm. ovation which lasted twenty-five minutes. A Foundation Pupils now registering for Summer Session 1935 and lar. □ Mixed Voices—4-Part □ Classics <1—-1- Builder □ Women’s Voices—4-Part regular school year 1935-36. D.M.I. pupils hold respon¬ THE VIENNA PHILHARMONIC OR¬ □ Women’s Voices—3-Part Anthems—General CHESTRA, with Bruno Walter conducting, with 110 illustrations, □ Women's Voices-—2-Part □ Men’s Voices—4-Part □ Mixed—4-Part—with Solos sible positions in all departments of the music life. A gave, early in May, two concerts in the large print; explains all □ Mixed—4-Part—without Solos Musical Pepper Box Queen’s Hail of London. The first program important signs, terms, □ Boys' Voices—3-Part school of real musical experience. □ Boys’ Voices—2-Part □ Women's Voices—4-Part offered the “Symphony in C major” of Schu¬ expression- and tempo- □ Women’s Voices—3-Part bert, with the last half devoted to works of □ Sop., Alto and Baritone Thirsty marks; pocket size. □ Women’s Voices—2-Part Wagner. Catalogue on application to Collections □ Men’s Voices A wealthy manufacturer gave a dinner Cash postpaid, price 2 5 cents □ Mixed—A cappela to a number of his business friends. His PAUL DUKAS, eminent French composer, (32 pages) □ Anthem Books—Mixed wife was an accomplished musician and at □ Anthem Books—3-Part Treble Lynn B. Dana, president. T onsorial died on May 12th, at Paris, where he was born Organ Pieces the request of the guests played while the October 1, 1865. He was educated musically □ Junior Choir—2-Part Treble □ Recital □ Church company was awaiting the announcement of Later he gave a much appreciated inter¬ at the Paris Conservatoire, where in 1886 he □ Children's Anthem Book—Unison Girls’ Voices—Secular—2-Part pretation of the Ave Maria, and his double won first prize for counterpoint and fugue □ Secular Songs dinner. □ Girls’ Voices—Secular—3-Part Sacred Songs As she rose from the piano her husband stropping being very clean.—Berkshire and the second Prix de Rome with his can¬ □ High □ High tata, “Velleda.” Perhaps his most widely □ Men’s Voices—Secular—4-Part asked of one of the guests, “Would you like (England) Paper. □ Boys’ Voices—Secular—4-Part □ Medium We should like to hear him in some- known works are the symphonic poem, Cincinnati (fonsertjatorjg °dHusic a sonata before dinner?” L’Apprenti Sorcier, and the colorfully impres¬ □ A cappela—Secular—Mixed “I don’t mind if I do,” came the ani- from “II Barbiere.”—Punch. sionistic opera, “Ariane et Barbe-Bleue,” o Harold Flammer, Inc., 10 E. 43rd St., N. Y. Under Auspices of the Cincinnati Institute of Fine Arts based on Maeterlinck’s drama, first heard at and Affiliated with the University of Cincinnati the Paris Opera Comique in 1907, at the Metropolitan of New York in 1911, and later at La Scala of Milan. OPENS FOR SIXTY-NINTH SEASON Each month we propose in I he Publisher's Monthly Letter to A FAVORITE For beginners at the piano; DR. R. HUNTINGTON WOODMAN has Registration: September 9, 10, 11 covers scale building, simple References, if n Classes begin: September 12 COMPOSER lately celebrated his fifty-fifth anniversary L onmua ,0 *«- - - as organist of the First Presbyterian Church chord formation, word Special Students May Enter at Any Time of Brooklyn Heights, New York. rhythms; foundation studies Just Published! By MJSCHA in the keys of C, G and F. Platon Brounoff Valse Tzigane—Gypsy Waltz < LEVITZKI 2650 Highland Avenue Cincinnati, Ohio THE BALLET, a wedding of music and * _ motion, is enjoying a remarkable renaissance. • Cash postpaid, 75 cents Allegro moderato _ Op. 7 Paris has been for some time rather fervidly (53 pages) _ had the opportunity of being patronizing pantomimic terpsichore; Ger¬ OBERLIN CONSERVATORY the first teacher of Herbert Wither¬ many has been developing a quite distinctive spoon, the great American basso. The school of ballet; London, including the fa¬ KENNEDY’S next year he went to New York and mous Covent Garden, is reported to have began to gain recognition for his^ SIS of MUSIC , Angrl. become exceedingly ballet-minded; ballet First Grade Piano Book being perfortr drew the largest throngs to the summer eve¬ What a Find Seidl used his compositions at nings at the Lewisohn Stadium of New for the Music -Violin. & Piano, cash postpaid, 50c ? or the concerts of his orchestra York; and the fortnightly summer programs the Metropolitan Opera House, Teacher! in New York Brounoff did much at the Shrine Auditorium of Los Angeles TWO NEW EDUCATIONAL PIANO PIECES: rork on the East Side, organising several practically taxed its six thousand seating Stays within the societies, and he did not hesitate to give instruction to ambitious and talented young capacity. First Grade; Spring Flowers pupils who were without funds. He gave nu¬ Walter Rolfe ^)hr Qlrfif lanh^nslttutp of (Duhit merous lectures on Russian music for the New starts with litde duets at the first lesson. York Board of Education, and in the course of COMPETITIONS Rhythm is developed through rhythm rhymes Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma his busy life both in New York and throughout Cash A FIRST PRIZE of five hundred dollars; and rhythm drawing; contains finger games Post- Public School Music Course in conjunction with Western Reserve University the United States he appeared as conductor, singer, pianist, teacher and lecturer. ““ second and third prizes of three hundred dol¬ —attractive illustrations, which may be col¬ * tf * TT Paid, Fall Term Begins September 16 atic classes at the lars each; and fourth, fifth and sixth prizes BERYL RUBINSTEIN: Director, 2605 Euclid Avenue, Cleveland, Ohio ■ York. This Russ.— ored and attention signs, which makes _genius died July 11. 1924- of one hundred dollars each, all are offered Some of his lighter works in which teachers by Ginn and Company, for songs suitable assimiladon of new ideas easy. The n nrm AIT institute of nd students have manifested a great interest for school use. Only native or naturalized is mostly folk material. SCHOOL OF MUSIC re listed below. American musicians may compete; and full Copyright, 1935, by Ban,Id Flammer, Joe. ULIKUII MUSICAL Am information may be had from E. D. Davis, Cash postpaid, 60 cents Compositions of Platon Brounoff Of°Wfi OF THE UNIVERSITY OF MICHIGAN 70 Fifth Avenue, New York City. (40 pages) Waltz Of The Toys M.HOOLOF MUSIC School., 34th yr. AM branch. Complete curricula leading to degrees in SOLOS Cat. No. Tit Tempo di Valse Fsculty of 81 artist?.8 Accredited Teachers' Certificate! all branches of Music. Faculty of distin¬ 13416 Arabian Ds A PRIZE of one hundred dollars is of¬ Georges Bermom Diplomas, and Degrees. Desirable boarding eccommoda guished artist teachers. Concerts and May 16982 Bubbles ... Send for these FREE BOOKLETS: tlons. For Catalog and View Book. 12974 By the Fou 3423 MiUstream . fered to American composers by the Eurydice Address H.^B. MANVILLE, Bus. Manager^ Festival by world's greatest artists and 2973 Miniature March .... Chorus of Philadelphia, for a composition in 1. Piano Catalogue. organizations in Hill Auditorium seating 4156 Northern Legend .... 4161 Norwegian Romance . three or more parts, for women’s voices, with 2. Thematic Booklet of Piano Teachin 5,000. Chorus of 350; student symphony 4160 On the Volga . or without accompaniment and solos. Man¬ P ==- 8373 Chinese I Pieces. S. orchestras, glee clubs, bands, etc. Recitals 1148 Piper in the Woods . uscripts must be in the hands of the com¬ f-’ LAWRENCE COLLEGE 3. Catalogue of Octavo Music. CONSERVATORY OF MUSIC each week on $75,000 organ. mittee not later than October 1st, 1935. For =b ■ -I . ,u.:- APPLETON, WISCONSIN IT Fall Term Begins 71 3304 Russian Dance . ■ •••• J further information address Eurydice Chorus 4. Thematic of Secular Choral Music. Carl J. Waterman, Dean J September 30 Ir 13306 French Minuet . 5978 Scouts’ Race .* Award Committee, 251 South 18th Street, 5. Thematic of Anthems. Fall term opens Sept. 19 li. Write for catalog Jj 13305 German Waltz . lade-Barcarolle . f Philadelphia, Pennsylvania. 17813 Gymnastic Drill. Ma _ng Race .* public school ^music srHijChoir directing lead.ng .0 CHARLES A. SINK, President 14157 Haunted Forest .... 8371 Snow Flakes . 13417 Hindu Dance . 5983 Soldiers' March . 3 . the EMIL HERTZKA PRIZE for 1936 13339 Hungarian Czardas . 2971 Song of the Brook .* 13341 Indian March . 4207 Training ~ ” ' >s open for international competition for a HAROLD FLAMMER, Inc. Tell your Music Loving Friends about THE ETUDE and ask them to give 13303 Indian Revel . jnusico-dramatic work—opera, ballet or pan¬ you the privilege of sending in their subscriptions. 8372 Indian War Dance . . 5980 Village Dance . * tomime. Manuscripts may be submitted till New York Distributorutor for: Ask for Catalog of Rewards for subscriptions you send 1150 Warlike Festival . *» January l, 1936; and full information may 8374 Winter Story .-. he had by writing to Dr. Gustav Scheu, CHAS. H. DITSON & CO., INC. JOHN CHURCH CO. THE ETUDE 1712 Chestnut Street Philadelphia, Pa. .30 13302 With Spanish Grace . 3 Opernnng 3, Vienna 1, Austria. OLIVER DITSON CO.. INC. THEODORE PRESSER CO. 10 E. 43rd St., New York AUGUST 1935 PAGE 493 THE ETUDE the ETUDE PAGE 492 AUGUST 1935 Educational Vocal Technique ready for publication. The work is arranged SHEET MUSIC—PIANO SOLOS (Cont.) The Cover for This Month in the same manner as in The First Period 24794 The Jolly Tar—Baines ...... 1 $0.2 In Song and Speech at the Piano—writing exercises and technical 23930 Blrthday ,„ .« <■ ’ . pedagogy will do well to it die away.” Following this are exercises ooklet (Polka Rev- by profession, was surgeon and valet to the Prices Apply to Orders Placed Now, mind has of putting procrastination than in the many attractions that, in these ... secure a reference copy of which consist of short phrases from notable Prince of Saxe-Magdeburg. The father died with Delivery to be Made When this new work at our spe¬ days, are liable to draw them elsewhere. 26054 Scaramouche—Stoughton in 1697 while Handel was yet only twelve into poetic language. Some musicians songs and operatic recitatives, with sugges- Piano teachers, too, should be glad to hear 30620 The Swan—MacFadyen Finished. have, perhaps unjustly, been accused cial advance of publicatior tions on how to sing them and brief m forma- years of age. cash price of 15 cents : of the demand for this hook as anything 45975 May Night—Ward ' . The story of Handel’s life is an interesting Educational Vocal Technique—Shaw and of pushing things off in unforgivable tion as to their source. These include The that tends to increase the popularity of the 24909 Sun Rays (Valse Brilla Lindsay—Two Books, Each...... 40 copy, postpaid. This offer Monotone by Cornelius, Death and the one. He very nearly cut it short by his fashion. Procrastination is one of will be withdrawn at an piano must ultimately benefit them. _ . . Krentzln strenuous efforts to compose and manage Fundamental Technical Studies—Violin— i Maiden by Schubert, and recitatives from This album now will be placed on sale at Dounis .15 the greatest barriers to success. “I’ll early date and our subscribers are aware that opera performances in London from 1733 to Verdi’s “Rigoletto” and “Aida,” and Gou¬ all music and book stores, or copies may be Grown-up Beginner’s Book—For the Piano .40 get around to it some day”—“I’ll get this low price will not be continued after nod’s “Faust”. Then follows the art song, 306X8 Incantation—Dett . 4V2 1737, the latter years of this period being Little Classics—Orchestra—Parts, Each.15 the book is published. obtained from the publisher, and, as is cus¬ trying ones in competing with a rival opera out that business circular next week” which in this case is Coro Religioso from tomary, the special advance of publication Piano Accompaniment .35 The author of this book is well-known in Gounod’s opera “Faust”. Each Unit closes 9348 March of the Indian Phantoms company which set up against him. As a Rob Roy Peery’s Third Position Violin —“Give me time and I will start price is withdrawn. —Kroeger . I European musical circles and his recent with an examination in the form of questions 14623 Concert Polonaise—Felton ... 7 result, in 1737, Handel suffered a stroke of Book—Class or Private Instruction.30 practising”—“My subscription is due. master classes in New York and California Piano Fun with Family and Friends is a paralysis which affected one of his hands The Second Period At The Piano and answers. large hook containing musical games, stunts SHEET MUSIC—PIANO, FOUR HANDS By Hope Hammerer.35 I’ll send it next week”—“When I get have brought him to the fore in this coun¬ In addition to the twenty-five Units which and made it absolutely necessary for him to try. He was for many years professor of and songs; and the piano pieces and accom¬ 17390 Frolic of the Lambs—Basel- ^ take a period of rest. It was after this time time I’m going to read a lot of make up the two volumes of this work, there paniments for them are all within the play¬ violin at the State Conservatory in Salonica. are articles devoted to functional breathing, 9409 Persian "Dance " (Ballet j— that the works which contributed the most books”—“I’ll order my music for the Greece, during which time he developed his ing ability of the average pianist. Many of to his immortal position as a composer were fall pretty soon, but don’t bother me classification of voices, formulas for general the games are competitive—there are games 44flg ^*“2^^ ’!!!!;!!!!!!!!:!! “The Saddest Words . original ideas concerning violin study. practice, theory of voice, written. These were his various oratorios now.” All these are the excuses one Fundamental Technical Studies is written of chance, of skill and guessing games. Ihe 13068 Taps! (Military March)—En- including the incomparable Messiah which the natural law of voice stunts should prove highly amusing. Some gebnann....—-v- Without taking time hears along the street of “By and for those teachers who want to impart to was given its first performance in Dublin on to trace the source, or production, a suggested of the games and stunts are for people who 6377 Joyous Return (March) Rm- By” that leads to the house of their pupils the elementary technical prin¬ list of solos for high and April 13, 1742. ibb m to get the wording ex¬ ciples of violin playing in a more scientific have enjoyed. , the.V. advantagesj-«-I of a musical Yellow Butterflies' "< Write)- In 1752, failing eyesight came upon him actly, we think of the “Never”. low voices, and exercises education, but most of them may be en¬ ERISBtHGE9 and rational way. By its manner of presenta¬ for the development of izonetta (From Raymond and, after three unsuccessful operations for statement, “The sad¬ Sometimes it takes a real disaster tion it enables the young student to lay a joyed by all members of the family, by rela¬ venture)—Thomas-Orem ... 4 .2 a cataract, he lost his sight entirely. He the trill and arpeggio. tives and friends. The songs, of course, are dest words of tongue like the late depression to wake mu¬ solid foundation in order to meet successfully 30443 El Capitan March—Sousa ... 4 .7 still continued his musical activities, how¬ or pen are these—it While the work is in especially suitable for group singing. There sicians up to the necessity for immediate action, Why postpone the demands of modern violin music. Exer¬ SHEET MUSIC—PIANO, SIX HANDS ever, accompanying his oratorios on the might have been.” cises are given for cultivating the feeling of preparation, single copies is so much of general interest in the book organ, and finally on April 6, 1759, when The calendar is going of the two volumes may that it should prove invaluable to the piano 9194 Marche—Streabbog . 2 $0.5 The Etude every success? The clock is not going to stop. nrM balance between the fingers and for promot¬ 3632 Galop—Streabbog .... ■.2-3 .0 the Messiah was presented as the last per¬ month through its his¬ on. What you do today is far more important than what you ing their independence through lateral move¬ be ordered at 40 cents teacher who occasionally gathers together her 12175 Meadow Queen—Franklm ....2-3 .7 formance of the season, Handel stepped torical series page is ment. Special attention is laid on develop¬ each, postpaid. class for a social afternoon or evening and put ofFfor tomorrow. Have patience but build your life now to those who have in charge the entertainment SHEET MUSIC—PIANO, EIGHT HANDS from the organ bench to be called to the presenting a present ing smoothness of action and evenness of prepare yourself for greater things to come. One of the reasons feature of music clubs wfil welcome the many 8321 valse Lorraine—Mfssa . 3 $0.60 Great Beyond just a little over one week opportunity to build tone in crossing strings with the bow. later when he died the Saturday before why people are not successful, is that they have never gotten up a fine reference collection of portraits and This work is not a method for the be¬ Grown-Up Beginner’s Book suggestions it has to offer. Price, $1.50. Easter, April 14 of that year. biographical data on the world's best known themselves ready for success when the great moment comes. ginner but may be used as supplementary For the Piano For young children, the Handel volume musicians of all time. There is hardly any For instance, take a pencil and paper and make a check list of study material early in the first year of Within a short time this book will be ready ‘—Me r ssohn- of the Child’s Own Book of Great Musi¬ field of musical endeavor that it does not High Above the Flood 30623 Elfin . 3hi $2.50 the things affecting your work next fall, and start to act upon violin study. for delivery to advance subscribers and this cians by Thomas Tapper (Price, 20 cents) serve to some extent. Music teachers, club Along the banks of a certain creek which this list at once, until you have done what you know you should will probably be the last month during which with its cut-out pictures, is most interest¬ workers, and other program builders will find copies may be ordered at the special advance nearly steps into the river class the natives PIANO INSTRUCTORS Little Classics idard Graded Course of Studies (Gr. 1, ing for a first acquaintance with the life invaluable the birth and death dates which not put off. Possibly this will help you and the Summer cottagers before retiring of this composer. Other biographical works historically place all the more prominent Folio for Orchestra of publication price. D,„ M 1_Motbews .$1.00 Write letters to pupils, arranging for lessons. Almost any adult of average intelligence have to make it a point to drag their boats standard-GradVd Coui ies (Gr. 2) on Handel are: composers of the last four centuries. The What better assurance of sound musical should be able to get quite a working knowl¬ and canoes high up on the banks, or else —Matht . 1.00 Send stimulating material, circulars, etc., to pupils. (School for the Pim George Frederick Handel (The Etude Musi¬ information as to their birth places, where appreciation can be had than that the im¬ edge of the piano kevboard from this book. they must make them fast with a good Begim cal Booklet Library) A Short Biography by they were active or are active, and all avail¬ Attend to all necessary repairs and replacements in your mortal melodies of the classic composers be¬ He will find the method of obtaining this length of chain or rope to something that First YZr'at'the FpSio (Pt. 1 illiams .35 James Francis Cooke (10 cents). able death dates give useful details where studio. come familiar to young orchestra playeis of knowledge most pleasant; each new musical will hold them. Quite a few good craft First Year at the Piano (Com, -Wil- Handel (The Great Musicians) by Mrs. national or geographical groupings of com¬ Order music for fall studio supplies, so that pupils may not today? To this end, we have prepared a bit learned is accompanied by a tuneful piece alone the banks of this creek have been Itams ..t-“X posers are desired either for study or for Julian Marshall (136 pages, $1.00). be disappointed or kept waiting. new, easy-to-play orchestra collection of for the student to play, and most of these serving their owners and others for many ^^ZtererV.1^ program purposes. Handel (The Master Musicians) by C. F. miniature classics from the masters, pieces are based on familiar melodies. years because this foresight has saved them Adventures ;n Music Land—Ketterer .1.00 Choirmasters, organists, or pastors who Plan next year’s student recitals. Abdy Williams (267 pages, $2.00). The compiler of this collection, however, Teachers who frequently face the problem from being swept away in the sudden risings Bilbro's First Grade Book . 1.00 Handel (Library of Music and Musicians) like to make their church calendars interest¬ Write newspaper announcements or advertisements. has endeavored to avoid those well-known of departing from the instruction books regu¬ ing will find this page of big help in giving for which that creek J?‘n50t|jy^at* that PIANO COLLECTIONS by Romain Rolland (200 pages, $2.25). Interview important local people, who may be helpful in melodies which are already available in exist¬ larly used, in order to hold the interest of a line or two of biographical data about expanding your class. ing collections, and the publishers feel safe seome who h^e thought they had made their Tunes an^Rhymes the composers of anthems, organ numbers, pupils of the teen ages, or older, will wel¬ in saying that none of the contents of this come the publication of this unique work. boats secure have gone to the creek in the Miniature 'Ducts (Vol. 1) —Gaynor.75 Representatives Wanted solos, or hymns used in church services. book has appeared before in an arrange¬ morning to find nothing but the frayed and Besides composers, this series which is being Be sure to place your order this month ment of such an easy grade. if you wish to take advantage of the special broken ends of rope that was not strong MUSIC MASTERY SERIES How to utilize spare time profitably is no presented on a schedule of 44 portraits and All of the master composers are repre¬ enough or they have found their boats 13244 Etudes Melodiques—Spaulding 2-3 $0.60 longer a problem to any music lover, student 44 “thumbnail” biographies each month, in¬ pre-publication price on this book, 40 cents, sented, with works which adequately reveal postpaid. and teacher. The solution is clear, straight¬ cludes renowned singers, instrumentalists, Rob Roy Peery’s Third Position i*t finger, 2nd to 2nd, etc., and finally. «•- the characteristic style of the composer in forward and unmistakable—simply secure conductors, and others worthy of mention in 1 r, , lected studies from the best writers of violin Vlolm ttOOK literature. question. Schubert is represented by a First had not permitted them to rise on the crest ^ Jesus_ Lovep of My Soul—MacDougall subscriptions for The Etude Music Maga¬ such a gallery. Waltz and Cradle Song; Schumann by his The Second Period at the Piano zine during your spare time. Every music Any who have delayed getting The Etude For Class or Private Instruction In order to give every teacher an oppor- of the flood. . . , (Low) .60 Chorale in G and Soldiers’ March. Bach con¬ By Hope Kammerer Reviewing publishers’ printing orders is a lover, student and teacher needs and should regularly each month in order to be sure of By the time the violin student has thor- tunity to become acquainted with this new tributes a Minuet; Beethoven an Andante The author of this new finding of those music publications which are SHEET MUSIC—VOCAL SOLOS, SECULAR read The Etude regularly. Write for terms. a file of The Etude Historical Portrait Series oughly mastered the first position and is and interesting work, we are accepting ad- from- Trio No. 7; Haydn, the Romance from safely moored always to real merit, musician- 14561 By the Waters of Minnetonka- ready for the third, he usually finds himself vance of publication orders for single copies work is a practical teach¬ We can make you an interesting proposition ought not to neglect this opportunity any a symphony; Mendelssohn, a Reverie from and you can turn your spare time into cash. more or perhaps some day in the future face to face with a succession of serious tech- at tae special price of 30 cents, postpaid, er, having achieved im¬ ship, melodic inspiration, and practical worth ^ (High) iso his Children's Pieces; Handel, a Gavotte in Missing from the printing orders are those 257g5 The Sugar Cookie Soldiers—Lchman .50 there may be the sad thought that this nical study material, all of it excellent for B flat; and Mozart, the lovely Blushing portant successes in class piano teaching; she is rec¬ which have been swept down the stream to 26156 Mountain Men—Stoughton .40 valuable collection of portraits and biogra¬ progressively leading the student to further a rpi -mj yr , Roses. Fifteen numbers make up the gener¬ be lost forever or to be hardly worth sal- 12587 Eodgrn^ n de W,n -^dlmger ^ Changes of Address phies “might have been” possessed if action achievement, but most of it “as dry as dust.” A J- tlTGC lVlOTltrlS introductory ous contents of this collection. ognized as an authority on this subject. Her book. vaging. . . 1 , 30047 Noon and Nieht—Haute]' (High). .50 had been taken while the series was a cur¬ The author of this book realizes this and Summer Offer on THE ETUDE The instrumentation is complete for the From the past month’s printing order the 30172 A1I for You—d’Hardelot (Low).60 If you have had The Etude follow you rent feature with The Etude. There never so do the many teachers who have used his " modern school orchestra. Four Violin parts. The First Period at the to your summer address and now desire sub¬ has been any undertaking like it in musical First Position Book, and afterwards have im- Until August 81, 1935, we shall accept for (1st Violin, Obbligato A, Obbligato B, and Piano was an innovation which'hlvc'becn sdllng^welUs to require SHEET MUSIC-VOCAL DUET, SACRED sequent numbers again to be forwarded to journalism or literary effort, and while the plored him to make a “follow-up” book that the three summer numbers, June. July and 2nd Violin) are entirely within the first P05'- and many of its principles your winter or permanent address, be sure total cost to the publishers is enormous, would employ the same pleasant methods of August, 35 cents in currency or stamps* The tion, and the Solo Violin provides a more , , were immediately adopted to advise us promptly, giving us both old music lovers may come into the possession imparting the requisite knowledge to stu- amount paid for this introductory subscrip- by thinking, up-to-date teachers. a JSfs *“1 advanced part- for players who have mas¬ requestfot examination ,i.gk copi., of,., SHEET MUS^VOCAL jmETJECTOAH and new addresses. Changes of address of it merely by being regular subscribers to dents beginning the third position. tion will be cheerfully credited as part pay- Of course, a book so successful created a tered the third position. A part for Tenor of these with which they are not familiar. Smith (SoJ). & Ten ) .$0.50 should be sent to us at least four weeks in The Etude. The book we are now preparing for pub- ment on the regular subscription price if the Banjo, with chord symbols for the use of demand for more advanced studies of the advance of the change. Two dollars will pay for a subscription lication does this, and not only does it “ease music lover wishes to continue as a perma- other fretted instruments, is included to same kind, and Miss Kammerer worked for SHEET MUSIC—PIANO SOLOS that will bring you The Etude for the next the way” but it covers all essential necessary nent subscriber and the subscription will be supplement that section of the orchestra years in her classes with the material used Cat. No. Title and Composer Grade Price twelve months, and copies of pages which technical features in a series of carefully extended for a full year. Here's a musical which supplies the rhythm. p. d“s new book. The Second Period at the 23979 Wild. Flowere and Butterfl.es t ^ already have appeared will be cheerfully progressive studies and pieces—taking up bargain which cannot be duplicated_15 nano, in order to make sure that it was __ -Hewitt Fine Rewards given for securing Until this advance of publication offer is 23666 The Bobolink—Ketten .30 • SHEET MUSIC—VIOLIN AND PIANO supplied at 5 cents each. The series started successively, notes in the third position, Etudes all for only $2.00. This offer applies withdrawn, parts may be ordered at the spe¬ thoroughly practical and would prove of Little Betty Blue—Peery . .25 subscriptions for The Etude. Send for in February 1932 and the page in this issue, studies in this position, shifting on the open only to those music lovers not on our sub¬ lasting benefit to the students. _ Clock—Ketterer.. 1 .25 19028 Wing I cial price of 15 cents each, except the piano chi—Johnson . 1 .25 7798 A “ Premium Catalog. It’s FREE August 1935, is the 43rd page of the series. strings, shifting exercises from 1st finger to scription list. accompaniment which is 35 cents, postpaid. She now has this valuable study book Advertisement Advertisement the etude the ETUDE AUGUST 1935 PAGE 495

JUNIOR ETUDE- (Continued) AM Shadow Chords and Curtains—Mirrors Music Shorthand Landing Fields By Gertrude Greenhalgh Walker By Gladys M. Stein “Do we use shorthand in music?” asked By Vera May SCENE: A music party at Miss An¬ many piano studies of all grades of Bob, as he was opening his books for his A good pilot carefully studies the map of drew’s studio. difficulty. music lesson. Air Routes to find the best route from place “Why, Ellen, that’s the fourth game you “Of course, and I see you have been to place, and also studies all the possible have won!” exclaimed Jean. “Each Sunday morning I pin a new list visiting your fathers office again,” an¬ Landing Fields before starting out on a “Yes, how does it come that you know of terms on the curtains in my room. The swered Miss Brown. flight. the meanings of so many music terms?” paper is small, and neat, and I never muss “Yes, and I saw the stenographer make The keyboard has its landing fields, too, Paul asked. up the curtains, so Mother doesn’t object; all those funny little curleycues,” said Bob. and they must be carefully studied and lo¬ “And pray tell us where you find time and I just glance at this several times “They’re such queer looking things.” cated properly by the pilot who is perform¬ to read the life stories of the different every day.” “Well, we have some symbols in music ing the composition. musicians?” added Albert. “Excellent,” said Miss Andrew. that might be called shorthand, and they Those chordal skips in the Mozart Walts “You probably will laugh at my method “The little biographies I slip into the save lots of time and space when writing must be located by “shadowing” the chord of studying these subjects,” she replied, side of the mirror on my dressing table. down music on paper. For instance, the skipped to, that is, by placing the hand “but I’ll tell you just the same.” As I comb my hair I glance over them and repeat marks, quickly and accurately several times in play¬ Harry and Harlan were sitting on the “And guess who won the piano!” ??Can You Tell?? “On the first Sunday of every month they are soon memorized too.” “I suppose it was Orville. He was the ing position over the chords as a preliminary “Very helpful ideas, Ellen,” Miss An¬ Xylophone and Glockenspiel porch steps one glorious morning, watch¬ I make out four lists of ten music terms most brilliant player in the class,” said By Mary Wiggins exercise before playing, because locating ing the little wren flit in and out of the and their meanings,” she illustrated her drew approved, “and it is an easy way to By Rena Idella Carver chords and playing them instantly is not bird house by the fence. She had built Harlan. 1. What composer was born in the plan by going to the studio black-board add to your knowledge of music.” “No indeed. He was the showiest one, “I believe I’ll try it,” Kathryn remarked. At Frank’s club each member had to herself a fine nest and kept singing same year as George Washing¬ always the best and most accurate way. and writing out the following: which save whole pages or sections from tell about some instrument and Frank’s proudly, “I did it, I did it, I did it.” but he was superficial, and he did not do ton? “Me too!” cried Jean. being written twice. Then this sign, instrument was the xylophone. He found “Let’s go and take a hike,” suggested very well this time. It was Wilcox,” Fred 2. What composer was called the “poet TERMS MEANINGS “Suppose we write a list of things to out so much about it that he thought he Harry, “it’s a beautiful day. Come on.” told them. of the piano?” legato smooth, connected study on the black-board,” suggested the never could remember it all, so he wrote “But I have not practiced yet,” an¬ “You don’t mean it!” exclaimed Harlan. 3. What composer is called by the allegretto light, cheerful teacher. it out and read it at the club meeting; and swered Harlan. “Yes, he was wonderful and the harder name of the town in which he was a tempo in time, or back to time In a few minutes she had writen the this is what he read: the things were the better he did them.” crescendo an increasing power of tone following subjects as they were named by “Bother practice, anyway. I have not born ? means to play the preceding measure again. “The xylophone gets its name from two done mine yet, either, but come on. This “But he was just a grind, I always 4. Who was the first composer of loud, strong , . the pupils: When you are learning a piece with wide And of course you know the octave sign Greek words, xylon, meaning wood, and is such a fine day.” thought,” said Harry. Pennsylvania? a slow, solemn movement “No indeed, he was very talented, and skips, either to chords or to single notes, Music signs and their meanings. well enough, which means to play the pas¬ phonos, meaning sound. It is built of a So Harlan was lead astray for the time 5. What two composers were born the a fast movement double set of slabs of hard wood, accur¬ had the right idea of how to work,” Fred practice the skips by “shadowing” them, as Life stories of musicians. sage in the next octave; this saves lots of being, and off the boys started for a walk same year? medium, half ately tuned. It is played by striking the explained. “What I am wondering now though you were a pilot locating your land¬ Music terms and their meanings. leger lines, which are confusing to the eye through the fields and woods, which were 6. By what composer was the name moto motion, movement slabs with two small wooden mallets. It is,” he continued, “who is going to win ing fields. Stories of the operas. if there are too many of them in succes- not far from their back doors, as they “Nocturne” first given to a musi¬ ritard gradually delaying the time. has a compass of three and one half oc¬ next year. We have lots of talent in the Stories of famous compositions. lived next door to each other. cal composition? “I don’t see how you can remember all taves and its tone is rather dry and hollow class but no workers.” Histories of the different instruments. Soon the boys were briskly tramping 7. What composer became deaf and that,” remarked Paul, surprised to find ?bell was excit¬ Dear Junior Etude : is colored by the brilliancy of its clear, pictures for —r scrap book for prizes in ing to Richard, for he did love trains. we have organized a music club and are bell like tones.” now in our third year. The name of our club During last Christmas week Then gradually the sound grew softer is^B-Sharp and we have pins designating that day afternoon recital “ carols, a Frank went to his seat amid much ap¬ „„ L-.~ —i outdoor reel plause and the club members decided to and softer, until the “ch-ch-ch-” could Our club, consists of twenty-two interested in the summei members, meets at the home of our advisor called Midsur r Night’s Dream. ’ put his paper in their scrap book, as they barely be heard in the distance. nany recitals and concerts, such as jthe “Well, that’s DIMINUENDO, all right, and teacher once a month. At these meetings ‘Symphonies under the Stars” in the Holly- had very little material on xylophones and we have selections on the piano and play voorl Bowl, for we are "»"rr Los Angeles. other unusual instruments. just exactly what Miss Burns was talking chestra games’ We also have a rhythmic or‘ From your Doris Wirth (Age 12), about. Funny I never thought of that be¬ We have four officers which are advisor (our fore,” he said to himself. teacher), president, secretary, and treasurer. The advisor and president with the help of two He could not even wait until morning chosen members plan the meetings. Star Songs to try out the new effects, but worked hard Last year we took up the study of the Answers to Can You Tell on his arithmetic and spelling, and just as American composers, and In the present year we are studying different operas. 1, Haydn; 2, Chopin; 3, Palestrina; 4, There once was a person named May soon as his lessons were done he went right At each meeting we have letters and articles Francis Hopkinson; 5, Bach and Handel; Who slowly was learning to play; to the piano. And how well his pieces read from The Etude, and from these articles We learn what other music clubs are doing and 6, Field; 7, Beethoven; 8, Bach; 9, So she went hard at work, . As usual, the Junior Etude contest will be omitted during July and August sounded! When his Mother called to tan oenent by some of their suggestions. Paderewski; 10, Balakirew, Borodin, Cui, Her scales not to shirk, The results of the May contest will therefore appear in the issue for October that it was bedtime, he actually asked if he From your friend, And now she’s improving each day. Betty Crown, Moussorgsky, Rimsky-Korsakoff. could practice twenty minutes more! Massachusetts. THE ETUDE PAGE 496 AUGUST 1935 teachers who claim that “it all depends The Lure of Musical Instruments MINI ATURE Should I ChangeTeachers? upon the breath.” Their slogan _ is “If you can breath you can sing”; just as (Continued from Page 4S8) (Continued from Page 4S5) Save yourself some dance teachers announce that “If you can walk, I can teach you to dance.” May eV5 SAMPLE FIRST VIOLIN PART the papil naturally will be on guard be they can; but I do know that, important n B minor, compositions that cc against them. proper knowledge of breath support rpHEHE CAGED instrumentjUpon1: which Sche mysterjous dreamSj yearningSi and As for making the pupil too self-con¬ may be,be it is . far-far. from being the one and 1 Chopin played >- moods inexpressible, save only as Chopin scious about his voice, that is the problem only requisite of good singing, ou, ■>—- y j from the Qrowd! of the teacher. As a matter of fact, throat with the teacher who claims that head rarily^brought by adoring^Maas R?st’rosLood’gmnd p^o which, tragedy of his life clustered around this SENT FREE ON REQUEST specialists assure us that those parts , of the resonance is methe viuuvital. thing,umig, orui thatum theu.v ~II lb~ d.~ iuacwuuv^ ft . - I i-.040 i,as Diano. Ttit was hisms joy inm them< little pavilion vocal mechanism which are subconsciously proper position of the tongue determines since the death of C op pievels of the Cite d’ Orleans. It was on the keys When September comes there will be thousands controlled cannot be affected by conscious all else. These things are very important, ^-d 'n the old music salon of the Pkyels of that playiully thought; while that part of the singing as are many others; but no one of them n Paris and has been there view^ y ^ ^ q{ George Sand) whose little dog of newcomers, as well as many veteran pro¬ mechanism which is under conscious con¬ is so important that one can learn to sing thousands of pilg released capered around the room while the lovers crastinators, in the various fields of professional trol cannot be trained other than by con¬ THE PHILHARMONIC solely from that angle, while ignoring all Chopin. A few years ago happily together, scious thought. Consequently, if a teacher the Others from its solitary confinement to aid the sat happily logeu ci. music activities, who will rush to get needed music or advisor is ignorant of what takes place Furthermore, let the student beware of fund for France’s unemployed musicians, ‘Frederic,TwouM*puMhat ’little for teaching, for repertoire, for choir, for chorus, when a tone is produced, would he be the teacher who promises to undo all his struggling under hardships and sufferings I W0U d pUt likely to recognize. the difficulty and be predecessor’s damage and to make him precipitated by the late war. og 1 . * . • and imnrn or for some other planned musical undertaking. able to rectify it ? an artist in six months. It cannot be France did not have the generous fund Chopin turned to the piano and impro- ORCHESTRA FOLIO To urge a pupil to cultivate his imagi¬ done; and any teacher who makes such for unemployed musicians which America vised La l alsedu Petit Chten, The IValL Presser’s “Early Order” Plan protects you from nation and to develop his emotional qual¬ ’ of the Little Dog. all the undesirable experiences and costly disap¬ ities' for a proper interpretation of his It was beside this piano that Chopin and songs, without first supplying him with a Meyerbeer quarreled over the time of the pointments inevitable to those who will make, in reliable technic, -is getting nowhere; for, Mazurka in C, Op. 33. CONTENTS rushed “last-minute” action, such a poor start of no matter how vivid an imagination a “It is two-four time,” declared Meyer¬ singer possesses, it is useless to him if beer calmly. “It is three-four time,” in¬ J. Gavotte celebre. Padre G. Martini the new musical season. he lacks the ability to express his ideas sisted Chopin. through the mediums of tones of good And so it remained. 2. Moment Musical No. 3 . Franz Schubert quality and a perfect control of the dy¬ Next Month Whenever it was possible, this piano was 3. Capriccio in A . Joseph Haydn By the simple procedure of giving your instructions to namics of his voice. THE ETUDE for SEPTEMBER, 1935, Will Include ‘ the one chosen for Chopin’s Soirees. Then the dreary, days came, and this old piano 4. Hunting Song . Gustave Lazarus us on the Order Blank below, or in a letter mentioning Let Nature Have Her Way was the heart of those waning, impover¬ your desire to use the “EARLY ORDER” Plan, you can STUDENTS often come to grief by ished days in the rue Chaillct and later of 5. Gavotte and Musette . Johann Sebastian Bach trying to change the natural quality A DAY IN ftADIO CITY those dying hours in the house in the Place arrange NOW to get delivered to you IMMEDIATELY, of their voices. Contraltos and baritones Vendome. 6. Largo from Xerxes. George Frideric Handel Frank Black, the human musical dynamo of Radio with a good upper register try desperately One can picture the piano with its two or at ANY SPECIFIED LATER DATE, a generous selec¬ to become sopranos and tenors, failing to City, gives an absolutely unique and colorful pic¬ 7. Bourree in G minor. Johann Sebastian Bach ture of what happens in that magic city which brass handles, the lighted candle beside it tion of music from which to choose for YOUR FALL understand that this matter, too, is one sends you so many musical joys “over the air.” casting a glow of golden light on the manu- - 8. Intermezzo (U Arlesienne Suite) . Georges Bizet that is determined by physical instead of script which the master had just finished. NEEDS—AND the examination privileges, returns of un¬ psychological considerations. It is always I BANDS EVERYWHERE The candle has gone out, darkness en¬ 9. Turkish March . Ludwig van Beethoven the quality, the tone color, that determines used music, and settlement for music used—on materials velops the sick room in the Place Vendome the vocal classification; and it is no more Edwin Franko Goldman, whose splendid concert band has just given its one thousandth concert in where loving friends have taken Chopin. 10. Minuet from Symphony in . Wolfgang A. Mozart obtained on the “Early Order” Plan—are at your conveni¬ possible to change the natural quality of New York, tells some things about bands which will Once more Chopin built his life around his one’s voice than it would be to work a FRANK BLACK interest every reader of The Etude. 11. Gavotte from Paris and Helen . C. W. von Gluck ence during the 1935-1936 season ending with June 1936. similar miracle with the color of the eyes. piano, now placed in the new salon. This instrument was to play one last part in the Of course a voice may sometimes change HOW FOOD AFFECTS THE VOICE 12. Hungarian Dance, No. 5 . Johannes Brahms of its own accord. There have been a life of the master who so often had drawn number of authentic cases of this sort Dr Leon Felderman, Chevalier of the Legion of Honor, distinguished from it the soul of inspiration. Chopin is 13. Humoresque, Op. 10, No. 2 . P. I. Tchaikovsky The Use of the Roumanian-American physician, has given singing readers of The Etude "EARLY ORDER" among artists of note. Fremstad, Sims something in this article that they will want to keep for life. dying. A few friends are near. Very 14. Ballet Music from Rosamunde.Franz Schubert Form Below Will Reeves, Sir Charles Santley and Jean de softly the Countess Patocka touches the Theodore Presser C°- keys of the beloved piano, and as the sounds Give You the Bene¬ Reszke have been especially notable, ex¬ WHY CZERNY? fit of Placing Un¬ die away, the soul of the great artist is at EVERYTHING IN MUSIC PUBLICATIONS amples. However the, unusual but natural der Next Season’s processes that sometimes bring about such Account Any Music changes have nothing in common with the y teachers of these days a They bore the body of the master first Ordered Now. 1712 CHESTNUT ST. PHILADELPHIA, pA. treatment the voice undergoes when will¬ to the Madeleine and then to Pere La- INSTRUMENTATION fully dragged up or Mown from its proper A MASTER LESSON ON A FAMOUS chaise. For many days the old piano was place, by a wrong method. forgotten. It stood silent in the empty 1. 1st Violin 14. 1st Alto (or Melophone) in Eb CHOPIN NOCTURNE salon. What tragic, wistful, longing memo¬ I It is very important that a student shall 2. 2nd Violin 15. 2nd Alto (or Melophone) in Eb develop his musical taste and judgement. Mark Hambourg, known throughout Europe as the musical reincarna¬ ries are forever locked in the heart of that tion of Rubinstein (his piano records have sold over 3,000,000 copies = Just Cut Along the Line Below and You Have a Convenient Order E Everyone knows what he likes; but too abroad), has prepared another of his memorable lessons, this time on dead instrument! Later it was removed 3. 3rd Violin (substitute for 16. 1st Trumpet (or Comet) in Bb often the untrained ear of the student is J in F-sharp Major of Chopin. to Chopin’s music salon at Pleyel’s; and, I Blank for Making Use of PRESSER'S "EARLY ORDER" PLAN I Viola) 17. unable to recognize a correctly produced after its philanthropic journey to America, 2nd Trumpet (or Cornet) in Bb tone when he hears it. It is difficult for where it realized a large amount for the 4. Viola 18. Trombone (Bass clef) Early Order Form Date. him to distinguish and appreciate the dif¬ stricken musicians of France, it was re¬ OTHER INTERESTING ARTICLES by d 5. Violoncello THEODORE PRESSER CO. 1712 Chestnut St., Philadelphia, Pa. ference between the correctly produced turned to the new Pleyel show rooms 19. Trombone (or Baritone) tone of the artist arid the sometimes bigger where, like thousands of other captive in¬ 6. Double Bass (Treble clef) From (Name) ... tone of the singer of the “scream-and- ONE OF THE BEST ETUDES EVER PRESENTED struments, it silently awaits the end—For¬ shout” school. Most beginners are slaves getfulness. 7. Flute 20. Eb Tuba (Address) . of the big tone habit and can see no merit 8. Oboe 21. Eb Alto Saxophone Send to me, in accordance with in a tone that is not of tremendous power. Order" Plan, a selection of music ir They judge their own progress entirely 9. 1st Clarinet in Bb 22. C Tenor (Melody) Saxophone cations checked below. Send this m by the amount of sound they can produce, Accents 10. 2nd Clarinet in Bb regardless of everything else. statements is sadly mistaken if he believes has maintained, so she opened her treasure 23. Bb Tenor Saxophone Place a cross (x) to indicate classifications of them himself. Moreover, no teacher can house to aid the suffering. The doors of By Gertrude Greenhalgh Walker music and, in ordering piano teaching mate¬ 11. Bassoon 24. Timpani rials. please place expected number of pupils The End Dictates the Means tell, in a single audition, whether the pros¬ the small ornate music rooms of Pleyel’s before each grade to guide us as to quantity 12. IN OPERAS of the old school, the bel pective pupil has all the other qualifica¬ were opened, the doors of the room to For the student who has not an inherent 1st Horn in F 25. Drums tions necessary to a worth while singer. which Chopin came that night in February, feeling of rhythm, suggestions of many PIANO ...Solos ....Duets ...Methods canto must never be sacrificed for mere 13. 2nd Horn in F 26. Piano volume; but in the Wagner works, and It is only after a series of lessons that he 1848, almost exhausted from his last con¬ kinds must be given until the child ac¬ -Studies. / expect to have_pupils in some of the ultra modem compositions, can ascertain whether his mental and cert. These doors were opened by another quires it. One way of teaching the primary Grade 1.Gr. 2.Gr. 3.Gr. 4, physical endowments are on a level with generation and the old piano started on its and secondary accents or pulses as they -Gr. 5,-Gr. 6,_Gr. 7,_Gr. 8, it is essential that the singer shall combine Gr. 9, the requisite dramatic vim with his bel his vocal gifts, and, if so, whether the sum long journey. may be called is to mark the pulse in cor¬ canto and become a singing-actor instead total will justify an expenditure of the Chopin had several pianos. One was respondingly larger and smaller letters and PRICES VOCAL .Secular Solos, Concert type. of merely a singer of beautiful tone. There time, money and labor that a musical edu¬ burned on the Island of Majorca, during numbers. .Secular Solos, Melodious Ballads cation entails. his visit there; but the Paris piano was the Sacred Solos are times, undoubtedly, when it is imper¬ For example: % | One 2 3 4 | One 2 3 4 ! Instrument Books each .50 ative to sacrifice the tone to the word, In conclusion, the student must bear in one upon which he piayed his last concert. Please cheek voices to be covered in ■ High.Medium.Low. just as in the old school one sacrificed mind always the fact that no teache'r, how¬ It was the composer’s intimate campanion Or the accents may also be marked with Piano Part 1.00 ever fine, will be able to do any of his in the exalted hours of creation. There is colored crayons, using the correspondingly Secular Duets for.voices the word to the tone; but one must know Sacred Duets for.voices exactly when and how and must be care¬ work for him. At best the teacher can a little brass plate inside this precious in¬ important colors of the spectrum. only guide and direct; it is the pupil who strument giving the names of some of the VIOLIN ... Pieces ... Studies ... Methods ful to preserve a proper balance. For example: must do the learning. master’s compositions which were first Please cheek grades wanted _First To return to the subject of changing Red Yellow Orange Green one’s teacher, it is better that the student heard from its heart. Three Preludes, the Position.First and Third Positions, OLIVER DITSON COMPANY, INC., -Higher Positions. be somewhat wary of the teacher who "As leisure increases, music becomes Nocturne in G minor, the Funeral March Many other ways may be devised by the claims that the secret of good singing more and more necessary, you can’t have from the “Death Sonata,” three Etudes, alert teacher, individual pupils suggesting 359 Boylston Street, Boston, Mass. hinges upon any one thing. We hear of too much of it.”—George Eastman. Mazurka in A minor, the Tarantelle, the individual treatment Music— THE CHAPEL ORGANIST DISTINCTIVE SACRED TRIOS ANTHEMS SONGS THAT FOR Original Compositions A Fine Collec¬ In All Its Branches and Transcriptions CONCERT AND WOMEN'S tion of Superb Compiled by Rob Roy Peery Anthems VOICES RADIO ARTISTS Music of All Publishers. Price, $1.50 Price, 75 cents HAVE CHOSEN Price, 75 cents The contents of this album were A compilation Uhequalled Stocks in All Depart¬ selected from the very best recent suitable for the An invaluable compositions of contemporary MIGHTY LAIC A ROSE well trained vol¬ By Ethelbert Nevin ments with Experts to Interpret and collection of 19 composers and a few new organ unteer choir, or arrangements of standard pieces. High Voice—(Range E to I substantial, but ; Medium Voire- Fill Your Needs. >e d to E) ; - iizt. arc, £rz± wu- ^r-- 2Sr-«“«s SSSScS cal portion of the be obtained with these pieces.

By Wm. H. Neidlinger

MUSIC FOR ALL EDUCATIONAL NEEDS PIANO SOLOS FROM KINDERGARTEN TO COLLEGE THAT DELIGHT

W.E.C.Seeboeck liiP—

SHOWER OF STARS By Paul Wachs 50c

5U.

“USIrCc

By Rudolf Friml 50c

gvsr-sa ™S‘Sfd S8S80- Theodore Presser C°

mm wsm 1712 CHESTNUT STREET PHILADELPHIA, PA.

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