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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1947 Volume 65, Number 09 (September 1947) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 65, Number 09 (September 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/180
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Editorial INCE its inception in of The 1883, the spirit In these editorials we have Etude has been the Wtwtfe. JPiam PMwtionl 1 S often referred to the conven- Youth. Its great ob- TIE Spirit of tions of national musical or- of music FAMOUS THEMES IN THE MODERN MANNER jective in the field ganizations in our country,
Modern style settings point out to young of famous classical themes arranged by Jo Liefeld. Includes: RAINBOW mwsS Evelyn, radio's first lady of the violin, began her musical Music and Culture Music and Culture career at the age of seven, when she earned twenty-five cents per hour as music teacher in the Yorkville section of her native New York. Of Hungarian background, her gifts re- vealed themselves before she could speak. Her father had died when she was a baby and her mother could not afford musical training, so Evelyn earned her education with a Rs Author series of scholarships that began when she was six, at the and Juilliard The Romance of “Home, Sweet Home Yorkville Music Settlement, and continued through the Graduate School where she was the first student to be ad- What About the Woman Violinist? mitted while still in high school. She studied under Edouard Dethier, had advisory lessons under Leopold Auer, and cap- tured six awards of the New York Philharmonic Prize for the Words The American Actor and Poet Who Wrote summer study at Blue Hill, Maine. She has won the Mac- A Conference with Dowell Club Award, the New York Music Week Association Gold Medal (with a rating of ninety-nine per cent, the high- Was One of the Distinctive Figures of His Day est ever given), the New York State Federation of Music Clubs Prize, and a scholarship to Fontainebleau which her mother did not allow her to accept because of the distance from home. After a highly successful New York debut, Evelyn Concertmaster arid auditioned for a post in Phil Spitalny's all-girl orchestra and FEaturad Solnist of the Hour of Charm, CBS Lj S. WoJf was immediately appointed concertmaster, a position she has held for some ten years and in which she is known to audi- ences all over the country. In private life, Evelyn is Mrs. Phil Eminent American Artist Spitalny. In the following conference, Evelyn of the Magic SECURED EXPRESSLY FOR THE ETUDE IiY STEPHEN WEST Violin discusses the career needs of the woman violinist. — Editor's Note. Samuel Johnson Woolf was born in New Yorlc City February 12, 1880. After being graduated from the Col- lege of the City of New Yorlc in 1899, he went to the National Academy of Design and the Art Students' “ a WOMAN VIOLINIST takes her first step toward sonally auditions the applicants, and it may interest “Another important thing is for the candidate to League. His works are exhibited in many foremost museums and he has received many medals of distinction. Z\ serious accomplishment when she forgets that you to know the points on which he bases his de- school herself not to be nervous. Some of you may His busy and versatile life has carried him to other callings and he has won high praise as an author and violinist, and learns to think cisions. suggest that this sounds easier than it is. Actually, one as a war correspondent. He has been a contributor to many magazines. His story of John Howard Payne is XA. she is a woman vivid and dramatic. Home, Sweet Home, now one hundred and twenty-four years old, seems to have brought of herself as a violinist and a musician. In this won- “The first qualification is excellent all-round musi- can train oneself not to get scared! Looking back to great success to everyone but the composers. The arranger, the singers, and the publishers all profited by it. derful America of ours there are no barriers of sex, cianship. The candidate must demonstrate complete my own student days for a possible hint, I find that I An interview with Mr. Woolf appeared in The Etude for March 1945. — Editor's Note. race, background. There is only the test of ability control of her major instrument. In addition, she had the very practical training of sheer necessity. We and know-how. We have come a long way since the must prove thorough knowledge of theory, harmony, were very poor, and when I won my first scholarships, days when music was a pretty accomplishment, to be sight-reading, and I knew that this shown off by a pretty girl in a pretty dress. Largely transposition. She was my field and the of radio, we have arrived at a must be able to that I had to play, through means coi- above High-C. ALTHOUGH it was over ninety years after an equal of her first husband. Later parental ably established among the obstacles national artistic maturity that accepts music as an sing averagely before all sorts of tions and opinions thrown occa- legato phrases, well drafted ZA American consul had died in Tunis that the once more stood in the way of his happiness. This 1 integral part of our cultural life. In this wider view , well. She must people under all -ZTa. American Army entered the city, one of the time it was a young of family or friendly gatherings passages, a perfect example o woman from Georgia. The lady as much chance as a man—provided she have modest wom- sorts of circum- a woman has produced respect for her ar first things that many of the homesick G.I.’s did was to remained single and when she died, at an advanced ining concentric circles undimmed has the right material to offer. anly charm, rather stances, if I want- three ii trudge out to St. George’s cemetery to find his grave. age, an autographed copy of Home, Sweet Home calm body of water. And let me During the seasons was first problem, of course, is to find out than glittering ed to earn money “The big fellow- of singing with her as Lepore They went to pay tribute to John Howard Payne, buried with her. s remark to my readers, JOHN HOWARD PAYNE AS HAMLET whether she has this material. Here again, I can think ‘glamour.’ And she to take home. not because he had been a minor public official, but or their meditation. Take re- in Salzburg and II Conte frc of no better method of procedure than our splendid must prove ac- That cured me of because he was the author of an immortal song. A Keen Sense of Humor prepare for them very seriously, Munich, she granted me the mined that he should not actor. Accord- peculiarly American means of scholarship audi- ceptable family nervousness! But become an and half of present at request, They did not know that the man who wrote Payne could find humor in his poverty and disap- after two and a hours my at som- ingly, when his oldest son, the partner in -a New York tions. The youngster who feels the urge to play with- background, as- even without the Home, Sweet Home had not found rest even in death pointments. In a “cold, cheerless room with i of merits of each one of those thenics. They always astonisl no furni- counting house, died, there, being certain just what that urge may be guiding suring her a sense drive of necessity, and that he shipped John Howard out in accuracy, objective, about fifty years ago his ashes had been ture but a bed, a chair, and a wash stand” he wrote: to bed with a whirling mind and discij hoping that he might become a respectable business her to, can do no safer thing than to audition before of right and one can develop brought back to this country and buried in a Washing- ipope their names, faces, episodes, I also collected from her or man. the board of an established conservatory, or music wrong and a feel- a reasonable state ton cemetery. 0 forth, were continuously re- ure of precepts and maxims. 1 “The postman never raps but a But ledger pages were dull compared to footlights, school, or settlement school. There she will be heard ing for values. Al- of mind. Try to Mystery and drama are interwoven in Payne’s life. dunning note to told me bring, in the mind of a precocious lad of thirteen who could by expert, dispassionate judges who are interested in though I am not remember that Even where it began is uncertain. According to the • a long while. But, undoubtedly, “A singer has the right or l Each single knock’s a bailiff and a writ spout long passages from the works of dramatic authors something more than mere lessons and whose opinion in charge of audi- audition judges tombstone in Tunis he was born in Boston June 8th, comes with 1 in my head during the night, a a vocal rest. He or she then c 1791. each ring. and who turned out sentimental poems himself. may be regarded as a safe indication of what her tions, I have at- are trying to find In East Hampton, Long Island, a vine covered if the most striking dreams I can being all operatic scores and s< I dare not go home now, Secretly the boy in abilities really are. It is so dangerously easy for native tended enough of out, cottage is preserved as a shrine to his memory and but some day I mean to edited a theatrical paper which should never neglect during tt not how bad- call some unexplained ability to be misjudged, that I cannot emphasize too them to know what some claim that it was his birthplace. way he induced a printer to get out ly you do, but how Others say that ; in front of me an impressive every-day honest-to-God brea a red-brick, To see if all those duns are still waiting for him. strongly the value of a sound audition, early enough the most general well marble-trimmed house which once stood in the it proportions and classical lines. By so doing, the singer will ; that they hall. The Thespian Mirror it in the student's progress to have it count. difficulties can be. near the corner of Pearl and Broad Streets in New lasted only six months but Imine, believe it or not. The dream perfect condition and readme are with you, not Home, home, I won’t attracted “The chief dif- York City was his first home. go home, the attention of Mr. Coleman, the editor of The Importance of Musicianship id when I built it, how I acquired Let me at this time pass t< against you; that Oh no! however humble, there’s no The Evening its ficulty is exactly An author at thirteen, an actor at eighteen, a place like my Post, who was so impressed with here. On top of the monumental for the sake of the great be: the purpose of the dramatist home.” dramatic criticisms “The ambitious girl should devote herself to music what we expect it in middle age, he lived to be almost for- that he wanted to hire the man ronze letters read: of you singers. audition is to dis- if expert find qualified so. gotten and to die exile who wrote them. were only judges her to do Then to be—a lack of “an from home,” watched over When he discovered that they When I sang in “Don Giov cover and assist. the work the important thing is to find the right teacher. The musical experi- by two nuns and a Moorish servant. Yet, although he suffered, of a boy of fourteen he took the youngster his moods changed quickly in Salzburg for the last time Your frame of It was the fitting final under his wing way can be smoothed by a careful examination of ence. I do not nec- all of Memories curtain for one who, all his He was always an actor. He could and introduced him to his friends, old and her voice was still cc not endure hum- many the teacher’s musical background, his personal back- essarily mean mind on this point life had been a wanderer, who knew both palaces and drum existence and found of whom were well known authors of the day. drama in whatever hap- of my long life reproduced in mand. has much to do jails, and who gained fame not They too marvelled ground, and his standards of values and integrity. But playing experi- through the bombastic pened to him. Although he sang of at the lad’s precocity and, get- pes, exhibited there in a museum- the staid pleasures even these are found with the result. plays he wrote, but because he put into simple of home ting in touch when to be in good order, there ence, but experi- A Great words he apparently preferred the uncertain with his father, suggested that they the longings thrill would remains the question of personal compatibility. If a ence in reading, in “As to the actual of all wayfarers, the longings he, himself, of vagrancy. like to send him to college. gentleman The old ? So absurd ! But such are dreams, Now turn to your left to th knew so well. consented, child is steadily unhappy with a teacher (I don’t mean ‘schools’ and mechanics of the His mixed ancestry may account provided they promised not to help his he idea created by that sporadic Don Giovanni, Rigoletto and for his complex occasional flare of anger violin, I should Cursed with many talents, he lacked the constancy nature. son in his ambition the which can clear the spirit styles of music. On his father’s side he was reputedly to become an actor. Accordingly come back to me time after time Victor Maurel, the French ba which breeds success. He never found the related m the company of misunderstandings!) and fails to respond to him, Thus, I would sug- prefer to speak rainbow's pot to a poet, to Dolly Madison, and of Charles Brockden Brown, a popular readers, to visit immense artist h to a signer of thp their relationship will hardly prove to take you, my What an only in a general of gold which he was forever chasing. Yet money Declaration novelist, he sailed stimulating. And gest that, in order meant of Independence. In his up the Hudson on the sloop "Swan” istic hall of memories. This I big in the dimensional sense mother's veins sense of personal is my little to him. He was guileless as a child, to enter this stimulus enormously important to make a better way. The telling had no busi- W°0d °f & JeWish father Union College in Schenectady. most graphic way of bring- the most insinuating beautif and of the Scottish in the delicate matter of building artistic St and ness sense, spent more than he made and piled nobility values in showing at any how to master up ith those great Personalities. So velous control under which N bills the young mind. If a teacher inspires trust in a child, problems of which he honestly believed he could pay when his William professional audi- bow Payne and Sarah Isaacs will guide, vocal think, i had nine children has been found trust, :ase. I be your organ, I the wild dreams came true. John Howard and worthy of such the chances tion, our gifted and of strings pre- was the sixth child .. v "" jccua wueii i/ue spun, > gentlemen. As you can see, the throat. Furthermore, his si: His sensitive and at the time of are he’ll be the ‘right teacher,’ regardless of whether and suspicious nature attributed his his birth his o t, always strong young candidates supposes a knowl- father was the in him, showed itself! res jig cross, graceful mori failures principal of the Clinton He or not he bears a famous name. has the shape of a with person was one to enemies. No man had cer am prepare them- 1 edge of individual more friends. His Academy in East lestrictions that »•*» ivViovo nrp arp T'VlP ricrht Hampton. He did not hold were imposed upon hin Tn all conscience I could l gentleness, his charm, and his witty this posh n “A talented girl who has been well taught can find selves with wider needs which no talk attracted tion long, however, and within eated tetters to his every a few years he and his ^ .. . benefactors. In the endless opportunities in one. His helplessness to cope with life of tins professional music, quite experience in group sight-reading . The reading of un- long-range discussion could supply. Also, I’m not a prompted t0 B°St0n Wh6re controversy his mother, others he b6Came head of " who was, appar to look after him. otheAscTAf an person apart from the big concert career. A large proportion familiar music in duets, trios, quartets, sextets—in any teacher—indeed, I still have a lot to learn! In a w>io understood him, died. His 1 He was as unfortunate ip his love affairs hrnirpnA of our best symphonic organizations now employ ensemble grouping—is the finest possible training. It general way, then, let me list the prerequisites of good as in his In Boston the youngster l0St his was taken ill with position and was forced business dealings. At twenty he was engaged to some bankriirA women players, and the number of all-girl orchestras is an excellent plan to devote a number of hours each violin playing in the order of their importance. First, a nervous malady which prevented P y^' Y°Ung Payne him from - sick of college and f Boston girl. Her parents objected and although continuing thT T is steadily growing. Of course, I feel a special pride week to getting away from the practicing of assign- I believe, comes tone production and warmth of tone. she studies and d S WaS hls chance <*pite the ' went to his father . opposition faded out of his life, she remained a poignant mem- father h of his wheertiT f in Mr. Spitalny’s Hour of Charm orchestra, and am ments and to exploring completely new music, in Tone is what makes the violin live what people want father he spent much of his the ° ld — ory. In time secretly reading teacher his reluctant co gratified England he met and carried old to an by the number of audition applications we groups. The scores can be through school or public to coming out of it. Just on an ardent plays^ At twelve he organized go on thenATstage. had hear how you are to perfect epistolary courtship a military receive. At the present with Shelley’s widow. When he called the aiodlfion time, we have about one thou- libraries, and the players will find enormous benefit your tone must be settled between you and your Boston Federal Band which 3 g 0Ci ,ookln boy became too serious she told him that °onn holldayshe ?T g with clear blue sand on file. We audition some eight or ten every day, in she would not paraded on the Common. aimTAT SS C ? perfecting their reading, in familiarizing themselves teacher who understands your strengths-and-weak- eatUreS and a lithe Besid wed a second time until she found some one the and on our tours we find close to a hundred waiting with the various styles of music, in learning the nesses of mental His father was worried about haTcharm a ndi and bowing, and your release of body weight upon the boy. He was persuasive manner. It was pro for our arrival in deter- these nnni H t the key cities. Mr. Spitalny per- discipline of group performance. the bow. I can tell you, however, that a part of 484 qualities which secured the "MUSIC STUDY < Continued on Pagt EXALTS LIFE” SEPTEMBER, THE ETUDE 1947 "MUSIC STUDY EXALTS LIFE 485 — ” — : . : Music and Culture the time of the American Revolution,* and the DID take me very long to select the names important fusion of at ex- T NOT the more integral will be this personal efficiency in advanced I going to Music and Culture tension of years has of the famous singers to whom am performer. music and , . in even more startling proportion. in these articles. They were easy to pick technique. increased I refer final, place we come to “In fourth, and Important as have been these tremendous as multi-color bright flowers outstanding in the in music ior discov- up, hand, there is no room at all to On the one eries, one of the great secrets of protracted withering meadow of my Artist's Life, and I wish saying youth is tone problem Is solved through one’s mental approach. the technical means of the player who lacks habit of “thinking young.” In their beauty and their scent stir my mind. the ability Dr. Clark’s the days of say that Think of your tone In terms of a beautiful voice wants to say. On the other hand, what she our grandfathers, there was a definite old age After careful research I finished by choosing sixteen of timbre, of control, of lucidity, of not enough! Gymnastic complex think in terms to say what she wants to say is representatives I have of Memories case of some very the foremost Hall its Except in the old-fashioned performers as My used for and warmth, as these would be projected by a beautiful technique—brilliant digital display—when majority of stupid people, this is no longer cultivated. known of the sublime art of singing. The the prodigious Youth i s voice. And never play a tone without first preparing own sake can be quite harmful. Even others are active preserved in the chalice of the soul—the Spirit. them are in this world no longer and its quality listening to it! only because that May and then technique of a Heifetz is beautiful still enjoy the the Editor be pardoned for quoting from one no more in their profession, but they “Phrasing, I think, comes second to tone. If the tone eminent gentleman’s musical gifts are equally pro- of his books, ‘Tight, More Light”: fame they won with their artistic endeavors. Singers I Have Known is the voice that sings, the phrasing represents the utterance must come first. Famous digious. Always, musical intend to indulge in estimation of artists “A well known physiologist has pointed out that I do not words to be sung. This can be made clear by playing a all had the curious experience of being we We have that are at present in the midst of their professional heart- are all really partly reborn every day. Few of us take song, the words of which are familiar to you. What charmed by an amateur performer who makes impossible to draw time think of this. Our finger nails activities, for it will be practically happens? Both consciously and unconsciously, you being bored by a technician to grow and we warming music, and of singers who have reached the cut them; our hair grows and we cut it; a line separating the round your phrases around the words, building a unity sounds. Who wants to be new skin is who makes nothing but fast those who are still in the hij cle Sequrodt'ecjurola forming every second and it wears away. zenith of their careers from kindred between the ideas with your tones. You search out the the second group? The body classified among It would not be fair to any of them. is ceaselessly being restored every ascensional stages. beginning, the middle, and the end of those ideas and that technique is unimpor- moment of our nor- Teacher “That is not to suppose in stating in these lines my Eminent Operatic Basso and lives. are dying; I fervently hope that duplicate them with your tones. Try that same ap- however, centers entirely around the mal We not we are constantly being tant. Its value, sincere opinion of the merits and de- reborn. Not until this amazing process discerning but Company proach with music that has no words. Naturally, you music you make it produce. In this sense, then, the is arrested by Former Member of the Metropolitan Opera merits of those exceptional artists, I will not betray will have nothing to guide you—but the shape of the technical surety abnormal conditions does this rebirth cease. As young professional needs only that with for diversified reasons body, with the the sense of admiration that music. Phrasing, then, means a sure grasp on the that will enable her to play the standard repertoire the so mind. We grow old and hideous they all deserve. beginning, the middle, and the end of each musical of concertos, sonatas, and so forth. The best way to mentally, when we have old and hideous thoughts. idea; just as you phrase spoken sentences, you must develop and maintain such technique is to make daily, We grow young and glorious as we erase mental ab- learn to speak musical ideas. A helpful way of perfect- regular, over-all use of the standard methods. The normalties with young and glorious thoughts. Victorian ing a sense of phrasing is to study reliable recordings. etudes of Sevcik, Kreutzer, Gavinies contain some- tradition virtually forced age upon the women of its actor, Andres de Segurola, first of a series of articles by the distinguished basso and I do not mean to copy, thoughtlessly, what comes out day. With its mohair, its ribbons, This is the where between their covers all the answers to all its shawls, and its Metropolitan Opera Company world famous. Mr. now the dean of all living men who have made the of the record, but to devote careful study to the way caps, women of forty and fifty took violinistic problems, whether of fingering or of bowing. on the trappings Barcelona, Spain, in 1875 and has sung repeatedly with many of the great the phrases are shaped. After de Segurola was born in you have studied three of senility. A more rational attire Editor s Note. I play them daily, as a sort of musical Bible, and I has brought the opera companies of the world. recordings of the same work by three reliable per- do not hesitate to suggest that practice to others. A spirit of youth to countless thousands of women with formers, comparing their points of similarity and of complete familiarity with these studies serves still young hearts and vibrant souls who, in former years, difference, you are in a position to begin to develop another end. Not only are you helped by playing them; would have been expected to accept the uniform of your own phrasing. but, when special problems arise in the passages of age with complacent content. They not only look singer as she was an actress. Her voice was of a most “Just of successive all-cast rehearsals that the imaginative a this development of your own points ranks work, younger, some you know exactly where to turn for assist- they are younger.” mastery of the voice, beautiful quality and exceptional range, running with third in our list of playing requisites. mere repro- power, the creative faculties, the A ance. If you learn to analyse your problems and to We have just been E-flat handed the following inspiring the personality of an artist are re- perfect homogeneity from her lowest tone to an duction of printed notes hardly ranks as violin play- know where and the force of you can solve them, your technical dif- quotation on Youth, marked “Anonymous.” In cele- the col- above High-C. Her singing was equally admirable in ing! Think out vealed and unmistakably established among what equal first a^offlSegTySan after an of her husband. Lated brating his fortieth year as Editor of The Etude, this opinions thrown occa- legato phrases, well drafted recitatives or coloratura his score and put somet leagues, whose impressions and ld died in Tunis that the once more stood in the way of Miich you engage, try delightful thought is presented with the hope that it of family or friendly gatherings passages, a perfect example of intelligent training and it back. Naturally, I don sionally in the midst t time it was a young fromul will ered t^e cjty, one of the woman music, beautifully be read over and over and by the friends, many concentric circles produced undimmed respect for her art. produce freakish effects! are like the ever widening e homesick G.I.’s did was to remained single and when she dims helped of me answer whom have followed this page for four decades. calm of water. And let me During the three seasons in which I had the honor so distilled within by a falling stone in a body you th ^er fl his grave. age, an autographed copy of Howplaying ceme y ^ nd White Christ- to readers, fellow- of singing with her as Leporello from “Don Giovanni” And the more deeply at this time offer this remark my y& h) John Howard Payne, buried with her. Youth II di Figaro” in artists or students for their meditation. Take re- in Salzburg and Conte from “Nozze a minor public official, but “Youth is not a time of life—it is a prepare for them very seriously. Munich, she granted me the rare privilege of being A Keen Sense of H state of mind. hearsals seriously and r of an immortal song, It is daily vocal calis- not a matter of ripe cheeks, red lips, and supple Three nights ago, after two and a half hours of present at my request, at some of her hat the man who wrote Payne could find humor In his knees; it is a temper of the will, a vigor of emotions; estimation of merits of each one of those thenics. They always astonished me by their variety, pointments. work in the it found rest even in death In a “cold, cheerless i it is discipline. a freshness of the deep springs of life. personalities, I went to bed with a whirling mind in accuracy, objective, and s ago his ashes had been ture but a bed, a chair, and a wa: “Youth means a temperamental predominance of which as in a kaleidoscope their names, faces, episodes, I also collected from her on those occasions a treas- y and buried in a Washing- courage over timidity, of the appetite of adventure over idiosyncrasies, and so forth, were continuously re- ure of precepts and maxims. For instance, one day she love “The postman never raps but a of ease. This often exists in a man of fifty, more volving. told me interwoven in Payne’s life, necessity of bring, than in a boy of twenty. Nobody grows old by merely I could not sleep for a long while. But, undoubtedly, "A singer has the right or may feel the ncertain. According to the living the time Each single knock’s a bailiff and a number of years; people grow old only by that excitement forged in my head during the night, a a vocal rest. He or she then can put aside for s born in Boston seven years old. Paraphi June 8th, deserting the singer each ring. 5S, embodies far more their ideals. beautiful dream, one of the most striking dreams I can being all operatic scores and songs. But what mark about the young '°ng Island, a vine covered I dare not go home now, but soruch as “Oberto, conte “Years wrinkle the skin, but to give up enthusiasm remember. should never neglect during the vacational period is the off, gentleman—a miracl shrine to his memory and call wrote fifty wrinkles the soul. standing in front of me an impressive every-day honest-to-God breathing and vocal exercises. o.birthplace. Others say that years pre- There was “What is the secret will the voice in To see if all those duns are stPles of the surprising Worry, doubt, self-distrust, fear, and despair these granite building of vast proportions and classical lines. By so doing, the singer keep always asked her. id house which once stood hall. youthful are the long, long DE SEGUROLA mine, believe it or not. The dream perfect condition and readiness up to an advanced age.” rod Broad Streets activity later years that bow the head and turn ANDRES And the building was “There is no secret. I in New the precious advice Home, home, I won’t go home, Some musical nona- growing spirit back to dust. did not explain how and when I built it, how I acquired Let me at this time pass to you this and have never thought ne - no! for of the great benefit it could bring to all Oh however humble, there’sans half their age. Whether seventy or sixteen, being’s sixteen most it. The building was there. On top of the monumental the sake music as every year passi an actor at eighteen, a there is in every Here are the names selected as the -” home L which the qualifica- heart the love of wonder, the at the entrance some solid bronze letters read: of you singers. a busy teacher in the mde lived to be almost for- sweet amazement famous for strength, stars and the star-like When I sang in “Don Giovanni” with the great Lilli plied Dr. Clark. from home,” watched over extreme things and thoughts, the un- arlual daunted in Salzburg for the last time she was sixty-two years skdls ' °n the challenge of events, child-like is it servant, Yet, although he suffered, his the unfailing Lilli Lehmann Amelita Galli-Curci What about music moc' , The Hall of Memories a ure Judgment, rich appetite for what next, and game of old and her voice was still completely at her full com- effect upon the human surtain for one who, all his He was always an actor. He couli ! the joy and the Emma Eames Victor Maurel 01 super life. mine, long life reproduced in mand. that the most highly pavho knew both palaces and drum existence and found drama Penetration Nellie Melba Jean de Reszkc Memories of of my Ve pened and even creative “You are as young as your faith, as your Francesco Tamagno paintings and sculptures, exhibited there in a museum- present day is the oct( not through the bombastic to him. Although he sang of as old Luisa Tetrazzini A Great Artist 1 are found to be doubt; as young as whose income is reported be put into simple words of home he apparently preferred the your self-confidence, as old as your Mary Garden Enrico Caruso like manner. years. A prize-fighter. fears, as young as it? So absurd! But such are dreams. Now turn to your left to those masterful portraits of President of the United -’s, the longings he, himself, of vagrancy. your hope, as old as your despair. Geraldine Farrar John McCormack Can you imagine ld man when from in the central night, the idea created by that sporadic Don Giovanni, Rigoletto and Falstaff, as the genius of teners know of the you! His mixed ancestry may accomf place of your heart there is a wire- Frances Alda Titta Ruffo Since that Benjamm£ less time Victor Maurel, the French baritone conceived them. ances. he lacked the constancy nature.iture. pranklir station; so long as it beauty, Lucrezia Bori Fedor Chaliapin dream has insistently come back to me time after See what we mears, On his father’s side he wawi+ , . receives messages of lg artist was! His voice died at the sixtyver found the rainbow's to a poet, to °r°us diplo- hope, cheer, grandeur, the and finally I decided to take you, my readers, to visit What an immense he was not age of pot Dolly Madison, and : Vlt T courage, and power from X it r chasing. m between his earth, from are chimerical, fantastic hall of my memories. This I big in the dimensional sense of the word, but had youth. Here, in the New Yet money meant Declaration of Independence. In „ V, men and from the Infinite, so long I gathered this list only from singers who at one that La*,,d TOS an indis ‘ you young. America. be the best and most graphic way of bring- the most insinuating beautiful quality, and the mar- musician, eighty years oless as a child, had no busi- ran the blood of a Jewish father J When the wires are all down and the cen- time or another have been presented in our think would vama Executive Coun- tral place of those great Personalities. So velous control under which Maurel kept it made of his ing concerts to the largesan he made and piled up nobility. your heart is covered with the snows of For this reason you will not find the names of : Hariclea ing you in contact with aBer he was pessimism please. will be your guide. vocal organ, I think, the most perfect in a man’s and commanding the adieved he could pay when his William Payne and Sarah Isaacs^?"^ and the ice of cynicism, then are you grown Darclee, Rosina Storchio, Eugenia Burzio, Francesco come along, if you I world. f noor old indeed, and gentlemen. As you can see, the throat. Furthermore, his six feet of handsome and Incidentally, if we John Howard was the sixth child L„ f and may God have mercy on your Marconi, Mattia Battistini and a few others of great Step in, ladies V0 d „°fm soul.” of cross, with graceful person was one more asset to him. he might say, “Goodnessious nature attributed his his birth his father was the princ distinction. interior of the building has the shape a k experience a h , and the Carry where are. right In all conscience I could not say if Victor Maurel great Spaniard in Loian,„ ?4 1 ,TCQ’-'lvi&’hTOr “raWlcio Tast the youthful joy your Following that work of selection I had to go through the head here at the entrance, we The might he dangerous with a razor ” of music to as many as Garcia ministry occupied by rooms filled was more admirable in forceful dramatic interpreta- (1805-1906), teacher of Jenny Lind, whose serv- The great number of the art permits. creating, a task of “re-creation” to revive in my mind the per- and left arms of the cross are of incredible biological, Keep growing, ices as a teacher were physio- working, private life, therefore of no con- tions like those in Rigoletto, Iago and Juif Polonais, or greatly in demand in London logical and chemical and praying for a better and you sonalities of those sixteen singers, their voices, their with mementos of my advances in the last few tomorrow, until he was ninety-nine.” Toscanini also decades ill astonish, cern to you at this moment. Let us proceed. in those requiring the inherent high comedy of Don might men- have brought to light conditions thrill, and inspire others, who need the qualifications and their shortcomings. This was more tion his fellow which have had a example It Giovanni, prince of rascals as well as the drolleries of countryman, Titian, who, in his ninety- great deal to do of your musicianship spirit difficult, intricate, and of course, somehow dangerous. Here we are in the first rotunda of the museum. with the extension of the and your valiant fifth year, did some of his greatest paintings. margins of oi youth. It life-size portraits in all, separated in two Sir John Falstaff. He might human life. Barring the accidents is to its joy of youth that The Etude owes To my assistance, more than the fact that since contains six of destiny and of point to the amazing tour in America in 1915 of the its far-reaching the year of my debut in Opera, half a century triptychs, one on each side of the room facing each People connected with the world’s premiere per- “fe averages have influence in all parts of the world. 1895, eighty-year-old Camille Saint-Saens, risen amazingh or the pictures your right are formance of “Otello” at the Scala Theatre in Milan, when he played inCem^'in the past century,‘"T™ our support and affectionate readers ago, I had mingled, traveled, and sung with the ma- other. This group of three on his m country. Your Editor interest of its concertos with the foremost symphony orchestras. nos ot all ages of the most important charac- February 5, 1887, started the rumor that after the final sesses a small library upon the of youth,” The Etude Editor again jority of them, came the circumstance of having “re- reproductions of three Again, he fascinating subjects and its might refer to the premiere in 1893 of the of express their is Lilli Lehmann, the German soprano. dress rehearsal of that masterpiece, the great Verdi geriatrics—the science of keeping most sincere and heartfelt appreciation. hearsed” with them too, and this of paramount im- ters enacted by opera, “Falstaff,” by Giuseppe Verdi, young physio ogi- who at that time caily in advanced years. portance for the work. Because my long years of They are Donna Anna, Norma, and Isolde. Those who said to Julio Ricordi, the influential Italian music edi- The average life was eighty years old. “Falstaff,” with its expectancy *®ee Julio, many forceful, at the present ® tat tics of experience have taught me that it is during the process heard Lilli Lehmann will tell you that she was as great tor: “Signor I realize I have ( Cont . on Page 496) time is, for instance, over Barclay Newman in “Must We twice that Grow Old?”,f (G. P. Putnam’s Sons, 1941) 486 "MUSIC STUDY EXALTS LIFE” 487 "MUSIC STUDY EXALTS LIFE SEPTEMBER, 1947 THE ETUDE 7 — Music and Culture Music and Culture Strenuous Practice I am a senior in high school and have been taking piano lessons for about three and a half years. I play such things as Beethoven's "Pathetique" Sonata. Chopin's Waltz in C-sharp minor, Debussy's Clair de lune, and Lecuona's Malaguena. Do you The Practical Side of Piano Practicing think I am far enough advanced to make Table music my life work, even if it is just to The Teacher’s Round become a first rate piano teacher? My big- gest problem is that I am always stiff when easily that it playing with I play. My hands get tired so remarks such as these: “But the record NCE, in a discussion of piano is a great- task to keep on. I have an idea upon Conducted by plays this passage faster," or “So-and-so Sergei V. Rachmaninoff, I commented that it might be in the way I practice my pedal.” fact that while his compositions often Victor J. Seroff scales. I try to keep a good hand position, uses much more This habit of O the was not abnormally raise my lingers, and strike the keys mak- imitating records is a detestable one and called for large stretches, his hand ing my fingers do all the work and not my &t)utne5ni( was an octave and a Distinguished Russian-American ^lliauvice it should be eliminated unless the stu- large. His maximum compass arm. I will appreciate your answer and it hand, his cousin, want to turn into a flock major third ten keys. On the other will mean a great deal to me. dents of papa- — Piano Virtuoso and Teacher French-American to reports, a stretch —J. C., Illinois. Eminent gayos, those multicolored birds from Alexander Siloti, had, according interesting to piano South. America, with their of an octave and a fifth. This is Eonductiir, Lecturer squawks and Surely you understand that It is im- Pianist, are concerned over what croaks reproducing vaguely their masters’ students because so many possible to answer your first question whereas the great artists of • and Teacher voices. Yes, if teachers don't try to they feel are handicaps, stem have appeared in without hearing you, for what matters is are more concerned with developing Mr. Seroff’s articles, taken from his book manuscript, "Common Sense in Piano Study," this threatening tide, we are going to the keyboard not what you play, but how you play it! for freedom of ex- Etude as follows: May 1946, "Look Into Your Piano"; July 1946, "Basic Foundations of have a generation of .young their muscle and nerve control past issues of The the nearest parrots, May I suggest that you go to pression. a Permanent Technique"; February 1947, "Controlling Tempi and Dynamics." The May 1946 issue is merely copying someone else instead of . . ... available musical authority and ask for of piano practicmg demands that few copies available of the July 1946 and the February 1947 issues. of friction and dissatisfaction. Why should developing their own personalities. This The practical side entirely out of print. There are a an audition, after which you probably learn how to practice, how to achieve the Editor’s Note. parents, or the children themselves, re- would lead to complete abolition of one’s one must — will be able to make up your own mind. goal in the shortest possible time, which is sent paying for a missed lesson when the individuality, to an atrophy of the ability desired Now for your “biggest problem”: I be- success. Unfortunately, the student is gener- clause of prepayment was accepted in to think, to ultimate servility to the con- half of lieve that your trouble comes from too work with the clock ticking next to him, good faith? Suppose the family home is ception of others. Only disastrous ally told to strain in your scale practice. Too results few strength sequently must adjust their grip for the octave with much the minute he is through with the prescribed 1. If the scales are meant to develop the out of town and the father commutes can be expected from such practice. Use and much physical concentration is often as next day. The silly notion fingers, they fail completely. The weak part relaxed wrist and arm, but firmly fixed fingers, feel- every day by train, on a season ticket hours, off he goes until the of the the records if you wish, but only at first and harmful as none, because in effort to in the minds of parents, students, and of the hand is the fourth and fifth fingers. Yet ing the keys well under the tips. Since the white key bought and paid for: will he ask the rail- in order to still remains position the wrist be- secure a general idea of what is keep a good hand that if this performance is repeated these get very little work to do in the run of a much broader than the black, and therefore allows road company for a refund if he stays a composition even teachers, comes stiff instead of remaining a firm sounds like. Here it must strikes once in too space for fingers shift, Correspondents with this Depart- in and day out for several years, the youngster scale. In fact, the fifth finger only much the to a very good home and fails to use it for several days? stop and your own brain day but flexible support for the hand. Then ment are requested to limit letters must take over. morning a full-blooded musician each up and down run. No muscle will develop from idea, is to practice the octave grip on the black keys to One Hundred and Fifty Words. Of course not. The same applies to con- will wake up one tell me that you raise your fingers. Besides, recordings are deceiving: haven’t drill alone, for, you technically a well equipped performer. such intermittent exercise. Only a constant with the narrow key, the finger must al- cert or lecture course tickets.' I don’t see you noticed and This old-fashioned process may share that most of them play as teacher or fingers strengthen them, and such ways strike the same spot. any It would be far more profitable for the of those wUl reason why music lessons shouldn’t much as half a tone too high? This a great deal of the guilt, too. By all im- daily task to be accomplished, like drills are provided in innumerable exercises. In playing octaves one should be aware only of the be placed on a similar business-like basis. the parents to set a means, do away with it! If you spend plies a faster tempo than the one used learning the whole, or a certain part of a composition. 2. If the practicing of scales will help to play them downward motion. Any upward motion of the wrist, ment of Beethoven’s Third Concerto in Teachers who tried it last fall reported at the original much energy on the act of “raising,” as performance. And what should not leave the piano before this later on, when they occur in pieces, what about independent of the arm, is a waste of that effort and favorable results. It is conviction The student I believe you do, what happens? The C minor. Here, one must pause and find my that about certain metallic tones, or harsh long it takes. There should the greatly varied fingering we must often use, time, which is so important in the speed of playing. out some once you establish such a regulation is achieved, no matter how downward action becomes secondary and how groups of thirty-second or and attacks produced by defective engineer- concern If at first he can not finish the task in according to the phrasing line in the piece? The playing of repeated octaves should be adjusted to sixty-fourth notes fall within the beats. “stick to it” with the sole exception of be no consequently, ineffective. You may also ing, with the more elusive pedal effects be long before he will the action of the keys. The student can see for him- health reasons, a very short time, for it won’t use the fore-arm unconsciously, in your And what about Gershwin’s Prelude No. 1, your prestige will increase lost for the same reason? There is an- to do his job. Points of the Hand self that the easier the action of the piano, the faster which and you will attain need far more time The Weak effort to get tone volume, and this is brings so much trouble to the a higher professional other angle, too: suppose you spend and not an isolated will the key return to its original position, and the average standing. There All practicing is mental work Just as much of the same can be said about arpeg- quite wrong. Although it is difficult to student? In my mind and gen- have been too many last much time "aping” a certain disc. Then exercise. Unless the student keeps a concen- more rapid and easier will be the execution of the re- erally minute calls, physical gios. The student should not waste many early morn- deal with such cases without actually speaking, counting can never hurt flimsy excuses, or unjusti- you happen to hear another recording of trated mind on every move, he is wasting his time. student, however, must have peated octave. This adjustment will apply to all com- anyone nor anything. if fied cancellations ing hours on them. The seeing you in action, I recommend that But you are of lessons in the past. the same work, and to your dismay, you soon as he is mentally tired, he had better stop. As arpeggios. This is binations of repeated notes. The fingers should never positively sure that the little pupil in It is in times like these, As a thorough knowledge of scales and you avoid strenuous lifting and striking. when demand is discover that release the interpretation is just soon as he is physically tired, he had better stop. indispensable. their grip of the keys. The student should just Try to play your scales with rich, full question doesn’t need it and that the great, that teachers can put an end to a the opposite of yours, or rather, of the “shake” them downward, as fast or as slowly as the of Considering double notes, the student must always tone, looking for quality, not quantity. length her beats and rests is abso- such undesirable practices. Never mind if artist whom you so conscientiously strove The Subconscious Mind at Work part of the right hand and score demands. As an example, one may take into con- lutely accurate, then let her do without one or two pupils drop out: practice chiefly the upper Hold your fingers high enough for the some more to imitate. You may prefer this new goes on in the subcon- left, as these are the weak sideration the lengthy octave passages throughout the it, and tell her mother: “You ought to will come in and you A great deal of actual work the lower part of the down stroke, which must be firm and will be the winner version, Schubert-Liszt Erl King: too. So, why not remain inde- scious mind after the work at the instrument is over. points. The absolute “together” sound is essential. All fast. No preliminary is rejoice, because your child is most ret in the end; as the old “pull up” needed. French proverb pendent and own markably be yourself? Use your This is why a composition and its technical difficul- double notes should be sounded simultaneously. Some Use moderate speed, and keep fingers, gifted by Nature. Whereas so says, "on ne fait pas d’omelette sans casser judgment. By doing so you will act wise- after long, concentrated practice, becomes easier students play them as though their fingers were stut- wrists, arms, and mind in a condition of many other little girls count aloud, but des oeufs” (one cannot make ties, an omelet ly and out of time, she achieve finer results in the end. by leaving it alone for a few weeks. There is no use tering. Playing double notes well comes only with very ease and relaxation at all times. possesses the faculty of without breaking the eggs!) One prac- counting inwardly, silently, tical pounding away at the same piece month after month, strong fingers. Here it is absolutely essential to prac-> and cor- suggestion might be as follows: get rectly." You will be telling some and the student will discover with pleasure that by tice very, very slowly, so that the muscles will adjust the truth, the cards printed, stating your regula- Precocious Youngsters Is Counting Always Imperative mother will be happy, and tions dropping it after the first unsuccessful round, he can themselves to the position of the hand and fingers, your problem with a few words of comment ex- My nearly four-year-old son wants to quite easily in the second. work of two fingers struck together I have a piano student aged eleven, who will be solved. plaining the teacher’s “floor it” and the muscle side. Post one up learn to play the piano. He knows the dif- teacher is is in her fourth year of work. She does a in your studio, But the most important objective for a against the other two becomes coordinated. The so- and remit one to the par- ference between the treble clef and the prodigious amount of work, including for the piano and (holding finger) exercises are ents when bass clef. He has He to awaken in the student a love called pe/esselfe-finger Bach. Czerny. Heller, Hanon. and similar they bring their child for an an excellent memory. Again , Those Missed Lessons likes music on the listens for sufficient curiosity to overcome its difficulties. This is very beneficial. For instance, holding the fifth finger Busoni, in playing this work, never raised his hand studies and pieces. She has a natural abil- interview. It would be ideal radio and he if all teachers various I trying instruments and then we make important than scales or exercises and trilling with other fingers from the keyboard. Once he encountered a long se- ity. and a keen sense of rhythm. So far I am to be very strict about pay- m each community much more any on the keyboard the could abide by the visits to the music the in- have found no necessity for counting, be- ment for al! lesson periods, whether stu- shops to see because there is danger of killing the beginner’s every double notes. The same exercise can be applied by quence of the same octaves, he let his hand rest upon same standards and struments. in cause her rhythmic dents come or not. and I only excuse thus protect one an- One of his playmates, age six, patterns are always those desire to be a musician. In short, one should develop other free finger down on the keyboard. the keys, and the hand moved up and down with the when absolutely other, as all has been learning the piano since he was holding any logical and true. Her mother however, necessary: but I simply engaged in the teaching pro- two and a the musician first, and the performer afterwards; not exercise should be started in an extremely slow piano action, over and over again. who has played feels she should count. haven't the nerve to charge a monthly rate fession have to face half. Please tell me what ma- This the same problem. terial In questioning the mother, I learn she in advance, except perhaps for new stu- I should use to begin teaching him. the reverse, as is usually the case. tempo, and very gradually increased as the exercise It is helpful to practice octave passages with just dents. This, because I try Do you advise anything at never has to help the child, that she pro- to keep things as teaching him The practice of cramming the student with all kinds becomes easier. One cannot emphasize too much the the fifth finger alone—keeping the hand spread out ceeds entirely uiider her own momentum, pleasant as possible. Don’t you think all until after he learns his ABC’s in Kin- strained Learning of exercises in order to develop his technical skill, need for playing the holding finger exercises very in the position of the octave stretch. This will strength- but she still feels she should count. Am feelings would arise if the child is from Records dergarten? Will his left-handedness make with the idea that musical phrasing, and so forth, the first sign of tension they should be en the muscles of the little finger I right or wrong? I thank you for giving required to 'phone the teacher to ask to be I wish to ask piano difficult for him? carefully. At and the outer side your advice about the use my problem your consideration. excused for a week, when the child knows, of records for — (Mrs.) A. Washington will come afterwards, is very wrong. Just as well teach stopped at once and started again with a slower tempo of the palm, and will add to the security of clean oc- self instruction. Some vears B. C., — (Mrs.) O. B. S., Pennsylvania. and the child knows the teacher stud c‘ knows d P'f no seriously and someone a new language without explaining the mean- and complete ease. (During the years that I studied taves, since it is the upper part of the octave that that the parents T j hoped are expected to pay for that I might make it my profession, but Those little boys sound very precocious ing of the words. with Moriz Rosenthal It seemed to me that the holding usually leads the passage. Practicing the reverse way, that missed lessons? circumstances prevented If the child’s natural ability, if her this. Now since and eager to any leading, — (Miss) M. M., New Mexico. I am more comfortable learn. So I don’t see Playing the piano should become, for the student, finger exercises were among his favorites.) with the thumbs should be done very lightly, keen sense financially. T feel of rhythm are as excellent as a great urge reason why ahead life necessity, practically a nutritional element, like playing octaves, the student as there is danger of stiffening to turn to the piano as an you shouldn’t go right a In must know of three the wrist and hand. you mention, there ought avocation, but to be no need I believe that your last considerations my office hours are a handi- with your nearly four year old son. It a vitamin, without which he couldn’t live happily for ways: playing with full arm and resting firmly on the In playing alternating octaves, the weight and em- cap m studying with a for constant counting. However, this gift are a little teacher and there- seems a day. In addition to being his profession, it should finally, phasis should be in far-fetched, and I doubt fore I awfully young, I know; but age fingers, playing with the wrist alone, and with the thumbs, since that is where the ask your opinion about the is very exceptional and in most matter his favorite hobby, though this effect cases whether a child’s analysis of the situa- of listening to the has nothing to do matter: what be does not mean that the fingers alone. As paradoxical as it may seem, we of the chromatic scale lies. records of concert pi- in this counting is advisable until the anists. Do he shouldn’t go fishing if he wants to. Piano practice play all rhythm of tion would reach such depths of thought. you approve of this? counts is individual aptitude, and an eventually octaves with the fingers, feeling the piece stands firmly on its feet. It — (Miss) J. M., is a mental workshop in which something must be the keys with their tips, but we play scales Economy of can In the first place, when the rule of Michigan. alert, wide-awake brain. Remember Mo- and canti- Movement then be discarded because the “swing” monthly zart! achieved every day, or the time is completely wasted. lene with the full arm. All piano playing should be payments is established it must As to materials to be used, there based on the maximum of this rhythm Your question is welcome, for Probably enough reasons have has become “second na- apply to everyone, old it brings is quite been given why First of all, in octave technique, the student must economy of the strength and movement of the hands and new students an opportunity a large list to select from: Ada ture.” Strict counting is at to discuss a teachers should make their pupils play scales each develop a sure, definite octave grip. Most women’s over the keyboard. times neces- alike otherwise it would soon situation Richter’s is History says that when Bach become which for the “Kindergarten Class Book” sary when reading certain complicated past few years has day for several hours. So here are a few reasons hands are built with the stretch of an octave; most played, one could hardly see his known that your prices differ, and right un- an excellent for little hands move. As we fortunately prevailed piano approach practice passages, for example the slow move- then in music studv against this that should at least put the men have a far larger stretch and therefore, men tend read further, the same is said of Mozart and there you would have a source tots. Then I can recommend “My Piano and of Chopin. Everywhere one hears students question to doubt. to strike an octave with the grip of a ninth. I once making They con- took a young friend ( Continued on Page 488 ( Continued on Page 528) 533) 'MUSIC STUDY EXALTS LIFE” SEPTEMBER, 1947 ”MUSIC STUDY EXALTS LIFE” THE ETUDE 489 choirs never feel sure of their part unteer until thev the are not conscious Music in Home Culture hear it alone. Others that they Music and are An Austrian Trinity in perfect tune with the rest unless their not part i! with them as they sing. After parts Mahler, Schoenberg.” By Dika Newlin. played alone are "Bruckner, out, the sopranos and tenors are rehearsed 293. Price, $3.50. Publisher, King’s Crown Press. worked to Pages, altos and basses, research gether, then the and finally soprano' The author, with the authenticity of long and altos together. This procedure gives and devotion, has built her book around four stars of practice in Music Lover’s Bookshelf other, in hearing the She has not The Etude each inner of Brahms. tuning to voices. Such Viennese music since the days re-enforce the learning of in the group, probably be- practice helps each inch, included Richard Strauss Ideals of singing with unforced in Munich and because she feels vidual part. tones can cause he was born at the same time. to a different line of descent. be brought out Sectional practice that he perhaps belongs not take long. It gives the others a stars are Bruckner, Mahler, and Schoenberg, with need moment of The relaxation. And, if desired, the one part may sing Alban Berg, a pupil of Schoenberg, more or less in while Any book here softly to acquaint themselves the nebulous background. the others hum with their reviewed may a own part. Her first interest in this musical revolt stems from be secured from with Arnold Schoenberg in Los Angeles in THE ETUDE MUSIC meeting MAGAZINE at the Diction Standards 1938, when she became a pupil of the famous radical. price given on maintain high standards in having With great breadth of understanding she traces the receipt of Do we the words cash or check. Catholic sung so they may be understood? Ask some of steps of the revolution from the baroque the more t 1 through the Semitic Mahler and Schoen- discerning and musical of the congregation to report on Bruckner, his chaotic musical play, “Wozzeck.” whether the words are clear, the balance of parts pleas- berg, to Berg and discernment, the dis- ing. Accept their report with good spirit even though She indicates, with fine critical tinctions between these masters, and provides the it is not all praise. At rehearsal the director will do splendid well to take a few moments to go to the reader of today with opinions which form a back of the I Wjeredith Cadiman basis for comparison. Uj B. church auditorium to listen to his choir. Among other / things he can determine which words are not clear, and drill the choir in singing them correctly. Often it Contested Biography is the final consonant which is unpronounced an, sensational that no American could ask more of a which makes the meaning unintelligible. ."Koussevitzky.” By Moses Smith. Pages, 400. Price, Seeing Music Horatio Alger character. More than this, Koussevitzky, Kopp, There is a standard to be maintained in securing $4.00. Publisher, Allen, Towne and Heath, Inc. “Visible Speech.” By Ralph K. Potter, George A. con- in- during his brilliant career, has brought to us $4.75. Pub- trast in performing the anthems. Often choirs fall A new publishing firm, Allen, Towne and Heath, and Harriet C. Green. Pages, 441. Price, into numerable new orchestral works. His interest in pre- the routine of singing along rigidly, with almost no Inc., issued its first book, and almost before the work lisher, D. Van Nostrand Company, Inc. senting the compositions of American composers might work upon variation in dynamics or tempo. Some soft sections, was on sale, found itself tangled up in the meshes of The first authoritative, comprehensive almost be said to exceed that of any other conductor. in speech so that some loud sections, and a faithful execution of the the law. Mr. Koussevitzky just didn’t like the book and the science of photographing sounds all, “Let’s look at the All in as A1 Smith used to say, in education of the marks of expression would lift many an average choir contended that his right of privacy had been invaded these may be analyzed for study record.” How many conductors of today and yesterday music, dramatics, into the better than average class. Yes, we know these and that the book had willfully damaged his reputa- deaf, speech correction, phonetics, can boast similar remarkable results? The writer of sounds, machinery things—but do we perform them? Do we maintain the tion as one of the world’s great conductors. He sued heart beats, bird songs, animal this review certainly could not throw irritating pebbles standard here? the publishers and lost his case. He then appealed it noises, or any other research involving sounds. There of criticism against Koussevitzky's idiosyncrasies and and the decision handed down was that the book had are more than five hundred reproductions of specto- his private career. Your reviewer enjoyed reading the Appearance Standards to do with factual matters and was not fictional. Mr. grams. These should give great opportunity to scien- book, with its vast amount of interesting detail, very Do we set Koussevitzky lost again. tifically minded musicians. a standard for the appearance of the choir? much indeed, and thought more of Mr. Koussevitzky KATHRYN SANDERS RIEDER Even though robes have been in widely adopted to help at the end than when he turned the first few pages. this matter there are still details to consider if the Choral Performances appearance of the choir is to be uniform and pleasing. “Fundamentals of Choral Expression.” By Hayes M. The wearing of hair-ornaments, ear-rings by the wom- Millions in It Fuhr. Pages, 103. Price, $2.00. Publisher, University en, bright ties by the men, all sorts of small variations of Nebraska Press. can spoil the dignity and appropriateness. The choir “How to Write, Sing and Sell Popular Songs.” By The great reforms that have come in the field of Can You Set a Standard? robes need to be kept clean and mended. They also Nick Kenny. Pages, 255. Price, $2.00. Publishers, choral singing were long delayed. It is not far since need to be changed in appearance from time to time. Hermitage Press. the day when almost no one expected to make out If new robes are not needed, new stolls or collars with Yes, there are millions in it for a very few people out the words of a chorus or even a quartet. The singers a change in design can freshen the garment and give of the one hundred and forty million who make up sang the notes with fair respect for intonation but a new and pleasing effect. the population of the United States. It is hard to think were not expected to let the audience know what the of a business in which the element of speculation en- song was about; nor was there much attention paid Posture Standards ters more than in the field of the popular song. For to anything more than the crudest attempt at ex- one Irving Berlin, one Richard Good posture is expected of an efficient choir but Rodgers, one Paul pression. Such books as that of Mr. Fuhr have con- there is also the problem of eliminating distracting Whiteman, one Bing Crosby in the field of popular tributed much to remedy this. The chapters are clear “y T CERTAInLy is a pleasure to hear a good choir!” the choir they will mannerisms. In music, there are thousands of aspirants with about as and readable, and are divided as follows: Perspective, want to learn it, but it must also most churches, choir and congregation I a visiting minister said recently after hearing the be well known still face much chance of giving Uncle Sam any additional labor Repertoire, Rehearsal, Tone Pro- before they can sing it with satisfaction each other and each distraction is disturbing. Group Organization, anthem. Many members One choir with their income tax as a humming bird has of catch- sing little aside from their choir had a habit of rising to sing, then each duction, Performance. The anthem had added greatly to the worship serv- singing. Usually member ing a whale. Nick Kenny’s book tells some of the a few days taking , intervene between practice a step forward. It gave the strange ice. All who heard the minister’s remark seemed to be and the worship effect of pitfalls to avoid in song writing and gives pertinent ad- service, which allows some impres- the choir lunging forward, and was corrected A Musical Family smiling agreement that the anthem had been a pleas- sions to fade. The anthem by a word from simply vice from Cole Porter, Richard Rodgers. Oscar Ham- must be learned one hun- the director. Afterward they j “The Newhard Piano Quarette.” By Nelson James ure to the congregation, to the director, and to the dred and ten per cent on rehearsal rose where they from merstein, II, Irving Berlin, Paul Whiteman, Irving night if it is to be wished to stand, slightlv away Newhard, Sr. Pages, 248. Price, $3.05. Publisher, Le- choir members. It had been worth all the effort that one hundred the Caesar, Cab Calloway, Frank Sinatra, Jo Stafford, per cent for the congregation on choir benches. high Printing Company, 125 North Hall Street, Al- had been given it. ^Sunday. Even so, with many Peny Como, the Andrews Sisters, Kate Smith, Bing practices needed for each lentown, Pa. The increasing number of good volunteer church anthem, and with rehearsal Behavior Crosby, Sophie Tucker, and many others, as well as time so short, the difficulty Standards This is an unusual book about an unusual achieve- choirs now winning distinction have found that it is of the music selected is Whispering information on copyright, lists of publishers, and vari- an important consideration or over interest in the congregation must ment. Mr. Newhard has been one of the leading music essential that they select a standard seek and to main- There is a great difference in be watched. At times minister, ous other information of value to the aspiring song the amount of new a tactful talk by the teachers in his home community of Bethlehem, Pa. He tain or better it. Standards vary for the many types m“sl° various choirs can stressing the writer. use with profit. choir’s part of the service and emphasiz- took it upon himself to form, from his family of young of choirs. The choir There must be standards to deal methodi- which has many members of ing the matter that wide musical experience of reverence, and the thoughts children, Margaret E., Harold E., Gretchen I., and cally with the shifting problems presented changing by who read easily and sing should occupy will be much, can do one Amount’ the mind, can be of great help. It Nelson J., Jr., a quartet, all four players performing groups, abilities, and circumstances. this With some, Another group, although it tound more The Well Trained Voice may do as well after to the point than a recital of the “dont’s.” at one keyboard in arrangements made mostly by Euro- means detailed constitutions, and highly organized ough rehearsal, Sl- may be timid about Here, as in other replace a trying new music situations, it is better to “Your Voice and Your Speech.” Beatrice Desfosses. pean composers. Starting with very simple pieces, the yearly programs; with others, only a few well-defined and ’ By become acquainted with it aulty habit the slowly. with a good one than to emphasize repertoire expanded until many of the works of the rules, carefully followed, are necessary. Many times poor Pages, 224. Price, $3.50. Publisher, Cattell and Com- habit through constant though it conditions are unsettled attention even pany, Inc. masters W’ere included. The quartet gradually grew up. when we think the solution Uplift Stancjards is of a negative kind. playing efficiency of in- must be to ask less and less. We adopt a soft attitude Miss Desfosses’ work is one with which all vocal and as the the performers Many people mention that they like music win, teachers should become acquainted, because creased, it began to attract attention. The perform- toward difficulties instead of attacking them construc- uplift. They say SERGE KOUSSEVITZKY so many that they come to chur^h Membership Standards tively. Rather, we ought to be asking more of our- Yr who want to learn how to speak correctly, effectively, ances were precise, the ensemble excellent, and the hft and that too much church Can you set choirs music is sad a standard in membership? Some selves and of the members, as we try to make choir choly. Many or melan are and beautifully, apply to the voice teacher for as- interpretations understanding and artistic. The quartet younger people, while completely organized a consti- participation more satisfying for realizing thaTsom with all officers and novelty each member. ber music is in place u ion Certainly your reviewer could not appoint himself sistance. So much practical information can be ob- proved a great and was much in demand. during some seasons that settles all director The music itself of the chur? matters in question. The deserves thoughtful attention, for yeai, prefer that this be nas almost as a third court of musical justice to a man who has tained from a book of this type about “Facing Your Mr. Newhard gives, in great detail, notes upon the only an accent, nothing to con- the choir gives its best that the usu- do with the membership only to music that is liked. music express something derations. been one of the most active and valuable figures in the Fears,” “Thinking On Your Feet,” “Everyday Speech,” training of the quartet and the development of the that will help He does pass bers, and he Are we maintaining the standard of having them Teel w Qn thg new mem the choir ter, or give them impetus s musical progress of the New World. That decision can “Articulation,” “Strengthening Your Voice,” "Speak- performers, who are now adults and college graduates. to live better keep alert to secure so far as music attractive * haziernapPier ™ __ . new members, but in and simple enough for the choir to fruitful lives. > mor only the musical public he his come from as a whole. If we ing for Radio,” “Choral Speech,” and other subjects, He writes stories of over two hundred pieces including sing confidently with the leaves the matters in the hands of amount of rehearsal time Do we set a were in Mr. Koussevitzky s position, we wouldn’t care that the teacher’s work may be amplified very greatly, piano solos, duets, trios, quartets; standard in having vr, membership“Y selections for two, thp committee. available? We know that if the music is attractive to rehearse their parts very much, because the great jury of the people them- without adding to the pupil’s fees. book is to be three, four pianos, alone? Many Some choirs hesitate that The and as well as organ and piano membem of om vo" to set up rules thinking y may lose some 496) selves is wise and understanding. Such a career is so highly recommended. duets, concertos, and miscellaneous numbers. members < Continued on Page 490 "MUSIC STUDY EXALTS LIFE" SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE" 491 THE etude I . Music and Study movies, and ball games. Music and Culture “Maybe I’m old enough to be your grandmother, school days we lived though I doubt it! In my on music and had enough hours to study it. We learned Bach, Mozart, Beethoven, Schubert and made an issue of above all learned technic’ and theory, and to control America’s “Pop" Concerts discipline. Father of ourselves through self “What does music study mean in our schools today? The Pianist’s Page Band with brass tooting a blaring march on a football field, and nobody to play the piano in Sunday School or for a glee club. When the four years of high school forever so far as Antoine Jullien are over, music is gone performance Louis just is concerned; and in the schools we have more and Water more tooters coming on—that’s all. “What time is left for piano students to practice? In Noted Pianist and rural communities such as mine the school bus trip takes two hours daily. One of my girls, working on the Music Educator 1/Jorma (jraueA Grieg Concerto might get it learned if she had half a chance to work on it; but she can't miss a ball game, football, basketball, baseball and what-have-you-ball, and all the rooting, hooting crowd. If she misses a . . the game, she’s ‘queer’ . and there goes piano prac- From somewhere down in front came a sharp rustle those idiosyncrasies which his public expected. Since tice! like the crackling of leaves before an autumn storm. he had thoroughly trained his men to play with their “In my study and teaching days girls had time to Then as a square-set, dark-haired man stepped out conductor facing the audience, he was free to “play” “Yes, we blame the parent; but parents usually don’t practice. Nopey nope, it isn’t the teacher's fault. You’d on the stage, successive waves of sound rocketed the upon the emotions of his listeners, and what a field get their ideas about ‘enjoyment,’ ‘for pleasure,' and so better box the parents’ ears and tell them to send to hall. Smiling and bowing, his black eyes darting from day he made of it! forth from their own heads. I go directly to the door lessons a peppy girl who is eager to learn keys, chords, side to side, Jullien finally reacned the center of the Now wafting his baton gracefully in mid-air, now of the modern educator who, like a quack doctor, scales, sight-reading, and so forth. Don't expect us to stage. From the sheen of his long black hair to the smashing it down forcefully when he noted an occa- theorizes endlessly to the ruination of millions of young inspire a sleepy, gum-chewing gal who won't practice gloss of his patent leather shoes the forty-two-year-old sional lapse of audience-attention, he dominated the hopefuls. The ctiild must ‘love’ his work (or studies or her piano lesson even if it is written down in detail. conductor was elegantly turned out. As usual he wore situation at all times. As he approached the climax whatever his task) . That statement is good when in- “I am not a parent, but just the piano teacher with his coat open to reveal a dazzling white waistcoat of a number, he often seized a fellow-musician’s violin terpreted sensibly. I honestly believe that love for one’s tied hands. I'm weary educating both child and parent, topped an elaborately embroidered shirt front. His or flute or cornet and concluded the selection with a work is an absolute necessity for meaningful learning. by and often being treated like a dummy by everybody. . . long wristbands were turned back over his cuffs. Con- dramatic flourish. Then mopping his face with a large But I also believe that the elements of work in music You great big ‘guys’ who write for The Etude, come out, LOUIS ANTOINE JULLIEN to custom, however, he wore neither primrose silk handkerchief, he dropped exhausted onto his (and other studies) are at present so broken down that trary travel our paths, and see what you catch on your gloves nor the numerous diamond rings and charms “throne” to receive the plaudits of his admirers. Many the child is almost completely milk-fed, and any labor hook.” 1853-4 in that usually imparted such a garish effect to his ap- were the tricks he used to arouse interest, such as on his part, either physical or mental, is completely URING the season of there appeared Well! There’s nothing further for as to say except conductor pearance. having a pair of white kid gloves brought in on a silver eliminated. It is true that it takes a wise person to New York concert halls a French this: if music brings its teachers to an unhappy, em- meth- For his last concert Jullien followed the usual pat- platter. Facing his audience, Jullien methodically drew guide a student into loving his work, but nothing which D whose colorful personality and theatrical bittered state, there’s only one thing to do quit music, of the tern of an overture, two movements of a symphony, an them on and from his collection of batons, meticulously really gives our life meaning is ever gained without ex- — ods made him one of the most popular figures retire, or go into another business or profession . . . day. Louis Jullien introduced early Americans operatic selection, instrumental solos, and a concluding selected a jewel-tipped one. His listeners knew, without penditure of effort. The idea of the ‘easier road’ is Antoine Standards For the New Season I wonder if other small community teachers agree with group of popular dance music. But it was a program consulting their programs, that this was the prelude to purely an adult concept, because children are less to their first large orchestra and to symphonic music In all my years of happy association with The Etude, our correspondent? of of the theatrical trappings in which he a Beethoven number, a composer whom their conductor prone to try to escape a little use of energy than at popular prices. Like his contemporary, Phineas T. devoid many no topic has provoked the interest stirred up by the clothed his music. roars of applause reverenced despite his theatrical badinage. adults. We give our children the best in materials, but Barnum, Jullien advertised copiously, introduced novel- so frequently The pages Standards of Music Teaching. (January on and why do we handicap them from Joint Responsibility ties, and intrigued the public by grandiose stagings. that greeted the last number had hardly subsided when the beginning with Descriptive Music Plus February 1947.) The letters received are obviously from Some of letters his observed Koenig, the chief cornetist, ad- ‘adult short-cuts’ and superimposed ideas which lead to the put the blame on parents who Unlike the showman, however, he was sincere in the audience intelligent, aspiring, and also indignant teachers. The Frenchman's popularity further Do nothing but disillusionment?” tolerate incompetent teachers: attempt to popularize the classics. vance toward his conductor bearing a huge golden was strength- they ascribe today’s generally level ened quadrilles low of piano teach- “In our town of 65,000 I am the only nondegree When the French conductor arrived in the summer wreath and tablet, which he presented to him. Amid by the number of he composed. At this ing to the teachers themselves? quadrille Or to poor teaching teacher among twelve piano teachers; yet students of 1853, he found a lusty young nation in the throes thunderous cheers Jullien held up the scroll which time the craze for dancing the —a square materials? Or to the “no time for practice” wail? Or Music Is Work-Fun five from master or bachelor degree teachers come to me of its first growing pains. New York was just beginning commemorated the events of the past week. Those dance of movements—had spread from the con- Miss Spencer’s letter is one of the finest I have to school or extra . . re- curricular activities? . Hardly! without could read the words engraved on its sur- tinent to the New World. Astute showman that he ceived the least knowledge of key or time signatures, to preen itself as the nation’s first city. The New York nearest him About half the correspondents place square- on this or any subject. We are grateful to her the blame tempo indications, practical Philharmonic announced a new “season” of four face: “A Laureate from 1500 performers at the First was, Jullien further popularized his own by tying them for its sharp reminders. and worst of all. any had ly on the parents, especially the “moms”; others Why not send copies to some knowledge of major or minor scales. concerts. The first American Exposition was in full Musical Congress in America and from 30,000 true in with events of the day such as The Great Exhibition of your recalcitrant parents, or castigate our “progressive” educators; only a few point to that smart aleck Quadrille. also advertised that different of “I think part of the responsibility lies with parents swing, the President having dedicated its great Crystal friends and admirers present in the Crystal Palace, He a one school principal? I dare you to do it! fingers of shame at the teachers. .” his celebrated “National Quadrilles,” featuring the who bring their children and say, ‘I only want Johnny Palace, July 14, 1853. June 15, 1854. . . Every youngster must learn from the beginning Mary A. Spencer of Princeton, New Jersey, makes of to music of various world nations, would be played each his have fun out of his music’ ... I refuse to take such The Palace later became the show place of New this devastating life that fun must be worked for. Any other kind indictment: of students.” A Startling Innovation evening. education leads York, and here in June of the following year, Jullien “I firmly believe to unhappiness. Piano-playing is that the blame for inadequately one It nearly a year since elaborate posters of A special favorite. The American Quadrille, which of the most satisfying Good for you! Most competent teachers nowadays are triumphantly staged America’s “First Musical Con- had been trained students lies on more doorsteps than those of kinds of work-fun. For thousands in the same gress.” Congress, attended representatives of scarlet and black plastered all over New York had first had been composed shortly after his arrival in the of persons there is position—they can and do choose their The by the piano teacher. often teachers hear this no pleasure to equal the making of How do we pupils. Jullien’s arrival from England, where he United States, contained all the national airs arranged music. To do this such cities as Boston, Philadelphia, Baltimore, Cin- announced statement from parents canvassing the field for a mu- well requires sustained discipline and cinnati, had concertized for nearly twenty years. He had sky- for twenty of his solo artists. In this he rang bells and concentrated effort. From the above letter it seems, doesn’t it, that the and others, opened June 15 and continued sic instructor: ‘I don’t want Johnnie to be a concert Yet, contrary to generally held remedy will not be found with through the following week with a series of nightly rocketed to fame through his popular “Schilling Con- zoomed cannon so well that he never failed to work pianist or professional opinion, I contend that the acquiring of in demanding teachers a musician. I want him to know moderate his audience a frenzy of patriotic zeal. technical college degrees? “congresses.” For the opening concert, which was the certs,” attended by the millions whose foibles, as well up to Other just enough so that he can play for his own enjoyment.’ skill need not become a boresome or tedious of Jullien himself, immortalized by car- audience-favorites were his Army and Navy Quadrilles process. To be sure, Here’s another: “If you could only see specimens largest and most spectacular of all, Jullien directed a as those were These words cause more heartbreak to teachers technic vitally taught, first the and must in which he vividly pantomimed the actions the be insinuated in that come to me after years of lessons with so-called chorus of over 1000 voices and an orchestra of two toons of the famous “Punch.” of students than any ever uttered. The teacher, to com- the lazy disbelieving pupil’s fingers, his or- soldier and the sailor. and then lo! one teachers. Two girls came to recently, with eight hundred and fifty performers. Jullien brought over as nucleus for American ply with the patron's wishes, teaches Johnnie ‘pieces,’ day he wakes up and sees the neces- me one years, the ganization forty musicians including such well known But the musical cocktail on most programs was the sity for it. (That’s always a day of other with four years study. I planned to no scales, no exercises, no technique . rejoicing for of any kind . us, isn’t . work A Gala Event artists as cornetist, Koenig; Bottesini, the great concluding number, The Firemen’s Quadrille in which it?) Whereupon the problem with them on sonatas, classics, so forth—but the nothing that will sound as if he is on the road to pro- is solve’d once and for all. and I can honestly found that they had great Following the close of the Congress—on the next contra-bass; Lavigne, world-famous oboist; Wuille, he exhibited a bag of theatrical tricks that has rarely fessionalism. He must ‘just play.’ Also he must never say that I've never had the slightest difficulty playing Godard’s Second 26 clarinetist, been equalled. Before starting the number, Jullien difficulty persuading young Waltz and the first Beethoven’s Monday, June —Jullien appeared in his farewell celebrated and Hughes, the famous ophi- be kept on a piece so long that he will tire of it, or pupils—beginners or in- movement of termediates—to practice Moonlight" Sonata. of concert. No event of the season aroused more interest. cleidist. Among the fifty-eight musicians he employed solemnly warned his audience of the terrifying spec- perfect it! Consequently one musical murder after an- technic. This goes for the (The third movement was out tacle they were to first years when, traveling from house the question.) Shortly after mid-afternoon the city’s horse-drawn in this country was a young violinist, Theodore Thomas. about witness. At the music other is committed. . . . to house by elevated and steam trains, trolley, “What is the matter cars were filled with crowds arriving for the concert To Americans of the middle nineteenth century an had a deceptive smoothness and quiet, almost like a “However, the tragedy is not in what happens to the ferry boat, and on foot stag- with the parents? Do they have gering through money to throw scheduled to begin at seven o’clock. Farmers with their orchestra of ninety-eight was a startling innovation; lullaby. Then suddenly came the clang of fire bells. music, but in what happens to Johnnie. He never gains mud and snow-drifts I gave house-to- away? My pupils’ parents tell me they . . real fire house lessons in Boston have learned more from all families in “Sunday best,” fashionably attired New likewise the number of solo-artists Jullien introduced Fire . burst from the ceiling! Three or four enough technical equipment or knowledge to ‘play for suburbs. “Ah,” you say, “that me in six months than in was years ago, another their previous training." Yorkers, wide-eyed youngsters in tow of anxious par- at each performance. Even more amazing, however, companies of firemen rushed on the stage, dragging his own pleasure’: he soon realizes his shortcomings, generation, different times,” Perhaps ents surged through price charged for reels of hose from which water was pouring. . the doors the the each scarlet and gold and so forth. . . Perhaps the remedy lies • to hear once more was ad- Hoarse becomes discouraged by his own inadequacies and gives you are right ... but I can in educating the parents; . point out dozens of today’s Or is it too late? conductor who had opened a new world of music for mission card—only fifty cents. It was worth that much directions, terrifying screams, shouted orders trans- up the struggle . . teachers as hopeless . or, still clinging to the who report little difficulty in teaching technic A highly successful them to enjoy. just to see the strange new instruments Jullien used: mitted by the megaphone-equipped musicians added ideal that there must be some beauty in music (al- the imaginative, scientific teacher writes: stimulating ’ This They had long since crim- large that they required pair of players; realistic terror to the scene. though he has yet to make that beauty with his own way. week I auditioned applicants for lessons next become accustomed to the drums so a hands) he enters college autumn Hearing the son platform edged in gold, the elaborate white and the mammoth bugle with keys, the ophicleid; the odd- Came the crash of falling buildings (cannon balls , or music school. The teachers high school juniors and seniors positively gold rolled through there makes “throne chair” just back of the conductor’s stand shaped wood winds. With a repertory of more than plank tunnels beneath the stage) . . . must help him not only to unlearn but also to Is It as me groan. They bring me Rhapsody Bad as This? m Blue glass . . relearn basic principles which he should have Here Clair de Lune, Liszt, technical —once the target of wagging tongues. The “serious” 1200 pieces, Jullien offered the musical novelty of a breaking . increasing din. In the excitement known s a distressing letter from a conscientious Chopin, with no rural foundation. They music that Jullien programmed each night was also complete new program for each concert. women fainted. Finally at a signal from Jullien from his earliest experiences in music. Wilful fingers teacher of many years can’t even tell the key they are the experience: reading must be retained, old habits must be broken down and “I deeply in, cannot decipher or beginning to be understood and liked. But after all, it There was never a dull moment at any of the con- firemen left the stage and the spectacle ended with the regret that you do not place the dynamic directions ones blame empo indications. was the novelty of the concerts which had continued certs, for Jullien especially delighted in surprising his orchestra leading the Doxology. in new substituted. After this procedure perhaps a where it rightfully belongs-on As for ‘tone’ they never heard of it.” Those the audience the modern parent the little pleasure creep 1 this is to draw them for nearly a year. This, and Jullien him- audience with arrangements. Fully aware of his who were physically able joined in may into the pianist’s experiences, undisciplined child and a few ’.’ the level of Piano teaching in the new the singing. other obstacles namely TT V. / , if he is not completely United States, it's self, who was as versatile an actor as he was musician. abilities as a public amuser, he never failed to exhibit Jullien’s triumphs were worn out with confusion. physical education, home pretty sad, isn’t it? not confined solely to New economics, band, radio! ( Continued on Page 494) 492 SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE” "MUSIC STUDY EXALTS LIFE” 493 THE ETUDE ” — A child learns by drill, which is voice and voice problems Music and Study dailies were changed. best con- O MANY BOOKS on 1860, readers of the English Music and Study In March, class. Musicianship cannot be taught it is difficult to attempt advertise- ducted in a in one have been written, that at the news contained in a daily shocked private lesson a week by any teacher no matter any thorough treatment of the subject in a “Jullien Fund,” contributions how S ment. Under the caption, experienced. The ideal set-up for a methods course brief interview. However, I am glad to discuss a few maintenance of the musician, is were solicited for the a competent class I York. He took his orchestra on a tour that included Before one which produces or group of the questions involved. First of all, though, should lunatic asylum near Paris. in- then confined to a the same time a the singer’s is by no Boston. The Bostonians, somewhat miffed over his structor and at good private lesson like to make it clear that career material aid could reach him, the forty-eight-year-old previous neglect of them, were not at all mollified when teacher. means so enviable as is generally supposed! Certainly, Some Problems of the Deep Voice conductor died, March 14, 1860. occasional bright moments but be- the concert prices were announced—one dollar per per- “A special class should be set up to give the student- one experiences — Jullien’s aim, he repeatedly stated, was to popu- as realizing that life son! In spite of a smaller concert attendance, Jullien teacher opportunity to acquire and use the language tween them come long periods of a larize classic music. He did this by organizing the larg- continued to evoke great enthusiasm. He introduced of a teacher and to learn the necessary routines in art is an extremely difficult thing. est bands and orchestras, featuring the best soloists of A Conference with one-composer programs; he experimented with Shakes- criticism. Open discussion of practice methods “The violin or piano student has his instrument and by presenting an extensive repertory of classical and cor- peare concerts; he played works of American com- devices are initiated. Student ready for him—and still he spends years in learning get your audience to like rective teachers and and popular works. “If you singer, posers, thus encouraging the budding spirit of national- pupils come on alternate weeks to the director to adapt himself to it. The young on the other music,” he once remarked, “the rest is easy. I may of the ism which was just beginning to assert itself. the lesson, working on a planned hand, finds that his first task is learning to build his feed them laughs and dance quadrilles, but in the end course for course of Said the astute John S. Dwight, editor of the keeping precise record of lessons and own instrument. Only very rarely is an untrained I give them Beethoven and Mozart.” study, practice. ^oel (J3erg.iund authoritative "Dwight’s Journal of Music:” "Jullien natural voice able to encompass the demands of art- the world’s great music This regular check-up takes the place of the plan in play the In addition to presenting can best kind of music. ... If he makes a student teacher assumes singing. Thus, the singer must reckon on from five to and instrumentalists to American audiences, he un- which the full charge for colossal toy of the orchestra in his quadrilles and eight years of intensive study in order to win even a Distinguished Baritone supervision. . . doubtedly helped lay the foundation of many of our many weeks without . polkas, he has also his Beethoven, his Mendelssohn measure of control over the instrumental mechanics present symphonic orchestras. At the time he arrived “Such a program demands the active participation A Leading Artist, Stockholm Royal Opera and Mozart nights in which he proves his love and of his voice. Singing begins only when this mechanical in America, orchestra leaders rarely employed any of of the parents. Mother attends the private lesson power of interpreting the finest works.” so control has been acquired. and Metropolitan Opera the wood winds. Jullien brought soloists for this section that she may learn how to supervise the practice. Thus, No doubt one of the most interested spectators at “Often enough, further, individual problems and of whom Theodore Thomas later said: “New York student teachers are trained at the outset to guide the the Boston concerts was twenty-five-year-old Patrick difficulties arise which, at the time, seem insurmount- never saw the like before or since.” The popular en- parents’ thinking - along the road of musicianship, Gilmore, then leader of a military band at Salem, able. Then the best remedy is patient study—provided, thusiasm he aroused made Americans “symphony con- ivoiding the pitfalls of superficiality, exhibitionism, EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT Massachusetts, and later originator of the giant Jubilee and of course, that the young singer possesses those funda- SECURED scious,” resulting in an earlier development of the exploitation, striving to keep the vision of artistic concerts. He capitalized on all the Jullien features: skill mental requisites which alone make earnest study symphonic organization than normally would have based on intellectual integrity.” the large orchestra, featured soloists, dramatization of worth while. The first and most important of these transpired. musical numbers, theatrical appearance, extensive ad- It is true that Thomas, who devoted his life to de- “Ah,” I hear you sigh, “it all sounds so vertising. However, lacking the simple . . . former’s basic qualities The outstanding sensation of the 1946 music season was the singer’s own sensations—of ease, freedom, natural of musicianship, veloping the American symphonic orchestra, later and the sighs deepen as teachers everywhere whisper, he was never able to establish the Metropolitan Opera debut of Joel Berglund, noted Swedish vibrancy—at the moments when he sings with the criticized the showmanship of Jullien. But it is equally “If piano teaching here on earth ever reaches large personal following which ever remained loyal to such a baritone. In the words of the New York Times, “With the proper breath-pressure. No one but the singer himself true that while the young American was working under happy state, what must heaven like?” proud Jullien. be debut of Joel Berglund, the Metropolitan became the can determine what this pressure is to be; he must him, he was learning much as to the physical make-up is artist possessor of a first-class baritone. Mr. Berglund an experiment and judge by his sensations. This, of of an orchestra; the psychology of correct program- singer who sings with heart and head as Musical Training of distinction—a course, involves long and earnest effort in practicing. ming. “No one at all in the same category with Jullien, well as with the voice, and who acts with poise and experi- Although the French conductor was often accused And such practicing is best done in the lower tones of ence. Truly impressive." of charlatanism, he at least in modern times, has occupied anything like had nevertheless received a thor- has for some years the middle register of range—neither too high nor too the same high position in Born and trained in Sweden, Mr. Berglund ough musical training. Born April public favor,” says Groves’ 23, 1812, to a former ranked high in the musical life of his country. In addition to low. French regimental ‘Dictionary of Music and Musicians.’ “His name was a bandmaster and his Italian wife, serving as principal baritone of the Stockholm Royal Opera, Transition Tones the child early household word and his face and figure household was taught French and Italian songs The Romance of Home he is widely sought as a vocal teacher by students from shapes during a period of nearly twenty years.” “When, at last, the student succeeds in mastering by his father. At four years of age he was regarded as Sweden. Denmark, Norway, and Finland, many of whom have Granted that Jullien was a few truly good tones in this lower portion of his a musical prodigy, noted for his remarkable memory. over-emotional—that he achieved positions with the Royal Operas of Stockholm and often let his desire for Sweet Home" and Its Author middle range, a second problem arises the problem His father subsequently took him on a tour through theatrical effect override his Copenhagen as the direct result of his instruction. Mr. — basically sound musicianship—yet in educating the Berglund has filled guest engagements with marked success of the (so-called) transition tones that bridge the southern France. When at five little Louis lost his voice, ( Continued from Page 484) American public to demand the best for the in the opera houses of Vienna, Budapest, Prague, Copen- steps from one register of range to another. He must his father began coaching him in violin, flute, and least cost, Louis Antoine Jullien pioneered hagen, and Zurich, where he has supported Flagstad, Mel- now adapt the correct production of the tones he other instruments. After a short training period a trail that has brought the backing for other world-renowned artists. He numbers over untold musical enjoyment to millions him. Without it, it is doubtful that with chior, and has mastered, to the tones (new ones) that lie im- two concertized through Italy. At the Teatro Reale in of today's con- no professional experience his sixty roles in his repertory (including Hans Sachs, Wotan, Turin, the cert-goers and radio fans. he could have made mediately higher in range. In other words, he must boy played a set of difficult variations for the Flying Dutchman. Gurnemanz. Amfortas, Kurvenal and debut in a leading part at the Park Theater, New close the gap between the middle and upper registers the violin so brilliantly that he was lifted up to the Hagen, as well as Mephistopheles, Boris. Don Basilio. Simon York’s smartest play house. so that his full scale 'becomes unified and even, with- royal box for the acclaim of the Queen. Following this Boccanegra. William Tell, Figaro, and Leporello). most of “Master Payne” took the town by storm as Young out the least suspicion of a break. This problem is episode, he became a popular favorite at court. which he sings in Swedish as well as in the language of their Norval in the drama of Douglas. At the time Master particularly difficult for the naturally voices Before entering the Paris Conservatoire at twenty- origin. deeper Betty was in a theatrical prodigy in England and Payne, Mr. Berglund was first engaged for the Metropolitan 1939, (contralto, baritone, and bass) . Those tiny vocal cords one, Jullien served in both the French navy and the The Pianist’s Page who was eighteen, was hailed appeared but the war delayed his arrival for nearly seven years. His are asked perform tasks! army. On the whole his record at the Conservatoire as his equal. He to great A good singer must but debut, however, was not his first American appear- ( Continued from six nights and on the perform- New York have a range of at least two octaves generally was not brilliant, for much to the disgust his Page 492) seventh a benefit — more. of pro- visits here, all of them ance netted him as ance. He has paid three previous To cover fessors he presented them with his own dance com- fourteen hundred dollars as well such a span on the piano, one uses perhaps offers brief. During his student days, he came here as a member positions in lieu of from managers in Boston, Providence, Philadel- twenty-five keys, each attached to its own string assigned exercises. Three years later Remedies of the "De Svenske" Singers group: some years later, he re- phia, and Baltimore. which, in turn, has its length, he left the Conservatoire and at twenty-eight, became Local turned with the Wagnerian Festival Singers group; and in own breadth, and ten- and state-wide music teachers associations are He repeated his New Phila- sion built into it. The singer has only two little cords, co-conductor of the popular "Summer Schilling Con- to my mind the most effective York success in Boston, 1938, he sang several highly successful guest performances agents for jacking up delphia, certs’* at Drury Lane Theatre, London. and Providence appearing as Romeo and with the Chicago Civic Opera. His American and European perhaps two centimeters in size, with which to dupli- During the standards at present. . . . The Pittsburgh (Pa.) Piano Hamlet next twenty years he with Edgar Allan Poe’s mother as Juliet and acclaim is enhanced by the sensational tributes he won in cate the tonal action of twenty-five keys! For each gave an annual series of winter Teachers’ Association, for example, reports: “Our or- Ophelia. In the following conference, concerts at the English Opera House, Covent Garden, ganization But as he was getting ready to start for Bal- Buenos Aires (Teatro Colon). new tone, then, the little cords must adapt themselves has exerted a growing influence in our city. timore he noticed cos- Mr. Berglund outlines for readers of The Etude some of his to a different tension, a different length, a different Her Majesty’s, and other theatres, his popularity stead- We have been much distressed that some of the jewels on the over existing standards tumes views on correct production technics. -—Editor's Note. which breadth (or narrowness) . ily increasing. and have tried belonged to the New York manager had Thus, special and exact pre- to raise them by sponsoring auditions been taken cision is required effect In 1847 he leased Drury Lane Theatre with the in- for the pupils. A off. This nettled him and resulted in a to a rapid and accurate system of graded tests is given an- tention of presenting disagreement. he adaptation of the vocal cords to the tones to be sung. opera in English. Engaging nually, devised by a special committee. Two Suddenly he made up his mind that memorized had singing organ is, in its essence, a wind instrument; Here, the Berlioz as conductor, sparing no expense in procuring pieces are required had enough of acting and he saw success in estab- JOEL BERGLUND AS HANS SACHS deeper voices must not sing with the full, in addition to theory, musical terms a splendid cast, chorus, and lishing a literary still, it is also very similar to a violin. The vocal cords open ‘chest voice’ higher than A or A-flat. Further, orchestra, he opened the and ear training. The tests are revised society—a primitive Chautauqua. each year and are the strings; the rising column of air (breath) is series with "Lucia.” The season was failure But apparently the was the tone must be ‘covered’ enough to give the sensa- a and are passed on by men of national ’ idea did not catch on for he reputation The various chambers in the Jullien lost a small fortune. soon back on the abroad requisites is genuine musical talent. A man without the bow; and the resonance tion of a resistance to the breath which is stronger in Just before he came to pupil’s teacher is unknown to the stage, laying plans to go auditioning commit head not only take the place of the violin’s body but America, his own opera, “Pietro il where he hoped Mas- marked musical gifts might enjoy playing the violin resonance-chambers than in the vocal cords without Grande,” lavishly tee. We strive for absolute fairness; and to wrest the acting laurels from — teachers are ter are equally important. The necessary prerequisite for losing feeling staged, opened at Covent Garden. After five perform- glad for constructive Betty. but he would hardly invest in a genuine Stradivarius the of vigorous activity in the cords! If criticism or they would not ances enter That solely in the hope possession of such an in- the ideal singing tone can be said to exist only when the vocal form is too big, he was forced to withdraw it, again losing thou- pupils. this country was at war with England did not that the one does not get this free, of the breath is exactly adapted to the sands of dollars. disturb him strument would make him more musical! It is the the pressure ‘soft,’ slightly nasal head-resonance which it “Our yearly programs are built until he was put in jail for two weeks on makes on monthly studv cords. pressure of this rising column of The American interlude was a pleasant his landing in a same with the voice—a mere organ is not the same as vocal The possible for cords to become ‘slimmer’ (or narrower), chapter in plans set forth in our annual year book.” that country. He resented this as the series of financial personal a true musical endowment; and, since it is nearly as breath must vibrate against the cords (which must be as is necessary in the production of disasters that both preceded wue Oi vae most rnougntlul and insult. When he was finally released he was agreeable high dynamic teachers I firmly naturally held) so that the resulting tone is and followed it. When he returned from t0 4th, costly to train a voice as to buy a Stradivarius, the yet tones. America he know, Miss Zelah Newcomb of Illinois make his debut M Youn Norval on June Wesleyan Uni iri O perfectly free and clear. If the pressure of the breath conducted metropolitan concerts. Two years 3. At the play young singer should first make certain that he has “For practicing these transition tones, I recommend later versity offers perhaps the best ultimate last moment the lady who was to (1856), Covent solution- sufficient genuine musical talent to warrant the out- against the cords is too strong, the cords react imme- singing on a naturally Garden Theatre burned to the ground “Fundamental piano teaching opposite him resigned from and Mrs. covered vowel like E—prefer- should be taught the company hard, forced entailing irreparable loss to Jullien in bv owell, one lay. The cost of lessons is completely wasted, alas, if diately in the form of (or pressed) tone. ably in combination with N. A correctly placed music scores and teachers specifically trained in piano of the prominent actresses of the day, E ‘sits’ pedagogy. Whv If the pressure is too weak, the cords cannot vibrate his own compositions and arrangements—many of the consented the voice is not fortified by marked musical ability. higher, tonally, than any other vowel. This is important do not all music schools offer a piano normal to take the part without any rehearsals. latter being in manuscript methods Despite “The first purely vocal problem the student must properly, and the resulting tone is lusterless, un- for, especially in the form only. In order to re- course worthy of the name, the lack of preparation tremendous development of the transition and provide a training he made a dull. first coup his fortune he became s success solve is that of correct attack. This, indeed, is the resonant, and The problem, then, is to find tones, great care must associated with concerts at school for their students? and as the house death scene be exercised that the vowels went wild at the the exactly correct amount of breath to send against the Royal Surrey Gardens, London, but the season e e ned kernel of the matter of voice production—the key to do not become ‘chesty.’ When one sings E, wnat snorna be included in such over him and his ear, “Hear the tongue a teacher’s course? ^ whispered into the vocal cords. This ‘correctness’ is determined by the ended in bankruptcy. Constant financial worry was be- Tiaining tnat. You are the room in which (with much hard work and a little is arched high in the mouth cavity, the space in class technics and procedures made.” between ginning to break the for the luck), one find man, mentally as well as physical- teaching of musicianship— Fi-om L°ndon to may the highest vocal goal: ideal sing- tongue and palate is at its narrowest, and the mouth reading, writing he went to Liverpooi and then ly. fled to ear-train ing He Paris in 1859 where he was subsequently ing, general “tles tone. A good teacher can indicate the direction in itself is only slightly open. Thus the rising theory-as well as training for where he scored new triumphs. For four tone jailed for nonpayment ’private n' VOQ f which the lies, of debts. He was released the struction in keyboard tour and room but only the singer himself can is practically compelled to attack the softer facility and interpretation ed England, acting one hundred parts following month. The unlock it! VOICE of the organs entire present set-up of ^nights in end of of resonance, and a soft, covered tone piano teaching twenty-two roles. But at the must be “Since tone is produced by vocalized breath, the results without too much ( Continued on Page ( Continued on Page 540) 526) 494 "MUSIC STUDY EXALTS LIFE SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE’ THE etude 495 , : — at the aristocratic Covent Music and Study increasing re- son Garden may be assigned, House of willingly, they anthem While Royal Opera London, without choir and doing their part confidence grows. sponsibility as of Nellie Melba topping influence. They may have o the name the list Can You Set a Standard? might be a poor should not be given be these members its star roster. interest in singing, there may them^ it of lost they can succeed with help, or they parts until Her operatic and concert appearances ( Continued from Page 490) conditions they cannot opportum J home to see that singers. is a wise course other countries, France, Spain, may feel superior to the other and initiative f in and It is better to build strength if they are too exacting. be one which would there to Italy for example, were not so successful Their attitude may work. lose a few in the larger cause of estab- in their regular choir shot, due create more mischief and discontent by a long probably to her Effective and Inspiring Services the standai Planning lishing and maintaining a dependable Do you maintain their good vocal equipment is peculiar voice production, not always the choir than of the choir . It In order to have a satisfactory membering the purpose standard. could balance. When you have made an excell suited to the taste of those peoples. to display of musical the director must know what it not there for choir, honest effort to win their cooperation The ch Otherwise Melba’s voice was remarkable matter how small the group as necessary as this is. count on. No turn elsewhere for members. ence, because of its volume and range is better to the atmosphere o and the ETERNAL fitness of things is one of the can be discussed and set- is there to increase he the situation your time in developing the talent with which it was used 2)r. ^diexancler ^llicC^iirtli Spend depends on the extent artistry by that important things that we as organists must Lj tled. worship. Its success y of interested individuals who will develop Australian Diva. In the memory of unexcused achieved. those keep in mind at all times. When we should use It can be decided how many choir. to which this is T the into a real asset to who heard Melba in her coloratura roles when we should not. How effective Editor, Organ Department absences will be accepted before a mem- certain music and vivid the magnificent is ever “trill" that things can be, if used in just the right place in ber is dropped from the choir roll. The some Rehearsals Standards she always delivered with a bravura and out of place the very same thing secretary can keep accurate records ready a service, and how in planning precision comparable to that of the is merciful service of worship, that the subdivisions fit into the make Do you set a standard best if used in the wrong place. Not every time General Confession—Almighty and most for reference or report. Some choirs Hall of Memories. can be, ahead? Plan ahead with the pastor and My instrumentalist and with which she ef- fault; it may be the minister’s fault, Father, etc. (congregation and choirs) whole. A service in which four choirs participate is the rule that there must be no more than it the organist’s entire inspiring during the year the organist, seeking to weld the 487) fectively finished her final cadenzas. It in the end we are responsible, so it seems. We have Call to Prayer—If With All Your Hearts no doubt from start to finish. I like im- five unexcused absences (iContinued from Page but to service into a unit. Let the sermon, the was the most accurate ‘‘trill" I have heard at any rate, if some musi- Mendelssohn mensely the way each part of the service is prepared to retain membership. Others cut this to take the “dressing down” present he music of the choir, and the instrumental greatly from a human throat. fit. I would much rather attend Prayer and Choral Amen so well, in the music played or sung. The little im- three. If a member cannot be made a terrible mistake.” Ricordi, cal selection doesn’t Pastoral the selections reenforce each other, even In the last decade of her career, music, well thought out and per- « provisations here and there in the service must have promises to notify the director or alarmed, asked, ‘‘What is it? Maestro^ Melba a service with simple to though this will mean planning months in adding to her repertory than to hear a service with been beautiful, as this is something in which Miss choir president. It becomes exceptional Do you want to postpone the opening? indulged a few formed reasonably well, Liturgy of Guidance ahead. the average, but Reiff excells; she has studied it carefully. I like also miss and other choir members ask im- which Verdi answered, “No, too late. operas not belonging to the coloratura music perhaps done better than Hymn—O Word of God Incarnate so that To member who has Plan ahead for the rehearsal classification, as: “Faust," “Martha,” and service is lacking in organization. of the Scriptures—Ephesians 6:10-18 the subject of the sermon and the text. Dr. Fifield Is mediately about the The mistake is that I should have named where the Reading and like to ” unavoidable some music they know well and it was in a letters received since the publica- Christian Soldiers a minister of the first order. been detained. Illness and my opera not ‘Otello,’ but ‘Iago.’ “Boheme,” memorable The number of Anthem—Onward but these excuses sing will be included, so that you will of the latter The Etude on the repertoire for Sullivan-Nielson Then, too, I like the litany led by the Minister of absences are excused, What a compliment to Maurel the in- performance given at the tion of my article in be begin with some warming up vocalizes to — that our readers will peruse the litany are few. Unexcused absences may higher one could have Opera Comique Theatre of Paris in June the church year has been amazing. Letters have Sermon “Music—Communion with God” Music. I hope a terpreter! No small fine which goes establish free, relaxed tones. Plan world, which have been most an uncertain sound” very carefully, and, in fact, read it a number of times. made subject to a been paid by Giuseppe Verdi, who wrote 1913 that I sang Colline opposite to her come from all over the “If the trumpet give the year adding to the well into the treasury to help with incidental repertoire for personality Mimi for the last time. Tenor John Mc- gratifying. There have been many asking for sugges- —1 Corinthians 14:8 It should help us all. More and more we should en- new “Otello,” keeping in mind the performed anthems only as many for special occasions, for Dr. James Fifield, Jr., preaching) courage participation by the choir and the congrega- expense. and vocal power of Tamagno, the famous Cormack then in the prime of his career, tions on forms of service (The Rev. W. rules adopted, they ones as they can master in the time they national days and so forth. tion in the service. Litanies such as this one, well- Whatever the Italian tenor, and who consequently was was Rudolfo. Wonderful recollections! dedications of organs, for voted upon by the have. Don’t stop the rehearsal of an an- ac- like should be used should be discussed and dominant figure of Now ladies and gentlemen, let us bring There have been all sorts of questions regarding Liturgy of Dedication known hymns, psalms, and the are note-sure supposed to be the are their rules, made them too soon. After they it is quite likely Martin, Minister of Music choir, so that they Verdian-Shakespearean drama. to a stop this visit. Our mutual and companied anthem repertoire, hence Litany—Led by Mr. Warren often. comes the all- that great better choir, not im- you have just begun. Now those ques- it is possible to have ser- in the interest of a original cast of the obliging friend The Etude will inform you that a page will have to be devoted to Many people wonder how endless finishing which But there was in that the top. A committee may fascinating and know that for the greater songs the Church, handed down vices as the one outlined, above. It is a lot of posed from premiere of “Otello,” the great of the date in which to continue the re- tions, sooner or later. We For the great of such so outstanding. world’s but, the choir should vote in makes professional choirs responsible for the form of ser- parent to child, re- lot trouble, but isn’t lot of recommend transcendent I part, the minister is through the centuries from work, and a of what a pleasure of singing at Victor Maurel, who with his viewing of the other Famous Singers procedures ‘’they approve. The music Give the choir the of a hundred the or- in the hearts of each whole organization the conception and interpretation of Iago, Have Known. vice, yet ninety-nine times out kindling the fires of devotion trouble to do and do well? The least one finished number at each meet- committee of the church should assist the ganist or director of music must organize the service, will work with enthusiasm when it has plenty to do. snatched from Tamagno the laurels of Mr. De Segurola’s second section of generation; choir officers, suggest new members and ing. the minister makes a few changes, perhaps. give Thee praise, O God When one can make a service be a help and inspira- that memorable first performance. will appear next and We interest. director must plan all this in ad- "My Hall of Memories" the choir their continued The information we can obtain the fulfilled his duty. make Maurel was at that time thirty-nine Therefore, the more tion to many, he has if he is to be prepared, himself. He month. often a choir director and an organist vance these forms together. It is Christian manhood; there be coop- Too old! better able we are to put For each boy's promise of Noble It should be recognized that must try to feel well and rested for his years are selected by the music committee and must that work at this regularly. Don’t be loyalty Christian ideals; for com- places in church where such I fully agree with the idea of having imperative we for courageous to eration in a good many a them. The mu- choir directing. His vitality must be high everything turned over to satisfied with same old rut in which “you are for active bodies services are held. I never cease to be thrilled dedicated this rotunda to the memory of the radeship and love of freedom; and great vitally con- and his grasp of the tempi he wants sic committee should remain running.” Be the alert constantly for new ideas. each revelation of the the Dr. Fifield cooperates with the Minister Lilli Lehmann and Victor Maurel exclu- Questions. on and minds turned to new with way music program of firmly in hand if he is to do an acceptable Band cerned with how the A form of service used recently in the First Con- Divine presence; of Music and the way the Minister of Music cooper- alert to of directing. Certainly much of the sively, for I, among others, sincerely be- the church is working out and be job slips lieve gregational Church in Los Angeles has interested me We give Thee praise, O God ates with Dr. Fifield. They just do not have any is teaching the music, but that the two artists have been the s4nSiverci help in ways that come to their attention. director’s work /l,, greatest greatly. Here is a church where all types of worship in the service and it proceeds with the greatest of it is impossible for a choir to do well if ones at any time anywhere. forms are used. They have numerous services on For the light of God in the face of a girl; for the ease. Standards they see before them a listless, half- Prom here my friends, we pass to the Social William 2). &Jti choirs. gallery of notable Sundays and other days. They have many tenderness of human love; for the inspiration of On another page of the calendar there is a Prayer choir and prepared director. But if they see before women singers. First It is well to set the size of the while other is of we see Emma Eames. This There are services in the Main Sanctuary, young voices; and for the common bonds of thanks- for Music Sunday by Ralph C. Waddell who one others who them a confident, well-prepared, sincere American to establish a waiting list of A Band Mothers Club services are being conducted at the same time in all ages; the ministers of the First Congregational Church of follow) them, they soprano still living today to the love of giving embracing members. It is a director to lead, (not would like to become Chapels and other rooms. Warren Martin, the Direc- We give Thee praise, O God Los Angeles. We shall do well, in conclusion, to read rise to their best singing. her host of friends and former admirers, Q. Our school has no band mothers club. for member to know often healthy situation a I tor of assistants, as Miss has to her credit two operatic Could you please advise me as to where Music, has a number of such this very carefully and- thoughtfully. his robe if creations that another is ready to take could secure information regarding same? Marian Reiff, outstanding work in their par- of which with later Tone Standards in her repertory, Aida and the Countess who do For the discoveries God come the standards he has children who he cannot keep to Many of the mothers of the ticular fields. I have attended services in this church youth; for the soul-disturbing problems of early Eternal Melodist, whose Presence is the Music of the in produced in “Nozze di Figaro," not yet surpassed. Inter- It is well to have a rule Setting a standard the tone play in our local school band are voted to accept. and have always been uplifted. At all times the whole life give us renewed grip on ancient truths; Universe, thank for this singing world. Her all around impersonation ested in club. which we Thee We member of the choir may can be undertaken in all choirs. One per- of Aida, organizing such a that any former Ohio service has continuity. I should like to quote in full for self-expression in music; for quietness and poise praise Thee for the laughter of the streams, the tones can cause vocal, histrionically and physically, —Mrs. H. B.. Wooster. there is a vacancy, upon the son singing with strained as return when a service designated as “Music Sunday Service,” in which music gives us in a hurried and restless crash and splash of water falls, the organ music of committee the entire choir to flat, or ruin the tonal you see in this painting, made under- approval of the membership A. I suggest that you write the follow- which four June standable the fact that choirs participated. It took place on existence; and for speech and song capable of ex- the mighty breakers of the sea, the song of birds, the applies. beauty of the other voices. Each choir can Radames should be to whom he ing conductors whom I am sure will 12th, 1947, at eleven o’clock in the morning. The pro- pressing our innermost feelings; hum of bees, the mystic silent music of the spheres the plan to see that the tones prefer her, the dark skinned slave, All such rule observance rests on a basis begin with to glad Amneris, the to help you: gram was printed beautifully and just under the head- We give Thee praise, O God for all the rhythm and melody of life. the choir, but are not forced or overblown and reso- daughter of the King of of congenial cooperation in Mr. Frederick Ebbs Bruce Houseneckt ing was the following Egypt, his own king, always Mr. quotation: of rules helps build this. Social ac- nance lost. They can seek to vary the tone impersonated a set HobartHigh School Joliet High School Minister and People: For the inspiration of lives praise for the deeper melodies, the silent all are by a gorgeously dressed We Thee tivities help knit the group more closely color by seeing that anthems not and bejeweled mezzo. Hobart, Indiana Joliet, Illinois “The organ prelude is a veil dropped between consecrated to Thee; for hours spent in achieving melodies of the human hearts: for joy in the laugh- two thoroughly enjoy- sung with the same voice quality. The together. One or These band the everyday expressing Emma Eames’ singing schools have outstanding life and the sanctuary: in crossing excellence of expression; for the great historical ter of little children; for the visions and high ideals able parties a year may be enough if the voice alone can practice the was always de- livered clubs and can provide the information the threshold the music should separate the world tradition of sacred music; for the love of God re- of youth; for the courage and devotion of tho'se who group has many competitive activities. thought of the text. Many directors like with great charm, honesty and musicianship, by you are seeking. without from the world within.” vealed in all beauty of song; for leaders conse- bear the burden and heat of the day; and for the Remember the tastes in recreation of the to have choirs practice expressing various means of a weli con- trolled —Henry Ward Beecher crated to Christian tasks; for a church which har- dreams and expectations of those who walk life’s particular group. If there are many moods using a neutral syllable. As they lyric-dramatic soprano voice. Here you have bors and nurtures the upward searchings of the westerning slope towards the sunset sea. younger members include some active sing the song as if it were mysterious, or a painting of Lucia di Informalire Texts on Bands This is a wonderful and it is certainly spirit; for the simple directness and ineffable beauty courageous, or groping, or exultant they Lammermoor one of the favorite thought games they will enjoy. roles of I am interested organizing a svm- Nellie Melba. in worthy of our sincere consideration. How could any of our Lord Jesus Christ and His Kingdom on Earth; We thank Thee for all the harmonies of love; for the A potluck dinner at the end of the choir begin to see the possibilities. When words This coloratura soprano phonic band for our American Legion Post first saw the of fur- organist play anything that wasn’t fust right for a we give Thee the praise in our Master’s name. Amen. bonds of affection that unite us in home and family; season, with a program presented by the are added all sorts of shading of color can light of day in the Aus- which I am a member. Could you nish me information in service with this thought in mind. should memo- for the love of true mates, a glorious ecstasy in its sections of the choir, a brief talk be noted, depending on the imagination tralian city of Melbourne from with the necessary We various which she regards plans, of the choir. Since derived her to instrumentation, seating rize it, say it to ourselves time and again. Here is the Response—O Jesus, I have Promised Mann beginning, ripening and deepening through the years by the pastor, a song-fest of favorite mu- and suggestibility mu- name, and became at the materials, and so forth? service sic begins with beauty of tone we need to turn of this century Presentation of Tithes and Offerings in loyal comradeship; for the love of friends, by sic, and perhaps amateur movies of a a great favorite of —H. B. W.. California- continuously and the music lovers Anthem—Psalm 148 Holst which our souls are enriched and our lives made vacation trip make an easily prepared study this seek to make of the English speaking countries Since a unit Liturgy of Praise Prayer of Dedication beautiful. and enjoyable evening. All like gather- it basic in our considerations. in particular. It the organization of such would have u been inconceivable involves countless I refer y° Organ—Chorale Andriessen Benediction ings of the choir help foster the congenial to have an opera sea- problems, Individual Standards to prove Opening Sentences Choral should pray this day for all atmosphere which is the heart of co- the following books, which will Amen We our loved ones. May in Processional operation for successful choir work. Do you maintain a standard in seeking to be most valuable and helpful to you Hymn—Rejoice Ye Pure in Heart the Divine Presence support and sustain them in your by Choral Call to Worship—The King of Love—Martin One can see at a glance that this service wasn't every experience whether of joy or of When maintaining standards is men- to develop the choir by encouraging in- Owing to tlie illness of work: (a) “Band Betterment" sorrow, vic- Peter “The Invocation and the tioned many think of the talented church dividual singing? Solos, duets, trios, quar- Ilugli Dr. Edwin Franko Goldman, (b) Lord’s Prayer thrown together at a moment’s notice. There had tory or defeat; and may the music and the joy of this Reed, it is necessary will tets, help develop individual Concert Gold- been hours and hours of preparation. Some of us do hour reach them across the lands and across members who cannot or who not responsibility to omit the Record Band" by Richard Franko the these and talent. When a voice that Review inan. and Liturgy of Confession and Meditation not have the time needed to prepare our services but seas, giving them a lift of soul and new assurance help. It is a loss and yet, unless has solo this month. These texts are Informative a 1 Quartet—Lord Have can try. Note how this service as a whole is of spiritual significance people are sold on the idea of attending possibilities is noticed, a small solo in an interesting. They can be purchased Mercy Haydn we a in ( Continued on Page 528) any modern music store. SEPTEMBER, 1947 496 "MUSIC STUDY EXALTS LIFE’ "MUSIC STUDY EXALTS LIFE" 497 THE ETUDE ' Music and Study Music and Study Teaching Marching Band Fundamentals The Music Educator Meets the Music Dealer ARCHING is not a recent discovery. The set- ting down of one foot in front of the other quently in the music stores of the country. The music more or less rhythmically has been going on c^uSon merchant should also devise some means and methods M thousand years. for holding the teachers responsible for materials for a few clinic that first pageant was! Ad- Conductor, University of Michigan Bands , UMLm 3. recommended to be kept in stock. What a marching Assistant 1, 3 for this you could one apple and no tax! And Adequate repair shops are badly needed in many mission, sit with Adam on the fifty-yard line and watch the music stores. In too many instances the school band strut of the gaily plumed peacock, the and orchestra conductors must send their instruments majestic National Con- was privileged to act as guest speaker at the annual Music Merchants mincingly measured step of the timid white sheep Dr. Revefli recently long distances for minor repairs, which could University of Michigan faculty, Mr. Ferguson was Director of Music at over the world were in very Before becoming a member of the held in Chicago. More than seven thousand music merchants from all followed their exhibitionist black brother, and vention be made by a local musician who as they attracted national an enthusiastic and progressive group readily would be Eastern High School, Lansing, Michigan, where his marching band won many honors and session for this great meeting. It was a revelation to find such the pounding of the turf by the pie-bald ponies as Much was progressive enough to maintain a small repair University with the problems of music education as well as music merchandise. shop. fall Mr. Ferguson became a member of the Wind Instrument Staff at the of businessmen dealing they galloped past, snorting their disdain of drill- attention. In the of 1946, indeed interesting to note the atti- Supplies such as pads, corks, springs, and other learned from the various sessions, exhibits, and conferences. It was sun- Assistant Conductor of the famed University of Michigan Bands, and a member of music masters and cadence. No! Marching is not new. of Michigan. He also is tudes and sympathetic understanding of many of the merchants in regard to the objectives of the dries should be made available at all times. Mouth- with pre- fraternity; Phi Mu Alpha, national honorary music fraternity, and high regard of the ethics and healthy This article, therefore, is not concerned Kappa Kappa Psi, honorary college band program in our schools. Dr. Revelli returned from the meeting with a pieces for both reed antd brass families are too often or with championing the — Editor's Note. educational viewpoints of this great assemblage of businessmen who are often looked upon^ by many senting any radical idea the National College and University Band Conductors' Conference. of the incorrect type and frequently useless for the educators being concerned only with the problems of selling music merchandise. The following article cause of any particular style of marching. It is con- as school and band students. Reeds are a constant the editor of this department. Editor s Note. head- is in part the address as presented to the convention by cerned with the peacock, the sheep, the pony—and ache to all band conductors since music dealers are an occasional jackass, and what to do with them on often guilty of recommending the plastic type reeds September afternoon four or five rehearsal hours that only does this help to develop a constant stride, which are worthless so far as music performance is Not before the first game. to lean forward on concerned. This same condition prevails In the case but it also overcomes the tendency of of style of marching used, the first Regardless the step-off and assures a full initial and final step. of living is ever changing. the local music teacher would be a helpful means for brass mouthpieces. UR DAILY MODE problem is to make each man in the band execute This is a very important part of our procedure and What was new yesterday is old today. Current determining his needs. Music dealers could be a great assistance to the do every maneuver in exactly the same manner. To considerable time. Unless our More clinics and material conferences, sponsored by teacher and conductor if they were better informed one on which we spend trends in education call for a thorough Knowl- of experienced men from the band will have O this, several entire unit can develop the thirty inch stride which music merchants, would certainly prove valuable as a the materials they are selling. By cooperating edge and broad concepts in the particular field of one’s with been schooled together in fundamentals several times music teachers fits our cadence, we know that we will have more than choice. The ceiling of additional requirements is being means for acquainting with latest pub- music teachers the music merchant could do much to in rank we before the first drill. Using eight men a spacing. The ex- lications. Such clinics and conferences should include help educate average trouble with alignment and constantly lifted and curriculum revised so as to keep the young musician by making models of into squads of two ranks. Each break the band down perienced men in the band also realize this and enter modern of life. was considered not only the reading of new materials, but demonstra- the great artists. This service Interest the part pace with our way What and on forms a five square with the men two paces squad man drill with great enthusiasm. training of educators a few years tions and discussions by competent teachers and con- of the into this type of as adequate in the music merchant would be a blessing to our music facing the inside. One of the experienced apart and again form the squad into ranks of four and ago is looked upon as being obsolete today. ductors as well. These demonstrations could well educators who are today waging a losing battle with We men is assigned to each squad, and takes his position previously emphasize spe- emphasize rehearsal techniques and modern trends in drill while marching those fundamentals Current trends in education tend to the juke box and certain types of radio programs. the he can closely observe each inside square where time. cialization, and institutions of learning are demanding the study of such publications. Should the cost of im- learned at the mark man and at the same time always be seen as he more individual research and personal porting experts be prohibitive, local or nearby Various Helps Our next step is drilling the entire unit. This first more and mu- demonstrates. sicians could be used for workout follows the same procedure as the squad drill. growth with less and less emphasis being devoted to such demonstrations. Displays of photographs of symphony artists would precision is traditional class room techniques. These clinics could be conducted in much We drill while marching in place until the same also be helpful in creating correct attitudes on the part ooooo manner as acquired and then follow-up with marching exactly as Prom this evolution of educational changes will sport, auto or fashion shows are organized. of students toward their musical education. The ad- one whose Another item of cooperation before. All commands thus far are verbal and the emerge the music educator of tomorrow; between conductors, vertising of fine clarinet, saxophone, bassoon, and oboe o o qualifications, and general abilities will teachers, and merchants is that of cadence is taken from the squad leaders. No drums background, becoming thor- reeds instead of the inferior product often given pub- be far in advance of his predecessors. oughly familiar with the teachers’ needs, the have been used up to this point. repertory licity priority would also prove most helpful to teachers o X o toward Before undertaking routines and formations we have Improvement in teaching techniques and skills, or- their students; and the training material pre- everywhere. ganizational and administrative abilities, knowledge of ferred in new materials should be made available yet to teach the countermarch and the right and left to The cooperation of with music o o music merchants turns. prefer military because materials and equipment, appreciation for community the teacher much more readily than is often the We the countermarch case. teachers can do much to help educate our young school interest, support and cooperation now form a part of Frequent bulletins and notices should be sent it is executed at full step and is relatively easy to to the musicians in the proper quality and type of product ooooo it formations, be the background of the music educator in your com- music teacher advising them of the latest publications dress. When using in a sequence of desirable and necessary to the success of the music munities. No longer are the teachers of music in your and the outstanding materials available. The following fundamentals are taught in this forma- sure to take cognizance of the fact that this maneuver program. Music merchants their greatest can make using audible counting reverses the so that the file on the schools or the private teachers of your communities Many music merchants for the most part are losing tion verbal commands and band which was contribution to. music education by making available lacking in the aforementioned aspects of his profession, volumes of business because of the lack of where possible on the part of the squad; right flank of the bank is on the left flank after the knowledge and encouraging and in- of repertory and the use of proper materials change of direction. The following diagram will make and we find their attitudes toward their profession instructional materials published for struments. 1. Attention 7. Mark Time rapidly changing from that of pioneering the music the various solo instruments, ensembles, this clear. bands or- If music chestras, and chorus. education is to succeed in the development 2. At ease 8. Halt program to that of teaching it. Our modern music educator is of the students’ the co- 3. At 9. Right Flank progressive and is familiar training, then it must have Rest To The The Military Countermarch Music education, whether it be taught in the schools with, and prepared to teach operation of the There 4. Right Face 10. To The Left Flank or is rapidly a vast amount of literature. music merchant in this matter. in the homes, passing beyond the elemen- His course of study in is no place for instru- 5. Left Face 11. To The Rear tary stages of growing pains and will soon reach an age university schools of music have the cheap, inferior, worthless provided him with this HAROLD FERGUSON background. Too ment or degrading “clap-trap” music in the modem 6. About Face of maturity and independence. frequently, clerks in music stores know Original n-3 :i :i New progressive program stimuli too little of the music being published of music education. The Direction Direction and are not for 3, 4, Turn! 2; 3, 4, Turn! 2, 3, 4, Turn! 2, 3, 4. It is X X The Value of Educational Clinics acquainted with the the students’ attitudes and ideals toward their Numbers 1 through 8 require no explanation. Num- problems confronting the teacher important that every man in the squad counts. music music bers 10 and 11 are taught while marching in place During the periods of its adolescence, Too often recommendations program and activities can be directed by 9, X X the music pro- suggested by the clerks To the left flank: merchants music because this eliminates cutting of comers. It is gram required the cooperation, support, interest fail to be the desirable to a much greater extent than by the and material for the teacher. The command is given on the right foot and the A teachers. obvious that the foot must placed straight ahead Execution: The command is given on the left foot. of music merchants everywhere; that for remedy for this situation is be the most part the training of musicians count will be: To the left flank (one!) March (one!) in order to avoid stepping on one’s own toes. As the left foot strikes the ground the next time the such assistance was forthcoming is a credit to our foi such clerical positions; the added revenue 4, Turn! 4, I, and so forth, counting. This resultin'' The Turn! 3, 1, 3, front rank executes a right flank followed immediately music merchants everywhere. This assistance and sup- from such a plan would more than Need for Mutual Cooperation •To execute the “to the rear” while marching in place compensate for the is a little bit awkward but will definitely add to the additional expense of training Without better it is necessary to take one step forward on the left by another right flank as the left foot strikes again. port are more necessary today than ever before. In by- these clerks a doubt, music merchants are far squad’s precision. foot. In Continue at full step in the new direction. Each suc- gone days the music educator paid but scant attention The great advancement being qualified and of this order to allow an extra beat to insure pre- made in the literature versed in the sales technique the above fundamentals have been learned, cision, When ceeding rank executes in the same manner as it gains to his local music dealer, and in most cases such “by- for bands and orchestras and solo business than the things I the command is given rhythmically on .the instruments demands writer. However, of some our procedure is to line up each squad in ranks of same foot as the execution, thus: the original point of the first rank’s execution. passing” was justified since the local dealer paid little weU-tramed persons whose knowledge am convinced; namely, in- of the materials that mutual cooperation, Jour and drill for stride. We have found it very helpful The teaching of this will be greatly simplified if heed to the music teacher of his particular locale. extends beyond the title, its author, terest, and success To the rear (Squad counts-two!) March (two!) the and price. understanding are necessary to the to line sections of our field with stripes thirty inches Although this scene has changed somewhat and today In regard to the stocking of of both the convinced Execution is on one, squad counts 1, 2, 3, 4, 5, 6, 7, 8 band counts as follows: Countermarch two! March merchandise, the mer- teacher and yourself. I am also apart, drilling each squad on these sections until they we find many music merchants extremely interested chant should by all means that business much and executes on one again until the squad leader gives two! Turn! Two! Turn! Two! Count until the entire consult with the music built on the philosophy of service is can hit the stripe without looking at the ground. Then in the music programs of the schools and homes teachers of his community and more likely phi- the command to halt. In this way the squad has an movement is completed. thus avoid the tre to succeed than business built on the we go to the regularly lined section of the field and throughout the area in which they serve, there remain mendous amount of “dead stock” losophy of opportunity to think without having to listen for com- In order to use the full step as much as possible, we to be found so S- indifference to the needs of one’s clientele. form our squad in one rank of sixteen on a yard line. many territories where the music merchant has en and mands and the squad leader can better observe and use the minstrel turn which requires no half or quarter yet music educators and music merchants meet We begin counting on the step-off, marking time on the check stepping. This turn is difficult to call upon the teacher of music in his city. agree as profit the execution not only of the turn itself, but a very maneuver, but to this philosophy, certain to next yard line at the count of six. time for both are also of We mark I believe that much can be done to the from the the general posture and drilling of each man. when properly executed is spectacular and is always improve pres- experience. six counts and repeat the procedure on down the field. The drilling of the the flank” is similar to well received by the audience. It is desirable ent situation and' I wish to offer a few suggestions The music “to right to drill merchant of tomorrow will be most help- band, that is each rank separately until which might lead to a more cooperative orchestra ful to of “to the rear.” The command of execution the execution is thoroughly understand- the teacher of music consider himself if he will given on the left foot and the squad again counts. We understood. Then drill two ranks together and one ing between the teachers of music and music mer- as an associate in add and of the music will engage CHORUS teacher and execute the movement four times on one command, rank at a time until the entire band is taking part. chants. he development lo<* BAND and ORCHESTRA Edited by of music as an art, rather than thus: For the sake of clarity only I firmly William D. one rank is diagrammed. am convinced that frequent meetings with Revelli upon himself as a business Edited by William D. Revelli merchant who is in the To the right flank (two!) Turn! 2, (Continued on of (two!) March Page 530) selling music, musical Page 530) 498 ( Continued on "MUSIC STUDY ' EXALTS LIFE" SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE THE ETUDE 499 a the for point of the needle opens way the thread, and Music and Study when the seam is completed only the thread remains, Music and Study must not override so the key impingement the tone but a true legato. be lost in it, to insure The seeming paradox of pressure and release which provides the rhythm of repose, is the basic principle It emphasizes of a controlled technic. the truth that carries within itself every attractive force its own re- When Stainer and Amati Violins is Rhythm? sistance and thus insures balance. How Important Shaw is highly amusing George Bernard when he fell tells of following a man, who to the ground from the top of a building, to the hospital to inquire whether Harmonious Balance the Basis el Music him. "Why, no," was the earth had attracted the reply, Brought More Than Those of Stradivarius “it repelled me; that’s why I’m here!” The principle of action and repose which is always present in a well-produced piano tone is back of every group of sounds from a two-toned slur to a phrase, In The method of setting the neck in an imper- L Cad Boeder movement. No music is well balanced HAT Stradivarius played second fiddle, W. period, or which f Stainer and all the ceptible inclination with a slight backwards slant, does not take account of this antecedent and conse- Italy itself, to Jacob Noted New York Piano Pedagag closing years of the eighteenth not only makes it easier to play this instrument quent relationship. All tonal design, emotional inflec- T Amatis till the by a forgotten article in an but also increases the volume of tone, particularly tion, and climax effulgence are constantly publishing century is indicated Griselini’s 18-volume of the bass, because being more elevated, the strings the universal reign of rhythm. obscure Italian encyclopedia, vibrate with greater force and energy. “Dictionary” of the Arts and Handicrafts published 1778. The century-old Stainer The fingerboard and the tailpiece are usually The Significance of Rhythm in Venice from 1768 to has been a mernber fetching 200 doppia, and next in made of ebony. The fingerboard is the part over Carl M. Roeder, one of the most distinguished of American "pianogogs," violins were then Violin of and time are by no means interchangeable Mr. Harold Berkley, Editor of the Department educational field has Rhythm were those of the brothers Antonio and which the fingers touch the strings when the in- of the faculty of the Juilliard School of Music for years. His work in the popularity The Etude, read Mr. Farseth's article and recommended its terms. Time is an intellectual thing, a matter of arith- Venetian doppia strument is played; and the tailpiece is what the Editor s Note. Girolamo Amati at 100 doppia. The inasmuch as this highly endorsed by many noted pianists. publication. However, he comments that been metic, while rhythm is an emotional experience, a mat- the price of the strings are fastened to below, while above they are was worth $7.24, which would set refers to the translation of a little known eighteenth century feeling. Many mechanically-minded folks play wrapped separate ter of in at over $1,400 in American money and work, giving opinions of connoisseurs of that day which are on pegs placed in holes that unsteady the life is Stainers basis of music is that which regular beat. When this becomes cold, hard, brittle, metronomic fashion. To them mu- fact pierce the head of violin. of the HE FUNDAMENTAL a Amatis at $700. Stradivarius violins are believed to not at all those of foremost violin experts of today, this the At the top life itself becomes non- rhythm. Rhythm, defined threatened. When it ceases, mathematics made audible. the reader. In the his- underlies all nature— sic seems to be Much of have been selling at that time for $50 to $60. Assum- must be taken into consideration by fingerboard is a small elevation which is called the the beat is only of importance when it aurally, is an orderly succession of sounds; visu- existent. But the ultra-modernistic music is of this riveting machine, tory of art, works that at one time were considered of lesser nut, which serves to prevent the strings from lying T ing a six-fold rise in the value of money since then, its function to produce the flow to give im- scales of Time, often become it is represented by a succession of curves; physi- performs — gun, rigid inflexible character. Small won- value, when weighed on the flat on the fingerboard they are strung ally Gatling and the Stainers would be worth close to $9,000 in when up. petus and momentum to the whole organism. supremely important. The following is a chapter appended cally it is balanced movement. der that an up-to-date woman, after a performance money, the Amatis $4,500 and the The bow must be neatly made of Indiawood, present day to a translation, soon to be published, of Antonio Bagatella s Nature abhors not only a vacuum, but a straight line of this nature, was heard to exclaim; “I just adore furnished with white horsehair stretched along the Strads $300 to $350. treatise on violin making. — Editor's Note. well. line of beauty is invariably a curve. How- Muscular Equilibrium underside stick, as The modern music; it is so irritating to the nerves!” Griselini’s encyclopedia unqualifiedly places Stainer of the in the lower end of which highest exemplification is not a circle, but the ever, its • is concealed a screw by of Even mechanical technic is not acquired merely, as Keeping correct time and observing recurrent pul- violins in first place. They may have been the best means which the bow boundless freedom of the spiral. The circle is limited course, can be tightened more or less. has been the idea of many, by endless repetition, sation and metrical accents must, of be re- at that time. We do not know how they sounded then, and its every arc is the same. Infinite and confined physical discipline and what the Germans call sitz- quired of every student, but they are at best only the and we must admit the Italians of the eighteenth cen- The best violins ever made are those of Jacob is always found in every manifestation of veneered with ebony evidently having been abandoned. variety fleisch, but rather by a mental comprehension of nat- material means of measurement. The real significance heard them were more musical than we are. Stainer, who in the middle of the last century lived tury who encyclopedia follows in beauty, be it a tendril, a lily, a sea-shell, the lark’s The article in Griselini’s in little village in ural processes; a rhythmic coordination of all the of rhythm is what one feels that arouses and sustains Violins have their periods of growth, maturity, and a Tyrol named Absam near Inns- song, a sunset, or a foaming wave. full: bruck, capital of that country. physical factors employed in such a way as to produce, a spirit of onwardness and momentum in the music. decay in tone. The Hill brothers’ book on the Guameri This celebrated artisan From the earliest times rhythm has been symbolized not fatigue, but economy of effort. We call this relaxa- It is the teacher's privilege iContinued on Page 528) family estimates Stainer violins matured in 10 to 15 The Luthier or Maker of Violins who worked during a period of over 70 years with by the movement of water—the rise and fall of the tion; but that word does not fully years with ordinary playing, Amati 20 to 35, Stradi- many workmen whom he had instructed, finished the long roll and Other Instruments tides, the arrested motion of calm waters, all his violins his express this essential requisite to varius in 30 to 60, and Guameri instruments in 40 to with own hand, and he produced beautifully is this continuous ebb and of a wave. Most all pianistic acquirement. A better The luthier or violin maker is the artisan who makes a prodigious number of them, reaching an age of quatrain: 80 years. flow of all nature set forth in Robert Frost’s all the musical instruments that are played with the close term is muscular equilibrium— What violin dealers are loath to mention is the decay to 100 years. The original violins of this cele- perfect balance of player’s bow, as the violin, violoncello, violon, double-bass, viol brated artisan that is the ap- in violin tone. Andrea Amatis and Stainers are almost — to say, those on which no "The heart can think of no devotion d’amore, etc. also makes the instruments that are paratus, namely, the entire body, good violins are well taken He modem maker has placed his hand—are very rare, ' non-existent today. Since Greater than that of shore to ocean, working in complete rhythmic col- plucked with the fingers as the lute, arch-lute, theorbo, and they fetch as 200 care of, this must be due to loss of tone; the alibi of much as doppia and even more. Holding the curve of one position laboration. this harp, guitar, mandola, mandolin, psaltery, etc. violins, Only state of calm, their being ruined by being scraped down is usually Cremona though very good, hold only second And counting an endless repetition.” though alert, equipoise In order to give a beautiful form to the violins, the can estab- far-fetched. Likewise, the sweet-tone Antonio and place. Of these there are two kinds: that is, those lish that luthier makes them after the patterns of our most mental ease and physical Girolamo Amati violins are seldom heard today out- constructed by the Amatis and those made by Stradi- Music in this day is taking an educational position readiness which enable the player skilled Italian artisans who in this kind of work have varius. side the walls of recital chambers. Niccolo Amati vio- In the first group, prominent were: (1) Andrea of arresting significance. The late President Eliot of to summon whatever energy is acquired a reputation and universal fame through all re- lins are more frequently heard but seldom in large Amati who was Stainer’s teacher in the beginning of Harvard spoke advisedly when he said: “It is the great- quired for any desired degree of in- of Europe. halls. Griselini’s encyclopedia says the tone of Stradi- the past century. Though his violins are of a primitive est educator of them all.” The study of music provides tensity, from the most The chief reason fo. 1 excellence in an instrument is delicate varius’ violins was masculine and very powerful. That and less beautiful form, still they are much sought a means whereby young people can be trained to flexi- tonal texture to clamorous rever- the discovery of choice spruce, old and sonorous, for can’t be said of them today. Yet Strads are adequate after by those who favor a sweet and graceful tone; bility of spirit, a more refined intelligence, a highly beration of power. the top. The best is that which comes from Tyrol. for most purposes, besides revealing to the public what (2) the brothers Antonio and Girolamo Amati, who disciplined will power, a sensitive comprehension of the Thus it is that rhythm marshals The hollowing out of the top so it is more or less good violin tone is like. That many Strads have now were contemporaries of Stainer, made excellent vio- beautiful, and a greater control of that wonderful the muscles. The tactile sensitivity arched; the different thicknesses it is necessary to lins, lost much of their tone is no secret to the violin trade. the price of which today reaches 100 doppia; (3) piece of mechanism, the human body. by which we feel silk, stroke a kit- observe; the method of placing the bass-bar inside, on The favorite of most concert players today is Niccolo Amati, who in no way is inferior to the others, Teaching is not a pouring-in process. It is an amuse- ten, wind a watch, turn a door the side of the G-string, which is the thickest string Giuseppe Guarneri del Gesu, whose scientific con- but whose fame is not so great because his product is ment. Not filling the well with an outside supply, but knob, squeeze an orange, or on the violin; the height of the ribs; and finally the move struction has paid high dividends in musical enjoy- not always of uniform quality. opening a spring. No higher compliment can be paid a piano, combines both the ebb and hollowing out of the back which must correspond ment. In fact, the tone of some Guarneri violins is so Included among the most recent of the famous to a teacher than Henry Drummond’s tribute to Rus- flow of muscular rhythm. It is exactly that of the top all these things, in con- a dominant that they are not suited for quartet playing. to — artisans is Antonio Stradivario, who like Stainer has kin: “He hath opened mine eyes.” Teaching music is contraction and then an expansion. junction with the correct method of forming the two The most noticeable error in Griselini’s account is made a prodigious number of violins and also like him the art of “untwisting all the chains that tie the hidden Systole and diastole action, the in the form of “S” which are so- making grandfather Andrea Amati the teacher of openings an made in the reached a very advanced age. He imparted to his in- soul of harmony.” called cardiac cycle. But in stroking top of the violin in order to fix the position of the Stainer; if any, it was the grandson Niccolo, Stradi- struments a masculine and very powerful tone. The Goethe has described architecture as frozen music. the kitten we must rub the fur the the bridge, are necessary varius' teacher. Andrea Amati was born about 1530 soundpost and contributions Amatis made their violins curved and arched; Stradi- Conversely, the art of sound organized toward beauty right way and thus preserve har- value of instrument. and had died before 1581. His sons Antonio and Giro- to the an vario made them almost all flat, yet he succeeded in is may be just as truly called fluid architecture. But it mony and avoid discord. And in (anima: soul) is lamo (Hieronymus) were born in the 50’s and the last The soundpost a small wooden making them excellent. and pro- much more than design, regularity, symmetry, the acquirement of a piano technic is placed upright one died in 1630. Niccolo Amati, 1596-1684, could have cylinder which between the top and Also the French have had good violin makers among portion. Music, complete in its beauty, is the cathedral pressure is preferable to force. This always been the teacher of Stainer, who was born 1621 and the back so as to keep them at the same height. whom Boquay, Pierray, and Castagneri are prominent. all its grandeur resplendent with the light of pressure in made must, however, be vital bridge is a tablet of beechwood (rather, maple) died 1683. Stradivarius’ life span was 1644 to 1737. The There are some violins of these three artisans which the sun upon it from without, and aglow with an inner and instantaneous. Of the artistic Joseph Guarneri, 1698-1744, was the son of the other more or less perforated that is placed between the S’s do not yield anything in quality to our Cremonas and atmosphere of human devotion and aspiration. pianist it should always be true Joseph and not his nephew as was formerly believed. and serves to hold the strings at a suitable degree of which often are sold at a fabulous price. classified of playing under three Mozart the art piano that the violin. The “secret" of good violins the encyclopedia ascribes elevation over the top of Whatever we have said in regard to the H’s—namely, head, hand, and heart; and I am sure all structure is varnished preserve to good top wood—choice Tyrolean spruce, old and The violin to the wood from of the violin must be observed with due proportions will agree that the greatest of these is heart. Biology "His words are keener than resonant. The article also confirms what has long moisture and dust (polvere) . All our skilled Italian in all the other bow instruments teaches us that function precedes and creates the form, other men’s words, mentioned above. violin makers use oil varnish, which certainly is better been suspected but never definitely proved, that the All the instruments which are plucked by the fingers, and that in the human embryo, in the place where the And they are kinder too.” Italians used oil varnish, “which certainly is better than the varnish made with spirits of wine which is as the lute, the arch-lute, the theorbe, heart is to be there first appears a vibration or palpi- etc., are con- than the varnish made with spirits of wine used by used by most of the artisans of France. structed entirely different, their top being tation. "In the beginning," said Brahms, "was rhythm!” All sounds are either consonant entirely flat, most of the artisans of France.” with their back or body having a much And when we fully realize the function of the heart (percussive) or vowel (blending). bigger arching, We are also informed that pre-Tourte bows were without ribs, and constructed of small strips we are all the more impressed with the significance of A line is a succession of points in joined made of Indiawood, which may be kokko or sappan- together somewhat like the staves of this pronouncement. which the points are lost in con- a barrel. wood. Another thing of interest to the violin maker The guitar, instrument of The heart is the seat of the pulse. It is the main- tinuity. A pianistic touch combines VIOLIN fancy and caprice, suited is the statement that fingerboards were then made of to accompany a solo voice, is much spring of life itself. And the basis of its vitality is its impingement and continuity. As the Edited by Harold Berkley in vogue in Paris, CARL M. ROEDER ebony, the old-style wedge fingerboard made of maple especially among the ladies, ( Continued on Page 530) 5 00 "MUSIC STUDY EXALTS LIFE’’ SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE THE ETUDE 501 — . a 2 f — r Music and Study "changes,” I believe that in a short time will be able to accompany Music and Study she her hus- well enough to play band dance music him. She must of course with learn to break up the chords like this: How to Grade Pupils in Music Q. I am a music teacher and supervisor in a large county school system. Our super- intendent was dissatisfied with the cur- Questions and Answers Pianoforte riculum, so he set his teachers to work to The Pedals -The Soul ol the make a new one. We are divided into com- mittees, and I am chairman of the commit- tee on music. The problem we need help in solving is that of testing the music achieve- Conducted by ment of grade school pupils, and we seem to be stumped. We grade on the “A.” “S.” “U” basis, A standing for “excellent,” S for “satisfactory,” and U for “unsatisfactory." But we find it difficult to give a fair ex- Member uf the Faculty, University uf Rochester amination in music because we have no Qek basis upon which to judge appreciation JU W. and emotional values. How does one test musical achievement? Is it possible to Common Time do so? Are there any standard musical Professor Emeritus achievement tests available? We have Since she will now be listening more found the musical talent tests of some Oberlin College pedal-depression. value in music guidance but they are of closely than before I think she will soon through pedal-operation. This emphasizes the the next Since the tones are sus- no help so far as achievement is concerned. tained the pedal, the fingers are thereby given time Editor, Webster’s New be able to hear what the violin has to say fact that the training and development of the by We have a very liberal-minded adminis- Music and that she will readily learn to “pick omega in all music study. and freedom in which to prepare for the next key- tration here and we are receptive to any ear is the alpha and International Dictionary depression. This gives player the ability, suggestions that you may care to offer. up” the proper key. the especially Thank you very much.—D. L. Pedal-Operation in the linking of tones and chords which are widely spaced, to obtain a legato which might be impossible the ball create to Play an The pedals should be operated with A. You have set difficult themselves learn to sing, play, and What for through the actions of the fingers and hands alone. me a very heel act as a pivot learn to make of the foot. Since the must problem, and my reply to your question —in other words if they Entrance Examination Preparatory exercises for this fundamental type of and support the weight of the leg, it is im- will their own music. “I know because I have pedaling should be very simple. few suggested exer- have to be a very general one based Q. 1. I am studying The Fountain of A portant that it be placed firmly on the floor. on my own personal opinion—with which experienced," said wise old John Dewey Acqua Paola by Charles Griffes. Tire tempo cises follow. results in muscular tension and a 1 04 - 1 seems to to Toe-pedaling not everyone will agree. and his dictum is stiU as true as it was indicated < J = 08 ) me be Exercises for the foot alone: depress the pedal at a bit rapid for an even rendition of this lack of balance and control; with the danger There are available a few achievement when he said it. the note; release it at the rest. Count aloud. selection. Would you please tell me if this of the toe slipping off the pedal. Pedaling with tests in music, and if you will read pages is the standard tempo used in recital pro- the feet off the floor has the same result and 372 and 373 in the book “The Teaching grams? Further Advice About may create a distracting noise as the foot hits and Administration of High School Mu- 2. Next September I will enter the East- Ex.l Accompanying by Ear man School of Music in Rochester, N. Y. the pedal. Since we do not countenance hit- sic” by Dykema and Gehrkens, you will For entrance examination I Intend to J- * etc. my key, why should we allow hitting the \ U i I J. J re- ting the | find a brief description of each one. In The Editor of this department has play the above mentioned Griffes number, pedal? The foot should be in constant contact ceived a letter from R. D. W. about play- the Chopin Etude Op. 10. No. 8, and the I the chapter itself you will find some dis- t l I * J. i J. [etc. resting on it, \ Beethoven Sonata in F-sharp. I wonder if with the pedal by just barely cussion of music tests in general, and at ing accompaniments by ear, and since it you would suggest a suitable Prelude and -for the depression. When no pedaling is ready * J I * J |etc- the end there is an excellent bibliography. presents the viewpoint of a practical and i I t J Fugue from "The Well Tempered Clavi- required the foot can rest on the floor. This Perhaps you will wish to send for samples experienced performer we are glad to chord" and also a study to complete my J J etc. applies chiefly to the left foot which operates li It I i J of some of the tests, but even if you do provide Mrs. L. R. and anyone else who program.—R. S. | the less-used soft and sostenuto pedals. The de- this I have a feeling that your problem the pupil’s basic enthusiasm—or lack of may be interested with the additional in- tempo pression and release of the pedals should be will not be solved. it toward the musical activities of the formation. The letter is as follows, A. 1. I am informed that the — and we Exercises for hands and feet together. by rapid, precise, and quiet. In the release the foot Count aloud. The whole point of the matter is school. are grateful to R. D. W. for taking the indicated is the standard one used that Play one octave and back. however, should not break contact with the pedal, but rest up group testing for musical achievement is If you and the room teacher will take trouble to write it; most performers. You will note, lightly upon it. practically impossible; first, because the the trouble to formulate a grade of “Ex- I read your answer to Mrs. L. R. in the that there are many indications for is inevitable really important achievements in music cellent,” “Satisfactory,” or “Unsatisfac- September Etude, regarding learning to tempo changes at places marked meno INCE impeccable pedal technique an Ex. are intangible, elusive, and therefore dif- tory” for each child, the grade to be accompany the violin on the piano. While mosso, piu animato, calmato, and so forth, counterpart of fine interpretation, the study of The Three Pedals pedar ficult to determine; second, because mu- based on: (1) written work of various I heartily approve of your answer and all of these must be carefully ob- S the pedals should be started early. Basic There are three pedals on the modern grand piano. and the operations are for any child to com- sic educators have not been able to agree sorts, twenty-five per cent; (2) individual advice you give, I believe I know a short served. It is true, of course, that all artists simple enough 1. The damper pedal—at the right offer vehicle on objectives. In other words, there is no singing, twenty-five per cent; and (3) cut which would enable her to accompany do not choose the same tempo for any prehend and master. Moreover, they a 2. The soft pedal—at the left for effective playing, uniformity of agreement as to what we general attitude toward music, fifty per her husband in a shorter time, whUe she given composition, but that is because of more musically expressive and 3. The sostenuto pedal—in the center. beside giving a glimpse into the well-nigh inexhaustible expect our pupils to achieve in music, and cent—well, you will have a fairly satis- is also following your outline of a plan of different opinions of interpretation, and therefore it has been impossible to set factory means of letting the child and study. I fluency. harmonious possibilities which the student can use up can play by ear in the most not because of lack of technical The Damper Pedal Pedal — j» 1 j* — t— standard achievement tests. On top of his family know how he stands so far as alarming the tempo when advanced and experienced. Unfortunately the 4— manner, but I never attempted If you cannot play this up to The damper pedal raises all the dampers from the this is the fact I first mentioned, namely, music is concerned. to play with unwise to use of the pedals is given either slight attention or another musician untU a few indicated, I believe it would be strings, thereby prolonging and sustaining tones pro- that real artistic growth in music is so Let me commend your superintendent years examina- is entrusted to instinct. Still more frequently the ago. There were always others to do use it as part of your entrance duced by the fingers even though the fingers be re- elusive that it is difficult to get at except for his broadminded and farsighted atti- it, and I believed to select pedals are used as a “cover-up” for a weak keyboard one should learn to play tion, and that you would do well moved from the keys. The original tones will be beau- perhaps by having an individual con- tude toward curriculum building, and let music in the which technique. proper way even though it some composition in similar style tifully colored and enriched both by the sympathetic ference with each pupil, and under pres- me assure you and the other teachers required more Except in certain types of music, or when the com- time and application. How- is less demanding technically. resonance made available when all the strings are ent school conditions such an individual that your time and effort are definitely ever, I would poser desires no pedal—indicated by senza pedal— noted that people who knew less 2. Almost any Prelude and Fugue open, and the vibrations of relevant harmonics. The conference is impracticable. worth-while because you are being forced compositions performance without the pedals is unimaginable. At — oumuiuvy gl. fit in well with the other releasing of the pedal allows the dampers to drop Therefore we shall have to content our- to think things through, and such think- away with that volume the same time poor pedaling is worse than none for it necessary “second” i you have selected. From the first back on the strings, thus stopping, or damping, the selves with a make-shift type of testing ing is distinctly educational—it is good dance music. in <5 can make a good performance intolerable. Beautiful Pedal -X- ^- Obviously about all dance; I believe that perhaps the No. 16 tones. — v pedaling and grading, and in more specific reply for you even though it “hurts” a little! want is a strong might releases the soul of the pianoforte. r^-r r r beat; and watching minor would do admirably. Or you The damper pedal is also called the sustaining pedal, to Pedal technique concurrently your questions I will give you the fol- Allow me to warn you, however, that group of dancers is No. 3 should be developed a cause of wondei prefer the No. 5 in D major, or the for its chief function is to sustain tones. It is, how- lowing opinions: (1) I approve of a music although I agree with your statement ment, especially these with all the other phases of good pianism. It demands when they dance to moc in C-sharp major; any one of ever, incorrect to call it the loud pedal, for its use grade, and I like your scheme of using that “music is to be taught primarily for ern music. Well, a an understanding of pedal operations, why they are boy of twelve who we would be quite all right. is equally effective in soft passages as in loud passages. used, the three words (or their symbols) : “Ex- enjoyment,” I do not believe that the one of my by when they should be applied and released, and music pupils learned to pla I am not sure just what you mean It does not make a tone louder only, but enhances and cellent,” “Satisfactory,” and “Unsatisfac- fullest enjoyment will eventuate unless chords from a want when their use should be avoided. Complete mastery man who knew absolute! the term “study,” but I suppose you amplifies the initial tones by creating an atmospheric tory:” (2) I believe written can only arise full of the work the pupil does some work. Appreciation nothing about music, technically from a knowledge harmony, a and yet he was i should some composition which is knowledge background by vibrations and overtones. This back- not count for more than perhaps comes as the result of participation—in demand for accompanying Wou of the laws of the piano as a machine, good the violin i difficult interesting. ground is kaleidoscopic, changing constantly during twenty to yet musically taste, twenty-five per cent toward singing, playing, and creating—as well as dances. When this and musical judgment, and last but not least, man moved away froi something like Handel’s Harmonious tone-diminution to tone-cessation. The damper pedal the formulation of this grade; (3) I listening of course. " a keen ear perception. is composer be- But it is not to be the community there er It obvious that no was no one to pla Blacksmith want? Or P is used much more extensively than the other two lieve it possible to be what you could successfully organize some sort of thought of as deriving entirely from lis- the piano, so I s mark every nuance of pedaling any decided that I could be r Mendelssohn since it is capable of producing an individual singing haps you would prefer more than pedals many more test in which the tening. The most important element in worse than some or he could indicate every inflection of others. I had ofte Scherzo 16, No. 2, effects. Without it, sustained effects would be very pupil is graded on such items as tone development in E minor, Op. dynamics, tempo, the of appreciation is an ac- played chords in dance rubato, and so forth. Since many rhythm just b( Liszt’s his Etude in limited since piano-tone diminishes in intensity from quality, intonation, diction, and. perhaps, tive, participating attitude, therefore the Gnomenreigen or passages can be pedaled beautifully in several ways, When the principle of syncopated-pedaling is ap- cause I liked it, but the no trouble was i have the moment of its production. sight singing, but I feel that such a test pupil also must do some flat LUn Sospiro) Since you there are varied of plied to music, the pedal will be depressed immediately work—and per- following the violin opinions regarding the pedaling because the violini: really your group, ought probably not to count for more haps experience a little “pain,” even as often modern music in identical passages. Detailed directions would tend to after the new sound arrives. Accurate pedaling depends changed keys even when there some than another twenty-five we think it would be wise to include produce Syncopated-Pedaling precise depression, precise release, or thirty per the teachers are doing in working at the no change of stereotyped performances by limiting the upon and precise key in the printed musi such as De- cent of the grade; (4) I personally think curriculum! You, the teachers, will think thing of more recent vintage, pianist in the expression of his individuality. Syncopated-pedaling, in which the notes are sus- duration between these two actions. Every change of This is easy on the violin, but not : somethin^ that the most important item is the harder and will learn bussy’s Les tierces altemees, or The ear is really the tained and connected, is the most and harmony, even the slightest, presents consideration more about educa- easy on the piano. supreme guide in pedaling. As common most a However, I knew ir for some- pupil’s attitude toward music—I mean tion if you make your own curriculum from his “Twelve Etudes.” Or it directs and controls the muscles of the hands and simple use of the damper pedal. In syncopated-pedal- for a change of pedal. chords well enough so I learned to folio thing of Stravin his day-by-day attitude through the than you would if someone else made it the really modem, try one arms in creating actual tones from mental concepts ing the pedal is depressed immediately after the tone Example of syncopated-pedaling: Heller, Op. 125, violin—and I showed ’em! number month or the term, and I feel that about for you; and your pupils likewise will sky’s "Etudes. Op. 7,” or several of tone, so does it direct and control the muscles of is sounded and released simultaneously with the suc- No. 2. rs- L - - ®? R will get a set of scab Bartok half of the grade might well be based on learn more about the art of if from Volumes and VI of the feet and legs to enrich and sustain the tone ceeding key-depression, which in turn is followed by ( music they and chords and simply V Continued on Page 532) memorize tt “Mikrokosmos.” 502 "MUSIC STUDY EXALTS SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE ,503 LIFE" THE ETUDE Music and Study REMINISCENCE (WALTZ INTERLUDE) This haunting melody in the minor mode makes a distinctive little work for recitals. The phrase marks are of especial importance. The inner voices Schumann’s “Grillen”) Op. 12. No. 4 duet with the outer voices which, when “Whims" ( form a properly played, can be very effective. Grade 3-4. A Master Lesson in Three Stages of Study m§ ^J^Jeinricl Cjelharcl Noted Virtuoso and Teacher Heinrich Gebhard s Master Lesson on Schumann's Grillen is one of the most practical, helpful, and clear of all the long series of Etude Master Lessons, in which so many world-famous virtuosi have participated. Mr. Gebhard noted Leschetizky exponent and famous virtuoso and teacher, has pre- le »on so clear and practical that it will be welcomed by all teachers and pupils. See Page 506 of the Music Section for Mr. Gebhard s special editing of this composition. —Editor's Note. HE four greatest composers of the Romantic Another great feature of his music is his rhythmical Period of Music (1820-1880) are Schumann, boldness. Bach, Haydn, Mozart, Beethoven, and Chopin, Schu- T Liszt, and Wagner. Each of these oc- bert frequently indulged in delightful cupies syncopations, a special niche in this great movement. As this but Schumann goes way beyond them in this field. article deals with one of the most characteristic piano- Strong changes of accent, and every species of syn- pieces of Schumann, we will begin by taking a short copations lend a peculiar vigor and extraordinary pul- general look at this composer’s music. sation to his music—so much so, that some modern Robert Alexander Schumann’s music can easily be commentators have called Schumann the “first jazz classified into three periods, as it has been done with Composer!” Beethoven’s music, and that of some other composers. Lack of space here forbids going into the many First, we have Schumann’s early exuberant output of vicissitudes of Schumann’s life, all of piano-solo which had bear- works, pouring out of him in incredible ing on his creative activities, but we must mention his profusion from the age of twenty to thirty. Then literary activities, which were comes almost as great as his the long list of wonderful songs, inspired in music-making. what he called his “song-year”—the year of his engage- ment to Clara Wieck. After this we see the birth of the Sensitive Imagination four lovely symphonies, several overtures, the glorious In some of his wonderful articles written for piano-concerto, piano-quintet, piano quartet, the and "Neue Zeitschrift fur other Musik" (the “New Magazine for beautiful chamber-music, and some fine choral Music,” which he founded and edited) works—all produced during his supremely his highly sen- happy mar- sitized, almost fantastic ried life imagination invented two (one of the most perfect unions in history) imaginary persons, “Eusebius” and “Florestan,” —up to the tragedy of his last few years. who lived vividly in his mind during the Duiing this third period he also early period of wrote more music the great piano-works. for “Eusebius” was the tender piano alone, some of it lovely, but as a whole not and poetic soul and “Florestan” the manly, comparable to his early great output. energetic one. Their spirit hovers over the This corresponding moods in ROBERT SCHUMANN early output, springing from his young heart the various compositions. From a and mind in inimitable freshness, contemporary lithograph by Edward Kaiser comprises his works h( Far taSie Ucke ” ;-“ ° ’ 12 (Pa from Op. 1 p ntasy pieces) is a to Op. 23. Here we have the fascinating collection,nl t T' This so-called of eight of Schumann’s most “fundamental” practicing is not a and picturesque Papillons and Carnaval, the famous short mechanical unique ns The are process, for it must “Fantasiestucke” greatly varied ln mood Des be done with a good (containing Grillen ), the charming ?? ;, tone, correct ZrrAbends (In the Evening)/ and fingering and phrasing (attending to “Kinderscenen,” the highly poetic Warum? (Why?) are Kreisleriana, the both m the highly egato, staccato, and halt-legato) poetic “Eusebius" , and using the correct great Fantasie, and the mood. Aufschivung towering “Symphonic Etudes” ( wnst-and-arm Soaring ) and Grillen (Whims) motions. In fact, it every- —all works of the greatest are in the energetic means that originality and charm. g ’ passionate “Florestan” mood. attended to except pedaling To describe and shading. this music in words is practically impos- first« thing to say here is, , . . that all the notes in sible. But, to name a few of its outstanding features, The Lesson this piece (single notes, we must say Begins double notes, chords, and oc- that Schumann, the Romanticist, is first aves Now let us leam how should be played with the slightly of all a great melodist. to play Grillen. Before we fingers only He has a wonderful melodic serious begin 6 ying study on this piece, I would P not with the tips of the fingers, but line, evolved out of Schubert (whom he say to the studem nH tv! f’u ^ adored) but what I say in e heshy part next connection with any „ . . to the tips, the so-called made unmistakably his own. He gives us long-drawn- piece to be studied n (and what I advocated in my !° This gives great sensitiveness and sure- out melodies, that breathe the very soul of last Etude nessf f; romantic m January of this aS- to the touch. year) : for five tenderness and passion. Other times we get from him or six days “read” the piece through, with pedal, short melodic phrases of every imaginable mood- shading, and any con- venient fingering, getting a To Play Staccato humorous, whimsical, capricious, coquettish, general idea of tlTpiece impish, Have l6 nobly a good time trying to enter US take the right chivalrous, or out in an exquisite dream-world. into the spirit of hand part of the opening the music. In places si T asures where you feel the musir n;f - The opening chords are marked ferently from starm in ^? The "First the printed expression^ 1° Word staccato . Jazz Composer" means to make a note sound peTaT-marks' • write m with pencil short your own changes. °n he piano «ieans finger His piano-style is quite his own. Pearly At the TnT of get nuTTfb to make the scale-pas- the sixth day have definitely the^ sages, or dazzling decided on your m key iniohiy- There are a number cadenzas based on pure finger-work, inter of f !i° e- wavA mg phrasinss hiS - as in Chopin ,° 1 wm mention only three. First, or Liszt, we do not get in Schumann! thrZnJr I ^r:nT^r acca to- With all ~^ This is fingers its “free fantasy,” his music is produced by the more solid in onlv^Thn finger ' structure, tlps me held inch more polyphonic. He 13 \ about one half was a ’ great student represents the traditional above the yS o “readLg/’^th ’ and from Bach (whom he worshiped) but his somT if™ that "httie height” the finger , counterpoint of my own added. Let falls svifthf is us suppose that this UP key a counterpoint of his own. He also is the “reaT ’ and immediately bounces has a harmony mg” you have up LaTfin t ?h IT of his own. arrived at, and so now that height.” Besides daring and beautiful harmonic we wUl still This action is done ex- a hiS interpretation clusivelv inr theT progressions, other characteristic systematical^. ngers from the knuckles. It is a features are certain Th?T? l | This writerf believes in learning Ser thiA T imaginative devices, such every piece in tbi-oo as anticipating a bass be- “stages” of °n‘y * fore study. So we begin with its rightful harmony, or anticipating a “ fir f Stage^ harmony which we call fundamental" ’ before its rightful bass, giving practicing That I Ungers a peculiar enchant- ticing at a moderate ""I-""”*'" In this the ment to the flow of the music. tempo^Z y .™erely are stiff- gray” color, ZTpelft ly) in held firmly (not that is, mezzo forte, position t ° r generally speaMn keys t0 be wrist is g held shghtlyslightlv nh IT struck. The 504 above the level "MUSIC STUDY ( Continued on Page 525) Copyright MCMXLVII by Oliver Ditson Company EXALTS LIFE” International Copyright secured THE ETUDE SEPTEMBER 1947 WHIMS It is believed that Schumann in believed this composition was already feeling the restraint of the frustrations with which he himsel" beset, and wrote this work as a kind of musi.cal of release, a bursting forth of his emotions. It is one of the finest examples this highly individual genius and is a strong favorite with great pianists. The Master Lesson upon W>,tints, by Heinrich.Gebhard, will be found on anotherpage in this issue. Grade 7. Edited by Heinrich Gebhard ROBERT , SCHUMANN With humor (J.=7S) The marks for the damper (loud) pedal are the brackets under the (Bracket music. The foot goes downa have been struck. a moment ' afte 7 the notes T--a above the beginning of each slight downward wrist -motion, creating arm -weight (for good tone) f - a slight upward, wrist U C - ^una corda) -motion. use soft pedal. * Fr01" here tre (tre g0 baek t0 the beginning and cordej lift soft play to Fine; then go to A pedal. SOff / SEPTEMBER 1947 THE ETOM, SO 7 I — — — — s 4 * 3 3 2 ^ 1 2''"T~^ 2 _ a: : — — — #-= 1f= 5=5tr=^ =F = r.: > p- p- • p i -(A— r ' 1 . < « — -J '• S • / r ^ « | ) ^ 1 - P # A — -•— • ' r~p — II II II fc # 9 ffiE: 1£E B- g gg tf=ff 4 5 5 1 2 G- 1 3 3 1 _i 3 i. 1. 2 -pfp* 1^3 f -iGrv.Fi-, m 0— 4 f|irrTf^Ti ! ^ —p f $f#fr J " — ?// sf f p A * p * -•— ~ -Mf-*—P— _A k'-y _h. y if— \ v~>- ry V 7 ^ 1 * . i H ^ 4 * 1 2 3 2 2 3 4 1 3 ^ 1 ' :/ vf P ALLEGrRO lift 1 ttts FROM SONATINA, , Op. 36, No. 3 Muzio Clementi (1752 “1832) • had a • happy Italian soul that iq rpnr*»c u i 5 ’ CI ® in England, where he made many friends mentl Spent sixt y' six years of his fife and amassed a fortune as a pianist" pian^teacheTrbr'h" httle section from "’ manu his Sonata, Op. 36, No. 3, must be played in ^turer of pianos. This merry the gayest possible fashion £ 3 MUZIO CLEMENTI ^ 1 5tsi 3 1 4 3 2 1 4 3 2 1 ^ * ^3 1 ’ T! • « • : i— — — m n T7 1r _ r~2 m * r- ^ — • w m - m a - — • m « i 9 H ^ Kh m ^ /- ’4n\- -51. t p i »a- xnzrzn nn J-Tj mr t: r m • r IT—/ w — L_ 4/ l r . ej ; 1 p f j J ||) L . 1 : * ^ : • m --*-- *) -j »,- -p i / * > S v -k-tf- > 0- 8 . € m i, > ^ r h y J_Z 7 u —- ^-4 * 5 f=^=l 1 EPTEMBER 1947 509 THE ETUDE GOLDEN SUNSET OLD SPINNING WHEEL This fluent little study maybe made most interesting- if the rhythmic pattern is incessantly preserved and the normal accent upon the first note of each Thd chromatic harmonies and sweep of the melodic line in this rich theme make it a piece of great charm. See to it that none of the chords are is marked (but not exaggerated). In this measure way the composition“holds its shape.” Play the work with zephyr-like lightness throughout. Grade 3 . » that is, that all the notes are played simultaneously. Grade 4. Allegro grazioso («h=i52) 0. SCIIELDRUP OBERG Moderately (J= so) MORGAN WEST 1 3^-1 j. 3 K" F^— * 0 0 J 7 J J 1 - Jj / P - _ 5 /^r l.h. ) *>:—a f W—hr H — 25 ^24 j 1 1 1 1 1 Copyright 1947 by Theodore Presser Co. British Copyright secured SEPTEMBER 1947 511 Perl, come so'pra VALSE VIENNOISE The test of a Viennese valse is, “How would it sound with strings?” The use of thirds in this melody is especially characteristic of the music of the Dream City on the Danube. Grade 3^. HUBERT TILLERY Moderato (<=)•= 54; l i Copyright 1945 by Hubert F. Tillery Copyright 1947 by Theodore Presser Co. 512 British Copyright secured THE ETUDE MOZART AT THE CAMPTOWN RACES (STEPHEN FOSTER IN THE STYLE OF THE CLASSIC MASTERS) that Mozart or Hay dn w ould sui < ly have Eric Steiner has applied the ETioms of the classical period to a jolly little tune which is so distinctive ap- 4 — A & ' —•— iH7 ( S i K \ r^- r i i r_ji r r ‘ 7 - -J E^r1 j—4- i — - — — \ — — — — U 1 J 0T M r ^ llfpsSfip secured 5,4 British Copyright SEPTEMBER 1947 THE ETUDE 515 4' Hammond Regixtra (ion Sw. Soft Reed or Strings, Coup. PRAYER (10) 00 1222 221 8' Gt. Soft @ JY] (10) 00 1532 110 Ped. Sw. to Ped. (g) (11) 02 6510 000 C°PJ right 1946 by Theodore Presser Co. British Copyright secured September 1947 517 # * arose. sostcnuto e rail. « tempo Tempo di Valse Cg a tempo VIOLIN £ £ « 3=i3 £ * * «—# 0— Ih4 I d lj «— r=r rit PIANO- mi tempo r: r fa fa r r &-5- 2ZH ^3 fa 1 ip*- —- —— — 1 — GAY DANCERS GAY DANCERS a tempo 2 /O ;=»- 4 P- »— I I Sr 31 a 3 9 _..M a ^9 • 9~ 3V s:X \ nrf w poco nt. *y ^ Oh! you tap your toe and your heel just so, Whirl a-round all. m ^ 2 r. h. 3 1 2 X=$b —• #— 2 a \ \ \ a y-i > / — - . .x' F7 1 —m *w m H _x — • — — 9 rv 9 rJ ~va — r *rsv -- "r~ — i 1 i— / • m rj » —I 1 1 ur.i*~ /./JL P dance is done; Tra la la la la la! Now the chil- dren home-ward run; Tra la a la! mp no 71 ritar — ~Mr~ 1 6Y r *\ >\ i7 1 r ~r^~~ \ — r •~vLl_ M rv r\ -0 -9 -9 2 3 0-21 SEPTEMBER 1917 AT THE FAIR 6 notes. The last note of any Zcr/ato-phrase Schumann’s “Whims” is clipped somewhat of its time-value; that is, it is shorter than the written I TO STUDY? value of the note. And the faster the WHERE SHALL GO continued from Page 504) (, tempo of the piece, the shorter that note becomes. Since the tempo of Grillen is quietly in (New York city) keyboard, and stays rather fast Teachers (Western) Private Teachers of the (M.M. J. = 72) these final Private without being rigid. The M.WILLIAM that position, notes of the phrases are practically stac- S by a quick up-and- FREDERICK DAVIS MARY BOXALL BOYD staccato is produced cato (with the up-bouncing wrist) (Leschetizky) the wrist, CONDUCTOR—TEACHER motion of the hand from (Ex. 1). Pianist and Teacher down Member Natl. Assn, of Teachers of Singing on a hinge. This is the FAMOUS BLUE BOOKS 'Of all pianoforte teachers with whom I have had as if moving Now go through the piece slowly, with- Classes in all branches of to do, either as pupil or associate, Mary Boxall Boyd children and beginners. ideal staccato for out pedal, in a general mf tone, attend- ART is, in my opinion, the best." — Leland Hall, Prof, of VOCAL and CHORAL players it should be used Lake City I. Utah Piano at Smith College. By advanced ing to the foregoing rules. Hand-arm modern preparatory book 606 Templeton Building Salt VERY FIRST PIANO BOOK. A for appointment clear staccato- chords, as Phone 3-0316 (or 4-5746)_ Add. 113 W. 57th St., c/o Nola Studios, Steinway in swift, light, staccato on the opening chords, and all Hall, New York City, N. Y. Summer classes to precede any piano method. Contains full size five- for the beginning of the last movement isolated staccato-chords. The chord and H A R O L D H"URXb U T teachers and students. in .75 Beethoven’s Sonata Op. 2, No. 3 or as octave staff notation chart $ Paris—New York—Hollywood of bass-octave in Measure 3 play with full Scherzo in E minor and Member Natl. Assn, of Teachers of Singing EDWIN HUGHES in Mendelssohn’s arm-weight, down wrist. In the slurred age with Metropolitan Opera, Chr PIANISTS PREPARED FOR PUBLIC FIRST GRADE BOOK. For pupils of average Developer of Singers of PERFORMANCE his Rondo Capriccioso. phrases Measures 4, 5, 6, 12, 13, 14 play cago Opera, Hollywood Bowl, Radio, etc. VOICE AND FOR UNIVERSITY, COLLEGE AND CON- 1.00 Pub.) third is the hand-arm-staccato. the beginning of each phrase with arm- special preparatory exercises FUNDAMENTALS" (J. Fischer & Bro., N. Y SERVATORY TEACHING POSITIONS The Amato, was endorsed by W. J. Henderson (N. Y. Sun), WINTER TEACHING SEASON: SEPTEMBER TO JUNE There, also, the fingers hardly move. weight, down-wrist, and the ending and others of that great era. MONTHLY CLASSES' IN WASHINGTON, D. BOOK 1.00 Bispham, Journet, C. are not very curved, and merely always with upswinging wrist, without HAPPY HOUR 2150 Beachwood Dr. Hollywood, Calif. For full information address: They 89th Street in position for the keys 1.00 338 West New York 24, N. Y hold themselves exaggerating the motions. In Measures ADVANCED FIRST GRADE ISABEL HUTCHESON Tel. SChuyler 4-0261 to be struck. The wrist is held about one- 13 and 14 “roll” the chords in the left Teacher for Piano Teachers 9Frnwn hpadf 1.00 fourth inch higher than the knuckles, hand quickly before the beat, so that the Modern Piano Technic: Group work for Teo<*hers: CHARLES LAGOURGUE STUDIOS the finger-tips are about one third r;pAnF 1.00 Coaching concert pianists: Conducting ’Piano VOICE PRODUCTION—SINGING while chord in the right hand comes together Teachers Forum." COMPLETE MUSICAL EDUCATION fourth inch above the keys. The tone is with the top-note- of the left hand. 1.00 BROOKS MAYS MUSIC STUDIOS Mr. Lagourgue is the author of "The Secret" Daily FDI IRTH GRADF — produced by the hand dropping towards The phrase in Measure 15 play close HARPStc l005*/2 Elm Street, Dallas 2, Texas Phone C-6214 Vocal Exercises—Complete Treatise on Transposition , the wrist, FIFTH HRADF 1.00 etc. Classes held annually at the keys with a little “give” in EVANGELINE LEHMAN: Mus. Do^ The College International of CANNES, France letting the fingers strike the keys, but ADULT 1.00 Vocal Studio New York Address: 35 West 57th Street FIRST BOOK FOR THE Creative, Individual training. immediately bounce up again to the 1.00 Send for reprint from the Etude: EDITH SYRENE LISTER former position (as a ball falls to the FAVORITE MELODIES FOR THE ADULT "Reflections on the Art of Singing" AUTHENTIC VOICE PRODUCTION all in very 167 Elmhurst Ave. Detroit 3, Michigan ground and bounces up) — a BOYS' BOOK OF PIECES 1.00 405 Carnegie Hall, New York City Collaboratorand AssocioteTeacher with the loteW. elastic manner. HENRY FRANCIS PARKS 1 Warren Shaw ond Endorsed by Dr. Floyd S. Muckey this “hand- GLI OCCHI EL CORE’ Organist, Conductor & Vocal Coach The great artists employ TEMPO Wednesday: Troup Music Studio, Lancaster, Pa. Individual and class instruction in Organ, Piano arm-staccato” more than any other kind. Thursday: 309 Presser Bldg., Philadelphia, Pa. and Theory, Vocal coaching for Concert, Light and ‘‘substantial” sounding, whether Grand attention to breaching, It is very Opera with particular (FRANK) (ERNESTO) enunciation and proper pronunciation. in soft staccato or loud staccato. It is YUkon 6-1 8 1 ]CE 320 Market St. Telephone LA FORGE-BERUMEN STUDIOS fatiguing. to the keys, gripping them firmly, prac- ” FROST reliable and never * also very pN San Fronc : sco II California "I give pleasure at once to the eyes and to the heart Voice Piano — This staccato should be used in the tice it by itself, slowly, gradually increas- Among those who have studied with Mr. La Forge are: C PETERSON fast, painted on one of oldest EDNA GUNNAR finally it Motto Marian Anderson, Lawrence Tibbett, Richard Crooks, opening chords of the right hand part ing the tempo. When doing — INDIVIDUAL preserved harpsichords, made in CLASS OR Pianist Artist Teacher and Mme. Matzenauer. play the three chords in one impetus Concert — in Grillen—Measures 1, 2, 7, 8, 9, and de Trasuntinis. MOO Park Ave., Corner 89th St., New York 1560 by Vitus Calif, the wrist, and forearm. Some 229 So. Harvard Blvd. Los Angeles, Tel. Atwater 9-7470 10. In the rest of the piece we also see from FE. 2597 the BEGINNING AT THE PIANO. Preparatory book of 32 chords, octaves, and single notes under players find it easier to leave out third the Renaissance musical instruments be- THE SAMOILOFF RICHARD McCLANAHAN a slur, also chords with the por- middle-notes in the second and During pieces—folk tunes of many countries. May be taught by and BEL CANTO STUDIOS & OPERA ACADEMY Representative the effect TOBIAS MATTHAY tamento sign (slur together with dots) — chord. It is not detrimental to came more than acoustical machines. By that time rote, by a combination of rote and reading, and by reading .60 The only place where you can learn the original Private lessons, class lessons in Fundamentals played close to play it so. Samoiloff Bel Canto Method which developed such Summer-class, Southwest Harbor, Me. hali-legato. These should be people had developed a natural tendency to visual en- outstanding voices as NELSON EDDY, BIANCA City 801 Steinway Bldg. New York to the keys. and many others. Now AT THE PIANO BOOK I— Covers five-finger position, tonic SAROYA, DIMITRI ONOFRI joyment and began to appreciate the elegance of curves, under the direction of Zepha Samoiloff. We also notice many arrow-signs. They chord tones, four-tone melody; use of quarter rest, etc.. . 1.00 Write for Catalog, 3150 West Sixth St., 5 EDWARD E. TREUMANN Los Angeles apply to the wrist. When an arrow points the harmony of proportions and the bright transparency Phone FE 8294 No charge for Audition Concert Pianist—Artist-Teacher downward (mostly at the beginning of of varnish. AT THE PIANO BOOK II 1.00 ELIZABETH SIMPSON Recommended by Emil Von Sauer, Moritz Moszkowski and Joseph Hofmann. a phrase), that note or chord should be Author of "Batic Pianoforte Technique" The Harpsichord, a keyboard instrument in which AT THE PIANO BOOK III 1.00 Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. played with a slight downward wrist- Teacher of Teachers. Coach of Young Artists. Tel. Columbus 5-4357 New York City quills, appears to have been Pupils Prepared for Concert Work. Class motion, letting the weight of the arm the strings were plucked by AT THE PIANO BOOK IV 1.00 Courses Summer Master Class—June 15 to August 15. in Technique, Pianistic Interpretation, Normal (principally the forearm) “create” the can definitely be traced Methods for Piano Teachers. known in the 14th Century and TWO PLAYERS AT THE PIANO 85 MME. GIOVANNA VIOLA tone, so to speak. When the arrow points 79 McAllister St., Room I, San Francisco; 16th Century. Made no longer after 1800, Dramatic Soprano phrase) from the 2833 Webster St., Berkeley, Cal. — upward (usually at the end of a Teacher of Singing "Be] Canto" section (six flats) the witfi In the G-flat major it one of the stages in the development of the Experienced European trained Artist note or chord should be played was DR. FRANCIS L. YORK legato- chords should Coaching Opera, Concert and Radio a slight wrist. the top-notes of the Advance Piano Interpretation and the Theory work upward swing of the modern piano. Correct voice production, defective singing corrected they should “sing required fqr the degrees of Mus. Bach., and be connected. Also, Mus. Beginners accepted This greatly helps to bring out the Mas. Special Chopin interpretation. notes— only out” a little above the other OlKaMal DETROIT CONSERVATORY OF Phone: Trafalgar 7-8230 Mon., Tues., Wed., “punctuation” in the phrasing of the MUSIC -jtgjrPlAN 608 West End Ave. New York City stiffening slightly the respective A modern piano, like the Jesse Detroit, Mich. music (see my article in the November, done by and bearing on with weight on French, is a far superior instrument CRYSTAL WATERS 1944 issue of The Etude), and also pro- fingers, Private Teachers (New York City) of the hand. The half-Zesato- in tone, action and beauty. You’ll Concert Singer — Teacher motes style in the performance. But that side (portamento ) in Measures appreciate its musical qualities when HELEN ANDERSON Voice Building, Breathing these motions must not be exaggerated. chords Leila Fletcher Theory Papers—Vol. I 50 Diction, Expression, Style. played with you strike your first chord on it. 58, 59, 65, and 67 should be Concert Pianist In preparation for Remember: “from the sublime to the down-wrist motion. The short You’ll also be charmed by the beauty Leila Fletcher Theory Papers—Vol. |l 50 Interesting course— piano, harmony Radio, Screen, Stage, ridiculous” is but one step! The motions a slight Concert, Opera. chords in Measures 60, ofline given it by New York’s famed Many Successful Pupils are not “for show”; they are made to phrases of two Leila Fletcher Theory Papers—Vol. Ill 50 405 E. 54 St. New York City 166 W. 72nd St., N. Y. 77, and 78 (wrist down Alfons Bach, whose work you C. Tel. Sc 4-8385 Tel. Vo-5—1362 bring arm-weight into play, which in 61, 62, 64, 73, 74, Tropical Tunes— Fifteen very easy pieces to play or sing and up) ’should be played as you pro- have admired before in fine furniture. the word “father. The first The Jesse French is a piano —Olive Dungan 1.00 Music Lovers to earn LIBERAL COMMISSIONS Ex. 1 nounce “father” is long and a little you can recommend without securing subscriptions tor THE ETUDE. Part or syllable of Let's Find Out— Rote or Note Approach for the Piano is short and light. hesitation . . . knowing it will full time. No Cost or Obligation. Write for com- heavy, the second Schumann attract the pupil . . give Beginner by Genevieve Lake 60 plete details TODAY! Address: In this entire G-flat section . parents pride of ownership. CIRCULATION DEP’T gives full play to his rhythmical fanciful- Peter and the Wolf— Prokofieff—A musical tale simplified THE ETUDE MUSIC MAGAZINE ness. This section might be called the and adapted for piano solo by Chester Waliis 75 The whole of Grillen 1712 CHESTNUT ST.. FHILA. , PA. “jazz-section.” practiced and played strictly Play Me a Story— Five short pieces by Irving Mopper 60 should be in time (with the exception of the few Under the Big Top— Suite for piano solo by Irving Mopper .75 “jazz- ritards and the hold) . But the section” must be done particularly well in time. Count aloud sometimes, and always in your mind. Schumann’s fascinating rhythm, here, tied is brought about by a chord being the “soft” or “loud” should produce a rich from the last beat of a measure to of times, tone, without harshness. first beat of the next, a number Sc A. SELMER, INC., ELKHART, INDIANA THE THs mus.c sample was being interpo- DIVISION OP H. BOSTON MUSIC taken measure COMPANY from the Robert In then a two-four Whitford piano solo "Autumn." Price 40b at your favorl this piece we should note par- U n 0r R° BERT WHITFORD ticularly lated between the three-four measures, 116 BOYLSTON STREET • BOSTON 16, MASS. PUBLICATIONS. Dept. 5E, 18 North Per the difference between con- IS THE FOURTH OF A SERIES ON THE EVOLUTION OF THE PIANO Souore E r ; rp iVl™ THIS ' ' Ask for A q catol°9 ond C° nected (iContinued on Page 526) PY The PIANIST mogazine. both free. State if teach. notes (those with slurs) and short 524 THE ETUD'E SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE” 525 . , ; • — —— , vv'xx* v v y v y CARL E. Voice Same Problems of the Deep Voice Questions TEACHERS’ SEASHORE'S ( Continued, from Page 495) serves us readily enough ^PERENNIAL effort on the part of the vocal cords. to discipline! It is less difficult vowel to master in criticizing other singers; it Search A is the most In L, DR. NICHOLAS DOUTY is obedient, alas, when we attempt to con- EAVORITES because (in direct contrast to E ) it singing! All too often * ** OF so ‘open.’ Frequently, A is sung too trol it in our own like an unbroken lightly, too openly, with the result that it rises and rears must be con- the vowel value becomes ‘lost,’ so to say. broncho; but ultimately, it TRANSCRIPTIONS are a feature of Century Beauty has the trolled. When some students sing, one you are looking for a well When A is correctly sung, one Edition. Whenever At Forty Is She Too Old to Learn How interferes with my voice several times a day. can notice a sort of groove, or ridge, singing alone TECHNICAL MATERIAL feeling that the sound rests buoyantly, edited simplification, look to Century Edition IN to Sing? I have no confidence when I am their tongues. moment this irrita- elastically, on the voice (vocal cords) running lengthwise along Q.—Much has been asked for the young as I never know at what you'll very likely find it there at 20 if first . . . special- the presence singer. What possibilities has person forty, tion may become apparent. Two throat this sensation can be felt, however, only This means but one thing; a of ists say it is too trivial to worry about. Has must be overcome. a copy. MUSIC with natural talent and the best vocal training? We thought that everybody knew about Cen- when the vowel is covered enough for of tensions which presented to you be- 2.—Can such a pupil hope to make up for this problem ever been tury's just lhe Otherwise, the tongue cannot be dis- 3653 Alla Turca, Ara-2 Mozart excellent technical material but the tone to produce a sort of counter- some the years lost? coloratura voice fore, and have you a remedy to suggest? Ghys of Can a other day a teacher was surprised to learn that various shapes 3213 Amaryllis. C-2 —Chorister. pressure, from* above, upon the cords. ciplined to assume the Scientific Approach be developed from a yet youthful, very high . .Tschalkowsky A line it fine and 3382 Andante Cant., 6th Symph., F-2. we had such a —that was really absolutely necessary to voice? “In passing from a covered vowel to an and positions Dance. Grieg progressive. So just in case there is another 2593 Anitra’s Am-3 in your throat? Do to Musical Esthetics 3.—With perfect health, good physique, and A. Is there really dust piano teacher somewhere who doesn't know, open one, it is best to make the transition good singing. 3667 Barcarolle, June, Ara-2 Tschalkowsky it fine training can one hope to develop into a you sing in a dust laden atmosphere? Or is Sardar. Ippolltov-Ivanov here is a list of technical material that is neces- at last one reaches the point 3384 Cortege du C-2 of tickling slowly, so that the new vowel-form as- “When singer in any shorter length time?—E. V. just a sensation of discomfort, a sort PonchlelU of the Seashore of sary to every teacher . . prices vary but all 3385 Dance of the Hours, C-2 famous author . hardly noticeably. where all vowel sounds have the same HE in the throat during singing? This point should serts itself gently, ...Massenet are reasonable. 3216 Elegie, Era-2 Measures of Musical Talents here of- upon it depends your position as E the same T A. At forty a woman “healthy and of good be definitely decided, for (Naturally, this applies only to practic- ‘high’ tonal — Star, Tannhauser, G-2 Wagner — 2594 Evening to the science of music a singer. It is possible that you in Notes (Thirds), Oc fers an introduction whole future as Abrams, Scales Double ,Vo. 3637.2 ease, intensity; physique” should have ten or twelve singing ing; later on, when one has achieved shimmering luster, and 3388 Finlandia, 03 Sibelius psy- throat, the jaw, the tongue, Abrams, Scales in Double Notes (Sixths), Vo. 3638. 20c for advanced students of music and years before her. It would be foolish for her to are stiffening the General Grant’s Grand March, F-2 Mack Abrams, Arpeggios, Triads and Seventh Chords, finished singing, such transitions must when, without effort, one can attack a 3656 teachers, pro- or the whole set of palato-lingual muscles dur- 3726 chology, educators, music imagine that she could ever make up the years No. 20c and on any note in 33C0 Gypsy Rondo, G-2 Ilaydn ing the emission of the tone. Is your speech Abrams, Staccato—A Technical Discussion, often be made with speed.) The tongue tone (on any vowel, fessional musicians, and the intelligent lost in her youth. However if she has voice, 2262 Hungarian Dance No. 5, Gm-2 Brahms labored? Does your No. 3728 20c beginning pianissimo, talent, courage, musicianship, and tenacity of somewhat guttural and lowered, for the transition, slowly and one’s entire range) , Burgmueller, Opus 100. Twenty-five Easy Studies 50c is 2590 Idilio, F-3 Lark music lover. voice sound dull and are the consonants Czerny, Necessity Studies. Especially selected from a forte, purpose, she should certainly accomplish a relaxedly, and no more than is absolutely gradually increasing volume to 1820 Invitation to the Dance, C-2 Weber formed too far back in the mouth? Any or all Opus 299 in progressive order 50c Each of the 35 chapters virtually opens good deal. again to pianis- 2595 Kammenoi Ostrow, F-3 Rubinstein tickling in the Czerny, Opus 299. Books I and 2 Combined 50c necessary to make place for the new and then diminishing of these things would cause a up a new avenue of approach to the psy- 2.—A very high soprano voice is quite flex- Czerny, Scales and Chords, Vo. 382 20c said to be 3392 Largo, New World, C-2 Dvorak throat and would make your production haz- vowel. Each new vowel must ‘hang,’ as simo—only then can one be esthetics, revealing ible enough to develop easily so that the scales, Duvernoy, Opus 120. Fifteen brilliant studies 50c 2510 Menuet, F-2 Paderewski chology of music and ardous. Examine yourself carefully. Try to Hanon-Burdick, Virtuoso Pianist, Part I, No. 2379 .20c place the pre- both in possession and in control of a trills, and the fiorituri so dear to the heart of it were, in the same as 2160 Minute Waltz, Eb-2 Chopin discoveries which will help music teachers sing freely, easily, comfortably. Hanon-Burdick, Virtuoso Pianist, Bart 2. No. 2380. 20c a coloratura are within her range and her speak and Heller’s Necessity Studies. From Op. 46 and 47. ceding one. fully developed voice. And that is an 2194 Orientale, Bb-3 Cut artists who seek higher levels of per- and never form your tones by and It depends largely things, Breathe deeply Selected studies in progressive order 50c technique. upon two ideal toward which a singer strives all 3369 Rustic Dance, C-2 Howell in their music instruction and per- any action of the throat, but rather allow them Heller. Opus 47. Twenty-five studies for development “The tongue — ah, the tongue! This fection range and flexibility. Students, teachers, concert Serenade, of rhythm and expression 2196 Dm-3 Schubert years’ research to resonate in the cavities of the mouth, nose, 50c rebellious muscle is enormously difficult of his vocal life!” formance. Summing up 40 3.—No one can learn how to sing well quick- musicians. ..all have praised Kohler's Method, Op. 249, Part I, Practical Method 3191 Skaters’ Waltz, C-2 Walilt.ufel singing his associates, the book things and head. You need the help of a good for Piano 50c by the author and ly. It is a life long study. Other being the lovely new Gulbransen 2466 Song of India, G-2 Rlmsky-Korsakoff teacher. Kchler, Scales and Chords, No. 1312 20c presents many findings new to the majority equal, the more intelligent one is, the more Spinet Pianos. ..for their easy Martin's Elementary Rudiments 2158 Spring Song, G-2 Mendelssohn for Piano, Illustrated. quickly one learns. Book No. I ,75c 3398 Tales from the Vienna Woods, G-2 Strauss of readers. $4-50 responsive action, brilliant Martin’s Major and Minor Scales and Principal Another Pianist Who Wants to 2464 Traumerei, F-2 Schumann tone and volume... for their Chords 75c in any The Pianist Who Desires to Change to the Become a Singer Guitars, nrr. “A most necessary volume Schmitt, Five Finger Exercises, Part I. No. 1207. 20c 3192 Two F-2 Armour beauty of line and gleaming .” of a Singer Q. I fifteen and two prominent voice Schmitt, Five Finger Exercises, Part 2. No. 20c musical library Sigmund Spaeth Role am 1208 3671 Valse Lente, Coppelia, F-2 Delibes satiny wood finish. Write for Century’s Manual of Harmony by Walter Rolfe. 25c “Whims” Q. I wanted a career as a pianist and never teachers have told me that I have a mature Schumann’s 2143 Waves of the Danube, Ara-2 Ivannvicl — Century’s 64 page Musical Dictionary 15c free booklets of new models. THE PRESS COMPANY thought much about becoming a singer until soprano voice with great possibilities. I have RONALD pianist's career studied piano for two and one-half years but ( Page 525) Ask your dealer for Century Edition. If he can- now. I am nineteen and so a Ask your dealer to show you this material. If Continued from GULBRANSEN CO. just as real ambition is to become a professional send order direct to 15 East Street, New York 10 is impossible and I thought it might be my he cannot supply you, your not supply you, send your order direct to us. 26th E, 816 N. Kedzie Ave. to sing professionally. I have a singer. I play piano as well as a person who Dept. us. Our complete catalogue listing over 3800 much fun measures with no note struck In this second stage of practicing use Illinois So many pi ate catalogue listing over 3800 num- below middle-C to A above high- has taken twice as long as I have, says my Chicago 51, numbers is FREE on request. Our com range from D on the first beat keeps the listener in your brains more thaji your emotions. C. I have been singing all my life, but never teacher. I have not time to take both piano bers is FREE on request. re- Feel the music, but, over and above that, had a lesson. My tones are good and my voice and voice because 1 am a senior in high MUSIC PUBLISHING CO. a certain “suspense,” which is only CENTURY has quality. Is there a chance that I might be- school. Help me to decide which one to give lieved by a decisive cadence on the first look carefully at the expression-marks S. HAYNES COMPANY 49 West 63rd Street New York 23. N. Y. CENTURY MUSIC PUBLISHING CO. come a professional by taking lessons? How up. WM. beat in Measures 56, 72, 76, and 80. To and realistically carry them out. HIGH TONES long would it take? Would you advise me to 2.—When I accompany myself, it is difficult 49 Wes* 63rd Street New York 23. N. Y. Flutes of Distinction recreate this rhythmic fascination, prac- For instance, begin the piece mf and start now so late in life?—B. J. I. for me to reach high notes. When I stand up I AND HOW TO SING THEM not this trouble. Is this due to lack of tice wonderfully in time, giving all chords make a crescendo in the second measure do have STERLING SILVER — GOLD — PLATINUM A.—If you decide to study singing your mu- breath control?—A. K. and the quarter-rest in Measure 53 their up to (s/) accent in the third, which By Frederic Freemantel sicianship would be of great benefit to you in Catalog on request time-value, and especialy holding accent amounts to a forte tone. This is Here’s good news for every singer, exact LEARN PIANO TUNING AT HOME your quest for a career. We wonder why you A.—You have only one year more at the particularly those with any ner- to a success as 108 Massachusetts Avenue, Boston 15, Mass. the tied chords their full value. The followed by a lesser accent ( ) In think it is so much easier make high school, before you graduate. Our advice > WITH OUR NEW PATENTED TONOMETER vousness over high tones. In this measure 4 again a singer than as a pianist? They both take would be to take both the singing and the piano quarter-notes in the two-four Measure we have mf, and in new, practical book, jnst off the A scientific teaching-tuning instrument. Sim- about an equal amount of talent, physique, lessons, and do the best you can with them (Measure 52) have the same value as Measures 5 and 6 we have two phrases plifies learning, eliminates guesswork, as- press, Mr. Freemantel tells you in and personality, concentration,* opportunity, and until you are able to determine which one of AT LAST! A COMPLETE TREATISE ON sures accuracy. clear understandable language, how the quarters in the rest of the section. beginning with an accent and diminish- hard work; and if any one of these things is presents the most favorable oppor- TRANSPOSITION to have the thrilling top tones so the two piece We teach precision tuning, action regulating, ** a professional career is doubtful. very young. covering ALL problems of transposition. Having practiced the entire in ing in strength. Play the accented chord vital to success. Nothing absent tunity to you for a career. You are He says, Send for folder to the author voicing hnd fine repairing in one practical, 2. Your range is extraordinarily long, if all young perhaps to make this very impor- this “fundamental” way ( mf without and octave with the impetus of the can stop you from singing them — Too Charles Lagourque. 35 W. 57th St.. New York 19 arm- easy and complete correspondence course. A can form your with joyful enthusiasm when the cor- your tones are fine and you tant decision. Another year, especially if you pedal) with good tone, correct fingering weight (down-wrist). The rest of the great shortage of piano tuners exists today. you understand rect rules.” words easily and comfortably without undue graduate from high school successfully, will Here is a well-paying, uncrowded field. After Send $3 today for your copy of HIGH and phrasing (“punctuation”) wrist-and- phrase (diminishing with up-wrist) is voice, for I have done quite a bit of loud sing- two or three months you can begin to earn TONES AND HOW TO SING THEM. effort. find you a much more mature young woman. necessary to make a ing before taking lessons. I have never done arm motion—slowly for a week or two, the “rebound.” money. Our School established in 1898. Ap- 3 . —The length of time 2.—When you sit at the piano and attempt I proved for veterans under I. Bill. Send for FREEMANTEL VOICE INSTITUTE singer of you would depend upon the your high tones any exercises for breathing before. When then gradually increasing the speed, Reproduce in sound each expression- G. good to both play and sing at once free booklet. Dept. E-9 Steinway Hall. 113 West 57th Street natural gifts mentioned in answer two, and are more difficult (and perhaps less beautiful) sing exercises on the vowel O, my tone is bet- until by the end of the third or fourth mark carefully and conscientiously. Hav- teacher. Ask ter, just as soon as I sing words in a song CLEAR TONE New York 19. New York upon the skill of your singing for two reasons. First your attention is divided; but week you can play it in this way at con- ing done each section three or four times NILES BRYANT SCHOOL him for advice upon this subject. second-, you cannot breathe so deeply sitting my teacher says I use muscle instead of breath — will P.O. Box 4. If you start singing at all, do so at once, down. Therefore do all your vocal practicing and my voice sounds strained. I would greatly cert tempo (J. — 72 66) you then this way, rest a little. Then go through 5565 Washington 16, D. C. — BRILLIANT for you have no time to lose. We wish you while standing erect. If you must hear the appreciate any suggestions you will make. study the piece in its second stage. That each section again several times, this every success. accompaniments get some one else to play them —P. W. R. REPRODUCTION it shading is, to study and practice with time adding the damper pedal. Follow for you. * in the gener- and pedal (the damper-pedal and soft minutely the pedal-marks. Leschetizky A Sensation as If There Were Dust A.—As your teacher suggests, it may be that No. 1 in popularity with two MENTAL HAPPINESS pRieneXTKevtre pro- Vocalization you have strained your vocal cords and if so, ations of phonograph needle users, pedal) used to say “Watch particularly where coached by Stage, Screen. Radio and presented in Throat During Her Teacher Thinks She ductions for showing to B* wav -Hollywood Talent Scouts and an examination by the laryngoscope in the public. B’way also Summer Stock. Spring course opening. .__i a vocal student but I have a dis- has Strained her Voice Brilliontone is the standard steel through each section (Measures the pedal is not!" In other IT? q am Go words, don’t DO YOU SEEK SECY SHUBERT. 1780 BROADWAY. N. Y. hands of a competent physician would deter- throat condition. I am bothered with Q. I have just started taking voice lessons world. It is famous turbing needle of the 1-16, Measures 17-37, and so forth) three use it where it is not marked. In Have happiness in your home; make mine this point. However the fact that you are a appears to be dust in the throat which and my teacher thinks I have strained my for its consistently fine performance new friends; change the aspects of your what or lour times at moderate tempo, trying rhythmical piece like Grillen it is im- able to produce a good tone upon your O life. Use the unknown creative powers ond perfect tone reproduction. Like (that portant to vowel, and not upon words, leads us to believe to execute the expression-marks have “clear spaces" in the send every Bogshaw Needle, the Brillian- of your mind. Let the Rosicrucians that you have never been taught how to form is, the shading, dynamics) literally. music without pedal, in contrast to the you a free copy of “The Mastery of Life.” tone is precision-made to insure less either the other vowels or the consonants. Per- Try to have a well-conceived idea of "richer areas” with pedal. It It tells how you may learn to mentally Join sang in record wear, fuller tone, and mini- adds an haps when you your school chorus and inate your conditions. Address Scribe C.H. A. the different degrees of loud and soft. In extra variety of color to EVERY CHILD in your local choir you were encouraged to mum surface noise. It is available that of the SHOULD make loud noises and not musical sounds. In at music and record stores, at de- the “fundamental” practicing you played dynamics, and produces the effect of fine The ROSICRUCIANS KNOW OnThMIDRED AND addition to learning how to breathe, both in in- variety stores through- all the notes more or less mf. Now you “orchestration.” San Jose iamorc) California^ partment and songs GAAfES spiration and expiration, you must be taught out the world! must have a palette of “colors” from pp Also add the soft pedal in Measures PLAY how to form every vowel (and each consonant % ‘ \ WORDS AND MUSIC ANYONE CAN SING OR to ff. 35 and 36, and 60-64. r>® too), without muscular effort or stiffness of tongue, throat, lips, jaw of / > or the palatal arch. A Product v Listen to your shading very conscious- As two or three weeks A go by going Songs. Lullabies, Nursery - Games. Rounds. Action Songs. Folk free and unconstrained method of joining the ly. Listen with your outer, physical ears, through this second stage A is chock-full of Singing of study Tf,; s book (shad- , TRAIN vowel and consonant sounds must also be ex- not with your “inner ears” (which often ing and pedal Seasons and Holidays. Every important children's song and it J&Ggo&iur specifically) you have Patriofic Songs, and Songs of the plained to you, so that they may occur as com- - \Songs, mislead you) . Have a vivid coordination gradually increased the tempo almost to Price 60c fortably and naturally in song, as they do in Famous for Fine Needles Since 1892 game is included! proper speech. Apparently all your troubles between your sense of touch and your concert-speed, being now in your fifth or came from attempting to sing loudly before sense of hearing. Let your ears tell you sixth week of study of this piece. Mean- you knew anything about it. You have a hard We build, organs— H. W. ACTON CO., INC. at once whether you really played pp, p, while you have memorized strengthen the vocal to the piece not with singing lessons—but by sound, a*-*' row hoe, we are afraid, but with the help . entiflcally correct silent and vocal exercls» s * • to. new 370 Seventh Avenue, New York 1, N. Y. mp, f or ff, as the case demands. (See thoroughly—the expression —_ • radio city new york york of a good teacher, time, and perseverance, and pedal- with guarantee complete satisfaction INC. rko building you lt Wr,te ,or Voice Book. FREtf. Sent to no CAPITOL SONGS, will certainly Improve. my article, The Etude, January 1947). (Continued on Page 540) one unvi« fi PERFECI ,° fOlCE STUD his St tidl a S5f6 fcSSlfet! mST&H* «• «• 526 "MUSIC STUDY " "MUSIC STUDY EXALTS LIFE” 527 EXALTS LIFE THE ETUDE SEPTEMBER, 1947 ” ' ” ! chanics of the art, he must stimulate the sun and rain, expansion and contraction. The bell gives continuity of sound and undulation growth of the fine flowers of the mind How Important is Rhythm? How to blend sounds so as to give adds the element of flow and and spirit fully attuned to Cosmic shape and flow, dynamic symmetry, emo- to the regularity of the drum beat. Thus ( Continued from Page 500) Organ md Choir Questions PIANO TEACHERS Rhythm. This is the pathway to the tional stress and calm, lies back of the we have in the rhythms of primitive man highest artistic fruition. to take the candle of imagination into ability to play a phrase, a period, a the beginning of all musical development. the domain of cold facts and transform movement or a program. The aim of instruction in piano is to and an facts into essentials. There are those This is the innermost essence of rhythm arouse in the student a love for, Planning Effective and SPEED DRILLS (SIS) who can explain the mechanics of laugh- and its absence from a performance sug- understanding of, music as it has evolved the same _AnuverJ Lj FREDERICK PHILLIPS ter and the chemistry of a tear but know gests the school-boy’s composition on to its present status, and at Inspiring Services nothing of sorrow or joy. salt: “Salt is the stuff that makes pota- time, to establish an equipment which for Teaching Beginners While it is true that art is a number of toes taste bad if you don’t put any in!” will enable him to cope with the re- (Continued from Page 497) little things acutely realized, Robert The opinion that it is the lowest order quirements for keyboard skill and in- Q. It has been my desire for some time to A. We are inclined to share your doubts as Sight Reading fellowship of love. pipe organ. I have experimented to the wisdom installing Browning’s counsel to “Image the whole of music which appeals to the feet has terpretative mastery. This involves an a build a small of the particular with several reed organs, and am familiar with organ you describe. The stop line-up is not and then execute the parts’’ is a wise been attributed to Beethoven, but he appreciation of the poetic and imag- We pray Thee that out of the conflict their mechanics. I would enjoy experimenting too promising, especially for church use, and Complete Set of 32 Cards, Keyboard Finder and admonition to the teacher. The big things surely must have qualified observa- inative content of musical literature, an — for that and discords of the present time there with the three types of organs pipe, elec- $10,000 we believe you could do better. Book of Instructions — Only 50/ Have first! tion by adding that no music can appeal understanding of its traditional, aesthetic may come a new world harmony, a new tronic, and reed, and have several ideas of my you contacted any of the leading organ the ability to own which I should like to put into operation. manufacturers? We are sending you a list of The value of a principle lies in the to the head or the heart that does not and emotional values and world symphony in which all Drill No. 1 nations Kindly send me names and addresses of or- responsible firms, and we suggest that you se- number of things it explains, reach feet (or moving effectiveness. SIGHT-PLAYING easily and quickly learned by tiny tots, For stressing visual and the law the the sense of bodily project them with shall have a part. May our ears lect two or three be at- gan parts, supply houses, dealers in old organ and have them submit speci- accuracy preserves teacher’s or beginners of any age, with these Speed Drill Cards. which the balance between im- reaction) first. To accomplish all this, the tuned to catch the song of the parts, and names of books which would be of fications for a $10,000 instrument. You would Angels’ Makes teaching easier and quicker for class or individual pulse is be value. I trying to obtain “How to Build be more sure of dependable value in this and release universal in its op- The drum, always a stimulus to move- approach to the student’s mind should “Peace on Earth Good Will am a way, Toward Milne, and for this amount instruction. eration. ment, antedates all other musical instru- sympathetic, orderly, and inspirational. Chamber Organ” and “Modern Organ you ought to be able to Men.” Above the din of battle may we Building ” Lewis, which I could not get in get a fairly complete small instrument, which, Nothing in the pianist’s art is more ments. Its beat was to the savage the He must know how to engage attention, EASY TO USE-Speed Drills consist of 32 cards with listen also for “the still sad music of local libraries.—G. I. E. in our opinion, would be better than trying to vital than maintaining this balance. And summons of authority calling him to awaken interest, cultivate concentration, make over an organ intended complete and easy-to-follow instructions for their use. On humanity, not harsh nor grating, • for other uses. one who has learned to properly relate order or to action. The bells that establish perseverance, kindle imagina- We rather doubt the effectiveness of amplifi- each card is a picture of the note on the staff which cor- hang of ample A. We are sending you some addresses which though power to chasten and cation of your present reed organ, although action and repose has mastered the basic in church towers represent the next tion, and arouse enthusiasm. In other we believe will help you in the matter of parts responds with the key on the piano keyboard. Thus, subdue.” May we help make that mu- and supplies. You may possibly this might serve as a Jast resort if you are the student learns through his eyes, rather than the written factor of music. This is the primary idea step in rhythm’s advancement. words, student guard procure the They he must put the on unable to make satisfactory ‘arrangements for sic more joyous and triumphant ’till two books you name by running an ad in some or spoken word, the location and position of each note. Drill No. 2 underlying all creation, namely, duality, were modifications of the drum with one and on fire as well, and while hands and a new organ. During recent years much im- the whole world send back the song suitable magazine such as The Diapason or For instant recognition the opposites provement has been in union of —day and night, end left open and the stick hung inside. brain are engaged in mastering the me- The Etude, since you are having difficulty pro- made electronic instru- AN ADVANCED STEP— Speed Drills are an advanced of keyboard positions. which now the Angels sing and Thy sun ments, and it might be worth your while to curing them in second hand book stores. Both step in aiding the student to quickly identify the note on rejoicing shed its light upon a holy books have inquire into these a little. been out of print for some time. the staff with the key on the piano. These handy cards brotherhood of peoples. Another book is “The Contemporary American stress visual accuracy, recognition of the keyboard posi- Organ,” by Barnes, which may be had from Q. I would appreciate it if you would offer any suggestions criticisms tions, producing rapid visual, mental and muscular Forgive us for the discords of our the publishers of The Etudi. of concerning the following specifications for a two manual pipe coordination. individual lives. Cleanse our hearts of organ, costing approximately Five Thousand Q. Recently we added to our three weariness and fear. Grant even now a manual Dollars. THE LARGE NOTES make vivid mental pictures. This organ the Chimes which may be played on new beginning of life, and hope, and GREAT (unenclosed) feature is important, but best of all ... children like Speed either the Great or Choir. There are two oc- Open Diapason 8' Drills. They should be used at the first lesson, and the love, that we may sing as it were, a new taves or twenty keys. While Drill No. 3 I know that any 8' Dulciana should set for daily OPPORTUNITIES song. Amen. hymn may be played on them within the given pupil have a home practice. For stressing rapidity Melodia 8' range, I would playing the keys very much like to know if Octave 4' is re- there is a book that contains notes to SIGHT- PLAYING becoming more and more of a guide Flute d’Amour 4 one in the use of the chimes. In quirement of pianists, and students at the very start, should passing a Fifteenth 2' The Teacher’s neighboring church I have heard be trained to attain it. Speed Drills will lay the foundation ... in thee 1/V]u6icv luSic several chime SWELL (enclosed) V 3ie(d tunes,” but have been able to for proficient sight playing. memorize only Lieblich Gedeckt 16' a few phrases, and this church has dis- ' Round Table now Open Diapason 8 ADVANCED continued the chimes so I Drills COURSES OFFERED BY THE am unable to re- GET YOURS TODAY — Speed may be obtained Salicional 8' ( fresh my memory from that Continued from Page 488) source. Could you Aeoline 8' from your local music dealer, or send direct to us, the pub- tell me if such a fdrmula exists, and where UNIVERSITY I Lieb. Ged. unified 8' lishers. Complete set of 32 cards with instructions, only 50c. EXTENSION CONSERVATORY may procure it? E. M. B. Book” by the same author; it is planned — Stopped Diapason 8' Drill No. 4 for the "after kindergarten” age child, Orchestral Oboe 8' A t is For stressing rapid BY THE HOME STUDY METHOD unfortuna te that the books which 8' vis- and can be \i x. Vox Humana JENKINS MUSIC COMPANY, Kansas City 6. Mo. used equally well for class would help you in this ual, mental and muscu- matter seem to be out Flute Traverso 4' or individual instruction. of print. lar coordination Other valuable At one time the publishers of The PEDAL (unenclosed) Music has always ranked high Etude carried in among professions. There is materials are the following ones: "Note stock several books published Bourdon 16' in England giving large Games” for the piano beginner, As- varieties of “changes,” Lieblich Gedeckt (duplexed from Swell).. 16' never an overcrowded field the well trained by as these tunes are for musician. called, but they cannot be Usual couplers and accessories. P. trid Ramsey: “Little Players,” by Robert procured — A. P. Protects at present. Most of these used the music from Sheet Music • Interesting positions Nolan Kerr; Mathilde Bilbro’s “First numerical system, Keep EVERY of are open in every part of the field. very small cost and no interference with numbers 1 to 8 represent- A. The Great Organ specifications impress dirt or your mg the 8 Schools and Colleges are it Grade Book for tones of the diatonic scale. It is damage. making necessary for every regular work, you, easily and quickly can qualify the Pianoforte”; Bernard just us as very excellent, and the tonal qualities of at Your Finger-Tips teacher possible your local library, or the • to be equipped for his work; the Radio is calling for higher and more profitable Wagness’ “Piano Course,” book one. And library in the Swell are first class, except that there positions in the New York City, Richly styled. TONKabinet drawer-trays per- for highly specialized training, would have some of these should be other 4' or even 2' stops to brighten and standardized teaching musical world. finally, do not fail Beautifully mit easy filing to investigate Theo- books on their shelves, ; keep sheet mu- makes competition from which you could the effect of so many of the 8' variety. We crafted. keen even in small communities. dore make notes. sic neat, orderly, safe, find- Presser’s “School for the Piano- If this search proves fruitless, 4' 2' • suggest the addition of a Violina and a able. Every sheet is always at forte,” there seems to be no alternative By makers Are you an ambitious musician? DIPLOMA OR BACHELOR'S DEGREE Volume one. This time-tested be- than to “in- Flautina to the Swell Organ. It might also not of your finger-tips. At your deal- vent your own tunes. Nationally ginner’s book covers all elementary work be amiss to add an S' stop to the Pedal, such er’s. Tonk Mfg. Co., 1980 N. A successful musician is Known Tonk most always a busy one. Because We help you to earn more and to prepare for as a Flute. Magnolia Ave., Chicago 14. bigger from the first Furniture. of this very is lessons up to, but not, in- Q. fact it almost impossible for him to go away things in the teaching field or any We have a gift of $10,000 for an organ for branch of the cluding a for additional instruction; yet he always finds time to the scales. It has questions, an- new $150,000 church, with a seating musical profession. We award the Degree of capacity Q. Please send me a list of persons having swers, little dred and • broaden his experience. To such as these our Extension Bachelor of Music. With diploma tunes with an extra part for ]}™ fifty The building will be organs available. Would prefer a pipe organ, a or Bachelor’s finishedV this summer, Courses are of greatest benefit. the teacher (children and it seems impossible but with a very small home I am afraid it Degree you can meet all competition. love that, it makes to get a new organ at this time. We have an would have to be too small to be satisfactory. TONKahinets them feel like “they’re eT doing some- organ, to Digging out for yourself new ideas r (M°n be installed Our church is having our present organ mod- thing!”). Now regarding jor $10 000. 1 haven't for the betterment of your students -Fill In and Mail This Coupon'-- your last ques- seen it, but it is a two- ernized, electrified, with a new console—total tion: manual, unit type UNIVERSITY EXTENSION CONSERVATORY. Dept. left-handedness is no handicap at instrument, and is supposed cost of $6,000. Would you consider that price is a wearisome time-taking task. A-591 to nave for Sheet Music 765 Oakwood Blvd., Chicago, Illinois. all! the following speaking stops: Pedal about right? When you can affiliate with a school I’ll put it this way: the left hand Bourdon, Pedal Sub-Bass. Violin, Viole Celeste, Please give me any suggestions along the 3 ' 0 i,,ustrated lessons is always recommended by thousands of suc- ®' ' and fuil information a problem regarding course to piano students; it ., Tlb 'a. Dulciana, Tuba, I have marked below! Vox Humana, line of specifications you deem necessary to cessful teachers, you may be sure lags behind, and requires Clarinet, Oboe, Harp. Chimes. Piano, Teacher’s Normal Course special, ade- change or add to same. Present organ specifi- that their confidence your Harmony Violin I am. not the justifies Piano, Student’s quate practice; but in organist and would have little cations listed. M. P. U Course Cornet—Trumpet the end it equals occasion — confidence in new ideas for your Public Guitar to play the organ, School Music— Beginner’s Advanced Cornet the right hand. Well, but I am preju- * Mandolin just substitute diced against work which we make available to Public School Music—Advanced Voice the installation of a theater type A. Your best plan would be to write to the ~] Advanced Composition Saxophone right for left, and the organ in a you. Choral Conducting question is an- church. Xt is my opinion that al- manufacturer of the organ mentioned, who Ear Training Cr Sight Singing ] PIANO MUSIC Clarinet swered. tnough NEW n Reed Organ the pipes were all revoiced, will History of Music we still doubtless be able to put you in touch with ] Dance Band Arranging Banjo would not have a suitable instrument. I am someone having a used instrument for sale. Look back over the past year! What n<>t favor °f buVin 9 d used organ at The address is being sent to you. We are also progress have you made? Name Adult or Juvenile all^ Contemporary Composers Series giving you the names of a few makers of We have' If you are ambitious to make further Street No a two manual reed organ with a small pipe organs. Schools—Colleges good blower, progress, which I believe could be ampli- It would be difficult to pass opinion on the enjoy greater recognition, jiea City electrically and used for a validity of the charge and increasing financial returns, then State year or two mentioned, without a Artur SCHNABEL Are you teaching until we can now? If so, how many pupils have you? SCHOOL purchase a new organ. I would knowledge of all the details, and while it may you owe it to yourself to find out OF appreciate Piece in Seven Movements Do you hold a Teacher’s Certificate? Have your opinion. Do you think it would seem a little high, we assume that you are |.25 you studied Harmony? CONVERSE MUSIC be what this great Home Study Musical COLLEGE satisfactory to install Would you like to earn the Degree of Bachelor of Music?. Edwin Gerschefghi. the above organ? dealing with an established reputable firm, in Organization Dean, 8partansburg. 8. C. Should has to offer you. At we be satisfied with the average used which case you may fairly assume the charges Eiie SIEGMEISTER OTgan if we could Department of Music find a concert type instru- to be reasonable. To modernize and electrify KNOX ment. If Sunday in Brooklyn Galesburg. Illinois we bought an outmoded organ, would an old organ, including a new console, is quite | .25 Thomas W. cost COLLEGE Williams, Chairman of reconditioning and installing be com- a large undertaking. Your specifications seem the University Catalogue sent upon request. Extension , 6 *° cost of a new organ? fairly adequate for a small organ, Joseph WAGNER Cy-' o n mmk Do you but if you ndervatoriA CONSERVATORY we could get along with the reed organ contemplate adding anything we would sug- amplified? so, Dance Divertissement 7 6 5 OF MUSIC If could you suggest some ma- gest including in the Great a 4' Octave stop, | _Q0 OAKWOOD Millar, lie*. BLVD. (DEPT. A-591), SHENANDOAH Wad* E. lenai that CHICAGO 15 ill would explain the method of con- or 4' Harmonic Flute, and on the Swell an 8' .. Courses leading to verting the reed organ? the S and Would it be possible Salicional or an Oboe in case the Viola re- B. _ - B. Mus. Ed. degrees. Kates EDWARD MARKS MUSIC first for work on the routine for that When Stainer and Amati half-time performance. CLASSIFIED ADS Vibliiv Questions WANT TO BE This initial appearance should make maneuvers smartly ex- Violins Breught More Than use of simple UNWANTED MUSIC exchanged can be memorized YOUR A MUSIC TEACHER? ecuted and music that piece for piece, 5* each; quality matched, and well flayed by the entire ‘ band. Burpee's Specialty Shoppe, Delton, Mich. you Those of Stradivarius alia breve How many times have There are many Grade II HARMONY, Composition, Orchestration, JL^rJ Ly HAROLD BERKLEY you could are rhythmic and sonor- Musical Theory. Private or Correspondence wished that ( Continued from Page 501) marches which Instruction. Manuscripts revised and cor- technical problems will be answered in 7'HE ETUDE unless accompanied by the name teach piano? ous, yet present few rected. Music arranged. Frank S. Butler, NVibrato West Virginia. Thank you very much more rapid passages, vibrate every note that is string instrument which executed tions. Money back guarantee. Richard J. L. S., You can in not too long a time, become Another plucked teresting in themselves and if glad to state long , Mayo, Piano Technician, Dept. 003, 1120 for your cordial letter. I am very enough to permit it, even if it is only an Paris is one of the leading teachers in your com- is likewise much in vogue in four times, as we did in teaching them, Latona Street, Phila. 47, Pa. that the July 1944 article on the Vibrato will eighth note in a passage of sixteenths. The munity. the harp, particularly that kind which have a great deal of audience appeal. We very likely be reprinted in the October issue. artists you mention rarely if ever stop their YOUR SONG Professionally Harmonized say the vibrato is essen- vibrato, is equipped with pedals which make it left fours. For now I can only though sometimes they use very little. This course is an intensive individual will call these right fours and and Arranged. Free Publishers' List. Write tially a rolling of the fingertip on the string. The artistic use of the vibrato is an absorbing training on the ART OF PRESENTING the chromatic and which produce a tone The military countermarch also is well for Details. H. Saffran, 512 Urban Ave., Glenolden, Pa. The important element is that the rolling must study, and a rewarding one. Too many violin- steps of musical progress, strings played upon, pre- points, in the higher than the worth seeing If done with snap and be made along the length of the string and not ists are content to have just one vibrato, not so that the results are so positive that this producing all the semitones and the cision. By executing the countermarch MUSIC TEACHEHS — Extra Copies of across it. I shall have more to say on sub- realizing what an addition it would be to their immediate success is assured, in- your musical writings, low cost. Musicopy before long. your B fiats. The luthiers of Paris were first rank lead the band ject expressional technique if they could vibrate and having the Service, Box 181, Cincinnati 1, Ohio. stead of having to have years of experi- faster, slower, narrower or wider, according to eminently successful in the manufacture into a second countermarch at the in- ence before results are satisfactory. PROMOTE YOUR SONGS, Professional Information the demands of the music. I liked your letter, of this instrument. It is almost 36 years last ranks are parallel, No stant the first and Copies, low cost. Musicopy Service, Box Sister M. H., Iowa. The transcription you sent for it brought some interesting and valuable This course has been developed by Mr. since this pedal harp was invented by a series of endless chains is formed which 181, Cincinnati 1, Ohio. of the violin label is unintelligible to me and points, and I like your approach to your play- Gillum from thirty-six years' experience ing. one of our Italian countrymen named is a surprising spectacle to the audience. to an expert to whom I showed it. He thought Keep on studying with the same per- in teaching of pupils and SLIGHTI,! USED CLASSICS (Vocal, In- thousands might possibly be a copy of a label hand- severance and intelligence. I think you have a Petrini, who was a very skilled player And too, this looks like a different strumental). Back Popular Music to 1850. it training teachers. future ahead of you. Lists 10c. Classics Exchanged For Old written in old German script and which had on this instrument. maneuver when the band is facing the Popular Music. Fore’s, 13-3151 High, Den- faded with the passing of years, but he insisted Remember that opportunity knocks all the audience, than it does when facing ver 5, Colorado. this guess. I sorry I cannot the time (instead of only once) for the that was only a am Building a Technique end of the field. We will call this the give you more detailed information. D. D., Saskatchewan. To answer your last individual who has been trained and ac- LEARN PIANO TI MNG—Simplified, au- Teaching Marching Band countermarch. question first, I certainly do not think you are complishes outstanding results. continuous thentic instruction $4.00—Literature free. too old to resume violin study with a view to PERFECTED To the rear, with the entire band, is Prof. Ross, 456 Beecher St., Elmira, N. Y. Mezzadri Violins Write for particulars and ask any Miss T. G., Illinois. Although you have not taking a degree. But it would mean hard and a maneuver which always catches the question that you wish. Fundamentals FOR SALE. Fine Lyon and Healv Harp, spelled the name quite correctly, I think you consistent work. However, that too will be fun and Bass Viol. Nels liemlin, audience by surprise and it can be varied Write Rea refer to Allesandro Mezzadri, who worked in for you, for you evidently enjoy studying. I ( Continued from Page 499) Wing, Minn. Great Artists want and need the very finest Available only at the by having each file or combinations of Ferrara, Italy, from about 1690 to about 1732. wish I could suggest “an exercise or two” which would help you to play such pieces as Kreisler’s strings made. And Jascha Heifetz, like other files executing at intervals of four counts ITALIAN VIOLINS: Two Primo Conta- He was a fine workman whose violins are rarely valli 1930-32, genuine, perfect condition, seen. usually chose good wood, and the Caprice Viennois, and the Moto Perpetuo of uses CURTIS MORIN GILLUM The Minstrel Turn in the music. He great musicians, Armour Music Strings! or at designated measures large rich, smooth tone. Professional Ries. To play these or any comparable solos varnish is excellent. Today his violins bring Heifetz knows that all Armour Strings give a Xl-> is our available material? bargains $300 each. Larsson, 4 0 Lloyd, MUSIC STUDIOS Now what from $1000 to $2000. But I have to tell you that well, you must build up your technique all San Francisco 17, California. pure, clear tone . . . are truly uniform, with less t 1. Right Flank a Mezzadri label is often to be found, variously along the line. There is no short cut or royal 37 South Thirteenth Street 1 road. In addition to the Rode “Caprices,” you than 1/1000 inch variation . . . have longer X-> 2. Left Flank FINGER GYMNASTICS, save hrttirs of spelled, in instruments that are not genuine. Indiana x2—> “20 Richmond, practice, few minutes daily from So I cannot tell you anything about your violin. should study the Brilliant Studies” of life, due to quality of materials and proper 2 3. Right and left flank simultaneous- away Original New instrument, eliminates stiffness, gain Dancla, the Op. 35 Studies of Dont. and the P.S. Our last Concert using twenty-one I T aging and seasoning. Rigid quality control— Direction Direction ly with a divided band. speed; transposing system, play in all “First Thirty Concert Studies” of De Beriot. presented two nights to 1 X— X pianos was an ^3^ keys, $1. Felix About Sanctus Seraphin from field to finished product — makes Armour 3 4. Right Fours both De Cola, 736 N. Mar- With these, you should work on Parts III and audience of five thousand people. t t tel, Los Angeles 46, California. J. H., New York Sanctus Seraphin was bom IV of Sevftk's Op. 1. And, of course, scales, Music Strings the finest! T 5. Left Fours in Udine, Italy, in 1699, but moved to Venice in X—> X X more scales, and yet more scales, until it is x4-+ 6. Right and left fours simultaneously VIOLINISTS: Know the wonders of PAT- 1717 and died there about 1748. He claimed to The perfection of Armour Strings is the 4 3 second nature for you to play them accurately 2 1 MOR TONEPOST, (installed. $10.00, re- be a pupil of Nicola Amati, well have 7. and may result of six important steps: Getting Military countermarch fundable). Patmor, Zion, 111. and brilliantly. You have a hard and rather (1) o-o- rr o- rr-v. been, for his model is often the “grand pattern’’ 8. Continuous countermarch long road ahead of you, but I am sure you can finest raw materials; (2) Protecting quality # Execute for the minstrel turn to the Amati. He was one of the finest Venetian r.NEW CHOIR LEARN PIANO TUNING AT HOME. reach your goal. by constant refrigeration; Controlling right: The command is given on the left 9. To the rear and variations Course by Dr. Wm. Braid White. Com- makers and, indeed, ranks among the great (3) § ANTHEM CATALOGOG 3 10. plete with necessary tools. Lecture Beat masters. His wood, varnish and workmanship quality by laboratory tests; Precision foot and the count is thus: Column The minstrel turn — (4) recording, text book. etc. Total cost $50. Cleaning the Violin Choir Directors, Ministers— It begins to look encouraging, are superb. As you are a regular reader of The splitting of gut; (5) An exclusive Armour ^ right two! March tioo! Turn! Two! Turn! doesn’t Pay as you learn. Write Karl Bartenbach, C. A. B., Pennsylvania. The firm you men- Send for Etude, I don’t need to tell you that there are your free octavo anthem it? Our next article will explain in de- 1001 A Wells St., Lafayette, Ind. tion puts out an excellent preparation for clean- tanning process; (6) Polishing to exact di- I ^ Two! Turn! Two! Turn! Two! Number many violins bearing Seraphin’s label, which and choir book catalog containing a ing and polishing violins, and I advise you to mension desired. When you specify ^ 4 executes a right flank on the first tail how to set up a full half-time drill were made long after his death. Armour list of new anthems, standard anthems, If use it. Certainly do not use lemon juice, or, Strings, know you are Turn! Number 3 does the routine with music and the playing of you getting the best gospel hymn anthems, etc. same on the for that matter, any plain oil. The varnish on 4 the formations sequence type of Teaching Material More Musicians use Armour Music because no other manufacturer duplicates “•| second Turn! Number 2 on the third program. a good violin is as sensitive as the paint on a SENDTODAY! K. D. G., Pennsylvania. On the Violinist’s fine picture, and is as easily damaged. It should Strings than any other brand the Armour process of perfecting strings. The RODEHEAVER HALL-MACK CO. Turn! and number 1 on the fourth Turn! Forum page in The Etude for February 1945 be cleaned only with a preparation intended Consequently number 4 will pass behind LEARN there was a detailed discussion of a course of I; CHOIR CATALOG DEPARTMENT "SWING" MUSIC for that purpose. I number 3; number 3 will pass behind Quick course to players of all instrument*—make your teaching material from the beginning stages 147 Ninth St. • Winona Lake, Ind. The Music Educator Meets own arrangements of ‘'hot” breaks, choruses, obbligatos, embellishments, figurations, blue notes, whole etc. through to Paganini. If you do not possess this Quality Controlled by number 2; and number 2 will pass be- tones, ARMOUR MODERN DANCE ARRANGING issue, you may be able to obtain it from the An Outline of Material hind number 1. Duets, trios, quartettes and ensembles special choruses Miss M. P., Pennsylvania. — publishers. Or you could, I sure, find it in For young chil- —modulating to other keys suspensions anticipations am the Music Dealer — — dren, a very good beginner’s method is the HARMONY BY CORRESPONDENCE When drilling this with more than one —organ points—color effects— swingy backgrounds— the Public Library of your home town. special Henning Violin Write today. Maia Bang Violin Course, Book I. Also excel- A greatly simplified Course successfully used for rank be sure that each executes man at ( - . Continued from Page 498) ELMER B. FUCHS lent is Peery’s First Credit deep Mellow - soulful IVilliam. a number of years by the School Music Temple Rob Roy “Very Violin Jy andSon of of 335 East 19th St. Martele Spiccato the For a limited time you can pur- exactly the same point as his file leader. Brooklyn 26, N. Y. and Bowing; Vibrato Book.” For older children, the Method On University, Philadelphia. by chase this high-grade violin, with 207 supplies and instruments. M. F. R., Indiana. Your understanding of the South Wabash Ave.—Chicago 4, III. For particulars write to the Author: You will note that the numbers in each Nicholas Laoureux always produces good re- the qualities of the finest, at a price martele bowing is quite correct: The pressure SPECIALISTS IN VIOLINS, BOWS. REPAIRS, etc. The music merchant of the future sults. Along with these you can use “Learn far lower than ever asked for such an EMIL F. ULRICH. M.B. rank are reversed when the movement is must must be applied to the bow before the stroke instrument; made possible by our WRITE FOR INFORMATION 233 Roberts Ave., Glenside, Montg. Co., Pa. with Tunes,” by Carl Grissen. and “A Tune a many years of experience completed, making this an ideal turn to become more and more concerned with Send Sl.00 for begins, and relaxed at the moment the bow in violin PUBLISHERS OF "VIOLINS and VIOLINISTS" Former Aasoociotr Dean of the School of Mimic of Day,” by Paul Herfurth. Following these, for making. Satisfaction guaranteed. RHYTHMIC DRILLS vBKsflT wivriffri*p America's only journal devoted to the violin Temple University. use in conjunction with the military the aspects of music and its influence as moves. At the end of the stroke, the bow should GUSTAV V. HENNING technical development, you can use the first fleror Specimen Copy 35<—$2.50 per year. be resting lightly on the string, certainly not &Information Box 405. Belfalr, Washington countermarch. an asthetic and cultural contribution to RHYTHM LESSON ONE BOOKLET book of the Wohlfahrt Studies, Op. 45, and the gripping it. The pressure is applied again after After drilling these movements his community. It is only by such phi- and 28 Melodious Studies by Josephine Trott. Lit- with the bow has stopped If it is applied moving. tle solos in the first position are legion, and 250 GENUINE VIOLIN LABEL FACSIMILES AND BRANDMARKS Make THE ETUDE Your Marketing Place the full unit, we replace the verbal losophy that he can understand the r EXPLANATORY BOOKLET while A Large Collection Of Fine or the important each com- needs the bow is still in motion, the result will most Makers— marked as to Nationality, I suggest that you write to the publishers of Color of Varnish, and Price Range. This Etude Advertisers Open the Doors to Real and problems of be that newly published mands with the drum major’s whistle his associates—the music chopped -off, “dead” quality you dis- The Etude, asking them to send you some on booklet is the “one and only” of its kind, and is a must I EFFA ELLIS PERFIELD VIOLINS Violinists, Dealers, A for and Collectors. An authentic guide Opportunities like so much. With the bow still, and resting signals, add the drums and we are ready educator and teacher. 103 East City approval. (2) The Fiorillo Studies should fol- Old & New, With Concert Tone to the identification and value of old violins. Price S2. W 80th St. (Park Ave.) New York on the string SUBURBAN MUSIC STUDIOS with only its own weight, it is a The music educator low Kreutzer, but the Dont Studies, “Prepara- 643 St uyvesant Ave. and the music simple REDUCED 40% Irvington, N. J. matter to skip strings without sound- tory to Kreutzer,” are exactly what the name merchant must integrate and coordinate ing the intermediate are Send For New List. string. (2) There two implies—and a very excellent book it is. their efforts in such a manner that the things you can do to increase the “bite” in your FRANCIS DRAKE BALLARD LESSER MASTERS WITH TONE citizens of their aaaaHBHHflHBaaHg^aMHiaaa spiccato. One, hold the bow so that the stick Collector-Dealer Inexpensive and tonally good hand-made fiddles. Books on community will profit Unknown Maker violin invaluable is vertically 50 Chippewa the for technique, general fiddle knowledge above the hairs; two, alter the di- Virginia. Experts I Rd. Tuckahoe, N. Y. and connoisseurship. from such action. It is not a question of H. J. A.. to whom have Antique musical instruments. Lists free rection of the stroke so that it is not exactly in spoken know nothing of a maker named Carlo Houghton Music Co.. 4; New Burner St.. Newcastu on Tyhe. Emg'. one teaching music and the other selling another line with step forward in the fulfillment the bow-stick but slightly across it, Pirandelli, but they suspect that it is a fake it, but rather a program whereby almost as if you were to cross strings. both of their mutual responsibilities; namely, going name used by some German factory. The name NOW AS NEVER BEFORE selling That is to say, there should a slight ver- — are and teaching it. The people of the further be of the town, Markneukirchen, on the label The violin responds to every requirement development of music educa- tical motion of the hand combined with the this out. the artist. Answering every community in America are depend- tion in bears of Etude Adver- the schools and communities of necessary sideways motion. You say you are Investigate today ent upon this mutual advice, counsel, and our familiar tisements country. With such cooperation with my “Modem Technique of Violin Decorated Violins ACOUSTHEORIST always pays guidance. 1391 6th Ave. N. Y. C. 19 The musical attainments and everyone Bowing;’’ well, if is certain to profit. Who knows, you will turn to Page 30 you I. M. B., California. I have never heard of If and delights progress of all will the reader. If communities depend upon perhaps some day our music merchants find this mixed motion described in detail. a Scottish-made violin with a dragon’s head. it. (3) The use of the vibrato is matter might well busi- so much a Almost all violins so decorated came from the (Tonepost) FIDDLERY, *;»"• be musicians as well as of PATMOR It is because of these personal taste and individuality of tempera- Tyrol. Some violins which have a lion’s head facts and the ness men. I know would be Offers 150 Violins at wholesale prices (many certified old of many who ment that it is masters). All fitted with PATMOR TONEPOST. great service to be impossible to lay down hard- or a dragon’s head are quite 'good instruments, Today’s JOHN MARKERT rendered to so many very world’s greatest musical sensation; now successfully ap- & CO successful musicians. In fact, I have and-fast rules. 141 But if you are playing a melodic but would be worth more today if they pos- plied to all bowed, blowed. percussion, and plucked musical WEST I5TH ST.. NEW YORK II, N. Y. people that the music educator and the often been inquisitive as to just why they passage your tone will have more life and per- sessed the conventional scroll. It might pay instruments. Guaranteed refund. Call or write now. VIOLINS OLD & NSW music merchant must meet and Expert Repairing. Send for Catalog thus take have not sold themselves a horn. sonality if you vibrate on each note, keeping you to have your violin appraised. I 530 "MUSIC STUDY EXALTS LIFE SEPTEMBER, THE ETUDE 1947 "MUSIC STUDY EXALTS LIFE’ 531 ! the passing of time the pedal Early musical instruments had no With grown in stature and importance. the first time, these immortal melodies are made available The Pedals—The Soul nf the Pianoforte sustaining pedal. Consequently the mu- has For music of the Romantic period re- sic was written and performed accord- The quires a great deal more pedal than EDITION FOR PIANO pedal is a SIMPLIFIED TEACHING ingly. Although the damper (Continued from Page 503) of the Classic School, while distinct asset of the modern grand the music will achieve a feeling of accom- of the Impressionistic and Modem These priceless melodies, familiar to everyone, have been and love, your pupils piano, it should be used discriminately that plishment at an early stage in their piano tuition. For This indicates that is inadequate without the ped- carefully arranged by Dr. Albert Sirmay to develop the tinctive, waltz style. in the music of the early periods. The periods Ex. 3 added enjoyment, this edition is printed with words and are its in technique and stimulate the interest of pianp beginners, punctuation and phrasing in music character and period of the music are al. Despite importance Romantic old. know large notes. of pedal. both young and By playing the music they also considerations for change the real considerations for pedal use. and Modern music, it must always be composition, applied with intelligence, discrimina- Kern The earlier the date of the MAKE BELIEVE - Kern SMOKE GETS IN YOUR EYES Ex.O for the the more sparingly the pedal should be tion, and a consideration exist- OH. WHAT A BEAUTIFUL MORNIN’ Rodgers OL* MAN RIVER Kern the moment. employed. It may even be beneficial to ing acoustics of ROSES OF PICARDY Wood MY BEAUTIFUL LADY Caryll it entirely. Music written in the modern and im- Gershwin omit THE BELLS OF ST. MARY'S Adams I GOT PLENTY O’ NUTTIN’ Pedal i a a a 1 Certain passages in slow movements of pressionistic idiom is based largely upon Rodgers SLEEPY LAGOON „ Coates THE SURREY WITH THE FRINGE ON TOP Bach, however, would sound illogical, color. By mixing and molding the preva- Direct-Pedaling dull, and pedantic without the support of lent nonharmonics of modern music with 35 cents each at your favorite music store or by direct order — piano is made to yield In direct-pedaling the pedal is de- In syncopated-pedaling the initial the damper pedal. Examples are the the pedal, the pressed exactly on the beat, simul- tone is augmented at the instant of the Preludes and Fugues in E-flat minor either the desired atmosphere of hazy, taneously with the production of the pedal-depression by the immediate sup- and B-flat minor, both from Book I of shimmering effects or the brilliancy of In dynamic, turbulent, and humoristic ef- • • tone. It is most effectively used in brisk, plemental vibrations of other strings, the “Well-Tempered Clavichord.” & tn., Ihl. RKO BUILDING ROCKEFELLER CENTER NEW YORK 20, N. Y. robust music for which it creates a musi- thereby creating a subtle accent. This these and other such instances the fects. Debussy’s La terrasse des audience Sole Selling Agents (or — T. B. HARMS COMPANY • GEORGE GERSHWIN PUBLISHING CO. • CRAWFORD MUSIC CORPORATION • WILLIAMSON MUSIC, INC. cal, rhythmical, or harmonic emphasis slight, delayed accent provides a perti- pedal should be used with discrimina- du clair de lune is replete with exam- and nuance. nent convenience in acquiring rhythmi- tion. A fulsome pedaling of contrapuntal ples. In Debussy’s La Cathedrale en- Beethoven, Op. 10, No. 1. cal nuance; at other times it may be a music would only obscure the clarity gloutie an exquisite and rather un- deterrant to the effect desired, in which and transparency of the moving voices. usual effect may be obtained by hold- "" Ex.4 have no effect on the damper retained case direct-pedaling is necessary. In On the other hand, slight, brief pedal ing the damper pedal down throughout The Soft Pedal TEACH Classical teachers ev- • sostenuto erywhere are finding r f- r- some instances it is even advisable when actions may enhance delicate running the first fifteen measures, thereby cre- in a raised position by the answer the prob- The soft pedal shifts all the hammers pedal. On some grand pianos the sos- the to possible, to depress the pedal before the passages, or assist the hands in fluently ating the misty obscurity necessary to MODERN PIANO lems of teaching popu- to the right so that only two strings of J tied right atmosphere for this tenuto pedal acts on all the keys; on lar music, in our mod- chord is sounded, such as at the begin- manipulating wide, awkward skips, establish the fay note . . . the the three-string combinations are ern, up-to-the-minute ning of a piece or where chords are notes, and so forth. The pedal is an in- piece. others, only as far up as Middle-C. two-string com- method. Based on sound struck. Where there are The sostenuto pedal is particularly use- CHRISTENSEN preceded by rests. valuable asset in sustaining bass pedal It would be a formidable task to dis- principles of music, it binations, only one is sounded, and in hinder Example: Beethoven, Op. 27, No. 1, points and insuring the organ-like ef- cuss all the manifold possibilities of the ful in sustaining low bass tones which will help, not the case of large single bass strings, the WAY classical studies. Fran- espressione. fects found in Bach’s music, particu- Its contributions cannot be held for their full duration in Adagio con damper pedal. principal chise contract will give hammer shifts off center. The tone is indicated larly in the organ transcriptions. Obvi- to a well-rounded performance are the any other manner. Its use, if you exclusive right to teach and advertise our naturally subdued and the tone-quality ously mordents must never be pedaled. enrichment and coloring of tone, the at all, is marked SP, or Sos.Ped. Pedal Editings and Markings method in your community, if not represented. sympathetic vibra- 43rd year. Write for complete details. En- In altered by the added Example: La Cathedrale engloutie, Our the music of Mozart, Haydn, and sustaining of notes not otherwise pro- for complete, 91 page instruction book. tions of the open, unstruck strings. This Since there is no universal agreement close $2 other early composers, the pedal may longed, the assisting of relaxation, re- Debussy. quality is reedy and ethereal In char- regarding a uniform system of pedal- be used for contrast, punctuation, and newed energy and the acquisition of fa- PLAY POPULAR PIANO acter. Operation of the soft pedal is markings, they are, for the most part, in sustaining passages of slow tempo. In cility. These factors and the numerous PROFESSIONAL much simpler than that of the damper misleading and confusing, and often in- LIKE A the music of these composers, however, it subtleties underlying the use of this pedal pedal and the application is less fre- correct. Even with a universal system, with our BREAK SHEET SERVICE waltzes in which it may be applied in the must never be permitted to mar the must be discovered and investigated by quent. It is never required alone, but if every detail and nuance of pedal ac- It brings you clever arrangements for playing extra three different ways shown below. Each inimitable clarity of the abundant pas- the pianist to develop and command their always in conjunction with the damper tion were noted, the music page would choruses of eight popular “hit parade" tunes. Gives of them results in a different, yet dis- sage work. artistic use. you breaks, novel figures and tricky embellishments, of helpful pedal. It should be applied only when be crowded beyond the point ready to fill in. Single copies 25c, stamps or coin. its intrinsic quality is desired or when interpretation. Frequently editors leave Send $2 for ten consecutive issues. the fingers alone are unable to bring the application to the discretion of the forth the desired tonal-quantity. The performer by simply inserting the direc- THE CHRISTENSEN METHOD S.B >- Suite 7 54, Kimball Hall, Chicago 4, Illinois application and release of the soft ped- tion—con pedale, which is much more al, when not left merely to the discretion In the following example a beautiful practical than over-marking. of the player, are indicated by the words echo-like background is created by ap- In The Etude for October a very in- For Perfect Control of Rhythm una corda (u.c.) and tres corde (t.c.) plying the sostenuto pedal to the silent- formative article by Mr. MacNabb upon respectively. ly-depressed chord. “Techniques of Damper Pedaling” will Due to the immediate quantity and Example: Ballade, Op. 23, No. 1, Chopin appear. —Editor’s Note. quality changes of which the soft pedal is capable, it is advisable to depress it at the beginning of a phrase or release it at the end, rather than to execute either operation in the middle. These sudden changes offer a means for creating sharp- The Practical Side of Piano Playing ly contrasted effects. In impressionistic music the soft pedal plays a large role in (Continued Page creating abstruse, atmospheric effects, . from 489) or in maintaining the characteristics of opulence while reducing the volume. to hear Godowsky, promising him a feast with his eyes on the keys, than to search Debussy indicates holding the soft all down of technical display. When the brilliant for it blindly. Concert ar tists— teachers —students — ALL Electric pedal throughout the Serenade of the say the sensational FRANZ performance was almost over, my guest I have pointed out that this sense of Metronome is a great improvement over Doll, even during passages marked forte. winding — said, “I thought you told me this was measurement, called by some, “kines- any other Metronome — no runs out. If the soft pedal is not fully depressed never down, no tubes to burn one of the greatest technicians of our thetic measurement,” is the development Clear, distinct clicks mark any tempo, the hammers will not shifted the Thompson be to this man hasn’t raised his of an exactly and precisely repeated from 40 to 208 beats per minute. To change John times. Why, position necessary for the correct action tempo, all you do is adjust the pointer. In hands yet!” habit performed always under the same a rich, handsome plastic cabinet 5" wide, in which they strike only two of the The pianist must also develop a sure conditions. Therefore, while practicing 4" high, 3H" deep, sealed and dust proof. and SHEET three-string BOOKS tones Accuracy guaranteed. Built to last lifetime. MUSIC while string a the third sense of distance. No technique will be for distance measurement of attack of the is left open to vibrate Order from your Muaio Dealer or mail coupon today sympathetically. secure as long as the performer has to keyboard, it is most important that at When this happens the third 113.25—110 volt SO cycla side of the look for the key he is going to strike. No all times the student retain the same string Only »]250 Mow -OvalLabLe will be touched by the hammer matter how near or how far the hand identical position in front of the key- 116.00— 220 volt 60 cycli On year written and the result will be a jangling, twangy 5 116.75-220 volt 50 cycli has to travel, there should be only one board. This is usually the E and the P guarantee. Oper- tone. etta only on 110 TO YOU OR movement from the “take-off’’ to the directly under the maker’s name on the volt, 60 cycle A. C. 10 ’DAY TRIAL “landing,” with no searching or hovering piano. Send No Money on the way. It should not be long before This is absolutely essential for good Franz Mfg. Co., Inc., Dept.E-9/47. YOUR DEALER The Sostenuto Pedal 53 Wallace St., New Haven 11, Conn. student can strike the keys practi- sight reading, as well as a great help the Send the FRANZ ELECTRIC METRONOME The sostenuto pedal sustains selected cally blindfolded. By playing from memo- in performance, when the slightest thing —and I’ll pay $12.50 on delivery, plus shipping charge. If, after 10 days’ trial, I am not com- tones without any action ry and keeping the eyes away from the may distract the eye. Also in perform- •com on other tones pletely satisfied, I may return it for refund. t Played after its depression. It is de- keyboard, the student will develop his ance, there will be no necessity to keep pressed for keyboard. To the head bent and the eyes glued the Name immediately after the selected sense of feeling the to (Please Print Plainly) tones are played, and the dampers for search for a chord will only delay this keyboard, and this will bring freedom Address these tones will remain off the strings development, and create a harmful hab- and relaxation. All skips, chords, and WILLIS as long as the student is not sure of what octaves depend on this security. 7U the pedal is If it it. When And City MUSIC CO. kept down. Zone State is desired run, or a note it Is all unnecessary If you enclose 124 EAST FOURTH STREET, to sustain subsequent tones, follows—a chord, a — movement must be check or money order for $12. 50. we pay CINCINNATI 2, OHIO shipping charges, same 10 day return privilege applies. the damper pedal must be used. It will better to consult the music and find it avoided. 532 "MUSIC STUDY EXALTS LIFE’’ SEPTEMBER, LIFE” THE ETUDE 1947 "MUSIC STUDY EXALTS 533 Chicago Symphony Orchestra, of which carried on into the early part of 1945, MUSIC READINESS PROGRAM Dr. Rodzinski is the new conductor. when he suffered an attack of pneu- monia. Rudolf Breithaupt was born in By Sisfer M. Xaveria, O.S.F., Mi/s.M. PIANO -EXCELLENCE -PRIZES ALEXANDER SMAL- Brunswick in 1873. After studying at the of Music LENS, well known opera Leipzig Conservatory, he became a lead- How the great DIPLOMA WINNERS—to Each of the FIVE MOST OUT- READINESS Is 1 ARTIST The World The MUSIC PROGRAM STANDING, (a) A $250.00 Cash Prize, and (b) Round-Trip Fare to New and orchestra conductor, ing piano pedagog and writer on musical York City and (c) An audition Before an Artist-Judge of international Intended to build up musical concepts and as MOST OUTSTANDING, (d) Another or repute, and to the ONE Chosen experiences necessary to comprehend the has been appointed mu- subjects. composers / $250 Cash Prize, and (e) A Debut Appearance in New York. to Each of the TEN MOST sical director 2 COLLEGIATE DIPLOMA WINNERS— many abstract ideas implied in the study of Radio Guild OUTSTANDING from Coast to Coast a Cash Prize of $100.00. to Each of the 20 MOST OUT- Everywhere” City Music Hall, to suc- 3 HIGH SCHOOL DIPLOMA WINNERS— “Music News from of music, and to develop fundamental WALTER DONALDSON, song writer who STANDING from Coast to Coast a Cash Prize of $50.00. created their Diploma playing and reqding habits. This program ceed Charles Previn, who RULES GOVERNING ENTRY composed many hit times, including My has resigned to return School, Collegiate, is designed to develop the following readi- to 1. A SUPERIOR RATING from the Judge as a High Blue Heaven, My Buddy, and Mammy, Winners or Artist Diploma Winner in the 1948 National Piano Playing Auditions Hollywood. Mr. Smallens immortal music nesses: died July 15, at Santa Monica, California. shall be required of each entrant. , _ . of One or Two 12-Inch Phonograph Records National Orchestra, Sir Thomas Alexander is widely 2. Submission for judging at Los Angeles, French known for his of contrasting style, COLLEGE 1 Readiness in ihe of the Entrant s playing of from 2 to 4 compositions PEPPERDINE ) Keyboard Smallens of Jose Iturbi, Otto Klemperer, conducting in the at least one of which must be by an American Composer. Choice a permanent Beecham, oper- California, is inaugurating 2) Rhythm Readiness numbers left to Entrant...... atic, CLARENCE LUCAS, Entrant, Andre Kostelanetz, Stanford Robinson, orchestral, ballet, and motion pic- widely known com- 1948 3. EACH RECORD shall bear the name and address of the part of the Division of opera workshop as Playing Readiness and the name and address of his teacher. . Dr. Malcolm Sargent, 3) ture fields, and has poser, conductor, and writer on musical THE _ ^ out- Manuel Rosenthal, just finished a series NATIONAL 4 An ENTRY FEE of $2.00 shall accompany the Records of Each Fine Arts. The hew department, the Records shall become the property of the Guild and in no Betty 4) Singing Readiness of guest appearances subjects, died July 1 in Paris, aged B Entrant. All operatic produc- Robert Casadesus, Hiunby-Bee- at the Lewisohn PIANO-PLAYING case be returned to the Entrant. growth of experimental EACH ENTRANT shall be sent by parcel post Marjorie Lawrence, Nino Martini, 5) Visual Readiness Stadium, New York City. For a eighty-one. A native of Niagara, Canada, 5 THE RECORDS OF undertaken at Pepperdine last cham, number AUDITIONS (prepaid) to GRACE WHITE. 527 West 121st Street, New York, New York, tions Torsten Ralf, Jenny Tourel, and Patricia 6) Aural Readiness of years he was musical director of the Mr. Lucas had carried on musical activ- by NOVEMBER FIRST, 1948. spring, is under the direction of Dr. Ian Musical ",F announced by December First, 1948, (Madeavailable through 6. ALL P-E-P WINNERS shall be Philadelphia Civic Opera ities in Toronto and London. From 1908 published in the 1949 Guild Yearbook. Travers. 7) Reading Readiness Company and the cooperation of Busi- in the Musical Courier and Alexander. PIANO-EXCELLENCE-PRIZES shall be awarded the Winners as was largely to 1922 he was active in the United Patron Members of 7 Muscular Readiness and responsible for the successful ness special Christmas presents by December 24th, 1948, except the Grand 8) presented States. the National Guild of Prize for the Most Outstanding Artist Winner, which will be THAT there is a genuine demand by Coordination career of this organization. He had contributed valued ar- in New York City. Piano Teachers.) publicly at the Debut Concert THE NEW YORK V.T.G. ticles to The Etude. Londoners for opera, in English is proven Workshop Viola, Vio- Box 1113 (Violin, and by figures released for the attendance at The MUSIC READINESS PROGRAM, TEACHERS Austin, Texes DARIUS MILHAUD’S “Opus American- NATIONAL GUILD OF PIANO loncello Teachers Guild) the first season given by the New Covent adapted to various age levels, simplifies um, No. 2,” conducted by Alexander held a reception in By FREDERICK DORIAN Garden Opera Company at the Royal both the teaching and the learning of Smallens, was given its New York pre- in honor of its May Six music. It transforms task Opex-a House, London. operas were the of early mu- miere early in July, when it was played Competitions ATLANTIC CITY, NEW JERSEY president, Louis In this unique hook an eminent new total of seventy-two perform- sic teaching into pleasure for the teacher, given a by the Philharmonic-Symphony Orches- musicologist, author of History Persinger. This event of ances, with an average sale of 1200 tickets and affords happiness to the child while tra on the French program at the Lewi- Music in Performance, shows the Student residence of Mihich School of brought to a close a A PRIZE of one hundred dollars is offered he is acquiring the skills necessary for play- for each performance. The American sohn Stadium. by Fischer & Bro., under the auspices inspiration and creative work be- Music. Piano, Voice, Violin, Cello; Paint- busy season in which J. singers, Doris Doree, Edith Coates, Vir- ing and reading music. of the American Guild of Organists, to hind the world’s great music. a number of interest- ing and Ceramics; also facilities for ginia MacWaters, and Jess Walters have the composer of the best composition for Scores of sketches, treatises, es- • Music TOE SAN CARLO OPERA COMPANY will ing meetings were held. My Picture Book.... 60^ says, autobiographies and letters courses. years up. all been offered contracts for next season. the organ submitted by any musician re- academic Ages 14 world • open a three-week season of opera in Leading figures in the musical My Music Color Book 65c siding in the United States or Canada. The —all written by the composers Supervised recreation. Excellent cuisine. addressed the various sessions and led Chicago on October 6 at the Civic Opera themselves furnish rich material FRANZ BODFORS, Associate Professor • My Music Letter Book 60c deadline for submitting entries is Jan- — House. Fifteen different will illuminating analysis September 15th. Write for in discussions of problems vital to teach- operas be uary 1, 1948, and full details may be for an of Fall term of Piano at De Pauw University School • My Music Note Book 75^ ers of stringed instruments. Included performed, including Wagner’s “Lohen- secured by writing to the American Guild the creative procedure of music. descriptive booklet. of Music, Greencastle, Indiana, recently • Music and Guide Book $1.00 among the speakers were Samuel Dush- grin,” an English version of “The Bar- of Organists, 630 Fifth- Avenue, New Virgil Thomson calls this book concluded a series of five piano recitals Postage extra York 20 N. Y. “warm, friendly, almost poetic.” Henne, 3001 Pacific Avenue kin, Hugo Kortschak, Dr. Ernest E. Har- tered Bride,” and Moniuszko’s “Halka.” , Mrs. Wm. given at the school. Included in the series ris, William Krevit, Dr. James Mursell, Samuel CholzinofT, Manager, Musical Divi- were a recital of Brahms’ works, one of Circular on request sion of NBC: “An absorbing book . . . and Elizabeth Gest. TOE TENTH ANNUAL Bach Festival at A FIRST PRIZE of one thousand dol- compositions by Schubert, one of Mozart’s should be of value to music lovers, espe- lars, and a second prize of five hundred Published by THE SERAPHIC PRESS Carmel, California, was held July 21 to cially to composers who are eager to know works, one representative of the Roman- dollars, are the awards in a composition the methods and habits of work of the 1501 So. Layton Blvd., Milwaukee Wis. 27, under the direction of Gastone Usigli. COLLEGE “1DOMENEO,” an opera by Mozart, ticists—Chopin, Schumann, and Liszt, and 4, contest announced by the Jewish Music great masters.” CHICAGO MUSICAL The seven programs included two organ President never before given in this country, al- Council Ziegfeld RUDOLPH GANZ, a program of twentieth century com- Awards Committee, sponsored With 16 pages of illustrations include Founded 1867 by Dr. F. recitals, six considered one of his the Brandenburg Concertos, ing annotated scores and sketches il- CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. though by many as posers. by the National Jewish Welfare Board to and the Mass in B minor. luminating the working methods of the of North Centrol Association and National Association of Schools of Music greatest, was performed by the Berkshire encourage composers “to write musical Member composers . ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS Music Center in August, at Tanglewood, Cosmopolitan works of Jewish content and which shall THE ROMAN SINGERS of Sacred Music, At all bookstores • §4.00 St., Chicago 5, Illinois SCHOOL OF reflect the spirit and tradition of the Address Registrar, 60 E. Van Buren Massachusetts. The opera was directed a male chorus of fifty-four voices selected V, MUSIC THE SOCIETY OF ST. President Jewish people.” The closing date is Sep- conducted Boris cW^ CLARENCE EIDAM, GREGORY OF AMERICA and by Goldovsky, head from the four Vatican Choirs, is making ROSSETTER Dean HARPER & BROTHERS COLE, tember 1 1947. contest is to ) The open of the Opera Department of the Berk- ^th year. Accredited. Offers courses recently presented to , a tour of the United States, the first since J /VlLa^a ail 49 E. 33rd St., New York 16 / I in all branches of Music. Certificates, composers, w'ithout restrictions, and Dr. Nicola A. Montani shire Music Center. 1927. The tour is being made under the \ An I diplomas and degrees. Desirable board- full details may be secured by writing X / ing accommodations. Located in down- CONSERVATORY town musical its first Liturgical Mu- to the Jewish Music Council AMERICAN sponsorship of an inter-faith, interracial /V m/ center. Awards Box E, 306 S. Wabash Ave., Chieaoo4. III. sical Award; this in rec- Committee, CHICAGO THE OLD BOSTON MUSIC HALL organ, committee of Roman Catholics, Protes- care of the National Jewish OF MUSIC— ognition of Dr. Mon- Welfare Board, 145 East 32nd Street, all branches of music and dramatic art recently rebuilt in its present location, tants, and Jews, as a gesture to encourage Offers courses in New York 16 N. Y. tani’s outstanding work , 61st year. Faculty of 135 artist teachers Methuen Memorial Music Hall, at tolerance and good will through the lan- Philadelphia Conservatory Member of National Association of Schools of Music for the reform of Methuen, Massachusetts, was rededicated guage of music. Sacred Kimball Building, Chicago Of MusiC Founded 1 877 Send for a free catalog—Address: John R. Hattstaedt, President, 581 Music in the diocese of in a concert on June played dr. Nicola THE UNITED TEMPLE CHORUS an- 24, by Maria Ezerman Drake, Managing Director Philadelphia, as well as A - Montani nounces the Fourth Annual Competition Arthur Howes, Carl Weinrich, and SIR EDWARD elgar was honored at a ENZO SERAFINI-LUPO, Opera Coach throughout the United States. of the Ernest Bloch Award for the best Ernest White, all of whom were con- festival in Malvern, England, July 14 to OLGA SAMAROFF, Special Lectures Long a resident new work for women’s chorus based on sultants planned 19. The Liverpool Philharmonic Orches- Courses leading to Degrees of Philadelphia, Mr. Montani who the rebuilding of a text taken from or related to the Old of(Dootr 216 So. 20th St. LO 7-1877 is widely known for his activities in QkbplaniiJnHlttulp tra gave three < the instrument. programs and the Stoke- Testament. The award is one hundred and Liturgical Music and in literary circles. on-Trent Choral Society sang “The fifty dollars and publication by Carl of Music Degree, Master of Music Degree, Artist Diploma Bachelor Dream He is a founder of the Society of St. Fischer, Inc. ALEXEI of Gerontius,” which Elgar com- The closing date for entries Cleveland, O. HAIEFF, of New York, and THE Gregory of America, for years BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., posed in Malvern in 1899. festival MANNES_^ and many is November 1, and all details may be Andrew Imbrie, Princeton, The positions. W. New Jer- was editor of its official secured by writing SAVE Charter Member of the National Association of Schools of Music programs were directed by Julius Har- bulletin. The to the United Temple sey, have received Fellowships in FST(/ ONLY 4l°o Musical MUSIC SCHOOL Catholic Choirmaster. He is founder-con- Chorus, the Ernest Bloch Award, Box 726, PER*£J? W rison. I Composition for study at the American Professionals • Amateurs • Children ductor of the Palestrina Choir of Phila- Hewlett, Long Island, New York. Academy in Rome, the first such awards Class and Individual E D I I M A professional music school Instruction delphila. The honorary degree of Doctor Wax*/ / 4 P I THE INTERNATIONAL GUITAR LEAGUE / j O D h II k ll in an attractive-college town. given Artist Instructors • DON'T TARE CHANCES! since 1940. Orchestral Instruments of CAROL Ml/S/C Thorough Instruction in all branches of music. Special train- held its Music was conferred on Mr. Montani THE PHILADELPHIA Art Alliance an- CHART CO. I expires this Fifth National Guitar Festival in If your Etude subscription ing in band and choir direction. 46 artist teachers, unsur- DAVID & CLARA MANNES, Directors P.O.BOX 2l|3BlEFFERT5 STA., BROOKLYN 25, N.Y. etc.) 157 at the Seton Hall College commencement nounces the twenty-third annual Euryd- month be sure to renew promptly and avoid passed equipment (200 practice rooms. 23 modern organs, St. Louis, Missouri, July 22-27. Several EAST 74th STREET NEW YORK 21. N. major. y | running the risk of missing a copy. Degrees: Mus.B., School Mus.B., A.B.. with music THE FIRST ANNUAL exercises in Newark, New Jersey, on ice Chorus Award for a composition for Catalog. Frank H. Shaw, Dir., Box 597, Oberlin, Ohio. thousand guitar enthusiasts—amateur London Musical Festival May 30. women’s voices. The prize is one hundred and professional—were in attendance dollars. The closing date is October 1 was held from June 7 , to and heard lectures and discussions by ROY CAMPBELL. 1947 ; and full details may be secured by July 6 and brought forth Teacher of Successful Singers THE MOST some of the leading figures in their par- writing to The Eurydice Chorus Award PRACTICAL & SCIENTIFIC FLORENCE FENDER BINKLEY DILLER-QUAILE an array of musical of PIANO ticular fields, including Charles E. King, Committee, Miss Katharine Wolff, chair- COURSES EVER PUBLISHED Radio - Composer of TONE TUNE TECHNIC forces truly remarkable, Theatre - Pictures - Concert - Opera The new Felix De Cola Self-Teaching piano from Hawaii; William A. Mills, National CLir Jnmil man, % The Philadelphia Art Alliance, courses School of Music STYLE- How to chord your pieces How to Published by Mills Music Inc. when it is considered IZING” for Radio and the Theatre harmonize by note Ass’n 251 South 18th Street, Philadelphia 3 Pa. an<* ear Music Meixhants; Theodore A. , How to fill up empty spaces ,, and —Studio— u„ How to improvise what privations and suf- How the experts Associate Teacher of Guy Maier To Students and Teachers: En- Kapphahn, music director of Boys Town; 607-8 RUDOLF BREITHAUPT, noted German do it How to play bal lads, tangos, Carnegie Hall New York City How to waltzes, swin9s bo ie play in different key9 * °9 ' announces ferings have been en- pedagog, died in Berlin April 1945. and Harold Pratt, president of IGL. 2, This Felix De Cola has taught Special Class for Music Teachers rollments now being made for fall THE FRIENDS of Harvy Gaul, Inc., are many famous people, stars like dured by many taking Betty information comes from Miss Florence Shirley Temple, Carole Landis and Ray Milland. Humby-Beecham sponsoring its first composition contest. October 9-13, 1947 term. Write for catalogue describ- part. There were opera Leonard, long an authorized representa- KIRSTEN FLAGSTAD, for many years Divided into two classifications, an award FELIX DE COLA PIANO CONSERVATORIO INTERNACIONAL performances, orchestral concerts, COURSES ing Normal and General Musi- ballet the leading the tive in the United States of the Breit- will be given for 736 North Martel Wagnerian soprano at the dunning course the best composition for Avenue Los Angeles 46, Californi DE MUSICA presentations, and recitals, vocal and Metropolitan appear of Improved Music Study haupt principles of piano pedagogy. Miss organ, and for the best anthem for mixed Please send me by return mail: cianship Courses. Opera House, will Gladys Course of Piano (for beginners) Havana, Cuba instrumental. M. Glenn, B.Mus., M.A., Mus.D., n S3. OO Included among the or- Dean after voices. The deadline is 1 Course of Popular Piano in “Tristan Leonard, much correspondence, was September , and and Improvising 54.00 Maria Jones de Castro, Director, xind Isolde” at the Chicago of Education Faculty Both Piano ganizations full Courses (save S2.00) S5.00 Calle F, No. 660, Vedado, Havana, Cuba. and individuals taking part For able, through the details may be secured by writing to (Cash, 66 East 80fh Street Civic Opera House on November 16. She Information and class dates address German Red Cross, to Money Oraer, or Check) C.O.D. n The Friends 20% Cash Discount For detailed circular address above, or were the Royal Philharmonic Orchestra, direct of Harvey Gaul Contest to Teachers will sing her famous role of Isolde', and Executive Headquarters secure word from Breithaupt’s Florence Fender Binkley Classes. York 21. N. Y. Committee, Ferdinand Name New the Liverpool Philharmonic Orchestra', 1710 Fillion, Chairman, 1120 North West 40th St., Oklahoma City, Okla. Artur Rodzinski per- Tyler St. Amarillo, Texas widow, who wrote that her distinguished Streets. will conduct. The 315 Shady Avenue, Pittsburgh 6 Penn- the London Symphony Orchestra, , the formance will be for the benefit of the husband’s master classes in Berlin were sylvania. City & Zone_ 534 "MUSIC STUDY EXALTS LIFE’ SEPTEMBER, THE ETUDE 1947 "FORWARD MARCH WITH MUSIC’’ tf 535 —, , Ralph Explains Radar Junior Etude Contest Etude will Florence Grandland Galujikian by Leonora Sill Ashton The Junior award three at- you enter on upper left corner of your tractive prizes each month for the neatest paper, and put your address on upper Artist Teacher of Composition. Internationally Most of the boys and and best stories or essays and for answers right corner of your paper. Ralph and his sister Mildred were air waves?” knoivn for “Symphonic Intermezzo” which girls knew a lot about to puzzles. Contest is open to all boys and Write quiz to follow the next some of the on one side of paper only. Do (played Orchestra planning a under eighteen years of age. won NBC Award by NBC could give an answer. Sid- girls not use typewriters and do not have any- club meeting program, and Ralph, radio and at opening Radio City, broadcast to Class A, fifteen to eighteen years of one copy of “We’ve ney, who was quite a radio fan, an- your work for you. chewing his pencil, remarked, age; Class B, twelve to fifteen; Class C, Europe). Compositions performed also by “When electro-magnetic cur- Essay must contain not over one hun- lots of questions about radio. swered: twelve years. Chicago, Chicago Woman’s, Illinois, Los An- had under dred and fifty words and from its generator to the must be re- going to take up something rent darts Names of prize winners will appear geles, Portland Symphonies. Now I’m on ceived at the Junior Etude Office, 1712 and •Pupil of radio it receiving point in the travels this page in a future issue of The Etude. about Radar.” Chestnut Street, Philadelphia (1), Pa., by Peter Lutkin, Arne Oldberg, Louis Saar, Felix ” “What much faster and further than sound The thirty next best contributors will re- the “Radar ! exclaimed Mildred. 22nd of September. No essay contest Borowski, Rubin Goldmark, Albert Noelte. from one point to honorable mention. does that have to do with music?” waves can travel ceive this month. Puzzle contest appears on the magnetic current Put your name, age and class in which “You just wait and see,” answered another, so this page. Instruction from eminent Artist Teachers is Ralph. “Here’s my question: Why is picks up the sounds as though they platter or in a basket, and available to talented students at Sherwood, from Radar like playing the piano?” were on a ELIZABETH A.GEST through the air.” the beginning of their studies. Certificate, Diploma, Degree courses in Piano, “It isn’t, if you ask me!” replied carries them Change-A-Letter Puzzle Voice, Violin, Organ, Cello, Wind Instruments, Public School Music, Con- Mildred. “You’re crazy.” They all thought they knew this, Answers to Quiz heard it before but Change one letter in the ducting, Theory, Composition. Courses for veterans under G.I. Bill of Rights. When the club meeting was begun or had at least name 1, Handel; 2, Poet-musicians of South- word ern Fall Semester opens September 15. For free catalog, write Arthur Quiz No. 24 the members were given some ques- they complimented Sid for putting it Bach, write the on the next France and the northern part of Italy rung of the ladder; change and Spain, who flourished Wildman, Musical Director, 412 South Michigan Avenue, Chi- tions like this, “Which musical pro- so clearly. one letter during the his special ques- eleventh and twelfth centuries, carrying cago 5, Illinois. Who wrote the oratorio “The Mes- 10. Who is the composer pictured in this gram on the radio do you like best Then Ralph asked on the art of music. Many of them were siah?” quiz? and why?” That question brought tion, “Why is radar like playing the knights and noblemen and they used Who were the Troubadours? several different answers. One was piano?” Nobody could think of any small portable instruments to accompany What are chimes? Symphony, answer. The Sunday afternoon their songs, which were frequently about MUSIC SCHOOL What is a Sarabande? “It’s not!” said Bill; “It might be / conducted by Toscanini; another was chivalry. Sometimes jongleurs, or min- What tones make the supertonic because it’s hard,” said Nell. Ralph The Opera on Saturday afternoon, strels who could perform tricks, went Institutional Association of Schools triad in the key of G? Member of National of Music because you learn the story of the had to give the answer himself as about the country with the troubadours; If the seventh tone of a major scale opera and hear how the music de- he knew more about radio and radar 3, Large bells, usually placed in church is P, what is the signature of that towers, it; another The Tele- than any one in the club. “First you which are tuned to a scale, thus scale? ? scribes was must think what happens in radar or making it possible to play “tunes” on If an entire measure contains a phone Hour, because you hear so, EMERICH MUSIC SCHOOL them; 4, A slow, stately dance of Spanish dotted quarter-note, two sixteenth many different soloists; another was how it acts,” he explained. “Radar is FOR THE ADVANCEMENT OF MUSICAL TECHNOLOGY origin; 5, A-C-E; 6, B-flat, E-flat, A-flat, notes and two eighth-notes, what is The Firestone Hour, because you hear an electric current that goes to some D-flat, G-flat, C-flat (the scale of G- Steinway Hall, 113 W. 57 St., 6th floor the time signature? the same soloist several times. place you cannot see, and then, flat) ; 7, Three-four time; Senza What term means without getting in that word and write it on the 8, ritar- Another radio question was, “What when it gets there and reaches what dando; 9, German; 10—Beethoven. TRAINING COURSES slower? next, and so forth, until Bach is really happens when music and1 you wanted it to find, it throws an (starting October 6th, 1947) Was Brahms, Austrian, Bohemian, changed into Harp. to you over the outline of it on a screen back at the Swiss or German? other sounds come Send all replies to letters IN CARE OF ( Answers on next page) MUSIC MEMORY Paul Emerich place where it started. Now,” he con- THE JUNIOR ETUDE PIANO TECHNIQUE (Hygiene and Therapy) Paul Emerich tinued, “can anyone think of why it Results of June Essay Contest CHAMBER MUSIC Herbert G. Neurath is like playing the piano?” No one Dear Junior Etude: SIGHTREADING Dolores Tim field The June Essay Contest brought in Every month I receive The Etude could. and enjoy INSTRUMENTATION Byron Cantrell some interesting thoughts on the subject reading the articles it contains and find they Composers’ Names help me a lot with my music, I have been “Well, it’s like playing the piano of “Is it necessary to have talent to study Young Musician’s Record studying the piano for six years and hope to No instrumental instruction. A take one of composers are because,” continued Ralph, answer- music.” Quoting from some of the essays: of my teacher’s diplomas soon. I The names some would be pleased Betty if other readers interested in Introduction evening, Oct. 1947, 8.30 P. M., Steinway Hall, 6th floor known to us in a shortened form, in- ing his own question, “your brain Lou Marion, Kansas, says, “I am music would write to me. 1^ interested in Auditions this year and they all re- Free admission. Americans are quite stead of in their longer original form. For works the same way. You send your not talented but am studying music and From your friend, Barbara Gorgon (Age For information and enrollments write to field of ceived high ratings. I will try to send it appears 16), records—sometimes in the instance, Felix Mendelssohn was really eyesight out to the page of printed to be very easy for me.” South Africa Dorothea PAUL EMERICH athletics, sometimes in the field of you a picture of my group as I intend Jacob Ludwig Felix Mendelssohn-Bar- notes. Your eyes see the and Stomback, District of Colum- page 313 W. 57th St., New York 19, N. Y. matter of speed, to have some taken on the stage this tholdy. bia, says, “Music lovers without talent mechanics in the Weber was Carl Maria Friedrich send an outline of them back to the Phone: COlumbus 5-0838 height, distance, power, endurance, week and will see how they turn out. Ernst von Weber: Gluck was Christoph have to work harder.” screen of your brain. Then your Joan have organized a Junior Etude Willibald Ritter von Gluck; Robert Schu- Horrigan, Massachusetts, says, “I performance; less frequently, how- We brain tells your fingers what keys to mann was Robert Alexander Schumann; do not think it is necessary to have MMMMMMMMMMMMMMMMMMMm ever, in the field of art or music. Music Club and it is going along play.” Jules Massenet was Jules Emile Frederic talent to study music but I think one Has Your Child But here is the case of a young nicely. As soon as I get out of school Massenet. “Well,” said Harry, “7 never knew should study to become talented.” the advantage of piano study with I will music student whose achievement is have a little more time to de- Phyllis a member of the The fanciest combination of names was what radar is. Guess I’m too dumb.” Gehres, Michigan, says, “If an something of a record, although he vote to it. I thought you might be individual Giacomo Puccini, the composer of the “No, not dumb,” said Ralph, “it’s wishes to study music he NATIONAL GUILD is probably of that interested to note our progress quite unaware here should certainly study it, disregarding operas “La Boheme,” “Madam Butterfly,” just that no one ever explained it to of of in the Southwest. talent PIANO TEACHERS fact, and is a splendid example and others. His full name was Giacomo or the lack of it.” De you.” Inc. Gail what an earnest music lover can ac- Keith Bowman (Age 17) Antonio Domenico Michele Secondo Rutherford, Pennsylvania, says, A goal of achievement for every student “Radar must be like a lot of other suitable “Ambition Paul to his age and advancement. complish while young, if he wants to. Texas. Maria Puccini! and appreciation are the only things do,” 1 VERS ITY (NOT A CONTEST) we remarked Horace. talents necessary.” UN Here is his letter. Read it carefully, r CHICAGO The Better Teachers Are Members “Yes, ears, for instance are the same Richard Staley, then read it again, then think it over. North Carolina, says, Chapters in every large music center as eyes, as far as “To that goes. We hear quote Paderewski, ‘success is ninety- THE SCHOOL OF FOR INFORMATION WRITE a tone and it nine A Merry Dance makes an outline in our per cent hard work and one per IRL ALLISON, M. A. Dear Junior Etude: brain and the brain tells the fingers cent talent’.” FOUNDER AND PRESIDENT By E. V. Graham Htueic I am a piano teacher here in the what to play.” Loline Hathaway, California, says, “If Box 1113 AUSTIN, TEXAS Jean Anderson (Age 14), N. Y. you are not Southwest. I have been teaching here “We are sort of radars ourselves, talented you will not get very Said the flute, “It’s absurd Offers accredited courses in Piano, in my community for three years aren’t we!” far.” exclaimed Patsy. Dear Junior Etude: Voice, Violin, But I’ll play I’m a bird.” Micheline Mitrani, Organ, Public School and enjoy it more than anything in Virginia, says, “Mu- I would like to get acquainted with some BALDWIN-WALLACE “Sure,” agreed Ralph. “Maybe Music, Theory, And the brasses and strings sic is one of God’s Junior Etude readers and hope some body will and Orchestral In- this world. I have seventeen piano V greatest gifts to man. CONSERVATORY OF MUSIC brains really are favorite is electric current. At It is the write to me. My composer Chopin. struments. And percussion and things, hallowed possession of all hu- BEREA, OHIO (suburb of Cleveland) students and they are presenting any rate, they find I find his music the hardest but it makes me out what keys to manity, I Started tapping a beat, not only of the talented.” feel good when can play one of his pieces. Affiliated with a first class Liberal Arts College their first formal public recital this Confers degrees of B.M., A.B., Four and five play by looking at the From your friend, year courses leading to degrees. Faculty notes and then Marie Monahan, of That invited our feet W California, says, “It is Laura Peck (Age 14), Artist Teachers. Send for catalogue or Informa- week and M.M. at the YMCA in Houston. I telling the fingers tion to: OFFERS NO i TO NO. 20 THEODORE ON MUSIC BOOKS (INCLUSIVE! ARE INTRO- DUCTORY CASH OFFERS. i RECENTLY OFFERS NO. PRESSER tU.CO. mm JL PUBLISHED 21 1 TO NO 46 (INCLUSIVE) bargain ARE ADVANCE OF (Use Check, Money Order, or Stamps. Never OR IN PUBLICA. 79471 FALL PREPARATION TION OFFERS Only Single Copies of Any Offer May Be Ordered Send Money Except by Registered Mail.) No Returns, Exchanges, or Examination Privileges the puuil m OFFER NO. 18 OFFER NO. 22 OFFER NO. 26 OFFER NO, 30 They specifically aim to develop OFFER NO. 14 of various OFFER NO. 5 sight reading and m the mastery passages for phases of technic such as scale THE LIGHT O’ER MUSIC MADE EASY MY EVERYDAY SOUSA’S FAMOUS NO. 1 to NO. 20 SS1 RHYTHMIC VARIETY OFFERS hands singly and t°S<*her. Pj A WORK BOOK By MARA VILLE TUNES FOR chords, thirds "nd^YJths'and slx “is, BETHLEHEM inclusive are solid and broken In modern piano teaching procedures a book HYMN BOOK MARCHES Offers No. 1 to No. 20 hand positions, repeated notes, ana IN PIANO MUSIC LITTLE PLAYERS shifting and CHRISTMAS CANTATA, MIXED VCS. of this character can play a very important FOR PIANO By ADA RICHTER FOR PIANO SOLO Special Final “Introductory Cash phrasing problems. There are no octaves, FOR THE PLAYER OF MODERATE part in sustaining pupil interests and in de- The phenomenal success of Mrs. Richter’s My Publica- FOR YOUNG PIANO BEGINNERS throughout the studies are especially suited for By LOUISE E. STAIRS Arranged by HENRY LEVINE Prices” on a Variety of ATTAINMENTS veloping good basic music knowledge in young Own Hymn Book has brought about by popular Instruction Here is an opportunity for a choir director Never before has it been possible to include during the Past Twelve For Class or Private A fine selection of piano compositions by con- pupils. It can be used in class or private in- demand the preparation of a second volume. My tions Issued ^INTRODUCTORY CASH PRICE, wishing to obtain a copy of a very effective and in one book the 12 best Sousa marches. The copies may be By ROBERT NOLAN KERR temporary composers. There are sixteen grade Christmas cantata. The struction. Although especially prepared by the Everyday Hymn Book, containing some fifty fa- publishers Months. Only single Price, 60c) not-difficult-to-sing holding copyright possession of such This book is planned particularly to continue 30c Postpaid (List three and grade three-and-onerhalf composi- author to supplement the popular All in One vorite hymn tunes, includes a “Hymns for Chil- at these low prices. These composer, Miss Stairs, has the rare gift of famous numbers as The Stars and Stripes For- ordered after the same author’s very popular first in- tions included in this album, hi addition to piano method by Robert Nolan Kerr, it will dren” section. The selections in this division writing melodies that are compatible with the ever, El Capitan , King Cotton, Liberty Bell, and only to OCT. 1, children, en- the choicest more recent issues, outstand- prove just as satisfactory with first child them as offers are good struction book for pre-school age sotn* OI average volunteer choir. A single rhythm problems, accents, the favorites included. Teachers will Fidelis, Washington Post, The Thunderer, and mentary music notation and should have some by Florence B. Price, Swayinn D'-. >‘.^.4. 1 ' slurs, and tetrachords. Illustrated. book excellent for lesson assignments or rec- OFFER ISO. 1 th iow "introductory price.” High School Cadets. These will be in new tran- playing material for developing a secure sense THIRDS AND SIXTHS R. Overlade. Under the H( ’U QU6S- ADVANCE OF PUBLICATION reational playing for their pupils. The collection tunes and ‘TORY CASH PRICE, scriptions for the piano (grades three and four) of rhythm. Along with its charming Frank Grey, and other repre | o- also will be useful in the home or Sunday FOR PIANO By MANA-ZUCCA o v i n tViAtlAC Cash Price, 25c, Postpaid deftly made by that master of keyboard flu- LET’S PLAY! accompanying sprightly texts, it includes ma- from the pens of contempor. l (List Price, 60c) School where experienced players are not al- In this group of studies the piano teacher ency, Henry Levine. BEGINNERS terial helping the child to acquire good basic Louis Brown. Ralph Feder available. FOR YOUNG PIANO find helpful material for students ink Of any ways each piece is a will very ADVANCE OF PUBLICATION habits in piano playing. With progressing into grade lard, Ella Ketterer, Stanfoi PUBLICATION By ELLA KETTERER practice along in grade three and ADVANCE OF little "finger parade” that is helpful stu- Koehler, .Louise E. Stairs -19 OFFER NO. 23 Cash Price, 70c, Postpaid Miss Ketterer with her years of practical four. The practical teacher knows that a Cash Price, 40c, Postpaid beginners material. Attractively illustrated. playing with teaching experience with younger CASH PRICE, dent able to handle double-note special talents for writing interesting INTRODUCTORY either right or left hand in a variety of rhyth- ^INTRODUCTORY EIGHTEEN and her ;d Nell. Ralph ,ND TRIUMPH ETUDES FOR OFFER NO. 31 and helpful pieces for piano pupils has created 40c Postpaid (List Price, 60c) mic patterns and a number of different keys is 50c Postpaid piano lessons of the richer things PA, VCS. in this book a fine series of first well equipped for many 7er himself as _ MIXED STUDY AND STYLE beginners of kindergarten and primary ahead in pianistic accomplishments. KEATING OFFER NO, 27 GEMS FROM for Piece ~CE FOR PIANO By WILLIAM SCHER grade ages. Every lesson offers a little INTRODUCTORY CASH PRICE, adi° and radar which runs about 40 lit- OFFER NO. 6 OFFER NO. 15 __ new collection of second grade studies. r texts. Attractive * *** A GILBERT or tw o with accompanying 30c Postpaid (List Price, 60c) and satisfying devo- SHORT CLASSICS YOUNG AND SULLIVAN many of tne ' club. “First you Each exercise is attractively titled and is de- tle illustrations accompanying ir g any demands be- Arranged for and its voted to a particular phase of piano technic, Piano bv pieces add to the charm of this book THE CHILD CHOPIN MORE I HLl ppens in radar or :h the average volun- in their such as legato and staccato, double thirds, the PEOPLE LIKE FRANZ MITTLER making of a happy start for youngsters £.s are given grateful (CHILDHOOD DAYS OF FAMOUS Ay trill, piano. OFFER NO. 11 plained. “Radar is M * rhythmic precision, alternating hands, FOR PIANO Here is Gilbert and Sullivan really brought first efforts at the GREAT r - of the choir’s pres- COMPOSERS) Y syncopation, left hand scale passages, arpeg- home from the stage. To pick out suitable INTRODUCTORY CASH PRICE, Compiled and A medium for empha- Compiled & Ed. by ELLA KETTERER selec- that goes to some gios and chords, rotary hand motion, cross tions to strip them of all the merely theatrical Price, 50c) By LOTTIE ELLSWORTH COIT ;e of Easter to the Within the covers of this book. Miss. Ketterer. 35c Postpaid (List ETUDES FOR EVERY 15 v HF hands, and repeated notes. The easier keys only accessories, and to mold their musical substance and RUTH HAMPTON _ . . see, and then. a very successful teacher and composer of edu- ( are The fine series . used, major and minor. into short, easy-to-play pieces is a task requir- addition the Childhood PIANIST TO in that word and cational piano materials, has selected some This, the latest to AND HOW ranged and edit edJ and reaches What vTASH PRICE ADVANCE OF PUBLICATION ing craftsmanship, imagination, and courage. OFFER NO. 2 Days series, gives the young piano pupil an thirty- five choice short classics which are rep- next, and so forth, ’ Price, 60c) Here are a few of the included numbers which acquaintance with some of the beautiful melo- STUDY THEM fi “d it throws an Cash Price, 25c, Postpaid resentative of the work of nearly all the great SSt^ocS - will strike a familiar chord in all Gilbert and THE and it also gives composers. In a preface, she says: “Every one YOU CAN PLAY dies in Chopin compositions Selected, Revised, and Edited alike for changed into HarpHarp^^A Sullivan fans: A Wandering Minstrel studn , The the pupil information about Chopin and par- a screen back at the of the pieces is a favorite with my own pupils. U J Flowers That Bloom in the Spring, Tit-Willow, PART ONE ticularly his childhood start in music. The By GUY MAIER They are compositions which my pupils ask PIANO— recitai us< it started. Now,” he con- OFFER NO. 24 We Sail the Ocean Blue, and I Am Called Little music in this book runs about grades one and The fine auspices under which this book of to play in their recitals, which is sure proof THE OLDER BEGINNER tL Buttercup. The words are given with each se- FOR piano study material came into being is suffi- it; — that are liked.” one-half to two, as presented in the special ’^ ny0ne think 0f Why they The grade ranges from compUaUori Results EPAS lection, of course. This book provides happy By ADA RICHTER piano solo arrangements of Nocturne in E-flat, cient recommendation for the average well- of June _ ONCE-UPON-A-TDIE second to fourth, so that the book may be used editorship, bv" the piano?” No one MORE recreational material in easy third grade for Many teachers who found Miss Richter s in- Valse in A -minor. Prelude in G, Theme from informed piano teacher to make certain of be- The June Essay ' ^ over a period of approximately two years. the pianist’s . pupil students so help- coming acquainted with it. It is study material Con mif/v-rpr; and adult. struction material for young the Ballade in A-flat major, and the Butter- STORIES OF THE GREAT ADVANCE OF PUBLICATION began requesting more such the . some interesting ful in achieving good results fly Etude, and also there is a piano duet ar- that can be of permanent value to the earnest thought ADVANCE OF PUBLICATION pen that mightbe used (Mili- student. These selected studies chosen from S STRONG Cash Price, 35c, Postpaid something from her rangement of the Polonaise in A-major e PlayinS the Pian0 of Is it necessary to have MUSIC MASTERS Cash Price, 40c, Postpaid of Junior High ages. This book such sources as Heller, Czerny, Liszt, Chopin, thl market^T ( interesting for with beginners tary) . Sold Only in the United States and Its Possessions it concertos Ralph, schoQl choruses PIANISTS the splendid answer to those requests and Lebert and Stark are ideal for students of by sniued answer- music.” Quoting from some FOR YOUNG is Junior INTRODUCTORY CASH PRICE beginners as young as intermediate or the moderately advanced stages 1 ELIZABETH may be used with . uestion brain Betty Lou By GRACE ROBINSON ages 25c Postpaid (List Price 35c) Th^average , “your Marion, Kans mt ov^lo^k this High School ages all the way through the , of piano study to begin upon. These are the Music Arrangements by OFFER NO. 28 OFFER NO. 32 in "Social Security” retirement. The studies which were published in The Etude smooth, piaya way. You send your not talented but am stud’ is for two-part up to those E. to progress rapidly in Music Magazine with accompanying articles un- this book. ,, , . ... it- ov a. he familiar Greek LOUISE STAIRS “older beginner” wants L tt- be here Miss he page ...... very easi n gaining his wish This book follows the plan of the popular ability to play favorite melodies and OFFER NO. 7 der the title "Technic-of-the-Month” series by INTRODUv IN NATURE’S PATHS LIGHTER MOODS AT arrange- for the golden pegged for its re- Once-upon-a-Time Stories, presenting the lives Richter’s skill in making simplified Dr. Guy Maier. Xpf^l'rice, 75c) ‘ornbaefc D 50c Postpa See moval from ’ SOME PIANO SOLO DELIGHTS such beginners with a wealth of him v»- , ;od and his little of great composers, coupled with their most THE ORGAN ments provides INTRODUCTORY CASH PRICE, Sold Only in the f^j^fates and It* Possession* Pr arrangements. TWENTY TEACHABLE daughter turned to goluY s famous melodies in simplified form for young FOR YOUNG PLAYERS easy-to-play. yet effective, (List Price, (With Hammond Registration) 55c Postpaid 75c) INTRODUCTORY CASH PRICE, piano students. Ten composers are included: Many things in nature fascinate juveniles INTRODUCTORY CASH PRICE, This new collection of organ compositions TUNES Liszt, Strauss, Rubinstein, Saint-Saens, Tschai- and lend themselves to the free play of child (List Price, 75c) OFFER NO. 16 50c Postpaid (List Price, 75c) such as will serve the average organist’s 45c Postpaid kowsky, Dvorak, Grieg, Chaminade, Sibelius, fancy, and frequently creators of piano solos needs. By OPAL LOUISE HAYES It will be especially useful to young organ stu- and Gounod. The various compositions follow for young players have utilized tilings of na- These little melodies win the interest of OFFER NO. 12 dents for recital purposes, since most of the FANTASY IN the story interest. The musical arrangements ture found in the air, on the land, and in or on OFFER NO. 3 piano pupils and prove helpful in developing selections are of an easy to for piano solo, grades one to two, have been water, living or growing, as the inspiration medium grade. The both hands, giving acquaintance with the easy selections have been drawn from THE ADVENTURES OF F-SHARP-MINOR OFFERS NO. 21 to NO. 46 made by Louise E. Stairs. for some of their most popular elementary the copy- PLAY THE major keys, developing rhythmic feeling, and righted publications of the Theodore Presser YOU CAN piano pieces. All of the titles of these attractive otherwise rounding out the elementary work FOR TMO PIANOS, FOUR HANDS Offers No. 21 to inclusive ADVANCE OF PUBLICATION Co. and will not be found in other books. PETER THE PIANO No. 46 and easy-to-play pieces (grades one and two) Reg- PIANO—PART TWO desirable as supplementary to the usual first By lEDERER are Special Cash Price, 30c, Postpaid istration is provided for standard and Ham- instruction book. These tunes progress from AN ILLUSTRATED STORY RALPH “Advance of Publica- pertain to things in nature. RICHTER Among America’s younger generation of com- Sold Only in the United States and Its Possessions mond organs. Bv ADA very easy offerings, moving gradually along in FOR CHILDREN tion Cash Prices” on Works in ADVANCE OF PUBLICATION ad- posers few, if created such widely ADVANCE This Part Two continues with gradually grade one into grade one-and-a-half. Illustra- any, have OF PUBLICATION well-chosen By DOROTHEA appealing Virginia’s Preparation. Orders will be Ac- Cash Price, 40c, Postpaid vancing attractive pieces and tions are utilized liberally. J. BYERLY piano offerings as West Cash Price, 90c, Postpaid carry the beginner above grammar This is neither a method, nor a study book, Ralph Federer. This new work from his pen cepted Now for Delivery When Pub- OFFER NO. 25 studies to INTRODUCTORY CASH PRICE num- school age into a fairly acceptable proficiency nor a collection of pieces for little pianists, but makes a fine American-composer program lished. Only- single copies approba- may be keyboard and to help him reach a point 40c Postpaid (List Price , 60c) it is a delightful means of engendering music ber, and it is sure to win audience at the more ordered at these money saving LITTLE OFFER NO. 33 where he finds it possible to make articulate interest. Juvenile fancy plays a great part in tion. Likewise, teachers will find their RHYMES TO prices. OFFER NO. 29 through the piano keyboard favorite songs, the enthusiasm over anything by children. The earnest students certain to be delighted when duo. SING PLAY hvmns, and other loved melodies. In this Part author of this book cleverly uses this to the full given an opportunity to study this piano AND THERE WERE SHEPHERDS OFFER NO. 8 con Two, Mrs. Richter, through her unusual crafts- in personalizing the piano and making these With its broad Maestoso, its gay Allegro FOR PIANO CHAPEL ECHOES CHRISTMAS CANTATA. arpeggio MIXED VCS. manship in making full sounding, yet easy-to- experiences of a piano very vivid and interest- spirito with its massive chord and and By MILDRED HOFSTAD AN ALBUM OF MEDITATIVE MUSIC Words by ELSIE DUNCAN play, piano arrangements, includes many like- SELECTED ing to the child. Pictures in themselves almost foundations, its Andantino con moto theme, YALE SECOND OFFER NO. 21 The pre-school child, age three to five, picks able selections. Necessary but not forbidding tell the full story of Peter's experiences. These its fiery Allegro agitato, and its closing maies- FOR PIANISTS YOUNG AND OLD Music by LOUISE E. STAIRS music up stories and tunes and is irresistibly attracted material is interspersed to develop are the work of the author, and the book is tic Grandioso, it makes enjoyable piano This new cantata will be a practice GRADE STUDIES to the piano; but when faced with abstract facts Compiled and Arranged bv boon to the busy playing facility that will permit rambling oft enhanced by their presentation in colors to for both performers and listeners. THE CHILD choirmaster, whose foresight has led Compiled by DAVID LAWTON of musical education, he is bewildered. This ROB ROY PEERY him to an into the enjoyment of other melodies. supplement the charming story. PRICE, early consideration of music for the These supplementary studies for the second INTRODUCTORY CASH book, written for teachers of little piano begin- There is no doubt about the sales volume that Christmas CASH PRICE, INTRODUCTORY CASH TSCHAIKOWSKY season. The average volunteer choir INTRODUCTORY grade have been chosen from some of the best PRICE, 80c Postpaid (List Price, $1.25) ners, will also help parents to find songs ideal will be maintained by this new publication, with its soloists will have no difficulty in meeting 45c Postpaid (List Price, 75c) study writings of Bilbro, Bugbee. Gurlitt, 80c Postpaid (List Price, $1.25) (CHILDHOOD DAYS OF FAMOUS for moments of music with little tots in the which will present some of the world’s greatest the easy requirements of this attractive Note: This Offor Mill be Shipped in October, 1947. Koehler, Parlow, and Streabbog. Each of these home. Here are songs the pre-school child likes sacred music in effective and interesting easy- cantata. COMPOSERS) The time of performance is fifty minutes. studies serves a special purpose, yet each with OFFER NO. 17 By to sing over and over. The book not only trains to-play piano arrangements of about grade two Ar- LOTTIE ELLSWORTH COIT rival of this cantata for early rehearsal is a characteristic title is much like a little piano the ear but also stimulates sight reading be- and one-halt. Here are smooth and satisfying as- NO. 4 OFFER NO. 13 sured, but quantity orders cannot OFFER piece. and RUTH BAMPTON cause the tunes are familiar. Each piece is in piano arrangements of choice gems from Adam, be accented ORGAN The until after delivery of "Advance MENDELSSOHN’S Child Tschaikowsky book, now in the five finger position (some use fewer than five Bach, Beethoven, Bortniansky, Faure. Franck, of Publica- INTRODUCTORY CASH PRICE course tion" orders. A single copy THE MUSIC FUN BOOK ELLA KETTERER’S of the mechanical publishing detail fingers) with a given finger position at the be- Gaul, Grieg, Haydn, Humperdinck, Maunder, may be ordered 30c Postpaid (List Price 60c) BOOK now in “Advance of Publication." , WORKS handling, is going to be a particularly delight- ginning and with the melody divided between Mendelssohn, Mozart, Schubert, and Sibelius. A WORK BOOK FOR YOUNG Sold Only in the United States and Its Possessions in 00k OF PIANO PIECES Edited and Revised by £ H ^ or children, between the ages of five the hands. ADVANCE OF PUBLICATION ADVANCE OF PUBLICATION PIANO BEGINNERS and twelve. It tells All the selections in this book are young music pupils of the ADVANCE OF PUBLICATION Cash Price, 40c, Postpaid successful EDWIN ARTHUR KRAFT youthful activities Cash Price, 40c, Postpaid By VIRGINIA MONTGOMERY sheet music publications and are to or- of Tschaikowsky, gives di- constantly Dr. Kraft has rendered a real service rections Cash Price, 30c, Postpaid Sold Only in the United States and Its Possessions Employs various means of making the child being ordered in separate pre- for setting up a miniature stage for ( Continued on next page) OFFER NO. 9 sheet form. Know- ganists through this volume in which he tlramatizing familiar with such music fundamentals as the ing, however, a scene from the life of Tschaikow- that many teachers as well as sents the organ masterworks of Mendelssonn sky, of the alphabet used in music notation, and it includes arrangements of such letters many who just want second or third grade rec- so carefully edited and revised as to be tuny other details of notation, position, note values, TWENTY-FOUR SHORT reational piano Phasing Tschaikowsky music as Theme from pieces would welcome these adaptable for the modem organs available the counting time and how sharps and flats relate excellent Allegro” of the “Sixth Symphony,” Theme numbers in album form, arrange- American organists. Mendelssohn's organ mas- irom to the black keys. With this book, a pencil, STUDIES ments were made with a a Marche Slave,” Theme from “June” the composer to present terworks are his Opus 37. Three Pre es (Barcarolle), paste scissors, youngsters just be- ^J^ r3 ^1 and Theme from the “Piano Con- crayons, and FOR TECHNIC AND SIGHT READING this compilation. There is a variety of Sonatas. The styles Fugues, and his Opus 65, Six certo No. 1.” Besides these ginning the wonderful study of music will learn rhythmic patterns, etc., in or. an easy-to-play piano THEODORE the contents. PRESSER PIANO These udes and Fugues are in C-minor, G -mat solo CO. FOR By L. A. WILMOT things they should know and find added pleasure pieces are for pupils well C-minou, arrangements there is an easy-to-play These attractively conceived studies offer the along in the second D-minor. The Sonatas are in F-minor. piano duet and satisfaction in their first music adventures. grade and just about arrangement of Troika. teacher some fine entering third grade A-major. B-flat-major, D-major, and D-min°r* Everything in CASH PRICE new material for use with ADVANCE Music Publications 1712 CHESTNUT ST„ PHILA. I, PA. INTRODUCTORY pupils moving from second grade into third INTRODUCTORY CASH PRICE, PRICE, OF PUBLICATION INTRODUCTORY CASH Cash Price, 35c Postpaid (List Price , 50c) grade and progressing third 50c 20c, Postpaid along in grade. Postpaid (List Price, 75c) 90c Postpaid (List Price, $1.50) 538 'MUSIC STUDY EXALTS SEPTEMBER, 1947 "MUSIC STUDY EXALTS LIFE LIFE" THE ETUDE 539 - ” , . . . - ; mind time to collect itself freshly for Schumann's “Whims each new attack. One of Leschetizky’s THEODORE ADVANCE OF PUBLI many great aphorisms was “Think ten “QitbJOfL' only once!" dbxxnt fijuJbticaJtwuA. PRESSER CO. FALL BARGAIN OFFERS CATION OFFERS (Continued from Page 526) times, and play After a while play the piece through (Coal, from Preceding Page) consecutively, with its various moods, marks as well as the notes; therefore, Columbia University. It seeks to give an but make it all “hang together," and try Among Which Are PIANO, VOCAL, CHOIR and CHORUS lege, for the final (third) stage ORGAN, OFFER NO. 34 easy familiarity with the most common idioms you are ready certain introduced— to play the whole with a fanciful of our musical speech. Harmony is of work. idiom in- peculiar youthful NEGRO SONGS chord bv chord—in the familiar piano “play” the humor and that en- AMERICAN vocal writing of This means, you try to Offerings Certain to stead of by the usual four-part thusiasm and exuberance which per- Appeal to Discriminating Musicians FOR MIXED VOICES hymn-like character. Designed for high school, piece! You try now to play with abandon book lively By JOHN W. WORK college, or private classes in harmony, the to the vades all of Schumann’s move- Believing at the concert-tempo. You attend Distinguished in the field of the Negro spir- is divided into twenty-seven lessons. K33f* the best but let this ments. itual, John W. Work, of Fisk University. Nash- that experience with music itself offers shading and the pedal, yes, to satisfactory learning, the Yet, as you perform it many times ville, Tennessee, herein offers a comprehensive possible means done more with your subconscious than two hundred author has devoted a major portion of the be book which contains more spirit privately and publicly, every so often go An Album of Negro folk songs, religious and secular: five book to examples from folk song sources and mind, and .think first of al\ >f the PIANO SOLOS -(SHEET MUSIC) quotations from Mozart, Haydn, back to the first and second way of prac- chapters of descriptive text matter devoted to generous the music. In the second stage of Negro; and an extensive bib- Beethoven. Chopin. Verdi, Weber, Schumann, of to Masterly Written the music of the func- ticing. These two ways are the “patent- A Variety Meet Teaching Needs, Recreational Playing, or Some Recital Calls liography and index. In addition to the spir- Mendelssohn. Schubert, and Liszt. practicing, we might say, what is predominate, there are “blues.” medicine” for keeping your piece in your ituals which ADVANCE OF PUBLICATION tioning in you is sixty per cent brain and Title, Composer, and Grade Pr. Title, Composer, and Grade Pr. Title, Composer, and Grade Pr. Organ Numbers "work,” and “social” songs. Some of the latter Cash Price, 75c, Postpaid this final fingers and in your mind. are given with melody and text only, but more forty per cent feeling. In The Ball in the Happy Summer Day, Adler (2-3) .40 Valse Romantique, are har- one of the spirituals . than hundred manner it is sixty per cent feeling and Fountain, Lafferty (4) $0.40 Hawaiian Echoes, Tieman (3) . .35 Fenstock (3-4) .35 TWELVE monized for four-part choral use. Hence the OFFERS NO. 37 TO ISO. 46 con- The Bee and the Hop-O’-My-Thumb, Burton (1) . .30 Velvet Night, Federer (4) 40 book should prove of great value to schools forty per cent brain (which latter music teachers, choruses, and Butterfly, Scher (2) .30 In Sash and Waltzing Teddy CHORAL PRELUDES and libraries, BASIC STUDIES trols your feeling). Now “let yourself The Romance of choirs. _ Birds in the Meadow, IFest ( .40 Sombrero, Stevens (3) .35 Bears, Travis (2) .35 ADVANCE OF PUBLICATION FOR THE INSTRUMENTS OF THE go!” 3) ON (Measures 1-16) Blue Lagoon, Russell (4) 60 Indian Legend, Shaw (4) .40 Waving Willows, JVest (3) 40 Cash Price, 80c, Postpaid ORCHESTRA Play the first section “Home, Sweet Home’’ Breath of Heather, Klein (4) 35 Jack-in-the-Box ’Way Down South, Scher (2-3).. .35 FAMILIAR By TRAUGOTT ROHNER very impetuously. Do the opening phrase The Chase, Taylor (2) 30 March, Travis (2-3) .30 White Violets, Bentley (3) 35 the North- ‘ 494) OFFER NO. 35 The author is a faculty member of (up to Measure 4) in one impulse, ( Continued from Page western University School of Music and Direc- Christinas Candles, Adler (3-4).. .40 Lady in Organdy, King (2-3) .. .35 The Winding River, Bentley (2) .30 HYMN TUNES Instrumental Music in the Township one “swoop”; the three following short tor of Party, Paymer . .30 Legend of the Waters, Grey .50 The Witching he was beginning to lose the Colonial Tea (2) (4) FOR THE ORGAN HEADS UP! Schools of Evanston, Illinois. Out of his prac- phrases, each in one impulse; the three this time Cottage by the Sea, Bircsak (3) . .30 Mesa Serenade, King (3) .35 Hour, Bentley (2-3 ) .30 A ONE-ACT OPERETTA ON SAFETY tical experience and creative musicianship he Measures glamor of youth. He was no longer a (WITH HAMMOND REGISTRATION) presents in these studies material to take stu- staccato chords with great zest. Dance of the Mexican Poppies, Lane (3) .... .35 Book and Lyrics by playing ability youthful prodigy. Moreover the critics By dents from a very elementary Leprpchauns, O'Donnell (4) .40 Revolt in Rhythm, Duncan (3) .40 ROBERT WAYNE CLARK and into greater proficiency, making it possible to said that his acting did not improve. develop a really worth-while school orchestra. Dance of the Shadow Dance, Brown (2-3) ... .35 H. ALEXANDER MATTHEWS Efc WILLARD ZAUN Accordingly his popularity began to wane. These Superb Piano Music by RALPH FEDERER Besides exercises for necessary technical points Ex.4 Paper Dolls, Travis (2-3) .35 Short’nin’ Bread, Arr. Scher (2) .25 the young players should master, there is a could not face facts, Price, $1.00 Entertaining! Instructive! Here is an Characteristically, he Danse Villageoise, Snake Charmer, Scher (2-3) ... .30 Compositions Now Avail- Clever! novel original feature in “Time Teasers,” and operetta which is far above the average play persecution complex, always .30 Somewhere in Old some use of melodies from classical composers. and his Gretchaninoff ( 3) able in Sheet Form — Hymns suited to Advent, Christmas, Thanksgiv- produced by juvenile groups. It requires six The Conductor’s Score guides the director in attributed Drifting in the Vienna, Lane (3) .35 ing, Palm Sunday, Easter, All Saints, and Armistice major characters with solo parts and a number strong, came to the fore and he the use of these Basic Studies. A single copy of Prelude in D Maj. Op. 10, No. S (4). .45 Day are included, and there also are several for of minor characters. The size of the chorus, to Moonlight, Frank (2-3) .35 Springtime any or all of the nine Student’s Books may be the change in the public’s attitude Prelude in B Min. Op. 10, No. 6 (5). .50 general use. jury, and safety drill patrol unit may depend .60 ordered in “Advance of Publication,” and like- Enticement, Argentine Fancies, Broadhead (4) Prelude in F- Min. Op. 11, No. 1 (5). .45 These twelve niusicianly choral preludes are based upon personnel available and stage capacity. professional jealousy. wise only a single copy of the Conductor’s Tango, Renaldo (3) .40 Sweet Story, Libby (1) .30 Prelude in Eb Min. Op. 12, No. 2 (5). .45 on such beautiful hymns as Children of the Heavenly The amusing, pertinent lyrics have been skil- this, remained and Score may be ordered at its low pre-publication 9-16 in the same spirit as 1-8, but more Despite his charm Prelude in A|j Maj. Op. 12, No. 5 (4). .45 King; Come, Thou Long-Expected Jesus; O God, fully set to snappy rhythms and scintillating Flight of the Humming Tumbling Creek, Dittenhaver (3) .40 price. light-hearted the doors of London studios and salons Prelude in F Min. Op. 12, No. 6 (5). .50 Our Help in Ages Past; and Ride On! Ride. On in tunes, entirely within the singing abilities of so. Do Measures 17-24 in a .35 Piquante, .35 Offer No. 37—Violin Bird, Broum (2) Valse Kern (3) Prelude in D Min. Op. 13, No. 5 (4). .45 Majesty! Junior High or Elementary School pupils. flip- were opened wide to him. The actor be- ADVANCE OF PUBLICATION Offer No. 38—Viola vein, somewhat flirtatiously, almost While general directions for registration have been Offer No. 39—Cello pantly. In Measures 25-32 make the ac- came an author. His plays were put on HAW AIIAN ECHOES—Piano Solo (Gr. 3) By John Tieman Pr., 35c given, the choice of the solo stop has been left to Cash Price, 40c, Postpaid Offer No. 40—Bass By ABRAM CHASINS the organist himself. Offer No- 41—Flute-Oboe cent rather heavy, and bring out the at the principal theaters, but as a result In. alow waltz tune (J=*8) Offer No. 42 Clarinet-Trumpet Heretofore the 24 Preludes by this famous — staccato -notes (slurred from the chord of a lack of business sense he made little OFFER NO. 36 Offer No. 43—F Horn American composer-pianist have been ob- for Ed- Offer No. 44—E-flat Horn and Saxophone with up-wrist) with lots of snap. Attend out of them. He wrote “Brutus" tainable only in four books, six Preludes to highly esteemed A Fine Addition To KEYBOARD APPROACH Offer No. 45—Trombone-Bassoon -Tuba specially to the forte in Measures 33 and mund Kean and agreed to accept pay- a book. Now 7 of these piano gems are issued as separate ADVANCE OF PUBLICATION as exquisite 34, and the “echo” Warsaw, tisement of these “Offers” will be found (Words bv Thomas Tiplady) 15 Melody, Arr. by Samuel R. Gaines... .16 DR. LEOPOLD SYR£ each section—a fascinating collection of in a great its 15,282 HOSANNA! BLESSED IS HE. Ralph coat sneaked out to attend FOUR PART (S.S.A.A.) Price, 30c son of Nicolas on Pages E. Maryott, (a cappella) (For Palm February 22, 1810. He was a 538, 539, and 540 of this issue. whims, bound together into a whole. rehearsals a 15,278 O LIGHT DIVINE, A. Archangelsky, and opening. “Therese” was Sunday or General Use) 16 MEN’S VOICES These beautiful (Arr. by Gwynn S. Bement 15 works are from the pen of a dis- Chopin, who was a teacher in the War- Every teacher and every other active Phrases which ) are technically risky hit and within a few months Payne had 15,241 AVE MARIA (Lord God Almighty), 15.248 YOU SHALL BE FREE (T. pr Bar.), tinguished composer, whose wide experience has saw Gymnasium. Nicolas Chopin was music worker will find it advantageous to Jacob Arcadelt, (a cappella) (Arr. by Old Negro Melody, a cappella. Tran- made him one of the most and awkward must get extra practice. made enough off successful of present day to pay his creditors. Russell Hammar) 15 scribed by Wm. Reddick 16 musicians said to have been born in Nancy, France. peruse these money-saving offers care- When doing the FIFTEEN CLASSIC ANTHEMS J. in the field of church music. opening chords up to But there was little left and Payne Nicolas married Justina Kryzanowska. She fully. These “Offers” embrace all the new Measure AND RESPONSES 3, and those from 8-11, shape wrote to a friend, “Well, Therese’ has --£©« was Polish. Frederic, their second child, book publications issued by the Theodore the fingers for each FOR THREE-PART TREBLE chord a moment succeeded triumphantly and I am enjoy- was deeply rooted in Polish traditions, and Presser Co. during the last 12 months. before it is struck. VOICES But don’t play such ing my triumph with a box of pills, a PUBLISHERS OF through his father’s private school was Those interested in the new sheet music (S.S.A.) passages twenty-five times over without bowl of gruel, and my feet in hot water, Selected and Arranged By R. DEANE SHUKE MUSIC AND ITS reared among sons of Polish nobility. publications during the same period will a second’s pause between each time. no fire, and a headache.” Price, 60c Oliver Ditson Co. LITERATURE He was only in his early twenties when be supplied with a list of them re- on Thoughtless practice. Do each passage The numbers range from the writings of Bach, his playing and composing talents quest. Just ask for it Mozart, Haydn, Mendelssohn, Palestrina, Verdi, THEODORE PRESSER CO., Distributors had on a postal ad- only about six times, but with great con- (Mr. Woolf’s interesting story of John and Von Weber through traditional church of won for him .the respect, admiration, and dressed to Theodore Presser Co., 1712 centration, airs PHILADELPHIA and wait about several 1712 Chestnut Street six seconds Howard Payne will be continued in the European nations. 1, PA. friendship of such musical celebrities as Chestnut St., Philadelphia 1, Pa. after • each repetition. This gives your October issue.) 540 "MUSIC STUDY EXALTS LIFE THE ETUDE WANTED —young boys and giris who wish to learn something wanted •••ten fingers to train now for their advantage and pleasure in later life. Not neces- sary to be "prodigies”— merely need to practice a little regu- larly and to appreciate the beauties and cultural advantages of music. Would also like to remind parents what a satisfaction it is to have a piano in the home and to give their youngsters the pleasure of playing. Who ever would run a Want Ad like that? An advertisement trying to capture boys and girls without box tops, comic books, or gangster programs? Well, we’re running it on behalf of one of the finest groups of hard-working, self-effac- ing, cultured people in this country— the music teachers. We’re addressing it to mothers and fathers, because this is the time of year youngsters are getting set for more schooling. And, you will find that it does not take much of an investment in either time or money to provide your children with the beauty, joy, satisfaction and actual fun of being able to play the piano. That child may never become a Mozart or a Gershwin, but he will become a more cultured and a more understanding adult. Decide now before it is too late and you hear the age-old plaint, ”1 wish my mother and father had let me study piano." See a music teacher in your neighborhood. « « « Include piano lessons in your child’s curriculum for the coming school year. Let Wur- litzer furnish the piano with the added inspiration its fine tone can contribute to success- ful learning. In the new Wurlitzer pianos you will find more advanced features that make for rich musical beauty and years of dependable service. Their well-constructed encasements come in a choice of new designs for any home furnishing theme. Write today for details and the name of your nearest Wurlitzer dealer. THE RUDOLPH WURLITZER COMPANY Wurlitzer Model 71}—graceful in styling as it is lovely in tone. A perfect center c De Kalb Division De Kalb, Illinois , an ~* Available in fine mahogany or figured walnut