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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1940 Volume 58, Number 03 (March 1940) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 58, Number 03 (March 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/263
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New! w THE LONGMANS Lr\ pA M CHOIR f E HTTOH MINIATURE ARROW-SCORE SERIES Two obstacles in the path of musicians and music lovers who would like works are Publications and to own and follow the scores of their favorite chamber music ccotBsS© of the scores, nearly all of flew Sheet Music majqjamQmQ now completely removed: first, the high cost I which are imported; second, the inability of those without training in CHORUS y Published Monthly the art of score reading to follow the music readily. (PIANO MUSIC AND SONGS) By Theodore Presser Co., Philadelphia, pa. EDITORIAL AND ADVISORY STAFF Longmans’ scores remove both of these obstacles completely; first, by CO. Catalog MUSIC supplying American made scores in collective form at a fraction of their Added to the OLIVER DITSON DR. JAMES FRANCIS COOKE, Editor former cost; second, by equipping the scores with the arrow system, Recently Theodore Prester Ce., Catalog In the I Dr. Edward Ellsworth Hipsher, Associate Editor devised by Albert E. Wier, and highly praised by such eminent orchestral V William M. Felton, Music Editor conductors as Toscanini, Koussevitzky, Rodzinski, Ormandy, Stock, Dam- enables everyone who can read ordi- OCTAVO—SACRED Verna Arvey Dr. Nicholas Douty Elizabeth Gest Guy McCoy rosch, Reiner and Goossens; this Robert Braine Dr. Henry S. Fry George C. Krick Dr. Rob Roy Peery nary instrumental or vocal music to follow any score at first reading. SECULAR SONGS Voices PIANO SOLOS Mixed y Pietro Deiro Karl W. Gehrkens Guy Maier Peter Hugh Reed Revel li Henry Sawyer JOSEPH W. .50 BRAHMS. JOHANNES William I>. S. CLOKEY. . . FEDERER, RALPH to pE-flat) God'# Love. .35 Prelude. Low Voice in D (a 21387 Sins. My Soul, Of THREE VOLUMES PUBLISHED Skates (Gr. 3) A On Silver Arr. J. C. Warhurat 08 CURRY, W. LAWRENCE .50 Founded 1883 by Theodore presser . to fc)R JAMES E. GLASS, JANET Lovely Rose! Low Voice in E (b DORSEY. Contents .30 Go, God !e So Hizh. Spiritual Swaying Trees (Gr. 1-2) . 21390 Mah 1 Longmans Miniature Arrow Score Library LEONE. FRANCESCO B. .35 DE (d to Rr) (S. Solo) II Quartet, Op. 18, No. 1 Wind Quintet, Op. 16 a Love. Medium Voice in A-flat I Found Ride On. Kins Je»u»! Spiritual 21389 Quartet, Op. 1 8, No. 2 Piano Quartet, Op. 16 (A. Solo) H MANY LANDS Quartet, No. 3 FROM STOUGHTON. R. 8. Op. 18, Septet, Op. 20 For the Piano A LOVE Head# (8. or T. Quarto*, Op. 1 No. 4 I FOUND 21383 Lift Up Your (Contents f^or ^IFjcirch, 1940 CHAMBER MUSIC 8, String Quintet, Op. 29 Grant-Schaeler Solo) 1* Quartet, Op. 18, No. 3 By G. A. TALLIS. THOMAS Wind Octet, Op. 103 • PRICE 25 CENTS OF BEETHOVEN Quartet, Op. 18, No. 6 Gr. 2 21386 All Pral#e To Thee. My God. VOLUME LVIII, No. 3 Piano Trio, Op. 1, No. 1 40 Quartet, Op. 59, No. 1 Wooden Shoes Thia Nlxht. Arr. H. K. Mar*#.. .10 Piano Trio, Op. 1, No. 2 40 Swiss Yodeler 147 Quartet, Op. 59, No. 2 40 WORLD OF MUSIC Piano Trio, Op. 1, No. #3 Winter in Canada LIFT UP YOUR MtADS Quartet, Op. 59, No. 3 String Serenade, Op. 8 r YOUTH AND MUSIC Quartet, Op. 74 if f r f 148 Piano Trio, Op. 9, No. 1 WfiGrt r n n in Cultural Olympics Blanche Lemmon Quartet, Op. 95 w e • e «“ “• ->•**»— » LEHMAN, EVANGELINE Quartet, Op. 127 Piano Trio, Op. 9, No. 3 Waltz) (Gr. 6) Valse Printaniere (Springtime J \ * i l i * { EDITORIAL > H Quartet, Op. 130 Clarinet Trio, Op. 11 FREDERICK Relief Through Change 149 RUNOEE, BENJAMIN String Serenade, Op. 23 Garden (Gr. 2-3) Quartet, Op. 131 In an English Tea ft.- if * mu mfi>i i ead M r> rme • F> M « #•— MUSIC AND CULTURE Quartet, Op. 1 32 Piano Trio, Op. 70, No. 1 Mexico Oliver Daniel 150 OTiL.VAS. f to Quartet, Op. 133 Piano Trio, Op. 70, No. 2 iff j tfXJEftVl The Heart of the Blues IV. C. Handy 152 Ti Accompanists Are Born. Not Made Cocnrad V. Boa 153 Quartet, Op. 135 Piano Trio, Op. 97 i r I *1 I IT I 1 . . 154 lU G) l V f tXl An Irishman the Grandfather of Russian Music . .Evangeline Lehman Thirty-three works with arrow system, critical notes, etc. ' »if (33) y* p if f u ui MUSIC IN THE HOME A Family Musical Museum 155 352 pages; paper binding, $3 00; cloth binding, $5.00. J New Records for Home Music Lovers Peter Hugh Reed 156 if , s f—3 1 r KfOBMM Moviedom Turns to Musical Pictures Again. . . . Donald Martin 157 */! Radio in the Musical World Alfred Lindsay Morgan 158 Contents tad HU Longmans Miniature .{rrow Store Library The Etude Music Lover’s Bookshelf . . .B. Meredith Cadmun 159 if w r r sfJif r ef t r t „ . . . M UR « MUSIC AND STUDY Piano Trio, Op. 8 Piano Quartet, Op. 60 Q ' How Much Musical Talent Has My Child? Dr. Raleigh M. Drake 100 Hie ett-T . r •i " ** * < f What Makes Church Music Worth While Norman Coke d epheott 107 Piano Quartet, Op. 26 String Quartet, Op. 88 The Teacher’s Round Table Guy Maier 168 Treble Voices Some Vital Problems of the Clarinet William II. Stubbins 109 Piano Quintet, Op. 34 Piano Trio, Op. 101 Questions and Answers Karl W. Gehrkens 170 BLISS. PAUL M The “Messiah” Stradivari Violin Ernest N. Daring 171 S.) ®8 String Sextet, Op. 36 String Quintet, Op. Ill 21373 Handel'# Larxo (S. Master Lesson—The Fairy-Like “Scherzo in E Minor, GOUNOD. CHARLES Op. 16, No. 2,” by Mendelssohn Maurice Dumcsnil 172 from 21356 Sanetua and Benedletu#. Interpretation of Accordion Music Pietro Deiro 203 Horn Trio, Op. 40 Clarinet Trio, Op. 114 "St. Cecilia Maa." IS. S. A.) Arr. J. C. 8'#rl«rrt U MUSIC Quartet, Op. 51, No. 1 Clarinet Quintet, Op. 115 HANDEL. G. F. Brixht and Fair Master Works 21370 Anxela. Ever Quartet, Op. 31, No. 2 (S. S.l Arr. Htiaa » Scherzo, Op. 10, No. 2 Mendelssohn-Bartholdy 17.3 MENDELSSOHN, F. Passepied, from the Fifth English Suite J. 8. Bach 170 21371 But the lord 1. Mindful of Hi# Fascinating Pieces for the Musical Home (S. S.) Arr. P. Bit W Seventeen (17) works with arrow system, critical notes, Own Third Taren telle .Wilson G. Smith 177 etc. OCTAVO SECULAR Song of the Old Mill ..Lily Strickland 178 256 pages; paper binding, $3.00; cloth binding, $5.00. — With Sails Unfurled Frank Grey 178 Treble Voices Lullaby Brah ms-Anderton 1 79 DUBIN. BETT1E Passepied ..Alec Templeton 180 Contents - Flowers in Bloom Mana-Zucca 181 21388 Shet Yo' Eye*. Ma Honey (S. A.) Geisha Dance String Quartet (K.387) (K.316) Spencer U . . William Baines 182 Arr. H. String Quartet (K.421) String Quintet (K.593) Outstanding Vocal and Instrumental Novelties String Quartet (K.428) String Quintet (K.614) SHET YO' EYES. MA HONEY Ye Olden Dance (Organ) Stanley T. Rriff 184 String Quartet (K.458) Nachtmusik (K.525) '7 Water Lilies (Vocal) Roy Newman 185 Siring Quartet ri'i - (K.464) Clarinet fj > r if ‘ Lift Up Your Heads, O Ye Gates ! (Vocal) Quint* (IC.581) m FT 'i Antonio Beech 180 String Quartet (K.465) Frolic of the Bells (Violin & Piano) Louise Woodbridgc 187 Horn Quintet (K.407) In the Palace (Four Hands) String Quartet (K.499) • /fgjpi nrrn } V w Frank L. Eger 188 Piano Quintet *) String Quartet (K.575) (K.452) Delightful Pieces for Junior Etude Readers String Quartet (K.S89) Musical Joke (K.522) Too Bad ! Henry 8. Sawyer 190 String String Trio (K.563) My New Bike Quartet (K.590) Hugh Arnold 190 Piano Piano Trio (K.498) The Treasure Hunt Sarah Coleman Quartet (K.478) . tariff Bragdon 191 Piano Trio A Song from the Deep Bernard Wayness 191 Piano Quartet (K.493) (K.502) The Curtsey Cedric Suxon 192 Flute Quartet (K.298) Piano Trio (K.348) r FJ frr li r The Mail Man pd «* non* —• ‘ Louise E. Stairs 192 Flute Quartet (K.285) Piano Trio (K.542) THE Oboe Quartet (K.370) Piano Trio (K.564) ~r I f i H \ i JUNIOR ETUDE Elizabeth Gest 212 String Quintet (K.406) Piano Trio (K.496) ir tfi iM MISCELLANEOUS String Quintet (K.513) Piano Trio (K.254) ]j Voice Questions Answered Nicholas Douty 195 % Organ and Choir Questions * Answered D=j i ¥4 Henry S. Fry 197 Violin Questions Answered Robert Braine 199 Fifty Years Ago This Month 106 Novel Game Aids Teaching Men's Voices . . . .George A. Posner 106 Teachers The Music and Movie . usefulness SPINDLER. FRITZ Cameras. Louise Kimball Baker 100 and the value of these score volumes to everyone 21386 The Serin .13 How the Oratorio Began music interested Gay Huaaar. Arr. G. B. 102 m professional musicians, students, teachers, Publisher’s Notes and re eonem goeis radio 214 ?°rd Users cannot be overestimated; theh con SCHOOL CHORUS and , vlnlent form 1 ^ ^ a place "entuafiy in STRONG. MAY A. or hmntfmusic library^ eve^studm 21382 Ten Little Aeroplanes (Uaiaon) -1® the Act of March 1879 j, Copyright, IV40, by Theodore Pres ter Co for U S For sale at all music Pi ami Great Britain. and hook stores
$2, (» a »ear in U S. A. and H Possesions, Argentina. Bolivia. Brazil, Colombia, Com. Luba, LONGMANS, GHEEN ' Dominican Republic, AND Ecuador. El Salvador. • COMPANY Theodore Co. p Guatemala, Mexico, Nicaraeu Presser ,C °f h d Sp:U "' V “d Uf“W Canada and New- 1 55 Fifth Avenue Music Publishers fo3anifoundland, $2.2a a year. All;» otner“r- Conner**, T New Yor|{ m $3.00 a year. Single copy. Price 25 cents. 1712 Chestnut St. PHILA., PA. 1 MARCH, 1940 145 -
STUDY? I GO TO WHERE SHALL h e Ctucle piano Solo Compositio n ROSE OUGH VOICE Samoiloff Former Assistant to Lazar S. Content in Hollywood ARNOLD SCHULTZ prize Reopened Her Voice Studios at OAKLAND CALIFORNIA Teacher of Piano 1931 —8TH AVENUE treatise on Telephone Glencourt 61 lb Author of the revolutionary piano technique F.ngers "The Riddle of the Pian.sts GUNNAR PETERSON of Pres EDNA published by the University Chicago as ILL- EDITH NOYES GREENE, notable Artist Teacher BLDG. CHICAGO, DESIRE DE FALW, HERE, THERE AND EVERYWHERE IN Concert Pianist— 622 FINE ARTS pianist teacher, is cele- , no. of the Prizes for the composer, and Los Angeles, Calif. Ftode the winners eminent Belgian con- 229 So. Harvard Blvd. (Eastern) the last issue of MUSICAL WORLD brating her fiftieth year in the profes- FE. 2597 Teachers In Solo Composition were an- of THE Private Concert Piano ductor and founder Class One, or yp composers of the sion; in honor of which her musical as- the w i nn er the Concerts DePauw LAZAR S. SAMOILOFF BLATHERWICK sociates lately gave a Golden Jubilee BARBARA C Sol,. Com|,o,ilio„ of Brussels, made his - Opera Type of Piano New of famous singers - Coloratura Soprano “meaning accepted an invita- JOHN BARBIROLLI, leading the Dinner at the Hotel Pioneer of Boston. Voice teacher Recital T«>‘ o American debut on PADEREWSKI has Teacher of Voice cC is.ue, Orches- rudiments to professional engagements in the following tion from Premier Sikorski of Poland, York Philharmonic-Symphony From jo " n ( d r' the be named 9th, when Special teachers courses Italian bel canto. £ -° would December Beginners accepted. The i r the Auditorium on A JENNY LIND POR- of Manuel Garcia on behalf of the Polish Government at tra in a concert at principles 5-6392 he led the NBC Sym- Los Angeles, Cal. York Tel.: GRamercy closing to Chi- 610 So. Van Ness Ave., 6 East 10th St. New minute before the Angers, France, to become an active November 26th, made his bow TRAIT, painted not r , verv last „ until the DrsiRfi phony Orchestra in a the judg- twjM S of the Polish National Council. cago and seems to have won its heart. Jong after 1840 by SIMPSON hoping that DeFauw program including Le member ELIZABETH KATE S. CHITTENDEN a* in A” of hut as vet th. HfOng The “Symphony No. 7, Jean Baptiste August Pianoforte Technique" — Appreciation compositions chosen; Chasseur Maudit by Author of "Basic Pianoforte — Repertory have the winning OPERA GOERS OF LOS ANGELES have Beethoven “rose to towering heights”; Leloir, and once in the 7th AVE., contestant, the Ravel; of Young Artists. THE WYOMING, 853 In fairness to all Cesar Franck; Ma Mere VOye by Teacher of Teachers. Coach hasTnot been complete* 1^ been subjected to the ‘‘Stokowski treat- and Weinberger’s “Variations and Fugue, Samuel J. Tilden col- Courses YORK Prepared for Concert Work Class NEW when our readers are Fetes by Debussy; Pupils we feel sure that Nocturnes, Nuages and ”, Piamstic Interpretation. Normal not be rushed, hut ment,” so that, during the recent season ‘Under the Spreading Chestnut Tree’ lection, after which it in Technique. can L’Apprenti-Sorcier by Dukas; in for Piano Teachers. checks Will be in the 5
Editorial
Institutions represented by two other'cducaUonale other festivals or at t he campus art °r more g certificate of Merit, presented, of the several committees, for Through Change at^the* discretion Relief rk OU a d n unit is urged to hold its h sc hooT°o i 'local E?c to select ® , art exhibition and only O fP tiva i or highest quality to represent it a, orw of »e the world goes down festivals^ The region,, CHANGE is the punishment which “The world goes up and the^regional and campus LIFE WITHOUT themselves and serve to pro- in force. Change is And the sunshine follows the rain, festivals are ends in penal institutions strive to put activities of the localities in and yesterday’s frown mote the artistic A the great antidote for monotony. Only a few years And yesterday’s sneer place. They are attended by a which they take the fatal monotony of the lives of Can never come again.” by the ago we used to hear of of adjudicators chosen Univer- Committee carousel of unchanging chores, To some people the very thought of change is staggering. committee’s duty to submit a farmers’ wives with their sity and it is this Winkle group performing and chores, chores, chores. Thousands ended their days in asy- Their idea of happiness is a kind of Rip Van report of the work of each the campus festivals. In- It no slumber. Others keep up a deliberate and clamorous fight to select candidates for lums. Then came electric labor-saving machinery. was or instrumental en- dividual musicians, vocal longer necessary to pump water, bend over the washtub, against all change. They are like bells in a belfry. They and speakers, are selected for sembles, readers trim lamps, and raise hurricanes of dust with brooms. This make a great deal of noise but never get very far. They keep festivals by means of auditions. the to music, right on ringing in the same place. or person heard by the permitted them to read books and magazines, study If desired each group of written competitive sports. Following these came the Change is not valuable merely because it is change. Even adjudicators may receive the benefit and to join in critlcLsm; this need only have made reckless changes which have and oral suggestion and automobile, which brought the town miles nearer, by the whole nations be requested. Such constructive appraisal, giving sound reproducing instruments and the radio; and behold, brought the curse of disaster upon generation after genera- for improvement, has been as it does a basis change banished monotony. Change had relieved them of the tion. Ruskin, in commenting upon the Venetian maxim which found to be an extremely beneficial feature of oppression of interminable boredom. runs that “Change sometimes breeds more mischief from its the program and has brought forth many letters ad- Washington Irving once said, “There is a certain relief novelty than advantage from its utility,” wrote, in his of appreciation. When It Is known that each ‘ judicator is a specialist in his particular field. in change, even though it be from bad to worse.” Whatever Modern Painters,” thus: “They are the weakest minded
. W i - O W.U A »U
and Culture Indian blood. One must go there. Mexico then many of the men who are making it something Music Ponce, the explains itself. to reckon with. I met Ponce. Manuel sees pasted on man who had written “Estrellita”, the former Music and Culture On entering Mexico City one new and different flavor. Still, behind them lie is given Mexico the sides of buildings, bridges, churches, street teacher of Chavez, and to whom credit impulses the same joys, griefs, wees, jokes and to development of present Mexican own cars, and other odd places, large red lettered for much of the technological advances and that, for all of our — Sinfonico de trends. His compositions are in a more romantic signs of “Chavez” “Orchestra differences, remain the same. Revueltas is in- the South Mexico.” vein. He has written many characteristic Mexican Sister Republic on tensely human; his music is likewise. He is of of Our songs, big works of orchestral Picturesque Music The white marble Pal- the most modern school in the means of com- The scope, and many for guitar. He acio de Bellas Artes, position he employs. There are strong disso- is important, too, as one of the where the concerts are nances, melodies that seem completely unrelated foremost pianists and teachers held, is a combination running concurrently; tone clusters of as many luxuriousness of Mexico. His “Chapultepec” has of Latin as twenty-four notes (to be played by the fore- that been played by the Philadelphia and modernism, arms and elbows), atonality and multiple might well make Sym- Orchestra under Stokowski. An rhythms. With all of these modern devices, he > a the afternoon spent with Ponce, in phony patrons in has simple tunes that in some sections are as 2 his charming modern home near stare with aston- States gaily naive as “Papa” Haydn. His work not only Olive'' ishment. It is a truly Chapultepec Park, was memor- is outstanding among Mexican contributions, but magnificent building. able. He literally sparkles with it also stands among the most distinctive work Designed by an Italian, vivacity. of it reminded me, despite Jose Rolon was a student drive that Moskowski and Dukas. His earlier music unleashed a primitiveness and its marble heft, of a sounds that compositions seem far more Euro- were remarkable. Here were new frosted birthday cake was a new pean than Mexican. In his use of pointed in a new direction. Here one of those many deck- the field of con- columns native dances, however, he con- and vital utterance to step into ers with sugar something distinctive to temporary music. and scrolly figures. The tributes very modern interior musical literature. Rolon is a splen- A Personality Unfolds suggests the spacious- did craftsman. His indigenous Ja- a modern liscan dances for piano solo are The Symphony Program Book contained ness of the best Mexico City, American movie houses most interesting. They catch in little biographical data, “Born near MANUEL PONCE about such as Radio City. their use of dissonant accom- Mexico, June 13, 1899,” and comments an season is paniment that sensation of wrong Chavez and his work. More important was The concert ex- Twelve pairs of concerts are notes that the untrained native musicians so excerpt from an article he had written. He in the summer. They are their dance tunes. Here serenades aims; his attempts to given between June and September. often give when playing perennial street singers, available for plained many of his The “21 9.00 P. M. different for favorite airs any tyrannical servi- held on Fridays at o’clock”, or dissonance has a purpose than that to sweethearts, on birthdays, and achieve emancipation from the time at all. at the Sunday mornings at eleven. Added to most frequently found in modern music. tude to accepted classical procedures and and on workers and same time an expression indigenous to Mexico. this are twelve free concerts for Symphonic Concerts the Man and Music Accord He spoke of the course inaugurated by the De- children. During the Free Composi- entire twenty-six hundred seats of the audi- Silvestre Revueltas is a giant of a man. He is was partment of Public Education in WHEN I WAS VERY YOUNG I in before NCE a course compared to the School torium are filled, and standees crowd just big. Big features, big hands, big eyes, big father. We were on tion. It was out riding with my is no stuffed bird Sculpture, where the method of Direct Cutting the concert is finished. Music head, big in general. This largeness applies to his road in northern Wiscon- of O a newly paved class direct here. There seem to be more men than women musical stature, too. As I had been swept away was used. Here in the composition and were heading south. of music sin, composition was being practiced. Melodies were in the audience. It is a relief to think by Chavez several years before, I was likewise CARLOS CHAVEZ if we kept on “Where would we land, Dad, functions and art lov- written in all diatonic modes and in the twelve not kow-towing to social by Revueltas, and had due realization that in going?” I asked. Gothic gloom about tone scale. Instruments were there to play ing ladies. Mexicans cast no this man and his music there was something of any composer of any nationality of our time. replied, “if you’d keep going south, “Well,” he arts. Applause is violent. To the horror of that deserved the great. them. Composition jumped from the dead theo- their word He is as different The greatness of Revueltas is not limited at to Mexico.” you’d probably get is registered in retical process to one of amazing vitality. No proper foreigners, disapproval from Chavez as the verdant Pujal differs from all by Mexican boundaries. He seems to write I had entered the field of Cathedral in Taxco Years later, when The terms, compositions that are wonder Chavez’s music had unprecedented equally certain and the ice tipped Popocatepetl. Both are decidedly music with a Schubertian facility. He seems, I was perfectly content that too, music seriously, not liked are roundly hissed. different, yet both are unavoidably to come from freshness. Mexican. to possess the Schubertian capacity of being neg- all great music was supposed verdant world of mountains, up to nearly eight On that day Air conditioning is not necessary, for the Chavez is more direct, where Revueltas seems over lected by a worldly fortune. Almost none of his France and Ger- thousand feet and there to stay as one rolls cooler than contemplative. my interest in altitude keeps the weather much more His sense of humor rollics in compositions have been published. many, and perhaps the Tropic of Cancer into the great valley of Americans Mexican music Chicago, Detroit or St. Louis; and, as his^ masterful have from Italy had an opportunity to hear his work in a little Mexico. these cities swelter, many of the more Mexico began. I was re- orchestrations. Paul Strand’s magnificent Mexican movie and Russia. Nearly all of travel books describe this high- com- minded of the elegant Mexican ladies can be seen He is not at- “Redes” or “The Wave.” In just was not men- springtime; and this picture Chavez radical attitude land as a place of eternal fortably wearing furs on the cool July tempting at to be collaborated in writing the scenario and Revuel- tioned. However, springtime it is. Contrasts are great. One sees and type of in- and August evenings. American tourists nationalistically tas past two in the wrote the music. half paradoxes like the snowcapped Pico de Orizaba are easily recognized. Many seem to be struction being Mexican as a I rode one morning to the afternoon of April overlooking where hibis- movie studio, with given in Amer- the Gardens of Cordoba ideally dressed for a campfire in the composer. with the year He Revueltas, when he went to see the filming of 10th— cus, gardenias, camellias, exotic orchids, and Rockies or a New England clambake, ica by Brendan merely express- two more movies for which 1936 and the place more papayas, palms, he will compose. Keenan. I won- staple things, like bananas, rather than for formal concert life. They es himself, and One will (unless they change it) Boston’s bleak old mangos, sugar grow. Deserts, be called “The dered about the and coffee, all come dressed in a way they would never with his own Hall—all Night of the Mayas”, the other “The Sign of Symphony pine covered slopes, rocky crags, flat, dank low- men Chavez had appear for a symphony, in American or individuality he Death.” of this was changed. one On another morning when I stopped to mentioned. lands, and snow are almost on top of European cities. produces Carlos Chavez some- see him at his home on the top floor of a another. One is overwhelmed new What would be amazed. One is thing freshly modern stepped upon the One Encouraging Home Music apartment on the Doctor Velasco Street, the effect of be- by the extraordinary variety of this country. stage. The imprint new for the I rather curiously peered into is astounded people- another apart- ing trained un- by seeing people—happy Chavez has set a remarkable example musical world. of vitality and posi- ment. There squatting on the floor, regarding living such primitive lives. Here are conditions during the past ten years by presenting that char- der such revo- Revueltas me with superb candor, tiveness si- was a large grey goose. of an almost Paleolithic civilization thriving the works of native composers. One is man- lutionary laughed when I Now this has acterized his sam- nothing really to do with Revueltas! principles? multaneously beside the most ultramodern astonished at seeing lists of composers of showed ner began to pour him an or with Mexican music; but one never knows What would be ples of contemporary life, architecture, music, which we are benignly unaware. Com- itself out in his mu- excerpt from a what will be found in Mexico. the result of painting, and theories of education and gov- positions in abundance, by Rolon, Ponce, sic. The “Sinfonia new book on- ernment. Revueltas and Huizar, Antigona” and the music growing are played. Azala, Mexico that had And Other Personalities India” in this very dif- A Music ol the Soil Campa, Castro, Domiguez, Elias, Malabear, SILVESTRE REVUELTAS attempted “Sinfonia Side view of the Palace of Fine Arts. Mexico. D. F. Mexico to Bias Galindo is one of whose ferent soil? Mariscal, Marron, Mendoza, Meza, Pomar, “under twenty” were played. Here What then is one to expect of the music? describe him men Chavez had spoken Tello, Vazquez and Villanueva of. He, a pure Italian was music that in So I went for What variety term have likewise had and his music. When he discussed his work can be encompassed in the has been reared musically under the the ride kept going till their works performed. impetus of contained something that a and south, on . a bright and his manner of its subject matter “indigenous influences”? To understand the pres- composing I was struck this new Mexican national recorded. June morning I entered Mexico. After meeting Chavez, my admiration for consciousness He written music of the past had never From the ent Mexican art, of him by the similarity of belief and procedure to one must know something gave me one of his piano suites. of expression were in many rocky desert-like beginning, along the increased. He invited me to rehearsals of the that of the The three The form and means blue the geographical, topographical, historical and great composers of the past. The movements, Orchestra; he Impression, Caricature de Valse instances unique. Few could find a solacing Sierra Madres into lands where orchids grow explained numerous questions difference of time, and this and archeological background. One must under- age of ours, the Jaliscenese are interesting. Chavez in this wild in jungle profusion, up about Mexican music, and The last, a bit like calm, but none could deny that and up into a lush stand the ethnological and introduced me to have, however, given his compositions a wholly mixing of Spanish the Jaliscenes of Rolon < Continued on Page 198) MARCH, 150 THE ETUDE 1940 151 Music and Culture
Music and Culture Accompanists Are Born, The Blues The Heart of Not Made.
forms ci By lues is one of the oldest music of the By music in the world. It is folk the full racial ijci* B purest type. It represents h and its distinguishing expression of the Negro, ^ The DistLuquished Negro Composer B are throwbacks to Africa. When V. characteristics Internationally Distinguished native Alabama, the doors of Blues." and "Beale Street ft* J I was a boy in my Blues." "Memphis ea open when spring nf “St Louis our schoolhouse were thrown (foen Accompanist breezes and the came, and, along with the fresh things, there drift smell of earth and growing of song, intoned by a Music Magazine in a single fragment for The Etude consisted Secured Expressly ploughman, at work. The fragment An Interview t for Etude “Aye-oo, Aye-oo, Ah wouldn A Eunference Secured Expressly The solely of the words, FELLOWEj UV By M^LES A. this. Why did Even as a°child, I thought about By STEPHEN WEST would he not live the man sing as he did? Why of the story couWte over Jacobs, the mere facts did he repeat this fragment working men sat joe in Cairo? Why those days, and the humble four lines: Joe Jacobs killed poor to him? What lay emohona reduced to over? What did it mean for action and himself up, and isfied their hunger she was ironing, gave turns of tonality and human Carrie while S THERE A FIELD and a career in accom- second Paderewski and something balks you, behind those curious elaborating these ballads of Negro workman de- that has release by went to prison. The to accompanying with* disappoint- rhythm? Thinking about things like down; the singers them and panying? do not turn life. None was written each (act. Coenrad V. Bos at result that veloped a full stanza from experience as accom- in your heart. But, if a careful probing of Rose Bampton and most of my life’s work, with the unconsciously stamp- After forty years of ment been tne selves kept the songs alive, the Amsterdam Airport in Holland. conclusions about panist, my answer is an emphatic “Yes”-—but your aptitudes shows a natural inclination to- I have evolved certain You know Joe Jacobs. music which has only on one condition. The accompanist must be ward the sum total of musical building, accom- those are music of my race— Yes, / mean Joe Jacobs, manage more, so much the better, but modern blues. Let fitted for his job, by temperament as well as panying will offer you a rich and interesting phrase developed as the I mean Joe Jacobs, essential. He cannot help a singer to un- If to his work as a disap- field. us consider this development. Lawdy man! training. he comes less he is thoroughly conversant with the lan- blues music In its origin, modern pointed solo artist, he probably will be a dismal guage in which he sings. Indeed, the experienced Carrie, the emotional He killed poor is a best niche A Choice of Activity is the expression of failure. Accompanying not second accompanist is often called upon to suggest the of long Killed poor Carrie. The accompanist must early decide whether life of a race. In the south to which to turn after all attempts at solo work correct phrasing to younger singers, who them- appeared Yes, killed poor Carrie, is fitted with singers or instru- ago, whenever a new man have proven futile. It is an art in itself, requiring he better to work selves do not know the language of their songs. the laborers etc. mentalists. I have always for work in any of very special aptitudes, and The accompanist must have a definite per- he would be asked if he could opening the door upon been happier working gangs, the verse form sets the first distinguish- sonality, which he brings- into play at the same got the job. The Thus with the voice. Though I sing. If he could, he charac- very special service. In time that he subordinates himself to the singer. ing trait of blues. The second important working men set the like have had the privilege of singing of these clearly this sense, I to say Inexperienced accompanists often think that this teristic is the curious, groping tonality, so rhythm for the work, the pounding that accompanists are playing for Joachim, Sa- this "blue note art of subordination lies in colorless, mouse-like of scythes; a throwback to Africa. We hear of hammers, the swinging not made. rasate, Kreisler, Casals, 1 have bom playing. Nothing could be further from the truth. lustily as a scooping, swooping, slurring tone. the one who sang most time have I ever and David Popper, I found and Louis, At no The singer is, of course, always more set approximated it, for example. In East St. important became strawboss. One man desire to that something was lack- soon had the slightest than the accompanist; he always sets the pattern senti- 1 and sang whatever Ex ing the musical line the tune, blossom forth as a solo when for each song. But heart. He -Ur the accompaniment is as vital lay closest to his ••• • ij was not completed ments ffj.'-- pianist. My best fulfill- by to the complete tonal picture steamboats, fast as the melody, and would sing about ment, personal as well as words and pictures. Vocal the accompanist should be conscious of that “contrairy” mules, cruel over- trains, as well as in Beale Street Blues, professional, has always accompanying requires while he plays. home, he sang He must subordinate himself in seers. If he had no come from assimilating even greater skill and, for a home next Ex. 2 that he follows the singer (even where he does about that; if he found with those of that reason, it is better my powers not agree) but, once needing money ; the musical pattern has day, he sang about - everyone is paid. There are certain ••••• .J another. Not been set, for his gal. But he must put his whole fervor into build- or being lonesome able to be a great soloist; physical limitations in was personal, and ing his share of it. He must dare to attack the whatever he sang not everyone wants to be. singing which put a in the gang took up piano, he must make it sound, he must draw life then the others child greater best, an ap- When I was a of responsibility upon fitting it with per- The slurring chromatics are. at and warmth and color from it. the melody, each, native the proximation of several principles; ten, in my town in accompanist. For one sonal words of his own. If fifty men Negro Holland, it was found that thing, there is the ever Supporting the Singer on the gang, the song had 1. Of a tonality found exclusively in the worked I could read easily, trans- present lasted voice. problem of breath There are certain problems for which the ac- fifty verses, and the singing pose easily, and that I had control. The instrumental- companist through, easing the work, 2. Of the quarter tone scale of primitive Africa. must be alert, in working with any all day feeling for of instinc- a natural mu- ist can build his phrases singer. First comes the driving rhythm into it. By word 3. Of a deep-rooted racial groping for problem of support. The sical line and phrase. The exactly as he conceives accompanist mouth, the songs of these humble, tive harmonies. soon learns that the printed indica- foremost violin teacher in them; but the singer can tions untrained musicians traveled from No modern voice or instrument can really re- COENRAD V. BOS of forte, piano, and so on, are entirely our town used to invite attempt no phrase .with- relative. place to place, wherever the roving produce the intervals of the primitive pentatonic The piano of a robust Wagnerian bari- me to come to his house, out due consideration, of tone workers went, exactly as folksongs W. C. HANDY scale; yet it remains the very heart of the blues. may be greater in volume than the fortissimo on Sunday mornings, to read through the sona- his breath supply—which is in each case individ- always have traveled, all over the Its effect is rendered by chromatic slurs from of a light coloratura soprano; and the accompan- ing them with the hallmark of their race. tas of Bach and Beethoven with him. At the ual. Thus, the vocal accompanist must do more world, as expressions of national one note to the next, holding the second note ist must adjust himself to both. Thus, he may That is the origin of the blues. The character- Conservatory of Amsterdam, and later at the than play; he must work with the singer, feel never decide soul life. without releasing the harmonics of the first. upon volume values; and he never istics of this form have always existed; they are Berlin Hochschule, I earned my best marks in with him, think with him, breathe with him, give Doleiul Ditty So far, there is of folk plays the same song twice in the same The nothing in the nature chamber music way. distinctly Negro; and they are always the same. and accompanying. My teacher, him such support that the listening public is Again, son of a governor of Kentucky met his themes or distinctive tonalities to indicate that no matter how deep or big his voice The distinctive Julius Roentgen (a no love affair, There are four structural elements cousin of the discoverer of never aware of a breath problem. This ability to singer death as the result of an unfortunate the development of Negro music would lie along has as much power in his lower range as that characterize blues. First, the stanza the X-ray) was himself think feel all the Negroes of is built by , a distinguished accom- and with another person is the chief in his upper. and, within twenty-four hours, the lines of jazz. But Negro music is marked In playing a song like Schubert’s of three lines instead of four, yielding panist, and demonstrated to the tragedy in a strain a me the joy to be requisite of the good accompanist. the region were commenting on other elements as well. of these is Aufenthalt, the accompanist must of twelve measures instead of The first had from ensemble make intelli- Love. As the news trav- the conventional work. Thus, from childhood He must master a great deal more, though. The a song known as Careless marked, insistent syncopation. The second is the gent use of this fact. The opening notes present presently the sixteen. Originally, these three lines were repeti- on, my path was clearly marked before me. And serious accompanist eled, the song traveled with it, and novel element of “filling Take, for must know languages. Be- a marked drop in range, and the in breaks." is singer must fit the words tive. The singers wanted their songs to last as that something for which to be thankful. That side his tune of Careless Love was used to instance, the "Tell native English, he should be able to give the effect of equal opening line of Joe Turner whose natural power in both tones. These much used songs {Frankie long as possible, easing them through a day’s man desires keep pace with his speak French and German, and should of any tragedy. me Joe Turner’s come an’ go-o-one.” have at Vocally, he cannot do this. But the accompanist so on) became hard toil; hence they dwelt on their inborn gifts is lucky. If you long to become a least and Johnnie; John Henry; and emotions, Were re- a working knowledge of Italian. If he can can help him to a white man singing this, he would give ( Continued on Page 210) theaters or movies in repeated them, spun them out. In traditions. There were no the ballad spect the 193' rests in ( Continued on Page MARCH, 1940 153 152 THE ETt’DE Music in the Home
of Russian Music A Family Musical Museum Grandfather . An Irishman The Mm Compose! IS Field, Pianist and Remarkable Swiss Group Which The Singular Story of John A
tion he informed Field that the time Has Attracted Wide Attention For had come to depart. the first between ichael ivanovitch time, a cloud passed the re- By *1 GLINKA, whose name, in yn a two devoted friends. “You will have has become fa- alone." Field said, “I a tiny village near Geneva, M cent years, to go back N A FINE old mansion at Sierne, public miliar to the American must stay here.” resides the most musical family in Switzerland, the family perform- Ifie of one through numerous radio e t I Ernst, originally of Winterthur near Zurich, owners Russian Distinguished Tsar’s Capital ances of his Overture to “ A Lavish of the most remarkable collections of musical instruments in Ludmilla,’’ is rightly considered Author and Composer and American Soon it became obvious that this the country. of Russian music. Be- generations of Ernsts. as the father decision had been a wise one. There Music is the guiding star of the three the musical art of his coun- grandmother, fore him, was something comparable between First of all there is the seventy-five-year-old not only stagnant, it was performer on many instruments try was which Field enjoyed in St. Mrs. Sophie Ernst, an artistic Russia had remained he methe hugenugc success nonexistent. might be needed Chopin In Pans accompanist for family concerts. Her sons, way, and wherever his assistance and the triumph of and unsurpassed undeveloped, in a creative Petersburg musicians, are an musically be there. salons of the nobility Friedrich and Joachim, both carefully trained One of the Ernst brothers playing her folk lore. There would always decades later. The this despite the richness of years later, several musical instruments, which ancient "Serpent/* an instrument Clementi held to his word. Two before each and their enthusiastic collectors of ancient No one visualized the treas- opened their doors wide dating from the 17th century. were no composers. first works to reach consummate skill. Mrs. Alice Ernst, the talented melodies familiar three of Field’s sonatas, his eagerly sought andpad fora h h they play with ures imbedded in the popular Clementi s lessons were were printed in London at Field had struck wife of Joachim, is equally this wealth of material publication, this respect, however. among the natives. Thus to Paris where nrices In expense. Then he took his student St. Petersburg was at home with a viola or unused. best “Held.” Society In remained sensational success. From the century or- with his operas, A he promoted him with spent lavishly, and never dh- the fine 16th It was then that Glinka, finally, toward regal in its ways, pair went to Vienna and they gan which adorns the and “Russian and Ludmilla”, Paris the teaching prices, as extravagant as Life for the Tsar” arrived in St. Petersburg. cussed Perhaps, to the the end of 1802, they conditions were quite music room of the Ernst gave its start to national music. might be. But in Paris music may more conserva- mansion. Last, but not sophisticated listener of today, this different. There everything was almost elemental but a small trac- least, there is Joachim sound somewhat primitive and tive. and a "high price” meant Ernst, Jr., and he collab- Members of the Ernst Nevertheless it already coii- received by Field Thus in its realization. tion of the fabulous fees family with some of in all home con- all the characteristics which the orates tains, in embryonic form, be explained the sizable fortune the interesting instru- can variety of wind the works of the the relative certs on a ments in their collec- which later on distinguished latter amassed in a few years, and instruments. tion. great “Five.” poverty which pursued Chopin throughout his Glinka taught the The Ernst collection of But the question arises: if career. Glinka was the ancient musical instru- “Five”, who taught Glinka? If Russia, rose to the rank of a popular Field, in ments includes a contra- music, who was its grand- man. pale, father of Russian idol. This pre-romantic looking young bass lute; an Ethiopian Mrs. Ernst. Sr. ac- soft and expres- father? . thin, clean shaven, with genial tall and bow harp, carved from companying on a Several months ago Victor Murdock, the and some- sive features, fair hair, an arched nose spinet in the garden. the Wichita Eagle, ex- the tusk of an elephant and inimitable editor of thing dreamily melancholy about his bearing, manner his admiration and covered with snake- pressed in no equivocal precursor of Chopin, physically was an authentic skin; hunting horns; brother in Erin, John Field, and called a for his as well as musically. But the resemblance stops of the musical world to the capital attention here. Whereas Chopin was supremely discreet, played in Russia, the land of his part which he everything touching his to refined and measured in adoption. Therefore, it seems fair to restore mode of living. Field gave way to a regrettable neglected musician a credit Joachim Ernst, Jr. plays the this now unjustly dissipation leaning toward intemperance and Post Horn in the music room. rightly deserves. All the more so which he most of the remembered by the discrim- The patrons of the smart restaurants when he is already Frequently form, Nevsky Prospect were all his friends. inating for his creation of the nocturne on such occa- him by Chopin twenty years he gave sumptuous banquets, and borrowed from ante- sions it was not uncommon to see. in the later. chamber of the gorgeously decorated dining Parental Foresight room, a mountain of “zakouski” thors d’oeuvrts) Dublin on numbering at least hundred varieties. Field, a pure Irishman, was born in two an It that Fields no- the 26th of July, 1782. His grandfather was JOHN FIELD was at one of these parties toriously delightfully organist and pianist, and his father a violinist irreligious feelings were bishop in a theater orchestra. Soon he made his debut challenged by a broad-minded and witty predict a knew Russia before the revolution invita- in London. Haydn did not hesitate to Those who who had bravely accepted an atheist’s eloquent in their description of the great future for the boy. Field’s father, however, are always its tion. The guests were standing around atmosphere, its easy life, had a sense of the practical which made him extraordinary its lux- zakouski and enjoying them as a gastronomic consider a virtuoso career as lacking stability; uries, the refinement of its aristocratic circles prelude before entering the dining room for the and its friendliness to everything connected pointed so, in order to secure for his son a more perma- with meal proper. With their fingers, they if Art. cannot know the charm nent source of income, he asked Clementi he “You and the joy toward the hors d’oeuvres of their selection, living,” say, “if you would take him as an apprentice in his shop for of they did not know Russia which a waiter promptly assembled on a plate piano making. In return for his work at the as it was then.” Then! And now there are, in and served. up a soft When the bishop came Mrs. Alice Ernst playing a 16th Mrs. Alice Ernst with an regular instruc- Paris, many of them who have not seen is warehouse Field would receive their murmur spread surely, he century organ in the old Viola around. “This time, music room. da Gamba. The brothers Ernst checking up and tuning teacher. The bargain was fatherland since many years. On Sunday morn- with tion from the great going to omit the grace.” But the bishop, some of their instruments in the music room. most satisfactory to all ing, they gather along the Rue Daru, outside of with, concluded, and it proved a twinkle in his eye turned to the waiter the Russian church, and recall bygone days. concerned. “Let me see, I think I will have some of this- Field realized a splen- The fairyland which... they evoke was the The Ernst family in the garden; Mrs. At the age of seventeen, —* Russia this-this-andhhis—this and that.”that •• His handhard viola d’amore; several exquisitely worked wind instruments — Four of them. Ernst, Sr. with known, on his first con- that Field knew, the Russia that an Ethiopian Harp; success, when he performed appealed so ld ; account of their shape, did moved as he spoke; up. down, right, and one of her sons with a as serpents; a schofar; a spinet; the already Clementi intensely to him that he became contrabass men- certo with orchestral accompaniment. intoxicated with The lute; the other tioned 16th century sign of the cross, as in Russia. with a so-called organ; and others of unique interest. It is this truly recall, un- the land and the people. was back stage and, after a triple an When, after a few Field, Trumscheit, and the grandson with amateur passion for like Chopin, had horses and carriage music which, with a few notable exceptions, like the time, he opened his weeks, Clementi decided that his a scholar. usual occurrence at that London stu- und Ion? “American Society one of his favorite pastimes was to take of the Ancient Instruments” and the “Orpheus Club” and swore that whenever and dents could no longer remain without his arms to John atten- rides in it. 204 of Philadelphia, is too much lacking But while (Continued on W in American life. MARCH, 1940 154 ETVDl the 155 , ; —
Music in the Home
of the “Concerto No. 4, in d . his performance in M-623), Kreisler . „ K 218 (Victor set how- in achieving the purity the Home pverdoes not succeed in Music in Szigeti of detail that does in his enunciation Ravel’s this work. “Concerto for Pictures Again Lis recording of Moviedom Turns to Musical M-6291 is a work of Left Hand” (Victor set pol- poetic beauty, which Home ished brilliance and the sympathy for a Records for composer wrote out of pianist New ETRO-GOLDWYN-1 right arm. Cortot plays this By who had lost his MAYER ANNOUNCE work with both technical and expressive artistry. American M an interesting score Kirkpatrick, the harpsi- Ralph for their forthcoming produc- chordist, aided by a trio of strings, in Musicraft n Lovers “Florian; The Emper- VJM* Music tion of plays Johann Christian Bach’s “Concerto set 38, Stallion,” the release date yiCl 5”. or’s E-flat, Op. 7, No. This is a particularly >» in for which is as yet undeter- facile work, sounding, in its slow 2 graceful and mined. Several sequences are a deeper note than any of the com- By movement, to be filmed without spoken Peed poser’s music so far heard on records. The solo- and dialogue, their mood the reputa- and searching performance shows they have nothing in com- and bewildered father) earned him t ist’s sensitive meaning to be conveyed en- influenced by the are clinging entirely tion of being “addled.” The second film is to be JJ « us why Mozart was composer. Straight mu- mon. We # tirely by music. Edison The Man,” and will star r recording standpoint, this is one of to the Austrian side.” called “Thomas pete From the sical accompaniments are fa- Musicraft has done. For the Sarajevo montage, Spencer Tracy. Although advance information the best things that miliar enough, but this type lights of the of all chamber music recordings Mr. Waxman uses a fantasy on the release dates and high At the head of treatment is not to be mere the famous Rakoczy Edison pictures are scarce, at this writing, it tran- issued in recent months should be placed the describes it based on and appeasement obbligato. MGM of Shos sense of reconciliation Bloch's "Quartet” March, employed by Berlioz, is not improbable that numerous sequences FIRST HEARD Dimitri searches the performance of Ernest (Col- form of expression HEN WE this world: music that as “a new recog- quil, not of is greatest Damnation of Faust,” the later film will deal with the invention of the “First Symphony” we umbia Set M-392) . This the work of which vis- in “The takovitch’s beauty.’ on the screen,” in marked tal- very heart of . All well as by Liszt in his Fif- phonograph. The pictures are to be released in nized a young composer of “Pops” Orchestra give its composer, recorded to date. the salient ual action plus the exactly as W Fiedler and the Boston succession to create added in- Russian com- Rhapsody. Kreisler’s prompt enough Here was music created by a Beethoven’s -Con- characteristics of Bloch—his ingenuity of de- fitting music will interpret the teenth ent a more vital performance of a step in quasi music of promise, of Instrumental coloring, Caprice Viennoise is used as terest in the continuity. Such poser out of the new order, Overture (Victor set sign, his strong sense full significance of the scenes. c secration of the House” pictorial biography should prove a objective and synthet fervor and Intensity—are here the theme for the birth of the serialized which, although purely Weingartner recently did. Coupled and his emotional It should be interesting to ob- a new M-618) than the worthy tribute to the man who gave the world content, nevertheless marked a volatile unforgettably revealed. The Stuyvcsant String serve just how successfully colt, at the beginning of in style and work is a first recording of Robert Young and Helen Gilbert Recently we heard with this imperial review both light and music. in the musical world. and buoyance, Quartet, an organization new to records, does music can supplant spoken in a scene from the new musical picture. The talent little piece of considerable charm (Victor set film "Florian/' Lippizian horses is “di- Paramount’s forthcoming “The Road to Singa- composer’s “Fifth Symphony” Seville’ by itself and also the composer notable Justice in words as a universal language. of the the - Overture to “The Barber of and the Philade the Polo- pore” promises to be a fast moving, adventurous, M-619) played by Stokowski more popular in its the interpretation of this highly difficult work. “Florian,” a dramatic ro- alogued” by Chopin’s enhances our Paisiello, a work that was a work that but of naise in A-Major, in full mili- rough and tumble, on the lighter side, starring phia Orchestra, than Rossini’s now familiar opera. Although the incomparable artistry Casals mance, is based upon the of its composer. day Dorothy Lamour, all impressions and opinions incite appreciation of his per- (author of “Bambi”) and tary band arrangement, while popular music in- Bing Crosby, Bob Hope, and earlier In selecting Mendelssohn’s “Reformation Sym- may at first our novel by Felix Salten , enduring force and sub- of whom have won fame via the air waves, and Of greater and more (Columbia set M-391), formances of Bach's “Unaccompanied Violoncello set in Austria, against the colorful background cludes To You, My Austria, by von Suppe, as composer, phony” for recording any previous music by its 3” folk by Strauss and Lanner. In the who are here appearing in their first picture stance than Howard Barlow certainly departed from the Suites, Nos. 2 and < Victor set M-fllli.ln the of the World War and the fall of the Hapsburg well as songs this new symphony reveals together. In addition to solo songs, Crosby and that we have heard, familiar with Men- analysis this will prove inseparable from Its hero is Florian, one of the famous festival scenes, a “Schrammels” band, as it is composers beaten path. Those who are final dynasty. as one of the greatest Austria, plays popular Viennese airs. Miss Lamour will sing a duet, and the three stars Shostakovich delssohn’s descriptive symphonies (the “Scotch” Bach’s music. Casals never has been more nobly horses of Arabian and Andalusian stock known called in century. of the present “Italian”) will perhaps find this sym- and notably represented on records than in these as “Lippizians,” and bred by the Hapsburgs since These little bands, of peasant is and the performance of this symphony include two vio- Stokowski’s phony less immediately persuasive, yet it de- two suites. the days when cavalry horses were rushed into a musicians, devotional nature, and there is no of a wholly serves to be better known. Its program is largely It was fitting that Victor placed Plzzeiti’s charge, bearing riders in suits of armor. This lins, an accordion, and a gui- the eminent American conductor question that religious, making good use of the so-called Dres- “Sonata for Piano and Violin” in its Connois- high bred strain of horses was never sold for tar. Native cymbalons and convinced of the vital qualities is unalterably den Amen motive, which Wagner later used in seur’s Corner, for this scarchlngly expressive exhibition purposes; an interesting fact about zithers also figure in Mr. inspiration of this score. One has and plenary the familiar Lutheran chorale, its them is that they are black at birth, gradually Waxman’s score; and the or- eloquent read- “Parsifal”, and music is of a highly individual character, and turn to his persuasive and but to Ein feste Burg. appeal belongs primarily to the connoisseur who changing color to become, at the age of four, chestral sequences make par- Largo, a movement so subliminal ing of the noble recordings recently issued white. Winfield Sheehan and his wife, tial use, at least, of the put to Other symphonic does not always ask a musical work to be re- gleaming profoundly earnest that one is hard and include: Stokowski’s fervent reading of the lumi- per- Maria Jeritza, became the owners of Florian, an Strauss idiosyncrasy of stress- or to the fervent peated too often. The work is masterfully describe its full power in words; Fire nous and deeply impressive Magic Music formed by Yehudi Menuhin, in international champion named for the “hero” ing strings and subduing opening movement, which imme- and Hephzibah yet restrained from Wagner’s “Die Walkiire” (Victor disc 15800) of the Salten story, together with three other brasses. Edwin L. Marin di- of the composer. Victor set M-615. diately attests the maturity per- Koussevitzky’s polished and sparkling E. Power Organ Lippizians from the 422-year-old Spanish Riding rects a cast which includes virtuosic brilliance is maturely Biggs, playing the Baroque Shostakovitch’s formance of Beethoven’s “Second Symphony”, Academy, in Vienna. In producing the Salten Robert Young, Helen Gilbert, development section of the first of the Germanic Museum at Harvard, gives com- set forth in the given a lucent and admirably powerful which Victor has mendable performances Choral Pre- picture, his first for MGM, Mr. Sheehan carries and Charles Coburn. movement and in the vigorous and of “Four clear recording (set M-625) ; Handel’s “Con- the most im- ludes” of Bach pieces of out a long cherished desire to do honor to Other forthcoming produc- This work is, by all odds, and of two Christmas finale. certo Grosso, No. 6, in G minor”, played by Wein- the past year. Daquin (Victor set interpretation Florian. tions from the MGM studios pressive symphonic recording of M-616). In his gartner and the London Philharmonic Orches- Among the musical scenes of the picture is is the Ninth of Handel’s “Organ Concerto, No. 2” (Victor disc include “New Moon,” adapted In a quite different category tra, in a manner related more to the modern a montage sequence dealing with the assassina- for the screen from the Sig- (Unfinished) of Anton Brucknei 15751), Biggs is hampered by the completely Symphony concert hall than to the eighteenth century tion at Sarajevo, a similar presentation of the Bruckner has never received non-Handelian and strangely variant playing of mund Romberg operetta of (Victor set M-627) . set X-154) spirit of the music (Columbia ; and Armistice, and typically those who have the accompanying balance a Austrian village fes- the same name, and starring due in America; there are orchestra. It is not a his the rousing and zestful recording of Auber’s tival in which nobles of high rank dance with those who have ridiculed him, of recording that is lacking but a better Jeanette MacDonald and Nel- praised him and Overture to “The Bronze Horse” conducted here en- by the peasants, in a traditional ceremonial. The son Eddy. The same studios have truly understood him. It is not coordinated understanding of the music. but few Constant Lambert (Victor disc 12511). pantomimed action Perhaps what Among the year is expressed by native folk are also projecting two films tirely fair to call him long-winded. recording best vocal records of the past In the of Paderewski’s “Concerto in songs. Themes of Brahms connection with Bruckner s is the first to the and Liszt are used in to be devoted to the life of is needed most in minor, for Piano and Orchestra”, be made by Dorothy Maynor. ultimate A (Victor set an Imperial Ball scene, which features the ballet of proportion. In the Negro soprano this past Thomas A. Edison. The first, music is a sense M-614) it is the playing of Jesus who was “discovered" A scene from "The Blue Bird." featuring Shirley Temple as MytyL sense , Maria San- of Irina Baronova, premiere danseuse of the of all art it is perhaps our summer by Dr. Koussevitzky. record- “Young Tom Edison,” in appreciation roma, the Puerto Rican pianist, that is most re- In her first is in Monte Carlo Ballet Russe. The score is the work is most necessary. There ing the soprano Ave which Mickey Rooney is to of balance that warding. The music is badly dated (1888), chose to sing Schubert's to be de- stem- of the Viennese composer, Franz Waxman. In more to be cherished than Maria and Gretchen disc play the title part, deals with the childhood of will combine their vocal efforts in a ditty called Bruckner ming from Rubinstein and the early Saint- am Spinnrade i Victor wonderful pages in his 15752). explaining his selection of melodies, Mr. Waxman the great inventor, in Port plored; for there are It is to her artistic that she has Huron, Michigan When The Sweet Potato Piper Plays. This Saens. Sanroma does notable justice to this credit says: scores. Listening carefully we can- succeeded when only his mother and his sister understood thought provoking long, uneven score, and his performance has been praised in making as fine a recording of the title is clarified by the fact feeling could be, how “We have taken only the Austrian and Hun- the boy, not refute how deep his Ave Maria as exists. in- and when his complete absorption in that ocarinas are used, the ocarina being one by the composer as being a consummate achieve- In fact, the expressive garian themes, he could bring to his music. As tensity avoiding the Germanic, since the scientific experimentation (as well as frequent great a beauty ment. When Fritz Kreisler turns his of her singing in the verse has of those musical sweet potatoes. splen- attentions second spirit is entirely Lawrence Gilman wrote, “How blazing a never different, just as the spirit of trips to the woodshed, in company with an irate To the gratification to a Mozart violin concerto, the results before been achieved records. To the of the Crosby enthusiasts, certain toweling are on American music differs dor touches the pinnacles of familiar from that of the Italian. that star is bound to be inevitably both ingratiating and song of Goethe’s Marguerite, the so- assigned four songs and two or three movements of his.” His “Ninth Symphony” was Historically, Austria was for centuries separated highly satisfying. Although this prano brings to her naive reprises. The picture is directed by Victor recording of remains true interpretation a from the Prussians; unquestionably his greatest, so the pathos hence, the wide difference in Schertzinger, rather than a note of tragedy, which is who sets something of a record Its heroic first movement the spirit of the music of the it is most welcome. consistent two countries, MUSICAL FILMS by supplementing his straight with the simplicity of the character. directorial duties owns a compelling theme that cannot fail to which continues to the present day. Musically, in its Verdi’s by composing two of ( Continued on Page 207) . Y abridged version of stir, and its Adagio is, again in Gilman’s words, Music in the Home Home Mu sic in the World Radio in the Musical Auditions of the Air Etude Music Lover’s Bookshelf Metropolitan Opera The season N SUNDAY, MARCH 24, the fifth Auditions of the of Metropolitan Opera 11 close when, at a O Air will be brought to a Edited by Poe Music the Blue Network of 5-30 P. M., EST., and over By Company, the «iames BIOGRAPHICAL study of the music that the National Broadcasting will re- has been written to the poems of the man 1 two or more young singers who ' of the 1 > na will be an- of whom Claude Debussy wrote, “Edgar - A contracts Jl»J*** ceive Metropolitan Opera CaJ Allan Poe had the most original imagination in Auditions were first the world; he struck an entirely new note. I Since the Metropolitan the sponsorship shall have to find its equivalent in music,” has brought to the air in 1935, under Company, a total of just come to your reviewer’s desk from the Johns of the Sherwin-Williams has entered the Metro- Hopkins Press of Baltimore. Coming from a uni- fourteen young singers Symphony Orchestra under Howard of radio. At least twenty-five to press nopular versity press, it has the earmarks of a treatise politan by way without a sheaf of European this invited twenty American pass their en- with or Barlow and with preparation for a postgraduate others, though failing to vocal presented in very large number of people. He has no Du Bist thirty notices, and that, given the prepare works for its programs; the world’s finest lyric composers to honor. extremely useful research is being trance examinations for donnas could learn stage Much Wie Eine Blume, no Lorelei, no Widmung. It is a companies, America’s future prima these was added a commission to Vittorio have gone on to other opera well as and to done by young and brilliant minds in our univer- theater, deportment in this country just as second radio opera, "Blenner- well known fact that neither a poem nor a mu- concert engagements. Giannini for his sities, in instances the institution re- or to theater, radio and and many sical setting alone makes a successful song. It is the Continent. . „ still, the Sherwin-Williams , , „ hassett.” quires student shall put his findings into More important Metropolitan took from tne that the the mystic marriage of certain words with cer- Any book listed in this department secrecy which That first year, the highlight events included the programs program has torn away the veil of singers. Most Other print. While many of the productions are of may be secured from The Etude Music Auditions not one, but five young with three ejpecially tain music. Du Bist Wie Eine Blume, for instance, shrouded auditions at the Metro- of the League of Composers permanent usefulness, others are so absurd in for generations in this and succeeding years have has had some hundreds of settings, although only Magazine at the price given plus the formerly judged behind of the winners works for radio performance. The New politan. Applicants, so far in written subject and matter that they outclass the work slight charge for mail delivery. now advanced Orchestra com- two (those of Rubinstein and Liszt) have ever be- now York Philharmonic-Symphony of our most lively humorists. Titles appearing in locked doors, are company that Man- come popular. the of the air; the Dorian Of thirty-two settings 5 season over the after- 1 | pleted its ninth commencement programs are often a providen- heard by a Sunday ager Johnson recently de- “Annabel Lee,” none is heard except on rare oc- notable cycle of millions, String Quartet Interpreted a tial release the academic ennui of a bore- noon audience of clared that more young from casions; and while Poe’s influence in music was principal chamber and the Indi- works of Beethoven and the who be- American chamber compositions; some occasion. Here are a few titles that we have and any singer singers are definitely very important, none of his works have coalesced other to similar compositions Orchestra set a new pace of Brahms. On is operatic ma- their anapolis Symphony noticed: “The Mating Instinct of Canaries in lieves he needed to take each page there are four reproductions in small secure a hear- with one American composition on each of its Captivity,” “The Economics of the Dirt Eaters of terial may places. score (no piano rearrangements are included). writing to Metro- auditions programs. the South East,” “A Study of Pullman Dining ing by The quality of That is, the parts for the various participating politan Opera Auditions improving Cars,” and “The World Wide Popularity of applicants is Folk Music on the Air instruments, first violin, second violin, viola, 230 Park Ave- Mickey of the Air, continuously, the Board Mouse.” violoncello, apprecia- and others that may be added, are nue, New York City. attrib- There is a widespread and growing Here, however, we have no work of a troubled believes. This is given in full, precisely as in the expensive scores, aspirants heard of the richness of American folk music; amateur student, but that of writer Opera uted to two things. First, tion a seasoned but in but reduced but legible size. Thus it is possible are chosen in it is significant that not only recorders who has gone after her with over NBC the general level of teach- and subject the technic in the Beethoven be- turning volume to include thirty-three preliminary auditions coaching in the radio authorities have been recently of a trained scholar. Miss Evans adds a perma- ing and master compositions, each one of which, in its a committee headed their attention to its dissemination. One of the nent work to the annals of American research. fore United States has risen original form, would Gen- the have cost far more than all by Edward Johnson, years. most significant contributions of radio during It is reported that Poe played the flute (pos- steadily in recent this compilation. In this of the folk new album they are all eral Manager Second, the auditions can past fall and winter has been a series of sibly the Piano). There is no evidence that he Opera Com- there at a cost of ten cents per work. The Metropolitan never be better than the music programs by the Columbia Broadcasting was in any sense a trained musician. There are Ed- Beethoven volume includes seventeen quartets pany; and including them. System in its American School of the Air broad- reports that Poe influenced Chopin, especially people who sing on for strings; one quintet Ziegler, Assistant con- for strings; one quintet ward Each season, better and casts on Tuesdays (9:15 to 9:45 A. M.. EST— in his Etude in E major, Op. 10, No. 3; but this Lewis, for piano and wind instruments; one quartet for Manager, and Earl hours of Western has been disproved, better singers have been sult your newspaper for because the poem was not piano of the Metro- and strings; one septet for woodwind in- Treasurer to the auditions, rebroadcasts). The purpose of this series has published until a year after the death of Chopin. attracted struments; one octet politan; Dr. John Erskine, American for wind instruments; because the record shows been to chart the main outlines of The poem most frequently set by composers is, of the Juilliard ANNAMARY DICKEY seven trios for piano and strings; one serenade President that the Metropolitan folk song and to indicate the part It has of course, the morbid “Annabel Lee;” next comes School; and Winner ol the Fourth Series (1939) Metropolitan for flute and strings; and three trios for strings. Graduate played In life of the people and the "Eldorado.” “The Raven” has Auditions of the Air. Miss Dickey is a Opera Auditions of the the been set a number Wilfred Pelletier, Metro- Opera Surely this is a treasure trove for the lover of soprano and her home is in Decatur, Illinois. Air represent not a stunt growth of America. Alan Lomax, one of the of times as a declamation. The greatest setting politan conductor. Survi- chamber music. The Brahms volume includes but a legitimate introduc- foremost authorities on folk music in this coun- of “The Bells” is Rachmanioff’s “Choral Sym- vors of the preliminary seventeen compositions; including three string afternoon tion to an operatic career. try, has been in charge of these programs, and phony.” heard on the Sunday quartets; two string sextets; audition are Mr. three quartets for semifinalists are John Briggs much of the material has been broadcast by In her biographical list of settings of texts, broadcasts, and from these piano and strings; one quintet for piano and Lomax from its own environment. For example, Miss Evans includes over one hundred and forty selected by the judges. strings; one sextet for strings; Radio Chatter, Past and Future presented works. “Annabel EDGAR ALLAN one trio for horn by no means bars tne in his program of January 9th, he Lee,” alone has been set thirty- POE An unsuccessful audition and strings; one trio for piano and strings; one Except in un- For the year past, Music held the center of the several old fiddlers from the mountain country two times, including the names of such com- applicant from a future tryout. trio for clarinet and strings. These do not em- hear any singer Radio stage. With Dame War having made a of southwestern Virginia, through VVDBJ at posers as Michael William Balfe, Josef Holbrooke, with tones usual cases, the board will not so as to make regular program fare. brace all the chamber radio debut in Europe, programs originating in Ernest Richard music works of the two per season; but he is cordially Roanoke. Kroeger, and John Philip Sousa. "Music and Edgar Allan Poe” more than once mighty musical minds represented, but they do year. Many sing- the United States took on a new significance, Folk music in this country was derived from The names of other noted composers who have Author: invited to return the following May Garrettson Evans include the ones most in till of those of our demand. Beethoven, for appearances before the a survey two major networks British, African and European traditions. Peo- been influenced by Poe is the most fragrant testi- Pages: 97 ers have . made annual instance, wrote nineteen other tends to show that for 1939 we were the tra- works of chamber watches with keen interest each most ple coming from other lands brought their mony to his incomparable word dreams. They Price: $1.75 board, which music calibre. Brahms, however, wrote only artistic develop- musically active and appreciative nation on the ditional tunes with had the include Rachmaninoff, Louis F. Gottschalk, Franz seven young applicant’s vocal and them, but since few Publisher; The Johns Hopkins Press more works which might globe. of Bornschein, be classed as chamber music written down, it took on new forms Claude Debussy, Charles Martin ment. . music. The possessor of The NBC-Symphony Orchestra made its Loeffler, Oscar these volumes has, there- Sometimes a singer who has made a good im- bow expression. In many cases old songs found Sonneck, Bruno Huhn, Edgar Still- I HE C HAMBER fore, by far the larger part will “blow as a full time unit. Gian-Carlo Menotti’s radio Negro man Kelley, MuSIC OF BEETHOVEN of the chamber music pression in the preliminary audition completely new musical settings. The Nicola A. Montani, Daniel Protheroe, opera, “The Old Maid and the Burglar,” compositions of both of these masters. goes on the air—hence the value had its slaves, the Appalachian mountaineers, the cow- Charles Sanford Skilton, Edward Burlingame and Brahms up” when he Much of Beethoven’s world premiere over the combined NBC networks. Hill, One of the most Olympian genius broadcast as a double check. Old hands boys, the Northwestern and the Mis- Harvey Gaul, Lazare Saminsky, Cyril Scott, significant evidences of the went of the lumbermen, into chamber music. got “mike Chamber music had its exponents in the Ameri- Nikolai serious progress of musical ability, Fond as he was of the full still chuckle over the singer who sissippi Valley jazz blowers these groups Tcherepnin, Arthur Bergh, Robert Braine, as well as of —all of score of the orchestra, can Art Quartet and the Primrose Quartet; and the elevation of musical taste, he evidently realized fright” and skipped fourteen measures. have contributed to American folk music. Max Heinrich, Bertram Shapleigh, James P. in America, is that that the inimitable Arturo Toscanini was again a foremost the addition of other instruments The idea of holding open forum auditions for with Teachers in throughout Dunn, Cecil Forsyth, Florent Schmitt, Clarence American firm, hitherto known contributed schools and colleges color rather Warwick, us. chiefly for its large than content to a musical the Metropolitan originated with Jack the country hardly of these Lucas, Arthur Somervell, Dudley Buck, catalog of literary works, thought. need to be reminded Arthur It would advertising agency. The Columbia Broadcasting System offered its should bring out have been a very easy matter of the Warwick and Legler broadcasts or their outside Foote, and Arthur Sullivan. Thus it two volumes, in economical for him worth, but also people becomes evi- to company was letting album form, one devoted convert many of these works into He reasoned that the opera of schools should be made cognizant of them. dent that Poe, like Heine, Goethe and a few other to a selection of the symphonic simply scores, had he chosen so to a lot of talent slip through its fingers, On March 5th, pro- writers, influenced a surprisingly do. Nevertheless, his the “Folk Music of America" large number of sense tradition that singers only came musicians. of propriety was so magnificently because of the gram will feature three famous old railroad Poe, however, turned out no lyrics balanced career that he realized that his to the Metropolitan after a successful ballads John The which have been united thought was best con- Henry , Casey Jones, and with music in such a a voice is a voice, BOOKS veyed in the more concentrated abroad. Warwick thought that Wreck 209' way that they have treatment. of the Old ’97. ( Continued on Page been widely accepted by a The compositions in ( Continued on Page 205) 158 THE ETUDE MARCH, 1940 7 59 h 2 I a Music and Study administered win anA if properly this purposePUr estimate ofoi thetne amouramount ^°fsatissatisfactory7 f tory give a very in the individual musi endowment of innate test is simply to measure Study Se Music and urP° melody, by asking The P initially given forfo r aain memory certain changes of time, Avocation for Men tify Music-An id the Childs may be introduCed in the melodic item, Talent altered 'understood by illustrat- Musical can Soldier Talks to Boys About Men and Music test almost A Much The g familiar to all, How meMut“ “ Amerlca^y the »* Pv t By Has My Child? 2 S the Child how Ex, dl.m A. an<1 show Formerly First Lieutenant, Ex. • ' * ^ 135th Aero Squadron, A.E.F. e i I S* By the time has beer. .„nlH recognize that The author of this article is a success- He Sh put ’T”. for a be told to manager in the East, who ' tnd then ful advertising of Practice 'HI the first square to young men. that :A chanle of tfme. in wants to make known at anything but a work con- Professor of Psychology Exercise No. 1. music study is fined to “sissies”. The fact that many men Georgia IllOH.t College, Macon. the so-called “ big fisted” type have Wesleyan I of 2v Practice exerciae N» I 1 I 1.1 made music an avocation gives the lie to Practice rxerclae No.2 LI 1 U those who imagine that music is effemi- Ex 1 again, unit nate. The late Charles M. Schwab, the Children Then, without playing Test for play Ex. 3, steel king, was actually a music teacher A Musical Intelligence lutely necessary, in his earlier years. Philadelphia’s Jack 4*-; - at home Ex 3 . -V musical mother may give O’Brien, well known pugilist, is a violinist, which any X . 1 is prominent sports promoter, Ray • i* f * S- as the Fabiani, who for several seasons played change of key. and in orchestra the Chicago and explain that thU Is a first violin the of Dr Drake In the prepared lor The Etude bp change, should be placed Opera Company. Many famous athletes TMs article was sincere,^ •K” for key muiriesol those who washed tow* square. Then play Ex 4. have been musical enthusiasts.—Editor’s number o, , ^ ^ second musical talent It is very h Note. tests for e that our read- te y ^ea Ext use of certain technlca out the \ "^ n ^ ^ Somewhere over the "front" of 1914-18 can make up J ' are interested * * ! ers who “percentile,’’ which Dr. Drake f?i - - the New York State Police, is as well known to of the main pnne p a little study i the necessary as is to the people ,iprfnin na to “any of the concert stage of Europe he understands tha. a making sure that the child of New York.” Major Warner then played a Bach that "N" is ’•<> <* note has been changed, so HE WAR WAS OVER. I had returned from concerto which left no doubt upon that point. as simple third square Finally, the melo* the tests These test are about placed In the France early in January, 1919. The battle A young musical recalcitrant could hardly call percentag cfubZ SZedTp like the original, thus TJStfe made.—Editor s Note is played again, exactly T for a job was now on. Someone had my Major Warner a “sissy”. ^ ^ sucft trials can be old position. I had been looking for a situation, Squadron to which I was assigned Kx.5 The French but, weary of two weeks of walking, had decided CAPTAIN GEORGES GUYNEMER was a very valiant one. It had fought through it to treat myself to a day of music at home before The aviation idol of France Verdun and the Chemin des Dames and twice determine the extent of this SUBJECTS, read- highly desirable to again starting out in search of work. There is had been sent to the Italian front. It had moved SO-CALLED TOOL long period of train- be. N THE certain talent, in advance of the is recorded In the last square - nothing like music to allay fatigue of muscle Boys haven’t changed one iota since I was to a field near Belfort the day I joined it and the arithmetic, we have and “S” 7 ing writing, required; for to invest in the ooe considered ing generally this melody Is the same as the first and of mind. ten years of age. I know that in this country of officers had a phonograph but had not unpacked standards which are • minimum of such a pursuit, only to discover four poK*t« started ordinary needs of arduousness The child is now familiar with the I through my catalog of victrola over 120,000,000 people, some fathers and mothers it. Nor would they. They expected to be moved for meeting the .ce sary that talent is lacking, is not only discouraging for keyclur-S* records at nine o’clock the music is concerned no answers: T, for time change: K. and at about four in are this very day urging their sons to study again to Italy where we would “fight in the day odern living. As far as as well as money. nor a e but also wasteful of energy same, or no dm* afternoon had come to the last selection music. I also have been established N. for note change; S. for — know that some of them are time and listen to the opera at night.” Why un- ,cfStid«vds young and ambitious singer spent sixty -.e.-v work of Chopin time, so it becomes One All are made to the original played by Paderewski—when meeting with the same response I gave my pack the phonograph when you must re-pack it to be for a long comparisons rev likely par- thousand dollars of her parents’ money on a mother stole every . once onh my into the room. matter to be decided by which is supposed to be played mother, “Only sissies take music lessons.” It the next day? But I insisted that my soul craved a Individual career which never materialized. This information he musical the test “I wish I could play the piano or some other is that this article basis of what meager Another example should make my hope will help many music. No orders came to go to Italy and I had lt on the or at least a portion of it, could have available. money, mekxh instrument,” I said to her as I put away the mothers to refute this boyish argument muster from any source cedure clear. Play the following and my way. m been more profitably invested in some other last disc. training, as suc ’ possibly amount of musical only, followed by the four comparison*. produce an American genius whose life How I feasted on those few operatic records. The the form of education, or even in an annuity. On “Well, return for child to rtww you hkd your chance,” she replied. otherwise might become mediocre, will yield the maximum long enough after each for the purposeless, Before flying over to the Rhine River on an hich quite direct y the other hand, many children who might profit “When?” I asked. and money invested varies his answer in the squares of 'Practice or even thwarted. There is real tragedy stored afternoon reconnaisance, I would listen to Tito me by the child, enormously from a musical training are never “Don’t you remember?” of talent possessed No. 2.” she continued. “When up in that thought. “Only sissies take music Ruffo singing Largo Al Factotum from the “Bar- lith the amount the opportunity. talented, say among given you were about ten years of age. I asked you lessons.” who is very fl ber of Seville.” I wore that record out. It buoyed 'he child is better of Ex normal population, There no symptom musicality in K many times if you would take piano lessons.” five percent of the me up for the perilous work of the day. Then 1Rh education than a child than the spontaneous singing or play- musical • « « * “Yes?” The Brave Who Loved Music far more 'ol * . ! m « there were French love songs operatic hould receive ing of some selection by ear (not necessarily a«ua and selec- among the lowest five ab- “And invariably you replied, ‘Only sissies take nother child who ranks But in the years between—and in particular tions by Clement, the great French tenor. Those solute pitch) . This ear-mindedness respect to musi- has been music lessons,’ so I decided the population with not to force you.” the year I spent in France with both a French officers seemed to have ercent of true characteristic of practically all the 5 many of Clement’s rendi- is particularly great mu- I did have a faint recollection of talent. This relationship turning down Escadrille and an American Squadron, I learned tions. Later, I think I guessed the al educational sicians of whom we have accurate records; and reason why, compared to other that proposition. Let my sisters play. I would that “brave vith music, as universally i men take music lessons.” beyond, of course, the charm of his voice. because, more it was almost manifested at an early listen. I had vocational endeavors, always been allowed to follow what Was Guynemer, the aviation mrsuits or age, certainly by the age of ten. idol of France As we flew upward in that sector, to the south achievement, the final accom- Evidences of was considered my natural bent. han any other But a young a sissy? Are Clement, the pre-war French tenor of us rose the snow-capped Alps upon an inherent ear- pleasure derived from listening to music, or a man who would in all their depends largely * spend over $500 in two years of the Metropolitan, Albert Shment desire to hear it, are indicative Spalding and Irving majesty; cold as Greenland’s icy cap in present, can he developed of more than 4 for classical, operatic the nindedness, which, if and instrumental records, Berlin sissies? Is Paderewski, who became pre- bright • morning sun, never can be com- average ability. Such signs are valuable but do ***» must warm with a salmon glow training, hut, if absent, If the child understands thoroughly have had some inclination for music, even mier of Poland, 5 Y not give a measure of the a sissy? as the sun reddened at eventide. And This is qulte genera degree of talent to though he did not south of oensated by training. be done, he is ready for the test suspect it—even though, as A few months I doubt leads2 possessed by a particular child as ago, sat listening to the radio. that mountain barrier, Tito Ruffo, greatest bari- which no compared to ft*®1 a boy, he thought •ecognized by parents, not, more examples should be given music lessons were only for I was surprised to hear talent other children of the same age, the announcer say that tone of his day, whose record I was the specific amount of which is neces- miliar “sissies.” wearing out, them to ask about tunes, of time change, key Chang*- “the guest artist, Major John Warner, Chief possess Knowing that sary for the accurate appraisal of any mental * of was flying with the Italian aviation. Certainly their own children may change, or the identical original melody makes it ability. The following test has been accomplishment depends upon talent devised for be 39 MARCH, 1940 understood that 1 fin wed am Mt* in Con 161 f 6ft THE Eft’1 a had a beautiful face. She nearbynearDy The woman snow . Study had been tiai her hair was white. Re Music and then said that he The Colonel the days of platinum and Study this was before Music to become a concert member Stetson. ’ quietly, even moodily. you? as ed captain Mnndes The man sat ta natural thing for him. Less effort and concen- “What changed down familiar Developing Musical Pitch ^ wasJ“ pikingwa iki h was something about tration are necessary in his case. He is able to “sissy.” And south of those moun- said the Colonel, I his chair There Ruffo was no “Well” und^ square, determined today’s greatest my violin case^ those thin lips, that feel his way musically. tains, young Ezio Pinza, probably street one day with h s face the a picture. I artillery. in my gang y ’ seen it before-in had There are just as many varying degrees of basso, was serving in the my arm when a boy faw i had killed and a a record. One othis; sleeves absolute pitch as there are of relative pitch. By this time, Guynemer had been Z’re cut cut to be a price heard his voice-on was, of course, in dare shout sissy. had lost an arm in the War. a It may be very absolute and intuitive in char- book published on his life. It violinist.’” He didn’t was empty.1 He ^ me that. Of course, Br language very a man P lapel told acter, or it little doubtful, sometimes French, and I could not read the The Colonel, who was . riband on his coat may be a iac I have never they told me that this lad, who was he stopped dead in his his bit for France. seen requiring thought. There are some who have well, but physique, said there he had done tuberculosis and was decided then and than the white-haired young fighting off the ravages of looked himself over. He fxreater devotion „ absolute pitch for only single tones, without e se besides armless rd for miliary service, had spent his sav- destined for something showered on him. That sleeve sufficient training to enable them to identify key rejected that he was be woman U 0 u/a did not which he earned as a pianist in a night club, concert violinist. True, he her white hair. Specialist at the tonalities or chords. Others can tell these equally ings being a as explained France. Fonck was thought of a career to Lyons. You’ve to learn to fly and die for come a prize fighter. He “Captain” I said, turning well. Certain exceptions may have absolute pitch will Pomt. He wa , American Conservatory of Music, Chicago the greatest French ace, but Guynemer Officer and entered West hotel for a few days. Do you hap- for only certain registers, or for only white keys, an Army years been in this the greatest hero of France. He could ended, only twenty-nine man with the empty sleeve or for only always be when the War men pen to know if that certain instruments, and so on. These the piano, but he was no “sissy”—not Guy- he was one of the first Army tenor, Clement?" cases are comparatively play age. Because is the great French few. The main value of ever There are ABSOLUTE PITCH pitch. If a composition is being played in the is a symbol of courage and will “military aviator.” man. But I do know ELATIVE PITCH AND nemer. He to fly, he was a “I don’t know about the possessing absolute pitch is that the individual classifications of to individual it triumph of mind over physical handi- classification. said the Captain. are the two general key A major, the merely knows be the only a few with this the woman is an opera singer.” is usually musically inclined, feeling naturally had changed a career. R musical hearing. Relative pitch implies is A major. He does not know why. It merely caps. His boy friend’s remark strolled out into the streets. A billboard the thing that is musical and consequently there I the necessity of determining a pitch by judging sounds like A major. proclaimed that Clement was singing at the results a facility that makes many musical prob- Uncle Sam's Musical Heroes the direction and distance from a known pitch. Almost all persons possessing this faculty were Alas, we were to opera house the next night. lems easier. This brings with it a certain psycho- with the French, I met some Absolute pitch means perfect tone memory. born with it. No one can tell if it is inherited. While I was leave in the morning. logical confidence. The drawback possible is that stationed about fifty Every individual possesses either relative or ab- No one knows why certain persons possess it American aviators who were approached him. I I wish now that I had the individual might grasp musical things too were with the solute pitch. The dividing line in some cases is and others do not. It often occurs repeatedly kilometers from our field. They Colonel to play for wish that I had gotten the readily by ear, relying upon intuition and in- which was commanded by the not very marked, but the average ear is quite in families, but with insufficient regularity to 99th Squadron, him Possibly he and his wife would have sung stinct to too great an exclusion of thought and famous American athlete, “Ted” Meredith. They ^JJow the Oratorio (Oe^an clearly one or the other. make any generalization possible. Persons for- departing Americans. But it took nerve reason. When this happens it can be overcome Ameri- for the Neither relative pitch absolute tunate told me that Albert Spalding, the noted nor pitch de- enough to possess this faculty are often to do this. I think I understand why those only by intelligent thought and study. a member of their squadron. Filippo Neri was a little Florentine boy born termines whether or not a person has a good ear. endowed with a musical talent far above the can violinist, was of Clement's rec- It 1551. he French aviators had so many is then possible to have any of the following I understood Spalding had a 1515. was very pious, and when, in It is the fusion of these qualities, with study and average. It is a gift for facility in things musical. I envied them as in He combinations: his attention violin with him. was made a priest, he gave much of experience, that produce ability to hear. lectures of that empty sleeve. On the Fourth of July, we held a celebration to children, whom he loved dearly. His The fact that an individual has relative pitch church of Another wounded musician is Fritz Kreisler, Good Ear at Massevaux, in Alsace, in that part of Germany were given in the oratory of the old tells little about his ability to hear, for there are who served in the Austrian Army. Relative Pitch: Fair Ear which the French had captured. There were San Girolamo, and in 1564 he founded a society many degrees of relative pitch. It may be weak, There is still another example—a lad who Poor Ear three very good opera singers there. Those which he called the Society of the Oratorio, be- fair, good or brilliant in its capabilities. If lived not far from me. I have Just listened to Frenchmen were not “sissies.” They had wound cause it met in the oratory of the church— coupled with a good mind and thorough theo- Lucevan le Stelle Good Ear private prayers. The composer him singing over the radio E stripes on their arms. small chapel for retical training, a relative pitch ear would be Absolute Tosca.” I can see him now in a great Pitch: Fair Ear Up with the American Squadrons around St. Animuccia wrote a series of “Laudi” as musical from “La excellent. Forty-five hundred school children— Poor Ear Mihiel, an observation team—Lieutenants Erwin illustrations for Neri’s lectures. These were the Armory. Musical talent consists of the following in- behind him on were, making a great name for modern oratorio. Neri also was a his schoolmates — are seated gredients: and Beaucom— germs of the Absolute pitch, They are singing if not coupled with musical themselves. They brought down, before the War musician. His successor, as conductor for the so- bleachers reaching to the roof. logic and training in theory, is of little use. which was a re- Palestrina. Cavalieri’s in unison. It is a great music festival. Then To was over, nine enemy planes, ciety, was no less than *Ear, Imagination, develop unusual boy one’s ear by listening intelligently, com- feat for an observation team as they service, “La Rappresentazione di Anima e di comes this lad of tender years—an Mind, markable Rhythm, bining the natural program is musical talent with a knowl- fought only to protect themselves. Corpo (The Representation of Soul and Body),” soprano. One of the stars on the Emotion, Industry, Schumann-Heink. edge and use of theory, is to have a beautifully One, I forget which, was a concert pianist. possibly the first oratorio, was performed at San the late Madame Ernestine ^Musical Nature, Physical Adaptability. him trained ear, whether it possesses relative or Erwin, a few years ago, in trying to find a lost Girolamo in 1600, five years after the death of When he finishes, this motherly soul takes absolute pitch. Hawaii, was him- 1662. tells him he will go plane between California and Filippo Neri. Neri was canonized in in her arms, kisses him. and Any combination of these factors is possible. the rescue mission. Neither man was far in the music world. There doubtlessly were self lost in One may have two, three, four, all, or any num- How to Develop Absolute Pitch probably re- a “sissy.” years afterward when, boyishly, he ber of these traits highly developed. Likewise, 135th, first Liberty- have Some people claim it is impossible to train In my own squadron, the sented that kiss. No "sissy,” he would one may be lacking in any number of them. It an ear. This Lieutenants Sheets and Nathan, he is a shows a misunderstanding of the motored outfit. fought any lad who mentioned it. But is possible to be musical and emotional, or musi- fundamental principles two of the bravest fliers at the front, kept us lessons.” While the Colonel kept on with his man well over six feet with children of involved. Everyone is now. cal and not emotional, and so on. There is no played the piano. advice born with a capacity for hearing. This cheered up with music. Both music, for sheer love of it, he never became his own. No doubt, the kiss and motherly rule as to the combinations original possible, with the capacity may I had been wounded and shot down before the known to fame in the music world. Yet I think still be great or only average. It is this are an inspiration. exception that a musical nature is almost always original Battle of San Mihiel. After being discharged he would have, only for that remark. He told I work- capacity that is not changed. That is see him again, as I. a boy of seventeen, present when there is a sensitive ear, with either hospital, as I was still unable to fly, us that he had found a violin in a second-hand wagon. fixed. Almost no one, however, develops from the ing in an ice car, put ice in his little relative or absolute pitch. this These two factors, original I was placed on the staff of Colonel W. E. Kilner, shop in Paris that he knew, and paid only five gave him capacity to its fullest extent. It is to this He went off to serve his customers who the ear and the musical nature, go hand in hand chief of training of aviation in the A. E. F. and hundred dollars for it, which was a bargain. I service. development that the ear training is directed. fifteen or twenty cents a week for the and are the only two that are found together S. Army. There now Assistant Chief of Air Service, U. think, knowing he was not extravagant, that he He Instruc- are many musicians who have been worked, he struggled for his musical consistently. If the ear is good, the concerts individual is given This gave me a chance to attend the must have been an excellent musician or he tion in cour- a capacity for a very fine, accurate, highly New York. "Sissies” have no such usually musical; if the ear is poor, the individual and opera in Tours. Though I have forgotten would not have paid that amount. I can vouch enlist sensitive relative pitch, who possess age. The War came. He was too young to is usually unmusical. only a fair Italian, the leading or his name, I remember an for the fact that the Colonel was no “sissy”. until learn- average degree of relative pitch. There near its close. I understand he was Relative pitch, then, does not limit a talent, are tenor of the opera at Monte Carlo, in a concert. We had sent a Captain Lyons ahead to ' just as many, no doubt, Bor- ing to chase clouds, preparatory to chasing G*r does not imply who have been born with accom- that its possessor is musical or He sat at a piano and played his own deaux to make arrangements for staying at a War HOWARD HANKS the capacity for absolute pitch, but man aviators out of the sky, when the unmusical. Neither does it who have strange, but the French tell anything about paniments. That was hotel—an extra privilege from the commander ended. only relative pitch. This is because little the mental or emotional make-up. It merely in- or no did not mind. They knew he could not stand of the Bordeaux area. Lyons said that direct attention when he We haven’t met in have heard dicates the has been given to actually de- tasted of many years. I way in which one determines pitch Absolute pitch can very well on a cork leg. He, too, had arrived at the Commanding General’s office and be a great help, or occa- veloping this capacity to him twice in concert but the autograph hounds and in itself reveals nothing its greatest extent. about the possible sionally a drawback. It is merely a foolish War. asked for this privilege, two Majors inspected backstage No a mark, a. sign, The development of the ear can were too thick to battle through. musical attainments or limitations. an be done only his credentials. indication. Its values are many. The possessor in a consciously doubt you have guessed his name. This quiet, mental procedure, and not The Warfare O'er “Kilner?” is almost always very musical. said one major to the other, “Why, Absolute That is why a through emotion. It is yet mischievous, lad of is Richard Pitch true that musical feeling yesteryear teacher is usually delighted The conflict over, Colonel Kilner and several say ‘Bob,’ don’t you remember Kilner at the Crooks to get a pupil with and instinct enter into consideration of the Metropolitan. What are the values of absolute pitch? as a part them, were on our way ‘Point’—the fellow who could What absolute pitch. It might be possible to have of his staff, I among make a violin We’ve all in ab- of the training, but the mind is the been wrong a great many times are its benefits? Does it have any channel that Bordeaux, there to embark for talk?” Major “Bob” replied that he did dangers or solute pitch and be unmusical. This, however, from Tours to and that our lives. I when is mainly controls the progress. The was never more wrong than drawbacks? Is it important? Is it necessary? not frequent, main approach the United States. Among that party was Cap- Kilner was really a great artist. and it is the exception that proves is necessarily I told my late-lamented that “Only The individual with through the faculty of memory Ambassador to Po- mother absolute pitch determines the rule. Just like a duck tain John B. Stetson, later sissies takes to water, so The associations that And Other take music lessons.’’ I think now of the pitch in a different way than the one with are used to aid the memory land. The Colonel had asked us about our Memories rela- does the average person with absolute many given pitch take are based on natural musical pleasant musical hours I might have tive pitch. The absolute pitch ear hears instinc- laws. If one can civilian occupations. The Captain had stated While Captain Lyons was telling me this story to music. It is innately in his very being. Numer- memorize, her. And every lad, the view tively, immediately with the aid of association in the lobby of today, who holds and innately. There is no ous little and repe- that he had been trained to become an archae- the Hotel Metropole in Bordeaux, intricacies in the study of music are tition, I held, will be as have mental process of numbers, dates, quotations, or instead. I was watching wrong as he can be. There judging direction and distance. quickly any type ologist but had become a manufacturer a very devoted couple sitting assimilated and appreciated by the abso- of factual been too many brave There is little reasoning material, it is just as musicians. in order to determine lute pitch student. The musical possible to thing is the memorize the pitch of 162 a (Continued on Page 210) THE ETUDE MARCH, 1940 163 , — — Music and Study veryone who loves music wants to voice. All the tones, high and low, flow out as vibrantly sympathetic. Also he has sing. Whatever your voice may be, if its one voice, orderly, clean cut enunciation. E quality is not warm, vibrant and sincere- in- finished eating; sometimes it is caused by Music and Study ready to communicate your thoughts, your good muscular to Lite Some Fundamentals tense emotional experience and the Song taste, your feelings—it is not fulfilling its natural has a tension hangs on long after the experience Bringing There is no mystery about the vocal principles in uppose a girl says to you, “I’m capacity. Whatever the cause, tension may improve a you learn in a vocal studio. The most impor- passed away. “Well,” you reply vaguely, “I’m sure The quickest and surest way to stretching. love.” and are followed by be eliminated by yawning and hide your inner voice is to follow the example of radio and con- tant are seven in number S that’s very nice,” trying to To open the throat for singing, imagine you to face instruction all successful singers. it happens every day. But cert singers and take face feeling of so what, are drinking in the breath through the mouth Youi with a good vocal teacher. But you may live in Good posture is the first essential. Remember suppose she says instead, “I’m so in love! breathe. You will dis- to assist in correct and nose every time you you murmur a a community where there is no such teacher. Or that the spine was given us ears begin to wiggle gently, and cover that spontaneously your ! ’’—especially if she dwells perhaps you are an instrumen- sincere -Tell me more throat relaxes and expands. Do The point is that in every talist who wishes to develop mu- a bit on the so-o-o. this for a few minutes every day, significant word which lifts sical expressiveness, but who has phrase, there is one before practicing. Also induce trite, and breathes the life no extra money for vocal les- that phrase from the some good big yawns. Gradually sons. If such is the case, much of interest into it. the voice will become more res- heading, “Reading a Lyric,” I can be accomplished by studying In this chapter onant. word “reading” in its elocutionary alone. have used the The Breathing deeply and com- ex- sense, which really means delivering with Imitation is the life of the fortably is a third vocal princi- pression; with logical expression which will singing voice. Not that one ple. Remember that the voice bring out to your listeners the whole meaning of voice will ever sound exactly like is like a wind instrument. Take mechanical basis for this expres- another. Its quality is as indi- the lyric. The breath be- these time for a good deep sion is your ability to spot and highlight •ssnszsi % vidual and unique as your finger fore each musical phrase, just significant words. The artistic basis for it harks tips. But listen to a full-toned, Rapid Way cornetist does before he Most as Sustain One a back to our Spotlight, “Create and novel book and MU* resonant voice, freely and easily ! chosen from this molt plays. There is more time than £TJdZve produced, and automatically you Hood.” fjy singing, will enjoy r- connected with if you do not hang mood, and all who are in any way you think, Every song has one predominant vse believe are will let go of undue muscular trained Hollywood stars, whose incomes too long on to the final note of only one. In fact, the prime reason for the al- ing Mr. Henderson has contractions and your own voice dollars a year, in the practical the last phrase. While you are a most naive simplicity of many lyrics rises from to he several millions of will begin to flow out with more religious songs, would mat, many single emotional ideas applied to classical and student, there is no harm hi this necessity of creating a songs. His , naturalness and ease. It will to singers. prolonging the pause between effect, excluding anything which doesn’t con- more thoughtful not sound like that other voice phrases while you drink in a full tribute to it, no matter how good the line may it will sound more like your own the breath. By the time you are be in itself. The mood is easy to determine; natural self than ever—but it ready to sing in public, the habit reason many amateur singers gallop off madly will sound fuller toned and more full more in all emotional directions in a single song is resonant. of breathing a breath there are slight Identifying the Mood that they’ve never been told, and have never I grant that frequently swiftly and silently will have the Your Voice Let’s Face Improve discovered for themselves, the vital necessity of changes of mood within the song. Imitation as a Teacher been formed. mood, ran Dance, for example, suggests a more To determine this predominant determining this one mood and planning their Music and vocal lessons Watch the movie singers and lyric ask yourself. “What emotion Those who take or less emotional rendition all the way through over the and whole rendition to drive it home. imitate their teachers, con- it will be found that they always except for the line before should I be feeling as this song comes from my sciously or unconsciously. That breathe before singing a phrase the heart?” In Little Lady Make Believe, it’s parental they ask us to pay their lips slightly parted to en- is why they always should study — bill which if you con- tenderness. In Lover Come Back to Me. it’s —on drink it in quickly. No, they do This with one who sings, one who tinue to “take it big,” treaty. In Carolina Moon, it’s nostalgia. In produces rich, vibrant, mellow not swell up their chests and Got Me. it’s light you become ridiculous. Is My Lucky Day. it’s Joy. In Ya as you tones. Everyone is today, sur- heave their shoulders, This line was written in banter. In Where Are You? it’s hopeless longing rounded by teachers, when the probably do when you take deliberately, its function In Halleluiah It’s exultation. Of course, in most best voices in the world may be these first deep breaths. Every being to lighten up the popular songs, the predominant emotion is love heard from the radio and the vocal student does that at first. song and provide a break of one kind or another, ranging from the gay screen. It is so instinctive for The trick is to breathe deeply to avert monotony. Going feeling of Says My Heart through the serene ro- every human being to sing, that by lifting the lower, floating ribs back to a previous chap- mance of Now It Can Be Told to the throbbing listening attentively one can ac- and expanding the waist line ter for our analogy, the intensity of More Than You Know. tually feel muscular relaxations and then to pull in the waist Predominant Mood is like The degree of abandon or restraint which you and the right coordinations line to let the breath serve the Tempo, applying to the apply to your rendition of a song will depend on which another is using to pro- tone. song as a whole, while many factors the mood of the melody, the sense — duce tones, as though he himself were doing the carriage and that a fine carriage can do as much Resonance in your voice is a fourth vocal prin- the submoods of the va- of the lyric, the environment, and your own per- singing. Try doing it yourself when you sing for your voice as it does for your appearance. ciple. Resonance is sympathetic vibrations rious lines are a sort of sonality; but no matter how restrained your and you will discover your voice is so responsive Stretch out your backbone and keep it straight- which make your softest tones sound round and emotional Pace, their in- rendition, it will gain power if you know what that it will take on the good qualities of free- ened up all the time as though you were carry- full and carry to the far end of a hall. And it terplay giving color and the Predominant knowledge Mood is. The simple dom, vigor and ease the minute you desire to ing a book on the top of your head. This makes your large dramatic tones sound mellow emotional variety to the of the mood will color delivery without con- your imitate and practice them. does two good things for the voice. It holds up and pleasing. rendition. However, no- scious effort on lies in your part. The danger Start in by becoming more voice conscious. the head so that the vocal apparatus in the neck tice that these submoods overstressing; for. just beautiful painting as a Listen to voices from the radio or phono- can make its best sounds; it The Full Throated, Resonant Tone are from and holds up your closely related to the can be made ridiculous by painting on a mus- graph records. Analyze your response to them. ribs so that you can breathe properly for the All radio and concert singers want resonance predominant mood, and tache, so you by can make yourself ridiculous Ask yourself which voices you admire the most production of good tone. Then, when the head their expression should and none of them can afford to have a nasal stressing one emotion so heavily that it goes and why. Compare your voice with this one is well balanced on the top of your spine, the quality. The instant the round ringing tones be shaded imperceptibly. over the line into into the next group; as tender and then with that one. When you hear a spaces which amplify the voice are directly A lilac bush on a spring tragic, of Mme. Flagstad are heard, for example, one whimsical into silly, wistful into gloomy, clear, warm voice singing a song you are study- above the vocal bands. day realizes that here is a voice with the luster of seems to have differ- and joyful into much hysterical. It doesn’t take ing, listen critically. At the end, go to your A loose, open throat passage is ent colors the second resonance in it. in the varying overstressing into to throw an honest emotion piano and sing it yourself, using the same free- vocal principle. This enables the self-acting lights of sunrise, noon- a Almost all vocal students have at first nasality caricature of it. dom, the same musical phrasing, the per- vocal bands to vibrate day, sunset, plus more freely, and it opens to a degree, especially in syllables and twilight; So decide and which contain upon the Predominant Mood sonal feeling as expressive of you as the singer’s the space around them for amplification. Many, but whether the color create one of the nasal consonants, m, n, or ng, before it, because an audience bent on amuse- was of himself or herself. You will discover probably most, singers have somewhat seems blue, lavender, tight or after the vowel. If it is before the pur- ment wants the vowel, to feel, not think. And when you have much more imitative power than you and constricted throats. Sometimes this ple, or whatever, tension it sometimes lingers on, making the vowel you al- mood is created, sound sustain it and it alone through- suspected. is caused by eating habits, like swallowing, for ways know it’s nasal. If it is after the vowel, it is sometimes a lilac out the song. It, Take Nice Work If You Can Get Each time you return from a musical movie, instance, and neglecting to relax after we have bush. Similarly, let your as Maxine anticipated and nasalizes the vowel. But this Sullivan recorded it. Now try to im- an opera, or a concert, bring home the sound submoods be such deli- agine is quickly eliminated by some thoughtful prac- it sung in the emotional, heavily dramatic of a good voice in your memory. As you learn cately shaded tice. variations mood of Stand with the back to a window, with from Body and Soul; the effect would be to listen more critically and match quality the Predominant ludicrous, a mirror held to throw light into your mouth. unconvincing, and incapable of arous- sound with character part, you will discover Mood that your audience VOICE As you drink in breath and induce the ing any audience the that an artistic singer begin- always knows emotion except pity for has complete use of his ning what that misguided of a yawn, notice that the soft palate is singer. Suppose, again, the singer predominant mood is. starts the MARCH . 1940 song with ( Continued on Page 1M) 165 164 THE ETUDE i Movie Music andStudy Music Teachers and Cameras Music and Study Sale, £,j J!oahe rests move up and down. If it a world famous plan- flexible and can recent film, featuring does > A the tongue when you sing, as it many closeups of his hands down on - showing you have been i end Worth While? eating, or when a fresh field Music when you are has opened of Makes Church your BUe nlaymg. What pronounce ng, pronouncing, or intend to and experiment for the piano teacher nasal. Lift the soft palate Thought moderately voice is shut in and Ago movie cameras so priced when you begin to yawn, Fifty Years ™h the off the tongue, as within the means of the teacher out more clear and that they are your voice will spring the required equip, within himself | with carry and a small class; must With even is good the manipulation reduced kHURCH MUSIC By licott the fervor he wishes to im- your voice small; and with an open mouth which lets ment or bad, vital or dull, through ^FoTifis Month of the ordinary camera; they e part to his hearers, principle. If This simplicity that is our fifth vocal £ the according to the e '^ ^ to out and greatest aid to both teacher and his services. Returning rigid from chewing food I be of the the Co^ is stiff and guiding influence of vour jaw J ft our first premises, the choir it must become a through your teeth, PU person directs it; and and talking small group of who fit Organist and Master of Choristers boy has this deep-rooted hundred times a day relax could begin with a pre- y loose and flexible. A theorist, One in talking about this direc- service; the musical them how to step out their love for the the muscles and swing them Edmund Ayers, pupils; show % Divine, New York City stretch Eugene school in terms of St. John The your jaws, j tor, I like to think at the Cathedral y then continue with conviction that it is a serv- elbows on a table at which you editor, wrote thus Pitmen and motion work; a apart. Put your author, and rhythrn not so much of what he sense, even In Your Music at the piano. A pupil ice in its best fists under your chin, “Put Your Heart next grade are sitting, your closed the theme, few of the must do as what he must be per- fists there ^ better than the others more than a matter of your lower jaw down on your every great question hand position Is and swing “In are whose and know. First of all, he executive direc- were chewing down too much, and there to Illustrate a point; for when formance or as vigorously as though you who lose by claiming be included must a thoroughly good mav be tion. efforts you will hear an im- who lose by cl ^mg someone known to the pupils, on food. For these sometimes others this is done by musician. It is a mistake to con order to build valuable singing. of the great question on their minds more vividly, In provement in your little. This is true will be impressed give the welfare of church the study o it programs, the organist must the value of music and the correct technic. cerning the thus clarifying music into the hands of acquaint- The Foreward Word claimed for music on music club, the films can acquire a wide music Too much is If the pupils have a some well meaning layman the spiritual anceship with all schools words at the front of the mouth, side and too little on the program and In this way can be Pronounce intellectual stan be a part of who happens to be inter- Nothing principle. Yes, your to be afraid to well as a reward En- of church music. for this is the sixth vocal side. Indeed, many seem as an Incentive as ested and knows how to play - used in clumsy at first. spirituality m these day having should be performed tongue tip will be very lazy and up for the dignity of even the smallest beginners by The communal inflexible courage the organ. church which cannot stand that trouble at the start, because does not conform to the the prized goal for work Everyone has If an art a few feet of film as life of the church may be the act of eating. timid to say any- independently as a piece of the tongue tip is idle during laws of science, we are too Seeing their friends In a picture in- materially enriched through for who well done. tastes and your mouth must be open defense. We truckle to those try harder. good music. The But, now that thing in its spires the less ambitious to its music, and for such serv- your voice out, your tongue ‘intellectual,’ and who exalt backgrounds of the congre- resonance and to let are nothing if not What a treasure for parents to have a com- ice no abilities can be too re-educated to enunciate the while they abuse every gation should be considered, and lips must be one faculty of the mind picture of their child s progress good. How, then, shall the your mouth. plete musical can words clearly in the larger spaces of of course; a new man other. . music . „ the beginning. director of church when the jaw swings par. An lmaginativ from do wiser things than to give Unless you are unusual, “Imagination is below helpful to have a few his training? as It is also revealing and acquire rolls back, filling the throat called effeminate today. Peo- a “Passion” by Bach as his down the tongue speaker would be self and In that way avoid The ideal arrangement, to a weight on feet taken of one’s fills a bottle. This throws Patrick Henry or a Henry first offering in a commu- a cork ple would ridicule a creep unnoticed mind, is for the future interfering with small mannerisms that may my the delicate vocal mechanism, These names are revered because nity whose tastes he does Clay today. own playing. It provides a lasting record director of church music to it cramps the resonance in their own day, into his there should its normal action; of the reputation they had though not know. But poor and faults corrected and Improvement seen have served as choir boy spaces, making the tonal quality sound that another Henry Clay of be no catering to the con- but it is safe to say himself. This is not always vibrant; it blocks the heard. lifeless instead of rich and possible today. His flights of imagina- not gregation in the sense of is not Interest as possible, of course; some- and muffling the voice The returns are great In pupil's tonal pathway, weakening tion would be the object of ridicule every- giving it tuneful examples one’s self. times the urge towards a does singing into a pillow. over the human heart well as real aid to unworthiness. as where, and his power career in church music as- of musical discover the relaxed and It is not difficult to small indeed. Poor is the orator of There are gems among the form would be serts itself after boyhood; which can be trained to Cathedral of St. John the Divine, New York normal tongue today who is not able to be uninteresting. No more easily understood se- the mouth. Close some churches employ speech sounds at the front of hearers accord him unless less sympathy will his Novel Game Aids leaching women directors, and they lections, and nothing tongue fills the mouth cavity, the mouth. The his statements are as bare and dull and dry than good should appear. high into the cannot very well have been touches all the teeth, and rounds rhetoric and the atrophy as the absence of all ixij Cjvortje ~)oiner choir boys at any time. An Interview Secured Expressly for Neither should the organist hard palate. Maintain this position t dome of the of all sentiment and the heathenish insensi- cater to his own tastes. No Look in the mirroi Still, the choir boy, trained as you slowly drop the jaw. them. No won- teaches has Invented bility to all emotion can render A Los Angeles music right atmosphere, one school of music should edges continue to touch all the in the The Etude Music Magazine and see if its der the days of oratory have passed away. For dart called ’'Clef-Target.” as a sugar- emphasized at the ex- round, without a game gets in his blood a feeling be teeth while it remains high and students .he this intolerable conceit, this desire to appear coated method of teaching his right pense of the others. Church jerking. Because the inner muscles for the things. He twitching and the ‘age’ (ye nineteenth form of a iarge and in sympathy with music scale. The target is In the cannot spend his early years By L. HARDY DUNLAP programs should be kept spring from the front of the lower jaw century, ha! ha!), will utterly destroy all spi- treble clef, which becomes a bass clef vrto varied and vital by choosing fanwise into the blade of the tongue, in a week in, week out fa- spread it art the rituality, and carry with all and every turned upside down. miliarity with Palestrina, the best examples of all they can be educated to form vowels in of expression of the beautiful, unless a health- Bach, and Brahms, without building that im- studies should be supplemented by a very thor- schools. For example, here is the cathedral enlarged cavity, which carrying the maximum of ful reaction shall soon be upon us. portant pattern of which we ough grounding in strict counterpoint, harmony, music for the Fourth Sunday in Advent: a characteristic overtones with the minimum taste and approach Durbin li we oniy nau a lew mure suen writers call background. As early as possible, too, he fugue, and general composition. “Mass” by Palestrina, an anthem by Purcell, effort on your part. Watch Deanna such appreciative souls, as John Ruskin, theri musical There is still another requisite for work of and Nunc Dimittis by Vaughan when she sings and you will see that her tongue should enjoy the advantages of sound the Magnificat the forming might be some encouragement. The only ten- teaching. this kind, and it is of significant importance. Williams, and an anthem by Weelkes. Again, a lies relaxed to her front teeth, for able position is this—that the imagination am kind beneficial. The The church musician should be deeply and sin- afternoon Organ Recital may include of every vowel. Any of musical training is Saturday sensibilities are the as worthy of cultivatioi boy whose parents provide him with violin les- cerely in sympathy with the church to which he works like the Allegro Maestoso (“Sonata in G”) The Useful Mirror and as noble in their uses as the intellec sons need not feel at a disadvantage because attaches himself. Many people regard church by Elgar, Carillon by A. Delamarter, Barcarolle itself. mir- Indeed, that man is not worthy of ar violins are not part of regular serv- music as a “job” like any other; but it has its S. Bennett, Cortege by Debussy. Other It is excellent practice to stand before a the church by W. and who is not willing to endure the insults of a ice. Stringed very individualistic requirements. ror and to sing the words of a song like a slow- instruments are immensely useful services include music from the 16th Century scientists rather than yield to the prevailin motion picture, taking a breath wherever you in developing ear accuracy. The keyboard in- A church service—any one—is an integrated through Mozart, Brahms, to Tschaikowsky and sure the intellectual craze. The true artist must stan struments, of course, helpful. artistic whole, requiring the need it. Prolong the vowels and be are more directly same devotion and Cesar Franck. the conso- up for the dignity of emotion. For when th A familiarity with young- fervor that Toscanini brings to his tongue remains forward, and make The values of the various notes (for comP’J®- the piano will aid our orchestral sensibilties the tongue’s tip are universally despised, when a tar- candidate in his organ work, the sooner he direction. Toscanini will perform And Resources Multiply nants short and neat. Swing the score) are indicated at the edges of the and no music, we emotion is relegated to behind the front the sphere of ignoranc *5 takes to the organ, are told, in which he cannot believe. up to the hard palate, just get opposite each note. G-sharp counts high the better. In like The practical duties of the church director of and imbecility, farewell to all forming of the lingual consonants, poetry and sculp to a-' manner, the church musician will do better and teeth, for the G next, and so on; and thus. In learning music center upon the organ and choir drill. The I ture and painting, The Man of Qualities then flip it down to its posi- and music will be, of a Many happier work if he, too, allies his musical t, d, l and n, and for the highest compu®? ac- equipment of the organist should begin with absurd things, counting notes, and releasing the the most absurd.” " behind the lower front teeth, l But performance upon instruments is only one complishments to the service he believes. He fluent tion his scores, the player soon gets to accompanying. The individualities of or- consonant into the following vowel. Give each pa®' of the necessary requirements for a career in gans themselves are various that location of each note In the scale. And so. so no attempt and link them all together in church music. The church executive be, sound its full value lessly, while game, the stt must to discuss organ playing as such will be here the playing a fascinating a smooth continuous line. Then pronounce potentially at least, a composer. His creative attempted. The essentials dent is eased into mastery of music reading- of this art must be words faster and faster, with the same propor- gifts may be slight, but none the less he must The to P® ; learned by study and assiduous practice. same apparatus may be adapted . tions, until the phrase is sung at tempo with be able to apply the rules of composition in a ing quite * °seh- We may assume that a person is an adequate Page 194) a variety of other games of every vowel resonated ( Continued on practical way. Towards this end, his keyboard and instructive nature. organist, at least, before ( Continued on Page 196) . 166 MARCH, 1940 THE ETUDt 167 : , Music and Study N PREVIOUS DISCUSSIONS Ox the problems Kindergarten Classes on the clarinet, involving tone and staccato, I we have seen the fundamental importance you suggest a course to follow the physical and mental Music and Study I Could of a coordination of a kindergarten piano class? What best with aspects of those problems. Again we can Problems should be taught to such a class? How Some Vital meet? by speaking often should the class How many delve into the matter of technique be advisable to nupUs would It have la of mental attitudes and physical actions, for What should the age limits be; a class? understanding them and putting into Table books or materials I might use. only by Round Also, there are several girls ranging concepts involved can the player Teacher's 2. practice the The fourteen to slxteea that from I In age achieve the heights of musical expression. would like to have In a du-t or ensemble of the Clarinet girls characteristics that makes class. Most of these are rather poor One of the principal Monthly but can play about fourth laborer or an Keeping Strict rime Conducted sight readers, a person fine, whether he be a music. I thought the ensemble class grade sincerity. And in a musician grade on arouse Interest In more Intensive artist, is that of I have a pupil In the second might Will you please suggest material through all that he does. the piano who reads fairly well, but every work. I sincerity must shine stops alto- By use? I cannot use two piano ma- of Technique few measures slows up or m i eht believe that intelligence guides the The Problem keep Mrs. O. T, Kansas He must gether; In other words, she does not terial. claims get her of instrument, not ridicule the strict time. I do not seem able to playing an realizes that she correct attitudes. out of this habit. She full Information concerning made in behalf of mentally for she can 1. For does not keep correct time, is a play piano classes see the Teach- must sincerely believe that musicianship tap a pencil in perfect time when I kindergarten He each piece “Playing that an artist for her. I do not keep her on Noted ers' Manual of the Piano,” little more than craftsmanship, perfectly, for I until she can play it Attractive book* to sincerity is lacking, that Maier-Corzilius. use is more than a player. Where realize that she would never leave Musir. Educator ini to each pre-school courses are: “Music Pia; ignorance of the ideals of piece if I did that. So I pass on for we find an apathy, an will new piece hoping that eventually she for Every Day" < in ita four volume edi- player hides behind defense and music. The insincere St^ be able to go back to her old pieces classes) U. tion for primary ; “Kindergartw tiny, restricted play them without a hitch; but so far mechanisms, lives and moves in a with !}' 1 year of Correspondents J'/'p/r Class Book" by Ada Richter; “Beginning she is not able to do so. After a sphere—an automaton responding solely to black iarr instruction she hesitates or stumbles. at the Plano" by Berenice Frost. her former white paper, opening and closing holes Clarinet, University of Michigan There is not a solitary one of Words dots on Instructor of She 2. Send to the publishers of Tire Etoe fine pieces that she can play perfectly. in a two-foot cylindrical pipe. But the all notes rapidly "Handbook of Bhsemb!? cannot read and execute for the catalog performer on any instru- keep good time. What is to be clarinetist—the fine enough to Plano Music." Here you will find a veri- done with a pupil like that? Waltzes.” Sets 1 has a purpose in life, a vision, an art Reinecke (easy); “Love of riches In single ment— A, H„ Indiana. and table embarrassment Brahms-Maier; The Gryphon sense. and 2, and "album” selections of all grades tor you tried giving her short, easy also The lie the Have Mock Turtle (Minuet) ; ensemble. Behind our mental processes, however, the four and eight hand Your This is the third in a group of articles by Mr. pieces, full of character and color-compo- Simmons; (both tPassacagliai , of technique. Duchess would be much more attractive to physical aspects of the problem can turn her energies his classes clarinet. sition in which you effective pieces are from the physical Stubbins, dealing with problems of the of these new, the student If you Installed a second We must inquire into the matter of to other than note channels? By using a Gavotte “Alice in Wonderland" Suite) ; in the best swinging chords or piano. I fall to see how any teacher can activities of playing the instrument number with slow, Raff; The Maid of Ganges, and Musette, manage with only one instrument Push- determining and examining enticing melody you can switch her atten- Malaguena, Lecuona manner possible, Liszt—Hesselberg; the bench when you tion to the quality, kind, and gradation ing the student off those factors which enable the musician to per- Nash. admiration for the high Then I sure want to Illustrate or "show him how It t action with oftentimes true artists on an instrument have teacher and friend, won of tone she is producing. am Piano Ensembles Presser “Handbook of form expertly. Then we correlate Do you know the energy. developed cer- of the halting will disappear, for done," is such a waste of time and of the eccentricities in technique which suit their needs degree of efficiency to which he much it you will find a thinking and are on our way to mastery music club, with a membership of Ensemble Music”? In she will listen attentively to her playing, My Besides, a studio with a second piano looks which deviate from what tain physical principles. His axioms of technique, has asked me to coach a choice of ensemble music clarinet. An analogy lies in driving a car; first precisely, but may two hundred, remarkably wide And and will want to produce smooth, flowing, playing. more professional and prosperous. the ideal. such as, “Maximum result with minimum of group of pianists in ensemble pianos, by the publishers of The to possess an automobile, then we learn might be generally considered such students I various for two purchase or rental we have “hitchless'’ phrases. With These players will perform at the nowadays, with piano cause us to the same effort”; “Close communication of fingers and Etude, and others. Send for it at once. operating it. But if we stop at Individual differences do only to rivet at- meetings. for not the essentials of have found it necessary so reasonable, there Lx Utile excuse his very definite con- Will you give me some helpful hints on drivers. keys”; and tention in order to produce the desired the additional instrument. that point we are not this subject; and I would appreciate it having tribution to clarinet technique result. must have a respect for the very much if you would give me the Editions Fingering We and of the principles of “quiet wrist”, To develop accuracy and speed, give names of some outstanding compositions, car as a good mechanical device, exact in pedal exer- “duos for four and eight hands.” 1 . are editions not “streamline position” have her short “one impulse” technical Why something of its and Mrs. E. B. W., Missouri. Indications? From my experience with Daoricay to the ( lassies and know cises; and put her on Goodrich’s “Pre- been of inestimable value. The both pedaling and fingering. I have come make-up. We must give thought ludes,” a book which I have often recom- conclusion that cheap editions are following descriptions of cer- important points for ensemble to the Please tell me how to introduce two it will Twelve expensive to conditions under which mended here. just as good (or as bad) as the children, aged twelve and nine, to <1* clarinet pianists envision driving ex- tain physical aspects of ones. some idea o< UK operate and classics; I mean, give us largely 2. What do you consider the best fin- iwo to addition of technique are based on melodic line emphasized; music which la easy enough for igencies. With the Annoyance 1. Only one gering for scales In double thirds and lira An play, but still written In IU purr are his principles. all else must be quiet background. double sixths? L. B.. New York. experience and practice, we I am so afraid of giving them romrthla* My teacher often annoys me by play- driv- To achieve good playing tech- 2. Dynamic gradations halved: each which la too hard for them. They U»ve then in a larger sense car ing along with me, at a second piano, player should make his forte, mezzoforte; I. Pow!! What a brick to hurl into the studied music for two years. nique on the clarinet, the body during lessons. Is there anything I can ers. J. 8. Tnss Is it ! erect, whether one is do to stop him from doing this? his piano, pianissimo; and his pianissimo publisher's window But please do not Technique on any instrument should be play with stu- customary for teachers to must be so fragile that it is scarcely aud- blame him; for. like the ancient pianist standing or sitting. The elbows is in general a physical reaction dents at their lessons? The easiest volume of early classics I York. ible. in the story, he is doing his best. No one should be close to the sides, and —O. B., New Pisno- of muscles and nerves to a “bottom” (bass founda- goes to greater lengths know Is “Graded Classics for the 3. Much more to get authorita- the instrument held at an angle is not. Any teacher who indulges in Ktostella stimulus. The problem, there- It tion) tone than in solo playing. tive fingering and pedal markings for Eook I," (Grades I and 11) this reprehensible habit does so because; excerpt* >£<1 lies primarily in developing of about forty-five degrees from 4. Very sparing forte or fortissimo— his editions. Composers are slack or in- These, however, are mostly fore, to get 1. he finds it a good opportunity difficult is muscles to the body. Arms should be held usually no more than one ff in the course competent in such matters; so what can simplifications. Slightly more these nerves and in some piano practice himself; 2. he pre- Bach of a piece. the poor publishers do? of Liftl's "Preparatory School to react in certain ways from cer- straight, not curved or bent, and imperfec- Most them not fers not to hear the student’s thirty-o^ 5. Much very soft, light semistaccato only have a staff expert to help in such (Grades IX and III) containing tain stimuli. In turn, this be- the wrists should continue this tions, fooling himself into thinking that touch in pasage playing. matters, but also call frequently compositions by Bach. Handel. CoreBi- straight line to the line of the as he him- on others comes the problem of training the pupil is playing the phrase others- 6. Only brief touches of top pedal in from outside. I have often been asked by Couperin. Scarlatti. Moairt. and Clarinet Section from the High School Clinic Band clarinet. When this correct posi- self “interprets” it; 3. he hopes, mistak- hands and wrists and fingers to rapid playing. publishers to finger or pedal compositions, many of them arrangements. Also at the University of Michigan enly, that it assists the pupil to “keep act in definite ways by force of tion has been assumed, it should 7. Much use of soft pedal. but am too busy to do so. It is a thankless Thompson s “Miniature Classics"; time”; 4. it helps him to stay awake habit. Instrumental techniques be possible to place a ruler in a 8. Good, free rhythmic swing indis- task, for both fingering and pedaling “Little Classics for Little Fingers-' ar- during the lesson. de- are thing in some sense differently from everyone straight line from the elbow across the emphatic first may vary in form, but these fundamentals wrist student takes pensable; beat accents pend on—first, the hand of the player; ranged by Rovenger. Listening critically to a else. This view is, of course, legitimate. There must be avoided. second, his technical applicable to all. bone to the knuckle of the forefinger. every ounce of concentration a teacher ability; third, his in- It Is very difficult to find classic litera- 9. Exact ensemble (especially in chords dividual “interpretation” is that point of view, however, so often over- The wrists should be straight, not curved up- can command. How can you judge the or conception of ture simple enough for a third grade stu- and at beginnings of measures) aided Physical Activities looked by proponents of the individuality theory, or , by the composition. Now, ward, inward as in the cramped position quality, proportion or effect of a phrase there is a tall order dent to play In the original. ArTancemf"-' use of up touch approach. are playing it for a “fingerer" or “pedaler,” isn't Technique on a clarinet in this case the which recognizes that physically we resemble known as the “broken-wrist.” The hands should if you and the student it? The or adaptation Is almost always necessary — 10. Unpleasant, percussive this goes also for effects only plan I have to suggest Schu- explained each other very closely. The difference between not be in back simultaneously? And is to give all Do you know my selections from the Boehm system clarinet—can best be of the clarinet, but held just cannot formulate any avoided by key contact. pieces two or three different H the student who sets of finger- bert Waltzes, Sets I arid in terms of the activities of arms, wrists, one individual and another is not that of a as one would normally grasp a round stick held 11. ’Modern’’ dissonances softened especially notion of the phrase unless he is listening and ing—which often is not practical—and to These are. of course. In their T®* hands and fingers. There are only two ways of human and an animal. Therefore we can sen- directly in front of the body. The left thumb attention to the instructor’s lightened; otherwise hard, bad tone will omit pedal markings with utmost entirely. state, iratc- sibly set forth a few general principles clarinet result. and would make admirable accomplishing an aim—the right way and the in is held at a forty-five degree angle across the illustration. After all, let us count our blessings How rial to these 12. Memorization or playing with for your youngsters. Added wrong way, although we may qualify the state- technique, applicable in every instance. tone hole in the back of the instrument in Whenever your teacher plays along music much better it is to have the such fingerings we may be Schumann's “Album for Mr. Clarence G. Warmelin, if he asks you racks down necessary for best effect. possess, if ment by saying that at times it is difficult to my respected a manner that the inside tip of the thumb just with you, stop and listen; only to use as suggestions, than M that That’s too tall an order! Here are a few to Young." filled with pieces from brand the method why you are not playing tell him have none at all. But you are as right or wrong. One of my touches the register key. Thus a slight move- suggestions: Entrance mistaken fourth grades, all original Schumann you are so entranced with his beautiful of the Clowns about “cheap” and teachers once said to me, “Play your instrument ment of bending the expensive editions— interns*- thumb knuckle will open or are (“Midsummer Night’s Dream”) compositions, and most of them performance (excellent reason!), , Men- there are only two well and I won’t kinds, good and are a care if you stand on your head or close the register key at will. participation (not so delssohn—Sutro; Orientate Cui Lubo- bad ingly romantic. His "Kinderscener* BAND and ORCHESTRA so disturbed by his — with, alas, a preponderance in a barrel of of the latter bit famous water while doing it!” We must Edited by William D. Revelli The right thumb should be placed under the good!), that you cannot continue. If you schutz; Rigaudon, MacDowell — Pox; 2^See isidor more difficult and Include the Philipp's “Complete take into account personal differences, and Coronation Scene from £££ Traumerei. *nUre thumb rest on the lower ( Continued on Page 200) will persist in this policy you will soon “Boris Godoun- °f Tt chnic for such Carl Reinecke wrote fingerings. Thev ar. and^ cure him of the irritating habit. off,” Moussorgsky—Pattison; Gondoliera. the best; I y ' ing “early pieces" In both romantic know. MARCH, 1940 classic styles. 169 168 THE ETVDl : : Music and Study Some Acoustical Questions q We are having a time here under- “Magic Fire ” Tempo standing the meaning of the following Questions and would appreciate it very please kindly tell me at about If you would answer these Q I Will you and much ar- major chords on what tempo the Magic Fire Scene, Questions for us’ Spell following Is ; , Violin piano by L. Brassin, Use 1: Ci. Be. Ai. F G“*. B“-. Stradivari for the tones. ranged J “Messiah” understand the G“* J or B’"., The played?—Miss I. M. B. I do not Also Figure out the chords with many three measures are flats. Just like those with ac- A 1 The first sharps or 108, but with cidentals. For example, D“*. F*-;. A*y. played at about M.M. J = —Mrs. E. M. decided retard on the last few notes. Cre- a that nothing should remain in sixteen measures about J = Answers concerned The next A. It is evidently with an HE THEME of old violins offers Moderato the tempo should be out mona. 63. At attempt to work mathematically a for romance; after great opportunity Allesandro Cozio di Salabue, 80. Seventeen measures scale correct in all keys and Count about J = chromatic in musical Moderato. T and, although familiar as Monferrato in Piedmont, a occurs the term Molto Service or natural temperament. of Casale this Information either just of the tempo slows A Music instruments to almost every people Yl purchased in 1775 all This is misleading as are many ways to do this and they wealthy amateur, There that trifle from this point to the interval the Earth, but few who play know of which there up only a do not all agree on values, so the remaining violins, end. are not quite the same even the origin of the violin family is two by Fran- Conducted By * major triads tor were ten by Antonio and for shrouded in mystery. all of them. Helmholtz, convenience cesco. It was also arranged by Paolo rite the computations, over three centuries ago Why Did Massenet W in mathematical divided It emerged that he would acquire all the appurte- Uen> the equal temperament semitone into in a form which, to this day, remains Marche de Szabady? nances of the shop; but, his death oc- what he called cents. 100 of these equal- practically unchanged; but to whom give me the oc- in the same year of 1775, the Q. 1. Will you kindly Probably curring ing such a semitone. your ques- the first true violin casion for which Massenet wrote the G° definitely to ascribe was concluded in 1776, by used the figures in this connection, transaction Marclic Heroique (le Szabady* W tioner never has been established. pronounced? Like his son, the Count thus becoming the 2. How is Szabady j(J thus G«oof would mean a tone 100 cents Whether it was Gasparo Bertolotti, sli f I have been unable to find any- of the ts or College or a full semitone sharper than G; B>,. owner of all that remained thing about this in The Neir International Professor of School Music, Oberlin known as Gasparo da Salo, or Andrea KobbCs Com- a tone 50 cents or 5/10 of a semitone memory of the shop which had so long Encyclopedia, Baker's, or the most generally men- Book. A. N. M. Dictionary B, and so on. It we assume Amati— two Do- plete Opera — Musical Editor, Webster New International flatter than s been maintained in the Piazza San tioned to the latter must remain the scale system In which equal accidentals — The violin under discussion referred your question to Pro- menico. A. 1. I diatonic scales in natural tem- distinction of founding a line of makers produce in the lot. fessor James H. Hall, who is an authority was included the full name perament. and unaltered tones do like- who, in point of industry and fine appreciation of music. No question will be answered in THE ETUDE unless accompanied by Cozio was one of the first re- on the history and will be publtsBea. Count and address of the inquirer. Only initials, or pseudonym given, wise; that is. natural diatonic scales as artistry, brought the art to a high Professor Hall did considerable research corded collectors of violins, and he be- follows point of perfection. The Amatis flour- but finally told me that he could not find came possessed of many rare examples. your question. However, ished for over a century, and they and the answer to CDEFOABC In a neighboring village, at Fonta- he gave me some information which is so A5 Bs C; the great makers who owed their C; D; E; F; GS neto, there lived a carpenter who, play- think it worth repro- About ( redo will be re- interesting that I Trills and Retards. Information C(, Dp Eb Fp Gp Ab B, Cb teaching to them always Etude ing the violin for amusement, was ducing. If some reader of The the Ch*>5 '’"5 FM>;G'-“* K’Mi B>“ Oj. vered both because they were the pio- Q. 1. Will you please tell me how d’Herculanum D-'”5 E figure happen to know the answer com- Hungarian are destined to become a prominent should trills in MacDowell’s Marvllle, neers who gave to the world its most We are Indebted to Mr. John major triads on the pletely, I would be glad to hear from played? and so on, then the in the annals of violin literature. His Washington, D. C., for this Information. important family of musical instru- 2. Please tell me what is the accepted given would be written as shown him. Professor Hall writes as follows: In your Question and Answer Department tones love for the instrument became an Interpretation of Seguidilla by Albeniz. ments and because their great works “This march is rather far back in the for December you suggest that some reader below I have thought it should be played with overwhelming passion, causing him to Massenet and could tell you about the “Credo d'Hercu- never have been surpassed and but second plane of works by little variation in tempo and with scarcely to de- lanum.” It is an aria for bass from the opera CS E- G- Bb D F. A; C Ej, T A give up his trade and gradually therefore not more than mentioned in any retards. I have recently heard It over rarely equaled. “Herculanum” by F§licien David, and is to be 1,M, |no 5 the radio with decided retards. I would C-x-, G 5 Bm«5 D j, B*»p D *: P»S, vote himself entirely to buying, selling the more important sources. Massenet found in “Operatic Anthology.” I believe It Of these early makers, the most il- appreciate it very much if you would tell triads on Use last four tones would to Hungarian also published separately. Major and exchanging them. He became an was evidently susceptible me which is right. Should one slow up was lustrious, as everyone knows, was An- be: D«*j FH«j A«*S. P*'S A»«j 0«1 work, and accu- influences, as there are several move- a little at the end of the first part at bot- tonio Stradivari who adhered to the astute judge of fine A s<>; c>soj Ei";. the preceding chord early suites that have tom of page one, or rather build up with- In collection of the fin- ments in his traditions, yet who was able to mulated a notable out slowing up?—Mrs. E. W. T. How to Play Ornaments in on A40;, c; is the major third of A so Amati Hungarian titles. Also the Scenes Hon- improve on what had been accom- est examples of the Italian maker’s played by the Pasdeloup Chopin if A is sharped 40 cents then Cj would groises was A. 1. The trills are played like this: productions. Heroique also be raised 40 cents, so It would he plished, creating instruments, which, Orchestra in 1870. The Marche Q. 1. Kindly explain how to play the "> would be true but I find no com- trill and ornamentation In triplets written as C> 5 . The same in their grandeur of tone, remain the was published in 1879, In The Wandering Carpenter ments regarding the occasion. The word measure 44 of Chopin's Berceuse. Please of the D; chord. AddlUonal chords that ideal of every maker since his time. write out the measure In full. would be remains Szabad in Hungarian means freedom, could be called major chords It is remarkable that this ar- He was Luigi Tarisio, who 2. How do you play the turn In measure man if the transla- figured out the same way. If he Is assum- romantic and mys- and Dr. Jaszi wondered 7 of Chopin’s Nocturne, Op. 2 7, No. it— rived at his most glorious epoch at a probably the most title might have been Mrs. L. A. A. ing that the white note scale is tempered, vio- tion of the time of life which usually marks de- terious figure ever to traffic in rare hate changed. There is, however, a town by then the writing of chords would quest for A. Play it like this: cadence. His sixtieth year found him lins. His wanderings in the that name, although what part it may to be calculated diflerenUy and would be at work on a masterpiece of such com- these treasures led him afar; and, his have played in some Hungarian heroic 2. There is no accepted interpretation impossible to have systematized. There manding eminence that it long home not far removed, his steps often stand, I know not. The fact that it is of this piece. You are probably right in are various ways of writing these inter- has led him to the estate of coupled on a Victor record by the Cold- thinking that it should have few retards mediate tones, but none that Is standard been regarded as one of his crowning must have THE "MESSIAH" STRADIVARI VIOLIN probably stream Guards Band, with the Rakoczy for it has pretty much the same “heart- except for the one who uses it with that achievements. This was the violin now Count Cozio, whose collection March orchestrated by Berlioz might beat” throughout. A little retard at the understanding. Some write than: C, Cj, known as the “Betts”, dated 1704. Many exerted a magnetic influence on this lead one to interpret Lavignac’s listing end of the first part permis- and there would be Dpb. C*. Dp, D. and so on. of comparable merit came from his hand and, Prior to this baptism, if such it may be called, so enthusiastic virtuoso. of the Marche Heroique de Szabady “or- sible, but players usually do not make are various other ways. Flats and sharps as all were superlative, it has rendered judgment the violin had been mute witness to a sequence Whatever possessed the Count to suffer part- chestrated by Massenet” as meaning that any. Of course most pieces allow for with the values of either indicated in difficult as to which of his creations should take of events during the course of which it was the ing with his treasures, whether politics, finances, this was national music. But it might some fluctuations in tempo, but this par- cents would do as well as any other. precedence. Yet this violin, and others which he subject of devotion in halls of nobility as well or perhaps even waning interest, Tarisio was just mean that Massenet had earlier ticular composition can be easily spoiled Excursions of this sort are interesting made within the first twenty years of the able, in the year 1727, to acquire the gem of his written the Marche and decked it up for by too much rubato. If the ending of the mathematically but not so very much so as the haunts of distress and sordidness. eighteenth century, are Stradivari of 1716. By what orchestra at this time.” first part is played with no retard, a musically. To carry this out logically and illustrative of what has At the time of Stradivari’s death he left collection, the 2. Szabady is pronounced “Sz-bod’-y. slight breathing point should be indi- have all chord constructions available in been termed his “Golden Period.” ninety-one instruments. His sons Francesco and process of canny argument and subtle persuasion cated before starting the next phrase. all keys and in tune for natural temp®*' Omobono, his only descendants who had em- this exchange of owners took place; under what 7 A Priceless Treasure W hal Are the Extra Staffs For/ ment would require about one hundred braced his calling, neither however endowed with conditions the Count was induced to part with and seventeen tones octave instead Q. In Manuel de Falla’s Ititual Fire Can a Left-handed Person Learn to the Among them are many priceless examples, and his genius, gradually disposed of them; and, his treasure (he had valued it at a sum approxi- over the part begin- of twelve. I director ltance. I am puzzled have a friend who is of those there is one which he finished and dated when Francesco died in 1743 mating six hundred dollars, a large sum for a third staff to Play? (Omobono having ning with Measure 38, where a of music at the University of Virginia: 42 where a in 1716, at the age of seventy-two, which to this passed away the previous year) it violin those days) Tarisio must have is added: also, at Measure , devolved upon in , departed Q. Should a decidedly left-handed person his name is Fickenscher. perhaps you fourth is added. How would these one study piano and expect good results? day remains supreme, known and spoken about Paolo, the last born son, to dispose of what was with the instrument highly elated and in an ex- be played? Why are the notes In know him. He has been working for parts Miss L. E. H. violins written in box-like notes? — me wherever intrigue. The marvelous con- left of unsold instruments and the contents of ultant frame of mind! He had acquired the the fourth staff 2. If years on such an instrument and tells —Miss M. K. desired, this turn may be ception, thanks A. There is no reason why you begun that experimental to vigilant guardianship and the shop. It appears that he tried to interest crowning example for his collection; and, to should after the G-flat in he has made some the left hand has tender care, remains A. This piece is taken from a one-act not do as well as a right handed person. been struck. ones that are acceptable. The fewest preserved in an unblem- Cremonese officials in an effort to have at least his credit, it remained untouched by alien hands scores are will find that with state, ballet by de Falla. The added You pianists make about tones he has been able to get along ished practically as it left its makers’ the latter preserved intact as a Memorial to his and guarded well throughout his life. pianist. They just indi- as many mistakes in one hand Ex. 2 not played by the as they do are sixty to the octave. hands over two centuries ago. father; but, receiving no encouragement, decided In the same year of 1727, Tarisio journeyed cate what is going on in the ensemble in the other. My advice is that you give If you infor- wish to look up further Its succession through various ownerships is foot to Paris. Taking with him ' by some fine in- (fourth staff, voices; third staff, violin). yourself a good dose of right hand scale P—=& mation about “complete" this, look in a traced through an unbroken line to the shop of struments, yet not of his best, he amazed the That is probably why they are all written work; also, play a great deal of Czerny. “Sensations of Tone.” by Helmholtz, Stradivari; and a chance remark led it to be- in different types of notes. There is no The “Two-part Inventions” of Bach dealers there. Encouraged by the success of will ft £ c under temperaments and scale systems. come VIOLIN in the added be good for developing m J known as the “Messiah,” or properly, as the his first trip, he made repeated visits, harm in playing the notes a good coordina- Note: The above information was fur- Edited by Robert Broine when name originated staff in measures 38 and 39. tion between the two hands. in France, “Le Messie.” urged to bring more ( Continued nished by the well-known acoustics spe- on Page 198 ) cialist. Lloyd Loar. of Chicago. 170 MARCH, 1940 171 THE ETUDE . 2 WORKS master lesson on MASTER Music and Study See opposite page for Fairy-Like this piece by Maurice Dumesnil. The MENDELSSOHN-BARTHOLDY, HE SCHERZO IN E MINOR, Op. 16, No. 2 Idited and fingered by Maurice Dumesnil SCHERZO FELIX by 16, No. (sometimes called also “Capriccio ) , Op. T Felix Mendelssohn-Bartholdy, represents Presto M. M. J = 100 a feathery, his best pianistically and illus- Suddenly, the composer at r. h. r. h h. r. h. I IB, No. B, r.h. r. particulai r.h. l “urping.” touch trates his especially great gift in this Dp. 4 E Minor, 3 2 3 l Chopin, Schumann, “Scherzo in style. A contemporary of \ i \ m Schubert and Weber, with whom he formed the >5 ?. Hi. n i ii h t n [;i i group of great romanticists of the Victorian Era, he was more versatile than either of the four and varied gave to the musical world an incredibly Mendelssohn written and showing- by list of works, all perfectly consummate ability. His culminating point, nevertheless, was the scherzo. As an illustration we need only mention the scherzi from “A Mid- / lj lesson .) i i Night’s Dream,” from the “Trio in D ter g ^ g summer mas stiff touches of pedal Hold wrist high, finger Light, short piano, violin and violoncello,” and, minor, for help rhythm striking and poi nting downward will last not least, the very delightful and even, use short action of the wrist number which is the subject of this lesson. 5 Very for full orchestra, chamber music, or By 1 t Whether 3 t 1 piano solo, Mendelssohn succeeded extraordinar- fit & indeed, the “man of ily well in this form. He was, 2>» the scherzo,” just as Chopin (after John Field rice who was the originator) will remain popularly cl 11 Eminent French Pianist associated with the nocturne, Schubert with the m moment musical, and the great ancestor, Johann Sebastian Bach, with the fugue. Schu- bankers by that name, he was financially Inde- the depth, while Schubert was decidedly below them, Mendelssohn perhaps never reached this enabled him to travel exten- poor, and Chopin was no orchestrator pendent; and power of a Chopin; and for this mann was the emotional sively. He appeared frequently In the European can hardly be placed on the same at all. reason he Mendelssohn was capitals as a pianist, giving the first perform- glorious level in the supreme in the or- ances of his concertos and other compositions for fame, not- hall of thography, archi- piano and orchestra. Later, he developed the withstanding the tecture and gen- famous orchestra of the "Gewandhaus'' in Leip- fact that Chopin eral presentation zig to the form which it still retains today, and wrote almost exclu- of all his works. to an international fame for long unique in the sively for the piano. Everything falls world. He was a remarkable conductor, precise Mendelssohn also perfectly in the and efficient, and he remained in his post for a lacked the faculty fingers, in the bow, number of years. It was during his directorship for expressing ten- or in the voice. there that he had the opportunity to welcome der avowals, confi- Whether it is a Chopin to the city. He was much impressed by dent intimacy, soul piano piece, a song, visitor him "a profoundly origi- reaching effusions the and termed a violin concerto, a nal and captivating artist at the same time as — a trait which Schumann pos- sonata for violon- a consummate virtuoso.” Incidentally, it is inter- cello and piano, or in 1810, one sessed in the high- esting to remark that Chopin, born est degree. But a chorus from an year after Mendelssohn, also died one year after Mendelssohn’s oratorio, every- him, in 1849. technic was tre- thing seems to have Mendelssohn’s cleverness as a scherzo writer mendous; and his been composed for must not conceal his still more popular achieve- knowledge of the the enjoyment and ment among the masses, the “Songs Without instruments and of the comfort of the Words.” Here is also something distinctly his the voices made up, interpreters. Some- own. Many have become great favorites; the to a certain point, times these attri- Spring song, all fragrant with lilacs; the Spin- for whatever defi- butes, as has been ning song, with its delicate purring: the Hunting ciency might occa- already stated, may song, with its horns echoing through the rusty sionally be detected overshadow the in- lanes of an autumn forest; these are on all trinsic in the lyricism of value of the pianos and sing in all memories. the inspiration it- text. One Parisian Summing up, Mendelssohn's piano music does critic, commenting self. not belong only to the concert platform: its ex- upon the reasons cellent pedagogic value should make it a part Versatility • of the temporary of the daily diet of all aspiring pianists. Personified disfavor in which It is, of course, Mendelssohn’s mu- A Piece of Many Beauties futile to try to sic had fallen in The Scherzo in E minor is a splendid staccato gauge the respec- the French capital etude, calling as it does for many different inodes tive value of ge- THE KING AND THE QUEEN OF THE 'FAIRIES, OBERON AND during the first of attack, in order to produce coloring within niuses. Each one TITANIA decade of this cen- the staccato itself. staccato 3 4 3 o „ Mendelssohn's very refined and delicate nature fitted him to write Whenever the word i 4 4 possesses his own tury, laid it up to 1 5 5 , , „ r. h . rnf is mentioned, it is of the ! ? j 3 H 3544 such music as the "Scherzo in E minor." customary to think 4 5 4 5 individuality and the fact that his usual ?? 2 2 2 M 3 4 „ detached playing flexible I f if ?! i Is? If U 2 3 2 3 J* produced by the ? cannot be compared style is too often motion of the wrist. the li some kind suggestive of There is also, of course, with the others. But if one attempts “brillant glace,” like for instance staccato M which comes either from the forearm, of an appraisal, it is advisable to separate the the icy glitter of patent leather. Whatever m truth or from the exists H entire finger. But there still Take great care not to hurry m it is there m inspiration from the means through which may be in that, is it not wise to remember p cresc. another way. and it is to the 31 expressed. Doing so with the above mentioned that patent leather also possesses polish and particularly suited 30 Q 32 33 34 35 extremely delicate this C names, we find that Mendelssohn and Weber, smoothness? tone quality necessary In * i work:- we might call It o for instance, were splendid orchestrators whose Mendelssohn’s activities as a musician were it the "wiping” touch. ^ - comes from the and w scores can be studied profitably to this very day; manifold. middle joint of finger, 3! A member of the wealthy family of the §p e action 202' l.h.ritf must be ( Continued on Page l.h.f 1940 Copyright 1940 by Theodore Presser Co. British Copyright secured rr 173 172 MARCH THE ETL'DE 5 more marked The strong beats Jf, the first beats without Suddenly I Roll hand loud \than the others articulation ^and“brassy” Come back to mf in order to finger _ rather high a mixture ofjWrist and forearm action , Lift both hands Use get a fine crescendo perfect rhythm land keep martellato i ^ ^ 3 3 3 3 3 3 3 3 22 3 383 23 1 4 4, t jr. , . , . k ^ . . 19 • . - I * m j j j j- Let down \ j i iiP 64 pp 65 66 PP 1717 1 jpffiPf crescendo very gradually 'l.h. still .Build the y /-Slieht“leaning” accents l _ .-rh unacorda l.h.p MARCH 1940 rHFlfrDS 17 — ‘ — — — THE MUSICAL HOME r.h. FASCINATING PIECES FOR p ^ ^ li . r.h. ^r.h. THIRD TARENTELLE . „ . Sf- with zip. The p his Third Tarentelle should be played Wijson G. Smith used to say with his “Buckeye” colloquialism that JNO. difficulties for a well trained fourth grade student. Grade 4. WILSON G. SMITH, Op. 84, P ^ dim. 96 In exact tempo a tempo .277? 8 J i No pedal, imitate pUticato PASSEPIED of ’cellos and basses W =z7"! BACH 1'*1 4' 0 0 m f ^ From the Fifth English Suite JOHANN SEBASTIAN /dh= r— m p P M j m W~m ~ i 17 Grade 3. Allegro M. M.J. = 58 4 1 ip |_CJLr£Ulj4 SP Fine / i M» l f • 1 * — -f £ 4 -^S f / 1 k\i it? a %A~ 2 TTC %A %A m CV *T TT ^ «M •> ' — — 7 p7_7i- i -d l"E"i — ® L-J 7 7 ^ ^ 7 pn|r 77 10^7 ^ i p pg p r ft--- ^ jj *__L — J-** ' mV m fftfn- tr>r ^ . t* A | ira> l?T| Clf CIT ALa [£| / grazioso )tv-AT% -,T"T - -4^3 r *- 7 •i j 7 7 -J . « AA-» 1 j r Copyright MCMI by Oliver Ditson Company International Copyright secured MARCH 1940 177 — r SONG OF THE OL^MILL Listen to the water- mill, Do the best I know, it seems to sing, will not say How There’s no one who “Though my wheel is seldom still if slow!'’ j am gure> Life’s a cheerful thing! lilY STRICKLAND Grade 3. Allegretto m.m. J = 132 ^ 5 5 "^3 g ”} t, | =\ —i — W 9 9 -J f—2 i. "la i 5 5 o 9- * m 0 s m m 9_0_w 0 |\f Grade 2£. (1833- 1897) Introduction LULLABY JOHANNES BRAHMS Arranged by Margaret Anderton Copyright 1939 by Theodore Presser Co. British Copyright secured WITH SAILS UNFURLED Grade 3. (A GLEAMING WAKE BEHIND) FRANK GREY Copyright MCMXXXVII by Oliver Ditson Company International Copyright soured 178 MARCH 1940 the etude 179 ' ^ Alec Templeton. We have the w illiant and versatile past few ye I* ’hat ''enn during the individual------*»t>- >an- sensations oiof theme concertuouuci-i stage and the radio — ° *. l ofui m=>his One: of the distinguisneadistinguished ,,, h; ^ ^so characteristic compositions, Passepie should be played up to the metro- present, in this issue of The Etude, one of his latest ’ dance form and honor to ?’ t of an 0 | d piece is a mo er J scores of recital programs this year.’ The it will be played on TEMPLETON nomic marking given. Grade 4. ALEC Lege re . Allegro moderato M.M. d= 84 u ^ P sempre legato 3 rT3 1 v w w * rj*. p.p *p (=(?: p f f Jn- f 9 0 * " =f -4t i ti frr -ij — P 7 i ] 7 # J^7 jpi*/ jji g J r ^ ? - = -p =£- h~P- f-i -¥='*f3 u 1 P-- 1 &- \U =t i — ^ J • Grade 4. FLOWERS IN BLOOM 4 Joyously m.m. J = 112 AIANA-ZUCCA Op. 154, No. 10 5 r r t , .. rtAL. p , - rJ 7 - ,'fVPi -- [ XO"' 1 1 Lr r r -i J j 3 J ) ^ Lr r mf iff j LT r f g p.fM hg- =i N E 7— #— ! » r f ^ 7— ~ f1 — ? — a li + , 1 — V^- 1 — ^h: M 4 2 1 5 ml P p 4 2 V • 1? Jr 1 0m co rit r cresc. j, P° a tempo x -y 0 0-0-0- 5 'i 4 3 a 1 4 3 S3* 1 r 3 Copyright 1940 by Theodore Presser Co. Copyright 1939 by Theodore Presser Co. British secured Copyright secured ISO British Copyright MARCH 1940 THE ETUDE 184 — — P — * — L j ™_ ^r-a-. ( - * — ? .*<. j in- I -Hi* — »• J mi / inf ca ntando cresc. 'ky leggicro 'Wi ntando •jf .* •- #- ^ \ p m- •• h \ —O \ e ! • :=!9 __ m*=-teJ m m * f= •— p4=p • LJ — 9~ ==t i^*= 1- >- -J— —y 4-Ud s = - "| — -* • l * - > f a ^ • « * T-J r pH RA— : t=yt i *4f;. r =±|J= . g ^ r canta ndo f- V . r r V _ ./ tV^d£% — - T» _ » f- — T> *"ff4 • *~T * sV -»— [i =t Sr V t*— -U • Hi^ -21 • • =£=f— * _ iz i-- — • secured International Copyright MARCH 1940 THE BTUD% 183 l — . _ novelties INSTRUMENTAL WATER LILIES ROY NEWMAN Sara Teasdale* dolce rail. . Lento p7 ft ft a daik lake a g lil - ies float - ing On If you have for-got - ten wa - ter- a tempo pp dolctss. 11 rrr ry )I 1 iff I their warm sleep -y fra - grance, If you have for- got -ten moun-tains in the aft - er- noon shade, ^ Ul « i f 4 I f m . Q0 i m a tempo rail. p > x 7 lip v p i p p r r p p p p pj- p - r-> x re-mem-ber, iLatithen turnHim a -way- wav for-ev_-for-ev - er Then you can re -turn and not be a-fraid.. "But if you "ImP t**- rail. a tempo i- 31 m i i i a. tempo a piacere i ^ • —^ \ 3 \ * T i h r > ... m 0 ± ^ ^ | M=4f= —^ P r 1 P -P — f= at F a part; ThereTi p re youvou will not come To the plains and the prai - ries where pools are far - n\ fTs 1- molto allarg. appena rit. m//- I / ' 1=1 ^-1- ^ il J ^ P P P p will not fall on your heart. dusk on clos - ing wa - ter - lil - ies And the shad-ow of moun-tains I Copyright Copyright 1939 by John Church Company * By permission International MARCH 19 40 18S HEADS, O YE GATES! PsaJm 8 , XXiy 7, 10 LIFT UP YOUR Psalm XVIII, 31 Molto moderato FROLIC OF THE BELLS LOUISE WOODBRIDGE Lord? up your heads, 0 ye gates> Copyright MCMX by Oliver Ditson 186 Company Copyright 1937 by Theodore Presser Co. British Copyright secured MARCH 1940 18 7 the etude — J — IN THE PALACE POLONAISE FRANK L. EYER PKIMO .1 3 # 1 v - fl>s< t 'jo-ps - : —• »— =ff= =p=F *= FF rf£=t=p=q :m r 1 \-m--8 7 _n z M ff Pfr — =s- bTEs+4J-Hff— t±= :F#tf Fine -• ^ p- - r* > * i* FI 7 -2— FhS— j *-A. I- AA * 1 — r uL«i t=EJ s y=^ t I - M5 ^ krl" i 5 LU/- 3 p; MARCH 1940 189 d THE TREASURE HUNT Grade 1. SARAH COLEMAN BRAGDON Moderato m.m. d- = so 1 - I :d ' 1 J -J- • J "4 * J \Fine * J. J. i mJO -J y '1' Copyright 1939 by Theodore Presser Co. British Copyright secured Bring- melody out; play accompaniment with a gentle A SONG FROM THE DEEP arm attack and wrist dip. Copyright MCMXXXVIII by Oliver Ditson Company In Bernard Wagness Piano Course, Book Two. International Copyright secured MARCH 1940 191 J — . hands. He told me of his life, and it The Heart of the Blues seemed to me that this poor, tired, - go - lucky musician repre- Page 152) happy CEDRIC ( Continued from in THE CURTSEY SAXON sented his race. I set it down that “go-o-one” and hold the note. The notes, keeping faith with all that poor Grade 3. becomes impatient of silences, made the background of = Negro Tempo di Minuetto m.m. J i32 If songs have and fills in the rest-spaces with im- piano thumper. my num- promptu embellishments of his own. value, it is not that of dance to write his- He slips in an “Oh, Lawdy!”, or an bers alone. I have tried the “Oh, Baby!” before the next regular tory, to crystallize a form for personal music, GREAT ARTISTS beat is due. These natural improvisa- colored workman’s TODAY'S his tions are the foundations of jazz. As just as the spirituals give form to written emotions. (Incidentally, you WHO USE the old folk airs came to be religious down, the composers filled in the will find the same racial traits in words, GREAT PIANO rests, or “breaks,” with the most the spirituals—the repetitive TODAY'S elaborate embellishments of which the groping blues tonalities, the they were capable. Then orchestras syncopated rhythms, the impromptu IS A MUSICAL took them up and added new im- fillings in—elaborated along religious provisations for each of the various rather than secular lines.) For that instruments. Then more sophisti- reason, I cannot admire the sophis- cated arrangers put in still more ticated, made to order, commercial elaborate curlicues. The grandson of blues, which mutilate the simple the old gang worker who put in a Negro elements by dressing them up. simple “Oh, Lawdy,” fills in with vir- I have the feeling that real blues tuosity on the saxophone; but both can be written only by a Negro, who are expressing the identical racial keeps his roots in the life of his race. instinct in a typically racial way. The Jazz-Swing Problem ^ Develops 5 5^, |~^Y- -H-4 A Style I am often asked what differenti- — 1 -1 " — I J' — • : best p—h— J frSI } Just as the syncopations and fill- ates swing from jazz, and I can Dwight Anderson Josef Lhevinne * — 0 J J— 0 elaborate, the answer the query by telling a story. — M J f— J— #• ins have become more Josephine Antoine Rosina Lhevinne v has Long ago, I wrote Yellow Dog Rag. It m cresc. /•** M form of the three line stanza Wilhelm Bachaus Jeanette MacDonald - sold mildly wen, and after a while I a 0 undergone changes. The third line Bela Bartok Alfred Mirovitcb w W 1 * * is repetition it has taken forgot about it. When the popular p— l no longer a ; Josef Battista Erica Morini j- u r r — on the color of an explanation. In taste for blues asserted itself I took r =r= T Harold Bauer Charles Naegelc < < * ! “hate to out that old number and changed my St. Louis Blues, the line Jeanne Behrend Joaquin Nin-Gulmell is re- its name to Yellow Dog Blues. Other Copyright swum see de evenin’ sun go down” Anton Billotti Willem Noske by Theodore Presser British Copyright 1939 Co. Ped. simile the third line tells than the name, I altered nothing. peated once, but Jussi Bjoerling Louis Persinger “ lef’ Within an incredibly short time I why, ’Cause ma baby, he done Moissaye Boguslawski Henry Pildner simple, earned seventy-five hundred dis town.” Later, too, the had Lucrezia Bori Lily Pons THE MAIL MAN natural twelve measure strain be- dollars in royalties from Yellow Dog Marie Therese Brazeau Angel Reyes Grade I . 5 LOUISE E. STAIRS came elaborated into the conven- Blues—which, as Yellow Dog Rag, Allegro moderato m. m. J-— 69 Mario Chamlee Moriz Rosenthal sold at all. That set me tional chorus. So the blues developed had not well Karin Dayas Irma Scheneuit'Hall into jazz. thinking. If a mere change in name D -i=^ Jose Echaniz Tito Schipa £ £ I have been called the “Father of could account for this sudden suc- £ -+—T Severin Eisenberger E. Robert Schmitz the Blues,” and I proud of the cess, then it was just “new fashion” P am Daniel Ericourt Bernardo Segall m Blues the caused its popularity. That is title. My old Memphis was that 1. I’d like to be mail man, dressed up in a suit of gray bring a «rd or Corrine Frederick Leonard Shure question. first of the blues songs; and the suc- my answer to the swing Singer 3. I’d like to be mail man and car - Arnold Gabor Johann ry a bag of mu i 1 * Ckri»t-nus bring cess of the filled in breaks was estab- Swing is not a new musical form; Walter Gieseking Ruth Slenczynski * . * lished the first time the orchestra it is merely a dressing up of jazz. It Jakob Gimpel Leo Smit played it, when the chorus had to is artificial and often meretricious, Boris Golschmann Joseph Szigeti be repeated time after time so that emphasizing the “jittery” aspects of Eugene Goossens Magda Tagliaferro the saxophone, the drum, the violin, jazz improvisations, without the ex- Amparo Iturbi Alexander Tansman all the instruments, could have a pressive depth that belongs to genu- Jose Iturbi Alec Templeton share in improvising novel turns. ine blues. I suspect that it will pass Edward Johnson Helen Traubel My purpose, however, was not the in time, to make way for other “new Alexander Kelberine Paul Wittgenstein creation of “hot” numbers. That they fashions.” But the blues, like the Alexander Kipnis Samuel YafFee have developed so is due to the in- spirituals, will endure as long as the herent characteristics of the music race does, because it is a genuine itself. My purpose was to capture in expression of folk traits. It may be fixed form the highly distinctive mu- born in Tin Pan Alley, but it is never sic of my race. Everything I have conceived there. It is popular music written has its roots deep in the folk in its truest sense, springing as it The major consideration of the truly great concert artists life of the South. does from the soul of a people. For is the authentic expression of their art. It is therefore Although my St. Louis Blues is the that reason, blues may well be re- more popular, I think Beale Street garded as “real music,” and it should with pardonable pride that we point to the imposing list has the interesting more history. As be performed in a musical way. It is of today’s great concert artists who have chosen as their I was walking down Beale Street one helpful to remember that the fun sole vehicle for musical interpretation, night, my attention was caught by and the gaiety of the blues state but the sound of a piano. The insistent half their meaning. The other half Negro rhythms were broken first by gives them their name; they express a tinkle in the treble, then by a the pain as well as the joyous hope- rumble in the bass; then they came fulness of an essentially simple race. lalittiin PRICED FROM together again. I entered the cheap Let me illustrate the psychology of $980 PIANOS cafe and found a colored man at the the blues. Imagine a Negro who piano, dog tired. He told me he had owes his rent and has been able to THE BALDWIN PIANO COMPANY, CINCINNATI to play from seven at night until scrape but half of it together the Also built by Baldwin — The Howard • The Hamilton • The Acrosonic seven in the morning, and rested night before it is due. He knows he himself by playing with alternate (Continued on Page 211) MARCH, 1940 193 ? ? ? . — out of the song, but he won’t the word know IMMEDIATE BEST SELLER - m before or after why. Too many obvious tricks — AN words expressing longing, word with a con make Coloring the porterhouse steak into Bringing a Song to Life separation and so on a hamburg Uiiestioivs vibrato. step I^cMhvuS Voile you tonight. trolled with a and it’s only a from hamburg Page 164) Oh, how I miss the word ( Continued, from “ Schmaltzing” hash. A little expression PLAY ON WORDS ef^ to goes a sob, vocal rnrmnensm Sullivan treat- hear. laugh, long way. Don’t follow the lead the smooth, satiny, Spring is here—I the word with of Highlighting lady elocutionist ^Indwerecl ly ment, but midway through the PRONOUNS the gushy and INTIMATE variation. COLLECTION OF melodic the song over the chorus shifts to a gay, lilting mood: Just you and I. knock fence, you “treat” here either mood is appropriate, but CHEERFUL WORDS Technically, of course, especially in front of a microphone FAMOUS DR. NICHOLAS DOUTY START AT audience, but just its ac- PRICES the mixture confuses the Be enthusiastic about wonderful the whole word, which is going to exaggerate every, not do not CHILDREN’S SONGS effect of arousing one emo- Also, you do anyway. unless accompanied by the jull name and the and swell. cented syllable. thing you Don’t pour No question will be answeredin THE ETUDE succession, such initials, or pseudonym given, will be published. tion by holding to one sustained, ATMOSPHERIC WORDS two words in expression on every word until and address of the inquirer. Only stress except the consistent mood is lost; and so is the Give a blind one, ... in the chill of the night. as in I’ve been song is a sticky mess and the rendi- ending Last so as to clarify her remarks. For example: singer’s hold on the listeners. quality. in a dramatic hysteria Contralto or Soprano—Dubois’ “Seven chill a cold tone possibly tion takes on the of a movie 1. How is it possible to force a tone up *or treatment Words” SUGGESTIONS planning your church press it down? Tone is only air vibrating at COMMANDS OR Finally, in trailer. On the other hand, don’t Q. Please tell me when and in what in be a certain number of vibrations per second. Words That Awaken Life you.” Do always bear (i Seven Last Words of Christ" was fiist . . . and whisper “I love “big” word The of the as colorless as an undertaker’s ad- breathing muscles propel the breath consid- given in Philadelphia. The as the lyric says, and give the I love the fact that musical within the following range, against the firmly approximated vocal cords, A song with its mood established mind vertisement. 2. I can sing dramatic to A first line above the so that they may produce the desired pitch dic- you a whispered quality. erations may outweigh the as a very F below middle G is a song brought to life. Good I remember small boy vocalise tico tones both the desired intensity. ROBUST WORDS to compromise or treble staff, and I at let your individual words element. Be ready our church choir director lower. I sing alto parts and con- 2. Allow the jaw to move comfortably with tion will your how used higher and Especially in Type I male songs, sacrifice the word if sider myself a contralto. My voice is sweet every different vowel and consonant sound, be understood, good phrasing will even to reach his peak of artistic inter- certain forces you to and strong with clear low tones. Am I con- and with every changing pitch. Never hold to bring a song as in Song of the Vagabonds, dramatization of it give them sense; but pretation when he said. “Page H tralto or mezzo? it stiffly in any one fixed position. words actually be shouted line. as the neces- life, you must make your listeners must fight the melodic 3. Middle D is very troublesome, 3. Use the amount of breath pressure to soft.” This was my introduction to to give the rousing effect that is insignificant change occurs there. I also have considerable sary to produce the effect desired, whether it believe in it, thrill to its drama, and Now a caution about the subject of Dynamics in singing. on G, D and E. Do you think this is be pianissimo or fortissimo. needed. elsewhere mucous be swayed by it emotionally. The words. We refer to them 4. How can one place the tone against the The trained singer usually pos- I’d suggest that after you have “casual words”; they bridge of the nose as if sniffing a flower? mechanical basis for doing this lies in the book as sesses a tremendous dynamic have no im- range. When jaw, throat, palate, and all the pro- in determining which are the “sig- are the ones which nouncing muscles are free and comfortably Rosa Ponselle. for example, sings Dubois wrote the “Seven Last Words” in words” of the lyric, and in portance beyond tieing the lyric to- A. used, and the correct amount of breath nificant quality when he was chorus master at St. Clo- with glorious all the vray 1867, employed, often a sensation of vibration is bringing them out. gether. Examples: Expressions such tilde’s church in Paris. It must have been from a barely audible pianissimo felt about the bridge of the nose. It just to THE BIGGEST CHILDREN’S produced soon after that either in St. Clo- In every song there are one or as in the, for the, at the, didn’t you. occurs; one does not make it by any will- a fortissimo of terrific power tilde’s or in La Madeleine, and ever since it entire you, The power or effort. Perhaps this is what your two words on which the isn’t it a, haven’t you the, don’t SONG BOOK PUBLISHED! has been very popular all over the world. I development of the dynamic range per- teacher means. meaning pivots. In every good it be; in short, combinations cannot find any record of the first would Titles * 256 Pages 5. An open throat occurs when there is no is one of the first objects of dassc 325 formance in Philadelphia. phrase, there is one word which lifts of prepositions, articles or auxiliary stiffness of the external muscles of the larynx. 2. The tone quality of your voice must de- voice training. It is indeed a very desirable thing. Just in the phrase from the trite, makes it verbs. If sounded carefully they take Frey. Includes whether you are contralto or not. Edited by Hugo termine proportion as these muscles are stiffened does it, Your range is a long one, and if the tones “different,” breathes life into on too much importance and throw Rounds, Mother Goose Songs, the sensation of openness of the throat dis- all good and your scale smooth you must points up the thought, answers a are appear. the really significant words into the Games, Lullabies and original be a very valuable singer. For example, you 6. It does not seem anatomically possible question, lends color or atmosphere, could sing the mezzo parts in Rossini’s shade by taking away the shadow melodies written for poems from to press the chin back upon the spine. You Most Rapid Way to “Stabat Mater” and in Verdi’s “Requiem.” in WRITE FOR FREE and so on almost without end. It’s part of the contrast. These words Thn must have misunderstood your teacher. Stevenson’s A Child's Garden the original keys. Perhaps you have that booklets of exquisite Period and word 7. Singing on the breath occurs when every the “significant word”; the are such that your listeners know Verses. Price rare voice sometimes called mezzocontralto, Conventional Design Consoles, Of $1.00 bit of the air expelled by the lungs is turned Improve Your Voice quality almost as dark as without which the phrase would be are which has a tone into tone, none being wasted between the Super-Scale Grand Pianos and Spinet what they even though they are with range almost the contralto combined a or Electrically Operated Organs. flat. ( Continued from Page 166* See this unbelievable value vocal cords. This requires a beautiful co- not sounded with crystal clarity. as long as that of a mezzosoprano. Your own ordination between the vocal cords and the MusicTeachers: write for special offer. Often the significant word is that Consequently, common sense and the advice of your teacher I suggest that you and every consonant distinctly enun- —at your dealer! breathing muscles. reporter’s ques- should guide you. which answers the skip over 8. A tall man looks better on the operatic them casually. As a mat- ciated. In a long answer to M. A., which appeared GULBRANSEN CO. Depl. E, 816 N. Kedzie Ave. Chici(o tion marks. Try to pick the signif- 3. stage. He can wear his costumes to better ter of fact, in highly intimate sing- ROBBINS MUSIC CORPORATION recently in The Etude, I have tried to explain When Fred Astaire and Ginger deep advantage, and presents a more heroic ap- icant word in the titles below, and • what happens at the vocal cords when ing you can actually __799 SEVENTH AVENUE NEW YORK pearance. However, if your voice is fine abandon your deft _ so-called chest Rogers are singing, they are as female voices change from the then check your selections against enough, your personality pleasant enough, singing tone and “speak” these voice to the so-called medium. Please read it. with the movements of their lips your musicianship adequate, your diction my choices in the right-hand col- If there were no mucous in your throat, it words occasionally, which is pHARMONY BY MAIL= clear, and you are a convincing actor, there Improvement Guaranteed an and tongue as they are with those would be hard to imagine any voice produc- umn. will always be a place for you, either in con- We build, strengthen the vocal organs especially useful trick A practical and thorough course of 40 lessons, at it. I explained in with tinging Intone—but by f undomcntall? when they of their light feet. ex- tion which would expel As dancing No cert, recital, or opera. sound nnd scientifically correct rilent exercift . . . Somebody loves me occur on notes a small fraction of the cost of personal instruction. the answer to M. A., the change of register ami absolutely guarantee to improve any ainzin? so low that you would 9. It would be in very bad speaking voice or money refund? J . . . Write for tra movements, no loss of move- Small monthly payments. Send for particulars. slightly less taste for us to or allows the vocal cords to be wonderful voice book—sent free. Learn WHY you WhO? SOMEBODY worked out your preliminary phras- otherwise have publish any details concerning to dig for them. at the point in the scale the personality can now have the voire you want. No liters to re ment, but all ones accu- Music composed words. firmly approximated under signed I’m Alabamy bound the right to your of any of the prominent singers or radio sent to anyone 17 unless by parent. ing, you check each phrase and lo- There are also whole that you mention, and therefore any mucous phrases rately artists. We suggest that PERFECT VOICE INSTITUTE, Studio 5583 and economically taken. more audible. Nervous- you write to Mr. 64 E. Lake St., Chicago Where? alabamy cate the significant word in it. As I which are HARRY WOOLER, B.Mus. present would become unimportant; often re- things to a Dickson, in care of the Chase and Sanborn To make the voice express your 1116 Elmwood Ave. Buffalo, N. Y. ness could do many unpleasant You leave me breathless said, some significant words will be ferred Hour, and perhaps he will furnish you with to as “throwaways.” The singer, but I do not see how it could produce How? BREATHLESS highlighted naturally, feelings, wishes, and moods, is the the information you desire. having been clever songwriter realizes that mucous in the throat. A PIANO SIMPLIFIED a seventh principle. course the "T ^ This is first affair Of Mk World’s Easiest System teaches my given sustained melodic value; as in song which is M 1% M M relentlessly dramatic Canadian Baritone Songs 0 % Swing Bass. Runs, Tricks, Fills, Which? first voice will not instantly respond w BE A BETTER TEACHER A Some for a Recital, and Loosening Radio styles, Blues, Negro Jazz, Chimes, hundreds of who (four beats) stole my heart all the admirer special reduced prices. way through has no contrast, Q. I have been a reader and an Exercises effects. Send for Free Booklet and all you allow that of Voice and Speech TEACHERS! Teach new easy loose leaf system. Write! Noiv it can be told away. Others are important feel; but do not your periodical since 193lt , and I look Q. I am a tenor to the and is tiring to an audience. of of nineteen and sing a SLONE SCHOOL, G200I Forbes St., PITTSBURGH. PA. You to discourage never be- BE FIRST IV YOUR CITY eagerly for the issues as they come. Will you great deal, especially in radio work. When? now phrase, but not vitally important to should follow you. Voices his lead and give con- Improve your voice. Learn how to acquire results under be kind enough to answer some questions 1. I plan to give a song recital in the spring Three little words come full toned richly ribrari a distinguished master this Summer in New York City at the meaning of the song as a whole; trast and 1. My teacher claims that tones must not be and I do not know liow to your own rendition by many and what kind How many? three to these you’ll give a subtle expres- over night. But continue to put The Metropolitan Opera House Studio forced up or pressed down but be allowed of songs to sing. “throwing” these Free Literature HOW TO SING lines away; not to have full play. 2. What are some good scale exercises Isn’t it a lovely day? sion, “think” their stress, almost not into practice what you have seen Address Martin G. Manch, Mgr.. Staunton, Ya. for going so far as to muffle 2. She claims the jato should be dropped opening and loosening the throat them with grow What kind? lovely stressing them, since and heard, will Also very little breath used, with the 3 t Is Mozart's FOR simply your sloppy diction or soft and the voice down. Alleluia always sung by a MONEY volume, rather tone placed against the bridge of the nose, woman? It’s been so long realization of their importance will just progressively more expressive. rattling through by sniffing up the nose as if sniffing a flower. 4- Is a slight shaking The Art and BUSINESS of them with town to of the throat a. sign To what degree? so be almost enough no read- to color them. particular Exercise the imagination by Also dropping the chin is alleged to press of incorrect singing S. Singing emphasis. Important TRAIN CHILDREN’S VOICES — G. Professionally Here are some other earmarks of One or two of these ing the over and High Grade Work—Excellent Remuneration back on the spine at the nape of the neck and revealed in this new book by significant phrases may words of a song A. Sing about four groups of songs, also be LOUISE WEIGESTER, 160 W. 73rd St. f New York is of very significant words. Let them start you “thrown away” open the throat. She claims this singing Charles Henderson, famous vo- words will be really “big,” and will very over until experience contrasting types. It is usual to commence cal coach of radio occasionally to you realize the on the breath, and is artistic singing. Is this , and screen thinking, give them force with old Italian or old French stars. Tells how to “set” a song and you’ll find others. point up the whole meaning of which is though so? songs for the the through its life as vividly as first group. ^ how to sing for the mike, how to dramatic below the For the second group you might CONTRAST OR REVERSAL WORDS song. These words understatement 3. I am a baritone, range from F audition, get your start, stay on top. The you will definitely Now let it had been your own. Play the music have some German Licder by Brahms, Schu- us get back bass staff to A natural in the treble staff. I first book on “how to sing and sell it.” Brown eyes, why are you blue? feature by singing to our main bert, Schumann, and so on. them a shade issue, on the piano again again, notic- cannot help pressing a little on the lowest Third group, E by Stors °" clear mind. This is made when one churches. visits different All the or lend these. >" mahtT.; Many libraries rent * who be good, yet T“' S singing may the dif- Music must be a e What Makes Church Further, the organist with tonal approach, acquaintance ferences of and the Questions competent improviser. Not everyone St of fexecnu Walter Organ and Choir his capacity differences in effect, W. voice in consequent are P- Worth While can be a Marcel Dupre, of course, The tonal ideal of the Page 167) should speak the At all voice striking. mas- ( Continued, from but at least he this cni“child study of prevails throughout, though; fluent fashion. special ter and PIPE ORGANS undertaking the direction of church language of his art in specialty m 1 elf must Pfnsweretl bit in which is a _ j_ thus, the master build such an improvise fluently used1 al music. In order to bring the best val- The ability to pure head voice^ of we find the ideal within himself. accompanies, form, depends upon a knowledge never are the builders of many ues from the music he exclusively; there must Although we most presents of the largest and most noted organs in S. FRY, Mus. Doc. think orchestrally, harmony, much practice, and a for P°wer. The adult choir few prob- HENI1Y he must learn to least straining America, we also build smaller instruments It be the of pure music in terms of the study of thematic development. projected en lems beyond those and cor- of the same high quality. to hear the the tone must be specialize in one and production, and Every part of a Mo'ller organ is manu- different sets of instrumental choirs, is often helpful to resonance. rect tone the by head factured in our Hagerstown plant including time, following an in- tirely of that tonal quite as the composers do. The great composer at a tends achievement massing all pipes and voicing. Fortunately, the child voice equipped with tensive study of thematic develop- no one voice stands out Moller organs are custom built, specially modern organs are o in which but unless accompanied by the full those means place and serv- No questions will be answered in THE ETUDE similar study naturally to select for designed for a particular foundation stops, mutation stops, ment in Mozart by a all blend together the creation eminent organists Only initials, or pseudonym given, will be pub- are best for it. i ice; they are endorsed by name and address of the inquirer. and so on. emission which everywhere and backed by a guarantee advertisers, we can express no opinions strings, reeds, and so on; and the use of Beethoven, Brahms, of a single tonal quality. In the lished. Naturally, in fairness to all friends and boys in the that has a real meaning. fre- have ever observed the relative qualities of various instruments. full resources of these will de- Again, since the organist must you we have a boy choir as to of the that cathedral, of and prices on request. for country, you will know Specifications pend upon the awareness of the or- quently provide accompaniments open voices and a men’s choir their voices when forty of impossible, for music originally intended for other they never force ganist. It would be ‘ ~ ^ ' must be coached li: ntVl DT twenty. Both vo- (piano, violin, orches- instance, to bring out the great instruments drilled in Interpretation icork the Will you kindly advise the correct type cally and M. P. MOLLER, Inc. Q. Recently I have started to on Q tra, he must master music to be played at the close of Low beauties of the Brahms "Requiem” for instance) , Factory and General Offices the “Fifth Organ Symphony” of and tonal nuancing. Both must be Toccata from they select some is Full Mass while people are leaving the Church? on the organ, without a thorough organ transcription. And he must be adults might do, HAGERSTOWN, MD. by Widor. The registration given dealt with according to their indi- with Swell to The typical Postlude, used in Protestant with vowels in it—like ‘‘Oo-ooo! Great, Swell, Choir and Pedal and detailed study of the orchestral a ready transposer. “It often hap- call couplers. Because Churches seems out of place.—G. L. T. of vidual qualities, as boys and men. Choir and Great to Pedal as written, are —and project it by a change composition played by many amazing score. The best way to acquire this pens that hymns, I have heard this A. The type of Postlude to be used should hit- In working with children, the choir- / aware downward scale, associates in our A. G. O. Chapter , am orchestral sense is by listening to either too high for the congregation, tonality in a New- PIPE ORGANS— Used be governed by local conditions. It may be organ values! master needs a tremendous reservoir that in the execution there is a rapid change squarely In the mid- church and studio. Ef- that you feel that the Postlude should be of orchestral performances, score in or too low for the boy choir. Thus, ting each note Builders of pipe organs for Will you inform me, up-to-date used instruments on hand at all of manuals throughout. suggest your of real enthusiasm. Children feel ficient, a Liturgical character, and we These two installations are the least forcing, and very reasonably. We also rebuild and changes occur t Can hand. A decade ago, this counsel the organist must be able to adjust dle, without times, priced if possible, where these investigation of “Muslca Divina” (Three tracker and tubular organs, additions of ? reasonably priced. Illustra- the this, and will give you anything modernize do this by numbering each measure of both.” the carrying power of couplers and chimes installed. Yearly care you volumes), by Kreckel. would have meant hardship for the the key to the needs allowing stops, tion above, shows a more solicit inquiries. A. do the you want as a result. They must be of organs. We M. C. organist in outlying districts; but resonated tones themselves to elaborate pipe and grille ar- Delosh Brothers — Organ Experts are not familiar with “rapid changes Q. I have access to a two manual theatre precisely this told exactly, however, what it is A. We rangement, while at left, the The Choirmaster in Action for them. It is ( enclosed). Will you the splendid radio programs avail- work 3508-1 05th Street Corona, L. I., N. V. City manuals throughout” indicated in your organ specifications of of wall space and choir- that you want. They must never be first please suggest some combinations for solo and smart use able today make it possible for any- In his second capacity, the direc- natural emission of which the question. In the foreign edition the closet for the organ proper. All is indicated—to “R” accompaniment t Itow may the Chrysoglott be must make use. First of all, discouraged. Never scold them; cor- change of manuals one at all to receive his hints from tor of church music will have one or master 33. The used? The Krumet is a very sharp reedy stop. outstanding features found in GUILMANT ORGAN SCHOOL (Swell) at the beginning of measure understand it rect them In terms of what they in can this be used to best ad vantage (in instruments are incorporated masters ranging the gamut up to more choirs to train. He may have however, he must next indication is at the last eighth note How WICKS FORTIETH YEAR left hand is indicated “Jazz” effects also ? There is no Open Diapa- these two designs — including Toscanini. Again, excellent editions a boy choir, or an adult choir, or Naturally, each individual choir- can do better: always let them feel measure 66 where the Write 12 WEST 12th STREET, NEW YORK the son stop. can church music and hymns be for “PR” (Choir with Swell coupled). At How DIRECT-ELECTRIC ACTION II both. is quite different. master uses methods of his own to that something, at least, is good- this of the various scores have been put The technic beginning of measure 67 the right hand is played without tremulant and without > used v /Have you inquired about WICKS deferred out in miniature form, at small cost. The director who has himself served produce the tonal ideal he has in ( Continued on Page 216 indicated as being on the “G” (Great), with foundation stop? Should the Castenets be in the accompaniment or the solo? The organ /I payment plans t r\ the left hand remaining on the “PR.” Both is years' with - "THE CHIEF CORNER STONE' hands are played on the Great beginning about ten or fifteen old, electro with the second count of measure 74. The pneumatic action. For what art the two piano By Hermes Zimmerman edition included in “A Book of Organ Music” like pedals on the right of the expression (Rogers) indicates both hands change to pedal used? What second touch stops should organ be used in the combinations you name? Will The outstanding Negro Spiritual now Choir at measure 31—going to Swell WICKS you explain what- each tremulant — available at measure 33. The right hand goes to the refers to Choir at the beginning of measure 44 followed Main —Vox Humana—Solo and Tuba? What Regular copies 45. you think this organ? Can it be used to 40(? by the left hand at beginning of measure do of go to the Great organ (full) at advantage, or is it a plain “ Jazz Band”t Can ORGANS Octavo for choruses 20( Both hands the beginning of measure 50. At measure you suggest a combination for use as a Fan- WICKS ORGAN COMPANY indicated for the Choir fare on the Hammond instrument ?—M. L. V. At Dealers 67 the left hand is HIGHLAND • ILLINOIS . ET 66 should be in- (the last note in measure A. There are a number of stops included hand remains on a cluded) and the right in the specification that might be used for THEODORE PRESSER CO., Jobber Organ—both hands being FOR LITTLE TOT PIANO PLAYERS reduced Great solo effects—among them the Tuba Horn, 1712-14 Chestnut Street the Great Organ in measure 74 played on Krumet, Violin, Violin Celeste, Flute and Vox *Picuu>4 cv/ce. fault fart, acLUJx.- to the Foreign edition). Thus the Philadelphia, Pa. (similar Humana, as well as combinations of other tfiefa Aefauld th&ti jot cluldte* prove a tonal climax—being closing measures stops. We suggest your experimenting with The Foreign edition played on “Full Organ.” combinations. Accompanying stops will de- jekkims the return to the Great in EXTENSION PIANO does not indicate pend on amount of tone desired, contrast and 47. You can choose from these in- measure so forth. The Accompaniment Organ being so PEDAL or adapt the number to your AND FOOT REST terpretations largely the same as the Solo Organ, you will 1 , best to secure the several Any child (as young as 5 years) with this aid can organ as may seem have to select suitable stops to be used for hair root Brings happiness, freedom of mind and greater and diminuendos. operate the pedals, and a platform is provided N EVERY COMMUNITY there are ambitious fore just to look into them. iHrtHXurSl b iccess. crescendos solo effects — That is your privilege. ' accompanying the used. We quote on which to rest his feet obviating dang- This great musical organi/atinn now in its J*th Send 6c In stamps TODAY for Booklet, "Beauty.” men and women who know the advantages of We offer them without obligation to from “Organ Photo Play Instructions” ling of his little tegs. you. cessfu D. J. MAHLErt CO., Inc. Dept. IOC, Providence, «. I. “Unit 1 year— has developed and trained main, MM Q. Please explain the meaning of new inspiration and ideas for their musical ad- There is a greater (Mills) : “Glockenspiel, Chrysoglotte and Or- demand all the time for the courses recommended for and many successful teachers. you tc olfet the i Organ”. What organ book is vancement. It is to those our Extension Courses are we offer, as they fit teachers To chestra Bells are of the bell variety and are for better positions This advantages defining stops, structure, quality and so forth? of the greatest benefit. are the only school giving is an age of specialization which have Been given to them. Now is good to be used as solos and can be coupled We and the specialist is S. REGULATES TO earning opportune ion —H. G. with other stops instruction in music the Study Method fully double or time to clip the coupon. Don’t wait any in the organ for good by Home more the salary of a musician with ANY DESIRED only The coupon will lev is instrument in which effects.” The Krumet may be used as a solo which its a general bring you information about the Pianists—aendMMfor free boo&iet snow- A. A Unit Organ an includes in teaching all the courses neces- knowledge. Openings in the music field ire which will he of untold ing bow you may greauy improve your extended sets of pipes are used to produce stop. We cannot advise you as to its use in HEIGHT sary to obtain the Degree of Bachelor of Music. growing very rapidly. There value. technic, accuracy, memorizing, sight- stops of the same quality at different pitches “Jazz” effects. The specification includes a are big paying positions for reading and playing thru mental- The most successful musician, of course, is the very muscular co-ordination. Quick results. Practice efTort —an illustration—a Bourdon (97 pipes Uni- Diapason as well as an Octave 4', which leads those who are This Is minimized. Used by famous pianists, teachers and busy one. Yet he is the one who finds extra time for ready for them. YOUR Opportunity be used to produce the following us to think you are in error as to there being —Mail the Coupon TODAY! students. No obligation. fied) can no Open Diapason. Hymns can and should be something worth while. And to such a one Extension Broadwell Studios, Depl. 51-C, Covina, California five stops: Do you hold the Key played courses are the greatest boon. It isn’t always possi- without tremolos. If no Diapason is to the best teaching Bourdon 16' available, substitute the most suitable stops PRICE ‘315 ble to give up an interesting class or position and Gedeckt 8' UN , E at your disposal. According the al- SOFT PEDAL R T X 1 to book go away for instruction. position a Diploma? S RY 4' ATTACH. »|2S ADO. — l S25 |! 53rd Stfeet. Piute ready named, Castanets are used in Spanish Chlcago! MHn*7° 2%' This method study is equally advantageous Nazard Flute of to Out Diplomas and P e d m and Mexican Dances, and you shall have to Degrees Samr ' C 2' the beginner marked with *nd f“” Flautino decide on their mode of or the amateur. Because the work can be are Awarded by Authority an x use according to jehkiks ADJUSTABLE done at home in spare time, with no interference Piano, Normal as to structure of stops effect suitable. We cannot tell you the use of the State of Illinois Course Trumpet For information with one’s regular work, many minutes each day may for teachers Curt ar and so forth we suggest “Organ Stops,” by of the piano-like pedals you mention. As Piano, Cornet far Train. Choice of charms and insignia for your music group. Write second touch emphasizes the quality PIANO MUSIC RACK be used which ordinarily to waste. It is up to Course for today Audsley or “Dictionary of Organ Stops” by of the go YOU. On your Voice Sight Singh for FREE 1940 book showing newest designs. Students stop so used, select whatever quality you e Brings music forward and own decision will rest your Mandolin Wedgwood. Public History C. K. CROUSE CO. down to proper distance so a Look Back Over the Last Year future School Music n of Music wish brought into prominence—limited, of success. Fit yourself for Sasophonc 304 Bruce child can read his music with Harmony ; v»noral Conducting Avenue N. Attleboro, Mass. course, to the stops so available. Since What progress have you Perhaps Piano Accon Q. Will you please give me some informa- Vox ease. Prevents eye strata made? you have a bigger position — demand El Clarinet -— Adv. Composition organ? Humana tremolo is effective on the stop bear- and nervousness. Invaluable wanted to send for our catalog and sample lessons be- Banro tion concerning chimes for our church larger fees. You can do it! Violin for adults who have difficul- Bred Organ organ service man suggests chimes ing that name, the Tuba Tremolo on the Name An ty in reading music at a dis- Schools—Colle ges Tuba, and the Solo Tremolo stops in- “M” and states they can be purchased and on tance or who wear bi-focal The Increased Requirement cluded in the Solo Organ, we presume glasses. for DEGREES has Resulted in Street No SCHOOL installed for $380. Is this price about right? the might locate Main tremolo includes such stops as are not OF It was also suggested that wc j2so No screws Larger Demands for the ADVANCED COURSES City affected PRICE or gadgets to mar offered by CONVERSE MUSIC set less. knoio by the other tremolos. The organ piano. Examine these COLLEGE a used of chimes for Do you aida at Ernst Bacon, Dean, Spartansburg, S. C. is no our expense and after of such sets ?—W. C. K. doubt useful as a theater instrument, doing Are you • These aids to child piano teaching now? and its effectiveness is so. if you are not highly COLLEGE, DEPARTMENT OF MUSIC not confined to that players are used and recom- pleased, return to u« at our Galesburg. 111. A. The chimes you specify are constructed of the “Jazz Band” mended by the following you? ...... you mention. We are expense. Ut will pay all James MacC. Weddell, Chairman. well known pedagogues in OL UNIVERSITY EXTENSION >°u hold with a smaller bell than the more expensive not familiar with the transportation charge*. CONSERVATORY a Teacher s combinations of the ( Catalogue sent free upon request their classes. sets furnished by the same builder, and are John Thomp- studied Harmony Hammond instrument. Books on the subject son, John Williams, Bernard (Address Dept. A-1 1 E. /• Discriptive Literature 80) 525 53rd ST., CHICAGO, ILL. CONSERVATORY not graduated. The price you is Wagness, Robin MacLachlan £ _ Would name not include “Playing the Hammond OF MUSIC Organ,” and Mailed L pon Request or Music? exorbitant for the style of chimes specified. and many others. SHENANDOAH Wade E. Miller, Pres. collections of music: “Music for Hammond Courses leading to We do not know of a used set of chimes that Organ” by Cronham; “Twelve Easy Arrange- tne t, , r Can be adjusted to any Is. Mus., and I». Mus. Ed. degrees. Kates are available, and understand there would ments for the Hammond Organ”; all of piano — grand or uptight 196 reasonable. In the heart of the Shenandoah not be saving much in acquiring a set of which can be secured through the •—in an instant. alley, Dayton, Virginia. publishers that kind. of The Etude. KANSAS* CITY. MISSOURI MARCH, 1940 197 ! 1 ^ a 3 — f of all the Stradivari, but also Down lo Mexico been ^ate ments which had Uitstiuns The “Messiah” Continued from Page Violin consuming Passl°”; ( 151) owner’s ,, his . . years, until dnuouncincf . Stradivari Violin For over twenty Vuillaume guarded death in 1875, seems to be the best. It Is definitely (Continued from Page 171) It • instrument jealously. typical -Answered l,u TWO the Mexican and of the Indian sell- and more of what seemed to be an that he once considered corded dances. When published, pianists left his posses- inexhaustible store. it, but it never it an interesting ROBERT BRAINE CONCERT ing will find addition allusion to a a glass case, He made frequent sion. It was housed in repertoire. to their Musicians in Stradivari he claimed to allowed to touch name remarkable and no hand was usually speak of No questions will be answered in THE ETUDE unless accompanied by the full Mexico Galindo as ORCHESTRA that the inquirer. Only initials, or pseudonym given, will be published. possess, and which he called the complete was his denial and address of it. So one of those "white hope" young- produce it was “Salabue.” Importuned to see it exposed, that others sters. American musicians might SELECTIONS yet, with fash- it, he steadfastly refused, himself had Eighteenth Century Maker rumored that he his name In mind. A Violin by Loveri An well keep J. H. L. Johann Gottfriedlieb, was a well visit, he waxed conception and B. P.—The Antonio Loveri violins possess — each subsequent ioned it of his own considerable note, Candelario Huizer, the librarian considerable merit, although some of them known violin maker, of eloquent in its praise. Perhaps Markneukirchen more than others, of course, and I would in 17— . He belonged to the MOON DAWN handiwork. of the orchestra, is a strange, are better which quiet violin deciding its school of German violin makers. His violins he had a well laid plan by After his death it became by in- have to see your before By RUDOLF FRIML little man. An academic studious- quality and price. Every violin must be seen, are of moderate quality. None of the 'author- some day he would profit mightily of his two heritance the property tested, and carefully examined by an expert ities state the years of his birth and death, Orchestrated by ness seems to form a regular halo in thus adding fuel to the fire which of whom was Alard s before a really dependable opinion can be or the years when he commenced and termi- REIBOLD daughters, one bit reticent BRUNO de- about him. A personally, expressed. nated his activity in violin making. Some old consumed his hearers in their and in 1877 Alard became its wife, of history of German violin making might con- Small Orch. (Including Piano-Cond.) $1.50 violin! his transcriptions Bach sound as sire to see this wondrous retaining it until he died CENTURY gives you the world's best music, beau- Making Varnish vey this information, but I cannot give you (Including sole owner, every bar in the On Full Orch. Piano-Cond.) 2.25 blatant as a carnival. He dresses tifully printed on the best paper, varnish It of the meetings correct. a3 H. S.—The sample of your violin the name of such a work. He is classed, how- was during one the death of Madame standard size, each note certified to be Piano Conductor 40 in 1888. After sheet music be! course is Bach in Berlioz garments. the master wrote it! What more can shows considerable talent, but of ever, among the eighteenth century German with the great Paris maker and compositions in the Century Separate Parts each .20 Alard, in 1890, it was sold, to leave There are over 3.000 very far below that of the Italian masters, makers. Information about such makers is catalog, all 15c— (20c in Canada). Art of the Old Masters has dealer, J. B. Vuillaume, while dis- especially that of the great men of Cremona. very scarce, indeed. The France probably forever! When you buy music, tell your dealer what selec- Art of People using several more coats of this by Marc Laberte the coursing on his favorite topic, that An The tion you want and be sure to say, “In the CENTURY I think that been recreated — E. Hill & Sons, means you will pay only Through William EDITION, please.” That varnish would improve the appearance of Young Teacher distinguished violin maker of GRAND PROCESSIONAL 15c— less than half what you usually pay. And you The most the incident occurred which gave Music Is loved In Mexico. Nearly the wood. As you no doubt know it takes questions from of London, the violin was acquired can’t buy better music at any price. A. E. S—There are many modern times. Using his large collection coats of varnish to bring out the full AT AVIGNON rise to the name which ever since everyone plays and sings. Senti- THOUSANDS OF SUCCESSFUL TEACHERS use several violin students who wish to form classes by a Scotch amateur, but later again EDI- of rare instruments as models, Laberte and recommend “CENTURY CERTIFIED lustre of the wood. What you require is or to do private teaching in violin playing. From "Palaces in France Suite has been attached to the violin. exclusively—because they know it is all that ” mental songs thrill the heart of any TION” study with a first rate violin maker. You and his highly skilled Mirecourt artisans, came into the possession of the good music can be at half the price or less. Its A violin pupil should not try to teach until The famous violinist, Delphin modest price aids them in enrolling more pupils, and could gain much informat 1 on from the little comparative instruments of such delicate tone By JAMES FRANCIS COOKE brothers Hill, who have since con- tourist looking for that romantic he is an excellent player and a created parents greatly appreciate the saving. Make It,” Alard, present; work, “The Violin and How to master of the instrument. He not only should exquisite beauty that they have be- was and, having color the guide books tell about and Orchestrated by sistently refused all overtures to by a Master of the Instrument. good violinist, himself but also have Piano Solos, each be a come the standard of French Violin heard of the by then considered Century 15^ contains full information for making HUCH CORDON part with it. Princely offers are said There is a little cafe in Taxco where It had much experience in teaching. Many fine (Capital letter indicates key—number, the grade) Craftsmanship. mythical chef-d’oeuvre of Tarisio’s violins, with diagrams, tools for working out violinists prove very indifferent teachers, Small Orch. (Including Piano-Cond.) $1.40 to have been received, which, every night two musicians. Tito and 511 Anvil Chorus (11 Trov.) G—3 Verdi among .Blake the parts and many formulas for preparing when they try to impart their knowledge cellos collection, is said to have exclaimed, 3064 Clayton’s Grand March, Op. 100, Eb—3 MARC LABERTE, violins, violas, Full Orch. (Including Piano-Cond.) 2.00 Vincente, play sing. They hare *3123 Country Gardens, F 3 Traditional all principal varnishes; also directions one from a prominent American and — the to others. in complete price range, are 3063 Cradle Song.Song, Eb—3 Hrahm3 and bows, a Piano Conductor 40 “Ad ca, votre violon est done comme for making oil varnishes, spirit varnishes, manufacturer is said to have been never had the benison of formal 1902 Dance of Hours, C—C—1 Ponchielli now available in this country through Doll’s Dream, Op. 202, No. 4, 2....()esten colorless spirit varnishes and so on. These Classes Separate Parts each .20 le Messie; on Vattend toujours, et 190 C— Violin in six figures. musical training, yet they do whs: 1433 Dreaming, Meditation, F—2 .Lichner varnishes may be colored to any suitable H. G.—There are various ways of securing authorized music stores. 1673 Dream of Shepherdess, Op. 45. G—4..Labitzky il ne parait jamais.” shade, by the use of various substances. new pupils: advertising in papers and maga- for the name of In thus nearing the end of the we with all of our theorizing often 2506 Edelweiss Glide, (Simp) G—2—Yanderbeck Write Thus, with a halo of mystery and 1204 Etude, Op. 22, No. 1. Ab—5 Wollenhaupt For a yellow tinge, use aloes, annotto, gam- zines; a house to house canvass to visit new your nearest dealer. history of this famous violin, it is fail to accomplish. They make music, 699 "Farewell to the Piano, F—3 ...... Beethoven boge, turmeric, or saffron; any of the fore- pupils and their parents. A great deal of the a luster of glory cast about it, ref- 1818 Flower Song, Simplified, F—2 Lange Theodore Presser Co. 626 Gertrude’s Dream, Waltz, Bb 3....Reethoven going will give various shades of yellow. science of the art and theory of violin playing fitting that one should tell of the simply and beautifully; they give it — erence to the instrument thereafter 521 Golden Star Waltz, C—2 Streabbog For red, use dragon’s blood, or red saunder’s and teaching can be discussed in a few hours, WRITE FOR THIS altruistic gesture which the last a fascination that only the most 627 Gypsy Dance, Dm—3 Lichner 1222 Humming Bird, Waltz, F -2 Schiller wood. By a judicious use of these colors although not the actual playing. The forma- • Wusic . included mention of Alard’s com- PICTORIAL BOOKLET owners made to their glamorous of coloraturas in their 1179 Hungarian Rhapsody No. 2, Cm—7 Liszt almost any of the violin tints may be tion of violin classes, under the direction of country and Hungarian No. 2..Brahms Publishers, Dealers, Importers ment until “Le Messie” became its 2262 Dance 5, Easy, Cm— obtained. a skilled teacher, often leads to good results. OF FINE VIOLINS AND 2251 Impromptu in Ab. Ab—4 Schubert which had to do with the final dis- heyday have ever vivm ft SedUC- accepted title. 698 Invitation to the Dance, Op. 65-Db—5. .Weber This book also contains a complete dia- HOW THEY'RE MADE — 1712 CHESTNUT STREET C position of this, one of the great tiveness. a Joy and deviltry that no 2749 Japanese Lantern, A— —1 .Hopkins gram for making violins of the model of Requirements for Orchestra Playing SENT FREE PHILADELPHIA, Although Tarisio 270 La Paloma, Bb—4 Yradier -Twitched PA. had gained his Antonius Stradivarius. If you are able to F. S.—The requirements for a violist in artistic rarities. American folk music or Jazz, or any 272 Largo, G —3 Handel end in creating an ever-increasing- 2467 Liebestraum (Love Dreams) G—3. Easy.Xiszt spend a few months in the large cities, such a professional symphony orchestra are simi- *B&J' 7 Union Sq., New York, N.Y. 278 Lily of the Valley, Op. 14, E 4 Smith It is now but a few months since swing variety has even possessed. — as New York, Chicago, or Philadelphia, you lar to those of a first violinist although the interest in his possession, he never 2746 Little French Doll, A, C—1 - Hopkins Little violin technic required for the viola is possibly less the knowledge I 1613 Rondo, C—1 ...» Martin will find many skillful makers, some gratified became public that heard one day near Ixmiquilpan 3133 Love the desire of those who im- Dreams (Waltz), Ab—3 .Greenwald of whom are willing to give instruction in extreme than that required of a first violin- the 1611 March of the Boy Scouts, C— 1 Martin “VIOLINS AND VIOLINISTS’’ brothers, Arthur Frederick a weird native played on a ist. Orchestra positions obtained by plored him to it, and melody *3122 May Night, E 4 Palmgren the art to intelligent pupils. are exam- produce remain- — Timely: interesting; authoritative. Edited by Violin Expert SPECIAL Alfred 1648 Military March, No. 1. I)—3 Schubert inations of applicants. These examinations NOTICES Ebsworth Hill, had offered flute as some natives carried a The “Modern Concert-Master” by Gustav Single issue 25c — $2.50 for 12 in U.S.A. — Foreign $2.75 ing obdurate to all entreaties and a 2519 Moonlight Sonata- (Simp), Cm—3.J3eethoven 4 Saenger is an excellent work for the prepara- are conducted by the director and concert- Illinois collection 1176 Nocturne, Op. 9, No. 2, Eb ...» Chopin E. N. PORING. 1322 Hinman Ave., Evanston. the of rare instruments to the freshly baptized baby down the road. — — AND temptation of offers to purchase 2308 Norwegian Cradle Song, F—3 Morel tion of pupils for symphony and concert master of the symphony orchestra in which Ashmolean 1024 On the Meadow, Op. 95, No. 2. G—2..Lichner positions are it. Museum at Oxford. They carried pot incense to waft playing. It contains many of the most diffi- the to be filled. I have attended Throughout the remainder of his This a of 358 Pizzicati (Sylvia). Eb—3 Delibes magnificent 854 Preludes, Op. 28. No. 7 Chopin cult and important passages from the great many such examinations, and they were very days, the gift has been accepted their Christian prayers to heaven on violin was considered to 1531 Priests’ March (Athalia), F—4..Mendelssohn symphony works. It may be procured through interesting. LEARN "SWING” MUSIC ANNOUNCEMENTS and ere 368 Pure as Snow, Op. 31, Eb—3 Lange Quick course to players of all instruments—make your own be long more detailed the perhaps the publishers of Etude. From your letter, you seem to have had no more than a fancy, a chimeri- informa- wings of a song that 2429 Robin’s Return. The (Simp) G—2—3..Fisher The arrantrements of “hot'’ breaks, choruses, obblijratoes, em- tion of its nature will 1210 Romance Sans Paroles, F 3 Streabbog much experience in the study of wind and bellishments, figurations, blue notes, whole tones, etc. cal subject of Tarisio’s be available. intoned a of devotion 1312 B. imagination. prayerlike bit Scales and Chords. 2 Kohler Gruenberg an Authority string instruments, and what you need now ELMER FUCHS The British Nation 696 Serenade (Staendchen) .Dm—6..Schubert- Liszt 370 Lewis Av. Brooklyn, N. Y. His death came in may well be to Quetzacoatl or other diety. 2196 Serenade A. L. B.—I have a very high opinion of is actual experience in symphony work. You SPECIAL NOTICES October, 1854. some (Staendchen), Dm—3 Schubert proud of the fine 655 Shepherd Boy, The, G—3 „ .WilsoD Dr. Serge Barjansky’s theory and books on could get much valuable experience by play- He was possessed of incredible patriotism which In Oaxaca I heard music for a color- tone production. Eugene Gruenberg, with ing in students’ symphony orchestras, which Etude Advertisements are wealth, these two of its citizens POSITION desired as Voice Teacher in all invested in his cherished have ex- ful plume dance. It was one of the Piano Duets, 15<’ each whom you say you studied at the New Eng- are always to be found in leading conserva- Bulletins of Splendid Buy- school or college. Conservatory graduate hibited in instruments. thus making (4 Hands) land Conservatory of Music, is an authority tories and colleges of music and similar insti- - and pupil of nationally known teacher. To them he gave his permanent brightest bits of barbaric glorifica- f ing: Opportunities 3079 A Buneh of Daisies (Valse), l...JMartin Experienced and can teach piano. the possession of C— on violin teaching and playing. His principal tutions. By all means take an examination, Would all and for himself he treasures of tion I Enormous 1984 Amaryllis, Gave, de Louis XUI, F—3 Ghys consider private was content un- had ever seen. work is “Violin Teaching, and Violin Study.” if you can secure such an audition. If those studio in good locality. assessable 1826 Barcarolle, Tales of Hoffman, F 3..0ffenbach Write with value. It is — Voice Teacher, Box P. E. J., c/o the barest necessities. He was deeply to be scarlet - feathered, panlike head- 924 Chop Sticks, Waltz, C— 1 De Lulli I hope you know every word of this book by hearing you think you are not up to the Etude. *3124 Country Gardens, F—3 Traditional found to regretted that one of heart. For prices on the other book you mark at present, they will no doubt give you have passed away, unat- them has de- dresses trappings 3078 Elizabeth Waltz, C— 1 Martin and brilliant 925 mention, write to the publishers of The some valuable advice, which will lead tended and parted this life before Golden Star Waltz, G—2 Streabbog to your «*»»«** probably unloved, in an he could take served as costumes. The accompani- 930 Invitation to the Dance. Op. 65, D^-5 .Weber Etude. goal. part m the 1366 Lustspiel. Overture. Eb—4 Keler-Bela (U)l ~T he Hn-r attic of a poor presentation 1640 dwelling at Milan, ceremonies ment was a simple native brass band March Militaire, T>—3 Schubert ANNOUNCEMENTS Arthur 1471 Over the Waves, Mex. Waltzes, G—3. ...Rosas surrounded with Frederick Hill 941 Poet a great number of passed away plus native rattles. The and Peasant, Overture, D—4 Suppe 00 drums and . , ''Tpasy»" ‘"Vecoton; February 5th, 1939. 3129 Shadows on the Water, F—3—4 Xoumey SINGING MADE EASY: Send for free instruments, with none of the com- music? polka— Their The melody was a detailed information to Eastern School forts of life he could contribution to of Voice Culture, Chambersburg, Penna. well have Britain’s art pure Bohemian polka. How did it afforded, a martyr treasures includes to his obsession. the famous get I (Three performers on one Plano) ’Xe there? Whence did it come? Records for 11 3089 A L tt e rench Don (ML), F—l....Hopkins New Home Music Lovers PLAY PIANO JAZZ like dance i . ! .f and again 3092 An Old Moss-Covered radio players. Quick mail course. Informa- ' Probably do not know and I wonder who does. Church, C—l....Hopkins Treasures in SThe’laTr “T 3096 Barbara (Waltz), G— 2 M. Greenwald tion free. Erskine Studio, 810E East Transit ' 88 3071 Big ( Continued from Page 156) 14th Changed This and a thousand other para- Drum Major, The(March),F—2..Hopkins Street, Oakland, Calif. e”h£ 3088 Big Bass Fiddle (Hum'esque), F—l..Hopkins Relatives were promptly 3097 Cuckoo ap- doxical experiences await any rousi- Song, C—2 Martin proached, when Vuillaume 3094 Floral Parade, The (Valse), C—2 Martin made—highlights from an opera as politan Orchestra, under the direc- PIANO PROBLEMS solved. For infor- was ap- 3070 Golden Rod (Waltz), G—1 Hopkins 3093 Humming mation write: Austin Keefer, Langhorne, prised of his death Bird (Waltz), C—2 Schiller sung by the Metropolitan Opera tion of Pelletier, lends brilliant sup- some three 3095 Idle Moments (Waltz), C—2 Lichner 3090 months later, and in School Pictures (Waltz), C—1 Hopkins Company of New York. For this set port. The excerpts comprise the January, 1855, 3072 Sunshineuumomiiic Waltz,” niu, V Mexico City is a little square wht C—2u ...... xlOpKinSHopkins the great connoisseur Dd You 3069 Sweet Memories (Reverie), G—1 Hopkins of five discs offers a condensed ver- Drinking Song and the Love Duet himself ar- Know? 3091ou.-n Watching for a few American pennies grot the Soldiers. Bb— 1 Hopkins Numbers so designated are not in Canada sion rived. His first concern was to That available of the recent revival of “Otello”, from Act 1; lago’s Credo, Otello’s as- Wagner, Mozart, of sii Our INCREASE YOUR Verdi an ,i p musicians will play and complete LaimuBcatalog uuuiainscontains over 3,000o,uuu comcomposi- T inn<5 mncirliniT rrf D I A II ft Oft I ftO ftlto-l-O 1 sure himself of the seem to Cln ' 00 8 st of P'ANO SOLOS, and as it was and is being done at the Ora e per sempre addio, Cassio’s existence of the be the TDiilo ?, DUETS INCOME Four-Power n Sometimes u I the a band of youngsters, Am .°^JC' 0LIN and PIANO, DUOS—TRIOS and Easily —Substantially —P leasanlly oft mentioned Stradivari worlds °f QU A R BANJ0—SAXAPH0NE ami PIANO Metropolitan. Martinelli is heard as Dream, and the subsequent of 1716; operatic fare? m a JII?T7. scene tutored as they are, a natui —MANDOLIN and GUITAR and VOCAL. Also, — Take Subscriptions for — and it have Ensemble the Moor, Helen Des- was found to bear out en- numbers for various instruments. This Jepson as from Act 2; Otello’s Monologo and * * * rhythm that catalog will be mailed FREE anyone THE ETUDE MUSIC MAGAZINE tirely all and beauty of voice to on request. the eulogistic ramblings demona, and Lawrence Tibbet as the Trio which follows from Act 3; — Write or particulars — extraordinary. lot J of its late That more than Whether one CENTURY MUSIC PUBLISHING CO. owner. He completed three 1 , Iago. All acquit themselves with the Willow Song, the Ave Maria, and 1712 CHESTNUT ST. PHILADELPHIA, PA the for 254 West 40th St.. New York City purchase, tunes have been folk music, or for radical dev not only of the “Salabue” published creditable artistry, and the Metro- Otello’s Death Scene from Act 4. States, under £ opments the title of in a highly cultured type 198 “Memor ie.sV'? modern music, it is there. MARCH, 1940 199 THE ETUDE I C 1 -. — the Clarinet Problems ot Speed in playing Some Vital cause the pitch is varied merely by never break down. for if the WORLD-FAMOUS COLLECTIONS Continued, from Page 169 opening or closing holes which con- is only a relative matter, NEVER BOUGHT ( played slowly, trol the use of more or less of that composition can be a GREATER be played as quickly fearing that the hole pipe, the placement of the fingers on correctly, it can so that the alarm, will not P of the instrument, it can be played VALUE i joint covered. But the holes must be accomplished with as desired, so long as rests on be completely this par- of the instrument at the slow The weight is the great accuracy, if a clean definition absolutely perfectly i?T an ticular hole smallest of the just between the nail remains the Chest Books the y the thumb is obtained. To this tempo. The composition Treasure ! I v holes, and in no case of pitch to be If BOOK 1 tone will the OF A- ,2 knuckle bone. perfec- f MASTERPIECES the be same, speed is variable, and set an entirely new standard of values, ball of the finger fail to stop end, then, the performer must OF 5 J; CHILDS OWR it. have such com- T THOIOTD careful to “snap” his fingers down tion of playing does not depend on for never before Finger Control The knuckles of this finger should i; BOOK can bear this in prehensive collections been offered at piano music MUSIC in constant contact on the holes or keys with a precise speed. If one SORGS like most in- be kept with the price. They are com- A S I Sfl r Clarinet technique, bugaboo such a moderate •’> feared P : AOUAIO 10SVMNINC VOW THAN and rapid movement, and must raise mind, the most II#' Vrt)Rtf». aROM flUFCIHiN standard sonos aforementioned keys, and illustrated by s *i‘. a thousand i ’ll HTiiiii>iavr>^.''.iR>i!M/;i'>'’K involves the the only piled by authorities and j X 5lAMW(D WAV* MUSIC CUiWWWi techniques, OF fc'VSRV 0F4O9ITHIS 1 *> VNO a 1 s ML* At 'AMt-v Ml I J strumental play it?”—is dis- - FRANZ fast you mjre jhan iw«sw«imia.vsic AMANOV P» FLVfl.No OH SlNSIV, « | FAMOUS in same manner. It is only “How can VHNOWffttl’HVy.’I'.l-SiClie'Li '.is THE them the musical ar- tg tjj i /M £ motion needed In opening the leading artists. The superb MWWiQKJMl*. AN) SWbOMvfiMiS : tfOv wrists, hands and keys use of arms, and for all. .If* by this method that the tones will pelled once rangements make playing and singing particulai a will be a slight straightening of fingers; but it is in the ELECTRONOME^ worth re- PAT OFFICE in clear ringing There are some maxims thrilling enjoyment. finger for the G -sharp key, TRADEMARK REGISTERED U S be produced a and finger technic that controls tech- and a manner, and will literally “pop” out. peating here which may help us in kept in mind short sliding motion for the A-nat- nique. If this axiom be Operates Electrically” pertinent, Ai_ lN outstanding col- “The Metronome that One caution, however, must be ex- technique. All of them are Complete Music Library depends on ural. This position almost overcomes ELKCTKON O.MK A A COMPREHEN- lection of standard fa- complete —“Clarinet technique You take no chance with the advantage: A MOST Master-Musicians -anyone Mtk- ercised in this matter, and that per- all can be used to good awkward passage over Teachers Students, SIVE collection of vorite songs. Wox-ds child’s book, contain- finger technic,” many mistakes the the so- accvhate tempo-™ try Community Songster good tag"Absolutely execution. home for six days at our risk, I rationed tains to smoothness of more than two hun- and music. Included ing called “break” of the . it out at Songs Never Forgotten nursery rhymes, avoided. use of the arms, Instrument finest precision motors, it will be The bv one of the world's must he dred well known are senti- position. No springs Tone production must be in charac- 1. Clarinet Technique many home, songs and a series of A-natural, second space, keeps PERFECT TIME in any Songs We Love wrists, and hands generally is more from to B- weaken, the electric tick is classic, modern, light to wind no tension to Tech- mental, operatic, sa- piano pieces and duets never go wrong ter with the type of composition be- thought of as Finger World Wide Songs is to say, natural. third line. always exactly as you set it. It can operatic and sacred cred, children’s, suitable of a disuse than use; that beat; covered by 5-year written guar- for the young on the proper ing played and the requirements of nique. Songs of Sacred Beauty compositions. NO southern, college, sea, folks. involved in their use, The right forefinger should be antee. A REFRESH- the less motion held and fingers Rodeheaver Gospel Songs MUSIC LIBRARY rounds, hymns, pa- ASK YOUR MUSIC DEALER the number itself. In a swiftly mov- 2. Arm, wrists, hands ING FOLIO OF the better and smoother the result. at an angle overlapping the fourth Old Time Song Hits COMPLETE WITH- triotic, national the ELECTRO ing arpeggio the is must he used in such a man- and HAPPY REMIND- for a FREE trial. If. after testing passage “pop” Homespun Songs fingers must do the work in clar- tone hole of the instrument, and In full satisfaction, OUT THIS VOL- folk songs, popular in The NOME six days, it fails to give re- ERS OF YOUR OWN refunded If .vour desirable, whereas in a slow and ner that a “maximum of Cowboy Songs UME. that the your money will be instantly Radio Broadcasts. inet technique—must do It cleanly, such a manner second the ELECTRONOME, send ns EARLY EFFORTS. dealer does not have Darn Fool Ditties booklet. reverential style such an abrupt sult comes from a minimum his name and ask for FREE descriptive Each volume contains 536 pages. Cloth Binding smoothly, precisely, and must be sup- Knuckle touches and completely cov- obligation to you. Children's Songs and Games $3.00 each. FREE trial arranged without sound would out of effort." Reinforced Paper Cover Binding $2.00 be awkward and each. ported and held to their task by a ers the two lower trill keys of F- More Songs and Games For Children CO. Forefinger and little finger po- The FRED. GRETSCH MFG. of place. The use of this method 3. Piano Tricks and Imitations * sale at all proud music stores. If your dealer still position of the wrists, hands, sharp and E-flut, B-flat. This en- cannot supply you vve will Musical Instrument Makers Since 1883 cor- aeud postpaid ou receipt of priee. Money cheerfully must be left to the performer’s good sitions are the basis for a Dances Old and New refunded if not entirely and arms. ables the performer to open satisfied. (i\OT SOUL) IJV CANADA.) these judgment. rect position. Gems for Piano Fingers must be trained in the two keys by merely straightening Young Pianist Bk. # I —Grade 1-2 MAIL COUPON FOR ILLUSTRATED FOLDER WITH CONTENTS 4. Independence of the fingers same way that a sleight of hand this finger from the second Young Pianist Bk. 2 —Grade 3 kunckle, Rebuilt Band & Orchestra Instruments The Mental Attitude must he developed, especially The Mumil Publishing Honestly Rebuilt—Fully Guaranteed Co., Inc. ( ) Book of a performer trains his— a slow, and obviates the Thousand Songs. by common and in- 1140 Broadway, New York, Please specify instrument you are inter* the fourth and little fin- N. Y. < ) Masterpieces of Piano Music. ested in and we will quote prices. In referring to the mental side of of Enclosed find $ for which careful repetition of fundamental correct downward motion of Distributors Instruments. ( ) Child's Own Music Book. the King Band POSTPAID please send the books checked. WEYMANN CO.. Dept. E-3 the problem of technique, we can gers. Special Offer ( ) PAPER ( ) CLOTH movements until absolute perfection right wrist. Both of these forefinger 16X3 Chestnut St. Philadelphia, Pa. ( ) PLEASE SEND FREE ILLUSTRATED simply define this outlook as our 5. Tips of the little fingers on FOLDER WITH CONTENTS. of control without loss of motion is positions will aid in holding the every order of eight Name manner of thinking of what we do tips of the keys. EDIT IT f With achieved. One of the finest pairs l l bk of wrLsts still, and the resultant sense t j t j es or more a handsome Address Diplomas, Certificates of Awards, Medals and in order to do it better. Perhaps the 6. Fingers cover the tone holes hands in the profession of clarinet of relaxation will help the performer coverette container will be sent free— City Other Requisites for Awarding Pupils effective thing to do is to employ accurately. State playing belongs to friend to the first 500 "Etude” readers. E—3-40 a of mine in his development of velocity. Completing Courses in Music maxims, or catch phrases in order 7. Fingers must he snapped on who is a past master in the skill of CO. THEODORE PRESSER to help us remember what to do. and off the keys. Setul for Descriptive Catalogue the hand being quicker than the Tips to Tips 1712-14 Chestnut St. Phila., Pa. At least we can theorize for our- 8. Keep a reserve supply of speed eye. Finger consciousness is essential If the forefingers are the cor- TREASURE CHEST PUB., INC. in selves, asking the why of what we through slow hut very accu- to anyone who would be skillful with New! ... in the rect position, the next point to check 303*4th Ave„ New York, N. Y. Celebrated his hands. One not only do as well as the how, and finally rate practice. must de- in the hand position is the use of velop a train of exact we may develop what may be called reactions to the little fingers. one must Here understanding of these phrases, John Church Co. Song stimuli, but he also must develop a psychology of technique. It is, of An Catalog a remember to place the tips 0/ the perfect motor control. course, impossible to write a treatise not necessarily a literal memoriza- little fingers tips the keys, on the of of only a few hundred words tion, will be very helpful to one Correct position is of basic on the impor- and the result completely will be whole mental aspect of art as ap- genuinely interested in clarinet OUT IN THE FIELDS WITH GOD Newly Published in tance in the development of finger satisfactory. The use of the tips ot BAND Text by Elizabeth Barrett Browning a Revised Edition— control. The correct position plied to the clarinet in particular, technique. is the fingers will enable the performer, Music by ROY most natural of but one might suggest the possi- Finally, there is a good workable NEWMAN all positions, and in this case, to employ all ot the MUSIC IN contrary bilities. It will be true always that everyday psychology to apply to the Medium Voice—Range d to F to any idea as to its diffi- alternate keys to great advantage, Catalog No. 30764 culty, its very a good technique can result only matter of technique. Price, 50 cents MAYTIME simplicity makes it so. and will also his tech- Mode ruto espressivo To lend speed to DAY OF YOUTH by the aid of one who has acquired the proper well-balanced and Song nique because the balance point of Nothing Is Impossible to Play position, it seems odd (Overture) poised conception of what immediate Improved CONNQUEROR that a begin- these by OLEY SPEAKS ner keys is generally at the very if Practiced Long Enough World’s largest manufacturer an- The lit - lie on By M. and ultimate cares that - the JAMES FULTON what results fret ted i clarinet are to be almost inevitably tip, nounces sensational improvement in and the push required to open Band Instruments. New patented VO- Text by assumes an A fine overture for sought. The mind, however, must composers give awkward position Yet young bands, or for The modern not a CABELL revolutionizes tone effects. them is much less there than at the Esisier to play. You’ll develop talent Frank L. Stanton with a few slight school organizations. Extensive cross-cueing not be preoccupied, it must be re- bit of quarter to the clarinetist; a WRITE fast adjustments of center. with these new Conns. Choice of world’s finger and ample rehearsal FOR greatest artists. See your dealer or write position and numbers throughout. laxed. The ideal state is one of “con- good deal of difficult writing is to Two a few hints on today for FREE BOOK and home trial, Keys If the little the proper forefinger and the trol with relaxation.” easy payment offer.Mention instrument. High Voice in E-flat approach to the 42 Parts and Conductor (Piano) A good tech- be found in the newer compositions, instru- fingers the FREE (Range 11 are placed correctly, nique brings F to g) at timCS astonishing Complete—Price, $2.00 about control that is a but most of the seeming difficulties lost how other them yes . ter - day, A - mong the fields, . fingers into a bove the sea, A - Catalog No. 30034 quickly beginners will fall naturally sympathetic ruling BOOK overcome their Extra Parts, 15c each Conductor, 40c of the hands, will melt away if the player is will- former the correct position. Generally they Low Voice in C difficulties. not a strained dictatorship over ing to use a little logic, a little en- iCONN (Range d to E) The must overlap the tone holes, and two fingers which them. Balance of playing can be at- thusiasm, a lot of work. Catalog No. supply the Only by 30035 basic “formula” must be slightly curved In order to BRASSES TO THE FRONT for the correct hand tained only by keeping a reserve development of his physical and - position are possess the proper strength and Novelty March with Melody Trio „ P Discriminating singers the forefingers. If supply of speed—and herein lies a mental powers does he earn the dis- these firmness be By will be pleased with this fingers are placed In movement. It will CUYLER HERSHEY LEONARD fine in the correct point: Never play as fast as tinction of being a master of tech- mong the winds new edition at play, A - mong the low - ing of the herds. —its new In- position found that little An interesting The the rest will the fourth and concert or field march fea- possible, and the technique will nique. troduction, written follow easily by the fingers of move turing Rubinstein’s composer, refi Ser Sh ° each hand naturally “Melody in F” and EASIEST augmented Uld be placed containing across the i k together, must be a brilliant fanfare for cornets harmonies, and an attrac- two keys on and an effort to master P 30784 the top of and trombones. ! tive the made nett' title page. clarinet, the A-natural and to develop independence of ac- G-sharn Full Band Price, 75c r tion, for the In par- — THIS NEW Copyright 1939 by The John Cfcureh Com pectivel in little fingers P-A Price, 5 0 cents y- ^ch a manner Sincerity the Kernel of Child Music thatfhat the^ second ticular. • Such beautiful tone, and so easy knuckle of “The child to play! Just touch a key and the Write for FREE demands sincerity and can appreciate the most mod- finger touches One other very tech- descriptive folders blow normally; you can’t miss. the G-sharo kev important ern music or art, J*? covering Ditson Band provided it contains the precious qualities of Nothing to compare with these nical point in clarinet playing must Publications The truthfulness and simplicity. He will not, however, accept that new P-A Saxes, Clarinets, Trum- John Church Company be mentioned back pets, and other P-A instruments. before we tum ivhich is beyond his own experiences. Love songs, and the Fully guaranteed; your to false success * *>» mental problem. assured. See your music dealer Theodore Presser aspects of the sentiment of the ‘shop ballad’ variety, make no desirable impres- Co., Distributors, 1712 Chestnut Street nole Oliver Ditson or write direct for beautiful Philadelphia, Pa. sat the base Since the a Co. sion. free of the ball ft, f clarinet consists of Those ivho compose for children must write from the child book. Noobligation. Easy terms. Theodore Presser Co.. Distributors Many stopped Greatest fun, easiest people „ pipe in air column heart that they have preserved in their grown life, and must write with P-A. ew thls pos which an 1712 Chestnut Write today sure. u&t 200 Street, Philadelphia. Pa. out vibrates, to produce sound, and be- of remembrances of the almost forgotten fragrance of child- hood.”—Alec Rowley. PAN-AMERICAN 308 P-A Building, Elkhart, Indiana ETUDE THE MARCH, 1940 201 3 1 perfect, of octaves and in unflinchinguimm^**-** ---rhjffhm. fact, main- be an absolutely tains an octave on the any kind is permissible, accentuated Scherzo in E Minor, Dp. 16, No rubato of beats: Accohdion the entire char- strong The Piano as it would destroy wem Ex. Lesson acter of the music. 4 ^ No. 2—A Master and later 2>.itson At Measures 23 and 25, cal points as variety of tone, variety f Continued, from Page 172) strike the grace at 76 and 78, one can 3 * of tempo and observance of all signs. notes 3. 9 Interpretation of together with the lower discussed notes error at These subjects have been CHOIR very quick, light and crisp. It is as that fol- A common measures 59 third 0 of the interval of a frequently so we shall proceed to the is to pound inconsiderately if we held the hand in playing po- same effect 62 and lows. This produces the second part of musical interpretation and and loudly as possible. Heaviness Accordion Music sition over a table, with forearm and proves to as can as the original text which is more difficult, because it is hand on a straight line and the fin- be avoided, and we can impart CIIORCS be easier for certain hands. to not tangible but must be created. gers curved. then try to wipe off passage elasticity and We extending this swing, by passage in thirds is the personality of the finger The By This where imaginary crumbs with the the right playing it forte as a genera] shading, over measures 30 to 35, in it must X umbers pulled in 'jhe ir° player enters, for is he who tips as these are swiftly tempo, with- reserving the 0 tor the accentuated hand, is played in strict put the spark of life into his interpre- toward the palm. If properly carried (here natural ten- strong beats again, beat three Recent Publications of Interest to out giving way to the lelr° tation. Observance of all rules is not out, the tone will be as light as a less speed. The to be slightly marked than beat School and Community Chorus dency to increase the Accuracy is not enough, al- bubble and will resemble the froth of P enough. at one) . After the sforzando at bugle call on B and F-sharp, Measure Told to ElVera Collins Directors, Glee Club Leaders and the sparkling of As though it is essential. The player Champagne my 61, it is wise to decrease 31-32, in the left hand, suddenly to Choirmasters country. measures must put his very soul into the telling as a mezzoforte, in order to be able • comes through in the mezzoforte to of his musical story. Naturally the Scherzare in the Italian, means “to a crescendo on make the against the piano in the right hand. make Measure 62 * CCORDIONISTS often ANTHEMS—MIXED VOICES jest, to joke.” This ought to suggest selection must mean something to us to en- it is repeated one octave lower which brings back ff. Z\ mistake of concentrating COMPANY, DE KALB, ILLINOIS Barnes, Edward Shippen gaiety, playfulness, merriment, good When him before he can make it mean any- THE RUDOLPH WURLITZER 63 L A. technical Beloved, if God so loved us (14994) 10 at Measures 34-35, the shading is Measures and 65, in the left tireiy upon notes and Fowler-JRichardson, humor and frolic. Such is the spirit thing to those who hear him. J. selec- Jtearn to play the Beatitudes with choral forte in the left hand, and mezzo- hand, are played in the same way a; difficulties when learning a new The responses prevailing in the majority of the Accordionists never should adhere ACCORDION BY MAIL! PLAY SWING PIANO (15003) 10 pre- previously. Here also the sharp think that expression and Lockwood, Normand scherzi, forte in the right hand, thus op- tion. They to fixed interpretations nor should even when they are written, This Amazing Easy At Home Four choral responses to the words of propor- positions of shadings must be form a sort of veneer New Way serving the same adequate care- interpretation Now you can learn to play popular tunes with a real pulsat- Christ (S. A. T. B. Divided) (A as in the present case, in a minor they exactly copy the interpretations *PMfoo- „ ing Swing Rhythm, —with professional bass and breaks—the Cappella) (14995)..; 15 tion. fully observed, and the mode of can be held in reserve and ap- especially written two—tried over the radio or on the stage. Discover tin* key. Chopin at- which of other players. Certain liberties may Correspondence style you hear J. stands out as an excep- and tested— thrill of “Building Up” the latest song “hits.’’ Enjoy the Marks, Christopher courses—that guarantee results. At Measure 36, the piano comes tack must change from "loud plied only during public perform- satisfaction of being a “finished* ’ Swing Artist. There’s a wideness in God’s mercy tion because of the magnitude of his and be taken, but they must never distort Write for FREE information (Sop. Solo) (14972) 15 hammered” to “feathery that time, however, there PIETRO DEIR0 ACCORDION HEADQUARTERS Learn In Few Weeks! Ten Day Home Trial! four suddenly on the second beat, and the wiping.’ ances. At 46 Greenwich Ave., New York City Axel Christensen’s Home Study course contains clear, con- Marryott, Ralph E. compositions bearing that the meaning as originally intended by Phila., Pa. 1237 W. Girard Ave., cise directions. You’ll l>e amazed how quickly you’ll learn of (S. A. T. with lightning speed, to distract the O Lamb God B. Divided) name. They even reach unto great tone subsequently vanishes into a one never en- are many things the composer. (A Cappella) (14986) 10 i you i delicate pianissimo, so as to empha- croaching upon the other. so he naturally reverts to „ — lung. Shure, Deane dramatic power. player, Ideas for musical effects may be MONEY! Mother (With Spoken Prologue) (14983) .15 size the contrast with the blazing From Measure 75 to Measure playing the selection just as he prac- SEND NO Whitehead, Alfred 79. gotten by listening to a singer or Learn Piano Tuning At Home Don't send one penny. Just put your name and a . . . excellent Irishman the Grandfather of Naples in May, 1834, orchestras, . in glee clubs, bands, etc. Recitals equipment . . concerts An Russian Music While applied for a patent for his inven- by world-famous musicians and organ- 25 ELLIOTT FISHER each week on $75,000 organ. ill 7a izations . . . weekly student recitals Field fell critically and had to ( Continued tion. Mr. Wier has been an exceed- ... for these reasons Oberlin attraets from Page 154) COMPANY Eight Weeks Summer Sessionsion 71 serious and talented students. De- enter a hospital for a major opera- ingly prolific and valuable compiler grees: Mus.B., School Mus. B., A.B. Chopin used his as ONE PARK AVENUE June 24 to August 12 with music major. Write for catalog. own mostly a by another notable event. One day tion. His condition became very grave which had if of musical albums, have Ip Frank H. Shaw, Director vehicle NEW YORK, N. Y. to the CHARLES A. SINK, princely dwellings of a young Russian, only twelve years and he had to remain under medical sale different President Box 530 Oberlin, Ohio an immense by many Box 1004, Ann Arbor, Michigan the Faubourg Saint Germain, Field old, presented himself to Field and care for many months, with the re- publishers. He has included in these often alighted in front of disrepu- asked if he would consent to give sult that upon leaving the hospital volumes a list of recordings by Vic- table taverns. He also used to take nrTDHIT INSTITUTE OF him instruction. Michael Glinka was all of his newly acquired fortune had tor, Columbia and Dacca, so that it DENISON UNIVERSITY long walks, often UIilllUll MUSICAL ART accompanied by his name. By questioning, Field no- vanished. Russia, however, came to is possible for the enthusiastic per- CONSERVATORY OF MUSIC one or more DR. FRANCIS L. YORK, Cho irman of his four pedigreed ticed unusual gifts in the applicant, his rescue in the form of a traveling former to study his own part with a Granville, Ohio DR. EDWARD B. MANVILLE, President dogs which, it was contended, A Liberal Arts College an- and he was at once accepted as a family who heard of his misfortune record made by virtuosi, before play- Member of with Music Majors the National Association of Music Schools. swered the imposing names FOR PIANO TEACHERS ONLY Founded 1897. All branches of Music and Dramatic Art in A.B., Mus.B, and P.S. Music courses of Pales- student. This contact was exceed- and generously offered to take him ing it in his own grbup. We under- School of Sacred Music. Faculty of 70 artists. Accredited F or catalogues, address trina, Teachers’ Bach, Handel and Mozart. Certificates, Diplomas and Degrees. ingly successful, because Field was back to Moscow. On this return trip stand that large numbers of players FREE: "The Student Pianist,” a 3 6-page Book containing the 11 piano H. B. MANVILLE, Business Manager Karl Eschman, Nevertheless Director he did not remain in- by they all 52 Putnam. Detroit, no means a routine teacher. His stopped over in Vienna, and already are donig this. The volumes compositions listed below, every number absolutely COMPLETE, to active Mich. active as a composer. During those nature, genuinely Irish, was warm Field, though broken in spirit as well should be also of great convenience piano teachers. first years of meteoric success, he as in physique, and genial. He was constructive in found the courage to to those who attend chamber music TO RECEIVE THIS 36-PAGE BOOK, you must establish with us your professional Music Lovers to earn LIBERAL COMMISSIONS wrote some of his larger status. securing subscriptions composi- his criticism, never sarcastic nor in- give three magnificent recitals. It concerts and who desire to follow the Fill out coupon at the bottom of this ad (or mention page and issue of The Etude). Enclose for THE ETUDE. Part or tions, including full several of his professional card, letterhead, or other means of identification, or refer to one or promi- time. No Cost or Obligation. Write for com- seven sulting. Under such care, gradually was his swan song. Upon arriving in score, as well as to those who are on two plete details TODAY! Address: pianoforte concertos and his nent music publishers by whom you are recognized as a teacher. piano Glinka became equipped for the Moscow he took to his bed and never the lookout for fine chamber music CIRCULATION DEp’t quintet. great left it again. NEW THE ETUDE MUSIC MAGAZINE mission which would befall But even then he kept programs on the radio. The editor 1712 CHESTNUT ST., PHIL A., PA. him. an indomitable A New Form Created the creation of Russian music. spirit, and his sense has included spscial educational 11 EASY TRANSCRIPTIONS FOR PIANO Field, however, his ex- of humor was as keen as ever. notes about several of the composi- Tuneful, rhythmic music by well-known American It was in continued composers, including the world-famous marches. Our 1814 that Field Director, National Emblem, NC-4, and Down Main Street, devised travagant existence. In 1822 he As death was near a priest came tions. carefully transcribed, edited, and lingered. As attractive title-page does much in • the musical form -of the an arousing the pupil's interest, tin's feature has been given careful nocturne. transferred to visit him. attention, the editions carrying smart, modern designs in attractive Previously his home from St. “Are you a Catholic?” The albums may serve also an- colors. and following the Title Transcribed by beaten Petersburg to intemper- he asked. Field smiled and denied. other very useful purpose. The stu- Title Transcribed by path, he had written Moscow. His DIRECTOR, sonatas, rondos “A OUR March (Bigelow) MOONLIT RIPPLES, Barcarolle (Rolfe) ance "grew from bad to worse and Protestant?” Again Field shook dent of score playing and score read- Walter Jacobs and concertos. Then he evidently Walter Rolfe felt soon his head. “Then, perhaps a Calvin- is to it” to find NATIONAL EMBLEM, March (Bagley) RURAL PICNIC, Rustic the need to turned into a sort of dipso- ing often “put Dance (Rolfe) broaden his outlook, Charles Repper Walter Rolfe to mania. Too the ist?” “No, Father, only a clavecinist!” sufficient material in the different reach more often he practiced NC-4, March (Bigelow) R. E. Hildreth CANZONETTA freedom and melodic in- (Rolfe) Walter Rolfe Russian fashion vodka, ( Clavecin is a French word for harp- clefs. When a student in Germany, MAIN STREET, dependence, to break of drinking DOWN March (Weidt) PICKANINNIES’ PICNIC (Four Little away from sichord). R. E. Hildreth Blackberries) (O’Connor) forms or whisky, by the foot or by the On the 11th of January, the writer of this review was obliged Norman Leigh hampered by too WU HU (Rolfe) Walter Rolfe WHIP SPUR, many schol- 1837, he AND Galop (Allen) astic yard. This curious method, which it passed away. to use the Wullner “Sight Singing restrictions. Undoubtedly AUTUMN TINTS, Waltz (Rolfe) .Walter Rolfe Walter Jacobs he must be on Two of the greatest tributes that Method” for elementary practice. would have been said takes place only The regular sheet music editions are 35 cents for much surprised at an that time, exceptional occasions, consists of ab- artist can receive were paid to These new volumes would have been each number, less the usual discount to Teachers. had he been told that the sorbing Field word nocturne as many glasses of liquor as by Glinka and Liszt. “His play- most useful at that time, just as they would find universal WALTER JACOBS, !NC. will of ing',” said the Ce stand side by side along one former, “was at once will be for the musicians of today. 120 Boylston St., Boston. P W°Uld embod a Mass. y definite the sweet Please send mt FREE and ivithout any obligation whatsoever typetTne ofn? ; , above mentioned measurements. and powerful, and it was char- "The Student Pianist" as described above lyrical I am enclosing [please check] inspiration, professional card letterhead to establish my status as a teacher and Q ' L[Publisher ***** With such with acterized by an of references as to status may be given below if card would spread over a regime, coupled admirable precision.” “The Chamber Music Beethoven” or letterhead is not available.] a hundred years “We may deem it certain that our of other no As for Liszt, he size) civilization, as far as it deter- musical history from excesses of all kinds, it is honored the noc- Pages: 352 (sheet music Name. mmes artistic him, through man , can be reanimated only wonder turnes by the spirit of music that Field came to the point by making an edition of them, “The Chamber Music of Brahms” —of that music which GabrleI Faurt and Beethoven released from the tetters ctaSto of and in Street City & State. ; 1 nf neglecting his teaching and of the preface we find the fol- Pages: 256 (sheet music size) fashion.” Wagner. 2S Publishers — giving lowing who recognize me as a teacher: But the year of 1814 up his composition entirely. lines: “Their first tones al- Compiler: Albert E. Wier was marked It ready 204 was now, when his fortune was transport us into those hours Price: $3.00 Each; Cloth $5.00 when the soul, freed from the bur- Publisher: Longmans, Green and 120 Boylston St. THE ETUDE dens of the day and resting only in Company WALTER JACOBS, Inc. BOSTON, MASS. MARCH, 1940 205 scale at the left ~ mistakes) on the 01 fourteen year old. a it is 65 ! the graph; ; 'f01 How Much Musical Talent side of * Turns to Musical Pictures Again twelve year old, it is Moviedom 76; for a t year old. it is 81; for Has My Child? an’ eight 7 (Continued from Page 157) old. it Is 86. This shows the nee£ ( Continued from Page 160) of having a "normal” group as hits, Captain full symphony orchestra for the epi- j the featured song test standard with which any the Future” and item A there are two compari- individual and The Moon and The sodes “The Land of score may be compared. Vanka, sons with the original; then for item Otherwise offices ad- “The Past”. The voice of the elusive Willow. The Paramount there is no way of determining show, Blue Bird is represented by the Illns.2 what that, as far as statistics a particular score vise means, since time that a director whistling of Marion Darlington, who it this is the first has no meaning until compared for a picture of has a repertory of 5000 bird trills to has composed songs something else. For this reason Schertzinger, of and who has been responsible for home his own making. made tests are of little value, at the turning an impressive portion of the bird be- course, is no novice cause there is no standard engaging melo- voices of the Disney pictures. togobv out of piquant and Any score which Is above a number of Creating the voice personality of average dies. He has composed of a is usually considered satisfactory successes, the most popu- the Blue Bird offered something jE well known problem. In the earlier se- B a new melody is such tests. However, in the perhaps, is the pereni- dramatic given to which field of lar of which, three music, one would not For the di- quences of the Temple film, the Blue comparisons are to be made; be considered aiiy pleasing Marquita. then for test very musical if no better picture, Mr. Bird is actually a thrush. Only after item C there are than aver- rection of the Crosby four comparisons age; so that Paramount Mytyl has learned the wisdom of with the original; a score equalling some- Schertzinger returns to 2. line opposite the and so on, until Follow the thing better six or seven unselfishness does the thrush under- with the last item than the 60th percen- after an absence of some it the curved diag- there are seven comparisons. score until hits tile was “The go the miraculous change and reveal In each should be secured before much years. His latest production instance, the onal line which corresponds to the itself as the bird of happiness. original melody is encouragement is given. The Mikado,” which he did in England. age of the child; nearer played once only, and all compari- the percentile and Jimmy Monaco “It wouldn’t have been right to score approaches loo Johnny Burke sons for that 3. Drop straight down to the sing like a blue bird, test item are made to the more all the other featured have the thrush encouragement may be have written it. The test must be played bottom of the graph which gives and it wouldn’t have been right for strictly safely given for pursuing music songs for “The Road To Singapore,” as written, the percentile score, and a de- seri- otherwise the child may ously. Although native chant, Kaigoon, the Blue Bird to sing like a thrush,” this abbreviated test including a be penalized because of the inaccu- scriptive classification of this score players said Miss Darlington, in discussing is not reliable enough for makin sung by the three principal racy of the pianist. in terms of “very poor’’, “poor", g of this fictitious bird Likewise, no test any very chorus of three hundred na- the problem item specific vocational recom- and a should be played twice, because “average”, “good”, and “very to character. “We finally decided that mendations. it is probably tives, and written in Esperanto this would good.” safe to double one’s chance of complications. inasmuch as it’s not a regular blue say that anyone obtaining a avoid censorship getting the item right and per- could create a new song materi- centile score The movies have again blithely bird, we ally alter the A percentile score is simply of 95. secured by only score, which is mean- a way for it a little like a thrush’s call, five percent waved aside tradition in Twentieth- — ingless unless obtained of stating the rank of a particular of the population, has under stand- production of with just a bit of blue bird.” ard person in definite possibilities of Century Fox’ new conditions so that it a group of 100 average in- outstanding can be Bird,” featuring Shirley “The Blue Bird” is filmed in Tech- compared dividuals. If musical achievement. “The Blue to the norms obtained un- his percentile score is There are expense has been Temple as Mytyl, in the beloved nicolor and no der the same conditions. 100, he obtained the highest many other factors besides capadty, score For the spared in making it one of the most in the (this test Maeterlinck comedie lyrique. Ex. 7 group; if it is 70, he does bet- is supposed to measure the of the play, A1 Newman, spectacular efforts in color. Because ter than 69 out of most important inherent film version the 100. but 30 do musicalca- the story progresses without the ne- better pacity) the studio’s musical director, has than he; if his score is which must be considered as 50. he score and cessity for “flashbacks”, which have is average, contributory written a complete new 50 are above him and 49 to musical achieve- problem has not made use of the Humper- always presented a knotty JUILLIARD SCHOOL OF MUSIC are below him; if his ment; so that success score is 20 cannot be to the color technicians, hitherto Ernest Hutcheson, President there are dinck music nor the opera of Albert only 19 who do safely predicted on the basis of a as poorly, unexplored possibilities in the use of Courses for Piano Teachers and 80 obtain higher test alone. Wolff. scores. A few The willingness to wort, color harmony have been revealed. examples should The possibilities of motion picture to be given by make the good instruction, gilt method good health, a have been ex- Also the color engineering research of interpreting the of a good sound equipment score clear: 1. A voice for a singer, or mus- into preparation of BERNICE FROST score ploited to the full in securing new which went the of nine mistakes for cular-nervous a child speed and coordina- Bird.” the picture has resulted in the pro- at the who is twelve artistic effect in “The Blue years of age is tion for the found instrumentalist, and constructed duction of shades which formerly JUILLIARD *° be ery °°d ” Electrical instruments SUMMER SCHOOL g °n the “norm.” proper motivation, are some of the . were impossible in the three-color s 7f , by the studio’s sound experts aug- George A. Wedge, Director °und locating "9” other requisites , on the for successful ac- instruments of a process. left-hand scale and ment the familiar July 8 to August 16, 1940 going to the complishment. The main value of a h tU meeting Piano Methods and Materials the line marked musical talent test Is objective “1212 its Pre-school and preparatory ages Grades two and three yearver norm”, then Older children and adults dropping evaluation of the or po- Early advanced grades to the down limitations, Class Methods percentile scale at The World of Music Sonatas and sonatinas the bottom tentialities. set by nature, which, 120 Claremont Avenue New York aside from all the other factors, are (Continued from Page 147) so important in any eventual musi- Make THE ETUDE Your Marketing cal Stockhausen of Frankfurt, Germany, Place. Etude Advertisers Open the success. That some people are The Choir Invisible and Mme. Garcia of Paris. In the last Doors to Real Opportunities highly endowed, are while others named city she and Mrs. Whitelaw Reid musical MRS. EFFIE CANNING CARLTON, com- paupers, is quite evident; Club; and later poser of the popular nursery song, Rock- founded the Three Arts but only by and collaborated with Clar- m means of standard a-Bye-Baby, died January 7th, in Bos- in Chicago she accurate his famous organ recitals s a tests can we obtain any ton, at the age of eighty-one. ence Eddy in mistakes very reliable at the Auditorium. “averaee”a8e rtr- is estimate of the amount ’ or CHARLES French --, approximately of DALMORES, eminent < a no,-c 1 - this centile ' P endowment possessed by any score of 53 h baritone, long a mainstay of the Chi- d°eS better individual, RUFUS ORLANDO SUTER, for a quar- than 52 averaee L, even before the time he cago Opera Companies, passed away on PLAN YOUR SUMMER STUDY - NOW dCn °Ut 0f has started ter century an active leader in the musi but 47 get 10°- his training. December 6th, at Hollywood, California. Ser cal life of Warren, Pennsylvania; passed 3- For a ten year Born at Nancy, France, he won prizes oS^hUd^a" beyond on November 6, 1939. Born in of 24 KEY at the conservatory for proficiency on mistakes is "verv Pittsburgh, January 25, 1875, he early It’s not too soon to plan your sum- ~ the French Faculty of 75. Private or class cause ’ be horn and violoncello, but his rank, small ensembles and mer music study! out of ion was became active in At Sherwood instruction in all instruments, children, Verage 1. discouraged in his ambition to be is only N T orchestras, and, on moving to Warren, you can have professional training about 9 ? a singer, theory, voice, public school mu- any 8 2. till, after study in Berlin and worse in y do S K S he was the first to introduce orchestral at low cost and at the same time the test L, long struggles, sic. Certificates, diplomas, degrees better. wh»ile 91 he made his operatic In scoring do 3- T N K S work in the high schools of Warren and enjoy a cool vacation in this awarded. Write the test, count the debut in 1899 at Rome. He was brought for catalog and 4 vicinity. facile composer, from the lakeside resort-metropolis. number of mistakes, K S T N T to America A Sum- all-expense estimate. 410 S. Michi- which is the by Oscar Hammerstein for and attend Concen trate 5. simplest open string violin piece for be- mer ivork begins June 24. score on the test, and better^h” S K N T S K his Manhattan Opera Company. gan Ave., Chicago, 111. compare to a ° ginners to advanced piano and orches- ’ score lder 6- the norm for at one ’ interpretation age i/ TNKSTNT MARGARET Institutional This not "Xdlrectl GOETZ, widely known tral works, his musical friends included Member of the National Association of Schools is done as follows: comparable with F of Music the sa„° page American singer pro- a different score *£ placed on » different of the last generation, Victor Herbert, who several times age at e bla,lt be seen This „ »M .. *o It cannot passed away early last for Strings, b SHERWOOD MARCH, 1940 THE ETUDE 207 — 1 Through Change Relief new remedies, must expect new evils.” That is all very well, Pag* 149) ( Continued from but we all have in our minds the tragedy of the doctors in the middle west who tried out a new drug supposed to have works, the public ha* failed to insist upon EASTMAN SCHOOL OF MUSIC oraisepraise oof these the benefits of sulphanalamide, but resulted in killing a score do the jn8plred and permanently AMERICAN of their patients. The point is to avoid changes based upon of Beethoven, Chopin. Schumann. Wajp». beautiful works’ of snap judgments. Many pupils, for instance, have changed and Debussy. Great music mphe. an a,I.KK- S, Brahms from tried and trusted teachers only to meet disappointment CONSERVATORY The University of Rochester expression of the tone art to he hiper ment of the highest and chagrin after a few months. The new broom does not Howard Hanson, Director needs of humanity. . _ always sweep clean, sometimes it merely raises a cloud performance Bee- OF MUSIC Raymond Wilson, Assistant Director listened to a radio We have just of dust. as conducted by Art,. ’" Toscanini CHICAGO 54th SEASON Eastman School broadcasts of “Milestones in the History of Music” thoven “Ninth Symphony” In a western state a man sought a divorce from his wife, in Carnegie Hall of New York violin, organ and all other branches of Music and heard over NBC Network each Saturday 12:00-12:30 P.M. E.S.T. before a crowded audience upon the complaint that his wife and his mother-in-law were Courses in piano, vocal, at the behest of the Ixndon Dramatic Art leading to City This symphony, written continually changing around the furniture every few RCA Victor has released nine compositions by American Composers days. DEGREE—BACHELOR OF MUSIC Philharmonic Society, which sent Beethoven an honorarium recorded by the Eastman-Rochester Orchestra, Dr. Howard Hanson, There are some people who never seem to settle down to a MASTER OF MUSIC pounds, was first given in 182-1. at DEGREE— Conductor. of two hundred and fifty regular plan of living and working, but are continually hostility Beethoven’s earliei ei Under Authority State of Illinois Vienna. Despite the of restlessly exhausting themselves with useless Eastman School Publications by members of the faculty include: and changes immediately acclaimed as a masterpiece. Unsurpassed faculty of artist instructors, many of national and the symphony was for no profit whatever. Beware of quick changes, but keep “Answers to Some Vocal Questions,” T. Austin-Ball; international reputation. sounds as fresh and virile as, Tonight this century old work yourself in readiness to make necessary changes demanded “Method of Organ Playing,” Harold Gleason; Thorough preparation for concert, radio, opera and teaching posi- let us say, Shakespeare’s “Borneo and Juliet,” a glorious “Examples of Counterpoint,” Gustave Soderlund; by the times. tions. Weekly recitals, lectures, school of opera, training in students’ work of permanent art. Meanwhile many waves <»f modern- symphony orchestra, bureau for securing positions. “Handbook of Conducting,” Karl Van Hoesen; The Etude thanks it readers for their expressions regard- have swept over the rocks of music and literature and “Modern Method for Double Bass,” Nelson Watson. ism ing the changes and improvements recently made in this sens, evoking no then moved silently back to the tonal sit;, publication. Some of them had SUMMER MASTER SCHOOL For further information address: been under consideration for impression on the granite shores of public opinion. nificant years, and every proposed betterment was weighed in the Three Sessions May 16 to ARTHUR H. LARSON, Secretary-Registrar Summer — June 26, in the teaching of the in.st rument.s and In musical pedagogy, scales of long and expert experience. We invite our June 27 to August 7 and August 8 to September 18 Eastman School of Music, readers the voice, change lias been ceaseless. Yet here again funda- these changes Rochester, New York to regard as evidences of the vitality, virility Special Summer Courses in Public School Music, School of Acting, Chil- mental technical and Interpretative changes have not been dren’s Musical Training (Robyn System), Class Piano Method (Oxford) and modern attitude of your magazine—all indications of valuable. so very many. Some have, however, been very In the crescendo of interest and practical value to be expected Member of the National Association oj Schools of Music - 11 " JU1LL1ARD SCHOOL OF MUSIC - the teaching of the piano, for instance, there was once a kind in The Etude in the future. Send for free catalog . Address John R. Hattstaedt, President ERNEST HUTCHESON, President of German tradition (often attributed, perhaps unfairly, to the Stuttgart Conservatory) which savored of the ridicu- AMERICAN CONSERVATORY OF MUSIC INSTITUTE OF MUSICAL ART lous rigidity of the Radio in the Musical World “goose step.” The object seemed to be 575 Kimball Hall, Chicago, III. GEORGE A. WEDGE, Dean that of turning the hands and the arms of the player into ( Continued from Page 158) Individual vocal and instrumental instruction. Classes in Theory, Com- technical machines. The widely read Alfred Heinrich Ehr- America is a democracy on wheels, the “Music of Brahms” (March 15). position, and all branches of music education. lich, pupil of Henselt and Thalberg < I ss.l isw.n. .. . the sponsors of the program point in his March 1st broadcast, Dr. Courses leading to diploma and B. S. and M. S. degrees in instru- in r one of his works (I think it whs *'\l n uht nwu am out, and the railroad in many ways Damrosch will use Beethoven’s “Co- mental, singing, and public school music departments. NEW ENGLAND Klavier") that the pupil should practice with the arms held has been the most important factor riolanus Overture” and Wagner’s Catalog on request. in freeing the population from the “Rienzi Overture” for illustrative close to the body. In order to insure this he had his pupils CONSERVATORY OF MUSIC Room 122, 120 Claremont Avenue, New York hold economic and social limitations of material. Both Coriolanus and Ri- Wallace Goodrich, Director. Quincy Porter. Dean of the Faculty. Faculty a heavy book under each arm. How many cases of of eighty-four. Courses for Bachelor and Master’s Degrees. Diplomas. small communities. On March 12th, enzi were famous Roman heroes, students in all fields. paralysis this produced Special Orchestral, ensemble classes. Dramatics. we do not know; but, few “Hobo and Jailhouse Songs” will be and the manner in which Beethoven Illustrated 1939-40 catalog M. 310 Huntington Avenue, Boston, Mass. tiials as a youth, our common sense told us that such a heard—the plaints of wanderers and and Wagner have treated their SCHOOL of MUSIC TEMPLE couise College of Fine Arts was certainly not right. With Deppe, Lsschetbky and piisoners; and on March 19th, “Out- subjects affords some interesting con- M1LLIK1N CONSERVATORY OF MUSIC Pine St., UNIVERSITY LAWRENCE COLLEGE 1526 | Syracuse othei modern thinkers, law Ballads” will be featured. trasts. Following the playing of these DECATUR, ILLINOIS University “relaxation” was promoted, find CONSERVATORY OF MUSIC “Milestones in the History of Music” Offers thoro training in music. this too was overtures, the conductor will com- Courses leading to • Bachelor of Music carried to unhealthy APPLETON, WISCONSIN Bachelor of Music Deorepc extremes iv. : Degree. Diploma and Certifi- degrees . . is the title of a series of Saturday Master of Mus c ment upon and play four Wagner cate in Piano. Voice. Violin. Organ. Public School to play with arms that Carl J. Waterman, Dean seemed like links of sausages Then Morning broadcasts from the East- Music Methods and Music Kindergarten Methods Piano, Piano Teacher Training, Voice, excerpts — Entrance of the Gods Courses in piano, voice, violin, 'cello, organ, theory, tasSSSS-»• Violin, Organ, came the musical man public school music and choir directing leading to Bulletin sent free upon request - Cello, Harp, Composition, Bolshevists who tried that School of Music, with Dr. How- into Valhalla from “Das Rheingold”, I as.a'-s. to out Bachelor and Master degrees. W. ST. CLARE MINTURN. Public School Music ec Director 1 for Catqlojb ——— mical exercises, scales ard Hanson as conductor and com- Song of the Rhine Maidens from All the advantages of a Urge and a umecesst University. Special mentator dormitory, with 35 practice pianos for women A good technic might be (NBC-Red Network, 12 “Gotterdammerung”, Love Duet from music students, secured through any of irreg- 5 pipe organs kind noon Excellent merchandising opportunities are to be found in Etude 1 to 12:30 PM, EST). “Tristan and Isolde”, and The Ride advertising columns u mefU - > SUMMER SESSION-juiy s s zt, Rubinstein, 3 .0 Au . 1 Paderewski of ^LVIENE^iTHMTCE g ,f ) ant Dr. Hanson usually focuses his lis- of the Valkyries from “Die Wal- 1 1 45th year) 1 JUfLLfARD SCHOOL OF MUS1C=— Choice— | Drama, Dance, Vocal; Stock Theatre For bulletin address U0S1 ’ ^oun( l — appearances. Motion picture filming, study teners’ screening and Radio - of scales and arpeggios attention on one composer or kiire.” (while learning) for Acting, Teaching and Directing. Gradu- Dean H. L. imr? f ates: TTna Merkel, BUTLER Fred Astaire, Lee Tracy, Peggy Shannon, ’ 3U sorne on etc. Separate half-baked a special form. For re- Ernest Hutcheson, President children’s department. (Catalog) Apply Room 3 5, College of Fine Arts Tf musical demagogue who example, The Philharmonic-Symphony Or- Sec’y Shubert, 66 West 85th St., N. Y. Syracuse, N. Y. pposed them could do cent programs consisted of the music chestra of New York will broadcast away with all of this by the sale n°Stlurns of Purcell, and of Handel, while an- five Sunday afternoon concerts over ’ Nmv there is a swing back to sanity THREE FREE COURSES in the rleTT other was based on the concerto the Columbia Broadcasting Sys- JUILLIARD SUMMER SCHOOL Trinity Principle Pedagogy (Perfect) 1 0t ’ CONVERSE COLLEGE led nk ' 1 " ,d Musicianship Czerny, Cnuncr. Mol- grosso. These programs will be heard tem network during March. Joseph (Elementary and Advanced) School of Music Seles iTpr" George A. Wedge, Director Piano Playing (New and Different) Spartanburg, lhl *** South Carolina COmi®ar «**in into their own. The on March 2nd and 9th, with the final Schuster, violoncellist, will be the so- (not “do re mi’’ A Leading Southern Music College Change mav 1 SICHT 6T een one of the July 8 to August not numbers An endowed professional school; nationally accredited Va,Ual,lt’ in season on the 16th. loist on March 3, Robert Casadesus, 16, 1940 SINGING Full Bachelor this instance, if only to j not intervals of Music and Master ot show ( and diploma Mu?" degree the inexrM* Maestro courses; B. A. Music Major in Convert Arturo Toscanini returns Parisian pianist, will be featured EFFA ELLIS PERFIELD College Liberal Arts Department. what * . Accredited music courses Teachers of national »>™-n,. y Lm. per on leading to diplomas, teacher’s reputation; Women's dormitories. March 16, to his Curzon, pian- 1 03 E. 86th St. ( Summer post at the head March and Clifford Park Ave) ., New York City session- 10, Artists Concerts. Moderate Tuition. For OU,d t,lose certificate, and Bachelor of Science and SAcramento 2-4859 Catalogues ’ who have l>een blandly of the Master of Science Address: Ernst Bacon, Dean cheating themsel ^ NBC Symphony Orchestra. ist, will be guest star on the March °Ut degrees. Instrumental vocal ° f succe««. have Do not and instruction for beginning course learned the right forget to mark the date; it 17 broadcast. John Barbirolli will and advanced students, is one you repertoire classes, methods and ESTABLISHED 1857 will not want to miss. conduct all these concerts. On materials, public school music, theory, composition, and Dr. Walter Damrosch Stoessel will con- ° f eN|H‘"ence a,ui in his “Mu- March 24, Albert which should sic musicology. Department for high school students. CONSERVATORY govern Appreciation Hour” broadcasts duct a Philharmonic concert star- only course are limes " hen ,he (NBC-Blue BALTIMORE, to take is\ dnSf*, Network, Fridays, 2 to ring Ernest Hutcheson, pianist, and Special one-week Forum Courses in all phases of music PEABODY MD. t ' hanK< which ma v alter all PM, EST) education. one’s life - has chosen for March 31, Barbirolli returns to OTTO ORTMANN. Director plans. When suSTnU his sub- on One of Lhan *res ai'o they jects this month “The Horowitz Catalog on request the Oldest and Most Noted Music Schools in America. may turn misery wisely taken Overture” and the podium with Vladimir to ha nr.- ness the “Music ^ an( * failure of Wagner” (March 1), as piano soloist. All concerts will success. Lord BaconBneor. to prosperity sod once wrote, ™ Human Voice” and “The Song” be heard at 3:00 P. M., EST, over the 120 Claremont Avenue Room 122 New York, N. Y. 208 “He that will not apply arch 8) , and “The Symphony” and CBS network. THE FTIDE MARCH. 1940 209 L , 8 ing drills at first resolve piano student; in- each ton, Schubert, where the average nuy«.««advanced the Abendrot, of «,-oat yy.T.ieder have Later this is not necessary. Cultural Olympics Accompanists Are Born, many of eg The The wen, uccu,deed, . phrasepnrase “O(J wie scnoenschoen ist deineaezne Welt” _ i o bar indicates irnn1 Pp S a dotted this division - - mi. • . _ _ _ »w, m OT1 t.Ss fl.Sas SimP OwArmudwy- This accompanimen (Continued from Page 148) l&ileagc) requires a long breath, indeed. . f Not Made exercise. u Ex! singer was unable to manage it, and child’s ^ e Established 1857 notes alone is no ate ( Continued from. Page 153) split the phrase into two breaths, vocal and instru- and how each segment is handled. reaches in o included are small Even though I knew better, I had to Accompanying than In fact their personal interests can SESSION pei o groups of not more SUMMER The est realms of ensemble mental 24-AUG. 3 the effect of doing it by restraining his adjust mv nlavine accordingly. be brushed aside at any time that MAJOR TERM—JUNE artists complement each m: twelve performers. where two playing. Later in the song, good accompanist need not be for music there is an inquiry with regard to This summer—study at the nationally recognized when the consummate / Music School Recital, cer other toward the goal of earn credits toward a degree same musical figure is repeated singer himself, but he should small Cultural Olympics; for this is a sub- Chicago Conservatory— in . Soloists and , _ T— oon OO thpe acnr- students. city s making. In this sense school or for promotion—enjoy the advantages of the the upper range, where the singer tainly acquaint himself with the music groups are ject that they consider of paramount field of his ow n vocal and instrumental musical program. companist has a rich This is brilliant summer can easily achieve full power, the problems of breathing and breath 2. Add G. a strong domi- importance. For they know that they al Qua 1 his in; and if he is at - included. For teachers—the presentation of the many new support, singing each phrase in to work tonet, one wanting to accompanist must come out more nant resolve down enthusiastically people are directing something that is real- he will realize this. Just how trends in school music, including curriculum prob- vigorously his mind as he plays it. And no matter fled for the work, a fifth The in playing, to diminish ^ lndicated aj a program (and ly significant in the lives of young- respond to this “free” lems, will prove stimulating. the what adjustments he makes, his as is contrast. He must watch the line half-note the new tone of each appreci- people, and they are eager to pass program, under 165 artist-teachers in all people are not supposed to Complete of the melody. Where it rises, sistance must always be incon- drill> but k not be branches of Music and Dramatic Art. he • I held longer is free!), which along news of a work which has nu 1, ate anything that must increase the color, spicuous. other • warmth, and 1 ltd] than the note Always pre- or even a shown such beneficial results and • • VIOLIN • CELLO • ORGAN THEORY DeVelODiniJ Musical offers no palm of victory PIANO VOICE y • OR- power of his playing; where it de- ^ pare the pupil for the new lives • NORMAL METHODS • PUBLIC SCHOOL MUSIC tone, by cup, may be ascertained by a will continue to show them in Some Needed Qualifications Page 163) silver INSTRUMENTS • HARMONY • scends, he must hold back. A (Continued from ueslwhesitating, an instant CHESTRAL AND BAND problem before play. figures. In the first made richer by cultural activity. It • glance at some • COMPOSITION • ORCHESTRATION of There is no special training I . i COUNTERPOINT this kind never arises in instru- can , , . , n - it • is their this fine idea single tone, the sound of an in i season there were in round numbers hope that may EAR TRAINING • DRAM ATIC ART mental accompanying, where an recommend for the young accompan- of chord or key tona 1 > participants and an audience spread and that a number of these equally ist. He must be a thorough musician, the color a Ex. 6,000 DEGREES: Bachelor and Master of Music, powerful tone is possible in parts country other such musical ingredients. 45,000, figures that rose in the sec- units at various of the Music Education, Dramatic Art all registers. knowing the various styles and and of fortunate individuals, with ab- f year to 8,000 and 80,000 respec- may eventually be combined into a The singer plans “schools” of music. He must read The ond Institutional Member of the National his own phrasing, tTrf^r- - of Cultural Olympics flupntiir tto solute Ditch,pitch, have been given a re- ) tively. Last season 10,000 participated confederation Association of Schools of Music of course, but the accompanist can fluently. He must be capable of ar • per- units with yearly or biennial conven- accommodations. Write for catalog F. tistic solo markable tone memory to start with • and 100,000 listened. Even these Dormitory make or mar the effect playing, even though he to Jeanne Howard Registrar of each * m and jittl information , others have to develop it. i 4 \ centages of increase give only par- tions. phrase by the does not profess it. Pianistically, he and support he is able to BLVD., CHICAGO. ILLINOIS Training can and has done this. Ab- tial indication of the enthusiasm, Cultural Olympics came into being- 25 E. JACKSON give. I cannot too much emphasize must have fluent and well controlled solute pitch can be developed. In 3. Add F. This tone is fun, and excitement, and incen- in 1936, and it was in the winter of the fact that phrasing depends upon technic, and I suggest scale work for played a and its fact, any musical child, with an little softer because it stands tive, that the Cultural Olympics pro- that year that announcement of the breath. Thus, in calculating a long development. Then he must be for a alert for every average or well developed faculty of milder harmony, the IV. It gram brings. plan was given out. One zealous phrase, the accompanist must skill- least detail of ex- has a actness. In memory, has a fair chance to attain mellow quality also, newspaper man, in attempting to fully, almost imperceptibly, acceler- Schubert’s Wohin, for in- because it is /= in “color” story in place of WHEATON, ILLINOIS (* ILLINOIS ate his tempo stance, he must not merely It. However, it can be accomplished the tonic of the only major key A Mustard Seed Multiplies turn a , coming back to normal play the notes; he only by regular and systematic tonality beginning Naturally the project has attracted plain facts drew upon his imagina- 1 at the end of the phrase, where the must take care that each on a white key Summer School Pleasures' c S. singer can feel single tone of that fluid training guided by a musically in- that contains a flat. The scales the attention of other localities, and tion and stated that Thomas sure of finishing in accompani- of The Conservatory of Music is a member of the National Association of ment telligent it started” Gates, president of the University, Music and includes on its faculty outstanding men and women. good style. I do not mean that sounds forth clearly, crisply, teacher. This training, so D, E, G, A. and B contain sharps questions as to “how and Schools of the Unusual opportunities for effective work and rapid progress because of a and without often neglected by and “how it is carried on” are numerous. would head the assembled partici- accompanist must play with notice- accentuation. In music the student’s first consequently sound a little strong personnel, inspiring setting and religious-cultural influences. Educa- etc. for added able rapidity. Simply, of this type, one should guard against teacher, is indispensable to any mu- “brighter.” The answer to the first question is pants riding a white horse! A tiny tion Courses, Applied Music, Theory, Attractive opportunities he must guard subjects in Language, Speech, Philosophy, and Science from Liberal Arts overpedaling. sicianly ivory horse, therefore, has become Interesting bulletin free. Write today. against dragging the start of a Again, in Der Schmied, development. Lack of at- this: a man, who loves youth and curriculum. by Brahms, tention Cultural Olympics Enock C. Dyrness, Director, Box EM-30, Wheaton College, Wheaton, Illinois phrase which is meant to give an the accompanist can do to ear training means the knows the value of cultural activity the mascot of the Address: a real service desk impression of slowness at the end. to music if he will only diminishing of one’s original ability in any life, conceived the idea of staff. Standing on the director’s play what to hear. of Take, as example, that phrase in Brahms has written. The Such a neglect on the part such a program. To the second ques- it represents a humorous slip the Mainacht, “. notes are clearly of a teacher is something symbolic . indicated tion or it typewriter and . und die einsame as a six- an unpardonable in- rather to “how is possible A professional school nORTH PAR*kXOLLEGE Traene teenth immediately justice to the it of eager Rinnt.” The audience must preceding an student. to carry on” the answer is : a pub- besides. To see thousands in a university environment E. Clifford eighth; K>ckool 49th be conscious only of yet nine accompanists Most pianists have lic spirited business liked and enthusiastic young people lay- one continuous, out the pitch of 4. Add E-flat. man that For Free Bulletins Write to Toren, of ten This tone sounds Year easily achieved phrase. At the same will thump it out as an eighth C memorized. This would mean that idea so much that he decided to fur- ing the foundation for cultural Director (^Music,) "black”, rich and to time note with a grace they minor, wanting SCHOOL OF MUSIC the singer must be conscious of note before it, thus have absolute pitch for C. nish a yearly grant for it, if the growth certainly does give one wit- Most resolve down to C. It produces the destroying the 1830 Sherman Avenue Trains students for active musical careers in being helped over the first few words. effect of a hammer violinists have the pitch of University of Pennsylvania would nessing these gala affairs as definite A memo- feeling of c Evanston, Illinois their chosen field. Progressive faculty. Conserv- Dragging reverberating on the rized. minor rather than C the beginning of a slow — — —anvil.... This means they have abso- major. sponsor the project. And the Univer- a feeling of elevation as could be ex- atory occupies own building. Piano, voice, violin, cello, reed and brass instruments, church phrase is the The accompanist must keep late pitch for worst fault of the in- him- A. It would be possible sity not only adopted the plan and perienced astride a horse’s back. The NORTHWESTERN and choral music, theory, music education and Ex. : experienced self flexible, playing with as to memorize 4 expression. For complete information accompanist. many the remaining notes made it a division of the School of reporter was right, paradoxically different singers as he through '* Write E. CLIFFORD TOREN, Dir. can. In that association and repetition - * •» Education, but took the whole mat- enough, even though he conveyed to ff(^ . j UNIVERSITY 3201 Foster Avenue, Chicago, Illinois. way he forms In i models of this way i Accompanist to the Rescue excellence absolute pitch has been ter to its heart as well. As to “how it his readers something quite apart U and watches all styles of tradition developed. In cases where The association that aids is carried on,” Dr. Frederick C. Gru- from the truth; figuratively and a singer tends to : come to life. My playing for Frieda the memory flat or sharp, the accompanist is the way in which a v ber, Cultural Olympics director, and spiritually the president and all con- BALDWIN-WALLACE can Hempel, who was unequalled each 0 OSMOPOLITAN help in airy, note on the his proudly him find his way back to cor- piano would tend staff will be only too glad to tell cerned with this project do CONSERVATORY OF MUSIC dream-quality songs like to SCHOOL OF rect Auf dem resolve if heard in relatinnVhi MUSIC BEREA, OHIO (suburb of Cleveland) tonality by lightly accenting h m ° " " anyone who asks just the way in ride white horses as they watch M.A., Oxford the Wasser zu singen, P t0 ne Can glve hims€lf these SHIRLEY GANDELL, Affiliated with a first class Liberal Arts College. was entirely dif- the key of England, President. melodic line in his playing. C maior rrtd f. h m which the whole scheme operates these worth while festivals assemble. University, Four and five year courses leading to degrees. Faculty S &t ' 10 34th year. Accredited. Offers courses ferent from ^ pia 10 ’ Xt 15 neoesfiry of Artist Teachers. Eighth Annual Bach Festival. my work for Julia Culp, listening for Music. Certificates, The ideal resolution in all branches of June 8 and 9. 1940. Send for catalogue or informa- relationship wouldNhd hange haveh™ an W* board- between with her gift for °ther person play the exer- diplomas and degrees. Desirable tion to: more sustained into memory ing accommodations. Located in down- singer and accompanist ALBERT RIEMENSCHNEIDER. Dean, Berea, Ohio is one of en- Lieder. “eS Ten or town musical center. (Culp, by the way, had a very By listening flfteen minutes daily semble cooperation. to this tend™ * , Box E, 306 S. Wabash Ave., Chicago. It is advisable short range, but t0 V mUCh better than an Heart of the Blues she was intelligent resolve, the pitch ‘ The for a singer to coach with the of each hourhnf ? J* ac- enough never to venture is ^Sle tone of drill once or twice a week, companist out of it gradually memorized who appears publicly with Aft6r Each ( Continued from Page 193) leaving her public quite-- behlg key tonality hasnas a ueuiiucdefinite him, * unaware of memorized Ait. is1S nnr so that they may have the bene- her not ec®ssar characteristic ^)hr Qlrfarlanii limitations.) And both these listen to y to or color and can be Jnstitutr of(T)uatr fit of extended the resolution t cooperative work. The artists ency mem will be evicted in psychology, blues notes, repetitive required different ’ for orized in a similar procedure, the morning, be- ideal support then G will sound of Degree, relationship, however, is not cause half rhythms, filled in Confers Bachelor Music Master of Music Degree, Artist Diploma from that needed by the spontaneity with nd so * • * the amount is not good lines, syncopated always possible. the other letter* .^ Faculty of Nationally Known An inexperienced of rdless In reading enough; so he I shall always believe Musicians Elena Gerhardt, the rich robust- the key g of much ro- takes what he has breaks; but singer may tonality with i 1,1 Director, 2605 engage the services of a ness of W Ch rc °f serious and buys a real blues must come from BERYL RUBINSTEIN, Euclid Avenue, Cleveland, Ohio Schumann-Heink, or the dra- single tone the intention, one ot help good dinner and a good that the veteran accompanist, and vice may be asl ^ l>ut be versa. matic fervor of Dr. Ludwig struck with the inlolera time, half hoping that something the heart and the pen of the Negro Then the two Wtillner. The following ^' "fss must devote themselves exer?!,^ °f H ail. Nobody nib’ or may turn to the The accompanist must be able to written haVe been seems up overnight to save him, race itself. Blues belong to working out to shnw ev! leant to smile. phrases and interpre- furnish whatever s There is an ai' hushed yet half fearing mazurka belongs to style of playing ! Procedure, the worst, all the Negro, as the the Metropolitan Opera tations is Only five of + importance “What Broadcasts Mean to Me” together, each adding to the twelve about the whole thin needed. givensiven “JA ? tones are while. And he sings of what he does the Poles. Whatever the future of the conceptions of Earh <~»f gests the board-room, the other. But, always, The ° and an o to give of being To stimulate public interest in the letter on this topic, will most important thought I has , tones orence himself courage. That is the blues is to be, I am proud be brought the hi a definite that - ... . . singer must lead. Even if the . Oh. drive for funds to aid ac- should like to leave with tendeiw " r spirit behind to collect their elements in nation wide to New York by the National Broad- you is that as the f a • the blues joyousness the first i — five y ii a companist knows a great deal more, printed bel ^ K akc Metropolitan Opera Association, the art of '* ' calculated to give the casting Company and accompanying W <,r ' to drown documentation, and will be guest involves tone the • out orderly he must follow after it is ”/ that th us>’ is underlying the wishes, and limita- infinitely plaved nn a the National Broadcasting Company of honor of more than correct ° the lar>o. "oddess she apprehension. of the music of my race NBC and the Metropoli- tions, and 1. Play P . does The formula for the this form of the singer. I once played for C or r j rhythmical reading. m anyany octaveoctave. the Templer blues is launched on February 3 a contest on tan Opera Association There are few sound* lit. „ - . '”'f easy at the open- a singer who are few soundslikeNn^^dilf C of Music is not a enough to state. Blues a typical expression. had a notably short °r ,hat' ,r " subject, “What the Metropolitan accompaniments Music,s'c. ’ the ing the . morenwr,- her performance of the 1940-41 mere notes of pose' B i of re- human the.that opera breath, and who insisted on singing like a ng ' ™or sh'ppcrs, . which t0ne is . Opera Broadcasts Mean To Me.” The season. cannot be u certainly ; , The contest mastered by ing dem . blc will close the upward re«fi f- and- “Music is fundamental one the great sources of life, health, on resolution. l — of n the1 gift of Felix Good- person who submits the best 100-word Saturday, 210 follow- hmihun - strength and happiness .” Luther Burbank. March 23. w,n ,n the Sackbut. — MARCH, 1940 THE ETUDE 211 : ; ; , Dorothy Learns to Control Her Tones Junior Etude Contest essay this month, The Junior Etude will award three pretty Subject for story or ertha contain not B.JS Stoker prizes each month, for the best and neatest “My First Recital.” Must words, and must original stories or essays, and for answers over one hundred and fifty the mat- “When you practice your scales,” ex- Office, please tell me what s be received at the Junior Elude two hun- allowance, and the necessary articles “Won’t you to puzzles. It was in the year 1664, as plained Miss Lincoln, “begin playing playing?” Dorothy asked by 1712 Chestnut Street, Philadelphia, Penn- of clothing. Also, he was ter with my Any boy or girl under sixteen years of dred and seventy-six years ago. The appointed says the first octave softly the second octave her new Piece. Mother (p). by March 15th. Names of prize great assistant to John Hingston, she finished age may compete, whether belonging to a sylvania, boy stood in the hall of the mender lifeless. slightly louder (nip), the third octave ap- sounds so dull and Junior Club or not. Class A, fourteen to winners and their contributions will of the that it ^ about him. He and tuner organs, violins, it, medium loud ( inf), and the fourth octave building and looked and nothing the matter with to pear in the June issue. The thirty next "There is sixteen years of age ; Class B, eleven the other instruments of the teacher, loudly Then as you descend just re- was bewildered by the beauty of king. The Lincoln, her piano (f). best contributors will receive honorable replied Miss under fourteen ; Class C, under eleven verse the plan starting loudly and ending to spend boy, however, received no pay tonal variety. Every ; place. To think that he was for his "except that it lacks years. mention. others. _ softly.” few years of his life in service. But it was a great honor sounds exactly like the the next to note _ „ some variety into it, “Oh, that sounds interesting!” exclaimed such magnificent surroundings! have received such an appointment, "I'd like to put Rules be Dorothy. “And couldn't I begin a scale Dorothy, “but I don’t seem to And the music. The music was and Purcell must have felt very sighed for you. loudly, and play it more and more softly Put your name, age and class in which have anyone copy your work control my tones.” what the boy wanted most of all. proud and tried in every way to do able to clubs or schools compete, please simple way to over- as I neared the top octave?” you enter, on upper left corner of your paper, When “Well, I know a his well. first and submit “Henry Purcell, Sir,” he answered, work teacher. “Yes, you may vary the shadings in any and put your address on upper right cor- have a preliminary contest that difficulty,” declared the come six contributions (two for when the master asked his name. Soon he became composer for the shaded scales way you wish,” answered the teacher. “And ner. If your contribution takes more than no more than "It is through practicing each sheet. each class). “Age?” “Twelve years, sir.” King’s band of twenty-four violins, work on them, you if you will practice these shaded scales one sheet of paper, do this on and, if you will really faithfully,” she concluded, “I’m sure vour Write on one side of paper only. Competitors who do not comply with all At last his dream had come true. and this was Just the position he soon learn to control your tones." will rules will not be considered. ” “if playing will improve so much that your Do not use typewriter and do not of the above I Kpcl Dorothv. He was one of the choir boys at had been hoping for. While a choir ti-xr rnv nrnniised mother will nevrr a .ain complain about it. the Chapel Royal of England. boy he had written many musical There were twelve boys in the compositions, and now his new job chapel choir—boys chosen from all of composing for the King’s violins Favorite Piece Favorite Piece Travel Game Seven Composers Puzzle My My over the country for their ability would give him plenty of opportu- (Prise winner in Class B) (Prise winner in Class A) By Gertrude Greenhalgh Walker By Harvey Peake to sing. The Hungarian Dance No 6, by Brahms Have you ever drifted into a sort of a far Their expenses were paid nity and practice in writing music. , to correlate the when you heard something by the government, and they were This game is intended On the scroll around this circle is my favorite piece. The feeling Brahms has away daydream And had he not always wanted to and to expressed in this composition, with its Hun- you love? This is always what happens to composer’s name with his birthplace the of six well under the direction of a strict mas- are names known garian spirit, makes me think of Brahms as me when I hear that ever beautiful piece. become a composer and organist? student’s mind. implant it firmly in the hear this ter who taught them to sing, saw composers, but a seventh is wanted. a Hungarian composer, instead of German, The Last Chord. Just to be able to Each year his fame Increased and circle and the game is “Mary,” said Beth with a sigh, "I love that Players sit in a as he really was. The piece opens vivace piece is a pleasure to me. as a whole became distinguishable; and to it that Arrange the initials of these six in they were properly clothed brought him nearer saying, “I am going to which is quick and lively, then soon the Sometimes a person can not explain why piece you were playing just now. What and nearer to started by some one finally the individual words grew to have tempo becomes andante slow and graceful he likes a particular composition, yet per- and fed, and that they received a —— 1 he is it?” his goal. Why not be the finest Bonn, Germany, to visit their rightful meaning. In a way this may and easy. Then suddenly, it becomes very haps he would really like to be able to tell good general correctly, Mary turned from the piano education besides. organist in person sitting next must answer lively again. This piece gives a strange, why he does; he just can not find the right and looked be applied to one with a little knowledge of England? Why not be me experiences. affectionately at her friend. As they were the servants of His “Beethoven’s birthplace.” peaceful feeling every time I hear it played, words to express the feeling he Amusement music in taking up for the first time the best composer in England? It some and I hope I will hear it many more times I guess I am that kind of a person myself, was written on her features. work Majesty the King, they wore official The next person in the circle gives a by a great composer. Such a one finds would be possible; it meant lots of in the future. as I am at a loss when it comes to expressing “Well,” said Beth, “what’s funny about the outline it uniforms. Each boy’s uniform ROSEMARIE (Age all those beautiful, flowery phrases; but I of growing gradually clearer con- hard work, but that kind of hard VOROS 13), it? Is it bad taste like it, Wisconsin. this, that The Lusl Chord is to me to or something?” sisted of a cloak of scarlet lined can say work was a Joy. Then one day he one of the most beautiful pieces I know. “No, silly, it is very good taste to like If the next person cannot answer cor- with velvet; a suit and coat of (Age 14). that the was appointed organist in great LAURA NEWTON piece. It is a Bach fugue. The the it is his turn to give a birth- reason same cloth trimmed rectly, or if Ontario. I with silver and to was smiling is that a year ago when 1 Westminster Abbey. and he cannot think of one, he must Answer December Hidden silk lace like a footman’s uniform; place was first playing that number I remember player remaining three leave the circle. The last Terms Puzzle distinctly how very much shirts; three pairs of shoes; you disliked it. is declared the winner. 1. Piano; 2. forte; 3. tempo; 4. alto; 5. I three pairs of remember your saying it was nothing but stockings (one silk “Composer’s Birthday Cards,” as fur- 6. opera; 7. clef; 8. staff; 9. andante. a jumble of sound and and two coda; anyone who could worsted); two hats with nished by the publishers of The Etude, see music in it was crazy.” bands; six bands and six pairs of make excellent prizes. “Did I say that?” cuffs (two laced PADEREWSKI and four plain) Prize Whinners December “Yes, you did, and it was a perfectly three for handkerchiefs; three pairs of the seventh. Who is it? normal reaction, Beth, for you see it was from out a general chaos; presently the in- gloves; and two and one-half Club Corner Hidden Terms Puzzle entirely new to you, and it is pieces natural to dividual phrase begins to reveal itself; and of ribbon for trimming Hear Junior Etiiie : Class A, Ruth Schneider (Age 14), New like the music we are familiar with. garters and You from that point real comprehension begins. Our Junior Etude Club has become a Practice Time have shoestrings. Jersey. now heard me practice this fugue so Just as surely as every prominent factor in the social life of the new language mas- By Carmen Malone Class B, Dorothy Ruth Terrace (Age long you probably feel familiar Little Henry young people of our city. Our members are with every tered opens up a new world, so knowledge must have felt very usually recommended by their teachers and cutting paper clothes for her 13) New York. note of it. I elegant Marie was , have just been reading what of a Beethoven, a Chopin, and important when, or a Schumann dressed join voluntarily. Our age limits are from reaching down each Class C, Peggy Arm Betties (Age Paderewski has to say on that in his new paper dolly, but 10), subject. Let opens up a new world in spiritual scarlet suit and his iourtecn to eighteen years and we have about beauty silk stock- collie. District of Columbia. me read it ” chance she got to pat her shaggy to you.” and thought.’ ings, he stood in the fifty members. choir with his there came a crash a noise Mary reached for a book which was lying On the first Saturday of each month a Then suddenly — Three five-year-old violinists of Cal- “And that’s the way it happens that I’m eleven comrades and on top of the piano. sang in the meeting is held at the home of one of the both loud and queer; she sprang up to her ifornia: Ralph Boyer, Patsy Cook, She turned the pages. learning to like the best music?” King’s service. members. Following a short business meet- very near. The Honorable Mention for Donald Bjelke “Here it is.” Mary read: ‘Those who feet in fright, it seemed so “Yes. just from hearing it.” But he ing, a program is presented. Each member have suddenly found had plenty of collie pricked his ears a bit, hut went to December Essays: themselves in a strange "Well, I’m certainly going hard work has an opportunity to appear on the program to keep my to do, too. country whose language they cannot Besides learning at least twice a year. We also present two sleep as soon as through the house he Jeanette Sigman; Charlotte Goodman; My Favorite Piece speak ears open after this, for I never to sing get tired large have confessed he studied writing concerts each season, for the public; little tune. Marie could tell Dorothy Dunlavy; Kathleen Connell; Jim that at first' the foreign of really good music, do and Latin, heard a tinkling (Prize winner in Class C) you?” and the Christmas concert, which is given by Leeman; Patricia Murdock; Jeanne Bray; tongue spoken seemed like had lessons ’twas she who practiced merrily, My favorite piece Is Melody in F. one single, long “Never,” said Mary as she on the violin, alumni returning he thought Frances Cummings; Leroy Peterson; Evelyn composea turned to the lute and home from various schools by Rubinstein. unintelligible word by degrees organ. and not know what to think, so she Laverne Perry; I like it because of its pretty ; sentences piano. What boy of colleges; and the June concert, given by hut she did Dickson; Audrey Whiteside; today could melody, and I like to practice it. I used to the best of our active All walking back Esther Cunningham; Emma Houck; Doris m agC S0 members. the ran in to sec. Her cat was make lots many iessons every Essinsinger; Margaret O’Malley; of mistakes in it, but now I have ^2 . week^ committee work is done by the members, Bess Gold- The choir and forth across the ivory keys, as if to say overcome them. When we were talking about school was like who enjoy it greatly, and we are sponsored man; Shirley Andrews; Sydney Whitbank; a mod- time. If you won’t, may I our favorite pieces, my sister and I found we hy the senior organization as The “it’s practice Olley Fegsman; Hilda Gunther; Connie Sher- Parat0ry b0ardin known both had the same favorite piece. " school. Etude Club. man; Kathryn McVitty; Edda Jergesson. When my The Viola The boysbnv please?" aunts come to our house the Melody were carefully Our club in F looked after photograph is enclosed and we is the piece and well hope they want to hear. trained. Most of to see it in the Junior Etude pages. them after RUTH MARIE STOCKTON I Age 9), /i, CLr. WcJa their voices So great did his that From your friend. broke, and they fame become Mauv California. left the John Helen Peel (Age 17). President The baton school, went into Blow, one of his masters in the points straight First A and then D the court' as t£ene New York To Viola, so sad, king s musicians. Chapel Royal, requested have put Honorable Mention Then the G, deep and round; to for To tune up her strings If the upon his Just like the violin. boys did not find own tomb, “John Blow, December Puzzles: And try to be work as glad. The very same soon as their voices master to the famous Henry Marie Auger; sound. broke, they were Mr. Jeanette Sigman; C. Eugene Purcell.” ev*r Edwards; Dorothy Etherson; Doris Stockton; That was all the fame the V Y time the subscription run She’s Violin’s May Rose; Charlotte sister. ,n *v renew Goodman; Marguerite Viola goes down modest John iriitiS? to it. I Blow desired. 81 verv time, Dalcourt; Elizabeth Eder; But larger than she J'T. ? - because mv Joan B. Ford; Jim To a fifth below G ’nt of hearing Purcell died in 1695 and his name me beg. Leeman; Tina DiDario; Elsie Laschek; Donald Her strings start with A 1 nu,si And that s teacher very : why she plays I likiAu !? ? much in Etherson: Mary Ann Steg; June has come down his- he ,mi«c Mulvaney; Instead of to teachers I I with E. len us in musical on v have had. Donald Osterman; Helen Such sad tunes, you see. his voice nl bnt Adelle Warner: Dora brokeoke in ift<7o tory as want t0 take vocal le * 1673, was granted his reward—England’s great- toof some day7’ Schoonover; lisa Headman; Dorothy Keefe; such an Helen Garrigues; est composer. From your friend. Jeanette Cook; Bernice Geraldine Whisxaxt (Age ll) Adams; Angela Funk; Carolyn Gray; Patricia Murdock; Marjorie Swaine; Eleanor 212 Kansas Brock THE ETUDE MARCH, 1940 213 Z — —— — — — —” ; — Middle C to the second Chopin etudes. some difficulties may be encountered. The technical demands of the pieces in confined to from this write his own story will be provided, studv of the in previous notes, and collection of Hymns, in the books, are not printed as this volume have not exceeded the re- D above—an octave and a note. The As mentioned each copy there will published this to high with be a special When character- will appeal in the Music Mas- one would play them on the piano quirements of pupils in the first and dances are short, simple, and musical comedy needle and silk will be issued cover plus cord for bind- etudes “thespians” and commun of which, with they’re arranged for four-part singing, second grades. istic. school style.” Series, the volumes through- ing it “art tery has educational groups. The plot is interesting are priced at 60 cents. as a rule. Most teachers are familiar with the This little operetta In advance of publication copies few exceptions, producing scenes both of the What a delight, for both in that some qf the historical fig- out, its unfolding placed now will be filled at the parents and always melodious and playable works of value musical Dvorak booklet only may be ordered Orders Goose humorous and dramatic, and the at children, to have their favorite hymn- Miss Ketterer whether they be etudes ures about whom the best Mother real "hits 10 cents, postpaid. score should introduce some tunes in easy-to-play piano arrange- or piano solo compositions. First-from- jingles were written are revealed. contains. Mother Goose in the tuneful melodies it ments that anyone who has studied the the-press copies of Side By Side may be The Magic Feather of Or- THE COVER FOR THIS MONTH— stages The Stage Manager’s Guide and The piano as far as the second grade can ordered now at the special advance of is very easily produced but large work, which for public photographic includes the “Well- The prob- chestration will be obtainable TWELVE PRELUDES, From the play! That’s what this book will bring publication cash price of 30 cents post- may be furnished elaborately. choir and the illy blooms, on this rental basis, but, in month's Book 1 by Johann to you. And those of costuming is exceedingly simple, performances on a Tempered Clavichord,” , who know Mrs. Rich- paid. lem copies only cover is from the studios of Harold M. advance of publication, single Bacli, Compiled by Orville A. ter’s talent for making easy arrange- most of the children simply wearing Philadelphia. Sebastian AT THE CONSOLE. A Collection of Pieces ordered at Lambert, Pa. Miss Verna to be of the Vocal Score may be Lindquist—Piano teachers seem ments for piano playing from her My their “best clothes.” Shaffer of Philadelphia was the for Home and Church, Arranged from the the special introductory price, 40 cents artist quite enthusiastic about First Song Book and Play and Sing will The time of performance is about who did the air-brushing details Masters, with Special Registration for the postpaid. and the the idea of publishing a surely want copies of this collection forty-five minutes—long enough to be placing of the scroll bearing the Hammond and Other Standard Organs, by Easter book of selected Preludes when it is published. interesting, and yet not too long to tire Story with message of the cover. William M. Felton—TilOU- JACK AND THE BEANSTALK, A from the Preludes and Orders for copies placed now at the the young performers. Piano Ada Richter Chil- sands of organists, in- Music for the , by — Fugues of the "Well- special advance of publication cash price, While this is Mr. Sawyer’s first oper- love the familiar story ORDERING “LAST-MINUTE’* EASTER Ml- cluding those who have dren everywhere Tempered Clavichord,’’ 30 cents, postpaid, will be filled when etta for the Theodore Presser Co. Cata- instrument such as of Jack and the Beanstalk and in this SIC—There are many reasons why “last- an Book 1. As one expressed the first copies appear from the press. log he has written several that are quite new form with music Mrs. Richter has minute” ordering of Easter music some- the Hammond in their it, “Why didn’t somebody successful, including the well-known appeal of the story for times is necessary—new members joining own homes, will welcome enhanced the think of this before?" MELODIES EVERYONE LOVES, A Collec- Bamboo Princess. His piano pieces for kindergarten and pri- the choir, change of program, copies this reasonably-priced col- music classes of lost, book of Preludes, not tion of Piano Pieces for the Grown-Up Music children are favorites with many teach- A lection mary grade ages. etc. The Publishers each year receive of organ music. to play as the Fugues, Lover, Compiled and Arranged by William ers. The clever book Juanita Austin wrote nearly so difficult author, church or- There are many uses to which this quite a few “last-minute" requests for The a the piano student much M. Felton Despite the fact that the com- for Clarence Kohlmann’s operetta An may be given to ganist for years, knows book may be put. First, as a story to be Easter music—cantatas, anthems, vocal piler heretofore is possible to introduce has refrained from list- Old-Fashioned Charm contributes much n orchestra numbers, band numbers, piano earlier than it the needs of his con- -Sf told with musical accompaniment. It solos and duets; yes. even organ solos. ing specific titles 3 dvance Publication Clavichord.” And when describing the to the enjoyment of that frequently- of Offers ensemble numbers, miscellaneous instru- the ‘‘Well-Tempered may be dramatized, speaking parts being Presser Service is as close to your freres for a volume of this type and has door ambitious young pianist doesn’t get contents of the book, advance orders for produced entertainment. mental ensembles, etc., that would serve what effort to pro- taken from the text; or given in panto- as tiie marvelous facilities of the United copies spared no in his endeavor when his first “Bach” is as- have been coming in every day Many patrons will wish to secure sin- —March 1940— various other Spring concert and com- mime, a thrill duce a volume of real, practical material. with a narrator. Directions for States Past Office can bring It. Air Mail, since the initial announcement of its mencement program undertakings. signed? Furthermore, he’ll enjoy playing gle copies of this attractive operetta by producing it in We give a partial list of contents: tableaux are given in the Special Delivery and special Parcel Post forthcoming publication. The title, and Although present lists Preludes, called by some the most means of our special advance of publi- All ot we can not such these Arioso, the the books in this list are in back of the book. Or it may be used as a rates make you a "next door neighbor” the mere of Handel; Romansa from here we shall be the most pianistic, the most mention some of the com- cation offer. Send 30 cents now, and the preparation for publication. The low happy to send a selected collection of easy-to-play colorful, Violin Concerto, Wieniawski; Dialogue piano pieces to the largest stock of music In the posers whose works list on any classification of publications of Bach’s compositions. have been selected, operetta will be forwarded, postpaid, as Advance Offer Cash Prices apply The attractive illustrations beautiful from the Magic Flute, Mozart; Sara- provide useful world. Try Presser Service, if you need to have only to orders to those asking for lists. will be added to the Presser seem been sufficient to arouse soon as it is published. placed Now. Delivery such Likewise, “busy work” in This work coloring for piano classes it, this year. bande, Bohm; Triumphal March, Grieg; (postpaid) will be made when the we shall be happy to send "On Approval’’ standard studies and classi- the enthusiasm of the growing army of Copies soon will be available and may Collection of Prelude in E Minor, Chopin; Melodie, books are published. Paragraphs de- selection packages adult music lovers who enjoy playing the of choruses, cantatas, be cal compositions in book form. In ad- SYMPHONIC SKELETON SCORES, A Listen- scribing each publication ordered now in advance of publica- POEMS FOR PETER (A Hook of Rote Songs) Boellmann; Chaconne, Durand; Scher- follow on operettas, piano music, or whatever might single copies may piano. tion at the special vance of publication er’s Guide for Badio and Concert, by Violet these pages. cash price of 25 cents, Texts by L> Hood Boric, Sot to Matte bp zetto, Beethoven; and Extase, Ganne. be requested to give the teacher or the ordered at the special advance price, The list of contents is practically com- Katzner postpaid. be In advance of publication single copies director the opportunity of Vein Kirhirr—The special advance of pub- pleted at this writing, examining 20 cents, postpaid. and by the time No. 1 Symphony No. 5 in C Minor lication offer will be continued of At the Console may be ordered at the At the Console—Felton $0.75 material from which satisfactory choices CHILD’S OWN this this issue reaches our readers, the en- Beethoven Child's BOOK OF GREAT MUSI- month special cash price, 75' cents, postpaid. Own Book—Dvorak—Capper 10 might be made. on Ada Richter's book of melo- THE THRESHOLD OF MUSIC, A Layman’s gravers will be busy at work on the (.IANS DVORAK, by Thomas Tiijipt r No. 2 Symphony No. 6 in B Minor Eighteen Short Studies for Technic and Some The dies to the clever verses by Mrs. Boric The sale of this book will be confined to may wonder that we have men- Guide to the Fascinating Language of Mu- plates. Some of the beautiful melodies Style—Piano—Lemont 20 teaching of music biography, following Tschaikowsky tioned the choirmaster. Too so well loved by children. This presents the U. S. A. and Its Possessions. Jack and the Beanstalk Story often the sic, by Lawrence Abbott —Mr. Abbott is well that will appear in this volume as piano — With the career of one of the world's great No. 3 Symphony in D Minor Music for the Piano—Richter 25 choir slips away immediately after Easter an opportunity for kindergarten and music qualified for writing a book that adds solos, not over the fourth grade in dif- THE MACIC FEATHER OF MOTHER Franck Magic Feather of Mother Goose, the because so masters from many take for granted that primary grade teachers to acquire a task of learning. He ficulty, are; Juvenile Operetta Austin and Sawyer childhood pleasure to the Come Where My Love Lies GOOSE, An Operetta for Children, Book and No. 4 Symphony No. 1 in C Minor — 30 after something special to the mature copy Melodies for Christmas at practically cost. Mothers who from a family of noted educators, Dreaming (Foster) I Was Seven- Everyone Loves—Piano—Felton.. .40 comes , When Lyrics by Juanita Austin, Music by Henry S. and something special development of his talent, Brahms My Own Hymn for Easter that love to play and sing for their tiny Book—Easy Piano Collec- is his grandfather having been Lyman Ab- teen (Swedish Folksong), Waltz Themes Sawyer As all children have heard of Today, as never tion Richter there is nothing one of the most inter- — before, the listener is — ,30 else special the choir tots also should be interested in Poem esting bott the famous clergyman. In his own (Schubert), Pas des Fleurs (Delibes), Mother Goose and are acquainted with coming in for attention on the part Poems for Peter—Rote Songs—Richter 50 can do. There are many fine things that and profitable for Peter. of capacity as assistant to Dr. Walter Dam- Valse Bluette (Drigo), Love Dreams Side by Side—Piano Duet Album Ketterer proficient methods of starting many of her whimsical rhymes and say- music publishers. The radio has made — .30 choirs may use in the way of the The special Symphonic Skeleton advance cash price is 50 rosch at the National Broadcasting Co., (Liszt), Songs My Mother Taught Me ings, they will Scores— . be thrilled at the Katzner . . cantatas or oratorios, student towards true oppor- many thousand more music lovers than Set of Four either for special mu- cents, 90 postpaid, and copies will be he is sical in the very center of educational (Dvofak), Last Night (Kjerulf), oper- tunity of meeting her in person in this any previous invention. It also 1 performances on a Sunday in Spring appreciation. Before (and this No. Symphony No. 5 in C Minor— or mailed to subscribers now, who order work and the modern methods of pre- atic selections from “Erminie" ( Jakobow- Beethoven 25 for a sacred concert on a week taking up general jolly juvenile operetta. is far more important) has raised the night, and musi- just as soon as “ No. 2 Symphony cal history the book is published. senting it. ski) The Gondoliers” (Gilbert and Sul- No. 6 in B Minor even for the average volunteer choir there many teachers pave the way , First, let us tell you the story: Artie musical standards of many, including Tschaikowsky 25 The Threshold livan), “The Huguenots" are a number of acceptable cantatas on with the biographies of great compos’- of Music leads the lay- (Meyerbeer), (a spoiled little boy who always has to be students of voice, piano, or some other No. 3 Symphony in D Minor—Franck 25 TW ELVE MASTER ETUDES IN MINOR non-seasonable sacred subjects, ers as the discussion man carefully and systematically “Rigoletto (Verdi) and the ‘‘William “shown”) is having a birthday party, but instrument. No. 4 Symphony No. 1 in as for in- of one subject Where once a simple tune, C Minor—Brahms.. .25 K E V S , Tor the Piano, tip. 29, by Iranri-ie- Threshold of Music, stance The Woman of Endor by Stults, is more attention-compelling. through the essentials of harmony, and Tell” Overture (Rossini). Classics from he isn’t very happy, as his mother made a trivial song The—Abbott 1.25 Especially Zarhura It or a superficial piano num- is this — always has been expected of shows Twelve Master Etudes in Minor Keys The Vision of Deborah by Kieserling, and true with classes of young how a knowledge of the subject Mozart, Chopin, Bach and Handel also him invite all the little Tots. In the ber would be musically satisfactory, (Piano)— folk. study material for piano pupils in the mu- achara 20 there are For years gives the are included. other cantatas dealing with the books in this Child's learner greater poise and free- midst of the party Mother Goose pays a sic lovers of today enjoy opera, the sym- Twelve Preludes from the earlier grades that it a large "Well-Tfm- such Biblical contain dom in pered Clavichord” characters as Ruth, The Own Book series have served his association with matters mu- Place your order for a copy now at surprise visit from the Moon. She is so phony and even (Bach)—Piano—Ed. as stand- element of attractiveness. and more broadcasts of music with by Lindquist Daughter Jairus, ard More sical. 20 of The Prodigal Son, texts in both class and private He is taught, unconsciously, how to the special advance of publication cash annoyed by the doubting of the older intricate modern harmonies. in- those who write for advanced study also When the Moon Rises—Musical Belshazzar, The Good Samaritan, struction. At first listen to good price, 40 cents, postpaid. Comedy— and twelve books—Bach are music and enjoy it. And children that she changes them into The Symphonies probably have the Kohlmann 4q others. Beethoven, giving considerable attention to mak- Chopin, Grieg, there can be no greater enjoyment than Mother Goose characters to the delight most general appeal, Handel! ing their etudes the — the frequent air Reach for your pen now and set Haydn, Liszt, interesting. Not that being down Mendelssohn, able to converse intelligently on SIDE BY SIDE, A Piano Duet Book of the Tots. The wonderful “transforma- programs of high class on Mozart advanced student “sugar- for orchestras and a piece of paper your desires, whether Schubert, Schumann needs the matters of THE GLORIOUS and Wagner—were coated” musical interest. This ability Young Players, by Ella Ketterer—The de- tions” are accomplished by waving her the fine recordings that are obtainable FINISH—It is the season they be for lists or selections of suitable sufficient to pill for the same reason that may care for the needs be acquired in carefully mastering sire to magic feather over their heads, one at bringing this when it behooves of stu- makes it take part in ensemble playing is a about. The advanced music those responsible for material “On Approval” sign your dents. Then so necessary in dealing with the — name Verdi was added essence of The Threshold of Music. time. However, the jaunty old lady student music affairs in the lives and a young evidenced by most piano students right al- knows the material of which of students of and address to it and forward it to short time beginners. But he does need ma- the since, booklets By taking advantage of our special ad- most comes to grief music, in the church program, Theodore on Brahms terial from the start and there while changing them these masterworks are composed. Under- in the Presser Co., 1712 Chestnut MacDowell and that enables him to give musical vance public Tschaikowsky of publication cash price of $1.25, of “back to normal.” While Artie and Irene standing schools, in colleges, in community Street, Philadelphia, Pa., appeared' expression is a keen feeling mas- them, recognizing each theme and see how Priced nominally, to his work, that does not postpaid, at 20 cents single copies of this are still in their nursery-book undertakings, etc., to check their this easily cared for each thou- make book may tery and enjoyment when characters, as it is introduced, or as it is woven into plans detail will help in sands of these of him a mere mechanic of the be for have been sold ordered now and they will deliv- or “Moony,” the glorious rounding out of the sea- your closing of the keyboard. be playing a melody which as Mother Goose calls it, the general pattern of the work, is season’s plans. Recently Mr. ered a son as Tapper was when it is published. is represented usually in the Spring induced to Then. has been harmonically she proves she’s only a silly old goose pleasure that, heretofore, has been re- add a Dvorak booklet too. modem composition intro- concert, the Spring operetta WHEN THE MOON to his series in after all by changing herself into an served for performance, RISES, A Musical Com- compositions ^ the duces many musical were enriched and enlarged him and the professional mu- a of this figures that cantata, or an oratorio rendition, edy in Two Acts. Book and Lyrics celebrated Bohe! scope by the addition of “Earth person.” No longer being sician. the by Juanita mian composer unknown in the days of Clementi, Czer- pupils recital, or the Austin, Music constantly are E"»X Arrangements she commencement pro- by Clarence Kohlmann Work growing- Henselt for Piano, by Ada Rich- another part. Duet play- “Moony,” cannot bring Artie and Why not let the amateur in on this bit gram. m favor with the American and Moscheles; chord pro- tcr— on the preparation of the music The child's first Irene back as real children, because the of musical Vocal Score of lie. And pib gressions and the impressions of re- ing satisfies the students’ enjoyment? Fine; but how It would take Dvorak’s life story arpeggios that, like igious more than the pages of this new operetta is progressing i s such m worship are associated with the for recreation and feather simply won’t work magic for an can this be done? and in inspiring one in piano composition of Brahms, require a desire Miniature scores are one issue of The Etude Music a short time the courag^usness singing of Magazine we hope to be able to an- with hymns in Sunday School, foundation as the first “Earth person.” Fortunately, matters are for advanced students only, which the master special technic. The of these provides a splendid they are not to list the many things that might nounce an approximate overcame author ihese tunes are be publication date. difficulties etudes, brought home by the step to the art of accompanying. straightened out before she leaves, and easy to follow. The author seems suggested in disappointments and, with due reverence for the sub- to have the way of publications It is the desire of our sometimes eu 1 en where they editors to have were S lime compositions revive in the parents This work, in the course of prepara- everybody is happy. answered these questions most effectively pre- which might be used for building ready contemporaneously of the masters, memories inter- when the Vocal Score is considered fafi- of their Sunday The cast consists of with these esting issued sents also modem and school days, tion, consists of ten short melodious Mother Goose, “skeleton” scores. An un- and novel music pupil programs, both the Stage technical devices not so many Manager’s Guide and the covers years ago. Hymn books are positions, eight children able to sing or dance, and broken melody line, whether it be Of course, this practically everything the piano pieces, mostly in five finger with each entrance for the youngest of beginner Orchestration booklet will soug t so that those wishing be issued in so that the of little of groups to the same style student in grades should melodies may be using the major keys of C, F, G, D, and a number Tots for atmosphere each instrument plainly indicated, or for those who have reached a begin rehearsing as the previous six to eight P ayed on en- may do so with the as- mi l the piano while all background. The dialog is ables certain measure tions in the series. have for practice oc- join in the B flat, and the minor keys of A and G. and natural, one to follow the great symphonies of artistic maturity surance that everything A packet of "cu —scale, arpeggio, suiging. Likewise, necessary for pictures, t -S" tave and writing for the second part has not just the easy conversational style of intelligently; and the column after column could the to be pasted in double-note playing—and each Bu The accompanying be finished production will be the book at rip t unless someone used listing available ignated study has in the family is a been restricted to the accompaniment young children; it should be easy to notes, read before and choruses, cantatas, operettas, when needed. places, will accompany been carefully edited, fingered after the playing copy. each and Pianist or learn. The music Is catchy of the Ample space pedaled. The prove a ’ at least an alone, as the melody in several of the throughout, number, make for an even for the student work should P lenced better 214 Advertisement ucnl to most church music part. and the range of voice in the songs satisfactory introduction to the performer, numbers has been placed in this is (Continued on Page 216) Advertisement MARCH, 1940 THE ETUDE 215 — t ) % . Makes Church Symphonic Skeleton Scores (Cont.) FINE MERCHANDISE GIVEN IN EX- What understanding of the symphony’s com- CHANGE FOR ETUDE SUBSCRIPTIONS— lov- poser, its origin, its objective, and its Hundreds of music teachers, music Music Wurth While Recently Issued construction. ers and students regularly secure fine (Continued, from Page 196) The four symphonies mentioned soon merchandise for obtaining Etude sub- 1%xt scriptions. Each subscription secured will be obtainable in separate skeleton and this is generally true. Remem- part songs but while the books are in prep- counts as one point credit toward the scores, ber, too, that a child will go after Sufyfyedtiiond in aration orders for single copies may be merchandise selected. Your circle of mu- any standard, low or high, that is and | placed at the special pre-publication sical friends and acquaintances will en- him. The choirmaster cash price, 25 cents, postpaid; 90 cents able you easily to earn one or more of set for gen- about for the set of four these rewards with very little effort on Wlontk erally finds that, the time he ANTHEMS your part. The merchandise is high class, has his boys trained to the point NEW PUBLIC AT IONS STUDIES IN TECHNIC EIGHTEEN SHORT guaranteed by the manuacturer, and you where he wants them, their voices in the AND STYLE, For the Piano by Cedric W. will be pleased with any article selected; begin to go. Then he must find joy Co. Catalog For Replenishing Lemont Various American publishers Broiler Robot-. This Electric Broiler has REBORN ETUDE John Church APRIL AND THE in setting to work all over again, have in their catalogs compositions by 9%" diameter broiling surface, is 7%" scores “Every issue better than the last" say Your a few of the training the new batch. Teaching or Recital this composer. Whether high, has black ebonized handles and of readers of The Etude. Note Copies may be had for examination Repertoire they have been listed as leading articles for April. The choirmaster must set feet, and comes with a special inner grill- the ex- From Lemont, Cedric the THEODORE PRESSER Co. Catalog by C. W. rack and cord set. Awarded for securing ample for punctuality and concen- ANTHEMS—MIXED VOICES W. Lemont, or Wilmot nine subscriptions. tration of effort at rehearsals. He DEKOVEN, REGINALD Lemont they have proved Water Pitcher: modern design Water A must always begin work exactly on (S.A.T.B.- the composer to be gifted 35374 Recessional Pitcher finished in gleaming chromium. Divided) $0.15 PIANO SOLOS the dot of the time assigned. If he PIANO SOLOS—Cont. Cont. with melodic inspiration Cat. No. Gr. Pr. VOCAL SOLOS— The handle is genuine walnut. Has a GEORGE FREDERIC Cat. No. waits ten minutes for straggling HANDEL, Gr. Pr. Cat. No. Gr. Pr. and accomplished in mu- practical 4%". ARNOLD, HUGH ice guard. Diameter 35383 Thanks Be To Thee 12 STRICKLAND, LILY 26885 My New Bike ( With Words) 2 $0.30 FOSTER, STEPHEN C. sical craftsmanship in choristers thLs week, he will have to 26878 Song of the Old Height 7 Capacity, 2 quarts. Awarded BENNETT. ALEXANDER Mill 3 $0.25 26910 Beautiful Dreamer (b to able to provide STRONG, being wait fifteen minutes next week. MAY A. D) Arr. William Hodson. . $0.40 for securing six subscriptions. 26862 In a Hurry 2 Vi .35 THE LORD’S PRAYER 26838 The Little Cricket helpful educational pieces Mayonnaise Dish: This footed Mayon- If the master carries within him 26886 Yo-Ho, My Laddies 2 .25 2 Vj .35 FOX. OSCAR J. 26874 October a-flat) for piano students. It is therefore inter- By George Leroy Lindsay COPELAND, BERNIECE ROSE (E-flat to . .60 naise Dish is 6" in diameter and 2%" deep conviction that THE LITTLE the the service 26887 I’ll Take a Walk This Morn- CRICKET KLEMM. GUSTAV esting to piano teachers that this new Catalog No. 3 5378 Price, 10 cents By M. A. Strong high. Both dish and ladle are chromium to be prepared is a infir (With Words) iy2 .25 Gr. 2Vfe Pr. 35c 26894 The Little Gardens (F to forthcoming, valuable and im- set of studies, soon to be plated. Awarded for securing three sub- EICHHORN, HERMENE WARLICK «) .50 portant thing, this feeUng will soon 26891 Mammy’s Allof roll* •ch.ri.n4o will be useful along in the third and scriptions. Hum-tune. A ROGERS. JAMES H. Black legato spread to the members of the choir. Key Melody ( With 26909 Try Smiling (b-flat to C).. .50 fourth grades, when such things as Cake or Sandwich Server: Words) Made of hand- 3 .25 STOUGHTON, R. SPAULDING and staccato playing, octaves, chords, ar- In his executive capacity, wrought aluminum, this attractive design the master HALL, MARIAN WILSON 26908 Rantin'. Rovin’ Robin (b- peggios, running passages, phrasing, 26877 The Blackbird’s Song ( With flat to D) Scotch Folk Song .50 Tray is another splendid prize or gift. is responsible for discipline, and he Oar A -Ik..,—Met art )• )«.•», Hal • !«•- ad ba Tkj *.m Words pedaling, left hand melody, finger con- ) 1% .25 Diameter (including handles) 13%''. will do well to remember that he can trol, double thirds, double sixths, and Awarded for securing four subscriptions. exact it through fervor and en- THE BLACKBIRD'S SONC VIOLIN equal development of the right and left Can Opener: AND PIANO A new can opening ma- thusiasm better By M. W. Hall hands ought to be given some special than by scolding. Gr. 1% Pr. 25c SMITH, GAYLE INGRAHAM chine which quickly and easily opens JARMILA NOVOTNA This, then, is the preparation IMmlaly LHd.ua 26893 Dance of the Popcorn attention in the efforts to bring the First square, round or oval cans with standard ( Position ) 2 C*7l4fM Dll tf Ik. Ml Chard pupil’s piano playing ability to higher which the candidate for church TSCHAIKOWSKY, P. I. rims. Fastens on wall. Eliminates danger mu- .1 i levels. These study pieces do this in cov- DO NOT FEAR YOUR LIMITATIONS sic 26884 Theme. From “Piano Con- of cuts. Awarded for securing one sub- honors may expect to fulfill. And DANCE OP THE POPCORN 'm= certo in B flat Minor." Op. ering these things in such an attractive The beautiful Jarmila Novotna, prima By G. I. Smith Gr. 2 Pr. 35c scription (not your own). once he has it, what next? Let him SPEAKS, OLEY 23 5 style. donna soprano in the list of new stars at Wrought Aluminum Bowl: An individual the Metropolitan, gives fresh courage to begin in a small way, for all his 35370 Thy Will Be Done (S. Solo) 12 This piano educational work will be Etude voice students, in an article built and exceptionally smart finish and at- knowledge and ability, trying SPROSS. CHARLES GILBERT issued in the Music Mastery Series, upon her experience in fighting her way a small ONE PIANO. FOUR HANDS tractive design. (Size 8%" x 2%".) Two through discouraging obstacles. 35376 Like an Expert Builder 15 BAINES, which has many successful modern piano community first, and the churches WILLIAM subscriptions. 26895 The King’s . of his own creed Reviev March. study works covering all degrees of pian- Send anywhere. When ANTHEMS—WOMEN’S VOICES Arr. William Hodi m 2Vi .50 post card for complete Premium BY THE BEAUTIFUL BLUE DANUBE he istic inexperience and proficiency, uni- Catalog. has found such a small post, let HANDEL. G. F. HANDEL, GEORGE FREDERIC 26905 Hallelujah Chorus. From formly priced at 60 cents each. However, The story of the most popular waltz ever him stay HELLARD, ROBERT A. , there a while, without rest- 35377 Thanks “The Messiah.” V-.-+Z j written, told in fascinating fashion by Be To Thee (Arr. N. 26903 Dancing Puppets 3 .35 Arr. P. W. a r-A during Douty) the period in which these Eight- H. E. Jacob, from a recent work lessness, Orem 4 .75 r r 1 about the without drifting around in 26883 Parade of the Cub Scouts een Short Studies in Technic and Style noted Strauss family of Vienna. ,1 the desire to March 3 .40 are find “something bet- in publication preparation, any PART SONGS— JOHNSON, GEORGE '**•» How Much Musical Talent ter.” Let him do his best, the WOMEN’S ONE PIANO, EIGHT HANDS teacher may order a single copy, for de- HOW TO CAPITALIZE MUSIC in 26837 Blossoms in May 3 Vi .50 service of the VOICES JONAS, ALBERTO VANDEVERE, J. LILIAN livery when published, at the low ad- (Continued from Page 206) MEMORY church, wherever he is. 26873 Long Ago in France 26882 Noches in Granada. Nights 1 Vi .50 of In such w-ay, SPROSS, CHARLES vance publication cash price of 20 Dr. Thomas Tapper, whose gift at “elu- a he will build his own GILBERT in Granada. Tango 4 .40 ORCAN child should be denied musical in- cidation” has 80 At cents, postpaid. made him a wide reputation, career. Eventide (S.S.A.) 15 KINDER, tells some very KERN, CARL WILHELM RALPH struction just because he gets a helpful and practical things VOCAL SOLOS 26899 Twilight low 26879 On the Parana. Barcarolle. Musing . . designed to aid you in memorizing music 3 V2 .50 CHANGES OF ADDRESS—When changing score on a musical talent test. If he without waste of time. PART Op. 605 4 .50 ELY, CARROLL SONGS—MEN’S VOICES KETTERER, ELLA 26901 May God Bless You (G to your address, be sure to advise us at least shows any interest in music and 26859 The Jolly Spook *2% .35 F-sharp) .50 four weeks in A Guitar Concerto WE’RE GOIN’ PIANO advance of the publication makes any progress with his studies, THE RENAISSANCE TO SING LLOYD, LEWELLYN 26902 May Gold Bless You (E-flat ACCORDION OF THE D) date of The Etude so that we may make A CAPPELLA SINCING Of greatest OLD-TIME SONGS 26875 Soldiers on Parade to .50 GREY, FRANK H. he is getting enough musical educa- interest to guitarist 26841 Hawaiian Nights. the necessary notation By Bruce ( With Words) 2 .25 Arr. on our records. The Baroness George is the Carleton Galla-Rini tion to merit encouragement. Music von Trapp, whose report that the well know: 26876 A Trip to the Sky MAY COD BLESS YOU .35 Give both Old and New addresses. astonishing musical family has Catalog Un- giv«*n many No. 35 382 Price, (With Words) 1 .25 By C. Ely (2 Keys) Pr. 50c study is not concerts widely Italian composer, Castel 20 cent. HAWAIIAN NIGHTS less these instructions are followed care- wasted, even though hailed by the best music Mario critics, MANLEY, RICHARD By F. Grey p r . 35c writes an article that all music nouvo-Tedesco, fully, copies the child never learns to play very lovers will “eat has completed 26863 The Soap-Box Derby .50 of The Etude will go astray. up." 3 Vi l Arr. Galla-Rini |p, » 1 MSI When Ik. ».i high. M,v Gad bier, you. Help us to give you good service. proficiently; because he will learn to concerto for guitar and orchestra appreciate music dedicated to THE SOAP-BOX DERBY better as a result W. S. B. MATHEWS’ “MUSICAL Andres Segovia. WARNING: BEWARE OF By R. Manley Gr. 3Vfc Pr. 50c FRAUD MAGA- of his first hand Julio 'T— experience with it. TREASURE BOX” Martinez Oyanguren, guita ; ZINE AGENTS have repeatedly re- —We Only by virtuoso, Pul ud Ii»*ly «;.« elevating the taste of all One of the greatest of our pioneer musical whose fifteen minut minded music lovers to exercise ‘ every educators was W. S. B. Mathews. can Leopold n r-\r- nr r~ i we make musical progress. The Godowsky once broadcasts on Sunday morning possible care in said that - stag • paying money to stran- he was one of y And —hr# akad o—« fall, M«y God M».. JO. safest policy is to the most helpful of all critics have gers for magazine subscriptions. give the child all of his play- been featured on the NBC Rei The ing , and Theodore Presser remarked 1 i J the music IS “He ’ ’ crop of fraud agents during the current instruction he will take, one of the most interesting men network, is now .preparing to pre - ever known. i’ have season has regardless of his talent. “Mathews Graded Course" sent been exceptionally large, The test he e One of « complete selection PHILCOPniLbU 3527L RADIO-PHONOGRAPH. ' new triurnp hs of tone, operation, cabinet a 0 has Automatic Record Changer for 12 and va°ue! Model illustrated Modern bLuJ' Push-Button Tuning and Budt-in Super these with Electric Share radio records Powerful anywhere -d pUy! ToneControI for bods records Aeriat System. Just plug in cabinet. Only $12.9* down and radio. Exquisite Walnut Radio Joys of 1940! Philco Invention and Philco Design have brought new radio. 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