Volume 59, Number 06 (June 1941) James Francis Cooke

Gardner-Webb University Digital Commons @ Gardner-Webb University

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

6-1-1941 Volume 59, Number 06 (June 1941) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons

Recommended Citation Cooke, James Francis. "Volume 59, Number 06 (June 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/249

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected].

< Songs that answer the question— “Which songs by American composers shall 1 use?”

MIGHTY LAK' A ROSE WILL O' THE WISP By Ethelbert Nevin Rw f'l I e-N.II By Charles Gilbert Published for Spross Published for HIGH VOICE in A (Range E to F- Published for HI VO CE in F Sharp) 50R tn^ J < Range c MEDIUM VOICE in G (Range d to E) .50R HIGH VOICE in F (Range F to LOW VOICE in F (Range c to D) 50R hIvihp F) R :: in (High and Low ble Vol VOCAL DUET G LOW VOICE In ^T?r " i 50R eV!.nr" - Voices) Arr. by Paul Bliss D (Range d 12 CHORUS—Mixed Voices, Four Parts. . .10 to D) CHORUS—Three Parts, S. A. B 15 VOCAL DUET ORCH. ACC. TO "httw 15 (T. and Bar.) C CHORUS—Treble Voices, Four Parts. . .10 ORCH ^Pnental Only) ACC ' CHORUS—Treble Voices, Three Parts .10 CHORUS— TO CHORUS- Mixed Voices ThreeThS p.rt Parts. .10 Treble (Re„ tal SPROSS CHORUS—Treble Voices, Two (Arr. CHARLES GILBERTGI! R. R. OI QUARTET OR CHORUS. Men’s Voices .10 Peery) 12 C CHORUS—Four Part, TRANS FOR PIANO By Carlyle Davis ,50R CHORUS— (R^ntal Only° Treble WALTZ FOR PIANO Men's Voices By Frank W. McKee .65R (Arr. F. Moore) .15 mana-zucca CHORUS Treble Voices, let PIANO SOLO By Wm. M. Felton 35R — Three Parts (Arr ALL MY LIFE ' BE C. G. Spross) ’ ,, MUSIC VIOLIN & PIANO (Easy) VIOLIN & PIANO— By by Michael Banner .50R ORCH. ACC. TO HIGH VOICE! nt Charles Gilbert By Neil Thorpe .50R Arr. ORCH. ACC. TO LOW VOICE Spross •CELLO & PIANO 50R PIPE ORGAN— . 75 Published for Arr. by Sidney Durst .50R HIGH voirv Inra E-FLAT ALTO SAX. & PIANO. . .50R LOW Ran8e F 65R CORNET & PIANO 50R VOIC^in r?', to a) E-FLAT ALTO SAX. WITH CHORUS— ge to F-sharp) 65R 75 ORCH. ACC. TO EACH VOICE .75 Treble vnk £ ORCH. ACC THE TOP O’ THE ORCH. ree Parts .18 75 ORCHESTRA (Hesitation) 1.15 MORNIN’ ACC in cC Tn . . ... BAND By To LOW?^ VOICE 75 BAND (Waltz Hesitation) 1.50 ORCHESTRA (Fox Trot) 95 Mana-Zucca Published for HIGH VOICE in E (Range F to P> YESTERDAY VOICE E-»«‘ ' 5 " T AND DESIR (My Desire) (Range E-fiat to TODAY MON By Charles Gilbert LOW in ’ By Ethelbert Nevin VOICE C (Range c 'to ci Spross 0 T CHORUS—Treble Voice!, Three HIGH Publis hed for Published for ParkParts ? VOICF In » . CHORUS—Men’s Voices 75 « Voice anS e E t0 50T minor (Range c-sharp to g-sharp) 60R pmSt, in Z-ait Jj?,R a-flat) HIGH VOICE in C-sharp CHORUS—Trehi» ange b to E-flat .50T minor (Range b-flat to F) 60R OR ! LOW VOICE In B-flat CH. ACC. Three Parts .15 CHORUS—Treble Voices, Three Parts 12 THE A flat to high ! ! '. PIANO SOLO (Valse Lente) SWEETEST FLOWER voice:::::::: .« CHORUS—Mixed (Arr. R. R. Peery) 15 THAT BLOWS last By Chas, B. Hawley HOUR DANNY DEEVER Published for Walter Kramer HIGH VOICE in A-flat By Walter Damrosch (Range E-flnf , Published for LOW VOICE in E-flat (Range ' 50R for HIGH VOICE in Published VOCAL DUET in G High and - 50R G (Range E to - MEDIUM VOICE in G-minor (Range g-sharp) 50T Mixed Voices, Four Park ®°R a to F) 75R CHORUS Treble 10 — Voices, Four Parts medium voice CHORUS—Men’s Voices 08 quartet OR CHORUS,' •« In C (Range c- ORCH. ACC. TO MEDIUM VOICE : : : ; ; sharp to F) 50T (Rental Only) LOW VOICE in PI IN MAYTIME B-flat (Range b to E-flat) 50T DANNY DEEVER By Oley YOUTH AND SPRING Speaks CHORUS— Mixed Published for Voices, By Irving A. Steinel Four HIGH VOICE In E-flat Parts 12 (Ranee p » « Published for LOW VOICE in C (Range d ?}•••• -60R kVS° E ' flat) CHORUS— CHORUS-Mixed • • • Voices . -60R MEDIUM VOICE in D-flat (Range d CHORUS Treble Voices, —Treble Voices Four Po'-i -10 5( P l Three Parts.... -12 to F) CHORUS-Men's Voices 10 IAr r Rl » » CHORUS Mixed Voices (Arr. G. H. SMALL ORCH. ACC. TO HIGR vnV,?eei,y) -15 QUARTET OR Woods) II FULL ORCH. ' ACC. TO HTOH V®™; ' “ CHORUS, Men’s ; Voices ORCH. ACC. TO MY HEART IS A HAVEN CRADLE SONG MillEACH VOICF (Rental By Irving A. Steinel By Alexander MacFadyen , Published for SHALL Published for NOT PASS HIGH VOICE in C (Range G to g) .50T MEDIUM VOICE in AG D-flat1 (Ran t MEDIUM VOICE in A-flat (Range E-flat to E-flati. .50T to Fi ee d-fl a t THIS c to Ci •50T CHORUS " ’ * * WAY LOW VOICE in F (Range —Treble VoicesS -pL' Voices (Arr. R. R. Peery) PIANO ' Three Parts B> St CHORUS—Men's SOLO . . S - CHORUS—Mixed Voices TWO PIANOS, FOUR HAtinq Hto MEDIUM VOICE TRIOTRIO-VIOLIN—VIOLIN. Rvoi0E °:!r.L ORCH. ACC. TO ’CELLO , ORCH. ANn or ACC. TO Mraui"f0g» 'ssp.’at* MY REDEEMER AND MY LORD THE LARK cHoRut^voRl I..;:,..;,;..,: By Dudley Buck NOW LEAVF<; Published HIS ep “ for WATERY NEST the ~ " rt5(A ' HIGH VOICE in E-flat (Range d to g) By Horatio green LOW VOICE in C (Range b to El Parker CHORUS—Mixed Voices (Arr. C. G. Published for cATHedr Sprossl HIGH VOICE in al c E-flat (RR nn „ LOW VOICE in to ) HIGH VOICE (Rental . ORCH. ACC. TO C iRangl 8 . . TOp Hc&ccmcr a to r ? . 6C Only) CHORUS-Mixed E Voice, p™ r L 1 ORCH. ACC. rt * TO HIGH vo,r5.‘ •»'h anbltlpforS. only) voice ( Rent ; IVSRs jbacrri) Jtofo, BOAT SONG L W V - 6 “T f-sr^ E e °icE"i„ 1 By Harriet Ware ( *n« |J "‘fit t» 5 Published for Published by ' 60T be SHibfc? ‘Buck. HIGH VOICE in G (Range d to g) .60T MEDIUM VOICE in F (Range c to F) .60T LOW VOICE in D (Range a to D) 60T John Church .is CHORUS—Treble Voices, Three Parts Co i Arr. C. G. Spross) .15 Theodore 0 Presser Co Di«* l QUARTET OR CHORUS. Men’s Voices - i5 ORCH. ACC. TO HIGH VOICE AS 1712 CHESTNUT STREET, PHILADELPHIA 15 Ask Your Local Dealer to Show You These “IA, Songs Alt r '° i U d' n * Shop, Larrc y Them THE -

THE CHAUTAUQUA sixty-eighth annual HERE. THERE AND EVERYWHERE IN July 6th to August 31st, season, from THE ROBIN HOOD DELL summer con- thirty concerts by the Chau- THE MUSICAL WORLD includes cert series in Philadelphia, which opens Symphony Orchestra under Albert tauqua on June 24th, includes such solo artists direction, and a series of Stoessel’s as Fritz Kreisler, Alec Templeton, Paul English by the Chautauqua operas in Robeson, Jose Iturbi, Association in cooperation with YEHUDI MENUHIN, Lawrence Tibbet, AMERICAN GUILD OF ORGAN- Opera THE Lily Pons, Jascha Hei- Juilliard School of Music. and Charles Kullman will tour South ISTS’ second biennial convention in the fetz and John Charles

• for the first time, this year. Washington, D. C., from June 23rd to America Thomas. During the YORK PHILHARMONIC- Mr. Menuhin will give twenty-five con- June 27th, presents great artists of the THE new series of "Pops” con- Orchestra summer concerts certs in various cities, Americas and of Europe. Walter Blodget SYMPHONY certs, John Barrymore Lewisohn Stadium announce among them Rio de of Cleveland and Catharine Crozier of a t the will appear as narrator- many outstanding soloists: Ye- Janeiro, Sao Paulo, Rochester, New York, are two of the among to-music on July 17th; Josef Hofmann, Jascha American performers: and Joseph Bon- hudi Menuhin, Montevideo, and Buenos and Benny Goodman Lily Pons in a program to be Aires. Mr. Tibbett is to net, French virtuoso, heads the list of Heifetz, makes his debut as sym- Andre Kostelanetz, and concert organists to be heard. conducted by appear in opera at the phony-conductor on July Robeson with Hugh Ross conduct- Teatro Colon in Buenos Paul 31st. orchestra. ing the Aires and at the Teatro GEORGE II. MENDELSSOHN, great- Municipale in Rio. Mr. Mendelssohn- great-grandson of Felix GUIOMAR NOVAES recently established POCONO MOUNTAINS may soon Kullman will be heard in this coun- THE Bartholdy, recently ..arrived the Guiomar Novaes Award, whereby a the summer music center of the in seven performances Lawrence turbulent journey from his become try after a young American pianist will be sent to States. A large tract of land at the Teatro Colon. TinilETT His immediate plans United native Hungary. Brazil at Miss Novaes’ expense, to give a been donated for the prospective are to volunteer for service in the United has series of recitals. The pianist will be Music Festival, with concerts to States Army. Pocono chosen through a contest to be held this given by the Philadelphia Orchestra be Ccompetitions summer, under the supervision of Arthur Eugene Ormandy. Mrs. Benjamin under THE ALL-AMERICAN YOUTH ORCHES- Judson, president of Columbia Concerts Maschal, chairman of the festival, p A PRIZE OF ONE HUNDRED dol- TRA has been reorganized by Leopold Corporation. The winner will sail for former president of the Matinee Mu- and lars and publication is offered by the Stokowski for a transcontinental tour Rio de Janeiro in August or September. Club, announces that plans are Chicago Singing Teachers Guild for the sical this spring, and has now been established The award is Miss Novaes’ contribution way for the construction of an best setting for solo voice of The Mesa under on a permanent basis. This year’s tour toward closer cultural relations among to accommodate about five Trail by Arthur Owen Peterson. Manu- auditorium will take the orchestra not only across the Americas. persons. The season would open scripts must be mailed not earlier than thousand the United States, but also to Canada August. October 1st and not later than October in late Tia Juana, Mexico. May 16th, it 15th. For complete information write and On THE BACH CHOIR OF BETHLEHEM, at Hall in Walter Allen Stults, P. O. 694, Evanston, was heard Carnegie New York Pennsylvania, sang the “Mass in B the DAUGHTERS OF TIIE AMERICAN Illinois. All such queries must contain City. Mr. Stokowski, in future spring and Minor” by Johann Sebastian Bach REVOLUTION recently dedicated seven in stamped and self-addressed envelope, or summer seasons, plans to take the or- its complete form, for the thirty -fourth carillon bells in the Washington Memo- they will be ignored. chestra abroad and on transcontinental time, May 17th in Packer Memorial Chapel at Valley Forge, Pennsylva- rial tours in alternate years. Chapel at Lehigh University. On the The bells, which increase the num- AN APPEARANCE WITH the New nia. sixteenth, the program consisted of already in the carillon to thirty- York Philharmonic-Symphony Orchestra ber THE ESSEX COUNTY SYMPHONY SO- seven cantatas. Soloists for the two-day were given by Alabama, North is offered by the Edgar M. Leventritt seven, CIETY features Paul Robeson with the festival were Harriet Henders, Lilian Arkansas, Minnesota, Missis- Foundation, Inc., to young musicians of Dakota, Hardesty Johnson the United States not less than seventeen celebrated Eva Jessye Choir under the Knowles, and Mack sippi Oregon and Tennessee. and not over twenty-five years of age. direction of Miss Eva Jessye at its first Harrell. Applications must be filed by June 1.5th stadium concert on June UR. EDWIN FRANKO GOLDMAN will for the contest which takes place in 3rd, Frank Black REINALD WERRANRATII, conduct the Daniel Guggenheim with American again October. For information write to the conducting the orches- baritone, and Charles M. Courboin, Concerts by the Goldman Bel- Memorial Foundation headquarters, 50 Broad Street, have Park, tra. Efrem Zimbalist ap- gian organist, joined the staff of Band in Central New York City, New York City. pears as guest artist, the Peabody Conservatory of Music in in Prospect Park, and with Dimitri Mitropou- Baltimore, Maryland, for the coming Brooklyn, from June A ONE THOUSAND DOLLAR award amateur musical play adjudged los directing the orches- summer. 18th to August 17th. for the the best work of the year by the Na- tra, at the second con- This is the twenty- tional Theatre Conference is offered by cert on June 10th; Helen HARMONIEN, the musical club of Ber- fourth year that the the American Society of Composers, Au- Jepson, Frederick Jagel, gen, Norway, carried on its has given summer Edwina musical sea- band thors and Publishers (ASCAP). Any resi- Warren and son usual, in spite which for the Leonard Eustis as of war restrictions, concerts, dent of the United States, eighteen or Edwina Eustis form an and was able to celebrate its one years have been All entries must be hundred last ten over, may compete. 17th pro- operatic quartet on the June and seventy-fifth birthday with an all- gif t of the Daniel submitted not later than July 1st. For the gram and Alexander Brailowsky is guest Norwegian ; concert, the Florence Guggen- information write: Professor Barclay first part of and pianist, with Sir Thomas Beecham con- which featured Foundation. As Leathern, Secretary of the National Thea- the works of Edward 24th. heim tre Conference. Western Reserve Univer- ducting, on the final program, June Grieg who until his death was the concerts will a member usual, sity, Cleveland, Ohio. of the club. broadcast. be MISS RADIE BRITAIN of Chicago is the of the Boston Women’s Sym- DEEMS TAYLOR’S THE PEABODY CONSERVATORY OF winner three-act opera, its ANDY ARCARI, accordionist, recently phony Society's competition for women "Ramuntcho,” will have its MUSIC, in Baltimore, Maryland, holds world pre- 13th completed a concerto for accordion and composers. Miss Britain’s winning or- miere during the 1941-42 season nnual Summer School from June of the orchestra, one of which he chestral work, entitled Light, was given Philadelphia Opera August 9th, again under the direction movement Company. This will fn performance on R. Huber, who has recently played with the WPA Symphony at the its first May 25th by be one of seven operas in next season's f Frederick ° Director of Music for William Penn High School in Philadel- the Women’s Symphony Orchestra, in schedule, all to be given in English. een made State " phia, on April 23rd. Boston. (Continued Youth Administration. on Page 410 ) lie National jVNe. 1941 . " !

f, THESE ETHOS nr tmmqjamftmw Published Monthly By Theodore Presser Co.. Philadelphia, Pa. * EDITORIAL AND ADVISORY STAFF DR. JAMES FRANCIS COOKE. Editor

Guy McCoy and Helen MacVichie, Assistant Editors William M. Felton, Music Editor Robert Braine Dr. Henry Fry S. Blanche Lemmon Peter Hueh Reed Pietro Deiro Karl W. Gehrkens Dr. Guy Maier William D Rcvelli Dr. Nicholas Douty Elizabeth Gcst N. Clifford Page Henr^S Sawyer5 George C. Krick Dr. Rob Roy Pcery 1 FOUNDED 1883 BY THEODORE PRESSER

C^ontentd £or ^une, 1941

VOLUME LIX, N«. < WORLD OF MUSIC EDITORIAL The Economics of Plano Study. YOUTH AND MUSIC .Music As a Social Force MUSIC AND CULTURE Problems of the Advanced Piano Student leaching the Teens Artur It ub it Musical Development in the Philippines.’.'.'. IIow Mrs. Paz Gloria Fast Shall I Play It V Cunav?,'m!a. 307 Making Practice Profitable Lucan 309 Morning Music and What It Meant • • . . J/iscAa Elman 371 • . .Clcmc,nt Antrobiis MUSIC IN THE HOME Harris 372 Musical Films for Early Summer. . . Artistic Appeal Marks New Reco'rds'. .Donald ^the '. Mart 373 Ltciik Music Lover's Bookshelf. ' . ll ut,h If,; Inviting Summer Radio Schedules MUSIC AND STUDY jgf The Teacher's Round Table Four Strong Foundations Uuy Let Acoustics Bring Resonance Main • [ instrumental effects Iii u> Your \ 'Ellen to add the beautiful A Choir Member Speaks ' Amen iiiiiiiiniiiiiiiiiiiiiiiiiiiiiiii Crustal ilium Questions and Answers Waters : • Clara of the Solovox to Barrett , PIANO! •' YOUR OWN 5:: • " " - Gehrkens irk Bid (th\ M.A. . *s’. Chamberlain “solo voices” Your first few moments with the marvelous your piano and the singing At 'uriee hy Some Accordionists Fail Dumesnil ; The Mandolin and Hammond Solovox will tell you — as no of the Solovox. Banjo. MUSIC words or pictures ever could —how much Easily attached, the Solovox does not "lie C. Erick 421 Cla, tone. rar.v Scleclioi it can mean to your family in richer, more affect your piano’s normal use or Thet ml Tw the fascinating Hammond Solovox .r.„ satisfying music. See Spa ii if dwi„ ran Beethoven ; White Orchitis •••«*• . . s. . . . learn it can add Haiti : Here is an instrument unprecedented in the . . . play it how much P«‘ggy ; '["rid Coupt : Damask .dam,' history of music ... a simple, compact unit to your enjoyment and appreciation Roses By Candlelight. /•;. Or Visit your nearest piano that attaches to yourpiano and enables you of good music. Campus Serenade. .... Frank '.Fred"re

'I- L. Bihic'r 386 1‘letro Deiro 42(5 430 Entered as , ecu d y

> copy, Price 25 gg —

Editorial

1 "Jhe (L’Conomici o^ jf^iano StiicL

SYCHOLOGY AND ECONOMICS are two words that vidual is different. In the case of very young children, nota- we had decided to drop from our editorial work bench. tion is usually taught now through “music play” methods. P Their meaning has been so loose and so generalized The child finds himself getting fun out of music from the pieces he begins to out little tunes that, as far as the larger public is concerned, they may con- start. After a few plunk note any one of a dozen things or nothing in particular. upon the keyboard and, instead of dreading his practice, he The word “economics”, however, seemed as good a word looks upon his piano as a kind of glorious fairy playground. procedure is fine, it will save thousands as any to label those many things which go together to curb This new and of otherwise frightened the waste of time, energy, and money in the study of piano children for music who might be away playing. from it. this entertaining state of affairs for the youngsters There is much extremely fine piano teaching in the United With States. Unquestionably, we have made gratifying advances there is, however, a hidden danger. That danger comes in temptation neglect the regular drill in this field. Yet, there is a very strong feeling upon the part the to matter of which playing of some outstanding “pianogogs” that there are now many good piano demands. This must be done with the dangerous diversions from the straight scientific seriousness always impera- and narrow path. On the one hand, tively and incessantly necessary. Far these are due to mistaken attempts to better to practice one measure with in- create “short cuts” and, on the other tense (but relaxed) concentration hand, to entertainment concessions for than a whole page without it. It is in young people who are the pathetic the failure to insist upon this super- anemic products of a pampered age. concentration as the pupil advances, Very few teachers consider the that most of the waste in piano study actual problem that confronts them. arises. this, it is from this in- It is their job to take a living human More than being, young or old, and train that intense concentration that the student dividual physically, mentally, and derives most of the benefits from physiological emotionally in the understanding of music study. The and that music, the technic of performance and psychological discipline comes musical the art of interpretation at the key- from performing problems board. These operations may be with minute precision, fine taste, bal- roughly classified into: anced discrimination and at a high fail to benefit the in- I. Learning the symbols (the nota- speed, cannot tion) of music, by means of which dividual and affect his mental and music may be written down and then emotional reactions and relations. His read and performed. In looking over mind, muscles and nerves are coordi- Theodore Presser’s universally used nated as in no other human operation, “Beginner’s Book” and allowing for and he acquires an invaluable finish some the possible symbols for the eighty- which is like that of precious eight notes on the keyboard, there are scientific instrument. His mind in its about one hundred and twenty symbols quickness of operation is no longer an learns to think and terms to be learned. However, one ordinary mind. He with speed. can play very well indeed, if he knows only half that split second accuracy at super number. At the outstart, there must therefore be a precise correct- selected to be played II. The training of the individual to express music writ- ness of every detail in the passage phrasing, touch always ten in this notation. This is the technic of the art. notes, time, accent, fingering, — re- the opposite of III. The understanding of a vast number of things, membering that to repeat mistakes is profit- rhythm, dynamics, aesthetics, musical form, history, har- able practice. Therefore, get the passage faultless unless mony and counterpoint, which must be acquired in pro- you plan to waste hours at the keyboard. student’s relation portion to the individual’s desire to make his interpretations Very few people look upon the to the masterly. keyboard in the right direction. That is, they seem to think These objectives are not attained separately, but may be of the student as doing something to the piano. What hap- is exactly the opposite. The student is, developed along parallel lines. This is, however, by no means pens, however, as it were, practicing upon himself, upon his own mental recep- a simple matter, because so much depends upon the re- his ceptivity of the individual. tivity, his own muscles, and own nervous system. As We receive, regularly, scores of letters asking how far the sculptor, blow by blow, carves out a work of art, so the student must bring into being, within himself, a a pupil should advance in one or two years. This question musician. future success will depend very largely can never be satisfactorily answered, because every indi- His upon what type Continued on Page 418

JUNE. 1941 363 —

Youth and Music

O EMILY WAGNER, who came to New York in the nineties, the great metropolis seemed, Music As a Social T like all Gaul, to be divided into three parts. Force There were the exclusive, luxury-padded neighborhoods where boys and girls were surfeited with comfort and advantages; the neighborhoods where their' needs were amply supplied; and, By Blanche Jlemmon last of all, neighborhoods where young bodies were undernourished, young spirits cramped, young minds subjected to bitter and warping influences. Slums, people called the latter. Hor- the vigorous manner in which it should be done. little or no enforcement. rible places. “Nice” people shrank from them. Music lessons here are But they came and they listened to every word not something well-to-do parents But the aspect of this third and poorest part have ordered she said, and they loved everything this grand and consequently a duty to be sidestepped of the city did not cause Miss Wagner to shrink as person taught them to do. Before the first les- often as possible with flimsy excuses to a teacher; away from it; instead she looked into small dirty son was over, they were delighted with this new lessons here are a privilege granted only faces, saw squalid tenement homes, want desti- to those and exciting chapter in their lives and eager for who can pay small fees out of the most meager tution, all the evil forces that lead youth to de- the next one. incomes or to those whose work is linquency and worse; and pity gripped and held worthy of a And somehow they managed to come again scholarship—something to be worked her. Here, through no fault of their own, young at with a and again—and again. will. Even theory—sometimes lives branded as “dead were handicapped by poverty and misery; Fifty years have gone by since this kindly wom- ly”—is here: attacked with zeal here, because being born on and characteristic of the accident of an came to New York’s lower East Side to lend intensity. With the the wrong result that compositions side of the social railroad tracks, boys her aid to its boys and girls; and during these m “ readily essays and girls were deprived of the joys and privi- years she has passed from the scene of action. in’schooL° “ do leges that ought to be every child’s birthright. But the small acorn of good that she planted When b °y °r glrl plays . an instrument Facts to be faced—these—instead of pulling one’s there has grown into a tall oak—the Music School enough F well to hold his own musically, skirts aside. he becomes Settlement. It stands on East Third Street, and eligible for the junior symphony orchestra n? She was not woman of means; consequently its shelter underprivileged " 4 1 a beneath youths con- about fifty members; and when vJ A she could not minister to these young people’s tinue year after year to find help and inspiration advanced and enter's hTghMchoo need for clothing clean, pleasure guidance. And sometimes, , ls ell lble nourishment and and and and when for the senior orchestra „,ui u beTSFeg fit COns habitation; the fifty dollars rolled up in her the business of living is almost overwhelmingly larger—about seventy iderably players T0 bel t purse was all the and overpower- A belong to either of these or to the school F money she owned. ingly hard, they well as a “ honor as lot of f un for eaeh A ? But she possessed lean against it participate ek these grou s in a program hrn F® P a priceless briefly until CaS ‘ °Ver re- they at the WNYC ' station's inSFn a? a source, she felt, can get breath 1 give recitals that are month they in her enough attendedA*d d by ability to to go on Then, the - once a year comes the Public play three instru- again. ment 6 ° f achieve ‘ a concert at Town ments, piano, vio- Half tFA’ear audience there signify a caP acity lin, and A Noble itsFnfAPP f violon- burst of applause 1 with a cloud- cello, Motive isto M and she de- accomplishment Iul1 glory of and to termined to pass *ttoghfB WlthA® What Miss Wag- least corporate fame. the thri11 of at along to these ner did for a hand- Soloists are chosen for tv, youngsters her ful of urchins the and naturally pubUc knowledge any young nFA appearance; of school now is doan honor, 1 ®® glows with 16 '1 for such these. She could ing for eMUeAfY®ment hundreds; ticularly if the anci pride, par- at least give occasion them and in addition it pearance. 4h® So, of course Town HaU aP' music — mixed is giving them lad Tony the who doesn’t ’ an introspective with a full meas- show hi* opportunity to was throbbingly emotions very much, ure of kindness play in elaterl orchestras a coming Town h® learned at and Hall concert that warmth of and ensembles, ist f ® a with the W °Uld a®‘ aS sol°' spirit and under- chance senior sf n to become had confidence m Lny standing. in 0rchestra. Tony Music competent teach- oould hlmsfn° do the job knew that he would be on,e ers and well n „A accom- he could too, th® sch ° beautiful thing which 01 knew that to panists; giving all the m’adAaver shine way around ything satisfactory among the them, in a word, th Andnrl sordid and taw- the date, Tony ^ W®®>“ b® f“® advantages of Of~ fe^: dry lot that sur- a music school. ™as °n relie£ y 5trong rounded them. and ' £or his family But despite this food tath To win the con- «U1, so 11 bouse was at wider scope f the orcheM® not and °“d uld a h° fidence of the an be rushed ped at flrst tbat advancement avoided®r to h‘ boys and girls she in when he and the dilemma technic, the es- gained® A® first took a genu- sence He's Thumbing a Ride to Success of Miss Wag- ine interest in ner’s idea remains t^^a^lhAtAhe their play — and the • , A motivating a^®“-redout course, the street. She principle: to their playground was, of combat the evils of their Tr^^: unfortn talked and she sang with them nate surroundings with with them there this uplifting force ripe, she give F there. Then, the time seemed them at a fraction of its when cost, the whole rand made some and stimulating In Triumph her offer. satisfaction of having ‘he hospital h come to the Boweiy sic in their lives. mu- V “Go home and wash and e T ' hi5,1 0ny S att®p «*- Mission cents. I’ll give you a music To be eligible for ^ion «- with ten instruction at the iw boPemlnffdheh Mt4 o School Settlement MuSIC Clun Setting to that lesson.” boys and girls he was’f etenaci , must he ~ to to well, so Miss Wagner lie school or have a pub with recover the idea that They didn’t wash too job, and in the FfF, i n fY TddFn ? 4 had to explanations about notes and instrument that each one the “No “ f0manc e. ° B° trough preface chrases to £e fAa WfenAu regarding the way must study FA he gueci the doct said, rests with kindly suggestions theory. There is .. with ors also a rule “W-e-i l ^ thenf applied to pupil the thaMeVery plead "*“» in which water should be m school must .: ea. ‘hey said, soap and practice but that “Maybe M® WheA demonstrations of tion, nice the gained lley finall necks and ears; even gave one about of , said, she theor'yAe^nV^ his b’rpo f strength « -A y the 41 ® aCh Was back “chestim' ilahalatioia 364 n the piano S as tonishment he Continued(Cont- on Page 422) a

T IS CONFUSING to offer counsels to piano Music and Culture students unless one limits the group of stu- I dents for whom the counsels are meant. The child learning scales and the virtuoso preparing his concert program are both students of the Problems of the piano; yet the necessary approach for the one would be entirely useless for the other. I propose, then, to address myself to the advanced student, who already possesses a sufficient grasp of essen- him to think in terms of music. Piano Student tials to enable Advanced And I offer my observations solely in the light of what has been useful to me and not as any set A Conference with method. My principal teacher has been experience. Since studying with Professor Barth— pupil of von Biilow—when I was fifteen, I have had no formal teaching whatever. I have learned l^u(in .4 teIn through observation and by developing that mu- Distinguished Pianist sical approach which is most helpful to me. There are two ways of approaching piano study. The best is to forget pianism as such, and to Secured Expressly for The Etude by penetrate to the core of the music one plays, trying to find full expression for one’s own musi- The RDSE HEYLBUT cal thoughts and to give pleasure to others. other approach, by no means uncommon, is to concentrate on pianistic ef- Etudes is valuable, as exercise, fects—brilliance, speed, and more an than a routine of form. To the like—to the point where practicing the same warm music becomes simply a means up my fingers, I always take some passage which has presented difficulties to me and, by the time of demonstrating one’s pow- I have been playing half an hour, I find that four ers. The first step, therefore, very definite gains have resulted : my hands have is to make certain what one accomplish. been thoroughly warmed up; I have clarified is trying to my approach to the musical passage in question, I have found a tendency among students to overem- and each time I go back to it in its context it phasize the importance of seems less difficult; I have improved my in- purely pianistic effects. If the terpretive penetration of the passage; and I have average pupil tells you that solved some technical point which offers difficulties to though it may seem he has just done two hours’ me, even simple hard work, he usually means to another pianist. Each student should use his the basis for his drill that he has been practicing own difficulties as work. Can we not encour- technic! Juggler or Artist? age in our students the con- viction that they are working- One of the most helpful counsels I can offer is never music that is too difficult. just as hard—and much more to play Do not utmost. profitably—if they sit down tax your resources to their Students have for quietly with a score and seek a positive mania, it seems, attempting immensely difficult, “showy” works. I have often to analyze its musical mean- marveled why some slim, undeveloped little girl ing? I have always held that technic is like money: you of fourteen should insist upon playing Liszt’s Canipanella an audition, when there is cannot get along without it, at such material that is equally certainly; yet there are so a wealth of simple worthy from musical point of view, and just as many vital things it cannot a pleasing to hear. The student, I suppose, is eager buy that the best thing you to show what she can do. Let her remember, can do is to forget about it, then, place for sheer display is the even when you possess it! It that the circus with technic. and not the halls of music. Demonstrating that is the same You cannot exist, musically speak- one can play louder or faster or more brilliantly it, but there are than anybody else is on a par with displaying ing', without one’s ability to lift heavy weights or juggle so many factors to which it balls. And audiences are instinctively so can never give you the key sympathetic ARTUR RUBINSTEIN that, when they observe a young performer strug- that it should be clearly evalu- gling with difficulties, they immediately ated as a means toward an become conscious of those difficulties and end and never considered to be anything more. resources to the context, where they are needed. suffer along player. Surely, the After the fundamentals of fluency have been Practice Beethoven’s runs and arpeggios as part with the goal of music is not later to cause tension and suffering to acquired, technic should develop side by side with of his sonata; not as isolated finger drills, one’s hearers! The pianist’s tone is really a very musicianship. It is a mistake to believe that a to be inserted into a page of music. curious thing. technic can be developed, as a thing If we have studied the structure of the piano complete Avoid Useless Exercises expression at we know that tone is released by the stroke apart, and then applied to musical of a For this reason, I advise students not to over- hammer against its string. (In this, ours some later date. That always leads to mechanical is one to practice work at scales, standard exercises, and the like. of the few instruments, where mechanical laying. For example, do not try ele- Seventy per-cent of such work may prove useless ments stand between the player and chromatic scales and arpeggios in the hope of his means practice into the final if not actually harmful. Exercises are calculated of creating tone. The singer, the violinist, inserting that type of the Sonata”, where both to serve general needs, and no two pianists ever flautist create their tones directly; the ages of the “Moonlight pianist highly romantic context, need exactly the same thing. It is better to select touches nothing musical. He touches only forms occur. In that a key, express musical possi- those passages from the great works that offer which releases a hammer, which vibrates hoth runs and arpeggios the technical forms alone can special difficulties (each pianist will select dif- string which causes tone to sound.) It bilities which the would result that the passage ferent passages, according to his own personal seem logical, then, to think that all tones pver suggest; with the pro- n practicing difficulties) and to use them as one’s daily exer- duced by this mechanical means question demands completely new should sound double-third passage from one of Chopin’s alike. know, of (Continued right. It is wiser to adapt technical cises. A We on Page 424) in its own JUNE, 1941 36.5 ®

Music and Culture

OO MANY TEACHERS are so busy studying op methods of technic that they seem to over- T look an important phase of music teaching, Teaching the leens that is, the psychological understanding of the pupil. This particular weakness on the part of many otherwise very fine teachers is responsible, to a great extent, for the great dropping off of music study by teen-age pupils. Eli J4e(en te In order to teach this age successfully, it is absolutely essential that the teacher should have some understanding of the physical and emotional above a wrong note. She cried, “Watch out!” make-up of the adolescent. It is a period of ad- Then, as his finger found the right note just in justment, physical, mental, and emotional. It is time, he turned and said, “Thanks, pal.” a period of great physical growth, in which a Second, never antagonize; never say “must.” child suddenly has adult powers without adult Rather discuss problems with him, explaining the judgment to control them. Certainly the teen- whys and wherefores to him. Suppose that you age is the most difficult to teach, but the most are giving him a new piece and that, in this piece, fascinating. It is a challenge to harness and the first phrase permits of two different finger- stimulate the powers of these half-child, half- ings. Go over both with him, showing him why adult personalities—these paradoxes of energy you like or dislike each, then ask him what he and laziness, of willfulness and docility. It is a thinks, which he would prefer. The very fact that wise teacher who, realizing this dual nature, he considers the reasons for using a certain fin- treats the adolescent as if he were a grown-up. gering not only makes him more careful, but If he is given the same consideration and courtesy gives him a feeling of importance and well being. that would be shown an adult friend, he will re- instruction. spond wonderfully to Different Classifications The following rules are suggested as being most Third, make a distinction in your class between helpful to the maintenance of this adult approach of the adolescent and that of the in the treatment of the adolescent: the work pupil. It is very fine if you are in the First, never put yourself on a pedestal, or as- younger specialize in the teen-age; if not, have sume an aloof attitude. (Psychologists say that it position to junior and senior divisions in your recital pro- is only your own feeling of inferiority that you better yet to let the adolescents give are trying to conceal by making your pupils feel grams. It is programs. of little importance.) Rather try to develop a entire Fourth (a rather minor point, but none the less important at have times) , consideration for the adolescent’s social activities. It is a wise teacher MISS who re- HELEN BETELLE members that social engagements are of ut- were distinct?” Such m-in,*- importance ’ most to the have Il 0m a teacher a better effect thsr teens, and therefore is nation 1 and °Ut condem ' of the pupil’s willing to adjust workv his ofOf praise.nraivo not softened by a bit schedule once in a great Sixth, avoid while to suit their plans. forcing Rather 'discuss Wlth an adolescent' It is far better thTnratter to be Point, 1 TAloni an adult view- and you will i?, inconvenienced by mak- Suppose 7 get an reaotion ’ it i s a adult ing up a missed lesson matter of*1 erase; the Practicing a hated ex- than to let a pupil h . „ pupil’s practiee. Do rebelled against further interest wane not trv t because explain make him Rather why you - do it. of a social conflict at h/n that you 611 it; to him telling him lesson thought . time. Imagine a thpTvTe the discipline; ,’ ™ as old enough to take twelve year old boy but ar f mistake, and you had made a dashing up to that von 1 his was not lad not he teacher in a really onit-p realized that swanky it.” n~ hotel Then act as Up eno h “ to take lobby, begging to if the rnnff ^ the atter were Usually be let off from adolescent is closed. the next ls b not old S y t le criticism that he day’s lesson, so enough “f ! that he second rt f ake, ma try. if and will make a Y So with the gang j then h P to a special wm matinee; ssr* ' of her pupils and upon her '*^^£'22£Z Miss Betelle with a group willing- ness to change the lesson hour, his giving her Se not mean a big hug, to the amusement But, UVe PupU sympathetic attitude. This does of the onlookers! frequenti - y a ’ but the woi Fifth, commend, if possible, than sunpiy "^Ther s lowering of any musical standards, before criticising getting problem is more g a„ , reach an ideal. Hold The teen-age is particularly exercise PUPH friend, to sensitive ; it to hated ing with him, as a Even tw is to Cllr practice a in playing, but assume an braggadocio is often a cover for eral tipathy up a high standard a feeling ?™ - to muslc stud of T to Teen-age6 as you togethei work fenonty and sensitiveness. to the pU Pnuls I attitude of comradeship So at lesson, « studio as have thus been sent Such a spirit is can possibly find hope a “w‘ aet for the attainment of his goal. anything to praise, that resort” who - do so through by parents givingeivina adversearivprsp cvit.inicm beforeueioie a exemplified by this incident: criticism, Anis Passage„ Wr 86 was all °ught. teachers a miracle old boy had been promised a right as to time and notes, dmfwn XJsuahTy A thirteen year but~vniTwt' the law; such Pupils laying his piece without tive bit by not “i WU1 start certain grade if he could play phrasing it carefully” ” T he t “C m recita ls.” Udy Bach ll0t ' 1 wiU the teacher sitting at his was very fine in the uch savL and so missing a note, with andante, but don't „ ;? finger waveied that the y thlnk That is Agree w“h them bV side to referee. Suddenly his allegro would sound too dim perfectly n act as better ' cul y aU tf°ryouno» rtght Bach is really unth41 1T „ you are Old Uld rather teach it 366 enough ,T° not °ntinued on Page 418) —

Music and Culture

Musical Development in the Philippines

QLria Cianciue. W.JI.

pupils. If he met with a gifted young musician who was very much in earnest, he bestowed For some years The Etude Music Magazine has endeavored to find a upon him or her his care, lavishly and generously. comprehensive article to present the progress of music in the Philip- Often a lesson lasted instead of the usual sixty pines, but the subject is so vast and so varied that we finally abandoned minutes double the time or more, and how speed- the idea. The following article, however, does cover the activity in one ily these hours passed under his interesting in- section and shoios the work in a particular school which has been struction and guidance! Sometimes, the good developed during the last thirty-five years in a religious order . master used tricks to prove the attention Editorial Note. of his pupils, and he either looked out of the window

USICAL EXPERTS from many lands who avoiding waste of have had opportunities to examine the time, material and M musical talents of these interesting and money, and she in- delightful people, so long identified with the ro- sisted upon economy, mantic arts of Spain and, for over forty years, punctuality and thor- associated with the practical spirit of the United oughness in every un- States, have been emphatic in their praise of the dertaking. It was dif- musical attainments of the Philippines. ficult at first to instill It is impossible in an article of this length to do in her pupils, accus- more than touch the surface of the work of the tomed to the procras- islands as a whole, particularly that very impor- tinating spirit of the tant part introduced by the government of the Spanish manaiia, the United States through the public school system thought that one of and through the various military bands. the great evils is to Etude readers, however, will perhaps be sur- waste time. She pos- prised to see the accompanying photograph of the sesses a vast and thor- music building of St. Scholastica’s College, “St. ough knowledge of her Cecelia’s Hall”, and more than surprised to learn subject matter, as she of the thoroughness with which music is taught at this institution. St. Scholastica’s College was founded in 1906 (eight years after the battle of Manila) (Above) ST. CECELIA'S HALL—The Music Building by a group of Benedic- o! Si. Scholastica's in Manila, P. I. (Left) Six under- tine Sisters who ar- graduates of different races and their teacher. rived from Tutzing, Ba- varia. Thirty years later, the college had or went to the adjoining room, but suddenly the sixteen hundred stu- careless student was frightened by a shout: ‘Tone, dents and four hundred singing tone, listen to it,’ or the like.” students in the musical department. The in- Various Principles spiration and develop- Here are a few of Deppe’s theories, some of ment of this depart- which are contrary to the very modern approach ment was due to the to piano technic. He used to say: “One may have remarkable skill, train- the soul of an angel and yet if the seat is high, ing and guidance of an the tone will not sound poetic. The elbow must be unusual educator, Sis- as heavy as lead, the wrist as light as a feather.” ter M. Baptista Battig, The wrist must relax, so the hand may turn upon a disciple of the great it as upon a pivot. If the wrist is stiff, the tones pedagog and technical will sound harsh and dry. All strength must flow innovator, Ludwig Dep- down from the shoulders, through the muscles pe. A teacher of great modesty and seriousness, is acquainted with the works, the styles and the of the upper arm to the very tips of the fingers. arriving in Manila with very limited funds, she lives of nearly all of the composers, including the The knuckles are made invisible by curving the immediately gave two piano recitals which ultra-modern writers. fingers slightly in such a way as to make the hand brought her sufficient funds to convert an old Of her master, Ludwig Deppe, Sister Baptista become a plane. It looks so pretty and, as Deppe stable into a Chapel. There she began her music has this to say: “Ludwig Deppe relinquished the used to say: “What looks pretty is correct.” The teaching in the Philippines, and from this very directorship of the Berliner Kaiserliches Hofor- fourth and fifth fingers are often used, in order humble beginning has come the splendid institu- chester and dedicated himself entirely to teach- to strengthen them and to get a straight line from life. of art of playing. He was one of the the elbow to the finger. tion to which she has devoted her Scores ing the piano outer The wrist is held teachers, active pupils in various parts of the far East most amiable and patient of a true and slightly higher than the fingers, with the elbow excellent pedagog, working only for art’s sake heavy, bit lower testify to her ability. a than the wrist. At the outstart she laid down the principles of and restlessly pondering about the progress of his These same thoughts were embodied in prin-

JUNE. 1941 367 Music and Culture tone, pedal or concentration, adding with a her beautiful touch, her original way of inter- twinkle in her eye, “Do you believe me now, when preting the compositions. We see again that on others say the same? I hope you do.” With pref- the way to perfection there is no short-cut. Tire- ciple in Amy Fay’s notable book, “Music Study in erence she opens the book, “Great Men and less effort, patient perseverance alone will lead Germany.” Sister Baptista insists upon the fol- Famous Musicians” by Dr. James Francis Cooke, to the desired goal. lowing principles: “In playing scales the hands and reads from the chapter “Think, feel, picture to your- are always prepared from above by lowering them which deals with de Pachmann: self the musical setting of a gradually until the correct position is secured on “Yet I always felt there was composition before beginning to play.” the third degree of the scale. Each finger turns something which impeded the Thus she reminds the something which student on its key as on a pivot and all the fingers con- message, when interpreting a the lines of muscles piece. “If tract towards the finger that is pressing down the clogged up a master, such as nerves. This very thought Beethoven or Liszt, key, to give it additional strength. The conse- and should listen preyed upon me for years. I to you, what quence is a beautiful, singing tone. In playing would he say? He sleep night because • would chords, the fingers prepare from a height of could not at shake his head, or run it. discovered that the away about thirty centimeters, spread over the keys of I as soon as he had heard whole trouble lay in the wrist. your chords!” they want to strike. The tension released, the One of the The wrist was not free,” and so teachers said, after hand falls upon its finger tips with the inner side a recital: on. De Pachmann found that “We can never of the hand slightly bent, the wrist sinking grad- be satisfied,” the hand must be on a straight and was ually and the hand lifted by the means of the answered by Sister line with the arm. Is this not Baptista, wrist. We distinguish four motions: preparing, “Indeed we may not the very same principle advo- be; there falling, sinking and rising. Staccati are produced is always scope for cated so ardently by Deppe? in the same way but in a quick motion according improvement.” De Pachmann was a genius who to tempo.” The use of the various de- discovered it probably by intui- grees of intensity, Through the years Sister Baptista, who has from //// to tion and reflection. taught hundreds, including many of the best mu- WPP, as recommended by Rach- maninoff, sicians of Manila, has developed an unusual les- and the difference in The Master Quoted tempo son plan for her students which is in many ways from grave to prestis- simo are distinctly different from her artistic confreres in When a pupil has no tone also resorted to in “re- fining” other parts of the world. Sister Baptista will often say, a composition. The ru- bat Every lesson begins with a short prayer, “Each “Leschetizky used to say that °, ritenuto, and ritardando are tone for the Glory of God.” Then comes the “oil- Rubinstein’s tone was so warm especially drilled and practiced; ing of the fingers,” as she calls the finger exer- and so beautiful that the former they must be natural and of he heard it. artistic cises. They are adapted to the various needs always wept when and not sudden and un- sev- ever weep when you prepared. the individual pupil; arpeggios of dominant Did you Sequences should be and scales, had no tone?” With Leschetizky, played enth and diminished seventh chords as echoes, or vice-versa; and always slow and singing way at first. you hear her sometimes say soft in a passages depend upon firm- She says, hit the keys, but press them loudly: “But tone, more tone. ly controlled “Never Angers; fortissimo down firmly in legato; otherwise your tones are You have ‘paper fingers.’ Go passages should be full, deep, vibrate.” In studies, home and practice on a ‘closed stately dead, they neither sing nor A sweet girl graduate at or passionate; ” Indeed, one of the can- pianis- she never allows the slightest mistake in rhythm, piano.’ St. Scholastica's. simo passages Eighth Grade should sing or fingering, position; she will ask a pupil to repeat didates for the Slg , and vanish like a dying a passage many times, until the effect is satisfac- Recital, who came for a trial decisively tory. She often repeats Rubinstein’s words: “The before the directress, was dismissed it. the words: “You have nothing in your fin- pedal is the soul of the piano, but you abuse with dare How unclear this passage sounds,” and she will ger tips; how can you to appear before the push the pupil gently aside to illustrate it, slowly public?” above men- However, the pupil’s teacher revived her cour- — I emphasize the “ "parative few and repeatedly. To advanced students and 'y draws from her age and tried the last resource. Three weeks post°St aduates tioned principles, she suddenly twice a year - However, “closed” piano, she exnmifne ~F desk The Etude or the “Musical Essays in Art, practicing on a four hours a day. students S a11 the four hundred who are . result was astounding. The io«t^UCted Culture, Education,” and reads a paragraph on The audience admired large by members the staff 0 f the M of De artment St. Scholastica’s College iSf P of the directress 16 m turn trained by personally q,? have the degree of Bachelor of

enSiV6 Re< The eoui°“ Juire»™*s resembles study at that of w?; St. Scholastica’s lands; the g music schools other examination - in ” e fo course of “ year “L , Mus Bac comprehensive. Thp ‘ are exacting and employed °°* The Etudp ^as enthusiastically cational ars in work. It imkp* Z? ’ its regular edu- Since he followin we are using S statement: courses 8 n ecial in Music App !? textbook in the the r£?n most val^~.on The Etude is 0Iie A1 £tides are 1 refe«mce magazines. discussed „ are<1 ' ' P ’’ Ex ques«ons ’ dlgested Method ’caT forf Lesson, the review. In the tlcles ers ' .. on Principles S R°und Table and 5 dered 0 f Reaching > memorized are well con- 4 and— ? lnto Practice. St miportant , Durin„7f of all— 1 6 '^' sentences Piano Iesson 50,116 pumi are read - ’ ldeas 1U 0rder the ’ hew to ive Dun l V Stimnr ’, S a lke> make a11, teachers and Panin , The Eti !i With joyf 0ur ‘musical’ com- to the' hl expect next ion we look forward alwav humber hi F ' W urcnebua u ’ 5,010 Philippine Army piamst - The mwaysattheendof 1, ot The rr < orchestra is eourse, arrives direction of Mrs. Villancieva. under the each andS m^° ~ ' nth We all here ln the f ar teacheite ache t reaD s career much fruit our by {Contm*® for ^ed on Page 4101 N BUSINESS, time is money. Of course the Music and Culture word, time, means a short time. In other I words, speed is considered a very desirable quality in the workman as well as in the business man. Many men of business, who know nothing about Shakespeare, are nevertheless firm believ- How Fast Shall I Play It? ers in Macbeth’s maxim:

“If it were done, when ’ tis done, then ’tioere well The Rhythms and Speed of the Classics It were done quickly But every teacher and educator knows that speed and thoroughness are enemies. Many a talented pupil fails in the long run because he sped (Clarence rsCucad too quickly over the groundwork of his technic. In his case time was not money. It proved to be an endless worry throughout his life. This impulse to go quickly rather than deeply has been a characteristic of youth since time im- he naturally lays too much importance on tech- in writing a thousand words in the language and memorial. Moreover, speed is the order of to-day. nic. Of course, without technic no interpretation manner of King James’ English Bible. And the Unfortunately, this spirit has invaded music. It of any kind is possible. It is only when the stu- modern pianist is not asked to compose music in impels us to play the older classics at a speed dent becomes the artist that he sees interpreta- the style of Scarlatti or Daquin. It is difficult which would amaze and enrage their composers. tion as the great end of all technical skill. And in enough to play their works properly. Daquin, who The philosopher, Herbert Spencer, who was keenly developing his interpretative powers, it is most was the most highly esteemed organist in Paris, interested in music, wrote: “Music performers important that he give much thought to time. two hundred years ago, is known to the musical and teachers of The question at public of to-day by his Cuckoo, written for the harpsichord music are corrupt- present is to deter- and now played on the piano. Yet mine the speed the the modern French pianists play Daquin’s ers of music.” He Cuckoo gives his reasons composer had in as rapidly as any of their foreign rivals. For speed is The Cuckoo can be heard during April for making such a mind. and paradoxical state- relative. Fast walk- May in the woods and meadows of England,' ment, and ends his ing is not fast France, and Germany. He sings to-day at ex- article as follows: skating. And it is actly the speed employed by Beethoven in the A dominant the same with mu- slow movement of his “Pastoral Symphony.” Im- trait of brilliant sic. M’any mod- agine how the atmosphere, the subtle charm and musical execu- ern pieces are in- poetry of that supremely beautiful scene by the tion is rapidity. tended to be taken brook would vanish if conductors took that A Salterello or a at a very rapid movement at double the speed intended by Tarantelle is easy pace. They would Beethoven! Yet that is exactly what pianists do the Instead of enough, provided be lifeless if played to Cuckoo by Daquin. the call of the cuckoo, accompanied by a kind of idealized it be played slow- slowly. But that is rustling of leaves and murmuring of waters, ly. The skill is no reason why the we shown in playing Overture to Mo- hear two sharp, brisk tones accompanied by a rapid of notes like a daily it with great zart’s “Figaro” dry and rush finger speed. The result should be played at exercise by Czerny. Unfortunately, we have no little bird to fly is gradually to the absurdly rapid to Scarlatti raise the stand- speed most orches- us with proof of and Couperin speed. pace is always ard of time, and tral conductors now But, knowing that the being ac- the internal the conception of choose. celerated, and guided by evidence of will certainly find what- is the ap- The scherzos of the music itself, we that the old masters are propriate time is Beethoven’s sym- compositions of the played with everywhere being phonies are in- far too much speed and far too little sentiment. little ornamental notes, hung changed in the tended to be fast. The many like the melody, were not put direction of ac- But the minuets pearls around there to difficult to play but to celeration. This CLARENCE LUCAS from Haydn’s sym- make the passages be heard by the audience. And to play them as rapidly, affects not pieces A portrait by his son Milton Lucas phonies are a dif- distinctly and neatly as the composer meant of display only ferent matter. They be played is more difficult than but pieces of gen- belong to a slower them to to smother them and play the rest of the composi- uine music. So much is this the case that and more courtly world. We have no more right tion very fast. It is wiser not to play this music habitually when ladies have played it to me I to alter a composer’s speed than we have to all than to modernize it. have had to check them— Not so fast, not so change his melodies or harmonies. Some minuets at minuet should fast!—the rate chosen being usually such as may be faster than others. But no "Modernizing" Schubert to destroy the sentiment. move as fast as the fleeting scherzos of Beethoven. Another composition which is now So ingrained has this habit of speed become The student may ask: “How can we learn the completely the classic composers?” ruined by the furious speed at which it is played that, if the greatest authority on speed in the exact speed desired by and sung is Schubert’s Erlking. The rhythm world played the music of Scarlatti, Bach, and That is a question which is difficult to answer. A of those pulsating triplets in the piano part is Couperin at the speed the composers had in mind, very long culture is necessary before one can feel killed style of a re- by the pace. The action of the piano will not re- music students of to-day would inform the and understand the thought and that only a spond to the rapidity of the repeated notes. The authority that he was playing much too slowly. mote period. We often hear it said sensitive Frenchman can interpret Berlioz and Bizet prop- accompanist is frequently obliged to simplify the But if this authority was also a mu- interpreted the old music with erly. And most people believe that an interpreter repeated octaves by playing them as broken oc- sical artist, who blood in taves, first the thumb and then the little grace and charm which it was meant to of Chopin should have some Slavonic finger. 11 the at its his veins. If this is so, then we can understand Naturally, the vocal part is easier to sing at the express, the students would be astonished and humor. They would how difficult it is for us to hear the music of the increased speed; for declamation does not require beauty,’ cheerfulness, played, for no pianist of the breath control necessary for long notes discover that to perform this music with old masters correctly sung soon legato. song is ruined poetry its composers intended is the period is alive to play it for us. We have to The by the singer, who the grace and to play it veiy fast. get along as best we can, Spaniards interpreting often mistakes his physical strain and nervous far more difficult feat than skill is Debussy, or Americans interpreting Chopin. excitement for musical enthusiasm and Because the difficulty of acquiring finger is sur- feel prised that hearers’ response the beginning of a student’s career, No modern literary scholar would secure his is so cold The so great, at JUNE. 1941 369 \ . “

Music and Culture I inherited from her something of the same What the “Little Mother” Did tendency. Thank heaven! But at the time music was farthest from my reason is that the audience has been robbed of the American Baritone Tells Why In Which Great thoughts. I had an insatiable curiosity about life the true musical charm of the composition. and read everything I could lay my hands on. Students of Singing Should Study the Piano As late as the year, 1878, Liszt played the ac- After my daily chores about the house were done, Erlking for a famous companiment of Schubert’s I liked nothing better than to sprawl out in a singer at a musical party in the home of the &Jca lurenee ZJillett hammock under the apple tree, with a book. Parisian piano maker, Erard. The account may And how I hated it when my mother broke in on be found in the memoires of the French organist, HO WAS IT THAT SAID that it is not the these engrossing siestas with, “Lawrence, come in Charles Widor, who was present. He says that big things in life, but the little things, and do your practicing.” I could see no reason Liszt played it with that “slow and divine rhythm Wwhich decide destinies? Anyway, that is or logic in piano practice; I detested it heartily; which captivated us.” And then Widor added: I wanted to be an actor, anything how it worked out with me. I was able to take but a player of “To-day speed spoils everything. The rhythm is advantage of my big break when it came, not, the piano. But mother was adamant; and I knew that of a taxi.” as most people suppose, because of my voice, but there was no use arguing. Liszt’s transcription of Schubert’s Erlking was because of something I considered of compara- In the meantime I grew up, did some singing made for the slower rhythm. Without the accents tively small importance. in church, some itinerant acting, in fact, did the rhythm is enfeebled. The hammers cannot It all started when I was a lad and didn’t know anything to make a little money. About this time strike the wires with force, unless they drop back I I strongly I had a voice. In fact, during my boyhood was was advised to do something with my far enough from the wires. And in this piece again racked with indecision about what to do with voice; and, although still torn between this and believ- the performer often deceives himself into doctor, an actor, a cow that as a career, I finally my life. I wanted to be a decided to gamble on it, ing that his physical tension in overcoming the diver- borrowed puncher, and to risk several other equally two thousand dollars and came to New difficulties the transcription gives musical of gent professions; and it was not until after I York to study. pleasure to the audience. decided to gamble on my married that I - ^ uuuiuv was T ’ - ua I'UIgH LUUK. It is also true that a steady and well marked me in hand; voice. and, after a period of preparation rhythm, at a moderately fast pace, sounds faster there was mother and that and several In the meantime, trials, a' contract at the Metropolitan than a rushed and jumbled rhythm at a more always be etched on my Opera House early incident that will was finally secured. As with rapid pianist has the necessary all new- pace. The who I was six years old and only too well C erS S giVen memory. ™ only minor roles; and, technical skill play Liszt’s transcription of nT \ l to recall the day when some very solemn looking- although I did the best I knew how with these. I Schubert’s Erlking can prove for himself that a modest home in a men came hesitatingly to our had no idea my big chance would at Liszt’s tempo, and come so sud- performance of the piece California oil town and knocked timidly on the with triplets well marked, the first note of the door. Young as I was, I could sense in that knock will and agitated sound more nervously energetic a premonition of tragedy. Mother seemed to sense than a much faster and unrhythmical perform- it, too, as she went to open the door. The men that this was ance. Anton Rubinstein, who said had come to inform us that dad, a sheriff, had the Liszt’s finest transcription, always played it at been shot and killed by some bandits he was slower than Liszt speed, which was considerably trying to round up. vocalists. the speed at present in vogue among From then on life was pretty hard for mother, is one which This question of speed, however, who now had to support her family; and so we auied for The com- & will never be answered satisfactorily. moved to Los Angeles in order that there would of poser is more or less sure of having the notes opportunity for work. But mother had P ra U e be more although m°ming ’ never elated with his composition played correctly. But he can thing regarding me; that I should the idea° of1 ^ decided on one role, I smgmg a major had a sinkimr fe„r be certain of the tempo at which the composition advantages, specifically piano les- fee Ung have musical stomach. In mv 111 the pit of my will be The temperament of the per- craved imw- “ rendered. sons, which she had always and which I 1 que ed Could learn a part in !““ - former makes the difference. A striking exam- been denied her in her youth. I now realize three'dav.days had ’ which had of spent at least ™ many ple is offered by the performances Wag- sacrifice this meant to her, to scrape tWa what a up 1 S Wagner’s Bayreuth Maybe I would do prcparatlon? ner’s “Tristan und Isolde” in enough money for a piano, a teacher, and then bette^toh t°* Nikisch were making a complete °Ut noW befora Theatre. Felix Mottl and Arthur to stand over me while I counted 1 -2-3-4. Never- fiasco? L t pre- with it, even Would go througb contemporary conductors, both of whom had little mother made up her if it ruined' theless when mind, !VU futpre a with the composer, or singing career ounces of sumably come in contact there was no backing down. Incidentally, I think My rennf tl0n? tradi- Grabbing was at stake.” were at least familiar with the Bayreuth the y reported to have at the 1'4 home sat down tion. Yet “Tristan und Isolde” is piano and beKan™ ’ perform opera, pounding whole taken nearly half an hour longer to learning not out a 17 than under that of the other niy own Part but also under Mottl’s leadership parts so t Uf resented any And if ow Nikisch. Both these men would have “You Can't Get Away From It!" you don't when to come in. har- thmk f-v?-hlsM tempering the composer’s melodies, time. I spent a job, try it some- with the b tt But Wagner’s spee nights Part of three and monies, or orchestration. glued to thni w days the speed of eithei tessly lano st might have been different from tapping out ?. °ol, tapping, end- beating 6 Mottl or Nikisch. the part! my loot, literally my ’ ThA™Caes memory, ’ and all details, into it is a , ur. Know the Spirit of the Times n< r apartments the neighbors in the foi whereneie 1t u, !f This only goes to show how necessary it is out. lived did not have me put of t e the musician to study the characteristics The tempo tS period to which the old music belongs. told hat F met- many time! idaV night have beer with precision. The i°dM , f f cannot be put on paper received 4 know beer the classics until I h°w 1 had ronome was not yet invented, when room, A in process agBed from the dressing did not come into genera of a kY were composed, and it 1 d>d not ng ofI m Anc The metronome fully realize V “make up.” use till long after it was invented. H have Papers arrived. dhtil the next morning” modern editions of old music markings on Then modern editors and, like nearly it was been put there by mother” that T i, they indicate either a tor than “littl' all metronome markings, insisting king the Piano; 8 faster than the com- for> 1 1 learn th ' speed which is very much Without to Play speed at which the equired tw the fastest in ' ability, so painful! poser’s, or give early fif e T Hence it is always able composition should be played. to accomplish °Uld never have beef metronome number. The pera the r at safer to reduce the ,° m three ° £ Earning a whol raeno» m eucn seat cushion daysa a ! should be used fiom time is the muffed” v - metronome, however, late inno- my And so I hav TOfton for passengers on Gulf big ch would steadiness of rhythm. Many Transpo, t, or when to time to ensure Radio Rebeliner. The music new the it came. vocal play in played player of „ The afraid this will make them seat can not be heard each “s 6l0dy pianists are in ,he adjoin! ot kn°w Instrument, wh But steadiness of rhythm one. k ? the imnnY a mechanical manner. knowledge of tance °1 (Cont. on Page 416) the a fine workin is the basis of all old music. piano age whei1 Iten a* die ofber Si'* °, a great eis who lnto wit have had thf competition 370 nis advantage. Music amd Culture

difficulties come naturally to him; one may acquire a fine trill with next to no effort, and so on. Making Practice Profitable Hence, each one must be dealt with individually, both to develop strong points and build up weaker ones. For that reason, I am loath to think in terms of any single system or practice routine that could Conference wifh A apply to all violinists. For the same reason, I feel that the greatest service a teacher can render his pupils is not to cram their heads full of facts; a but to study them, to chart their individual apti- fl/]hc^ tudes, and ultimately to draw forth from them the World-Renowned Violinist best of which they are individually capable. That is where hard work comes in, for teacher and pupil alike. A good teacher will gladly take the time and effort to plan a system of instruction for each individual talent that comes under his care, even if that system is never again applied. A good student, in his turn, will accept the course of study planned for him, realizing that it is more valuable to work at his difficulties than to polish up (or display) his strong points. There is far more credit in conquering obstacles than in swimming lightly along the line of least resistance. That, precisely, is what practice is for. Let the student remember that he is not practicing in order to learn a “piece” or to please a teacher, but to make himself a better musician.

Value of Self-Criticism

There is only one way to make the practice hour profitable. That is through alert, aware self-criticism. I cannot over-emphasize the importance of learning to split one’s person into two halves, as it were; one half concentrating on performance, while the other half sits back listening to the result in impartial, objective criticism. The advantage of this lies in the fact that listener and performer have identical standards. The half-of- you that listens knows exactly what the half-of- you that plays is trying to express—which is not always the case when the performer stands upon the stage and the listener sits in the audience! Intelligent practicing consists of three steps: (1) the formulation of what you wish to say; (2) the effort to express this idea through your playing, plus (3) a simultaneous and dispassionate ap- praisal of the points that go well and the points that go badly. Only on such a foundation is progress possible. Fortunately, no human being can build this foundation for you, except yourself. MISCHA ELMAN TO-DAY How are you to criticize playing? What generally happens when we criticize a performance (our own or someone else’s) is that we judge playing in terms of some other playing. Secured Expressly for The Etude by RUPERT HDLDERN If we hear an interpretation of a Beethoven sonata that pleases us, we unconsciously measure future interpretations by that standard. When we say that Mr. Y does not give as satisfying a rendition N SPEAKING OF VIOLIN STUDY with any the student who enters the teacher’s studio after as Mr. X, what we really mean is that we approve young student, he immediately questions in him. That is because music is not a single gift, of Mr. X’s version and that Mr. Y’s is different I terms of what. What shall I do? What ex- but a series of gifts. First and most important is from it. This is a natural, but also a dangerously ercises shall I study? What shall I play? It seems the inborn sensitivity to music itself. Either a critical attitude in which to fall. It is particularly not. The finest teach- dangerous for the student (or to me that this is the wrong way to go to work! person has that, or he has the performer) What you practice is of secondary importance ing in the world can never create genius; it can, because it dulls him in thinking out his own interpretations. compared to how you practice it. You may play however, greatly develop natural endowments. There are many ways of interpret- it important to study each ing music, and none is right scales, fingered intervals, formal exercises, or That is why becomes and none is wrong! passages from a major work, and the good you set of natural endowments as they appear. Most Never try to play “like” someone else, no matter of the mistake of thinking that the in- how eminent he may be. It is derive from them will stand as a plus or a minus us make an excellent thing, is the whole story. Actually, it is not. of course, to select quantity, depending upon the manner in which born spark a model of playing, but that Natural musicalness is always accompanied by model should be chosen in terms of hoiv you work. he does it individualism in music. In other further phenomena, and these must be carefully rather than in terms of lohat he does. I believe in It is quite instruction or of analyzed. Six pupils of equal musical endowments legitimate to imitate fingerings, words, no one set method of methods of bow- conquer the will develop along six different lines. One may ing that seem practicing can ever be laid down to more effective, color nuance, and have a strong sense of rhythm; one may possess similar problems of every violin student. The system that means of showing you how to release of structure one pupil may be quite unnecessary to hands such physical that technical musical interpretations. ( Continued on Page is good for 414)

1941 371 JUNE , r , 1

Music and Culture Morning Music

and What It Meant

Some Interesting Little Known Facts About Ancient Concerts and Their Givers

(Element ^ln troluS Mectmd

OT ALWAYS WERE CONCERTS held in the ing a whole day—like those held on November evening and after eight o’clock, which is 22nd in honor of St. Cecilia, which date certainly TENDUCCI N quite customary. The change is, of course, from 1571 and probably much earlier, and the due to the development of artificial lighting. great choral festivals which are said to have When people were dependent upon daylight, the sprung from them and to have lasted several hours of meeting in winter were necessarily much days—naturally began in the morning. ^ suggested eighteenth c ntur* earlier and, with sixteen hours to The English term “Hunt’s up” is byV Gav’^n^ay f , in summer, an equivalent aubade s llnes Just quoted, tl French aubade. iik P it-o choose from, more varied. Those were the days of to the That many sided C-°ngeners ’ the s& man enade, had apn nocturne and the aubade, a term which many modern people, Charles Butler, parson, bee keeper, musician and Ulr d an This it has f. instrumental characte who would have no difficulty in telling us what a scribe, in his “Principles of Musick” (1636)’ de- l0St rece ‘ composers ’ for two such fines as SchuIhS? it simply as each h ° ff and stePhen Heller hai “morning written a ™ musick,” movement in this form. but the expression was particularly associated with a musical welcome to a newly a married Gazette ertisement from London wife; and for rieL, J the Cotgrave, 51 3 ° th> writing At Mr JohI 1672 ' thirty years Tams ’ Musick-schnni ^ er s house, now called the later, seems to know in against the George Tavern of no other mean- White FriaMtl presen will ing. it musick t Monday, is to this perforJMM ' ning excelient masters, begh1 that Gay, precisely * of “Beg- n+ four noon, 0f the clock the after- gar’s Opera” fame and in ’ vrecisely v afternoon the future refers: at fh „ Same for Here As I® hour. rows of well k! often llese meetings are drummers regarded as Th’ L music sense flrst modern stand in mar- of the term ™ concerts in the earliest Thls is be were the shal file which w Pr„ °ause they And Payment pen to the public »n with their of a fee J?, general first to e coln the vellum thun- unlock tlm A which thus was a ors was der shake shilling. Tlj of a concert room the jeady e f ep n h° Vile, mentioned b y Handel for the sl- C To greet the new- shillings and at ° xforti was at fir^ ia e,-An , * ^Closely three rnade bride. following b shillings. But etric 11Ster those morning fi B s concei'ts were con- Ah i uxtehn\de certs were not ndmusiken at Hubeck, known as IN 1782 con- Mfure • They A SUNDAY CONCERT fined to Of re na- those of What we ’ however, in the The Oldest Music-Room in Europe, a monograph on the shn T? Courtesy of the publishers of the “Hunt’s rather now cal1 ^ figures I take up” an organ Rev. H. Mee, Mus. Doc. Of the 13 those standing g than i Oxford Music-Room by J. type. In am a a° pr°' holding copy of mus.c lor performers in one month Was hot ncert (though the from tell to right, to be a harpist; gentleman given confl fiddle (which he holds against right shoulder); Ju ‘y. 1733, 1 the 4 ° beinS iron! oi player on -'kit", a diminutiye and organ solos) him- in Thev K Marienkirrh , gentleman (il player . instramenl invisible); lady one oboist; violinist (sitting?); harp player; city, y be an after service- Oxford ? a ‘ the usual (note sword) To left of harpsichord; player ot Oxfor ri 4.30 M (note high coillure and dress); gentleman two concerts p a with fan. ot the 1733 Handel’s concerts violoncellist; oboist and lady , usually same; ordinary The la y A kind 10us begau bi°', at - took 5 p M - or Place, Thom» o series nt one given by Britton oncerts arranged by coal) m . the ? ’ over ‘ Cal s mall-coal (chat' serenade are, could not define. lessor ot Music at 6 A. M„ and maintrn his shf nocturne and a thMthe^by tor ln L were dawn”, aubade Handel” at 9 A. M, and in be thirty °hd°n, which Through its literal meaning of “the neither case menlM does a™ " ed here, years (1678-1714) must function not uncommon in surprise seem to have been expressed y scriptM I0 . , came to stand for a at t>M conce r hey ' term hour. Indeed, the i-ts. were the flrst sub medieval days—a morning concert. The former was expressly htMlater Admf desermnbed'2 11 free, have acquired a musical sig- as “successful.” As modern was a cb was at flrst would seem first to instances the nfade°oS 4e c?? it foi ing concerts given Vent 1 shlllin season nificance among the troubadours who used by the London given in y years w* gs a Musical thetb * lat 5 which was the parting of from 1844 to 1880, those given 0,1 the -Music ‘ er, for the concert a song, the subject of by Spa nrA, . f ee R00 tras h d 4 °xf iSl daylight. Festivals last- and the breakfast programs > with fioohled °rd, built in n lovers at the approach of over thec lauio an n a may U ea charged. Scotland nal shilii,® beluo uffordsaff° 8 T r 372 us mn J° each admission Continued on Page 423 Music in the Home

Musical Films for Early Summer 4 2XnJd HE ETUDE BALLOTING to determine “the finest interpretive dancers, and two feminine city slogan, for use on tourist advertising liter- finest musical film” presented in America, members of his company. In support are thirty ature and picture postcards. Basing , great hopes T during the first six months of 1941, is arous- couples, whose brilliant costumes accentuate the on Messrs. Robin and Rainger’s apparent sym- ing all the interest expected of it. Response is Indian motif. The dance routine itself falls into pathy for matters Miamic, the Chambers of Com- heavy, with votes ranging from open postcards the Indian folk pattern. The Condos Brothers merce of both Miami and Miami Beach appealed to detailed and interesting analyses of the quali- were brought to the coast from New York to part- to the song-writers to include an opus in the new ties that make for fine musical films. Motion ner Miss Grable in a combination routine of film which would lend itself to use as a permanent picture music exerts a great influence upon the rhythm, tap, eccentric, and buck-and-wing danc- local theme song. Which presents a problem in level tone and of our national entertainment, and ing performed to You Started Something . Is That diplomacy. Miami and Miami Beach are compet- it now lies within the power of music-loving pic- Good features Charlotte Greenwood and Jack ing municipalities with not a little rivalry exist- ture “fans” to speak their minds on the type of Haley in an amusing burlesque turn. Betty Grable ing between them; and the Robin-Rainger efforts music values they demand. Have you registered and Don Ameche perform what is officially de- must steer a careful course between the feelings your vote? Don’t fail to do so; your opinion will scribed as “a ballroom dance with trimmings” of the two sets of city fathers. Possibly something help to determine the kind of music you are going against a tropical night-club background. Other along the lines of a greater Miami will result. to hear in future. When you see a musical film songs include Miami, I Got You All to Myself, At all events, the picture promises to measure up which has value to you, simply jot down its name Loveliness and Love, and Hooray for To-Day. to that standard. on a postcard and mail it prompt- Ambitious dance-developers should find en- ly to “Musical Film Award,” The couragement in the career story of the Condos Etude Music Magazine, Philadel- Brothers (Nick and Steve) , who, it seems, gave phia, Pennsylvania. themselves their entire training on the sidewalks of Philadelphia, where their father owned a res- taurant. An older brother, Frank, was the first to use the sidewalks as training ground. He began dancing on street corners for pennies and pres- One of the most important new ently entered vaudeville, where he became one of musicals for June release is “Moon the best eccentric, tap, and wing dancers. Next over Miami” (20th Century-Fox), Nick took to the sidewalks where he remained which title, strictly speaking, until Frank summoned him as partner. Nick, too, seems better suited to a winter became a success. Then Steve began the same showing; but one cannot have sidewalk preparation. Presently, Frank gave up everything; and the abundance of strenuous eccentric dancing, and Nick took Steve aural and visual pleasures the film as his partner. In the ten years of their associa- provides amply compensate for tion, Nick and Steve Condos have appeared in Miami in summer. With lavish set- many Broadway “hit” shows, in night-clubs, and tings all in Technicolor, “Moon over in the two pictures, “Wake Up and Live” and jyiiami” boasts a six-star past, in- "Happy Landing.” Their technic is entirely their country cluding Ueiiy Grable^whose fan- own, Starting nut wneu m was f Uu mail bearing the postmark of mili- well-known tap dancers, they made themselves tary camps would seem to rate her unorthodox, using a bit of everything in their as the ‘favorite star” of the boys routines, from the schottische to the Lancashire strut, and originating all their newly inducted into the U. S. Army dances. Prior to —Don Ameche, Charlotte Green- their work in “Miami,” the Condos Brothers wood, Carole Landis, the Condos played for nine months in “The Crazy Show” in Brothers dance team, and Hermes London, where they were thoroughly bombed, and also exceedingly popular. In the pan. This marks Pan's first ap- Condos case, at pearance on the screen, although least, unorthodoxy has paid remarkably brilliant he has been drilling dancers and dividends. dance routines for years. He RKO Radio Pictures announces the return to evolved and directed all the dances the screen (date not determined) of Gloria Swan- for Fred Astaire and Ginger Rogers son, in one of the title roles opposite Adolphe when they formed the foremost Menjou in “Father Takes A Wife.” No other single dancing team in Hollywood. screen personality, it is said, has ever enjoyed a Anna Neagle and John Carroll in a scene from the musical “Miami” is directed by Walter greater following throughout the world. Whether film version of the Eroadway musical comedy hit "Sunny." Lang, who performed similar serv- or not Miss Swanson’s re- appearance is to involve for “Tin music is as yet unannounced. ices Pan Alley.” Music is At all events, her in the hands of Leo Robin and Ralph Rainger, The selection of Robin and Rainger as song- return will be anticipated by all who admired her who have evolved eight new songs, written around writers for “Miami” stimulates feelings of satis- in the days of the silent screen. musical the Florida setting. faction in the Chamber of Commerce of Miami The comedy, “Sunny,” which still ranks Conga to a Nursery Rhyme and Seminole Beach. Some years ago, the same tunesmith-team in memory as one of the most notable Broadway Legend are the major numbers in the picture. A wrote the song, June in January, the title of hits, is brought to the screen in the RKO Radio spectacular Conga routine, performed with vari- which was adopted by Miami Beach as its official Pictures release under its former name. Con- ations by Betty Grable and Hermes Pan, is the sidered one of the most popular musical comedies high point of the first number. Seminole Legend “Sunny” made Jerome Kern’s haunting melody’ uses music and choreography to bring to life a Who?, a household tune and greatly enhanced mythical story of the Indians in the Everglades. MUSICAL FILMS Marilyn Miller's fame when it was first produced features in 1925. The dance Jack Cole, one of the nation’s Now, with three (Continued on Page 427)

JUNE. 1V41 373 .

Music in the Home

Wide Artistic Appeal Marks New Records

J3u feeler Indeed

instrumentation. HE recent simultaneous release of Bee- orchestra’s in his perform- thoven’s “Symphony No. 3, in E-flat’’ Kostelanetz, of “The Music of Stephen T (“Eroica”), played by Toscanini and the ance NBC Symphony Orchestra (Victor Set M-765) and Foster” (Columbia SetM-442), and senti- by Walter and the New York Philharmonic-Sym- is sophisticated This sort of phony Orchestra (Columbia Set M-449) offers a mental by turns. have an immediate choice between performance and reproduction thing may it does not which may prove disconcerting to the music appeal, but to us likely that it will endure lover. What Toscanini does for the score of the seem heroic as long as the recent “Foster “Eroica” is nothing short of a miracle. The by Morton Gould strength, the majestic sweep, the religious utter- Gallery” great (Victor) ance of grief, all are brought out of this to The first recording of the score in a truly unforgettable manner. Even Indianapolis Symphony Or- one who has known this symphony through long chestra, directed by Fabien years, Toscanini’s reading may prove a new Sevitzky (Victor Disc 17731), musical orientation. Although Walter’s perform- Tos- is distinguished more for its ance is less compelling, less exciting than robust performance of the canini’s, it is nonetheless a searching exposition as rousing Dubinushka (a Rus- of the score. Walter is not as energetic nor in his sian folksong, brilliantly ar- dynamic; he is more consistently Teutonic the ranged by Rimsky-Korsakoff) divulgement of the meaning and structure of of than by its playing of the gay music. He utilizes a considerable number whereas and festive Russian and Lud- changes in tempo to achieve nuances, without milla Overture of Glinka. Toscanini obtains his tonal colorings Sevitzky, who also conducts altering the music’s drive. enjoy- the Philadelphia Chamber Since recording plays a major role in the home, there String Sinfonietta in Panto- BHUNO ment of any great symphony in the WALTER going to find mime, March de la Caravanne, is no question that the Walter set is only the and Tambourin from “Denys le Tyran” a more immediate appeal; for it is not by Gretry 13590) is less has done with (Victor Disc , persuasive in k most successful job that Columbia this °wski in Victor Set M-« Stokowski achr>v also a truer reproduc- music, dating from the time of Mozart and eS U a domestic orchestra, but tag of US clarity h'S ”, Toscanini Haydn, than he is in the Russian this mUsic than the music. ’ tion of a symphony orchestra These realized. and th° recording is supei than previous pieces require clearer definition and more set. The latter, however, is better nuance the acoustically lifeless than the ensemble shows in this record. Mu3lc sets emanating from lr ’ of Johann Strauss,' during an actual Harl McDonald’s “Sante Fe Trail, (Columbia" Alh. studio 8H, since it was made Symphony um M-445) more , the selections abrup en No. 1” is a program work which is skilfully appealing coughs and the made 1 performance. But the ample, the revious set. For some colorfully scored. It offers Motor '?- P sides may irritate and three pictures of Walt?, ings of several record one of (dl5c 11027-D), proves tc trouble to hear the American pioneers, and its three movements the com A listeners. Yet if one takes the are the Ser ® better Most fervor and titled The Explorers, The Spanish selections waltzes. Toscanini set four or five times, the Settlements and show for s ecial occas: more fully appre- and The Wagon Trails of the Pioneers. The Strauss’ P intensity of the playing will be score C1 g for that is frankly picturesque and es. Barlow meeting such emerg appreciated, and it may well be provides no problems anH f^ hended and Symphony 1 Colu Broadcas recording for the listener. It is music . mbia wish to part with the that recalls in Orohp * one will not spirit 1 inter the opera “Natoma” by Victor Herbert, undeniable Pret this music ^ despite its inadequacies. as well as affeonV*motion, No. 6 the paintings of American lent. and the recording is ex The performance of Brahms’ “Symphony artists who specialized Orchestra, the pioneer spirit the Chicago Symphony in of the Southwest. The 6 in F Major” by com ' (Columbia poser is fortunate in having in tSbm gh Orel under the direction of Frederick Stock Eugene Ormandv £? the Venusb Symphony exposition of this and the Philadelphia Orchestra Tannhauser” e 9 Music wagr Set M-443) is a less substantial as the inter m? lrom Weingartner preters this work, Reiner ^tambia I Walter or the of for they perform it proves Set X-193), score than either the with u J^ romanticism and strength. (Victor Set M-754) ral 10 the ore: versions. Stock seemingly feels the . technicians nouTh .”8 foi'emost interpretation Mozart’s “Sinfonia Concertante ‘tas music be(ore of this music, and bases his entire in E-flat” (K a brilhw the Public. He t drive of the open- App. 9) is actually a quadruple agaries axposition, s on this quality. The surge and concerto for oboe’ 0f tentuo albeit with p - are thus given a clarinet, bassoon and horn. Mozart ’ burgh Sy Unquestionably, F ing and closing movements wrote it f mph the belongs only group of gifted lt lestra which rightfully a musicians of the deserv is a flne aniza gentle benevolence Concert - es or§ pel haps spirituel in Paris, thahap cleanp inner movements. Walter shortly after arriving it has and blearer reproduc to the two in 1116ti been aA? . obtains the rightful con- French capital with his mother, in more than anyone else 1178 Be Bu

Here is a musical book which is wholly and totally American. It is a history of music in America done very cleverly in a different manner. In fact, it is an integration of American music with American history. The Etude Partly original, very individual in its structure, and partly pasticcio or “scrapbook”, in Amer- icanese, it covers a wide field in a very necessary way. Some fifty quotations (now and then a whole Music Lover’s Bookshelf chapter long) make up this book which reflects, in picturesque and forceful manner, human feeling and intelligent thought upon America and the music of America. Thus the writer takes the reader from bleak New England beginnings, down the long highways of musical romance, in our South, our West and to our Canadian and Spanish-American borders. It is as colloquial as. Mark Twain, Bret Harte or Eugene Field. The whole book is fortunately within the ready grasp of the average high school student and will be found a work of unusual educational value as well as notable popular charm. The writer has for years been one of the outstanding teachers of the Middle West. Much of her most valuable work has been done at the quasi-burlesque vaudeville show; it cannot de- “Fantasia”; size of page 12" x 9", about one-half fourth dimension in University of Nebraska at Lincoln. She knows her scribe the suggestion of the inch thick (pages not numbered). Price $1.00. pictures to great America and has rendered a valuable service in the which would seem have Publisher: Random House. the development of this book. promise. “Dance of the Hours”; about 10" x 7". Price $.50. “History Sings” Your reviewer was too overwhelmed with the Publisher: Harper Brothers. By: Hazel Gertrude Kinscella gorgeous riot of color, the amazing synchroniza- “Pastoral”; about 10" x 7". Price $.50. Publisher: Pages: 528 tion, and the delightful flights of Disney’s humor, Harper Brothers. Price: $1.50 human understanding and exquisite fancy, to These really magnificent examples of color Publisher: The University Press question the improprieties. However, he has the printing (among the finest we have seen pro- feeling that, when this startling film has come duced in any country) give the reader an oppor- Band Instrument Repairing tunity to study the almost incredible gifts of Mr. the library Disney, which have brought him distinctions To of musical books which is grow- from the greatest educational institutions ing with amazing rapidity, we must add a book of and have aroused the enthusiastic applause rare practical interest. With the increase of the of the of whole world. These are among the use band instruments in high schools and col- most beautiful gift books have seen, especially leges, their repair becomes a serious matter. This we the Simon and unusual book is prepared by Erick D. Brand, Plant and Schuster publication, their price is so Superintendent of the well known manufacturers low that your reviewer feels sure that thousands will find desirable presents. The of wind instruments, H. & A. Selmer, Inc. The them books pre- is liberally serve the same fanciful fairy designs book illustrated by cuts. Any educator and the flood color which your reviewer never or band master interested in keeping his instru- of expects excelled save in a Venetian sunset. ments in order should find this book invaluable. to see “Band Instrument Repairing Manual” Author: Erick D. Brand Pages: 157 Want To Go Into the Movies? price: $5.00 Here is a book which explains, with great defi- Publishers: H. & a. Selmer, Inc. niteness, just why the writer of this review can SKETCH FROM WALT DISNEY'S "FANTASIA" never get into the movies—save those he takes Disney-ized Music This little sketch is from Mr. Disney's with his own Cine-Kodak, with which he has ex- One of the most much discussed Beethoven "Pastoral Symphony" episode. touted motion pictures of re- posed some three miles of film. The book is writ- cent years has been the Walt Disney-Leopold ten by a talent scout for Metro-Goldwyn-Mayer Stokowski-Deems and gone, the most valuable result will be six Taylor-Philadelphia Orchestra- pictures who, as a part of his training, studied Bach - books presenting in masterly and permanent Beethoven - Schubert - Moussorgsky - Tchai - for grand opera at Milan, Italy. Evidently, manner many of the scenes from “Fantasia” in the kowsky-Dukas-Ponchielli-Stravinsky movies have created a new profession, “Fantasia.” color. that of the Either you like “Fantasia” movie scout, and we never may very much indeed or, “Walt Disney’s Fantasia”; by Taylor. 175 know just who like Dorothy Deams Thompson, you take to it. may be behind the lamp-post looking us just don’t pages (Size 13 inches by 9.5 inches). Price: $3.75. over with We have met many people the idea of Shanghaiing us and of excellent taste who Publishers: Simon and Schuster. taking us to have gone into the most over Hollywood. However, Mr. Clarence M. rhapsodic flights “The Nutcracker Suite”; an interpretation by Shapiro has “Fantasia.” done the public a service in making Walt Disney, Introduction by Leopold Stokowski, it clear at the This review- of six start by telling us: remarkable books, which with six special arrangements for piano by Fred- have come from this widely picture, “Frequently we hear about this girl discussed erick Starr. 70 pages (Size 10 inches by 11.5). who was cannot take into consideration very discovered by a scout while she the really Price $1.50. Published by Little, Brown and Co. was selling startling improvements thumb-tacks in the ‘five and in sound reproduction, (The musical selections are very simple and ten’ basement, or which make the film about that young fellow record of the Philadelphia practical.) who, while working for Orchestra sound •Postal Union’, delivered astonishingly like the orchestra “Ave Maria”; an interpretation from Walt Dis- a telegram to the casting Philadelphians are in the director, who immediately accustomed to hear ney’s “Fantasia.” lyrics by Rachel Field. 36 pages. saw star possibilities famous old Academy of discuss in the lad and forthwith tested Music; it cannot Price, $1.00. Publisher: Random House. him and signed the propriety of introducing material him at five hundred per the very week ... It simply is not of the figures conductor, the narrator, and the so—at least not in cases I know of or have heard of the it about. Chances members orchestra in a fairy dream; are a hundred to one that both cannot criticize the makes the these young sequence which BOOKS folks had had some substantial dra- program a kind of quasi-classical, matic high sublimated work in school or in some little theatre JUNE. 1941 —

Beethoven’s “Opus. 10, No. 1", a The Renaissance was beginning to dawn. Man Music in the Home nered Hat", or book like that of Mr. Johnson contains a wealth had new faith and new hope in the ultimate tri- valuable collateral information. The book in- umph of right and beauty. He was beginning to group or otherwise. This background, together of chapters upon “Horizontal Listening”, have something more to live for, and this all with the exceptional good looks they were prob- cludes “Listening to Pattern Music”, “Listening to Ro- made way for one of the most astonishing re- ably blessed with, and a natural flair for dra- mantic Music”, “Modern Music”, “Instrumental vivals of creative work in history. matics, contributed to their achievements.” pages are devoted to lists of It must not be thought, however, that the Dark Then Mr. Shapiro goes on to tell all of the Music.” Eleven records. Age was wholly a “black-out.” While the library scores of accomplishments which might get one a phonograph “Intelligent Listening to Music” shelves of the world are loaded with books about “look in” with a casting director. All these make William W. Johnson the Renaissance, all too little is of the Middle us think of the young girl who was turned down By: told 191 Ages during which a process of hopeful endeavor, at one of the studios and demanded: “What do Pages: Price: $1.75 fusion of artistic aims and many you think I am—a paragon?” transition, led Publishing Corp. courageous The author discusses “Physical Attributes”, Publishers: Pitman souls to much that was beautiful and exalted. Great “Voice”, “Pronunciation”, “Facial Expression”, cathedrals slowly moved toward the skies, Canterbury, “Posture”, “Movement and Action”, “Interpreta- The Curtain Falls Cologne, the ever lovely “Training and Ex- Notre Dame and others. The Crusaders, with their tion”, “Personality”, “Singers”, The whole musical world felt a great loss in the Material”, and “Some Busi- fantastic zeal, brought the East into contact with perience”, “Audition passing of Dr. Donald Francis Tovey, Reid Pro- - - — * ness Observations.” Music in the University of Edinburgh. It OI1C i 1. U U V fessor of the Minnesingers this a very informative book went from town to town, sing- The writer found is therefore with no little sorrow that we welcome invaluable to anyone ing the romances and the strange and one which should be the sixth and last volume in his now historically histories of events to the with ambitions leaning toward celluloid immor- “Essays in Musical Analysis”, nobles and to the peasants. The famous series, which world was preparing for greater beau- tality. is devoted to “Supplementary Essays, Glossary and more tiful things, but “I Scout for Movie Talent” and Index.” Thus this admirable musicologist it already had real treasures often ignored in By: Clarence M. Shapiro completes two hundred and fifty incomparably these days. The educational re- paper binding orms started by be- Pages: 84 (octavo size) fine discussions upon the greatest musical works Charlemagne were slowly coming important Such Price: $1.00 in the art. The latest volume includes comments to the common people. imaginative writers Publisher: A. Kroch and Son upon works of Bach, Gluck, Mozart, Beethoven, as Dante, Petrarch and Boc- caccio inspired Mehul, Mendelssohn, Schumann, Berlioz, Brahms, a world all too long restricted by superstition, stupidity, it The Origins of Music History Verdi, Tschaikowsky, Reger, Mahler, Elgar, Si- sorcery and magic. But was an age of the histories and the philosophy belius, Brian, Busch, Zador, Wagner. The index picturesque, of color, of chivalry A history of music k Bbth appeared the book refers to all six “ °°d which all its of the art of writing, which has just at the end of volumes, own has a fascination Mr ' ® musical library. Vale! R ese 's book is compre- from the press of the American Book Company, an asset to any hT";, one of the first serious inter- in Musical Analysis”, Vol. VI res of the develop- is an indication of the vast and the “Essays rne^- unusual musical ment of this remarkable est in music which has been developing in a man- By: Donald Francis Tovey period. U h constant surprise to those Pages: 168 dlvides his b three main ner which is even a sectin„f T °^, °ok into field. The book Price: $4.00 The Music who have been working in the Western 0( Ancient Times; H— University Press Em- discusses in detail the sources from which mu- Publisher: Oxford P n M°n0dy t0 about 1300; IB the PoTynhonv P aSed!f 7 is derived. The book is one for 011 tbe Perfect and sical history Its nknil Consonances It is a ment serious student and for the musical library. Baton Beats by Polyphony based on the in Third proud addition to the literature of musicology One of the simplest and best of the books America. upon the elements of conducting, that your reviewer “Philosophies of Music History” has yet seen, is “The Baton in Motion” by Author: Warren Dwight Allen Adolph W. Otterstein, of San Jose State College, Cali- Pages: 382 fUlly Prepared a Record fornia. The book is only thirty-eight pages long covering l Price: $3.50 founee“r 6S ' mdlcatin what mod Company (sheet music size) but it contains over eighty interpretations S Publisher: American Book of tlus musl recor reproductions of graphic photographs and twenty and where t-h« c have been C °rdS adequate notation illustrations. eight may be Procured. Thii Music While the book pages of him Intelligent Listening to ^°&r aphy, in indie is not designed to make a Toscanini or a Stokow- the tireless invo fine type, experienced Eng- S lgation wh< William W. Johnson, a widely ski, it will serve as a splendid certainly the author, introduction to to hp r. for music n lish educator, has endeavored to do conducting for class and private use. erudition latUlatea upon a w °rk o£ 1 had whieh° f what a Huxley or a Tyndall might have done, “The Baton in Motion” everywhere deserves a place in libra The music rather than science been their subject. By: Adolph W. Otterstein upon mu- book is one of the most sensible works Pages: 38 because sical appreciation that has yet appeared, Price: $1.00 without the author has not attempted to do Publisher: Carl Fischer Price: with $5.00 musical notation what can only be done Publishers; W. W. musical notation. Medueval Norton fc upon Music Company The writer has read most of the books seen one One of the finest accomplishments in the has never field 1' l musical appreciation, but he l; ' "";TONS did not of musical scholarship, yet to be produced In France^it^ which amounted to very much which in America, is the recently published Papers the custoin ^ and references “Music in to reservpfu of many employ liberal notation examples the Page 6 order to ge Middle Ages” by Gustave Reese. Obviously for light bottom Part of the to the best records. In other words, in such a liter** is the result of Particular tU e s actually know work many years of close T or essays giving an appreciation of music, one must applica- writer's ject ion • descn e tion and research. The book is very under upon almost any something about music. No words can finely bal" the sun an , described. For ins when what Arthur or to an essay i can taste the food Sn 1 v rig now know as music was slowly emerging writer a thousand words from tlT6 U iS nice influenC6d could use centuries when civilization library reading which is eaten by was largely y - s i or describe the flavor of the durian under1 a a cozy corner 11 you would have cloud. Sharps multitudes in the Orient, but and Flats" The author starts with music in ancient little idea of the fruit itself. tim S the essentials of and carries the book through to 1453. If one has had a training in when th 6 Cor- curtain may be said to fall on Pnce: Falla's Three the • $3.00 music and is able to play de Dark a

376 Music in the Home

Inviting Summer Radio Schedules

^ydH^recl rsClndiat^ ^Yjoraan.

program called “Frank new works for performance this year as well as Black Presents” (Blue net- some novelties. The bulk of the programs will, of work, 6:30 to 7:00 P.M., course, be drawn from the standard repertoire. EDST). The latter broad- The Screen Guild Theater (usually heard Sun- cast will feature vocal and days from 7:30 to 8:00 P.M. EDST-Columbia net- instrumental soloists in work) changed over to “World News Tonight” at concert music especially the end of April. The program for the summer is chosen to appeal to sum- listed to feature direct reports of CBS corre- FRANK BLACK mer listeners. spondents from the important capitals and news Besides the above pro- centers of the world, as well as highlight reports grams, Dr. Black continues and analyses of news from New York and Wash- ITH the advent of daylight saving time in through the summer as conductor of the Cities’ ington. In view of the momentous events in the many parts of the country, the summer Service Program (NBC-Red network, Fridays, world to-day, this program is one worth hearing. Wschedules of musical and other radio 8:00 to 8:30 P.M., EDST), and also as conductor At the end of April, Kate Smith rounded out shows begin. Thus the week after the final broad- of the “New American Music” program (Blue a decade of broadcasting. There is no question cast of Toscanini and the NBC Symphony Or- network, Tuesdays, 10:00 to 10:45 P.M., EDST). that Miss Smith is among the most popular chestra, the NBC Summer Symphony Orchestra This latter program, of which we spoke at length artists of radio. One would hesitate to predict exactly began its concerts (Blue network, Saturdays, 9:30 last month, has met with a wide success. It was what it is that gives this singer her pop- ularity; undoubtedly it is a matter of to 10:30 P.M., EDST) . This program is scheduled re-scheduled for a new and longer period of time personality to be heard with a series of guest conductors until even before our first story got into print. Dr. as much as anything else. It goes without saying the return of the NBC Symphony Orchestra in the Black tells us he is spending much time looking that the lady has charm, but she does not over- fall. No news was forthcoming at the time of go- over scores. Literally hundreds have been sent in stress it. One suspects she owes her success to her ing to press, on whether Maestro Toscanini would to him for examination, and it has been no easy natural manner, as much as to anything else, and return in the fall as the leading conductor of the task to separate the wheat from the chaff. How- to her graciousness and affability which endear NBC Symphony Orchestra. Following his last ever, the advent of this program has definitely her to so many. Perhaps Southerners would claim concert in April he was scheduled to leave for shown that there is much good musical work it her birthright. For Kate Smith is a Southerner. South America, where according to the last re- being done by young composers in this country, She was born in Greenville, Virginia, on May 1st, ports he would remain most of the summer. and already listeners have demanded that many 1910. Hers was a natural talent for singing, and When one looks back over the series of concerts scores be re-played. The idea of giving second although she never had formal instruction, she that Toscanini gave us during the season of 1940- and third performances to works which Dr. Black sang frequently as a youngster at church and 41, one recalls his superb and unmatched read- and the radio audience feel warrant further amateur theatrical entertainments. Her vocal of old ings many favorites. The last concert of hearing is one that might well be aped by other gifts first were recognized when she appeared in the season, an all-Tschaikowsky program, fea- broadcasts. a singing role in the Broadway musical, “Honey- tured the conductor’s son-in-law, Vladimir Horo- It is good to see Frank Black so active on the moon Lane.” After this successful venture, she witz in the “Concerto in B-flat minor.” There airways: for no other man has done more for the appeared in starring roles in two other musical was a more luxuriant sound from the orchestra advancement of good musical entertainment comedy hits, “Flying High” and “Hit the Deck.” broadcast, in that which emanated from Car- than he has in his decade as a radio conductor. It was a young recording executive, Ted Collins, Hall in negie New York City. If and when the Following the completion of the New York Phil- who started Kate Smith off on her radio career' conductor does return, it is to be hoped that the harmonic-Symphony Orchestra broadcasts on He was so impressed with her vocal ability when broadcasters will see fit to schedule all the pro- Sunday afternoons, Howard Barlow has resumed he heard her perform at a benefit in Washington grams to be played in Carnegie Hall, where the his summer schedule with the Columbia Broad- D. C., that he proposed a business partnership! tonal quality of the casting Symphony their orchestra is richer and more Orchestra (Sundays, 3:00 to with radio as goal. This association resulted in spacious sounding than 4:30 P.M., EDST). Sir it is when broadcast from Thomas Beecham, the Kated, Inc., a corporation capitalized at $400,000 regular studio in noted English conductor, is scheduled the Radio City. to give two whose stock is owned jointly by Kate and Ted. The noted Canadian concerts this month with the Barlow orchestra; conductor, Reginald Stew- When Collins first spotted Kate, she was pre- art, opened the concerts and later in the season Bernhard Herrmann, the paring to leave the of the NBC Summer show business and take 'up an Orchestra young American conductor-composer, will also be Symphony on April 26th. On May 24th, active career in nursing. But from the beginning Edwin McArthur, the American heard as a guest conductor with this orchestra. the partnership conductor, began clicked, and in 1931 Kate started a four weeks engagement with the orchestra. These Sunday afternoon concerts will continue on her radio career. In her ten years on the air One of the busiest through September. Barlow has scheduled some conductors this summer will Kate Smith has introduced not only many new be Frank Black, general music director of the songs to the radio public but also many new stars National Broadcasting Company. On Sundays. Dr. Among those who got their first start with her Black will continue with his interesting series of were Ezra Stone of the Aldrich Family. Abbott String Symphony broadcasts (Red network. 2:00 RADIO and Costello, Henny Youngman, Ted Straeter to 2.30 P.M., EDST) and will also be heard in a Bea Wain, and Adelaide (Continued on Page 420) JUNE. 1941 377 — L °

Music and Study

"Sunk* 1 The Teacher’s Round Table I am fifteen years old and am discouraged about my piano lessons. I keep up my interest in music and practice fairly regularly. But, here’s the rub: no one ever in thinks £ have any talent. Even my teacher Cond acted Monthly these tragic days—to bring them tells me I am a musical “dub.” the riches, beauty and contentment, Isn't there any hope for me. even if I which music to work hard? Please do not print my real so lavishly pours out all name, for I do not want any one to know who industriously and intelligently I wrote this.—“Sunk" search. Recently when my son asked his swim- You are evidently an aspiring person ming coach to choose one or two lads to or you would have stopped teaching long work out as an extra boy needed for the ago. What other work can offer you the tank team, the coach said, “You can thrill that music gives? Perhaps your just remember Noted Pianist neighborhood you pick him out yourself ; but —the district in which that between a fellow who is a good nat- and Music Educator live—has changed during your fifteen years’ ural swimmer but fools around and won’t teaching. It is, no doubt, now filled tend to business and one who can’t swim up with people with whom you are un- well but is willing to work seriously—I'd sympathetic. Why not move elsewhere? always take the second guy.” Correspondents with this Depart- Don’t be afraid to take a chance. Prod ment are requested to limit Piano playing is slightly (!!) different Letters yourself into enter- to One Hundred and Fifty Words. new contacts. Join an is the prising from swimming, but the answer church, work in some of its soci- ordinary eties; same. Given normal mentality, get interested in an active P.T.A. coordination, good teaching and group muscular —for even if you are not a parent, any one can learn you systematic daily work, have a vital interest in the young peo- well. This does not apply ple a to play fairly of your community. Join or organize like strings, woodwinds, ANNOUNCEMENT music to instruments club, study club, or a serious read- and so on, where the player must make ing ilot Acceding to many requests, may I make the following statement concerning circle. (Please note that I do well five years I the pitch of each tone; to play these technical principles which for have: been trying include the to clarifyclarifv in card, sewing and dancing clubs!) demands sensitive pitch consciousness The Etude: What do parents, teachers and friends time have I studied with Matthay or any of hisi t At no exponents.. _I not needed for the piano. t1greatly of Here admire him for his significant contribution to the field of piano pedagogy young people need to-day? are . most Perhaps your teacher and parents principles which I have evolved during many years of is a little you- The teaching and play- incident which I will tell making the their inception and development due trying to prevent you from ing are my own ; mostly to the It long line of happened in I on excellent students of all ages and grades with whom I have a school concert mistake of going into music as your life’s worked. My own gave for f teachers (long years ago!) were Otto Hager and George very young children; kindergart- work. They may be right about this; you Proctor, with short periods of study with Artur Schnabel and Ernest Hutcheson. ners they were. chil- bal- Furthermore to Music, I said to the may not possess that indispensable correct a misunderstanding, may I say that I have not been ren, two a member of 'th»U1G had to have three ingredients, ance of qualities which makes for success faculty of the University of Michigan Music School for ten years. of which I named illustrated- in our profession. and ihythm and asked the leery of predicting melody. When I I am always very tiny audience if it a will in the music knew the third, how far any one go oui sal youngsters -year-old promptly stood up and world, for I have seen so many sh yly, “Mister, love- with outstanding musical gifts get no- I know it—it’s Yes, . only Mothers, Teacher where, while others with apparently other’s company, working at hobbies, lis- Fathers and the an ounce of ability have arrived near tening attentively to serious or light pro- need it, lot more than talent! decently modulated radios, suiting swift *5' ' Ho- much we top. It takes a grams over physica^degenerationR just— to B relation now! Often, and determination studying, making music—in fact, inevitnhivinevitably tot n . leads an urge reading, hardened arteries indicative of help of and study such as you have are living a full life; all without the dissolution, In fact, you are ^ already latent talent. So, if I seem to beat around even one teeny drop of alcohol or a puff of goner a it is only be- movie once in a week The Arpeggios the bush, just remember tobacco smoke. A youngsters themselves not heard out an event. leadeafl Spar^ ~ I not know you, have or two is a treat, a dinner tan existences, • main diffic comparative cause do their onlv Hie WMfcr, ulty is the watched your families who do not ing tlon tak ' ° f seem you play, and have not There are countless the form of my r *Sht hand. I ,2 oecito„T ESrle ty of muscle would be unwise for me to take care a hoot for dancing, night clubs, cards "Science Fiction"— of do nr£ R facility, but the work. It whatever th n°* stand true » looking a° up. This is most any other stand. But, if you are or cocktails. There is time each week for take their school They rem ai tasks solemnly prnctlce - hand , youi ln', unUrS° The left for one of the best ways to express war relief work or church activity, games, scientlously, d con_ The only have four even if they Is tn corrective I time and to and plenty tlce emotions, to have a good philanthropic projects, walks— mountains of criticism heap comnwT for quite a time others, I upon nmn™ y relaxecl very contribute to the pleasure of of rest. Books are read and discussed, an cational odern edu- touch* - really methods anc iustli Isi« this**, do- piano. But, be de the right thing to advise you to keep at your occasional lecture, play or concert taken qualifications the n •* of some of California. just for the fun is then “T™ sure to practice and play in. Once in a while there a motor trip Their aCtes 111 extra-curricular ' el ybody i® of stops and side drives no activifit e has a “weakness” of it, won’t you? with plenty means as hectic ara nghtri»vn ; as ‘the°“'li t W hand (also and no speeds over fifty. And I’ll wager, would han S° Inin his left) have you believe Th^ ters in arpeggio ,T “Cists- despite those noisy little cliques of wu.a y aV men- way",vay " 11if What Is the Use? whoopers-up which infest necessaryheeessar “'! C streamlined surprisingly y ' Ban ' clever 10 1 busing. Very rapid ?' . After fifteen years’ experience teaching every community, that an overwhelming develop fascinating P10jecte and 'ishtly and those of high hobbSs - ? Wn alon adolescents, especially majority of our people live lives to match sively for t four “tores, hands sports, togetb° ltl school age. I am convinced there is no or h r * piano this pattern. two insti P ay one * ! - smoothly, perfectly, and use trying to interest children in uments well or outout a P Vt0 Thev break ? ? not All the families I' know are in the “Ah, but,” you say, “you are forgetting life's most ’® learnip lt sure study. valuable’ less™ g same jittery state, brought on I suppose those enfants terribles, the high school rS6lf a second chance. You ready-made amusements, radio, Pllv h bv cheap brats who stay out with the car, heaven tly the timel movies, and so forth. The war has sme jazz, until three A.M., who u ,r^' tas general unrest I can t knows where, pre- - Pianists cannot also added to the this who feel so hopeless sent other with jewelled hip flasks, had >« It longer and each business 6 difflcult better careful stand any V building tory take e , for some other ot p around strike beU' 6 that I am looking whose every nod and whim terror to the technical comp *, serious 5 ' 01 tin) living. Aren't on// serious business of and do s way to earn my into the hearts of their elders." All right, hard, 'reij^'Tflym meth d „ left in these mited concentrated S. to tas about it without sensible parents music T. NothingNoH°?° ,<• just out of luck. where are they? We haven't seen a single ronomy, to t0 ' *S pli8hed States, or am I the study of as “Sloppy"? York. one, and we don’t live sheltered lives—not to gasolin" touch,ouch ouP>»?u B., New Scout work 6n ' as it. if y° and to many ? Smes, with fl„m you caii ,V other family circles, by a long shot. Our young high school ect. And these her ly dippin and Let me show you are not e*I ? p,'°i- fingers ' 8 wrist Try of friends are even more conservative than thrives 1 8 v hundreds of thousands on ™ ' Youth aie wasttn y°ur made up of self-discipline era Playing the 6 who live simple, their Mas and Pas. They view with a ton Both a q this land, are j® Perfcc- arpeggio slowly and r, people in indispensable arm siiico 1(ie lives—with whom, cold, fishy eye any levity, any falling mtehigent n ed slw disciplined, productive human beings Brow®g, elbow ri'eely from the piS contact from grace on the part of their parents. lus n? tin if v you have no and Uy8timu - ***b*i,1 11 tragically enough, encouragement tehtTygenti ' “fioating", and even disapprove such mild indul- 'thm° aiL!!1 ?. I know well does not They people need °Ur ' The kind of family in their young 6 P ‘ ano: 'vrist ratne with gences as coffee, tea, tobacco, not to struggl t and leve ™,’,? roP' speaking acquaintance perfection which, toWav4 R d have even a the PPine drooping : luscious desserts thank hS plnB1 >, ’ ke? radios or demon mention those which confident each °nsits jives, jitters, blasting can be '' they are fiHfiger first touching bring comfort (and poundage) to middle reached wh with thp foI-e- children stay at home receive this 'VUl of speeds. Parents and "bucking they arm, a sligHtly rotating y. each age. And woe to the parent who takes their up^Tf’'" the e enjoying ®ng *> several evenings a week, teachers? They Phe “ softly "flashes" H *$, need^youTmore ins tant than the finger flashes and tC0?l£;, n 378 mued on Page 420) 76 ,

HE MAJORITY OF PIANISTS and students Music and Study of the piano think only of the fingers. They Tforget that the motion of the fingers is only a minute part of the motion of the entire mechanism. Arm, forearm and wrist motion materially help the motion of the fingers. The proof that the larger muscles of the arm Four Strong Foundations and forearm require special training at the start is found in the work of the very young student and the adult beginner. With the former, the The Importance of Proper Hand, Wrist, Arm and small muscles of the fingers are not ready for intensive finger training at the keyboard. If Forearm Motion in the Study of the Piano begun too early, an over-conscientious child becomes tense, while a confident child will develop slovenly and uncontrolled motions. In kindergarten it has been found advisable to eliminate some of the work that calls Kj €iL -J,men for control of the fingers and even the hand, and to use instead imple- ments that require use of the larger muscles with When Theodore Presser founded THE ETUDE in 1883, he put in large rhythmic motion. The adult amateur or beginner, type upon the cover, “Devoted to the Interests of the Technical Part of through lack of ease from timidity and self- the Pianoforte.” With the advance of music in America, our scope has consciousness, is sometimes more helpless at the broadened, but please note that fifty-seven years .after its foundation keyboard than a child. THE ETUDE still presents the best educational and technical In preparation for articles on well controlled digital skill, piano playing obtainable.—Editor’s Note. much valuable work may be done at a table. The exercises chosen should establish an example for the movements of the arm, wrist, and hand, as used in piano playing. They must bring about a natural relaxation, followed by direct and simple Wood Nymphs’ Frolic, by Aaron movements. By concentrating on the point to be gained they should preclude 5 Ik \ self-consciousness. If f Relaxation is the first point to be sought in the building of technic. This is effected naturally when, sitting before a table, the pupil lets the arms drop straight down from the shoulder, where dangle they like swinging ropes. Lift one arm at hp Jr the shoulder, then drop it to the table where it In MacDowell’s To a Water Lily this rests loosely, palm downward. Now slowly raise wrist movement aids in tonal effect. the wrist until the fingers, resting on their tips, draw the hand into the position for playing. At Ex. this point the arm becomes like parts of a ma- — n chine, namely, the arm, the forearm, the hand - mp and the fingers. These are able to function separately or conjointly through the joints, either at the shoulder, the elbow, the wrist or the knuckles. § Wood Nymph’s Harp, by Rea The inertness of the hand and fingers while the arm is set in motion is next of importance to -d -4 - 4. relaxation. It is more difficult to understand and ~ F F still more difficult to acquire and retain. Here is ®a. * 5cSi * Ssl 5&L $ the oft-quoted remark of a prominent pedagog The opening chords of the Polonaise Op. that may help: “Let the hand, when in position 26, No. 1, in C-sharp minor by Chopin are more to play, rest as though encased in an iron glove, ef- fectively played when this attack is used. As but left free at the wrist.” Thus the hand rests the hands drop to the chords, the fingers playing the when carried from point to point over the key- thirty-second notes are allowed to touch board; the whole arm used for the greater dis- Next, we have special exercises for the wrist. their one for “attack respective keys with sharp impact just before the tances, the forearm for the shorter ones. The There is and release” which will will the of wrist others, thereby giving the proper import to these motion describe an arc, or slight curve, and stress importance movements in up direct drop strokes. With the the notes without further effort. the will be made by the wrist. The and down hand on table sensation will be that of a floating arm. as in position for playing, release all the fingers Ex. middle one. is Allegro appassionato All the best teaching material for young chil- but the This finger left as a pin on adult the the dren and beginners, written in the last few which to balance weight of arm. Slowly years, indicates a raise the wrist, then lower it below normal, in a change along the line of ap- U" r «7 to technical up and down wrist motion, leaving the hand - proach equipment. There is a wider slow -= - - the adult amateur and advanced use of keyboard, a spreading out or getting inert. An an stu- from will find immediate application of slight de- .van away the middle C, two and three octaves dent j jfe either side. pression and elevation of the hand in playing on And a free use of the arms is en- in known compositions. In the Etude in E couraged practicing distances, in crossing well All legato octave passages played with hands, and in shifting melodies and passages Major, Op. 10, No. 3, by Chopin, it greatly facili- alternat- the playing of the bravura passage of eight ing fourth and fifth fingers require slight from hand to hand, in all the easier pieces, tates wrist where motion, either elevation when using the chords and intervals take preference over scale measures both hands in widely extended fourth positions play the split diminished seventh chord finger or corresponding depression when work, examples of which are shown in excerpts using series of changes. the fifth finger. from four favorite teaching pieces. through a The wrist stroke, Criss-Cross, by Hannah Smith sometimes called wrist staccato, is easily acquired by simple, direct, Ex. I well controlled movements. Hold the inert hand in a perpendicular position by drawing it back at the wrist, then throw it forward so that one or all the fingers touch at their tips and let it bounce back like a rubber ball to the first position. This movement may be practiced using a prescribed

1941 JUNE. 379 w .

upon per- forearm swings the hand irom side to side. It is of studies, which are all grounded Music and Study progress degrees indispensable in playing extended passages of fectly simple themes and by beginners play broken octaves such as found in some of the to the most difficult ones. While interval, either sixths, or later with triads taken and Beethoven. It should the theme, the more advanced pupils practice three, and six moving music by Mendelssohn in second position—one, themselves at the same time in more or less diffi- passage be used in playing the broken chord passages of up and down the C major scale. Such a might imagine that from Motion. It is also employed in cult variations. One Staccato Etude. Weber’s Perpetual is found in Rubinstein’s this manner of proceeding great confusion must playing vibrated octaves and chords. wrist conscious as ensue, out of which the teacher would be able Ex. 8 A student should become bear to distinguish very little; but, as the children who early as possible. Although the finger tips play these studies sit near each other, one hears, the weight of the arm, the hinge or point be- according to whichever part of the room one may tween the forearm and hand holds the balance be in, either one or the other of the studies very and control of power. It also aids or restricts the point pro- distinctly. The teacher also frequently makes action of the fingers. Tenseness at this part of half of the pupils, at times all but one, cease hibits free and controlled muscles in any tone color playing, in order to ascertain their progress in- the arm and will thwart all efforts at dividually. or speed. chiro- Carrying the hand over the keyboard from “In the last lessons he makes use of his rather than a children point to point in slight curves, plast, machine by means of which the energy and the arms straight lines, reduces the amount of get accustomed to a good position of observed that allows greater speed. It has been and hands, and which, as soon as they have garments factory workers sorting and packing progressed so far as to know the notes and keys, rhythmic swing. It is is removed first of use circular motions with a from one hand and then from All detached strokes are but modifications came from watching musi- the other, and then for the first time they put beginning from an accented claimed that the idea this wrist movement, organists. Moving in their fingers stac- cians, namely pianists and to the keys and learn to play scales; note and going to the light wrist and finger will be a dead lift at the beginning but all this, in the respective studies, with all the Mendelssohn’s Scherzo in E curves, there cato required in will continue from children at once, and crisp only after which the motion always in the strictest time. minor. This wrist motion, because of its momentum or the impetus given at the When they have then progressed to a new lesson attack and release in the first its own effect, is used for be to control the motion. they do not of course out No. 2 by start. The study will succeed in bringing closing theme of the “Sonata, Op. 27, When moving in a straight line the weight is more than a few notes of each measure, in the Beethoven. a dead never lessened, because the muscles carry quick movement which they hear being played weight throughout the motion. near or around them; but they soon overcome the start, we In training the larger muscles at more and more of them, and in a shorter time finger work. We prepare the way for effective than might well be believed, the new lesson is their stead the remove handicaps and teach in played as well as the previous one. motions that will find a place, con- “But coordinating what is most remarkable in Mr. Logier’s or subconsciously, in building up a de- sciously method of teaching is that, with the very first pendable technic. lessons in pianoforte his studies and pieces playing, he teaches There are many delightful pupils and harmony at the same time. How he does for by Thompson, Burgmuller, children tliis, I do not know; and for be played with a crisp that is his secret, Streabbog that should which each of Hunting Song by Sc u- A Check Up the teachers in England who give staccato. There is also the instruction on and the more ad- his system pay him one hundred mann. For the adult amateur guineas Lit e £utola JJedier 'I'licleLe (one hundred times shillings, vanced among the children there are the t'Bu twenty-one Bach, or twenty-one hundred about Prelude in C minor by Johann Sebastian shillings in all— and student’s progress, five hundred and ten of Solfeggietto by his son, Carl Philipp Emanuel Teachers wishing to rate a dollars at present rate are inter- worth while to give exchange) Fur Elise by Beethoven, all of which from time to time, will find it well as or a full grade under e r SUltS ° J re esting and have wrist requirements as him a composition a half this meth°d with his pupils a nevertheiessn P'vpri v, f the composition previously studied. This wonderful; for the finger work. . , that of children between unless, played of determining the pupil’s Ven and ten *' A waltz bass will sound insipid is a definite means years solve the most di ™enh- ° motion that reading, in feeling the rhythm W S ’ I with the inevitable wrist and arm progress in sight ‘ ? ™ wrote down on„ the„„ boarduo„ u „a triad, glides o e displaying his ideas ana denoted the accented beat, that of a composition, and in own kfey in which they were to modu- stresses the ate with light wrist ; °ne ot the ran plays the two chords of interpretation. ! .,“ littlest girls immediately right and 10 the hand to a new simple piece is mastered in a cred- Ine board and, and then is raised to carry If the more after very little reflection’ This machine- the teacher may be assured that wrote first the position, moving on without effort. itable manner, bass and then the upper notes- player through carefully has advanced in a satisfactory I frequently repeated wit® like motion will take a the student this test and indeed “take and pay back license phrased rubato, that manner- &U manners of difficulties. I motion has tendedT^ended it tn perturbation, if the effect of to the most wh ictl without divergent kevsKeys in ' Waltz enharmonic g ’ been studied and practiced sufficiently. changes they often bear basses are not unimportant parts. They Piano Class Methods in Beethovens their progressions. Note much significance by lmmedia‘ely E-rmnor, by bass' nerhen came forward, w®f? these measures from the Walt?, in Time W for evSvthi^ “- corrected by a third; and Chopin. y were obiiged to as B* Wducio Worden K: tXXctr ® upon tret’ 1 —the the table a simple to d While the methods of present-day piano peda- each 6 into my head-and of them to PUt"T gogs are so intriguing that one may well envy the each the other three voices to upon her °nwn children who are priviledged to benefit by their “““sla te. At thesue time -I to themth^^T?that tn“ same i,»,- ,, instruction, thetne emcacyefficacy ofoi modern teaching solutluu°n°h of r the teacher „ hj _ the theme 1* 01 ‘ best,“’ practices can hardly be_ compared with that • shouldULUa UCQ of would inscribeinsoriho consider the given in class lessons as England at the beginning musical :soU,e,‘ of their album as a e perform^performs/ormance. i( of the 19th century. The following account All1 uninteresting, look to the ap- and „iK. . wereWere now fulllul1 ° “Tf part becomes activity! anv peared in the Leipzig Musical Journal ana"™'"a of S of a painstaking peda- of 1820: littlest few minutes one ccents " was the advice of the o-iv,” imply force, “Mr. Logier. a German by birth, but resident does not necessarily guished herself had already oe Accent for the last fifteen years in England, by *'!kuj motion. The hand that has gives in- out the Iaymg and m W ut' skill in directing first t° for it struction in pianoforte-playing and in problems* bn , te requires careful watching, harmony inspect; A’ rought me ®er sla* do . e least to upon a method of his own invention, but in her & and hold back the brilliant in which he octave She had omitte to become mzy in the third ? ne i apt permits all the children, frequently as many bar 0 as Of the middle w the baSS ““111 thirty or forty, to play at the same voices ‘ where the time. s - 011 motion No S ' rotary It ranout tof„ herU— ... . sooner had I P the aim, as the “For this purpose he has written three than blush n et the weight of volumes eyes, she and with tearS ‘ reist balances took back’theK the m< Continued on Page 380 THE Exvpt Music and Study

Let Acoustics Bring Resonance Into Yonr Voice

O YOUR SOFTEST, most intimate tones f carry to the back rows of a large audi- D torium? Can you sing large, heroic tones C^ri^slal \AJciteri that are enjoyable to all, even those sitting in the front rows? Vocal resonance is what professional singers call that round, warm, scintillating quality that makes soft and loud tones carry well and will enable you to conform to right conditions. the second springing through water in expand- sound enjoyable. Those who have this desirable The production of sound depends upon three ing circles. Toss a cork into water, and then throw quality neither strive nor struggle for it. Con- elements, a vibrator, a generator (starter) and a in a stone. The cork merely bobs up and down as sciously or unconsciously, they conform to con- resonator (re-sounder) . For the voice, the vibra- the energy waves pass by, like a small boat in the ditions which permit the laws of acoustics to tor is a pair of muscular shelves, like inner lips, wake of a passing steamer. It remains in the same which the rising column of breath (the genera- spot, as does the water it rests upon. So it is with tor) sets into a to-and-fro motion. These oscilla- the air through which sound passes. The energy tions create energy waves that spring forth from sets one portion of air swinging to and fro, and the vibrator in all directions, like light from the that sets the next in motion, and that the next, sun, like heat from a fire. They dash against the like the bumping of a line of freight cars. surfaces of the surrounding spaces (the resona- The lesson this teaches is that it only defeats tor), break, bound back smaller and weaker, your purpose to “push” your voice, or try to enter into the oncoming waves, amplify them, “project” it to the back rows. Such vain efforts throwing over them a pattern of multitudinous interfere with the right conditions you must smaller waves. Haven’t you seen water waves maintain within your vocal instrument if the laws of sound are to carry your voice for you. The effect of sound is the reception of energy waves by the human ear. Acoustics analyzes and measures what the ear hears. It reveals that musical tones have organic structure as mathe- matically exact and orderly as a unit of architecture. If your voice is to be enjoyable and have carrying power, in common with other musical tones, it must have a foundation tone (called a fundamental in men’s voices) which is carried by the large, strong waves springing from the

Illustration 1.—The epiglottis perpendicular, as it should be, automatically lets sound waves spring out, increases resonance. A relaxed, forward tongue pulls the epiglottis up and forward.

fulfill themselves, and resonance appears in their tones as if by magic, without the slightest personal effort. Acoustics is the science of sound, including 'production, transmission, and effect. Science and art may seem to many people as Illustration 2.—The epiglottis pressed down by the far apart as the North and South Poles. In view tongue, to cover the wind pipe during the swallow. of their differences, this is not surprising. The Sciences deal with cold facts and intellectual dash against a surface, break, bound back smaller concepts, while the arts are concerned with per- and weaker, enter into the oncoming waves and sonalities and warmth of emotional feeling. Sci- amplify them by throwing over them a pattern ence is a disinterested analysis of abstract ideas of multitudinous smaller waves? such as are found in mathematics, chemistry, The right conditions then are good breath sup- physics, art is “such stuff as dreams are made of.” ply, a liberated vocal mechanism, and surround- Yet, strange as it may seem, science underlies ing spaces that are open to let the sound waves all art. Chemistry enters into the making of art break against their surfaces and dash out into Illustration 3. —The epiglottis partially pressed down materials; geology, into architecture and sculp- Can you direct, focus, place the light waves by a dragging tongue lowers its soft cushioned sur- ture; mathematics, into space. drawing and painting. face over the windpipe and this muffles the voice. itself from the sun? The heat waves from a fire? No Music originates in the realm of physics and more can you grasp sound waves and place them is inseparable from mathematics. Philosophy and They travel under their own energy. psychology are the motivating anywhere. vibrator, plus its overtones, called resonance forces behind all , Sound is transmitted to the ear by air. Not that art, especially that of poetry, prose and drama. carried by the smaller, weaker waves bouncing travels, suppose. It the air itself as you may from the surrounding surfaces. Singers Need a does not, and you can prove this to your satis- Knowledge of Acoustics Does your voice sometimes sound mushy, dull, faction by again comparing sound waves to water The moie you learn about the sciences under- lifeless? Do you feel you must use effort to be waves. Both are actually waves of energy: the lying your art, the more time you can save in heard? Muffled tones indicate that conditions are first springing through air in expanding spheres, achieving self-expression. A knowledge of acous- not right, the laws of sound are not being ful- instance, is tics, for sure to improve your tone filled. Probably your tongue is dragging back, or for once production, you understand its laws you pressing down, filling your throat column as a conform can consciously to the conditions which cork fills the neck of a bottle. This dampens the work for you. jet them Briefly, here are a few VOICE sound waves, as a cushion held before the mouth outstanding facts, together with exercises which dampens the voice.

1941 jUNB- 381 using a Music and Study If a tone sounds muffled and dead, try Eighth Note Rhythm slight tongue impulse the next time. The clearer, more resonant tone you will hear is the result ^lunette oCing-eibach of conforming to conditions which permit the The Tongue is Frequently at Fault of acoustics to fulfill themselves. laws Eighth note rest rhythm is simply taught by In the many years I have been a teacher of the transposition of this right hand phrase from singing, I have encountered all the various grada- and J. W. Lerman’s Dance of Automatons. tions of muffled, mushy, ineffective singing have witnessed the appearance of clear, tinging resonant tones in their place. More than any other single element, it was the tongue dragging obstructed the sound back, or pressing down, that Incidentally, the smooth performance of the laws of acoustics from waves and prevented the thumb slipping under, the counting of dotted fulfilling themselves. quarter notes, and graceful slurring, become pantomime chewing food Take a moment to part of the lesson on eighth note rhythm. the jaws and you will discover that, every time back separate, the tongue automatically draws Unless you aie to throw the food under the teeth. unusual, your tongue carries out this habit-pat- Plastics in Music tern when your jaws separate to sing. The E. I. du Pont de Nemours Company is pipe. It The epiglottis is the cover for the wind usually thought of as manufacturers of explo- and is gov- ALTERNATELY- is joined to the back of the tongue sives. Few people know that their undertakings are relaxed erned by its movements. When you Send the tongue in other fields of chemistry are enormous. For relaxed to forward against and breathing normally, the tongue is instance, in music their plastics are adapted to the lower front teeth, the epiglottis is perpendicular, the front teeth with an im- many uses. freely. When you swal- the air passes in and out pulse that sends A plastic reed for clarinet and saxophone, downward pres- low, the tongue pulls back with its sides up to made from “Lucite” methyl methacrylate resin, pipe, the food the upper teeth sure, the epiglottis covers the wind is the newest of many plastic in mu- THEN— and the jaw applications choking you. When you open slips by without down with a sical equipment. Plastic applications range from tongue drags back, Relax the tongue your mouth to sing, if your backward move- piano keys to all-plastic clarinets. Their light- and let the jaw a groove, the epiglottis is ment toward the or presses down with return to mere ness, strength, durability, moldability, and tonal soft cushioned spine. lowered over the wind pipe and its separation. Re- qualities have made them increasingly popular these condi- surface deadens the voice. Under peat this ten or for fabrication of musical mu- bring times, equipment. Some effort in the world cannot twenty tions, all the many times a sical authorities have acclaimed the new crystal tonal quality or force i o resonance into your clear “Lucite” reed as superior in most qualities conform to the right condition: carry. Simply to a bamboo reed. Its tonal and vibrating qual- muscles that bring the tongue strengthen the ities are excellent and it more the epiglot- is several times in relaxed position so that durable forward a than a bamboo reed, they say. A reed of Presto! The laws of acous- tis is up and forward. Lucite may be cleaned does Out comes the by washing, for it tics fulfill themselves. not begin to absorb water, and will split. Im- effortlessly. ee not warp or voice, resonance and all, and portation of the best bamboo from tropical Asia Illustrations 1, 2, and 3.) has been made uncertain by war conditions. H" luminated orchestra Designed to Strengthen Muscles conductors’ batons, clarinets, Exercises saxophone which strengthen mouthpiece, and transparent protec- Here are your daily exercises tive packages tongue forward and for phonograph needles are other the muscles that bring the ucite ™portant applications in the field. Oca- the back. But quite as musical relax those at rinas, radio dials, performance in this. think or lenses and knobs, “juke box’ as their faithful e o) yo gS and piano applications at ease. Think ' music racks are your throat as relaxed and TOf «f™ like it Plastacele" The forth the way you would cellulose acetate plastic. voice as coming mouthpiece, an thought plays an important body cavity and Anger holes of to come forth. For ma success. be preclse in and loca; vart in your eventual Etudes Workshop “f size, shape relaxed and From The f tiC best when you are p matert al is with 1 Notice that n credited all meeO™ the rec rach your tonguepouches luirements. music breathing normally, , Piano the palate. Mam hshtin? t0 elf lower teeth, rounds up to touch minate glare and direct light ap jaw, and to the ™ SIC ! relaxation as you drop your THE ETUDE BANK 5core is fluorescent tain this tuhe enve Gained with a around and around. Tuby a swing it up and down and sl3ee t ot louvered “Plastacele- exercise strengthens the Here is one of the quaintest little Drum .nn ng 2. This tongue-impulse S m Sheets pea> stories ever to come into our workshop. of c°l°re d or white tone forward and the epi efle^s J v f0r, muscles that pull the from a sprightly little teacher banios mandoim It came - guitars and 4.) and Piano v ate it. (See Illustration . progressive town in Texas. S glottis with from a Here are “Pyralin” cellulose nitr letters t. 1. mastic ann,- ! following exercises, the it is. 10 3. In the 8 ' V Nyl° ’ 1. n iS used on Yi°lin impulse. On the tone marked 1. "Most of my pupils come from fairly cen0 and d w ^ ®a stand for tongue baSS st gut *> sing. As the well-to-do families. One little lady of ™gs ot natural slight tongue impulse as you protecSve d give a twelve, however, said to me, 'I would 8 - Brid parts a» ges ’ yiolin of your tongue become more string Haw bow muscles at the back like to take The Etude, but Mother says ’ hear more 6 parts on String instrument are sure to afford it.' 'I think I can fix phonogram? relaxed and plastic, you I can't that,' rec°rds numerous . radio cabinets, I replied. I went to the ten cent store mechanical resonant tones. and bought her a bank, on which I put radios and phonograg a sign, 'The Etude Bank.' 'Now,' I said, Plastics. UPment arS made ‘ 'get your mother or your father to give “lS” “P? - aand “ ’ Plastacele”, "Pyralin you one penny a day; you save the nylon m U°ed by pennies for a year, and you will have while the ^ Pont CompaJ the C Uments three hundred and sixty-five pennies. Fabricated h?f “d other products f That is one hundred and fifteen more 7 musical equipment manufacture pennies than The Etude costs.' She took it home, and the scheme worked so well that several of her friends started an C b j St a matter repetition- Etude bank. The Etude at S2.50 a year example! take° of az2 p t'^ costs only about seven tenths of a cent Ple Ilke because are so used to that a day. It's the best bargain it cw mirror to practice your songs in all music." of 04 acquire a hlBh 4 stand before a musical taste by ,fan1 apart to let your listT™llste . your jaws swing more than mng to trashy music and see roarthat tongue a nnl 7 y ie and that your is voice out foi e y 7llab among thoseVho^ead P““” your for its vowel, > remains forward to

382 pli THE ETV hroughout the continent, on certain Music and Study nights of the week, groups of people gather T in their various churches practice to the music for Sunday services. For the most part, they are unpaid, and in most cases receive very little gratitude or praise. On the contrary, they are often subject to uncalled for criticism. Yet, rain or shine, winter and summer, they are on A Choir Member Speaks the job regularly. These hardy souls are the members of our church choirs; and it is on their behalf we wish to write. Singing in a choir can be a great pleasure, or $3h£ C^iara d3cirrett it can be a painful duty. Much depends upon the type of choir leader. He can be just as important as the minister in promoting the work of the church, and can do much to make the duty of singing in the choir a real pleasure and a profit- singing bass, or basses singing tenor. Also he and enriched and he is able to convey a more that able escape from the routine of everyday life. should remember range is not the real test truly religious feeling through his own singing. Among the most important qualities that con- of a voice, that a voice with a soprano range may Intelligent'Criticism tribute to the success of the choir director are have alto quality, and so on. He should pay a personality and an affable disposition. By these great deal of attention to blend, for no individual And do, I beg of you choir leaders, give a word should actually predominate; I do not mean a “Pollyanna” type of character, voice the screamers of appreciation to the beginner; it means so very nor a person with a perpetual smile, but rather and the grunters (also the “scoopers”) must be much. Let your criticism be constructive. Thank one with a truly kind disposition, albeit a firm subdued. those who sing solos. It isn’t the easiest thing in encouraged to one. Few choir members enjoy singing for a Choir members must be study the world to face a congregation for the first develop their voices, their direc- leader who is supersensitive and irritable. singing and and time, so try to be sympathetic. tor should take the time, now and then, to prac- When giving out solo parts, be sure that each Choir Leader, Know Your Voices the beginners, and to help them in tice with suits the voice which is to sing it. There are dif- He should interested soloists, be in his choir members, their work. Where there are no paid he ferent types of sopranos, tenors, altos, and basses. in their musical abilities, their personal ambi- must distribute the solo work as evenly as pos- What suits one type would create a fiasco in an- tions, and should encourage sible, in attempt to prevent jealousy and envy. the newer and an other type. For instance, a dramatic soprano is younger members to study and enjoy music. Needless to say, there should be no favoritism not always able to handle the sort of song that Many a famous singer owes his success to the shown. would be perfect for the lyric singer. Many a interest first choir rest manifested in him by some obscure Members of the need adequate be- singer is blamed for bad singing, when the real tween numbers; fault lies in the selection of the wrong type of and rehearsals song. should not last Try to put real feeling into your conducting. more than one Give the higher voices time to place the top- hour and a half. notes. Wherever possible, the fraction of a pause It is sometimes before singing a high note and a slight dwelling wise to divide the upon it will do away with raucous, strident choir into two sec- screaming. A rounder and lovelier tone is thus tions, with voice assured. By observing this rule, the writer has parts balanced as been able to add one whole octave to her voice. equally as possi- Of course, it has taken a long time, but, never- ble in each half. theless, it shows what can be done. One half the choir Do try to imbue your singers with confidence; sings the music for so many singers who would develop into ex- while the other cellent choir members grow discouraged after half listens. This constant reminders of their ignorance and un- not only saves the importance. Treat them as you would really good voices, but allows singers, and you will be surprised at how quickly the singers to they will improve. hear the music sung by the oth- Variety Avoids Monotony ers, thus making Avoid monotony. Too many choir leaders are it more readily addicted to one type of music; some favor the understood and sedate and sober type exclusively, while others easier to learn. feature the livelier, jollier sort; and they concen- A good choir trate upon one mood until the choir is weary boredom. Being bored leader pays as from will often cause a sing flat, while much attention to choir to being over-excited in- the words as to clines the voices to sing sharp. choir director in an equally obscure small town. the music. When the congregation understands Congregations, as a rule, are more aware A choir leader should of really know the technic the anthems, the service takes on real mean- tone quality than of accuracy of time and singing. notes of good Even though he may not be a ing and worshippers are better able to join in although these are very important. The tone of singer himself, he should know the principles of the singing. choir should the be as varied as possible, with breath control, voice have production, diction, and To a good choir, the director should en- sufficient degrees of color to bring out the full similar aspects of vocal art. To sing for one who courage the study of more difficult music. By meaning of words and music. How often have is merely an organist and who gives no thought learning something a little more involved than we heard Savior, Breathe an Evening Blessing vocal tone, is misery usual, the choir is enabled to to a real singer. Such a to sing the simpler sung lustily and heartily, while such an will never anthem leader assemble a good choir, no mat- musical forms really well. For, through serious as Sing a Song Praise of will be rendered half- ter how great a reputation organist. and thoughtful exploration of the old he has as an church heartedly and with anaemic, insipid are tone it is There choirs in which to sing benefits the classics, the singer’s spiritual outlook is deepened well to explain the meaning of the music to the voice, while others not only wear out the voice, choir and to tell them something of also affect the com- but the health adversely. posers’ lives, which helps immeasurably to The choir leader should quality make know the and the rehearsals more interesting. of every timbre voice. He should see that no ORGAN See that the members learn their music suf- sopi'anos are singing alto, or vice versa; or tenors ficiently well to avoid i Continued on Page 412) 1941 ? ?

Music and Study Position of Hands and Arms Questions in Piano Playing and of Questions About a Suite By Q. I am twenty-one. On account 1. arthritis I have been unable to take Albeniz piano lessons for the past three years, though I practice nearly every day. My Q. The questions I have in mind con- first teacher was a graduate of Syracuse, cern the Triana, from the “Suite with two years’ study abroad; my next, the Iberienne,” by Albeniz. an elderly woman, a graduate from suggest a way to play Meas- Answers University of Budapest. Both taught me Please from ure 79. 2. What is the meaning of the to hold elbows easily but not out long line extending from the treble C, sides and to hold hands horizontal with Measure 76. to end of Measure 77. (These keyboard. I have just commenced lessons occur frequently.) 3. In Measure 76 does with a new teacher. She has put me back the left hand play the grace notes? A Music Information SErvice to four-finger exercises and slow scales. Are there any differences between this Tills, of course, I do not object to and edition and the one which Artur Rub- will do exactly as she tells me, but sbe instein plays, Victor Record No. 7853-A? insists that I hold my elbows out and up, There seem to be several discrepancies hands diagonal with keyboard. (Held Conducted By Is between the two.—J. H. obliquely. I think she terms it.) This not only difficult for me, but I strongly A. 1. object to such mannerisms. She tells me my teachers were old-fashioned and that if not I cannot take her attitude, I may Mi). take lessons of her. Is she right?—L- A. I have asked a very well known J(aJ question, piano teacher to answer your and he has given me the following- as “The position of hands and arms taught is School Music, by your two former teachers Professor of not used 2. This line points out the melodic old-fashioned. It is the position phrases. Oberlin College by many of the foremost artists of to-day- grace I refer book, 3. The right hand plays these you to Mr. Tobias Matthay’s New 'The paSeS notes. Musical Editor, Webster’s Act of Touch/ Chapter XXIII. boo*; 4. suggest that you write to 301-302; and Mininberg’s I would International Dictionary to Mr. Ian Musical ue • Artur Rubinstein, in care of A Visual Approach to Piano TechniQ America, New York, for the answer to Under the circumstances, perhaps y° this question. had better go to a different teacher.

and 208. The second About Clair Je Lline Measures 1, 67, 142, M. 30, M. subject appears three times: ftlalcrial for Learning to Will you please tell me the correct last Q. 1. 171, and in the bass on the page. The fingering for the left hand in Measure 37 subject is the B major section. Play the of Debussy's Clair tie Lunef third Harp for speaking, this could be called a 2. What is the metronome tempo Broadly tb®* Q- I have just been given a harp this piece and how much faster are parts form. Possibly some theorists is sixty bee ternary years old. After it has marked Tcmiio Rubato, Measure 15, and lestrung would call it a rondo. and fixed, I intend to instrU poco JH 0880 Measure 37? Un , meant that the myself. sub*»; Schu- 2. No doubt Brahms What books would you 3. What is the correct tempo for Keeping much slower give these notes their regu- i n mind that I play several mann’s Bird 08 Prophet ? How player should struments studteJ® at fourth otherwise, he well, and also have is the second part beginning lar value; if he had meant harmony?— m. A. J. count in Measure 19? fermata or the words No question will be answered are to would have placed unless in TUP wrnrsr, 4. Please tell me which notes accompanied TUDE 1 ® notes. However, pian- b\ , J f, P A. I have Lucy Le® be played in mordents in Measures 16, ad libitum over the asked my friend, longer, and lor tha 87, and 103?—Mrs. A. ists sometimes hold them information and she tells me sometimes they cut them short. I think = instruction book for your purpose A. 1. La this would depend a great deal on how Method for the Harp,” by Lucille advice rence " the following run was played. My and Carlos Salzedo. This maf written. secured Et®”, is to play them as they are from the publishers of The Wfial Is It * a Coda For will be appropriate whether your SJ is Single ; Q. People so often action or double action. frill Again! ask mc „ »** 2. M.M. 69. At Tempo rubato the Tbe Paderewski is a cotlu to many y J?*ere V1S J— musical OQ i -Tiny Tales for Harpist Minuet a L'Antiquc. know- wi,i,u a little more swing is needed. In Paderewski’s rlebt. I 1 sinners” i —Miss G. H. F. have never been am by Salzedo; and “Old Tunes is a Godowsky edition. It is ffyy ft is 1 3. My copy a summary feel Harpists " T11 ceding of the by Mildred Dilling. M.M. =63. I think this is about simple trill, and it work In brief 0 pre - also marked J A. This is a very form may be P me to the correct secured through the right. The middle part is played in the not bother you. Perhaps you do answer?!^!',, hsherslisi should of The Etude. same tempo, with a slight hold on the know how many trilling notes to play A. The word coda not means literallv ", note. The general prac- and a coda A second count. to each quarter in music is always ' either four to a an end} 4 In Measure 16, the fourth and fifth tice here would be* to play composition or 9 7 movement w° ~ Wl‘a> Is fingers play G-sharp, A-sharp and G- notes or eight notes to the beat. In case times it is only a few me “The American S<>’ measures in , too slow, and eight notes in which case nBth sharp. In Measure 87, F-sharp, G-natural four notes sound it is usualiy ’ I Q7°dlcl llke to know jv trill six notes to the of 74^ enes "The A and F-sharp. In Measure 103, the same too fast, you can cadences. But ? 61 a ” sometimes ft 1 !° n scale is. Not 1 that case you would long and quite heard « . course, in becomes Pianist < as in Measure 16. beat. Of then anoth say that and composer in triplets. Since both trills of the composition 011 erlcans should be playing (or movemen't)^ “American 'co f™ scale and. s alike, except that one is an octave includmg its " pianist while I are principal themes c Analysis a and’bri " in °nip°ser. I am i) Tempo und of lower than the other, my example is for mg the music to a ng music °t tP more defimt « course teacl1 voice and sini beginning in Measure 70: than would be ?' toaUty t Rhapsodic the trill the case if 1 Brahms it1 1 d “American just a single cadence. with SSJ..J™ ?; exact Q. 1. Could you give me the of Brahms’ tempo, also the analysis lean 0 SUCh thing as E 79, No. it 2S.V Rhapsodic, Op. Whal Is the P0Sers in the long should I remain on the an Oratorio? same sea? 2 How *6 as and the whole note Most eomposers i half note (lower F) Q. Are oratorios music c

The Famous All-Girl Band of Winthrop College at Rock Hill, S. C. Mark Biddle, Conductor.

The All-Girl Band of Winthrop College

INTHROP COLLEGE, the South Carolina College for Women, is located on a beau- B, EML, -A. Hill, m W tiful eighty-acre plot at Rock South WU Carolina. It is state-supported, and its present enrollment consists of eighteen hundred and fifty girl students. Among the many beautiful and useful buildings on the campus there is a new audi- In a recent issue of The Etude there appeared in this, torium with a seating capacity of thirty-five department an article on the Bonham Brothers’ Boys’ hundred, and close by stands the new Conserva- Band. Among the many letters and comments received, tory of Music building. following the appearance of this article, ivas a letter from The music building is perhaps one of the finest Mark Biddle stating that he believed that “every girl, as in the country. It has twelve studios for faculty well as every boy, is musical.’’ The editor is heartily in members, fifty-six practice rooms, four class accord with the sentiment, felt all over our country, that rooms, and a small auditorium for recitals with every young person has at the very least a chance to be seating arrangements for four hundred persons. musical, and herewith presents the story of the Winthrop In control of the work of the music department College All-Girl Band as told by its organizer and director. are twelve full-time faculty members. At present —Editoi'’s Note. two hundred and twenty-five students are taking private lessons, and the music department directly contacts, through its various organizations, some seven hundred students. My first association with Winthrop College was out- The task before me concerned student in the Fall of 1938, when I was accepted as a a band instrument, and most of these were material and band equipment. Of the interested member of the music department faculty. Win- of-state girls. However, one important fact was girls those who could play piano were first chosen throp had had a strong orchestra for several gathered from this first questionnaire: two-hun- to be inter- given opportunities on wind instruments. years, and it had been the custom to hire wood- dred and sixty of the girls were very much They the were separately tested for adaptability, wind and brass instrument players in order to ested in learning to play an instrument in and one it seems of the first questions which the girls have a full instrumentation for concert perform- band! With such a show of interest, asked (naturally!) was, “Will it hurt ances. Previous experience had indicated to me paradoxical that there are still high school bands our lips?” Upon assurance that wind-instrument that from a group of sixteen hundred and sixty in the country which do not allow girls to become playing would in no sure that way mar their beauty, the girls then enrolled at Winthrop there must be, if members of the band, although I am girls were enthusiastic. the out. It was the first indication the high schools of my own state were any cri- this sentiment is definitely on way of an enthusiasm which never terion, at least fifty who would have had some was to falter, and which was to achieve band training. Accordingly, a printed card-ques- such happy results in this work. In tionnaire given to every student at time of regis- the meantime, the college authorities pur- BAND and ORCHESTRA chased two Sousaphones, four French tration was filled out by request. To my surprise, Edited by William 0. Revelli horns, two only nine girls out of the entire group had played trombones, four clarinets and one baritone. These

JUNE, 1941 38.5

A Spring Band Concert was given. The program Music and Study was thrills a Winthrop girl can have. We are glad to a bit more than we had previously attempted, and be a part of such a constructive, worth while, eminently successful. were added to the bass drum, cymbals, and the and growing organization. We are proud of our band and the one snare drum already on hand; and with the Girls Are as Music Minded as Boys progress it has made in its one complement of two C-melody saxophones, two year of existence—and it is a pride which all The beginning of the school year 1939-40 saw the school cornets, two clarinets, and two flutes among the shares. We believe in it, and want to quite an increase in the number of members in nine girls with experience, our band was on its make it not only the ‘largest’ but also the ‘best’ the band. Band activities were begun with a fresh, way. Those girls who finished best in the prelim- all-girls college band in the world!” zestful spirit—the sort of spirit overflowing in inary tests were given instruments, and I sug- the words of a letter written to a local newspaper by gested that the remainder of the group rent in- girls, one of the girls proud to be in the band, from it is no wonder that I feel so strongly that struments from the music store. Students with ' the which we quote: school girls of our country are music- instruments were given class lessons—one each just as minded as the boys. week—for one semester, and this procedure is still “Every Wednesday afternoon at five o’clock, The first Annual Fall was the patter of marching feet, Concert of the band being followed. The lessons are free but, on the the tooting of given early in December, 1939, with sixty girls limited time available, they cannot be continued horns, the beating of drums can be heard com- taking part in this performance. By the following for more than one semester. If a student wishes ing from the field behind the auditorium. For January uniforms were secured for the band and to continue such study, she may enroll for private the Winthrop college band has started to work the twnders, and the this year with a bang! Filled with marching unit has since lessons at a nominal lesson fee. enthusiasm used these uniforms in all of its and interest, we band members have practiced parades. The Girls' Band Makes Instant Appeal of trips were in Spring of unceasingly for the past three weeks. We gather taken the 1940, during which the widen- Students who fail to show progress after rea- in music hall auditorium and on the field. band established a We epUtatlon the music hall, for excellence among several sonable time and effort are dropped from class haunt we march, we memorize !!lLiu lmg practice, getting ourselves states. Then came surprise—an lessons, as are those who fail to show sufficient and ready for = f. ,? a real the n t0 interest practice regularly. After one semester best year possible. appear at the New York World’s to !£V,.Y 2?W WGre their places in the To us, being in the band is one 111 the Position, however, of won- of class lessons, the girls take of the biggest deringdprino- i? how we might 417) band, which in that first year numbered forty by ( Continued on Page the month of October. Intensive effort went into those first few weeks, and after six weeks of rehearsals our band was ready to give its first pro- Metropolitan Opera gram in assembly. The instrumentation was a Audition Winners! fairly balanced one; there were five cornets, eight clarinets, four horns, two flutes, two Sousaphones, Here they are—"the win- two string basses, three percussion, three trom- ners" of the "Metropolitan bones, baritones and four saxophones. two Opera Auditions of the concert, needless to say, was a success. In The Air." These auditions are a women’s college where students had been used sponsored by the Sherwin- piano performances, and to string programs, Williams Company (which the overtures, marches, and assembly singing, after long research we played by the band were in striking guilty novelties have found to be performance I was swamped few contrast. After that of selling paint and a girls who wished to know how with visits from other things). Seriously band. lS they could join the speaking, through tf' organization, most of the girls Since the band’s novel radio advertise bought or are buying their own instruments, ^" have plan many really exce monthly installments. At times paying for them in lent young Americans quality of instruments they have been able to to the have had their chance of the best, and a poor tone afford has not been become members of the but the problem is un- has been the result; Metropolitan Opera House and it can be solved. 0<* doubtedly not rare Company. Here's 9° notice after our first concert a was f°r A few weeks luck to the winners the bulletin boards, advising students placed on 1341. (From left 10 for twirling positions with the band oi that tryouts Mary E. Van Kirk that mo- would be held at a definite time. When O^0, hundred Cleveland Heights, ment arrived there were more than one were given op- Lansing Hatfield of eager girls to choose from. Twenty M°na narrowed to ory. N. C.; and portunity, and later this group was Ca* good prospects. Paulee of Alberta, five girls who were in my opinion and ada, all blessed Regulation batons were secured for them, care- beautiful voices. they were given lessons once a week just as students. fully as in the case of the instrumental and m The time had come for a marching band, glockenspiels were Scottish a short time field drums and Airs— R J/ > - secured for that purpose. X BiLger until there weie Scotland is famed for a class of band began to develop, national airs The a peculiar style instruments and e even til- of and structure, possessing sixty-four playing . an" its activities unrestrained, dignified, strongly marked Characteristic 1 s which batons. News of the band and and ex of ing pressive character. These ‘ the music the following Spring we airs are generally Prominent are ot Sc0 beian to spread, and by co “ sev the April Azalea sidered to be of great antiquity; «ith mi5sion invitation from the and the few degrees of e? °f t received an 16 participate in the Azalea notes, on which the oldest of them turn semitones; Scale Festival in Charleston to and th and h/th' and to Chailes character of the modulation ‘ San alte Course were able to take sixty girls lead us to believe rnation °I m narade We a that they were originated at«e bet” 6en three-mile parade the girls made at a time when minor, the ma ton in the the while \hthe white diesses. They musical scale and musical instruments diatonic scale Melody sight, all wearing of th of th i lovely ase 1 ’ excellently, and newspaper country were in a primitive state. of P1 lncipal mlrched and played No musical . accidentals An k( “they stole the show. manuscript of Scottish airs is major key r WU1 indicate that known to e * and 0ltl impressions reverse. emA V girls appeared at a parade prior to 1627, and there is no information The the Not long afterward the when final n 1 relativi on the occasion of a or by whom the early Scottish melodies in Charlotte North Carolina, were com- Region of the Nationa posed, or how long they continued to be meeting of the Eighth handedC Several other short down traditionally from the music folks School Band Association. ks 0( Spring, and the first annual generation to another. trips were taken that

386 Music and Study

would not be so good, perhaps, as might be pro- The Paradox of the Violin duced on some other instruments.

What is the Value of a Violin? When we consider the value of a violin, we begin to realize some of the peculiar features of ByT). S. Cl, ambericun this extraordinary instrument. The cost of raw material used in making either the cheapest or the most valuable violins varies only a few dollars. Again comparing the violin with a rare stamp or a valu- HE VIOLIN IS a CURIOSITY, a contradic- able painting, we do not find tion, and a mystery. a Made for use as the same range of value. Au- T musical instrument, it has become one of thentic prices obtained for the favorite and most expensive col- hobbies of violins are hard to get, al- lectors. It also holds its place great among the though it is reliably stated artistic works —a masterpiece of the- artist in that an offer of approximate- wood. ly one hundred and fifty Although it is, perhaps, the most used of all thousand dollars was once re- musical instruments, having been in constant use fused. Certainly the present for over three hundred years, with sales running market range for violins runs into millions in quantity and in dollars, little is from three or four dollars to actually known about the violin. And few people twenty-five thousand dollars realize what an extraordinary and curious thing or more. this instrument really is. How then can the value of There have been countless questions asked a violin be ascertained? Again about violins. Discussions and experiments have we find a strange situation. proved very little. No matter what may be truth- The violin is an instrument fully said about one violin, an exactly opposite that has doubtless been used answer may apply to another. longer than any article still in Violins were, and still are, made primarily for use; it varies tremendously in use as musical instruments. They are the tools value, and is perhaps the best of the creators of music; and they most closely known of all musical instru- resemble the tone and range of the human voice. ments—yet the least known What other article in use at the present time has of all. With such a sale and not changed in appearance, quality, or excellence range of price, it would seem within the last few years? The violin has not that there would be countless changed radically in construction or appearance good judges as to the real type for over three hundred years; it reached its peak and value of a violin, yet the of perfection in the work of Antonio Stradivari, opposite is a fact. There are who was born in 1644 and died in 1737. Violins really only a very few good made during that time, and even before, are still judges of violin values. To the in use and are regarded as the finest of these expert, each violin has a dis- instruments. All this is true in spite of the fact tinct personality and classifi- that thousands of professional and amateur cation. The artist, who has makers have tried in vain for many years to played violins for years, and improve, either in quality or appearance, upon who should be more familiar the work of these early masters. Hence the pro- with them than anyone else, VIOLIN BY CARLO TONONI fessional violin maker of to-day tries, instead, to is never an expert judge. It is

craftsman who ; active in copy the skill and workmanship and to a certain A beautiful specimen of the art of this true that there are good judges Venice between 1721 and 1768. extent approximate in his own violins the excel- of violins among musicians, lence shown so long ago. but these are the players who studied thoroughly the Violins may be grouped in three general classes. color on canvas, so did Stradivari, the Guarneris, have workmanship of the First, there are the so-called “factory” violins Amati, and other artists create masterpieces of various makers; they are not students of the made mostly by group labor and valued to about grace and beauty in wood. While all violins are mechanical action of the instrument. it comes fifty dollars. Then there are the “hand-made” basically of the same construction, each great When to appraising the value of a violins, or those made individually by an ex- maker put his own distinctive genius into his violin, we really do run into a mass of contra- perienced craftsman, which vary greatly in price. work. dictions. A violin increases in quality with age And third are those instruments which are valued Violins in the hands of collectors may or may provided the instrument was originally well made” at several thousands of dollars or more each; not be in use; many fine instruments are kept in but an old violin is not necessarily valuable. The these are classed as “master” violins and very vaults or glass cases for years on end. The “Mes- author, during his connection with a concern often are found in some collection. siah” Stradivarius, considered the finest example specializing in violins, has sold violins over two hundred fifty in existence of the greatest of all violin makers, and years of age and in excellent What is a Violin? playing condition for as rests in a glass case and is admired by all who low as ten dollars and absolutely new violins The violin has far outgrown its original musical are privileged to view it. Why is it so esteemed? for as high as five hundred hear of very high prices being of- for the dollars. As has been stated, function. We Not because it yields marvelous music the most valuable of fered for certain instruments. These prices are enjoyment of humanity. Lovers of the violin all violins are some made by Antonio Stradivari article of practical use, but for between about paid, not for an would not like to have this instrument played 1670 and 1737. Other violins that masterpiece to be cherished by the fortunate upon, lest its wonderful condition somehow bring high prices are the a be Italian violins made, for enough, famous violinists the most part collector. True most marred by use. As a matter of fact, the music in Cremona, at about the same some of the finest violins in existence; that could be obtained from this instrument time. There are possess other older violins, however and artists are also collectors. some of more recent but such date that are more valuable The violin may well be considered a work of than many made in Cremona during the heipht-8 art, not entirely for its beauty of sound, but for VIOLIN of the industry there. the grace and perfection of line involved in its A violin may have Edited by Robert been in a family for years Just as painters worked in It may construction. famous have been ( Continued on Pcuje 414) JUNE, 1941 387 : *

Music and Study

Music in Argentina, the Land of the Pampas

TRAVELOGUE NO. 3

^5fy. ^YFjaurice ^dt)iime3nif'umeSnil

French Pianist and Conductor

Y FIRST IMPRESSIONS upon returning and since then nothing after a long absence were of a “lofty” has been done about re- M order; they took place on the high passes building it. South Amer- of the Andes. The trip from Chile had begun ica, it is known, is the inauspiciously, amid torrential rain and much “land of manana,” and confusion caused by the negligence of the travel the automobile service agencies which had sold Pullman seats several may well endure indef- times over. For seven hours we rode through an initely, abiding by the increasing storm which turned to snow when we French saying: “What The famous reached higher levels. We went through safely, is provisional lasts for- Iquazu FalbTa.™ Argentina, however, for which we felt thankful since the ever.” Uruguay, and Brazil. under a heavy white blanket The ride was rich in unexpected track was buried thrills. Here A next day and traffic was interrupted for again my reservation had been booked incorrectly S e ere the ’ of course the ances°of ’ so I took my place in the last car of the N ^°c * several weeks. the caravan’ Colon Symphony Orchestra at ® Point) altitude ten a private car driven by the and the 'A at At Punta de Vacas (Cow’s , company manager American the Gran Bev PV Youth Orchestra feet, and the temporary terminal of the himself. This gentleman had brought 1 found thousand along as with the capital still echoing automobiles his guest an alluring brunette Toscanini’ f ' Transandine Railway, twenty-five from Mendoza and trmmph exp® 0 tancy i and Abed with miles wanting to show off before or Slot , ’ ready to take us over the hundred the senorita, he Skl s waited, gave Stranee dabut. to Mendoza, head of the main us a specimen of one hand driving is are of mountain road which was ’ symPhonic short of terrifying. scarce in the w- manifestations Aires. Formerly the Transandine little Up and down er line to Buenos we exists Plate metropolis, where them six years ago a bounced, right and left, over stones no nr™ reached as far as Mendoza; but and through Zed and orchestra; track, deep ruts, among clouds of There is natnS! Permanent out its fragile narrow-gauge dust and a shower flood washed of but y ’ a flne orchestra at the Colon’ pebbles, it ij exclusi taking never outs d activities takes Part in ! sharp curves and 0 , on one ities itS time eratlc wheel with scarcely to °P and some- ver theen as a fill-in ^ a concert now and ? times coming with- lovers 15 badly missed by all in a few inches is a real of aI symPhony operating the edge °ng Euronea.-, orchestra of the 11 subscription merlcan lines, with a f precipice. At Men- season f eerts, Popularand children’s con doza I all broari™ . !n received ; a ' r l- much much talk ere has been and still needed brush about so (ar ab S ™Portant matter, but down and shoe Projects h av‘ failedf to shine; then boarded materialize. the train. Tos. The next 1 Qnd Stokowski Because . afternoon I arrived of anTi^ . and 1 * in Stokowski the concerts of Toscan Buenos Aires . erest; awaited 111 weary, besides thpv* with accrued exhausted’ e u half new much curiosity abo sick and badly disposition y Stokowski instruments inaugurate bruised. - Friends at in ed the ack while the push station told £ the n brings are me br°ught w°0dwhld? *re Aren’t you lucky? forward s and brasses Toscanini’s Isn’t it marvelous nrn to be selected Were arl able to travel?” mostly fronfnf conservative . So ‘ lbg his ° ma much lor the Past New sterpieces perform® addadart v k a * Pampa ’ a® a j' seasons, w which is courteouf to which plural lor a £ragm 5°Sture toward Argentine LEADERS IN BUENOS AIRES Pampas liam ent ofot a MUSICAL meanmg hams. symphony il- discusses a problem of orches- the prairie by Albert0 W „ and Director ofoi the Teatro Colon, l ne Composer . The Floro Ugarte. j music, andA _one ofn( the Adominatingnmin„nno musicalm„«irrrl two outstand- maestro’S dean of Argentine Sd0 Alberto Williams, increased~ C6sso, ® fration with Albert Dumesnil, author of this article. ing Ccl5ea ’ imr a right, M. Maurice events eveneve m . . immense in itself, « South America. ^ of the re figures in deriycd ®° by the eC from hls sentimental asp 'Continued on Page 410 ) CLASSIC AND CONTEMPORARY SELECTIONS THEME ANITtWO VARIATIONS from SONATA Op. 109 LUDWIG van BEETHOVEN

JUNE 194i TTtV PRELUDE IN B- FLAT MAJOR This toccata -Jike prelude is a valuable study in legato passage playing. Note how exquisitely Bach balanc.es his themes. As in the study of aJJ the numbers in the Well Tempered Clavichord, great clarity and precision are essential to finished performance. Grade 5.

Vivace m.m. J = 84 J. S. BACH

JUNE 1941 391 * British Copyright secure< THE ETtJV^ BY CANDLELIGHT

This minuet is so closely in line with the classical form that it seems to have been an Eighteenth Century creation. Powdered wigs and old Jace under brilliant candelabra set the stage for a charming musical scene. Grade 3.

rheod°rePresserCo - ht 1941 t>y’ British Copyright secured COpyri£ JUNE IS*1 s°7 VOCAL AND INSTRUMENTAL *> COMPOSITIONS OH, LOVING VOICE OP JESUS VOX JESU Wm. Chatterton Dix DUET FOR SOPRANO OR TENOR GEO. B. NEVIN JUNE 19*1 399 Andreas Bard* LIKE THE ROSEBUD ROB ROY PEERY GAVQTTA DOMENICO ZIPOLI

— 3—0 ^ -Q j 3 %

r i lilife 4f#F 1 1 i ** ^ j ^ n — Ft = e ii

1 p Y1 1 j ==3=ff p =r- =F ^ J i J ' (O J pjTJ* 1 m-Y „ a —fl—

^ 1 /7b 1 3 » < 1 3 3 ft 8. .E _ _ 4 fil ^ U ! ^ _ ~-)g

j allargando

-4r-Un g— o - r (9> fiT

v 8 8 Q nt ena 8; MENUET EEYERCHON ( v7oj l?Fj if sw t'o st i^ Prepare jGt. Fj. 8' ^ ^ Hammond Organ Registration \Ped. 16', soft 8; to Ch. . Q$) 00 S400 000 Andante espressivo CARL WIESEMANN

Ch.

MANUALS

Ditson Company Copyright MCMXLI by Oliver 402 International Copyright secU^„ Tempo I - First combination Sw.

add Ch.VioJ. 8'& Trem.or Sw. FJ. 8; CeJeste 8'&Trem.

JUNE 1941 403 OFF TO CAMP Arr. by William Hodson MARCH

404 OFF TO CAMP

JUNE 1941 405 DELIGHTFUL PIECES FOR YOUNG PLAYERS

Grade BIG BROWN BEAR HAROLD SPENCER Somewhat heavily m.m. J= 96 3

406 at,t/l •British Copyright p THE ***** Grade 34 PELICAN PARADE

The tale is told that a Pirate Bold, But don’t feel sad for the Pirate Bold, Seeing a shark that was hungry, ’Twas a joke on the shark, you see, Shark's lunch For it made him so mad into Swung over his leg for Mister , when he bit wood, That the Pirate Just because it was Sunday. yelled with glee.

— t\ -r &= =j»> jLz=z=

rit.

TECHNIC OF THE MONTH •*. ETUDE With lesson by Dr. Guy Maier on opposite page. Grade 4. CARL CZERNY

1~ " -•! - 1 — • £-t=| I i i i CT" ! r— iiii- 1 — — - _i zi r _ f f" f 5'5 s W-W 3 9'i cT o ? 5 5 o •o »» S p stropitoso 2 3 J.) 1

V i b 4* f- —ft-* / ty n » • a r 5 s- _ — 5 ^3ti » Wm 5^

e®38S3S3SS33S®SS8S33333S®S®$

The Technic of the Month

Conducted by

PERFECT TEMPO WITHOUT WINDING ctavES

soreness and the ELECTRONOME T IS GOOD NEWS to learn that the tenseness, the Trado Mark Reg. U. S. Pat. Off. pianists are at last octave con- “charley-horse” lameness. easy, ELECTRIC METRONOME I scious. In dealing with those pesky Good octaves are made by Simply plug it in, flip the switch, and coordination of the full arm critters (the octaves, not the pian- natural the "ELECTRONOME" ELECTRIC and accents) fore- have usually followed (for long impulses , ! teachers METRONOME begins beating out the ists ) , rotary freedom and passing time with 100% accuracy from 40 to one of two courses: (1) blithely arm (for 208 beats per minute. And you can in of black keys) hand (very luck by Ignoring the prob- and out , change tempo while it's running! No trusting to slight wrist articulation to help swift matter what instrument you play, your lem altogether, or (2) putting trust practice will be doubly valuable, and repeated tones) and finger (for so- PIANOS haphazard, unsound methods of , your performance doubly effective when into lidity, accuracy, grip) the Lester “ELECTRONOME” sets the tempo. octave practice. Result: a few stu- For over a half century, Very rarely are any of these octave GUARANTEED FOR 5 YEARS dents with large hands and naturally name has been symbolic of one Six-day FREE trial at our risk. Send approaches isolated; a coordination good octave coordination learned to of America’s most durable in- for details of money-back offer. or imitation, of them all is usually employed. play them by instinct struments. Every Lester Grand others (the majority) Let us begin with finger octaves. FRED.GRETSCH mfc co. while the Piano and Betsy Ross Spinet car- We hear altogether too much about * Makers of Musical Instruments Since 1883 * to acquire even a passably failed ries full Ten-Year Guarantee. the other kinds. After all, the piano our 60 BROADWAY, BROOKLYN, NEW YORK good octave technic. to note keys are played by the finger tips, It is, therefore, encouraging gen- aren’t they? So the first thing to do that so many correspondents are 1 is to strengthen thumbs and fifth fin- uinely concerned. Here are a few of ^ lia -™- gers, and with them the octave span. pleased RECORD^ poLYDO.R-SERIES We will be to their worries: records—never before sold of these low prices. Sur- developed soreness Start with your right hand; rest the send you our catalog faces superior to domestic records. Finest artists and “My pupil has orchestras in outstanding classics. 10" records only practicing oc- 2nd, 3rd, and 4th fingers gently on in her forearm after 75rw!«rC peting the octave WHIP AND SPUR, Galop °. . ; ; ; A,"en and dependence on the freely articu- Beware those futile “snatch and Special Low Cost Introductory Offer! The regular sheet music editions are 35 cents for advocated by al- lating forearm. number, methods each less the usual discount Teachers. whack” to the old octave “schools." This is best learned by practicing Enclose this ad most all or refer to The Etude octaves from the exercises just given in broken ion't ever jab or grab WALTER octaves thus: JACOBS, Inc. he wrist—for you’ll never get any- ADDRESS causes ( Continued on Page 412) 120 Bovlston St. BOSTON, MASS. vhere if you do. That is what CITY —STATE.

JUNE, 1941 409 w Z

the subway has developed new ex- artistic angle. It counts on* the intelli- John Alden Carpenter, Evangeline in Argentina, the streets are being gent cooperation of Music tensions; many the critics, among Lehman, Charles L. Loeffler and widened. One day, as I was walking whom Jose Andre (La Nacion), Gas- Thurlow Lieurance. Land of the Pampas with another “grouch” friend along ton Talamon (La Prensa) and Miguel , Such is, at a glimpse, the musical the heralded Avenida 9 de Mastrogianni (La Razon) {Continued from Page 388) much stand out atmosphere prevailing in this big million Julio, he said to me; for the quality and the reliability nationality; half of the two of cosmopolitan city of Buenos Aires, Buenos Aires are “Look at this an avenue that is a their reviews. inhabitants of — which with its bustling life, overflow- Italians, or of Italian descent. square, or a square that is an avenue, ing population, Some Prominent Figures deafening noise, dy- Toscanini had directed since it’s about as wide as it is long, Furthermore, namic activity, and easy-going leisure lyric seasons in the past at the and never will be finished. Mean- The dean of Argentine music re- can lay a claim to being the point venerable opera house of the Calle while, ninety per cent of the streets mains Alberto Williams, who among where Latin rejoins Anglo Saxon; occasions still go on with their narrow sidewalks, other distinctions can boast that Corrientes, and these of where old Europe, and young America lingered in the memory of the older so narrow that people have to walk being the only pupil of Cesar Franck meet. generations. on the pavement. And that smell on the South American continent. Authorities would act wisely in contrary, was from the exhaust of the collective Composer of eight symphonies and Stokowski, on the a minimizing the the large number red tape and a newcomer known only through his busses! Then, see those huge build- of piano, vocal, cham- annoyance ber connected with the con- recordings and films. His first concert ings, they hardly have any heat in music and didactic works, he also trol of the passports; otherwise the no water trap to stop directs the Conservatorio de created something of a commotion winter, and Buenos tourist trade Aires will be hurt in a coun- among the public and press; it was sewer gas in summer.” and its seventy out-of-town try well worth small jani- branches. visiting, where a so unexpected to see fair young ladies He proceeded to explain that deception Other awaits Americans: the blowing into horns, trumpets and tors often gamble at the races the significant names in the famous world tango, formerly played every- trombones usually manned by their money that ought to be spent on of composition are Constantino where Gaito, Carlos Lopez and carrying right into the comrades of the stronger sex. More- buying coal; and he concluded: Buchardo, Felipe neart Boero, of Buenos Aires reflection of over, the mass of strings faced the “With all that, there isn’t one Jose Gil, De Rogatis, Gilardo, a he nostalgic pampa, audience instead single concert hall in Buenos Aires. Juan Jose Castro, Andres Gaos, sunsets on the almost completely and is disappearing, there is never any the late Julian Aguirre in its place one hears of presenting a profile view. One also For such a thing who dedicated Jazz tunes, and songs money.” himself mostly to the transcription the latest hit noticed that the bowing was indi- of iom the the folklore, musical comedies on Broad- vidual, some going up while others Astonishing, indeed, but quite true. as does Manuel Gomez way! need Carrillo came down. Here I may open a short Buenos Aires is very much in who, through his lectures could and works technical parenthesis; it seems to me of a real auditorium, one which published by the Univer- of the future sym- sity of Tucuman, that Stokowski is quite right in giv- become the home has also done much to popularize ing his musicians a free hand. phonic organization to which refer- aboriginal art. Through smaller one it all, as in -xuGiLcu Aesthetically, of course, it can lend ence has been made. A Peru and Chile, one Development in notices itself to criticism. musically there with about one thousand seats would the fusion of Incaic and But Span- the can be no doubt that each string also be welcomed by recitalists. As ish inheritance. Argentina’s most Philippines musical player if conditions stand now, everything popular expression < will render his part best, is the Continued from Page 368) but these Vidalita, next take place in theaters ; to which he uses a bowing that fits the par- must can be men- this Of only and tioned the chacarera, beautiful magazine. ticular construction of his hand and ai*e available once a week the huayno the al !rr Merest for us are the essays arm. generally on Monday. This results in cuando and the estilo. Who would ever think of im- ne pr°buction, pedal, and the incon- Owing to the lack pvn,° tone color, posing upon fifty pianists — with bad overcrowding of proper re- P 10n ’ interpretation, and conflicting dates, not to strictions, the touch, hands big or small, fingers short or venience of number of radio sta we 'ff tions a resemblance between The mention the high fees or percentages grows steadily and it thP-f^nd long—a unanimity of fingering? would be ®cbnical the owners, anxious to difficult to tendencies’ of same holds true with all stringed in- exacted by the quote even an approximate great 0dern keyboard masters and struments. take advantage of this peculiar situ- estimate of their number. However Lori™! ’ eppe t0 ation. with the exception of Radio state fL ? - we are happy Munic 1 ln "Arrangements" Protested On the other hand, opera reigns ipal which broadcasts the far. off Philippine the Colon The J? ? ' ner 6 ^as val how- supreme in its own home, the Teatro formances and been peculiarly The most serious controversy, relays most of the uablp to U famous coli- remarkable from a teaching ever, arose from the “arrangements” Colon. In the past, this symphony concerts stanrinn- f Practical of the Ult Cm >' featured on each program. It is true seum used to be leased by the munici- Montevideo S. O. D. R. “«eSS numbers E . all are student and i' as that of pality to impresarios (Da Rosa, Moc- addicted to the lower eachers depend uP°* that such transcriptions standards of it for tl a P ‘ ng e elicited nothing chi and others) who organized a VUlga1’ them breast ° £ ® Bach’s Passacaglia and StUpid reper ~ musTcafcal l season toh-e educational but praise; but those of Wagner and short but brilliant “de luxe” world.” such world Moussorgsky aroused some protest. of three months, engaging There is musical activity i n the was famous stars as Caruso, Titta Ruffo, larger provincial I was present when what cities, where organ! a “fantasy on ‘Boris Galli Curci, Chaliapine, and promot- zatxons somewhat termed by many similar to the ” performed. Getting ing the whole affair as a business music clubs in The Godounow’ was the United States World of Music and social proposition. Now, things a concert run away from scholastic considerations series featuring the C elite of nUed 1rom 361) of artistic integrity, respect of the are completely changed, and the the visiting artists. Tnl r~!l paOe Prominently con ° Colon is in the hands of musicians. spicuous Fmi ,,USIC FOUNDATION author’s form and other similar are the “Biblioteca Newark w Verdi” Jerse technicalities, I gave myself up to The season has been extended to nine in La Plata, the a novel' *' recently tried “Circulo” in Rosnrin in vatlou, what it have lost for noise abater^ the mere joy of listening; and what months, and may and last but not least, when ni-OF1 the S we‘ e brilliancy is regained in artistry. S’ printed on cloth I heard was a masterful synopsis in de Arte” in Santa Fe. Introduced „T Turning over “ft ® Youth symphony Con of the great Russian’s work, con- Floro Ugarte, the director, is one of a few pages of the for moie latter’s album r dren. than seven thousand cm the country’s distinguished com- noticed Not „ i ducted with supreme elegance, pre- the autographs nly did elk*1 of Fritz mate the the programs performed posers, and a graduate of the Paris Kreisler, Pablo a °ying cision and authority, and Casals, Jascha tS, when rustle s ° disturbing Conservatory; he has produced many fetz, Marian panpr with overflowing enthusiasm by every Anderson, Alfred held erams are used, but an orchestral CnrtntCoitot against ?u° musicians. works among which and others. be Stage hghts they coU one of the youthful read in tu** suite called “De mi tierra” (From My American music hope 16 darkened house. Let “The sonority of this orchestra is has made but utti that nti has been particularly headway otber concert suit- not classical,” one “grouch” friend Homeland) so far in Argentina halls follow board also are ever, this I successful. On the an enlightening ^ remarked. What he meant by lecture . th® Espoile, author of distinctive given by Dr. name," OPERA COMPANY is exactly. But I do know Raul H. Carleton chn^ do not know Smith head n through to with personal har- the o?* given J!. a contest, a magnificent songs adorned New York Public the that what I heard was Librarv U f young era sin monies, and Juan Jose Castro, con- sponsored L° °P realization accomplished in record by rs NS merit. Being York - Lytle Hul1 in to the ductor of outstanding a Cltv n? tn time, and doing great credit Fiske, Mlss Gerda Christiansen America. civic institution supported by the a vL lg surging dynamism of young Jersey, singer of Allwood, I*? consequently free Won ,J Buenos Aires has municipality, and one P*?*® The aspect of for n am ini -hundred-dollar worries of its own, the United tlle c changed considerably in recent years; from financial States composers Plans opera company wW wh to pen a torn down Colon can go ahead with its atten- works were performed the a six-weeks’ season entire blocks have been public Foj.t v f ' prominently upon the successfully, °urth in Oc to make room for broad avenues; tion focused are: Charles tober. Street Theatre, T Grffle Continued 410 on Page 432) THE ETUDE * — • ? ;

FIOM JUNE 1st to AUGUST 30 1 h. I N C LU S 1 VE Voice Questions You Can Enjoy the Advantages of Having Your _Answered NICHOLAS DOUTY Lf DR. MUSIC “GAMBLE-IZED” 3. at Special, Low No question will be answered in THE ETUDE unless accompanied by the full name publtibed. and address of the inquirer. Only initials, or pseudonym given, will be SUMliflEfi RATES! increase gradually the Operatic Arias in English. Breathing in and voice improve, the length of the period It will pay you to send us ALL your valuable sheet music Mozart’s Alleluia range, the power and of practice until you are back to normal. never and books while this Q. I read your column with interest each If you have experienced Ease of production and control of all month, and I have benefited considerably in the benefits of Gamble Hinge, your physical and mental attributes will in- the course studies by the use of your of my crease your range, your power and everything EXTRA 10% SUMMER DISCOUNT book, “What the Vocal Student Should Know." else about your voice. Do not force your Ask For (in addition to the regular quantity discounts) 1. Js it considered proper, concert pro- on a voice, but learn how to sing comfortably, gram, to sing operatic numbers in English, or easily and well, and you will be all right. Too FREE SAMPLE IS IN EFFECT. must they be sung in the original languages students unfortunately do not learn many You will profit in the extra satisfaction of lifetime use < 2. Near the end of Mozart’s Alleluia, there how to sing. They study a few songs and let —for complete information , s the elimination of replacement costs. is a section where one alleluia covers sixteen be the exception. it go at that. Try to about Gamble-izing,—for Sum- measures. I have never succeeded in completing But if all, then certainly us those ripped, Price List. NOT send frayed that phrase in one breath. Is it permissible to mer Diseased Tonsils and ready-to-fall-apart copies which are nevertheless com- divide this section, singing two alleluias, or Another Victim of LEARN the satisfaction of buying plete and which you would hate to lose, can you give me an exercise to help me conquer Q. I am twenty and, up to a year ago, I had the music of all publishers direct this phrase in one breath?—Estelle. a good soprano voice, and I was making head- Then I had a series of us A. It is quite the usual procedure to sing way in voice training. GAMBLE HINGED MUSIC CO. all the ground operatic arias in the original language, even colds and sore throats, and / lost years. 218 So. Wabash Avenue Chicago, in concert performances. Now and then, some I had' gained during the previous two READY-“GAMBLE-IZED” the advice brave soul will attempt them in an English I had my tonsils removed under of the opera- translation, usually with little public suc- a physician, although I was afraid three cess. Whole Italian operas are occasionally tion would injure my voice. This was weak, given stage performances in English, and months ago. My voice is very tiny and improved. How then there can be little legitimate criticism, A breathy quality has been voice again? if the translation is a good one. soon can I start training my start all over again. 2. Please buy the Ditson edition of Mozart's I imagine I will have to been Alleluia. You will notice that, in the difficult would appreciate your advice. I have an I have passage of which you complain, the word admirer of your magazine and been ardent column.— “alleluia” is sung three times instead of once especially interested in your voice as Mozart wrote it, thus allowing three breaths. is Even the succeeding passage Please read the answers to H.N.. con- phrased so that two additional breaths are A. cerning tonsillectomy in this issue of The made possible. This is version usually the Etude and our answers to others upon the sung in concert and over the air. It is at maga- =HARMOINIY BY same subject in previous issues of the once more practical and safer. Never try to voice would be out of zine. Naturally, your A practical and thorough course of 40 lessons, at sing a phrase so long that you cannot control after three months of si- practice and weak a small fraction of the cost of personal instruction. it in one breath. If sounds quite silly to have according to the system indi- lence. Practice Small monthly payments. Send for particulars. NEW GAMES FOR NURSERY the breath run out before the end of the and I feel cated in the answer to H.N., and MUSICAL KINDERGARTEN SCHOOLS musical phrase. Herbert Wither- Music composed to your words. confident it will get stronger. Brightly colored and intensely interesting “Singing”, suggests some sDOon in his book, B.Mus. L. C. CARD Should These Songs be Sung by a Man? after tonsillectomy. You HARRY WOOLER, exercises to be usefi 116 Edna Ave. Bridgeport, Conn. although we scarce- 11206 Harborview Drive Cleveland, Ohio Q. Kindly tell me if there is any reaso. mieht try these exercises, why a male are needed. Thank singer should not sing The Swori ly believe special exercises of kind words about My Father by Offenbach, Schubert’s Av you very much for your Maria and Danny Boy. II. E. McM. Excellent merchandising opportunities are to be found in Etude advertising columns A. The, Sword of My Father, from Offen ^ bach’s “Grande Duchesse”, is th Demanding Tonsillectomy sung by [ill Another Case Grand Duchess herself. Unless you are willini work in operetta n I have done much to wear skirts, and the long curled wig of th I am twenty period, my high school years Now we would not advise you to undertak trin g tonsils doctor says I should have my it. The song you call Danny Iioy ai id my II LAND is simply MELODY a robust tenor. Will my voice MELODIOUS SOLOS arrangement of the old moved. I am song, Londonderr. after the operation? A ir. The sentimental Hinge in any way Not an instruction book, but supplementary words in this arrange some well known singers who 0f Positive Worth ment are supposed to be sung o Please name by a mothe ' removed? Would it pre- and depict her .. ,...d their tonsils the love for her child. There ar career to method in use. many other achieving a professional By ROBERT W. GIBB arrangements, very easily se nt me from CU r d th W rdS' 3 much more suitable for - CONTENTS: Playing on the Open Strings: 1 —A Wee Bit; 2— Little Indian; —On the Lake; a n 'c^H K ?. the Curt,. ,n * ulberts love ZmZHon.trr 4—Drummer Girl; 5 Soldier Boy. Introducing the First Finger: 6—Raindrops; 7 —The Swing; ly Are Maria is unmis VTZS Do you — woman Music throw* on audition. 8—Lullaby; 9 —Roaring Lion. Introducing the Second Finger: 10—Merry-Go-Round; 11 -The s son e- One line reads, "C Lie of t this! I pit'll tllitar, Cloister; 12 Fireflies. Introducing the Finger: 13 Chatterbox; 14 The Scooter; 15 d e a malden , L u ,d accomplish — Third — — —Music ’s prayer.” You wouh 16 18 Arrival , "Art of Sing- Box ; Folk Dance ; 17 The Princess (Founded on Scale of D Major) ; — of the Prince Hfik ^in^ tl Bhed stitdl/ino Shakcapcarc-s — — &t ' We yoi ,d am are afrald ' If r 19 Peacock (Founded of Major) 20 Gavotte (Founded on Scale of A Major) *^ teach myself until I —The on Seale G ; — ; weie to sing these .. , , I I could words in nublic no matte 21 March, "Our Class.” piece, judiciously selected is a drill on the subject at hand, although howbeautHui «««*«• wmM p — Each if the melMy aTayood ,7',y it is “really t0 which y™ saw !TCould the to the pupil a truly” violin solo. in Stimuli’’ ’""P ”’ct “irst Lesson. Practical application to system of teaching class or private is facilitated by grouping of the piano! 1 tunc .( any — — titles take the place of under headings in the table of contents. For example: Where the lesson introduces the second finger, After Tonsillectomy f,ar A. piano every week.— M. the study is in the key of D major, ilh our choir the selection should be made from numbers 10, 11, and 12 ; if assign ® duys to H.N. and number 17. The piano parts have been kept well within the scope of the average pianist to encourage I am to have my please read our answers am A de. performance in the home. studying singing, and this issue of The Eti I should like to kn P in oie if having tonsils for us to answer personal PRICES: Violin & Piano (bound separately), $1: Violin Book alone (without cover), 30c; the removed 9 Tt is impossible affects voice life or the Habits of Piano Book alone (with cover), 75c. aestlons concerning tire CrCroin from magazine like I he Etude. ,/„S TL’iZZZofraZo. Dted singers in a < sinners whose WALTER JACOBS, INC. 120 Boylston St., Boston, Mass. a,m wm °han°° » know of several famous Zu oftnfZe!ulZ? ’e wrtn great success, .nsilshave been removed ,,J CXrrc!f their voices were 1m- > r* you can give me Health and 1 mf" oto tS U voice and help me to gain higherhnhevl-n,i a angel / ( sing and becoming ,m twenty-two years old. hearing you advice you Twithout Any g, ve mc wjll acquainted with your scholarship, , u h Anally.rsona iy h appreciated.—II. n. your voice, it would be diagnose your ability A. We have answered inossffile for us to many questions con- enter that very fine 1 1I t°my ln you future. To Varlous former is- Jd Institute of Music ls a suesSues of SThe DuJi> de, and we hool The Curtis would suggest th bta n ambition and we wish you hem and read them affi Jv laudable f Tf°von t o n it. It requires years of hard Si s are diseased, they should iery success in be ^at excellent preparation. m once ' You certainly no ork and Ir0 tn !n have in several previous d fc have explained around ln your mouth a sure 4 As we of,lop of ' to study singing with- 0n If of The Etude, ’. the Ration is Skill- s f Uv na,fn m V Voce assistance of a good f P d ‘ Viva y When the throat ls healed it the theth pTrscar « difficult. You need a teacher's and^ tissue absorbed, you should sing acher is very b a explanations. Find a good and be ln better too. irrections and health, for him. and faithfully fvnl T[physician will work hard tell you when you X his precepts. The guitar Sl nBing his advice and ^ less°ns. Our own opin- Row u!iT^ , instrument at all. but most ion is that it should not better than no be delayed too long. more highly developed 1 a much ddld recommence by singing rather usic requires softly „ than is possible upon the and through a moderate range. Also do companiment not sing too long at a time. As your throat JUNE, 1941 411 J

A Choir Member Speahs ( Continued from Pa-ge 383)

singing into their leaflet copies. Half good vocalists. This will be a real job, the tone of a choir is lost when and will take a long time, but it will Introductory its members sing with heads sub- be worth it. Try to keep well, to have merged in their music. Do not try to a cheerful spirit; inspire your choir practice too many pieces at once; with a love of song, never grow three or four are about as many as weary in well doing, and you will can be done well during the regular have done much for your church and practice time. It is better JHfer.r: to concen- your community. Church music can trate on irie small sections than to az‘ at- be one of the greatest factors for tempt the entire piece immediately. good in Strive for these tragic and troublous perfection in each aspect times; and a good choir leader is a of singing, developing the singers in- rare and the to good readers, good splendid asset to a. musicians, and church.

The Issues Technic of the ’*' 1 *y Month— Dctaves /lug t VER' rAVr-9 *V' V ( Continued from Page 409) process!) Keep and don W-VE° hand high, 1 flap © Here is an easy, inexpensive wrist up and down. way to introduce THE ETUDE in its new Ex. 5 "dress," with its many delightful new features, For only to your pupils and musical friends. 35c we will enter a 3 months trial subscription and send the current June, July and August issues to anyone not already a regular reader. 35c Clip this ad if you wish or simply send us each and Be sure to think (U. S. stamps acceptable) with name of the fifth n Trial subscriptions may as th fin er is good for the a light . S be converted later into address. Don't delay! This offer grace-nnfp a1PPmB regular subscriptions Summer months only and will not be made the louder thumb toward with credit allowance tone. again this year! For for the 35(* originally impulse freedom v paid. to “bound” 15 16 to the * 5- lap’after^h 6 ^ ‘-’’•'If? note of the exercise aSt PA. and he 6 ab CHESTNUT ST., PHILA., 6 - °ve to THE ETUDE MUSIC MAGAZINE 1712 accent only this *,° ifh be extended l ast note initely. group. of”each Practice also in C 1 3 r Whenever back chromatic scales- hand, and you tire, go P !’ act * and ce the flrst th together; softly a nd exercises, loudly’ i Anger Now begin octaves, softly, and to work at th cises 6Xer- broken octaves. as straight octaves hlS rotating toward ° f month’s study (Czerny- the thumb hu"? n,T , , ci r (l mg the P ay V °,'' I1, tones No - 34 admirably ii tlon .Aw exactly ,~ > a togTthe, hirfo h ' s a an H **•1 example S • specieswv,o Pi'* in the c 51. ,. ofU1 UUUtVM-octaves. major SCafe 111 ln1J . npulsespulses of nno fnift henf ? Of one, two and MEDALS and BROOCHES gain ’ when tired, pract: in k' f"ken Medal Brooch octaves. Use thetl bOUChtmmwtouch , forIor t.VlPii’e Same design as Medal, without other intervals- This illustration is exact size. bfths, chain and crossbar. Engraving Sixths, in and The name of recipient, or date M. 4, 5, 6, en- of name, date, etc. is possible of presentation, may be *’ Work at the stud: reverse side of this lie-hti or on the only on the graved on the bar, Wi4h tle| ue (re! brooch. 3 nt rests of the medal. to la h reverse side between impulses. Fo •No. 1A 10K Gold $6.00 trast *No. 2A 10K Gold $8.00 P C Ce Sterling Silver.... 1.50 Very slowly y Silver.... 3.00 ‘No. IB looking *No. 2B Sterling at1 theth t tin„ „ keyboard. No cc XCeBt the instant oc Played the

S iS *° deTC1 4 6 PRIZE, CLASS or CLUB PINS ea™ °P freedom Irene “p technic 1 recoi LYRE IN SHIELD ^ ' and dgers “Six Octav- Harp Lyre and Wreath Speed Chord ? (Clasp Pin No. 90) nged up as fast Urneys ” as r, ° (Intern1 longer impulses, P ssible Oradei - n A brand-n de- thus: in oei’ing “Octave Ex and atm „r E Silver Dipped—Clasp Pin m 4lon 90E Silver Plated exce Pt a slight Pins Have Safety Catch full 5 movement Asterisk <*> Indicates arm impulse *' 8lve on each a hated; “1“ the pian0 1S gentle forearm Ccent no i musical iewelrv, novelt.es. prizes, etc. movement ?„ and is 4 motion anywhei free catalog of of black m the h send for keys. nd -°ut oaI (Anotw o:S against ar8ument 1 un e Up that thou * Ue wrist flappl THEODORE PRESSES CO. and h f * * likewise! "Idaoulcl =i„ PHILADELPHIA, PA. /, , , 1712 CHESTNUT STREET, n with few m-Z'TA' of all 10 master* • froduc n., , , , (jrca unh to um and 412 t effeeCts-' 1 - ' ~-Bt-ethoven. vt THE ETiv „ u F2 2 — —y t t !

Drgaiv and Chair Ouestimvs

_JnMue,J lf HENRY S. FRY, Mus. Ddc.

Eit-Dean of the Pennsylvania Chapter of the A. G. O.

No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. Naturally, in fairness to all friends and advertisers, we can express no opinions as to the relative qualities of various instruments.

For thirty-eight years Century music has enjoyed the distinction of being one of tho finest editions published, yet its price is but 15c a copy. In elementary onion pressive ZARTFLOTE. The stop Is the following list are featured some of our very Q. Kindly name some name latest Issues, including the works of four of today's enable me to gain a playing formed of small-scaled open pipes, usually most popular composers. books which will its pedaling and of wood, voiced to yield an extremely tender Teachers, pupils and players will find them all of knowledge of the pipe organ, exceptional value, especially Kay Armour's ••Modem without the help of a teacher . flute tone; hence Its name. It has been made Piano Method" its stops, and Walter Rolfe's "Book on Har- of both 8 ft. and 4 ft. pitch. mony. You can buy them at your dealer or direct I.M.A. from us. DIAPASON PHONON—The name Introduced suggest these books: “The Organ”, Teachers who use and recommend Century music A. We during late years to designate a metal labial win the everlasting gratitude of parents who can't Stainer-Kraft; "Studies in Pedal-Playing”, afford the high stop of 8 ft. and 16 ft. pitch, and large prices generally asked for teaching Nillson; “Master Studies for the Organ”, music. Century music helps you hold pupils scale, voiced to yield a powerful and pure and your old also aids in enrolling new ones. Carl. organ tone. The pipes of the stop are of the Your money refunded without question, if not fully same form and construction as those of the satisfied with your purchase. requested to play a O Recently I was standard DIAPASON. than the one from march for a wedding, other You can secure additional information on the Hero s March by ‘Lohengrin.’’ I selected stops by referring to the book from NEW tin the and well liked by Mendelssohn. It was very which we have quoted. the church, when bridal party and guests. In bcttci IMPORTANT Procession is long it screes much the Is it possible to have pedals and a March which must be played Q. than the Wagner motor installed in a Mason and Hamlin reed times to get the bride to the over so many not, can tell where I can bit too organ f If you me a fiiDDERn mho iethqi In a home wedding it is « altar. secure an organ in which I can have pedals any other really match long. Hare you motor installed J.F. It. A. L>. and — HIM BEGIIMERS and “ bridey” numbers to suggest t of no reason why pedals can- investigate the following A. We know A. You might motor used on a Mason purpose: not be installed and KRTHLEEn FiRmOUR numbers for your and Hamlin organ. We suggest that instead Processional at Avignon from PRICE 15c EACH Grand of purchasing an organ and having pedals PART France Suite” by Cooke; Corona- 3 something decidedly new and original. It •Palaces In installed, you purchase a used , 1 numphal March and motor H ln ro parts 1,1 sheet music form and each Meyerbeer; March by if. I tion rt cM at. ?,the two manual and pedal reed organ—if you oniihioYK. regular price at 15c per copy, which Epithalumc by Barton; f recession pupil bv Costa; SwiimrS t0 6tart tho study of the piano with "Lohengrin’ by Wagner. can secure one with the kind of pedal board hn-meial outlay. This modern work is based the Cathedral from nnn,! . i to that you wish. ® t- approach is so clear step- ivicn tw m and and pl1 is WICKS p !' Playing little tunes almost at i^°utset'!Vn. how to transcribe Profusely illustrated. Teachers, be sure n. Please advise me Q. Our church recently installed a two Outstanding the melody liar aJi work. to the organ, using Learning The Rosary manual and pedal reed organ; and as organ- 2 07 pS — Letters on the Keyboard score.—R.R. Notes, Bars, notes in the vocal ist I am interested in securing all the in- 3 9«Zp?£f i! ~ Time Signatures , lro Finger Exercises organ 3 .U~L suggest your consulting an formation I can, regarding stop controls and DFtGAWS 18 2 me Signature A We 3200d»i ?| ? connecting the blower p,pe. I “e method of ll‘S to receive them.—K. E. Iv. Q. I have consented to take charge of the 3155 2 ' Beothoven-Rolfe would he Via" Dartimi In and Out 'rC ~i choir in our church. The choir has never been 3175 Dark ’•3 Armour communicate with Eyes (EasiM r» T«V suggest that you 3170 D o' Armour A -We really organized ; the voices are not trained, a n c i n n t h Min. A, sending you 0-2 Chopin-Rolfe whose names we are Pianists— Send for tree booklet show- 3190 First Waltz firms Intended but there arc thirty or forty very good natural 3184 Flinht of Rnmilin? Durand-Rolfc stating that the Mower Is ing how you may greatly improve your Himsky-Korsakoft hy maT voices available. Some cannot read music. Will technic, accuracy, memorizing, sight- 3188 Garland of Uni!? *tn}' ol reed organ whleh on the type reading playing thru 3154 In T C-2- ’.StnaMw g S uMd you kindly suggest organization steps f I want and mental- K * *° system instead of 3134 In ’• — b—1 Armour “pressure" muscular co-ordination. Quick results. Practice effort Gav RikiL.ii., B , , the C nU Uo) to have a male quartet too. Will you please 3182 • G—C—2. Crosby generally on reed minimized. Used by famous pianists, teachers and Ju nipmn Ron 0 n. system used ,\Wi J n 3137 Jolly ';' po > • C—2. .Richter Induction" give me a list of easy anthems for the choir students. No obligation. Li Itlesnm i,n rn , used Mower b ib~2 might find a 3173 Lacos and FrMU V? l Crosby organs.oreans “ou and for the quartet f Also suggest names of Broadwell Studios. Dept. 61 -F Covina. California 3176 March 1 - Chopin-Rolfe blower firms who can also Militair/'r' !* pieces the accompanist may use as offertories 3182 March of tfm V. Schubert-Rolfe as to Installation New 3156 Moonlight B—5—6—m, Iwanow furnish^ information piano. P. C. Waite rtlli cost $150 to $175 f.o.b. for — Mr. ’ Armour would 3164 Third Takes’r^w?.',/ V.' blowers probably d 3051 My Little 9~2 Richter A. The matter of organization is depen- Pot > JF’ - PIANO TUNING a» D TAUGHT 3150 Nannetto ' Ilopkins Pnco xs upon how far wish to go ln the | An?mnfJ?T1 some good text dent you 3117 Out oil the *. 1 Armour anxious to secure Ocean fTOo'u : n I am officers to pianists and other musicians 3169 Pussy Willow 0-2 Hopkins »»“ matter—whether you wish to have 3151 Tva/s^ n ’'-i2 theater organ MW- School officially approved by Steinway & Roaming Up and Dnni'nRr Richter „„ on thuitn m guns and so forth. The musical direction should 3054 Robin Rod r C— Armour ami thorough woih Sons. VV. W. Kimball Co., Baldwin Co., etc. B?oast (Wnw^tz -U mend be in the hands of one responsible indivi- 2 - - • -Hopkins history construction 3161 Sail on LittloRn-it \ *Yr Zlich deals with their Write tor information 3139 2 • dual. The organization have officers such Scouts on Paradn - B'chter forth, also a text as may Or. William Braid White, Principal 1 f , rtaion and so 3135 Shadow Waltz ' £—C—2. -Crosby t0na president, secretary, treasurer (if there is ivi&l'.0) °—< ~‘ should like to know as 3131 Skaters Waltz ' c 2 Crosby l-nni’d° above? I School of Pianoforte r_Y~ need for one) and librarian. If these officers Technology - Waldcufel-Rolfe the following stops—Fugara ifT something of are elected from the choir by the choir 5149 AGATITE AVE:, CHICAGO 1° Diapason Phono,,.—]. US. "ah Flute V, members, it may help in keeping up the A We suggest these hooks for your pur- interest. The male quartet may be selected “Musical Accompaniment of Moving from the chorus, but it might create a YOUR PHONOGRAPH Lang and West; “The Musical healthier interest if it were made a male Pictures”, Benyon; SSentation of Moving Pictures", chorus. A female chorus might also add RECORDS—Guard Them Well "Encyclopedia Jazs". Elgenschenk; interest. Since some of the members do not “Organ TONKabinots are specially built Rapee; read music, you might find it profitable to for Pictures", 9 this purpose . . WALTER ROLF of Music for . beautifullv- I crafted c l "Organ Stops" by Audsley: include sight singing in their instruction, cabinets of notable l'»«hoa or quote from d'o- orV m .i™i We I sign that koop phonograph ree- ?4f 'i’'”C!8 1 c that has been used to thus repaying them for their time and structiou. tho s and thcir cor —The name 1,1 rf hit orva Is | i * . PTIOARA p ct ordl!r “nd r ' ff , F add 0 ' 1 n 1,0,11 wood, 1 ? 1 minor keys to maJ°r on stop of metal or effort. For this purpose you might investi- I distinguished beauty up and’ “eludinginclnHi ., designate an open to your and Its inversions. tho dominant 7tl tone 3 music room. of 8 ft. and 4 ft. p tch the gate “Methodical Sight Singing” by Root There's a size just i commonly right 1 0 A for YOUR collection! n 0 Gilnplest terms po; somewhat Indeterminate in char- (3 volumes); "The Choral Class Book” by slMesoHhat even a cidid u! of which Is WRITE for froo with1 B v, ' itlustrai study can easily “fo/in,” - ar or so or pian Inclining to a cut- Leason and McGranahan (3 volumes); “Class W tllruJT „ ln some examples it. with «• Be sure I acter sec PRICE, 25e. and in others to a Method” by Cllppinger and “The Voice ting string quality, string and horn tones. Method” by Pitts (2 volumes). We are having combination of TONK MFG. CO. Ger.—The stop bearing this catalogs of music for chorus and male voices (Dept. 212) — DUOS — TRIO 7 ARTFLOTE. 1980 N. Magnolia Avc., Chicago and QUARTETS was. according to Seidel, Invented by sent to you. For the use of your pianist, we 1 nAm name G fT R “i organ-builder Friedr. Turley, who first suggest “Sunday Plano Music”; “Church K ™K,af “r l the uslc n,,d supply JYIU - if ho can but as its tone was of and Chapel Voluntaries for Piano” by wnd vmw ’!l called It a Gamba; Ploto cataiogue wii, quality rather than Drelsbach and “Instrumental Church Music Z a soft and refined fluty CENT Muslkdirector Wilke Service” by Kohlman. These books may be MUSIC PUBLISHING of a string character. 2jIH?^Wost cc the more ex- secured through the publishers of The Etude. 40 St.. Now York. N. Y. advised Its Inventor to adopt

JUNE, 1941 413 T

simply, he has the right way so com- tion point of breaking. Take Making Practice Profitable the the compositions themselves, always pletely under his control that he wave as your tonal model. Anticipate associating them with their own mu- knows how to deviate from it and it; prepare ( Continued from Page 371) for it mentally. Your emo- sical context. It is awareness and still be right! For example, the rule tional conception of any tone But the meaning itself must be one’s must self-criticism that practicing is that the bow must be held straight, be mentally prepared make own. Do not copJy the actual things before you profitable. with' the stick lying toward the neck sound it. When the that Mr. X has to say; try, rather, to moment of sound- of the violin. It must be kept so. If ing comes, it is too late penetrate to the core of the music so to produce the young student holds it different- anything but thin tone. Tone that you will be able to bring forth a belongs The the ly, he is making a mistake and pro- to its phrase, and Paradox of significance as distinctive as Mr. X’s. the phrase be- ducing an unpleasant tone. Yet it longs to its own The intelligent critic compares per- interpretive feeling Violin has happened that, to introduce a and color, which formances, not in terms of goodness bind the single certain color effect that I want at notes of the ( Continued from Page 387) or passage together badness, but in terms of what has in a handed to some given point, I may turn my bow sort of emotional down from generation been done that may help him im- legato. It is this a little away from the “regular” posi- emotional generation. Good musicians may have prove his own means of stating his preparation, precisely tion, in a way I should not encourage which makes ’ praised it. A high price may have own thoughts. for good tone any pupil to do! been paid offer re- young Ugly tone results when for it, or a good I do not believe in changing emotion is Such an example illustrates the placed, mechanical fused. All this and more may tie teachers too often. If one has the bad fashion, on place for and the need of two kinds single the known, remains notes alone, and but the violin still luck to come under the care of an noi in the only a violin of nameless make and incompetent teacher, the best thing, value until such one or more of course, is to leave him at once. But time as experts have examine if one is fortunate enough to have a been able to the instrument value. teacher who understands one’s needs and pass on its and knows how to serve them, it is sheer folly to look elsewhere for “name values.” For all that, though, the gifted pupil needs two separate and very different kinds of teaching it a good tone? Your iae«* tone may pe during his student years. It may hap- not be that of another s°n. pen that the same teacher can pro- The tone may be pleasant you. '1,i vide both, but more often a change But" haveuav c youyuu uumpaicucompared it thele tone nf r. ( becomes advisable, even though- it . of a valuable . more Again, may be painful. who is to be the judge of t one The first type of teaching needed quality? As a general rul* rs safe : is the patient, painstaking, elemen- to say that a valuable v tary inculcation of fundamental facts a g00d tone, but even her( firMda —facts about the instrument, its contradiction. There is in e Ce a structure, its care; how to hold it, „• Stradivari violin that, per 6 how to hold the bow, how to draw a is a real curiosity, is 1 vana tone, how to finger intervals, and so able ‘ban of f? other violins on. same To impart such information in a maker. It has been the des vital every many way is a gift in itself. Not U„„ repair experts, becauf teacher is capable of it; indeed, it been + nn impossible to get a often great masters happens that the out of this instrument. - have gotten too far away from rou- “ Fw5 as Th e Violin the Mi tine essentials to present them in the got to Burn.” simple way that the little beginner 11 0 * reasons that Strad: needs. This first step in teaching has ?!-, rePutation for being should keep rigorously away from Rrenfo f a11 vi°hn makers no d individ- lies questions of “inspiration”, *ke fac of instr t that, outside uality, and the like. It should con- of teaching. At one point in his continued ent • context ;' ust no nf tv, inst mentioned, cern itself, quite simply, with “the studies, the pupil must learn the law; tation. mS I have found nents made by him an tools of the trade,” acquainting the at another point, he must be encour- mans m ex?Sl have a harsH^ 1* S rep0 *. commonly pupil with the laws of the violin and aged to think for himself, even to the because “^han that strnH- they carry a vari would throw into point of breaking the law. But al- trait lr fire nv, . how to obey them. of thoroughness instr he know how and why. m Pleasn ument that did ways, must note is marker] u- Wh6n ™>PPle‘ed. Applying the Fundamentals Further, a student who hopes to pre- Play exactly Speak.!™ that no?e"/°' g °f a later on, pare himself for public appearance f * find Stradivari, we But there comes a time, more and no , less +V peouliar condition, should- arrange to have some instruc- f: when the exact opposite is necessary. build up greatest , the a master tonal tZ ‘ all masters, little is tion from a who has been on ally i When the fundamentals are so fa- whole. It is trin hopeless tn ? 1 °f his the concert stage himself, and is able trea he b fe - know miliar to the pupil as to have become position as a wa! We series or*f 1 com to to explain its unique demands from Is Sln fortable financial second nature, he must learn always the cnnr- sle cumstan of S an U« make his interpretive the vantage point personal ex- of m°at confined his them serve emotional SeTv t ? colorHuTev'at y "° the v, ° needs. Now comes the time for him to perience. smg. Even ma His violin making of finger . e * S ex- Ses ‘hey are not valuable bed reach out musical should - , for individual Proper Mental Approach not be over? are are ’ for over periences, for inspiration, for the require their ??' Th hundred there are proper a Cl “ And Although the violinists’s tone is inst his fifty considered full expression of his inner self. course, but always work 5 thing, whh f? Was 1 to turn to herently a personal it can be tmn that 6 pr°liflc Perhaps the it is also the time for him technic nf . improved. The secret of is wbut 1 r el achieve good tone an end, a 1 has makers, yet no a teacher who can help him and that th been , seems to me not a matter of finger mans' this. The interpretive master must Indeed, the 3 Is made or h of how emotion!? 1 pressure, but of mental approach. 1 an disP also ’ of d know not only the laws; he must approach to tot( the where he music f* m 1 You must hear good tone within you S tic lact autl know when to break them! that the ° lr Picture ’ there is no idenSl n 01 often sees a ma- and must build toward it before you notes, Bre: Pearance description of his That is why one appearing n ;° ; ture experienced artist resorting produce it. If you have visited the compositions, tw° To existence. and mav retuA? " technic seashore, you know that the majestic Iet t0 the t0 to little aids and “tricks” of ‘he one thaA “'L hl as co‘m smbject of “raider vi< wrong for waves do not appear suddenly; they the othe2 r, This an which would be definitely passagesB the! is imaginary e is not that roll in from a great distance, and the P Ce Va l u a beginner attempt. It ‘hem are e a‘ one , able violin mad to :mXnan of the is "mak- observer is aware of their coming that “3yv differ? Poor est -Italian It the experienced performer reason, it strin makers. ing such occasions; long before they reach the culmina- technic The 6 that » “ a mistake” on by Practicing soul ? me faulty P°5 ‘ of P tion. The h is placed out ass- b There 414 (cl ar is loose. ^tmuea on Page 420) Father of the Blues Violin Questions An Autobiography

by W. C. HANDY

The composer of “Memphis nSwerecl la Blues,” “Beale Street Blues” and “St. Louis Blues” writes ROBERT BRAINE with charm, humor and dignity

of Iris long and fruitful career, No questions will be answered in THE ETUDE unless accompanied bp the full name and address of the inquirer. Only initials, or pseudonym given, will be published. from ragtime to jazz and to swing, [tent.] S3. 00 Beginner timing is much nearer Paganini’s idea of Studies for a than R. R. R.. Guatemala—1. A good book of how the composition should be played studies for a violin beginner is ‘‘Easiest Ele- the faster figure, although I have heard It No professional musician can mentary Method for the Violin.” by Wohl- played at that speed. The only way to get various grades, at a composition pieces of the exact . speed which afford to be without the new fahrt. 2.—For violin from easy to Grade 6. write to the publishers should be played according to the metronome, su pplemental vol e to Guide to com- a m of The Etude for the booklet. “A Is to gauge the speed marked by the Grove's Dictionary of Music New Teachers on Teaching the Violin’ . All poser, and to set the metronome to this 3. Sevclk the pieces are carefully graded. —The number. and Musicians. ($5jOO) Write for ad- studies are difficult, and Intended soon the pr— BoC for circular. vanced pupils. 4.—I cannot tell how Tuning Orchestra Instruments would be ready for U^showinS nupll you write about Z. In orchestras with full symphonic H. — < c several years at least. v- i bransen these studies, probably instrumentation, the players tune to the A If she niV ocw The Company her talent and ® \ ful ; Macmillan It would depend on of the oboe. In smaller orchestras, where teacher. style d P’ an excellent ?. 60 Fifth Ave., New York has had there is no oboe, the players tune to the A JjK | ] of the clarinet, which, while not so good standard as the oboe, serves the purpose Translating Violin Labels a .brmisu* o t Subscribers often write to this fairly well. Orchestra players go to the con- of labels denartment asking for translations cert hall about twenty minutes before violins. If the time, and tune in A RARE FIDDLE EVENT! and Sifptlons found In old concert up the music America’s Smartest Piano Fashions any size, they will find room. As instruments are played, they A guaranteed “STRAD" for sale! inters live In cities of principal languages In change pitch to some extent. Wind instru- Music Teachers: write for special proposition Violin by Antonio Stradivarlus. Cremona. 1701. with interpreters of all the 1883. be glad to furnish get sharper as the player blows his Gand & Iiernadel guarantee of authenticity dated thecourts. who will usually ments Price 52 000.00. full particulars of tills anil otncr are not too long. breath into them. Violin strings For translations if the passages warm flat- bargains please write to ten, on account of their being pressed down ELLIS HOUCHTON by the warm fingers of the player. It Is Exporter Fine Old Violin! Loose Bow Hair of Antonlus Flnolll made essential that the players produce these 46 New Bridge St. Ncwcastle-on-Tyne, Eng. -o Tyr r; —i. Joseph about 1750 His labels changes in the tone of their Instruments, violins 'in Milan. Italy, Flnolll. In Milano. especially in cold weather, before they go "Joseph Antoni students. Free il Sad note as on the platform to play. | teachers, This maker was not of much violin makers give Revoicing, Refinishing, Repairing the° catalogs or famous Still. It Is a Wedding Marches him only two or tiiree lines. Different CHELSEA FRASER, M.V.M. that they mention him J. G. Emily Post, famous author of books DOtnt°in Ills favor — i 2025 Stark Street Saginaw, Michigan SPECIAL NOTICES thousands of these obscure on social etiquette, says in answer to a cor- at all There are only a half dozen respondent, that while Bridal violin makers, who made the Chorus In their whole careers from “Lohengrin” and the Mendelssohn Jeally good violins the good ones I AND yours la one of Wedding March are used most generally as gmmnsMExm OTether You could Snot say without seeing It. the processional and recessional, respectively Lyon and Healy. violin weddings, other marches send your violin to at could be used, 75 SHEETS Illinois, and the r experts if are in good taste. dealers. Chicago. they ANNOUNCEMENTS quality of the violin, and OF FINE, TWO PAGE could tell you the x 19" ou This firm has a 12 STAVE-12" R onnmvimate value. Life and Works of Stradivarius MANUS CRIPT PAPER city. You might talk with branch*' In your P. T. R. You will find an admirable Stamp lor Sample about the matter. 2- — Send thehranch ‘manager article on the life and works of Antonlus MUSIC SERVICE ore having with the hair MAIL ORDER trouble you Stradivarlus, the world's premier BROADWAY. N. Y. C. SPECIAL The several causes. violin 1619 f NOTICES | might come from ™our bow maker, in the “Dictionary of Music and too old, or of poor quality. & Musicians”, edited by Sir George Grove. The FOR SALE: Unusual Opportunity. Re- hove been, put In the how It may not article Is extensive enough, if published In A Periodical with World-wide Circulation tiring Musicians Will Sell Music School how to a good violin Equipment. nronerlyy Take the book form, to make a good sized volume, “VIOLINS AND VIOLINISTS" De Capus, c/o The Etude. repairs violins and hows and who is authentic Single issue 25c—Edited by Violin Expert “makeraK® Is. and In every particular. There I just what the trouble Hinman Ave., Zen vou are many works in book form on Stradi- E. N. DORINC, 1322 Evanston, III. not use the how much it FOR SALE make. Sven ?f “ou do varlus by various authors, but I think the OLD VIOLIN: Italian aired every four or live Mas exquisitely beautiful tone. Magnificent ought to he re-ll article In the dictionary by Sir George Grove trefail be on back. A violin vou would months. will give you all the information you re- proud to Har- liiniimmiTOiM own. $250.00. Ralph Coss, quire. As you live in a good sized city, I am vard, Hi. Picker >hann Christian sure you will find this work in the Public The Temperameter eliminates guess Christian Flcker made work. Our Pioneer School f X C-—1. Johann Library of your city. operating Germany, from under Michigan State license, was in Markneuklrchen. first FOR SALE FURNISHED ( AMP: Lodge, iol’ins son of the same to teach precision tuning by mail. The build- °i tn 1800 Father and Violin Instruction eight small cottages and auxiliary worked together. Their piano is having a phenomenal come- tngs, all in 2 pianos, seem to have back. Prepare yourself now. perfect condition; ™e valuable. Catalogs M. W.—I would advise you to go to the Free electricity, modern plumbing, 54 acres are not especially Booklet. Mins only a hue or Juilliard Foundation of Music in New York woods and fields, feet lake frontage, in makers give them 500 r violin City, and ask them the questions about southeastern Maine, 12 miles from Rock- other of your violins, Degani BRYANT SCHOOL, AUGUSTA, MICHIGAN or vo 2—The violin instruction, and about Jewish and land. Ideal for Summer Music School Eugenio", does not seem to he Silo dl also Gypsy music which you asked me in Recreational Camp. For full particulars violins of note. According to address Box ttPri among your letter. You could perhaps get answers B. P. c/o The Etude. was made in Venice (Italy) In ie label it Diploma to your questions by writing them, but a and received the First Brand SWING PIANO! Si Venice in personal interview would be better. You Learn to play real Swing Piano. Send for free Honor at the Exposition In Home violin of good quality, could get their address from the New York Study Folder. TEACHERS: write for business offer It is no doubt a | ANNOUNCEMENTS | 97 City directory or the New York Telephone CHRISTENSEN STUDIOS, 52 Kimball Hall, would not have received this award Chicago it large trade might directory. As you live in Brooklyn. It would PLAY piano dance and dealer In violins with a .1X7.7, like with some additional not take much of your time to see them radio players. Quick mail course. Informa- • able to furnish you tion 22-8 such a vast number personally. I do not know any Institution free. Erslcine Studio, Dept. B, [formation. There Is Rosedale world that only the better posted on world news concerning SCH00LS Ave., Oakland, Calif. 'violin makers In the —COLLEOES recognition In hooks about musical instruction than this Foundation. eatest get much SCHOOL ME A SINGER: Secrets of Europe's A Moderate Grade Concerto OF greatest teachers in ‘‘Singing Made Easy. Speeds S. H. T.—The “Concerto In A minor” for CONVERSE COLLEGE.MUSIC Details for Stamp. Eastern Studio, Cham- nome Ernst Bacon, Doan, SpartansburE. S. C. gives violin by Accolay. is a very pleasing work, bersburg. Pa. rj note that your metronome i and much used by violin teachers for pupils of speed for the various terms rates "Studies, COLLEGE, 40 to 69: Larghctto, who have finished the Kayser Op. DEPARTMENT OF MUSIS-UblC jsic- Largo, from Galesburg. so on. 20.” It is not especially difficult, and is used 111. 104; Allegro, 152 to 184, and knox James MacC. Weddell. used as extensively for pupils' recitals, where com- Chairman GUIDE TO NEW TEACHERS of these figures are rarely Catalogue sent free upon rouuoat" FREE ( « some too positions of moderate difficulty are required. as some are too fast and ON TEACHING THE PIANO a copy is no doubt what you wdnt for your com- note that your metronome has A1- It I ing pupil's contest. c marked as high as 184, and that Paga- Tells Col. coll', col'la mean “with the”; thus, how to begin, the equipment needed, wh; Moto Perpel no Is sometimes marked SHENANDOAH publicity io use, and gives a carefully grade great Italian colla arco means "with the bow.” It Is often ®r say that the ... _ Courses leading it speed. You „ .. , list of materials. used in violin and violoncello music; thus, the B. Mus., and 1*. Mus. Ld. ictor Toscanini, according to your tim- degrees Rato, arco means, “with the bow”, after reasonable. In the heart of the ook this composition at 168, which is collo a »“iu»uUonlShetland, ,„i Thoodoro Prosser Valley. Dayton, Virginia. Co., 1712 Chestnut St., Phila.. P. slower. I should judge that Toscanini's pizz. passage.

JUNE, 1941 415 , “ ” 8

derstand him. The difference, of performance of Saint-Saens’ Scherzo among the most interesting things (Columbia Disc 70740-D) will prove. the soprano has done. With a string How Fast Shall I Play It? course, is in the temperaments of the has Theirs is a brilliant and skillful per- quartet and harpsichord background, (Continued from Page 370) two nations. Beethoven’s speed Miss Pons is heard in airs from not been fixed on paper as securely formance of music of similar char- slight retards, which Gretry’s “Zemire et Azor”; Handel’s Even those as the notes have been fixed. acteristics. of sec- “Floridante” “Allesandro”; and performers make at the end When an eminent English choir Sascha Gorodnitzki makes an aus- and music, are wrong—ac- the Schu- Bach’s “The Contest of Phoebus and tions in old went to Germany, a few years before picious debut on records in the standard of the old minor, Op. Pan”; as well as in Bishop’s Echo cording to the war, and gave several perform- mann “Sonata No. 2, in G

. virtuoso Song, and Pergolesi’s aria Se tu composers. ances of some Handel oratorios with 22” (Columbia Set X-186) A compositions of the classic m’ami. The the English words for which Handel pianist with amazing technical ac- The disc with the Handel Daquin, Couperin, masters—Scarlatti, had composed his music, the German complishments, he plays this sonata selections (No. 2151) is a particularly meant to be for instance—were critics one and all decried the English exceedingly well, even though he does engaging one, and it may well have unchang- played with a marked and performances as being much too fast. not bring to it the mellowness and a wider appeal than its associates, end, ing rhythm from beginning to They made no allowances for the warmth which are Schumann’s by The scene between Kundry and permitted at when one retard was Handel tradition, which is supposed right. The older Victor version by the Parsifal, from Wagner’s “Parsifal”, of the last repeat. Mischa Levitzki may be a more following the the conclusion to exist in England where Handel late disappearance of the exceptions. The reading, Gorodnitzki’s dis- Floiuer That rule had no lived and composed and died. They poetic but Maidens, has been superbly gavottes, gigues, courantes, passe- were temperamentally as much at places it if only by virtue of better brought to life on records by Flag- other old pieds, allemandes, and variance with the English as Mottl recording. This is the sonata with stad and Melchoir, with the Victor dance movements in the Bach suites was with Nikisch. the strange markings which have Symphony Orchestra under the di- retards or were never played with We see consequently that this prob- afforded so much amusement among rection of Edwin McArthur (Victor other of rhythm in Bach’s be solved musicians; the tempo of the first Set changes lem of speed is not likely to M-755) . Although it may be only retard, at not is indicated own day. The one and for many a year. But that should movement as So schnell argued that Flagstad is not a true the the repeat of the last excuse for playing als moglich (As fast as possible) and siren, end of be offered as an , no one, we believe will deny indi- ab- followed movement, was accepted as an the old pre-Haydn music at an is later up by schneller her exceptional artistry in the voic- with cation that the piece was coming to surdly exaggerated speed and ( faster) and, at the coda, noch ing of this music. rubato. schneller (still faster) a close. the most inappropriate tempo . Recommended: Kerstin Thorborg’s the When Haydn broke away from The music of Szymanowski has al- superb singing of Schubert’s Die old manner and struck out boldly ways had considerable appeal for us, Allmacht (Victor Disc 2148) the best into the new paths which led to our for much of it is of rare poetic con- version ' Artistic Appeal of this lied on records; relaxed somewhat Wide tent. Harmonically it is modern music, he most ingeni- Bjoerling’s fervent and manly sing- the rigid rules of rhythm. But he ous and original, and stylistically ing Marks New Records it of Cujus animan from Rossini’s knew nothing about the tempo ru- shows force and Imagination. Jakob “Stabat Mater" and 7 ngemlsco from music of from Page 374) bato upon which the ( Continued Gimpel, a pupil of Szymanowski, Verdi’s "Requiem" the (Victor Disc Chopin is founded and which is Piano makes a distinguished debut on rec- 13588) Harris’ “Quintet for ; and the revitalized recording for Cho- In Roy " correct rhythmical freedom we ords in his master’s "Twelve Etudes, of Bizet’s (Victor Set M-752) , Agnus Scriabin, and Strings” 33” Dei and Granier’s pin, as well as for Liszt, Op. and “Mazurkas, Op. 50, Nos! further evidence of his unusual Hosanna by Caruso (Victor Disc less did have 2.” Debussy, or Albeniz. Still opening- 1 and Szymanowski has been 17814). abilities as a composer. The Haydn know anything about the called the greatest Polish passacaglia, is indeed a composer Vien- movement, a rushing speed of our time. His since Chopin. Such statements are, work of genius; but the subsequent of nese temperament was genial, full of more course, always open to disagreement, section marked Cadenza is no grace, charm of manner, but there are melodic and interlude, and the grounds for the con- not in the than a virtuoso but never fast moving. It is evincing tention. He is more nervously final triple fugue, although intense Viennese blood to be rapid and ex- than Chopin marked gifts as a and, naturally, his tonal minuets of the composer’s cited of movement. The emo- palette is more pungent and craftsman, is more mental than varied. his symphonies are nearly always This is a highly The work, like many interesting set of How I Bnill Class modern orches- tional music. Up My played too quickly by of itself, records, and it deserves a To The of Harris, grows out wide audi- Etude : tras; for the conductors are more others to follow ence. nor ">»l enrollment of to and is therefore not easy t0 accustomed to a brisk pace than lnB myself, can 1 do several -Among the best u b Mini 1,1 “What a first hearing. But after things***A, BO thatmat 1S.OUS- U,P- bygone on Kous- i W ,i the graceful sentiment of a sevitzky has playings one is conscious that this accomplished for intensive years of stiul.v age. thp and poise, com- phonograph is his the is music of strength performance of ySr? / 'j? e in'Re Pg] When Charles Lamoureux, n 11 ' 1 0M1 v,’ Beethovens some K enrollment of ,.. pianist Johana Missa . J out petently performed by SSolemn!*”niS" : of mv founder of the Parisian orchestra ; 7V* wife) and the tor Sets M-75858 Harris (the composer’s “Tndand °75m759).758) K-„ 1-liiBlni "wmnl to lie on tbc v/W which still bears his name, was ap- Kousso iff lrou' J, String Quartet. yitzky traverses this competition !,»„ fik economic reasons Opera Coolidge score ngainst teachers 9. pointed director of the Paris with a (nil' locality. cailet music to feeling for its Curiously, Gieseking’s approach strength its House, he at once was confronted drama** 1 ' 1 major, connotations, ' eimal'.Ui! ^kine an inventory ’"a Barcarolle in E-sharp and Ws ! SlS'i with a staff familiar only with estab- Chopin’s its beauty Private ,wl to nsk the principal The school -. 71206-D) is Vt ‘ ‘ to ‘ 60 (Columbia Disc <»n music R m< a fow minutes ( lished customs. At a rehearsal of Op. “ actual" in hi«n,s lnil privilege 1 formance, per-: forty ,!l 8«nKe class. The not always suggestive of his Debussy is tonally minut vvas Mozart’s “Don he insisted on &«-in B in the was 1c''' t" recording this disc that !ncrl illustrate !’ 1, v enabled me. very music. As a piano the young n , V' faster. Whereupon Lamoureux, a singers of p of in- is unusually good. and Harvard Me musician and a man who ”uoie. .,f thorough make A* n. .. . chorus, : Reginald Stewart, the Canadian and the 1 ”* naked means, laid down his four soloists 1011 of „1V talk i dependent 'TV ll Zhead 11 1 c<'} Liszt’s by ed jmti touch conductor, plays Jeanette in personal : opera pianist and Vreelandel tin t I, : , !, j baton and walked out of the CO lMs mPaSS the enthiil) eussion f>' lk, ''«mh Hungarian Rhapsody, No. 15 with difficulties xrith its n ,u ,i1 his post as con- Permission ’ 1 remarked. W^ s house. He resigned artisttc c of vi!n. * to 1 eacher. be P*‘ straightforwardness and and fine nViCtion n" 1 tit i shall *li» perform the min- appropriate energy an iin,? i rather than is would eare time to meet those" ductor T VaSS ‘ ls vigor. music is more pompous music of the not The n.'' 0lJ in class. , r which Mozart would The accented . d my music fl uet at a speed 1? Ch nv nill1 subtle, being based on the popu- although it Style Yet when this same than is deep ’ to he condemned. re greeted' " " have y To Kllll , symphony lar Rakoczy March upon which Ber- a work in which U is Afitr conductor took his famous Beethnve " the English lioz’s familiar excerpt of the same sionate and Pas ‘ orchestra to London, dramatizing AT Bee- name (from the “Damnation of overleapt all glnati tempos in a the . °n critics found his bound?™?1 The Faust”) is founded. This is also a tlonal traditions thoven symphony too fast. and m played the German^ fine bit of piano reproduction (Vic- malastogoitsownhnp'T1031 French conductor /-ci— perious (LawrencefT.aorronnn way ,»» fast for the English tor Disc 4544). Gilman) symphony too . n ,, a„ U to' - -- - perfect Arthur Loesser and Beryl Rubin- own suso fine P 11 "•! ,1!i have a nne a lege " !,m1 iV-n 'V B' public. The English Performar7n„ T j>’ "m"i- vm', > understand stein are among the best two-piano Lily Pons’ as this they album - right to believe that off SongA PUpil. before the public, as their “Classic s ..i, same srA 1 as the French un- teams now AirsAirs’’” (Vi„L° „ caned class before "A tin' Beethoven as well (Victor Set » results o' M-756)’ .a vim'' R''ttin»r the " v,,, ' v elns^, B u- Rlc ,.f creditable ^ "* —-Aid 1 416 accomplishment. — —

musicians had keenly anticipated The All-Girl Band of their concert here last night. It was had expected and more Winthrop College all they the band played in a manner which University Extension Conservatory would have praised.” ( Continued from Page 386) Sousa himself CHICAGO 1941 Every effort is made to maintain THE WORLD’S LARGEST HOME STUDY CONSERVATORY secure financial backing for such a a varied repertoire of concert music, OF MUSIC trip. There followed on the heels of the band has given programs of and MEMBER OF this invitation one to give a concert light classics and semi-classics fre- before the legislature of South Caro- quently. Since its organization the lina. Immediately after the concert, band has traveled approximately which took place in the hall of the four thousand miles and has filled House of Representatives, the Leg- more than forty playing and march- A distinguished faculty o£ Highest Standards of islature (the House and Senate had ing engagements. artist teachers. Music Instruction met in joint session to hear the But more than the thrills of con- band) voted to send the band to the cert trips and marching engage- World’s Fair with expenses paid. ments, more than the fanfare and The Winthrop College Girls Band uniforms and new experiences for Extension Courses by noted teachers, leading to Diplomas, and Degree was to represent South the inestimable the State of the girls has been of Bachelor of Music. Carolina! cooperative en- value of wholesome, You can prepare yourself for a better position by studying at your The second Annual Spring Con- terprise. There has been the work- convenience by the Extension Method. cert of the band was given before ing for a cause, the development of No entrance requirements except for Degree Courses. Credits earned by we left for New York, on June 4th. community and organization spirit, using your spare time for advancement. Sixty of the girls were privileged to the lasting joys to be found in music Catalog and illustrated lessons sent without obligation to you. Check coupon below. take this trip. The band played on in whatsoever guise it may assume. that each of two days at the World’s Fair, It has been my experience UNIVERSITY EXTENSION CONSERVATORY, Dept. A-252 1525 E. 53rd Street, Chicago, Illinois. and spent the remaining time sight- nearly every girl is musical. And, Please send me catalog, sample lessons and full information regarding course I have marked seeing in New York. A majority of frankly, girls make good band mem- with an X below. marching. Piano, Teacher’s Normal Course Harmony Violin the girls had never been outside of bers, both concert and Piano, Student’s Course Cornet—Trumpet Cuitar the State of South Carolina, and for shouldn’t they? In the matter j Public School Mus.— Beginner's Advanced Cornet Mandolin Why Saxophone I feel that Public School Mus.—Advanced Voice all of them it was a new and thrill- of general appearance Advanced Composition Choral Conducting Piano Accordion appearance more Ear Training & Sight Singing Clarinet Reed Organ ing experience which they will never girls keep up their J History of Music Dance Band Arranging L Banjo forget. than boys. They are meticulously Name Adult or Juvenile neat, and one never has With the beginning of the school trim and Street No their keeping hats on year 1940-41, membership had in- to worry about City State uniforms in the creased to ninety-six girls. Usually straight or having Are you teaching now? If so, how many pupils have you? Do you They are anxious studied Harmony? sixty to sixty-five of these players best of condition. hold a Teacher's Certificate? Have you at all times. Would you like to earn the Degree of Bachelor of Music? are used for concert performances, to look their best believe and the marching unit numbers As to marching ability, I a well trained fifty-four players, with six twirlers, that they can be just shorter steps than LEARN "SWING" MUSIC one head drum majorette, and four as boys. Girls take marching own arrangements nf "hot" breaks, choruses. Shblivaiorf otherwise their embellishments, figurations, blue notes, color guards. The officers of the band boys but whole tones, etc’. about the same. As to en- MODERN DANCE ARRANCINC are regularly chosen: President, ability is and ensembles yet seen a Duets, trios, quartettes —special choruses durance, I have never —modulating to other keys —suspensions—anticipations Vice-president, Secretary, Treasurer, —organ points—color effects—swlngy backgrounds line due to exhaus- m/ERTOPUl Librarian and Student Director. They girl drop out of Write today. long parades dur- make committee, tion—not even on Find ont about these sensational 370 Lewis up a central band new Conn Band Instruments. which hot afternoons. Many wonderful, exclusive fea- makes the rules governing ing tures! Today, more than to me that girls ever, the im- Moreover, it seems Conns are the "choice of the art- band and which decides any ists.’’ You’ll advance faster and given just recogni- take portant matters directly concerned have not been more prideinagenuineConn INCREASE YOUR on band —made by the world’s largest with as capable performers manufacturer. See your dealer or INCOME! the organization. tion write us for Home Trial, Easy the finest Easily —Substantially —Pleasantly instruments. Some of Payment offer. Mention instru- One of the high points of the Win- — Take Subscriptions for — players at the Na- throp Band’s career was reached with wind-instrument THE ETUDE MUSIC MAGAZINE School contests have been the invitation before the tional High — Write for particulars — to appear and ac- such recognition 1712 CHESTNUT ST. PHILADELPHIA, Southern Conference for Music Edu- girls But PA. growing, and I believe cation. This event took place on ceptance are will soon be accepted March 7th of this year at Charlotte, that women great symphony orches- North Carolina, on the College Night even in the country as wind players. program. The program was a rous- tras of our the only variance in in- ing success. A newspaper article on perhaps the Winthrop Band the following morning stated that strumentation of fact that I must use E-flat “the numbers rendered by the pretty is the place of double-B flat, young ladies brought a storm of ap- basses in latter are too heavy for plause at Charlotte’s Armory Audi- since the on long parades. torium. more the girls to carry That appearance was permitted, financial circumstances than just a concert for the Winthrop If I am sure that for concert College Band. It marked success to however, double-B flat basses a project filled with hard work and performance stands could also be used. many obstacles, and went to prove with times I am told that “it isn t that girls play wind instruments At for girls to be “blowing” just as well as men do. It was just feminine” instruments. I cannot answer three years ago that Mr. Biddle wind standards of femininity, but I started a band movement at Win- for that some of the prettiest throp, a school where most of the do know campus are band members, girls previously had given the great- girls on seem to be just as feminine, est part of their attention to home and they “Sometimes a performer must play an instrument with a thin, popular with the boys as economics, literary activity, and just as unsustaining tone; and in such a case he must use a great deal of who are not in the band. pedal to gain proper sonority. other courses in the feminine cur- those girls loud But lohen he is playing a piano girls themselves did not en- with a very full, rich tone, he may have to use the pedal riculum. The reputation of the band If the very wind instruments, did sparingly .”—Alexander Raab. has spread rapidly, and southern joy playing

JUNE, 1941 417 . ^ °

it “Third not want to participate whole-heart- at the start, and then repeating Symphony” or Debussy’s teachers may well heed a remark correctly each time, these pupils seem L’Apres-Midi edly and enthusiastically in the or- d’un Faune. made to your Editor by the late Wil- ganization, the of the to be in a kind of musical dream-fog. One of the story Win- greatest economies in liam Mason, in which he said: “The throp College Band could never No wonder there is stammering, stut- piano study may therefore be said to trouble with students is that they tering and blundering. Such a pupil rest in the have been written. Undoubtedly it improvement of methods, all want to be Franz Liszts without has broadened the field of musical must be set aright, or progress be- methods of attaining complete con- doing a fraction of the preparation opportunity girls comes impossible. centration and for hundreds of who leading to the prepa- Liszt did under Czerny.” are going to Winthrop, has Every great teacher of the past has ration of a stable and artistic mould or In other words, learn the language given the music program of the col- known this principle. Czerny we think standard. That is one of the reasons of music thoroughly before trying to put- lege a scope that in former times it was, who devised the plan of why the use of the metronome with in speak it. Music study is beset would have seemed impossible. ting ten or twenty dried peas upon study, and particularly the more “get rich quick” schemes which the left side of the keyboard, then modern electric metronome, known promise to work. Un- repetition of a do away with with every successful as the Electronome, is of such im- fortunately, there are enough people passage the pupil moved a pea to the portance in piano training. The in the world to in by these until all the peas were latter be taken The Economics of right side, instrument is especially valu- snide pupil methods. transferred. However, if the able because of its accuracy, ease in Finally, concentrated study a Piano Study made one mistake in the course of changing the tempos and the lack of were moved composition away from the keyboard, the sequence, the peas necessity for winding. It ( Continued from Page 363) should be long before so that back and the practice sequence was part of the a note is struck, equipment of every is music when it is right, of musician he carves out. He can started again until twenty faultless room. struck it will be one of the aP' easily make a botch of his artistic repetitions were achieved. Thus, cor- elements of modern proach centuries entity; or he can make a reliable, de- rect thought, muscular and nervous which should save of time pi*n0 pendable musical instrument capable ‘grooves” of performance, were estab- nieir assignments in the work of the at advancir student body at all times, under normal circum- lished and the piece was gradually metronomic speeds. Did of this day. this result i stances, of producing beautiful re- mastered. In this way, he contended, mechanical playing? Judging fro sults. a kind of “mould” or standard was the artistic success of his pupils should v Practice then, if it is worth while, set. say that it did not is What, then, became of this mould? For similar practice upon you as a human mechanical economic being, not upon the instrument. It is Obviously the performance of a set l3b0r and money. we belief a matter of impressing upon your- mould would be disagreeably me- that the regular study and practi, without some standard, of 0 a self correct mental, muscular and chanical. But, scales and arpeggios PPreciate it. see v is very profi Now let us nervous with scien- the performer dare not risk playing. able, as is you would habits, repeated the practice of like to do,” or “I neve: with a given varie any tific exactness until those habits be- What happens is that technical problems pupil play ui found in exercisi in my recitals or mould he is in far better and studies. tney come fixed. Fixed, but not immutable. standard Czerny really i and Leschetizl want to.” Usually If, when the passage or the piece is position to modify his performance knew what they Pupils, were about before the term is over, to his interpretative under- made ' th perfected, it could not be varied at according Liszts and eggmg for ca: Paderewskis Mar Bach; or, as in the the dictation player’s taste, it standing. Milanowski, in ntteen of the her absorbingly k year old Mary, who w would performance of He may now shade and color the teresting life sound like the 0 f Teresa A, - play in a recital, but who will. This principle of an artis- picture at 8 C fl automaton. All real musical ' ° taUght Waiting v • ak hall perfection, prior to aeeordSg” th the recital tic interest would disappear. There- acquiring initial toeethree simpleT rules: e teacher l. Master *i arrived, thirty mih practice repetition, applies as much tundamen fore, this kind should tals . 2 before practice of . Know the hour! a simple scale, as it d never be mere routine repetition, but to practicing e h ’ know the u irs enVi every note be listened to in- would to practicing the “Hammer- Some years mem S‘ P P should ago, when the You can ave klavier Sonata.” It is analogous to air- clavier artni not teach the tently, every time it is struck. In other was in immense vogu^T adolescent travel. No pilot would think of came ’ words, every note is an ear as well as plane to the conclusion he was absolutely thft a finger exercise. going aloft until withstanding whatever ship examined virtues “Mechanical playing” is always an sure that his had been silent keyboard might have the Wledge or re- and found in perfect condition. This cess of the his enviromnf abomination. Some performers method under ham° U sometimes takes irritating time, pa- of the tultlct may discover that mind one of the old vaudeville act in the zealots who tan!!! V cessiv/° care. In piano playing ’ rVousness which the “comic” dropped a nickel tience and to the very exacting d old lkm ofafourt lectoi^T s due every there is always some slow speed at rhythmic ai ? to the pushir down the back of his pianist drill which the overT which a piece can be played exactly made Syste l0usmother ortl" time he wanted him to play. However, compulsory. attitud® . We have , right (save in the case of a few in- reply ly 01 ^ exacting fatl it is not until mechanical perfection to those wlm may dei,he ? even find« of the volved rhythmic passages and cadenza to put the ly t: that the boast is attained that the free spirit studies of CzernTrny tude of advanced player ’ n interpreter be exercised. As we flights which the Moscheles, Crame °toriously bad bi may TTausie- t-To to an inr , must take on with an element of and «*** enority perfection can Philipp com lex - t: have said, mechanical rike “ok’ only w£h P never be gained by repeating mis- daring) that is, to ask und erstanding them whTt ofh “ Problems tl” dull repetition As long as the player is obliged to has ever dr dla t you takes in practice or by produced the fw them a v can real thought to the mechanical dif- ' of exercises without any attempt at give curacy and mastery ^ a and Wledge of the bac ficulties of a piece, his imagination shown such aS temT concentration upon musical thought. by the pianists th rament of a pU emotional concepts are shackled. wheT change When you practice you are doing one and through this haVe be< r r estimate h previous may be ~!V of making false brain, Much of the dull and “dumb” play- The great "Wg? to of two things— value of 1 admil'e one hears is due to the fact that condemn or nervous tracks or making etude, rests in study. th!he muscular the fL/ti! , in the most unattract: pupil the composition has been inadequate- sers and pi aSS ing correct ones. We heard a the hands fil what When you rea and the work ly learned. super “n" 'a ^klnd he i Up practice last week “Rolls-Royce" inherited gainst, in th< work of art is judged beautiful, cy ! sounded like a cracked phonograph Any seems to be wholly ?“ whit traits SDn In ._ and environ) otherwise, according to how its Co record. Every time she came to a pet or applied to the 8 Wh< 1US1°n performan a ’ U must be s touches the artistic c?? teacher mistake she carefully repeated it. execution and position. The a con C good criti! of n n0t hold tlie schools emotional perimeter of those quali- tell teen o In visiting scores of music whether the alwa; ge perform ! music ’ Unless he rea over the country, we fied to judge its human appeal. By «ns finishing had and t? in colleges, all process hE ftas genuine music perimeter, we mean the circle or o, “What vn have heard countless pupils practice when one is c°urs learning 1 are sPeaks so lo On the whole the musical horizon of consummate human satis- long as the BUa °an nn/i play. Se, : and learner is „ What say faction—not too much or too little, the Handle y011 WOrk in such colleges is exceedingly difficulties of Cerned vowel an smile teens with a li! and then, however, we but just right. It is the same principle formation, he d ons ai- good. Now is very f °na: r foi t who are hopelessly wast- which one senses when standing becoming an Irom thusiasm*. ? hles, love hear pupils orator All . b ut Praxitiles, > above all, hoi Instead of following fore the Hermes of the chanlcal the standard * ing their time. part of sp^ °! m r Judgment of Michaelangelo, the ki them ° musicianship, an are giving, of learning Last mastered and 6 mus t f n we 1 the advice the tech to m 1 studied with the Descent from the Cross of Rubens— before the as near as the passage to be one can think marb.a Th^, details or when one hears the Brahms’ polished ^ wm r ey will love y most minute attention to all speech. x ° ™ aMng eSn n thi y° 11 ay u ’ lf you oan > sensih nderstan!r Clanship ng with genuin 418 I The PiAivn Accordion WHERE SHALL I GO TO STUDY?

Private Teachers (Western) Teachers (Western) > Why Some Accordionists Fail « Private

DR. L. YORK ROSE OUGH FRANCIS ; Advance Piano Interpretation and the Theory work x 3 VOICE jbeiro required for the degrees of Mus. Bach., Mus. Mas., x J3ij Pietro x Former Assistant to Lazar S. Samoiloff and Ph. D. in music. x x in Hollywood DETROIT INSTITUTE OF MUSICAL ART x x Reopened Her Voice Studios at Detrcit, Mich. x As Told to ElVera Collins H 1931—8TH AVENUE OAKLAND, CALIFORNIA " Telephone Glencourt 6115 Private Teachers (Eastern) HIS DEPARTMENT was recent- EDNA GUNNAR PETERSON expose another popular ex- Let us KATE S. CHITTENDEN I ly asked to state what it con- x Concert Pianist—Artist Teacher of blaming the teacher cuse, that Pianoforte Repertory — Appreciation Tsidered the most common cause 229 So. Harvard Blvd. Los Angeles, Calif. — H go well. Some 3 when things do not FE. 2597 THE WYOMING, 853 7th AVE., x for 3 the failure of accordionists. We NEW YORK h students carry this to the extieme are accustomed to answer questions teachers S. SAMOILOFF continually change ; LAZAR and ALBERTO JONAS ; pertaining to the accordion, and our * slightest obstacle ap- teacher of famous singers " whenever the Voice Celebrated Spanish Piano Virtuoso reply is usually right at hand; but they never progress, x From rudiments to professional engagements Teacher of many famous pianists pears. Naturally H here was a question which caused us x Beginners accepted. Special teachers' courses 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 because they lack perseverance; and „ to stop more Angeles, Thursdays in Philadelphia. 132 South 18th Street. " and ponder. The go through life x 6IC So. Van Ness Ave., Los Cal. On they will probably Tel. Victor 1577 or Locust 9409 thought it, we we gave the more issue, when a little sidestepping every " realized that accordionists do not i ELIZABETH SIMPSON (Frank) (Ernesto) tenacity would see them more LaFORGE-BERUMEN STUDIOS x fail because of one reason, or even x of "Basic Pianoforte Technique" success. Conscientious ac- Author through to Voice Piano two reasons, but because of an ac- Teacher of Teachers. Coach of Young Artists. — 3 have the interest of H cordion teachers Pupils Prepared for Concert Work. Class Courses "rank LaForge teacher of Lawrence Tibbett since 1922 x cumulation „ of them. Perhaps our times, and Technique, Pianistic Interpretation, Normal 1100 Park Ave., Corner 89th St., New York x in mind at all m in the student Tel. Atwater 9-7470 x thought m Methods for Piano Teachers. findings on this subject may are given for a lesson assignments * help some accordionists to recognize though the 609 Sutter St., San Francisco; purpose, even 2833 Webster St., Berkeley, Cal. EDITH SYRENE LISTER 3 similar distinct faults in themselves, and to not understand it at AUTHENTIC VOICE PRODUCTION - student may " take steps to correct them. 405 Carnegie Hall, New York City the time. • Private Teachers (Mid-Wsst) Collaborator and Associate Teacher Our readers will probably expect places the blame x Another excuse with the late W. Warren Shaw and . us to state that the majority of fail- accordion. We shall concede Endorsed by Dr. Floyd S. Muckey on the “ ures is caused by lack of talent. On EVANGELINE LEHMAN, Mus. Doc. Wednesday: Troup Music Studio, Lancaster, Pa. student can progress much M that a Thursday: 309 Presser Bldg., Philadelphia, Pa. x the contrary, statistics show that accordion 3 COMPOSER and VOCAL COACH faster on a new, modern there are more untalerjted students but suppose " Dr. Lehman has coached some of the most famous old one, ‘ Paris Grand Opera. on than upon an singers of the Terms RICHARD McCLANAHAN 3 who have achieved success as pro- make it abso- application. circumstances 3 Representative TOBIAS MATTHAY that * 167 Elmhurst Ave., (Highland Park), Detroit, Mich. Private lessons, class lessons in Fundamentals fessional accordionists talented new , than to purchase a M lutely impossible Lecture-demonstrations for teachers ones, because they are willing to reason why 806 Steinway Bldg., New York City instrument? That is no work. Many students fail because should lose interest in ARNOLD SCHULTZ student j they the are weaklings and do not have give them up. x Teacher of Piano FRANTZ PROSCHOWSKI studies and finally his x Author of the revolutionary treatise on the " courage and tenacity to persevere instance where piano technique Vocal Teacher again is an x M Here 200 W. 57th St., New York over the musician’s student x "The Riddle of the Pianists' Fingers" hard spots. A will carry a Tel: COlumbus 5-2136 strong ambition x published by the University of Chicago Press , path is beset with obstacles, and really practice through He should « 622 FINE ARTS BLDG. CHICAGO, ILL. there " are no detours. They must be to progress rapidly THE RIZZI STUDIOS that much harder overcome, Ph.B., " one by one. accordionists are in demand RAYMOND ALLYN SMITH, A.A.G.O., Voice (Bel Canto Method) Piano-Coach for good ] The Dean Rizzi—Operatic Dramatic majority of accordionists’ fail- opened to them Mme. Gemma Soprano N ways are Central Y.M.C.A. College and many „ Prof. Augusto Rizzi —Organist-Choirmaster-Composer . ures come under the of “too of the School of Music category instruments „ President—Young America Grand Opera Co., Inc. N to purchase new " courses leading to degrees. Coeduca- the Royal Conservatory many excuses.” Leading the list is Complete Both Graduates of of Naples x . accredited. Day or Evening. Low tuition. finest make. , , " tional. Fully M the , 278—6th Avenue, Brooklyn, N. Y. STerling 8-0763 overworked one of the stu- for students to N Illinois why would be well Kimball Hall, 306 S. Wabash Ave., Chicago, dent It did not practice. The answer to experiences of pioneer ac- read the EDWARD E. TREUMANN this is that, if he truly desired to past years, blazed RUSSELL A. WOOD ; who, in 3 cordionists Concert Pianist—Artist-Teacher x become if playing a fine accordionist and coast to coast, Teacher of Voice Recommended by Emil Von Sauer, Moritz Moszkowski * a trail from and Josef Hofmann. " that desire his boxes in x Music had been foremost in little squeeze School of " their funny Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. mind halls, or " Central Y.M.C.A. College “ every moment of the day and theaters, music Tel. Columbus 5-4357 New York City vaudeville Summer Master Class—June to Sept.—Apply now. " night, nothing could And an au- x 1234 Kimball Hall Chicago, III. under the sun Inywhere else they could have kept him from practicing. He pioneers planted the dience. These Would realize that loss of practice the accordion and seeds of interest in means going backward in his music, for its being accepted are responsible not merely standing still. Patient the most popular fo-day as one of than convenient sSpER A teachers have had to accept flimsy instruments. Their instru- ^ tlio musical traveling distance a t V xi'lfuSHsBiiM greatest excuses for and often sensation so long that they are ac- were not dependable I ^ .J in ments a from any °f our ^ r'Zgik accordion customed to them but certainly not in the middle of mliJ/xf' .{w — - JlflPII to be repaired fooled had was two branches this by them. Although a teacher accordion music J for New York program. No \-WmuC7 will interest you. - may politely hunt up se- , accept the excuse, he is so they had to —MU ^ available, has compiled two con- probably thinking, “If your accordion Which could be arranged to ctions cise an(I easily under- studies were first in your life, ex- limitations of the instru- suit the stood correspondence courses that will cuses would not generation needs is be necessary.” ments What this bring into your very home his popular of the pioneer spirit, so system of instruction. Write today for No Magic in Teaching a little more not give up so easily. full information. Accordion always that it will ACCORDION HEADQUARTERS students should the study of ex- PIETRO DEIRO bear in Continuing with £237 West Girard Ave., Phila.. Penna. mind that teachers are not York, N. Y. mention the 46 GREENWICH AVE., New C D 1 would like to 43 W? 16tlf St.f N.. Y. C. %et. Sth° & 'eth Avos.j magicians. They can help students cuses we | who assures us that he wants but cannot perform miracles by mak- adult’ and to play the accordion ing them fine players they do to learn Tell your Music Loving Friends about THE ETUDE and ask them to give when well until he reaches not practice. progresses very you the privilege of sending in their subscriptions. Students sometimes try more effort to point where just a little Ask jor Catalog of Rewards for subscriptions you send bluff” through a lesson, which is a calmly to succeed. He then 1712 Chestnut Street rather sad because they are bluffing is required THE ETUDE Philadelphia, Pa. Continued on Page 426) only themselves. ( 419 JUNE, 1941 T ^

playing for a few ments. After Speaking of piano programs, NBC The Paradox of the discovered that he ob- broadcast, “Songs moments, he of Ireland” (Mu- announces a short series to be beard from this old in- tual network, tained best results Thursdays, 10:45 P.M., on Tuesdays throughout the summer Violin not working so hard as EDST). Scanlon, strument by a tenor, is one of on the Red network from 6:30 to 6:45 ( Continued from Page 414) usual. The other musician, who pos- the old-timers of radio and record- P.M., EDST. The artists for this cracks in the body. sesses an old instrument that has ing. He has been in the several opened show business broadcast have not been announced, Countless other faulty conditions may been used considerably, contended for thirty years. When he was six- but we understand they will be se- be found. This violin certainly would that the instrument in question was teen, Billy Murray (according to lected from a group of noted young con- would sound and respond Scanlon, the Bing not sound well. Has it decreased excellent but Crosby of his day) lis- performers well known to radio siderably in value when the expert better with more playing. The occa- discovered Scanlon playing in a min- teners. This is a program for Etude repair man, for a nominal charge, sion for this test was to try out a strel show in his native Brooklyn listeners to mark down in their radio quickly again put this different brand of strings. Two other New York. Murray got can easily and him an audi- calendars. violin into good condition? musicians were present. Three ex- tion with one of the record com- strings panies, and We will examine another violin. pressed the opinion that the Scanlon got his start on im- a long and The body of this one is undoubtedly were very good, but one who was profitable recording violin did career. In the The Teacher’s Table made by Stradivari, but unfortunate- pressed greatly with the decade prior to the Round first World War, ly the scroll has been broken off and not like the strings. he was known as ( Continued from Page 378) violin by its tone? the most popular another scroll put on by an inferior Can you value a recording singer tone t° in is heard, release the key (back (A continuation of this interesting America. He made worker. The violin has decreased hundreds of rec- key-top only). floating ords Feel your elbow in value but discussion will appear in the July each year for eleven along, the thousands of dollars — different and prepare your finger on issue of The Etude.) companies. In the the tone has not been changed! day when vaude- next key-top. And never hold any QMF ville was in its prime, m the We have still a third violin. It is Scanlon was air! All very slowly and thought a headliner. Radio fully, of a comparatively new and poorly made Radio listeners will re- course. Inviting Summer call him as the When staccato, instrument. The fraudulent or ignor- featured singer with you can do this gently his own quartet try it legato; & ant repair man has scraped the top Schedules on the old “Evereadv now think of releasing Hour/’ key without actually (Float that of this violin. It sounds quite mellow He also played doing so. from Page 377) in dramatic 01 ( Continued sketches elbow tip!) Later, force and of age in its on that show. increase the has an appearance In turning your tones, Irish tunes to finger flash, making louder tone. Yet this violin will soon break Moffett. Kate is a sort of American tor his latest but broadest without speeding the arpeggio if it her name is synonymous series he ls merely up of sound, and institution ; down in volume following an A smooth only 0 trail old arpeggio depends not cracks beyond repair. with good entertainment and a for Scanlon is on the top, it is of Irish-Amerf the elbow tip, can stock. mer i but also on a swift-mov** Is it as valuable as when it had a pleasant, jovial personality. relaxed de When thumb; and a loose thumb poor tone? “Meet the Music,” which has David Boss, the narr»t„. Pends on: song-hit Columbia brought to light many new network’s "Golden free, of th® ury Tre/” lateral movement Tests and More Tests writers, has moved to a new place of Song,” which emow tip, under features the helping the “thumb (CBS, 2:35 to 3:00 popular radio ei le There have been innumerable tests on the airways tenor Prank uent and passing the arpeggio from ellypii al so far P.M., EDST Sundays) . This is the Monday made, as to tone, especially in — through Friday m °“5 the keyp°a ry without was asked to play a certain composi- short time longer, since he soon will not be hf. cm-ve h 4 ' * ” Park - PeelS much better! There's tion in a darkened auditorium to a leaves to join the army. Phil Cohan, er’s fault. Over one buna Proof of this program, and Lyn have been etters group of other famous musicians and producer coming in earn?' ?Jday ~ the arpeggio with a that they play over questing that ’ re wrist music critics. Votes were then taken Murray tell us Parker sine o g&ln * from hing low ’ try your exercise, first _ violin. Two one hundred songs each week before the latest wh Stf upon the merits of each song of the* ’ then wlth high, and con*® their selections for the pro- melodies that day to yourspIf newly made violins ranked first and making were itt 7Wah makes ** wr 44 ' position Manuscripts come to them Knighthood n when ?hS“ ee second to a Stradivari, which was gram. was in fln/ r; the M St coh from all over the country, and each correspondence ,° 0t 6 the placed in third position. The violinist iSfromT tact thumb in constant and some 5 ladies lifuu careful consideration. ’ up in- is given enthusiastic eys - Do raise it who did the playing, however, ’ not b fan*“ whack- -f The “Colgate Talent Tournament,” regularly every write or « bad mg* sisted that these two new violins were week J0 ta£?,£r* you do, a letters of result recently replaced “Ask-It are the - Keep gliding very difficult to play and that the which written 'in® the it ^ kev t4 PS °*" others " and Basket,” is patterned after a vaude- simply catalog and or never let st drop d Stradivari was much superior twenty « awav fi minus the acrobats, of sixty. five ty-flve to 0111 the keyh°ard; easier to others. ville show, songs the wndl (5) 0*s play than the pren mg tone It presents singers, comedians, to hear. !°® llke soon the next thumb An amusing situation once hap- course. “Listener’s cinhM” as n and others. All acts formed, h e baa wait ln other words the instrumentalists according n ’ pened here in Toronto. One of ^ to rRd ? ZmT\the T> than offices ’ ln so then thumb must be p 4 invited a are on a professional rather an with radios. me upset c>e best American violinists arpe jab- show features there 6gio by a d0 amateur basis. The ahea^I^ . group of musicians and violin experts d ° f °ut 1 n time! But watch \ t four to five new performers as is the Monday Program °t jerk tf e of the city to join him in making a weekly mgnt’broM yank "The First the elbow ifc under too &- well as music by Charles Hathaway Piano Called 1111 test. He took various violins into an- Quarter 1 U fli and network, C ' trusivelv J*® ? P swiftly and his orchestra (Thursdays, 8:00 10:15 to Blue other room. The audience was asked 10-30 p if new t P°si tion. ,.j S Columbia net- Comprising EDST Above ail k 8:30 P.M., EDST, the > • to designate the different violins in to quanef as high SUre to keeP y°ur East is master of cere- Gelbtrunk ”e Ada anri lai played. work). Ed born to m el as is comfortable-^ the order in which they were a remember y asks the nation’s listeners Horwit2 Ih 'e in monies. He ,ofCzechoslowk Slnce ' The same composition was given cannot Da ,_ y°lu wM ,oii' vote for their favorite performer Padva, born in ^lad>™ir along the keyboard, • to • elbow to express Russia f,' rnnct 4 , e each case. When asked d? tak e* week by letter. The following- Robert of Austria. Oeor8e e its Place insure their found that no each All fom to judgment, it was cert Were d the performer to receive the and radio *. c°h- ease cl1 Each be- week artists Heavens^' - ,nd two judges were in accord. 1 ?Ve votes is recalled to ‘‘Talent Europe when note sPace alread used too most . in y lieved that his decision was the best they nj on vm, to receive an award of piano Zeti await Uestion! You wiU It was Tournament” quartet program the a latl -2 and the others were in error. teS ling EtUde C hundred dollars. After five enter- tothe wartheyhaTg” “ p those for help in 1 that the violinist two «or v apld °ts. finally discovered Will ’ arpegS -S selected by lis- one do brilliant hleJ composition in tainers have been thousand recitals ” than thic had played the same 0 wil1 Uy if some Round teners, there is to be a “final” tour- pent- The the ~ remind one instru- difficulty of contl S6 various ways upon only thi are of my Promise. fo1 Ijon 5 nament to decide the grand winner, m the beginning ense ahvav .f ^ ment. was tif “Me dozens of pressing Que selected by votes of listeners. music written ® lack demandini? being written, again for four of & answers. While this article is should repertory 08 been It looks as though the show now, ' Tha two quite good musicians have however -a" U’ heie. have a wide following, and it should early primitive fro trying out a fine old instrument Italian' and^ m been ac- incite considerable controversy. composers to Pren< One of these musicians has the most m „ * instru- Those who like Irish melodies some popular dern customed to using fairly new tunes of m,? ’ Plus ana OU 1 own Which u lm it , 420 id 4eT’’^ Fretted Instruments GUY MAM SUMMER CLASSES for The Mandolin and Banjo Pianists and Teachers (J^g (yeorge ^J\ricl in N A RECENT COMMUNICATION and artistic musical entertainment find a fertile field in radio and Pianistic Preparation” I one of our readers asks the fol- would lowing question: “Can I make a on the stage, a field that in our opin- living by playing the mandolin pro- ion has not been sufficiently ex- and fessionally or do you advise making a ploited. study of the banjo also?” The dance orchestra has never Rep'ertoire and Style To give an intelligent answer to proved a proper setting for the man- that this inquiry let us first decide what is dolin and we doubt very much player would meant by making a living. We have even an exceptional Chicago, Illinois: June 18-26 known many young men who are find opportunities to get ahead in Fees: Each Course $15; Both Courses Inclusive $25. satisfied and able to get along on an that direction. income of thirty a Address: Sec’y- Guy Maier Classes, Fine Arts Bldg., or forty dollars The Mandolin Teacher week and again others who would 410 So. Michigan Ave., Chicago able not be satisfied with anything less As a teacher a mandolinist is a profession New York City: July 7-August 15 than five thousand dollars a year. It to establish himself in satisfaction and all depends on the person, his needs that gives a lot of Address: Juilliard School of Music, 130 Claremont the one and desires. To begin the study of ample financial reward to Ave., N. Y. C. of it. To do so any instrument with the sole idea of who makes a success the ability to “teach Asheville, N. C. : August 18-22 making money out of it, and because one must have with people, know one feels it is an easy way to make a others, get along NOTICE: This year’s Asheville class limited to 75 members. children and adults Registration should be made at once. living, is wrong and in most instances how to handle believe in himself and Fees: Each Course $15; Both Courses Inclusive $25. leads to disappointment and failure and above all necessary to later on. After one has devoted sev- his profession. It is Address: Marie Shank, 801 Jackson Bldg., Asheville, N. C. study also of eral years to the study of an instru- make a comprehensive different types of ment that in all respects the banjo and has the Maier’s courses are for all progressive pianists and teachers who order to become a recog- Mr. seek greatest appeal to one's musical na- guitar in original methods and intelligent approaches to the musical and technical the fretted in- ture, and then has thoroughly en- nized teacher of all aspects of piano study, practical help in the mastery of commonly neglected While occupied with the technical points, careful analysis of teaching repertoire, and intensive work joyed playing it without thought of struments. problems one should in the pianistic styles of Beethoven, Mozart, Brahms, Chopin and Schumann. any financial reward, not until then various teaching strive to maintain and should he think of the possibility of continually Steinivay Pianos Used. technic and pre- using it professionally. improve one’s own mandolin in recital at every Now let us see what opportunities sent the in order to popularize may present themselves to a mando- opportunity musical public. linist. First, through concert and it with the o you fake advantage of the many radio appearances; second, through The Banjo D excellent merchandising oppor- orchestra playing and, third, through tunities which ETUDE Advertising “the real American teaching. Often called Columns offer you? banjo has had its It goes instrument,” the without saying that the numerous admirers greatest greatest and most ambition of almost every in- nations A the English speaking Professional strumentalist is to become a concert among States, Great Britain, South School and radio artist, —United of Music but to reach this Shortly after goal and Australia. it is necessary to travel a hard Africa a University Environment in the early twenties and long the World War De, For Free Bulletins Write Northwestern road University ; and history has shown was introduced that tenor banjo “ of only a select few reach the top. the . School Music. EVANSTON. ILLINOIS dance orchestra and dur- Paul f you have a superabundance of into the UNIVERSITY years was perhaps the talent, an outstanding personality; ing these of all. A "SSMOPOLITAN 1 instrument ^°U P°ssess a certain amount of most popular v, banjoist of those days THE SCHOOL OF ^SCHOOL OF showmanship and have a technic professional dictate his own terms, SHIRLEY GANDELL. M.A., Oxford hat far surpasses that of most other could almost } University, England, President. for capable players 37th year. Accredited. Otters courses Players you undoubtedly able „„ the demand MusU in all branches of Music. Certificates, will be To- diplomas and dogrocs. Desirable board- o than the supply. get paying a was greater offers accredited courses in Piano, Voice, ing accommodations. Located in down- engagements as taken town musical center. plectrum guitar has Violin, Organ, Public School Music, mandolinist. But you also be day the Box E. 306 S. Wabash Ave., Chicago. must banjo in the dance Harmony, and Orchestral Instruments. to “sell place of the yourself” to the public, the B., . occasionally do Confers Degrees of B. M., A. and as it orchestras, and only M1LL1K1N CONSERVATORY OF MUSIC would prove quite difficult to tone M. M. the snappy exhilarating DECATUR, ILLINOIS Persuade any of con- we hear Distinguished faculty including the prominent connection with these ert the banjo in Offers thoro trainingin music. Courses leading to managers to agree to arrange a of of orchestras. Consequently ARTHUR C. BECKER Bachelor Music Degree. Diploma and Certifi- egular professional cate in Piano. Voice, Violin. Organ, Public series of public recitals for a SERGEI TARNOWSKY School for anyone to earn a liv- Music Methods and Music Kindergarten Methods mandolin virtuoso. the chances The radio would are quite MME. MARIA KURENKO Bulletin sent free upon request Probably an orchestra banjoist offer better and quicker ing as RICHARD CZERWONKY W. ST. CLARE M1NTURN. Director the other hand the banjo pportunities for mando- limited. On a capable to amateur play- WALTER KNUPFER as particularly ’ ^e program managers of appeals SAMUEL A. LIEBERSON ^ exemplified by the many banjo 10 tations are continually on the ers as LAWRENCE COLLEGE lool T in all parts of the The Depf. of Drama offers a 3-year Course ou t tor artists bands flourishing . able to offer some- will always CONSERVATORY OF MUSIC and it, no doubt, Address Registrar for Bulletin nusua l and of exceptional country; APPLETON, WISCONSIN mpv-f ^ musical life. So again ’ We part of our Carl J. Waterman, Dean also beheve that a small be a the DePAUL UNIVERSITY nWf of the mandolin, Courses In piano, volco, violin, 'cello, organ, Un the case Street, 111. theory orchestra of to as in Room 401, 64 E. Lake Chicago, public school music and choir dirocting \ from eight for an accom- loading to tS? players road to success Bncholor and Master degrees. directed by an out- surest pro- handingst-mm banjoist is the teaching mandolinist offering novel plished JUNE, 1942 421 . ‘

fession, and the same rules and re- former days and has made also many quirements apply to a banjoist as al- concert tours. In our opinion the re- ready outlined for a mandolinist. In markable success of these artists was Distinguished Teaching Material both instances a thorough knowledge in a large measure due to the fact of all the fretted instrumentts is the that they used the standard five- ef- foundation upon which a successful string banjo which is the most career may be established. this From the Pen of fective of all the instruments of family for solo use. In the Solo Field

There have been some banjoists, C. G. S., TOLEDO especially those exponents i*1 of the five Andres Segovia is now residing Cpr*' string banjo who have had Martinez most suc- Montevideo, Uruguay. J. cessful X careers as soloists. Alfred Far- Oyanguren has boarded a steamer land has traveled far and wide de- for South America where he will lighting audiences with his classic spend three months giving recitals * renditions the on banjo. Farland was in Brazil. In the full history of the leading cities of name is more not only a veritable virtuoso, but cities, piano instruction in this country, no also Uruguay, Argentina, and other Gaynor. A spe- • . respected than that of Jessie L. a keen business man, who acted . July-t,i1v evolved most returning to York in musical education, she - New’ cialist in juvenile successfully as his own press new and introduced many ideas which today are re- agent Vicente Gomez will appear in a in- truths, lit and concert garded as unquestioned fundamental manager for many years. starring career, Mrs. version of “Blood and Sand’’ the course of her notable teaching Frederic Bacon another educational five-string Tyrone now Gaynor composed a great deal of banjo Power, a motion picture found its way into use expert is known to every material which at once lover in production in the Hollywood over. Below we present a list of her of the instrument one of , the country and has appeared own compositions. Studios. He is of his most successful on all the vaudeville to play four circuits of compositions. PEDAL STUDIES THIRTY RHYTHMIC PANTO- FIRST MIMES For the Pianoforte Home, Kindergarten, and Pre-Piano most popular and successful pedal For One of the Classes Music As a methods on the market today. Again the re- Social Force practical ex- texts by Alice C. D. sult of Mrs. Gaynor's long and Founded upon familiar so for kindergar perience, these studies have been designed Riley, and arranged (.Continued within Dorothy Gay Blake, fromj.um Pagerage 364 that the student may begin, almost pre-piano use by 364)) the acUU- cannot be too highly reerecommended his first months at the keybonrd, this work Preface Airs. pantomime it fosters the first stool in time to play tional use of the pedal. In the Through the concerto r... . how the consciousness, the identification of t0 ca Gaynor gives careful directions as to rhythmic with them:m as ° comIortable with a violin "moods" falling close behind. Mrs. Blake s scheduled AndAnri to tot method should be used. carr c and delightful “matchstick everybody's arryy-' ButBut, imPiroP Price, 60 cents descriptions y’s delight ’ after all. the he to a11 ' illustrations are of inestimable value in pre- triumphed ta? J with part ' senting this work to the class, and her Fore- a grand performance. of this whole matter makes important suggestions as to tin eaSe word Tony’s parents are not or c °mfort. It was someW use of the book. American ?? FINCER PLAYS Price, $1.25 born. And he represents mew ay, to get lessons, just one of violin Elemental Hand and Finger Exercises the nationalities assembled in , and finger games PIANO this ThThe d A book of pre-piano hand A METHOD FOR THE school. Sometimes there Recd °biective for the youngest beginner. The are as o^ For Little Children manv sq posed photographs stress the lnipoituiice as twenty-five of them. °me extraordinary hast subjects cov- Gaynor’s long ortpori- But—Oer talent hand and finger positions. The Growing out of Mrs. s 0 this method sets forth man, Italian, Greek, 5' covered ered are: "The Chicken Coop (P. ,™* ence with children, Slav, , at the school. Ray rais- throughout her ac- Czech "Little Miss Mullet (the the principles developed Russian-itussian ®y Vla the hand), given over to except for Smmithith Bloom of the finger), tive career. The first pages are physical and Tessa Bl( ing and dropping „ char-’char- Z'I , k Hm n the use of hand symbols acteristics * (wrist flexibility), ‘Little Jacl ear training and these terms amplesmp e5 of R stress upon hand mean students who hahave "Jack Be Nimble ( in pitch identification. With almost „ a „ (thumb motion), rhythmic nothingtblP here. ames under the fingers), and clapping, the second chapter lays a Goodod nature '°r themselves the cocon thumb passing chapter intro- ?° Pervadesnerval 2 ‘^selves in “Marching Song" (training the ,in e ( s “? foundation, while the third f°its hallsf andF classrooms feiT* handj and and the first work at t lie in after scholar "step along" while supporting the duces note reading wartime 7? winning these student advnnces, there as well as *hlch arms). Minute details are furnished for keyboard. As the in peacetime. enabled piano study. of suitable duets to be played They are ’all them to study "fun at a table” introductions to are a number with the teacher. And a11 « the tern Price, 60 cents $1.00 speak world’? finest Price, im?ing the international ‘ he language development of the £ of y?u °nal DUETS student delight! MINIATURE very no while PUpupilPilWhwho ... ‘ the FOR TWO For Teacher and Pupil ° aWends schrvnv J™ __ *efrT*A.-! n MINIATURE MELODIES C 0 1 Ve ‘he and musical duets with schoiSn th l Dorothy Gaynor Blake A series of tuneful Arranged by emphasis on sight rending. The pupil s borhood. Gaynor’s special BU y,?L Sixteen duet arrangements of Mrs. throughout are in larger size notes and r °Ur as parts illus poverty-°™T pieces, nmy ar- finger position. tration, lives ' many more successful teaching rue for the most part in five some L? boys The contentsi I at times in the BlrlS ” ranged by her daughter. At times in the treble, and he heard o£ &S possible the one and two and are so pre- easily read at sight, mak- about the hearb, between grades bass, thev can be schooXV^C parts are evenly divided be- in the development of to its me maklng and P sented that the. ing them invaluable doors because pa pieces are melodious, parts are natu- hee l tingB tween the players. The self-reliance. The teacher’s wnoPedp ? hiusic. are so the body could give it T>_ , serving nicely as recital material, and more difficult and supply him interchange parts rally graded that the players can necessary to the pieces involved. most: violin lessons. 63 11 sends needy Price, 75 cents pe °Ple HeA^t?me t??t0 slsi Price, 75 cents years ago, explained three summer camps, his ,f fresh a Played his dis- 'r and sunshine and and MEWD^nJW^M-j. boasted only two Which nourishing food I MINIATURE _ strings ? least ,, a series of melodic pieces easy grade three pieces My Country Played tlally rie A deservedly popular first book to ’Tis of te offset the eight -measure tune* " of elementary piano Thee to nem » f very easy ,, phases ? perceptibly from lv s lnu „y he 0 their reiulit already " that Wlnters often it pa> of average length in the third book, knew somethi? electric? : the ” work. A “must" group with 75 Mirth art of fiddling abou ‘ an<1 gas bills fl S'm,* food ’ anTm7thatth was a patriot. he ^Warm It I s Then he i„? sical » ? clothing. Con’t. tensely, for ‘ wai 001 SOLOS— he ‘ed ’ yes, is PIANO didn’t p0s? huL^ but it PIANO SOLOS The Light Bird It seemed a cent ? tarian thj Kitchei reasonable - organization Cat. Xi Grade 30193 Song of the “w Mi? Clock wb0 anted boy gner asid 30225- -Guitar Serenade, The . 2 violin lessons hun ’ cannot turn • Froggies’ F K 30226-—Little Trombone Solo, The shouJd have them, F dly ? a The 2 Singing School and Want and sickl,e 30194 so thP ? distrel March of the Wee Folk 2 The Owl . ? — and Minuet in the Old The Squirrel Bee Style 3 Vi 30195 the Honey iz.'

i 3 Fly —The Princess Dances . . The s's 3 i—Voice of the Wind .. . PIANO duet Little [The Shoemaker) , a Wee Folk 2 30190 y o 0627—March of the (Song of the Shearer f until HANDS later was 0 ‘ia (The Moon Bout) u, PIANOS, FOUR that "' wha t the school W 30191 " TWO 5 BiUv ““F" ceed (My Shadow ( ofvKoq Guitar Serenade, The. 2 — t01' dp the Wee Folk 2 .5 la y mg would renolf 30192 (The Blacksmith) i i/, 30598—March of had no SoiT °? Soft? (The Tea Kettle ( ??? e from Rahway and °Ut ^ forth ‘“SS mv. ^ %' ey and Cal accomp M PANY family lived ’ wbere ap THE JOHN CHURCH CO exceut h h? the? f i ... 17121717 ChestnChestnut St., Philadelphia, Pa. Theodore Presser Co., Distributors,

00 eas y Work rf forty-seven y« 422 says: «. perfif . . ——

school’s greatest achievement, even toward juvenile delinquency, no child greater than music, has been its of this school has ever been ar- record as a social influence. Despite raigned in a children’s court . . has ever the fact that we are situated where No child of this school EASTMAN SCIOOL OF MUSIC children’s court. the life of the street is raucous, where been arraigned in a a forty-seven-year poverty rears its gaunt head, and We call that, as of Story! where there are potent temptations record, a real Success The University of Rochester

Howard Hanson, Director Morning Music and What It Meant Raymond Wilson, Assistant Director

372) session June 23 July 26. RCA Victor has released eleven compo- ( Continued from Page Summer — fac- Classes are taught by the regular sitions by American Composers record- greater fortunes by their our next example of hour and price. have made ulty and guest instructors. Courses ed by the Eastman-Rochester Orches- farewell tours; but in no Master's or Doc- In 1763, the concerts given by the prolonged lead to Bachelor's, except perhaps that tra, Dr. Howard Hanson, Conductor. Edinburgh Musical Society (founded case we believe, tor's Degree. give him a name 1728) Twenty of “Senesino” (to began at 6 P. M. Eastman School Publications by members of the faculty include: shared with a still greater years later, an advance was made which he anything like fifty gui- to 7 P. M.; but this was found singer) has “Answers to Some Vocal Questions,” T. Austin-Ball; two hundred to interfere with an assembly for neas (approximately “Method of Organ Playing,” Harold Gleason; dollars) been paid for a dancing held elsewhere after the and fifty “Examples of Counterpoint,” Gustave Soderlund; Jenny Lind’s first concert, and a change was made to single ticket. (For the first ticket “Handbook of Conducting,” Karl Van Hoesen; 6.30 P. M. These concerts were held concert hi Boston, for six hundred and “Modern Method for Double Bass,” Nelson Watson; in the Society’s own room, St. Ce- sold at auction dollars. Ed.) Tenducci “Chorale Collections,” Elvera Wonderlicli. cilia’s Hall in the Niddry Wynd, built twenty-five — century in was the greatest eighteenth 1762, and declared by widely trav- For further information address: visit Scotland and Ii eland. eled critics to be the finest for its singer to especially famous for his ex- purpose they had seen. (It is still He was ARTHUR II. LARSON, Secretary-Registrar expressive singing of Scot- standing, or was in 1920, when I last tremely Eastman School of Music but seems to have earned visited it.) Admission was by mem- tish songs, sums more by his Rochester, New’ York bership, the subscription having these fabulous Parted from the varied rendering of Water from a guinea a year in 1749 than Arne’s “Artaxerxes” . to a guinea and a half in 1752, and Sea from other way. Judging from a College of Fine two guineas in 1778. But the hall was in any RICHARD McCLANAHAN Arts the Dublin street urchins not infrequently rented to private skit which Syracuse University the tune of Over the Matthay Representative concert used to sing to Bachelor givers, and in these cases the appear lYecrreec • of Music he would Courses in New York ' admission Hills and Far Away , Two Summer Master of Music fee was always two shill- this 4 Morning Course as fond of singing 1. June 16-July Piano, Piano Teacher Training, Voice, ings and six-pence. to have been times, a certain Daily classes, 10 to 12 A.M. Violin, Organ, Cello, Harp, Composition, as in more recent 15 Public School Music farewellist” enjoyed 2. July 7-August Evening Course A Variety of Admission Fees “eminent All the advantages of a large University. “J" and three classes a week Special him the gai- Two dormitory, with practice pianos for ting Maud to join m 35 women It will be observed that in the vi 8 to 10 P.M. music students, 5 pipe organs den. eighteenth century one price was SUMMER SESSION-July 7 to Aug. 15 a pipers son charged Tendued was Each Course includes 12 lectures on For bulletin address for each concert, wherever he was fell in love when Technic, 2 on Musical Expression, Playing Dean H. L. BUTLER the seat might be. But there was a And young; and Criticism Classes. Room 3 5, College of Fine Arts wide difference between the prices , Syracuse, Y. . that he could N. all the tunes charged for different concerts even And Private lessons by appointment at any time in from June 9th. the same city. For instance, the the “Water parted from For further particulars address usual price in Edinburgh, half a Waf 806 Steinway Bldg., New York City crown, is said to have been usual also should be added in LONGY SCHOOL OF in London. perhaps a word MUSIC Nevertheless, Johann concerts. The flist to Sunday Internationally Known Teachers Christian Bach (“the English Bach”) regard we the world, ot which and his partner for concert in FIVE SPECIALS 1941-42 Season in concert giving date, appears to be nearly the exact Constructive Music Book $1.00 twenty years, Carl F. Abel, do know Comad given by Myself Books, 1 and each .75 uot the organ recital Play 2, Nadia Boulanger Horace Britt seem ever to charged less Creek Modes and Church Modes . 1 .00 have the Bened'ctine Teacher of composition ’Cellist than Paumann in Lesson on How to Conduct 2.00 half a guinea for a single ad- St. Jacobs Ratisbon, on five for 3.00 mission, a <. terv at All Berta Jahn-Beer Olga Averino and for a series of six con- but, unfortu- (July 20. 1471; EFFA ELLiS PERFIELD Pianist Soprano certs given 1764-5 they charged five Day record as to have no East 86th St. New York City guineas. nately we 103 Erwin Bodky E. Power Biggs Moreover, there was such Jacob's Day fell or not St. Harpsichordist Organist keen competition tickets whether Sun- to get these in 1471. In France, that they two ™ a Sunday on- voices had to be rationed— rconcertshavebeenaeo train children s Prospectus One Follen Street hundred for CROWING field gentlemen and two hun- W r A Cambridge, Massachusetts dred for ladies. This was because of Cncerspwluei.- was given, its LOU IS^WEIGESTER'I'IeO 'west 73rd St., New York the small seating accommodation of the — JUILL1ARD SCHOOL OF MUSIC' - Soho Square room; but, before he concerts were given, a larger one ERNEST HUTCHESON, President ~~Almack’s—was made available and he predominantly rationing was not needed. the week The INSTITUTE OF MUSICAL ART record price for a single ticket rrb/enarowelonly^uiterecent- GEORGE A. WEDGE, Dean is, surely that Tenduc- ha considerable re- paid for G. F. SThen under Cls benefit the concerts concerts. In 1758, “L* Nevertheless, that Individual vocal and instrumental instruction. Classes in Theory, Com- great singer ^stnetions. on descended on London were c()mm m and all branches of music education. and nv position, soon became hugely paid in P and probably “the Af ,, century, Courses leading to diploma and B. S. and M. S. degrees in instru- rashionable th a picture idol of the hour.” Vocal- " evident from singing, and public school music departments. s ariSf mental, in more recent times who would expressly named A ic 1782 and ave regarded as dated Catalog on request. . benefit concerts Tra Sunday Concert. ai(J (beneath dignity), may Room 122, 120 Claremont Avenue, New York

He”—Milton. “Such doth sweet compulsion 423 IVNE, j 94i ,

Problems of the Ad- 'THE FLIGHT OF THE CLIPPERINO' vanced Piano Student ( Continued from Page 365)

Modern Composer writes a Piano Concerto pianist A course, that they do not. Each has his personalized in Six Movements own highly he tone, within the scope of which BY HARVEY creates endless varieties of depth an DRAWN PEAKE ex- color. Mechanically, there is no planation for these vast possibilities for variation. And that, precisely, leads us to the core of our problem- Tone is governed by somethin* more than the mere piano-mechani ThroujJ which cause it to sound. some highly personalized channe-'' \ n\ u spiritual, psychological, what y° will—the performer communica his inner emotional concept of ton’

’ through finger, key, and hamm to the vibrating string. The first in lS developing good tone, then, , hi formulate a clear idea of the tn of tone to be produced. In ° words, a mere haphazard PresSll Andante Molto 2. THE TAKE of 0f TUNING UP— OFF-Disarmonica the key breaks the full circuit » communication which must , from sl emotional as well as phy sources. My own method of securing a Penetrating, singing tone grows °t years of experimenting 011 economy of energy in playing. I P[ duce ~ my singingRinging tones byuy exert ^

Pressurepressure kinu ‘ of a veryverv definite k- . ls not the spasmodic, forceful P sure c of striking a key, but the turned t>°® pressure of my entire weight, thro released to the key nK relaxed I tW hands and joints. , 11 n terms tremendous, ! of the resistible of pressure of the locks Panama Canal, which hold tons but of water, not by effort, their ur»‘ own sheer weight, nat applied. di« This sort of pressure gieatly d from that er of a ham» , offers the most natural mea - Producing tone at the Irregularis 4. AIR POCKET that is f 3. CLIMBING—Fuga —Aria tune big di Blravura in volume, yet vibrant ronant in quality. « aI qua int^A, bon?nmid lities are * up with the phrases in ccur to*'* , and I have hem f ? 11 b°tli to p ’. to tone and iniAt ° ’ lmi atl .c r,] . tate human respii' * treat were"!' -ch passage “ a s °ng, building the P® f a lng to where the breath WOUld And occur if I were s*f, deed ' Id ° sing Silent ' v as 1 advocaW for qA Play. I song 5 ’ TreatinS melo e 8 mTak lL P S 11 ' T s come t0 llfe e< on »in u h f h ars 14 tllus treat *' refreshen r sde, In ®n ‘ 5' listening to t i need ff t r ' a sort of al tlC breath, P ?f is ver ev listeneiT® T rea l' 1S fV therpfo,. not conscious o SPIN—Tirata con Furia 6. HAPPY LANDING them,,? easier for him to. 5. TAIL Lairso °sti„ he hears if tlie p6 Qto fits > his Phln? ' !i normal asin& into the com riUman ^ perform breathing'- ing himself will find fled i* if he n? and his tone a ys a 424 singing with a iyrical , S g his phrases inward. - —

breathing quality thus imparted to plies subjective outpourings, a need his playing helps to humanize the for escape, a vein of soft lyricism, piano into something more than a The first of the great romantics mechanical instrument. was Beethoven of the later period. From him came tremendous out- Tihe, _ SUMMER COURSES BEGUN JUNE 13 Approach to Chopin pourings of personal feeling, not As a Pole who reveres the greatest only in music but in attitude and You still have time to enroll for a catalog and all-expense composer of his people, I cannot con- words. In a q-uite Byronic manner, worthwhile, inspiring, happy summer estimate. elude into of his w without a word about Chopin. Beethoven inserted some at Sherwood Music School in Chicago. Private and class instruction in all I have often scores words that described his feel- been asked what the Low cost courses . . . best profes- instruments, theory, voice, public of creation. In approach to Chopin should be; must ings at the moment sional training . . . congenial fellow- school music. Certificates, diplomas, we, in view of his delicate body and Chopin, we find none of this. Ex- students . . . opportunity to combine degrees awarded. vacation and accomplishment! Ask for 412 S. Michigan Avenue, his sad life, consider him* a weak, tremely fastidious, he shrank from Chicago, 111. effeminate romantic, personal intrusions, and his feelings who chanced Institutional Member of the National Association of Schools Music from the of now and then to write virile pas- were always kept sepai’ate sages? could On the contrary, I have al- externals of composition. He precisely Calcu- ways conceived Chopin’s music in sit down to write a tta of precisely calculated MUSIC boldest terms. To me, Chopin is lated number SCHOOL y his musical - perhaps the least romantic of his works, and nothing but them; s epoch. His idols were Bach and thought would appear in his ideas out- Mozart, whom he worshipped for nothing of his living, shed light their perfection of form and purity side of music. He never nORTH PARK COLLEGE of when he wrote, why style. He was also influenced by on how he felt E. Clifford the did. The only com- classic Italian opera (notably he wrote as he OBERLIN Toren, to his friend, Director 50th Bellini’s) who helped him discover ment we find is a note Year the that, since his new- CONSERVATORY OF MUSIC art of singing on the piano. Fontana, saying A Division of Oberlin College Chopin’a was some pages long- Trains students for active works are highly emotional, est composition musical careers in ought to be Thorough Instruction In all branches their chosen field. Progressive faculty. Conserv- of course, the last one, he of music ... 46 specialist teachers but pure romanticism in- er than atory occupies own building. Piano, voice, . . . excellent equipment . . . concerts violin, cello, reed and brass instruments, volves paid for it. by world-famous musicians and organ- church more than emotion. It im- better and choral music, theory, music education izations . . . weekly student recitals and further, require expression. Chopin’s works, ... for these reasons Oberlin attracts Fall semester begins September 16. serious and talented students. De- power, more Write E. more exuberance, more grees: Mus.B., School Mus. B., A.B. CLIFFORD TOREN, Dir. pow- with music major. Write for catalog. 3201 Foster Avenue, Chicago, Illinois. grandeur than any others—and romanticism. Frank H. Shaw, Director not an essential of Box 56 1 Oberlin, Ohio er is Chopin Indeed, weak, tubercular heroism achieved greater force and Sonatas —in his "Scherzi” and BALDWIN-WALLACE strong, healthy; CONSERVATORY for example—than OF MUSIC despite his yE^indenwood BEREA, OHIO (suburb of Cleveland) ever managed to do, Liszt Affiliated with a first class Liberal Arts College Again, Chopin Four and five year courses leading of octaves. to degrees. Faculty torrent CONSERVATORY OF MUSIC of Artist Teachers. Send for catalogue \ needs of his own or info:ma- to suit the Divisional LindenwoodColleoc CONSERVATORY Tote ALBERT RIEMENSCHNEIDER, Dean, talent, thus making tor Women. Thorough prepara- Berea, Ohio unique piano tion for OF is careers in music under MUSIC (\ bravura than a distinguished of more sheer faculty. B.M. use De degree, certificate and diploma romanticism in piano, V Established in strict voice, violin, organ, 1867 \ inherent harp, other lyrical, moonlit ef- instruments, pub- America', bussy with his lic school music, theory, har- Old,,! Independent pretentious mony, history and appreciation MUSICAL / long, often DETROIT ART School and the of music. Weil-equipped stu- Devoted Exclusively to \ fects more DR. FRANCIS L. YORK, Chairman his works, is far dios. beautiful buildings on Music and . ne gives 138 acres near B. / Allied Arts s Chopin St. Louis with DR. EDWARD MANVILLE, President Chopin. And its frequent concerts, operas, \ than Member of the National Association of Music Schools romantic other musical attractions. A complete outpourings For Founded 1897. All branches of Music and Dramatic Art school of Music, unbridled catalog and view Rxhnni nt \fiiaio Wanniiv / detested the book, write nf 70 artists. Accredited ramatic Art and Dancing. \ he was far President, of romanticism; Box 1241, St. Charles. Mo. OUrses lead We find him edit- / to degrees. fastidious for that. \ manuscript, taking / Registration: M b- \ = September 4, 5, 6 rather than off inspection / Classes Begin: wanting Qlpbplanbjnfltitittp of (Qmnr September 8 \ fjfop Special / Students May Enter at Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Any Time. \ Faculty of Nationally Known Musicians / Write BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, for catalog \ Ohio / 2«0 Highland Ave. Cincinnati, Ohio \ THE JULIUS HARTT MUSICAL FOUNDATION • HARTFORD • CONN. quite enough P to fthout trying he wrote w Vacation Now! as al noti0n of ERNEST ul’in S0™ P W,LL, AMS interpolate feel! Ad- THE JULIUS HARTT SCHOOL OF MUSIC ••/I MUSIC CAMP might •;*« sic Heart of the Catskills" how a approach to Saugertics, Moshe Paranov, Director 8 Week, N. Y. mitting ^should be Finest 6 30-August 23, 1941 profe-Jin!! ! Gaining Or- of slight Jbestra and B«nl? in Symphony lines t'on along the RECENT of Dr the personal direc- concaved APPOINTMENTS ^der s Williams. Cala Concerts noted pnf I BAUER, Piano; BODENHORN, ’Cello; Production conductors. Grand opera HAROLD AARON (W, d, as,s under ' Vocal department Cecile lar £ ALFRED EINSTEIN, History and Musicology; ROSS LEE rri| a C 0b S 0n ‘ nster ' 8raduate of West Choir s c h life- o o | cated on his FINNEY, Composition; FREDERICK JACOBI, Composition; A " recreational facilities. WILLIAM KROLL, Violin; FRIEDRICH SCHORR, Voice RECistpd J~lUon ? 2 °o-oo NPW and Opera; JULIA SMITH, Public School Music. VV, NTl —Enrollment limited. ' Sess \y. '°n of the Ernest f fe ScH ° ? rs a 01 - of Music BACHELOR OF MUSIC DECREE ain ln e r urse . of professional S' v g in evpr« f- ,j° niUs d of instrumental and Arft?i- ic. Fall WITH MAJOR IN INSTRUMENT, VOICE OR COMPOSITION Pplications e m opens “*<«* ! L . September 22nd. th nflu n thoughts, intellectual For P accePted. nei CATALOG ON REQUEST furtherfurth« information, hand tsar f’ other congenia i, select STREET • HE Registrar 3 87 BROAD HARTFORD, CONNECTICUT J Marx. 53 Ocean ,AMS School of Bernhard Avo».vonue Music “^’-Adolph — Brooklyn, N. Y. Iune 425 1941 Why Some Accordionists Fail

( Continued from Page 419) X)~or Summer Xlfindic Xytuclij- folds his hands and, in a resigned they lack courage at the decisive mo- manner, failure quotes the proverbial dog ment which spells success or and his tricks.triples Thattw — come old proverb has- for them.i. Thisinis momenmoment.t may — done a great deal of harm de- at ^Jlome or in CLlaid and should early in their studies, or it may be forgotten. bu There is no such thing lay until they are well advanced, as being too old to learn calle ON VARIOUS to play the it will surely come and may be I M P O R T A N.T PUBLICATIONS accordion. Naturally AUTHORITIES we are not re- the zero hour when discouragemen SUBJECTS BY NOTED ferring to careers but confi- , merely to sets in and the student loses learning to play the instrument men- and dence in himself. It is purely a play it very well. Many Piano Pupil Should Know middle-aged tal condition, as the student may What Every doctors, lawyers and di • men and women playing he ever HAMILTON in better than By CLARENCE G. every walk of life have mastered it — ** 1 ’ - and advanced piano. st udents The work A useful and informative manual for both elementary helpful .ideas for the senotw studen^man^ol of a distinguished pedagogue, it is filled with

IIUI iwuwitvv. ----- • y ; , ,, " former Professor of Music at — - j “ The author each chapter to a close. Etude, met a ixssrrin men i The — •st, ” ri teens who think -vs “r- y education.- ... -Price. $2.00 that only 7£$%*JrL field of music learning is con thetne Sie nce in' Hfe^d'acttid B ° OI course excuses are not fined to youth These adnif , P yerS bauses of any mea” s are often quite giftedgifted. failure by ’ld Standard History of SVSusic thevthey arearp important,imnnvfonf and weW6 Q®" to that stu; By JAMES FRANCIS COOKE A Weak Excuse discuss them first, so - j and educator this to1 prolific pen of a noted author, composer dents symP From the ' may recognize the widely read book on the subject of u cal , ,s "hat about ^ t0 is by all odds the most I" J the accor pages âre alivej “v: . . author's most engaging style, its mon'ist Who torV Written in the down o rurntt of music from its inception right ° with the compelling story give it ailall up because the ”' We sha11 tMS bec“ehe canno?caTnJt • — t1 aaf-afat ~ SIOnsion andan- ford expertexnert. . of causes nf failure,failure. instruction m- of ; tt, e 1 ut iIS i 1 he does 6 approa ° the ^ pointing - . "char. tracing not “muauich it pomwn& iMusirntion™. live in next byoy i- ch°'Iesson' More than tw.Thundred' a locality c of P music, and > venient to COrrectcorrect and ways gSwth of “nftai «3l 'be teachers. This incorrect u« is a XX —— ; , b0 club for tlCG the organisation of i music study excuse if his and suggestions fonild valuable hints on ambition by Sivin S re were strong- . ssU young people Magazine, enough he & Practice will EdrtorFHitnr of The tEtude Music has would discover material which Dr. Cooke stnee 1907 tte and ln0„ that ] ^ „ are numerous rapid work a. .Intone odered accordion Progress, prepare such a arrangers artists andaid who constantly J above __ study °Ut material with concise 6 aa™d n " — The Structure derstandable exniar,atie^ Complete School structions ln ~ Music for those s of who Z notbave“V ion of Technic teachers. Such Pietrop ietr By PERCY GOETSCHIUS material is Deiro will answer PHILIPP at ailable he ISIDOR nominal aboutab°ut t-e By prices in musicm„st! .. accordion playing- u e In his characteristically clear manner. Dr. store^'n01 es a11 technical com- over the country. should constantly "best selling'' Goetschius gives us in this splendid book the be addressed to him >»iet, This usage. world-wide 'V° of musical structure and composition. borne o pilation boasts a rk jn story accordionists of THE Chestnut masters, it P direct language, he discusses this fail ETUDE 1712 great modern , . In simple, the bv« j j s b6CaUse important phases of pwno p « creative art with the authority of a master, Philadelphia, the and , ed Pennsylvania. designed to produce a full taking special care to explain the necessity of sub ec pianistic equipment. The certain rules which frequently puzzle the Scales in A Forms . bility and Independence student. In selecting the illustrative examples, All Double Extension. Arpeggios in Tremolo. the author has drawn unreservedly upon the Chords fr Notes. Octaves and classics, proving his points by means of mas- Philipp's 'nvaluabiesug and Glissando. M.. ter creations. "The Structure of Music" is are gi CDrt gestions for practice designed for the use of the layman as well p r j ee> $2.00 Price, Gsboils as the trained musician $2.00 - AnswerEil Study ^ Practical Violin ^ the Vocal Student By FREDERICK HAHN What Should Know an active ity itself Hum are ihe fruits of Sghryl^h^^tem" presents By NICHOLAS DOUTY t ay l01 as they should n<>t as lim a g00d accordion 1 be Fh ber let h splendid introduction to singing by a noted any Ve hlm n , p A accordion ncver point out your e teacher. scales . had , ?r Jni ‘»s3 t«nrp&F.ôj^»5«i artist and well known In clear and , 0r if y°U 5S a understandable terms the fundamentals of hand. I right ca nnot regul B phases of all have learnef| or left study o vm many singing are covered. The author ra & t,r ;ha'pm““c phases of in- myself practically SIOnal lesson discuss, "the art of the vocalist is and I certainly violin study and iJJ. sists that no am bv tot following his words, about more a mystery" and, one can my playi in dou^ ânce one. but profit by them. Dr. Douty speaks with ^no born of a rich experience. aV n an authority A Plaj' er Q " 1 ed be ' d ° not ,is series of basic exercises are to be found at Poet a p aiflllun sm as the end of the book Price, $1.00

Other Books by Dr. Orem for Beginners Harmony Book Theory and Composition of Music PRESTON WARE OREM the^h By (Designed to follow "Harmony T?Scenaln r chea Book for Beginners Per accordioi This treatise, the work ") vouii;V 'yunfn,.f armaP Price $1 .25 104 eciate achieved an enviable Acoustics, Pitch, etc., tbat your advice.- study D f Sound, on technV Beginning with the o through a discussion f simp J e the text proceeds in a Seventh Chord, and ‘ h e Scales. from a figured of ihe h .Sfffing.* both Work n harm «, ex- (A First Method of Counterpoint Melody Writing. uced and many ) melody, t ’ bass and a figured absence of confusing Price $1.25 while and U are given student of a - muslc amples 'Vences assures the » back for and cross re " has sat Manual of Fugue with to tl a notes . in- foot , he stu dent suchU h of « n space in Price 75c dies begmba trpip direct statement . he will find P^ asaa theth ghtninnin me-hcntnt has. completed of his Ba g hal Mellm factorily permanent record ExS H4 g fa of S Manual J Modulation k ana n ;Pive ^^alityquality .-'p ^forbothh:L Sca^, which m tB *- !!U S7S s SS£ year accordion - T b al1 lather scholastic s t here i than a that udv s So° qin in-ty we cannot ate»al l,ch ° £ the tom ever. bsk,, ? av gove su “ all able c fflce it , ^ °hsidera THEODORE PRESS ER CO \ here tl the '» Publications Everything a STREET, PHILADELPHIA, b0° e; CHESTNUT VetchyA such P as -/ ofher accormon Te^ h £ Tep'

426 -

Piano Class Methods in Beethovens Time from Page 380) ( Continued Peafeody Conservatory that he went to the OTTO ORTMANN, Director slate and rapidly corrected her error. of Mr. Logier write this long and de- MD. As in her performance the bass was trouble to BALTIMORE, description of his classes for leading endowed musical conservatory of the country indisputably the best of all, the tailed Recognized as the and then the above named periodical ° andanu . teacherceacner wrote it min my album,aioum, . . June 30th , in O quote it m his Autobiography. I subjoin it here with diplomatic later to to know bession It would be interesting bummer Aug. 9th accuracy. Staff of eminent European and American Masters including: FRANK BIBB FRA N K__GI TTELSON REINALD WERRENRATH wTlMEV BARTHOLOMEW CARLOTTA HELLER HOWARD R THATCHER CHARLES C0URB0IN GILBERT STANGE MABEL THOMAS LLOYD GEISLER PASQUALE TALLARICO s Degree. Credits may be offered toward both the Peabody Teacher’s Certificate and the B. Mu credits in certain branches may By special arrangement with the Johns Hopkins University, courses i"a Schoolc "' Mu: nd Languages. be offered toward its B. S. Degree. Special Tuition $20 to $35, according to study Practice Pianos and Organs Available Circulars Mailed FREDERICK R. HUBER, Manager Arrangements for classes now being made AMERICAN CONSERVATORY Logier methods are still chil- whether the OF MUSIC — CHIC AGO “The resolutions of the other success and, if so, what Offers courses in all branches of music and dramatic art all being used dren were more or less good, but Faculty of 135 artist teachers they are enjoying. Association of Schools of Music of them correct, and mostly written Member of National Logier was born It. Hattstaedt, President. 576 Kimball Building, Chicago (Johann Bernard Send for a free catalog—Address : John out keys. Each also in four different Germany, February 9, 1777, immediately on the at Casset, played her own Dublin, Ireland, July 27 -TWO POPULAR NORMAL COURSES — embarrass- and died in pianoforte, without any flute player and Supplying every modern need for teachers and ” 1836. He became a advanced students *"A22c.- ‘fault.’ COKER ment and without band. His chiro- joined a regimental The Revised Dunning Course of Music Study Thorough Cor courses leading to A.B. degree of the above account Senior Courses organ, public school music. The author widely used in England, P re-school, Intermediate. Junior, I, Spohr, one vlast was Teachers' certiorates. Also, degree courses in Liberal is none other than Louis Conservatoire Arts and Sciences. Library science, pliyslcul educa- at the Paris Carrick Creative Music Course violin- Berlin and The tion. secretarial science courses. Beautiful campus, celebrated among sports. of the most Practical Thorough Bass. Pre-school to advanced grades attractive buildings. Dramatics, Gym, pool. ivas his “ for catalog. of his time. It is as Endowed. Session: $430. Write ists and composers disappeared almost sev- C. Sylvester Green, President, Box M. Hartsvillo. S. C. that he attached The system indeed significant note.) „. E. 68 Ave.. Portland, Oregon enty-five years ago.—Editor’s to the methods Classes: Richmond, Va„ 2727 W. Grace St., June 23 so much importance Assisted by Miss Minnie Cogbill New York City, 76 E. 79th St., July 21 Write for dates of Portland and San Francisco Mr. and Mrs. Crosby Adams class Montreal, North Carolina, 1941 Mrs. Laud German Phippen, 3508 Potomac Ave. TEACHERS* CLASSES Early Summar Texas PIANO Musical Films for Dallas, College Dunning Course. June 11; Creative Course, July 7 Winthrop Page 373) Write for date of Ft. Worth classes Rock Hill, South Carolina ( Continued from Booklet and other information upon request JUNE 23—JULY 5 two gay Montreat, North Carolina Who? and The dance routines include JULY 23—31 other hit songs besides numbers performed by The routines, satiric seven sparkling dance solo numbers by Miss Qlvipivp slot* IKestre e Hartmans. Two Make THE ETUDE Your Marketing Place Neagle m L Schools— DRAMA, DANCE, OPERA—For Acting, film version stars Anna them an amazing 3 Open the Doors and Jonn Neagle (one of Etude Advertisers to Real title role, with Ray Bolger a solo by Ray Opportunities water dance) , featured cas under- Carroll heading the and two routines by Miss Everett Horton, Bolger, that includes Edward and Bolger together afford Westley. Neagle Music Lovers to earn LIBERAL COMMISSIONS Frieda Inescourt, and Helen entertainment. The ver- noteworthy securing subscriptions for THE ETUDE. Part or D’ya Love Me?, Sunny, and Two Little who made her Miss Neagle, Cost or Obligation. Write for com- other songs satile full time. No Bluebirds are the three film debut In such distinct- Jerome American plete details TODAY! Address: woven through the picture. parts as Queen Vietona Otto ly character CIRCULATION DEPT Kern wrote the melodies and has devoted and Nurse Edith Cavell, THE ETUDE MUSIC MAGAZINE Hammerstein II musical comedy Harbach and Oscar efforts to 1712 CHESTNUT ST., PHI LA . PA. songs. her recent the lyrics of the four featured routines. She is British by directed and dance Herbert Wilcox produced and name is Marjorie Rob- birth Her real MUSIC the mother's maiden : JUILLIARD SCHOOL OF offering. Neagle Is her Orleans ertson. Anna Laid in picturesque New and she thought that during Gras sea- name has auburn Ernest Hutcheson, President the colorful Mardi well” with it. She as ; son, the film presents Miss Neagle eyes, and what Mc- hail- blue-green a circus performer, dancer, and styled “the most SUMMER SCHOOL land Barclay JUILLIARD whirl of Cle She is equestrienne. Caught in the nose in Hollywood. Wedge, Director paintauieStatable American George A. the Mardi Gras crowd, she meets a f her dee a in young Louisianian, and a case of love intensely interested Session July 21 to 25 cess and Forum at present time, first sight develops. The wedding American. At the is the of Amen- scheduled to take place at the history Coenraad Bos Piano Playing Style.... Guy Maier Sh studying from Art of Accompanying bridegroom’s estate, but .music, Piano Methods .Bernice Fro'st great family popular1 Coenraad Bos itfolk andana P F Song Cycle lust can i . She before the ceremony, a group of le _ woog e Hacketr Music Education ...Lawrence Perry Voice Teaching Charles carnival phrases, tries Wilbur folk arrive to pay their re- slang Peter Wilhousky Band and Orchestra.. Hamje collects^UectsAmericanAmei Conducting spects to the hP<.itantly upon Modem Music Marion Bauer the bride, embarrassing Theory Teaching George Wedge Suests and tears, them to their .Bernard Taylor Music Teaching Business Thomas Tapper reducing Sunny to wolk Group Voice Methods... eeling that the Studio ® misuses a new Teacher's Round Table... .Guy Maier she has no place in whens;n she The ately amusement excellent surroundings of her fiance’s }s an New York, N. ome, acquisition. S y Claremont Avenue Y. she runs away and rejoins the and the pop- 120 it 1Va1, l3Ut the bridegroom, encour- itsTmes^should make aePH ularity oT his elderly her anri aunt, follows entertainment. and effects^ - worthwhile 5 a reconciliation. 427 IllKn — .

The Surprise Recital

rlrude CjreenlaLk Wall “Hello, Miss Brown.” tion. John smiled went steadily “Yes?” and on practicing in secret. “This is John Doe speaking. I’m At last the day of the meeting veiy sorry, but I can’t take my lesson arrived. When announced, for a few John was weeks, and worse still I he walked right up to the grand can’t play the program that we’re piano and, after carefully adjusting preparing for the Mother’s Club his seat pedals, meeting.” and feeling for the started to play. Yes, you have guessed “Gracious, John. What has happened?” it. He gave a Left Hand Alone recital- After the recital finished, all “Oh, I was Climbing on was my back the members congratu- yard fence and slipped of the club and broke mv lated had right arm. The him and asked where he doctor put it in splints gotten his idea. told them and says it will be some time Then he before that Miss had I can play the piano.” Brown, his teacher, read in The Zichy “Oh, John, I am very sorry Etude about Count to hear who, at the one the news, but I think you age of fourteen, was can give a of the most program just great Master Liszt’s the same. Of course it will not promising pupils. Unfortunately, be the planned numbers but something through a hunting he lost quite novel. Can accident, come vou his right gueI over to the studio and arm. Sobbing out his WALTZ let4 mme to to GAVOTTE tell you all about the master, Liszt him not of the Minuet, it?” told This gay French dance in common An off-spring be discouraged. hhnsen With rhythm much the same, Then seating time, at the piano, des- Waltz, as dance and program he played for the With strongly marked first beat, The paning by boy, some compositions Contains two parts, and often is piece, world-honored fame. Beeth oven, himself'' Included in the suite. Still holds and by t le !eft little J hand alone. The ° ant Master MAZURKA Zlchy looked up to the MINUET aid oo triple-rhythm Polish dance, ’ on first or last. Has charm and quick tempo. Sometimes °°unt and COUNT GEZA Zichy then took heart ZICHY ef POLKA 1C< S ° faithfuHy that his l dance, in two-four time, When John arrived handd alf Of Polish birthin'^ttfree-four time, Bohemian at the °ne recitals became famous- ne studioUU1°’ anri v. . . . . was so withWith lively,uvpIv quickmur.k temDO.tempo, amazed anri tv, -n ls V Strong—stately—not too fast. at .^ greatest achievement This peasant dance is favored still, what Miss Brown D l av Its syncopations, skips, and runs, told him S S a three hand arrangement4 ago. said he would he th/p 7, contrast. As in the long do it and fcOC2!/ & 1 Give style and fine Itartejf, ' March, which Liszt mediately on the im ran P Pri new nrnuu°g eSPecially boy aI also telephoned am ' He for the our Piano? the Suh himself Wlial Is On Y that he would lttee be ablet 1’’’ hj® By E. A. G. scheduled. a°nT aS continued John, “gave When his the^ or sheets friends ?e ati ' 5. Are there music books °n t0 eSent tWS Of course the inside of your piano is that he still So P1 not, score 5. planned tote gram!” music on top of it? If onT1 it, as that of program they the the most important part of were mhto , S left on the rack be- ld ’” 6. Is any music to what said the resident is where the sound comes from; and he would as the P °o periods, except temdo. Would Mn?h° ’ a»“ to tween practice cite a UW h^he re - her s Club. done the principal business of a piano is poem, or sine „ . even “It has porarily? If not, score 5. ater make beautiful sound. But the piano tbe piano solos It thinS than that, If you have a good place to keep werettoflhett B n article of furni- 7. Do aU 01 us a valuable must also exist as an books? If so, son tn sheet music and music TMaster f ture, because it is too big to be un- our Handicaps-’ score 5. . . .. noticed something. , or hidden behind keys kept perfectly does 8. Are the So, such being the case, how score clean? If so, score 5; if soiled, 2; your piano appear to the eye? score 0. room, not if much soiled, 1. Is it well placed in the your piano kept 9. Is the wood of too near a heater? If so, your score is dusted and free from dirt? If so, score for that point. 5 score 0. natural light 5; if dusty, 2. Does it receive good seat just the right 10. Is the piano by day and good illumination at height? If so, score 5. night? If so, score 5. small or too short 11. If you are too of it? If it is 3. And what is on top reach the floor, do more for your feet to upright it should have no an dangle in mid-air, or is there a so, score they than three objects on it. If rest for them? stool, box or other foot for additional object on it 10; each dangling feet score 0; for stool or objects may For subtract one point. Such extenders, 10. foot rest, 5; for pedal composer, a picture m be a bust of a Make out your score, and see just frame, a heavy vase, oi good standing where you and your piano stand on appropriate object. some other question. Try it at your next club and has only one this 4. If it is a grand and give a prize to the one for each adci- meeting object on it, score 10; getting the highest mark. tional object subtract one point.

ri--” °reCl8li Hungary 428 •: : T y

Which is more sight reading Which is more fun, sight reading The Junior Etude will Class A, fifteen to eight- fun, een years of age Class or memorizing? award three worth while Junior Etude ; or memorizing? B, twelve to fifteen Class (Prise winner in Class B) prizes each month for the ; (Prise winner in Class A) take Everyone who is fortunate enough to most interesting and C, under twelve years. As I read this question, the answer that music lessons on some instrument always original stories or essays Names of all of the prize .came to me at once was memorizing. Then senses a thrill when he is advanced enough Contest I realized that this is a contest and I must on a given subject, and winners and their con- to be able to sight read a musical compo- therefore give a good reason for my answer. sition. tributions will appear on It gives a pleasure which can not be for correct answers to The best reason I can give is this: memoriz- equalled entertainment. this page in a future issue of in any other form of puzzles. Contest is open to all boys and The ing means learning a composition passage by The enjoyment gained through creating Etude. thirty next passage, to perfection, and girls under eighteen years of age, whether The best contributors then storing these music through sight reading is well worth beautiful pieces of music in the memory. member or not. Contestants will be given a rating of honorable men- the time and practice spent on it. I think a Junior Club When the selection Is memorized perfectly follows tion. this is much more fun than memorizing. A are grouped according to age as we are able to bring it to our mind at will piece of music can be memorized only after and play it, or re-create it. During the time it has been completely mastered and this SUBJECT FOR THIS MONTH spent learning and memorizing a composi- takes considerable practice. For mere pleasure tion it becomes more and more beautiful and I find sight reading more thrilling. To be so familiar that it really becomes a true able to pick up a composition and play it lAJliich do d) prefer, orchestras or hands ? friend. And didn’t the composers wish to at sight is immensely entertaining and satis- have us make their compositions our best fying, those Junior El,, do Office 1712 Cl, cl.ml Stood, FMl.ddpU., P friends? both to the performer and to All ulrle. mi,! bo rooolvod ol ibo 22nd. Winners willill appeappear in a Inter issue. listening. Inter than June Of course sight reading Is very important Geraldine Bartow (Age 13), in music study, but memorizing for me is - CONTEST RULES Iowa one of the most interesting and educational intain hundred and fifty words, parts of 1. Contributions must music study and the one I like best. appear in upper left cornt - and your address in (A, . 2. Name, age and class Shirley Ockenden (Age 15), you need more than < ne sheet of paper, be the upper right corner of your |>“FV‘:. If British Columbia, Canada ‘ ( sure to do this on each sheet. typewriter. Jach Slones Game 3. Write on one-side. of paper only and do no anyone copy your work for you. By Margaret Guiney requested to hold a preliminary contest and submit not more than tries and is strictly a boys' The said: is opera. Answers must i.e. Plato “Music to the mind saved Tub Eti I is only a of • picture sending J < together out kodak am , 11 mm just as Words opera. ' to play picture we are dressed in our what air is to the body.” as name of P»«? .1 able i>st In the well as ex peel., tf he ny 1 ituiues for a party. I am tire one in the !• Literary 2. the texts of operas; er skin. We have interesting meetings once nipo de month, when we prepare a program and S er of the opera, “Lucia would be very ^ jo, March a-nss musical topics. We Answer to March Diagonal of , Winners our picture in The Junior Etude. *mmermoor”; 3. the nationality .ml to see Puzzle From your friend. Puzzle: Cess iaqonal 15. BAUBEltV, V? Aida, in the opera, “Aida”; O THOMAS 4 New Jersey. 1. other 4. Dre A c M— — —ms °mposer opera, “The O 5. T* of the 2. N— —rway Cher—R i GS — of Hoffman”; opera by 3. Pu—Z—zle 6. Carro— H 5. an Minnesota g a'd (Age 9), DeKoven; 6. the national- “jowt Boetime lty ‘J eg; to 7 ' orchestral preludes Honorable Mention for °Per . March \B- the in the March oPera mysterious cup Mention for hssays Parsi ,1,1,, fal"; 9. the composer of the Diagonal Puzzle: Elsie O. Rodrigues; Doris E. Wall; Larry opera/'Fidelio.” Brown; Frances Furtick; Anna Mae Sloyan; Marjorie Jackson; Catherine Lynch; Miriam GllI mar largaret Pettit. Gay; Ophelia Colson; Betty Timmons; Ruth L rl Ann Collins; Dorothy Halcome; Mary Elizabeth , e Mowry; ““g^ner; Dorothy JW s Long: Claire Price; William Dennis; Julius Lynch; wlll)am Johnson, Marten st‘™ Mease! - Bodnor; Charlotte Hale; Geraldine Kelley; ' . Martin ; Eradtei^, v Verne Rejsek; Julia R. Cuthbertson; Irene . volis La Ella rtrle; “nc“ Anne Maria Townsend; Deborah Brown; F, selzbaoher; Anderton; een Dorotnythy Lee Satz; Mary Virginia Ganzhorn; Betty lma Anderson. Mae rnea ^ Ellis: Regina Brown; Cecelia A. Doyle; Mary Anna L swanson, icker; elen Henkle; Cynthia Cane. ) -

scribes studio aids and supplies, publicity MONTH—Credit THE COVER FOR THIS many items Phil- and bookkeeping forms and is due Harold M. Lambert Studios, in other than music that assist the teacher adelphia, for the photograph used on the creating interest; such as diplomas, cer- cover of this issue. The tificates, musical jewelry awards, etc. notation of the Reveille is The musical Guide Teaching the book Bugle to New Teachers on taken from the little 68 page suggestions Piano has helpful lists and Calls Marches by Lieutenant Signals, & for This con- the Oliver experienced teachers, too. Daniel J. Canty, published by booklet adopted venient pocket- or handbag-size Ditson Co. This book has been o and thematic and descriptive catalogs by the War Department. Many musicians music may be had FREE for the asking- do not know that the Army, Navy, Ma- n A delay may ©oa rine Corps, Revenue Cutter Service, and in preparation now longer teaching National Guard depend upon the bugler delay in the rush of the season's to the lo to such a great extent. There are 210 opening, it may lead of delay numbers in this little book. pupils. Why risk unnecessary “Press upstanding Boy Scout bugler and inconvenience? Act today! The fine musi photographed by Harold M. Lambert for- Service” was instituted for the teacher. tunately does not need to know all of It is ever at your service. have spent time these calls. Those who the with camping groups perhaps best like ONCE-UPON-A-TIME STORIES OF l °" to hear the Mess call, telling them that GREAT MUSIC MASTERS, for -Here Pianists, 1 it is time to eat. Reveille is the morning by Grace Elizabeth Robinson^ signal to rise and begin the day. The is indeed a glorious book for teachers ac- of opportunities of each new day need place in the Mn® because pl!5 tion to make the most of them, their young piano I all soon comes the Tattoo signal, brought too Singing—Cooke; Resonance in Singing sions really designed to impress It has been quarters and which prosnec- e*w, which is the call to and Speaking—Fillebrown; and Your tive pupils while honoring gether after an signal for deserving stu- is later followed by Taps, the : Rogers. dents of the past tive review of UK ® . Voice and You— year? With private lights out. conduct- teachers, & Those interested in the art of especially, the compositions of . Pupils’ Recital i* ^0 select books such as: Essentials most effective preliminary ven, Handel, Bach ’ ing may publicity f her t, READING—Success secrets and the YOUR SUMMER ' Conducting—Gehrkens; Choir looming year. How zart, Haydn, Sch“" magazine ar- much more recep- pl0 , often are mentioned in Conducting—Wodell; and The Art tive to your studio Mendelssohn, u Chorus re-opening anno™' ag- ticles, editorials, and books, and many ^ A Cappella Sragms-Smallman and ment in the fall will be Schumann, Brahms, which promises of the mmiiP n hasten to read anything has enjoyed the - h0 Wilcox. recital __ ner, and Verdi. , to success secrets, but really every thinking to PrinClPa1 of the violin may turn a mber ° ' Each devo secret Students £ the aMience chapter in the book is that there is nothing Vio- , person knows Practical Violin Study—Hahn; The “inIn additiond?r to the °ne of these and teachers° twelve composers i, ii, about the usual ways in which individuals Players— tinuein lio oi . _ Wh° 00n - e lin: Its Famous Makers and their classes’‘th™ugh“t' are thirty if success. tnhee6 six musical selection! „ the world over have achieved to Master the Violin— monthsmonths, therethorn summer bTlSS How are i Stoeving; otherTwhn''^ °ne especially arranged to played a great part in s Vo- the P Pare Knowledge has tovetzski and the Violin Student next season for straaede many successes. The man Gruenberg. to them Presser’s sent W, . . ® r9 cabulary— ..|umm„ whose abilities bout go ahead, and N are limited to a gs: knowledge is equipped to For those who want a general all- Packages,” selections Music" n of£ , Soihe from knowledge possesses fronf!"Wel are arranged because of his or her knowledge of music, the special fifteen piano pieces Ve to gieat around _ ____ in°___ the°M^ ers fl'om sonatas an or poise that is a outlined by mailed eai ‘y , themes of an assurance in Music Appreciation to subscriberssubscrih0„ .... . grades course dnrino , Phonies; simpli fled living and a greater Music Clubs Une and many are asset in making a Federation of and August. ' Ju Jjj. the National A 'y ns r post-car™— 01 some pieces of m° asset in enjoying living. calls for the reading that is 651 is , master is" ideal" This course necessarTtoT™/^ aU ouit knowl- *“Ve grade. eS Do not envy those who have rxf thethp fnllnwinefollowing books in aepsages rnmacome theSe leC and studying of to you- a P a<*- rpilG gain knowl- stories these e edge when you yourself can The Fundamentals of them wlu , accompanying 3 tb the order named: at any time' stop , to your Of “ntse, ™U1 shed lives > r edge that will contribute greatly this mate- new light on the te profession of composers text ” d success in your chosen included and all a n or foi lar music. For general information Prated in an unusually Loti>re many exce - --_y4Juance of Pnldiccdion easily special self-study there are Offer readable type. An added Y^s- musical theory e aim . lent literature or Portraits- 5 '"- JiyeS musical JUNE ofuj. theone uuiuyu*composers . u»- are books for 1941 tiations books available. There from the stories of C for conductors, and There tlie pianists, for singers, All of the books in this list is still during are in preDarot.v r time Q °n ^° r °n ' for violinists. publication. The low Advance ’ h to f01 “ c1 Offer Cash P r place an order pe ^! harmony CeS s of most popular ply only to orders placed NOW. a Py of 4 Some the Delivery tf' P' this publication at e, Booh ost PaK ic books are: Harmony will be made when the books are published ') nce P and theory Paragraphsp^ °* Publication cash Theory and Com- pents0«f for Beginners—Orem; iese > Postpaid. Elementary Pages. position of Music—Orem; Child's Own Book of Great Musicians— Nutcracker The Fundamen- T er Suite—T«,u •. Music Theory—Smith; Sousa °PP with Music Chaikowsk rCR for p|n n V- ACKER by Harmony sim- Once-Upon- SUITE y! Gehrkens ; tals of Music— r i,h Robyn-Hanks Har- Masters— Easy the r ': for Piano, ^ plified—York; The Great Ada a 1 Music Theory Lawrence Keating's Junior Choir Book Richter-—Piano teachers, mony Book; Practical Songs, Symphonic Let's Stay Well—Childi Skeleton c, R°bins0 „ rty New Harmonic N ?- S— thaaa eonduotmg P^‘jV and j and Richter -Symphony Dickey and French; wiu'hWill b °°.„ •shed ' 8 M, ~“ be lntint.procf^^ nfiW Richter (Unfin. erested in the new Miller. . Piano Book.. to ,lis Devices— My • k V the choice Symphony e fortbcoming “Story For music history there is sin» in the Standard History oj Series by Ada Bi of such books as vol,™ , Musical His- firis series include Music Cooke; Outlines of From Song to Sym- rial — Music—Gehrkens ; is sent ^ and A Complete History Instruments— “On cioi „ tory—Hamilton ; phony-Mason; Musical privileges. full tllis Ricllte Musical Progress— *ei return new w°rk, Mrs. pe of Music—Baltzell. Kelley; Epochs in violin ®c t pieces,IS, wons Se r0in '' l What Eu'V etc.etc ‘irawn f . are: the j. her material cy For pianists there Hamilton; and Masters of Sym- be n 1 Hamilton, n Nutl: co»’ Know- ™ -uZac^’-doher Suite oriS«^ d Piano Pupil Should Goetschius. I?'™ttene phony— ~ ve„fe„;"' for ssl Questions B« Piano Playing with Piano Presser Co. would be r^ orchestra by the Theodore >ur va.cn ti<-v>, ! ^ Pianists The Oreat and prices of avail- .^dr^l^âiled to rsChalkowsky- surered Hofmann ; supply names serins U'.'stW — ’.I glad to ^ Performancesnerf™J Piano Musk of ballet Playing—Cooke; for any particular branch of e this mf )1S' Piano able books new a'ud Pett °st™/staL and and vL characteristics • anc vu 5!, t music reading in which ndar, on the raaio,radio, 11 Composers and music study or music in Cla tu, me dtvfi Principles and which bi ton; Piano Teaching: Its be interred; notjet the ^ performance jd "you""may_ better « nev’«s t Shortest Way . *> aaK Tor SCreen “Fad e ; The by without making use Presentation, r , Problems—Hamilton summer days run of methods, ay Leimer-Giese studies approval” Nutr acker to Pianistic Perfection— available time to fashion for yourself SlIita has beco®« t to'S Expression in of y mar of vehicles ^ music love king; and Principles most helpful to suc- Popular with music one of the TltoPuSei-s Ur l6isu«' Xh and .iar Pianoforte Playing—Christiani. cess-knowledge. wffl°b ,odles from “ are fa are such ch ce glad to mo,t t# For singers there °^ „ - '- everyone. (C 1 ^„ n7 may“ndcvi^'ôn Be1 ju Should Know undertak^S? PrePa As s„ Vocal student NEXT *'aion°“oni With hook V) ., What Every PREPARE NOW FOR SEASON—In tions or "“ether the prcviuuoprevious — 0 Vmce teach, „ J the*. Serioc ,, 1 ia i. . , Fundamentals at the season of Graduation t.v,Qhe _ . " is _ v* —Douty; the midst of Of your tena1, Selec ' stoi'y of01 tnethe suite ‘ Jfos"" Speech m% Song stSdi’o ‘he sim J tv 11 ' ml Clearcut Pupils' Recitals it or“h eqm staple “T cêS5 Vti ing—Clippinger; Exercises and may he s n lanla” introduceu e Upton, pupils. For Bmeilt Buage and — 5 in America— th °1 ? °heitati™*‘° ous5 „ Song mention la u 1 —Rogers; Art premature to “next erei' n 0£A t sound a bit most “ nehow impositions of the o--suite-* C , Ptobltims-CliP interestinginte^si L two vnnv W ofo?^ ti, ‘“™ons of Head Voice and Other And yet, are not these occa- W the Art of season.” S° pinger; Great Singers on ‘h mueS ^ he e< T Advertisement ^“dC/w^which e\^ IZTt?“” ' March“ot the ustsust yo-n.eeBa,lc s’ and e of th Fair)-iravV’°f pt’"nfl' de- e Candy ' Darinu cse ance,e 1 430 > Arabian Dance, Chin* ( LlP o

stave score reading, from a string to a ments from the works of master com- Dance of the Reed Pipes, and the favor- to her complete satisfaction, have not brass section and then to the woodwinds, posers such as Bach, Handel, Schubert, ite Waltz of the Flowers. “worked out.” As a result she here pre- balanced piano as the symphony is being played. In ad- Beethoven, Mendelssohn, Liszt, Grieg, The arrangements are all new and sents a sane and well find a dition to this melody line there is an Tschaikowsky, and Sibelius. In addition considerably simplified. While the music method which any teacher will students. analysis of the various forms, such as to these, Mr. Keating has composed very is not as easy as in previous books of success with her early grade are incorporated in the exposition, development. Coda, etc., effective original numbers for general this series, it does not exceed third grade Special exercises the author’s closely marked as they appear in the service use and for special occasions such in difficulty. the back of the book, with score. as Christmas, Easter, Thanksgiving, Com- An indications as to their application in the opportunity is offered every teacher and Lent; also appropriate useful dictionary These skeleton scores will help to bring munion, set- of piano to become acquainted with this course of the book. A new interest and delight to listeners, tings of The Lord’s Prayer, The Beati- book by musical terms is also included. ordering a single copy now at the of are tudes, six Prayer Responses. excellent book whether the symphonies being heard and advance of publication cash price of 25 A single copy of this publication in the concert hall, over the air, or from A single copy of this volume may be cents, postpaid. be ordered in advance of may recordings. ordered at the special advance of pub- cash price of 25 cents, postpaid. at the The new Symphonic Skeleton Scores lication price of 25 cents, postpaid. Copy- LET’S STAY WELL!— Health of the Schubert Symphony in B Minor right restrictions limit the sale of this Songs of Good MUSI- lor 6 BOOK OF GREAT Symphony in G Minor book to the U. S. A. and its possessions. School and Home, by Lvsbeth Boyd Boric CHILD’ ! OWN and the Mozart PHILIP SOUSA by Thomas separate books and either and Ada Richter—The instantaneous suc- CIANS—JOHN are issued in scarcely a child that has ordered now at the spe- cess of the delightful Tanner—There is or both may be THREE FINE SUMMER ETUDES FOR Poems for Peter of by to a deep feeling advance of publication price of 25 these two gifted writers now prompts not been aroused cial ONLY 35<*—Here is a bargain for music by the titles postpaid. publication patriotism cents each, cash, lovers their musical friends . of this second collabora- to help not rhythms of John ion. Here is a group and familiar with The Etude to a greater ap- of fourteen delight- stirring ul Philip Sousa’s songs for children, each with special TRANSCRIPTIONS OF FAVOR- preciation of music. Today they are CONCERT bearing on a marches. by Clarence Kolil- During the months of June, July and good health habit. The songs more than ITE IIYiMNS, for Piano, aie so being played know this offer to planned that the young singer, in Army, maim Readers of The Etude August, we non-subscribers of he routine ever before by chiefly of learning them, cannot fail, Philadelphia composer The Etude, a special three months intro- Marine, and civilian talented nowever unconsciously, Navy, musical ductory subscription at a price of only to absorb the they have for his successful essages bands and tuneful 35(*. All music lovers are given the oppor- involved. Each song, with its place comedies and gai found a prominent tunity at little cost to learn the value coated” health rule, will delight piano compositions. Aside n6 [ and instrumen- P ents and children on radio his brilliant tran- of The Etude. With its fine departments alike. programs. The from tal concert of Gruber’s Si- covering almost every phase of musical the vastly important move- fascinating scription ln life story is a which appeared activity, there is something in each num- s country in the cause of good /larch King’s” lent Night, hPQ i.. ,, . ber of priceless interest to every music is this journal one Christ- inoeMm book should prove of in lable^ they have not lover. Va* ue ^ ê home, classroom, mas issue, and i, Clarence Kohl- Treat one of your musical friends to kudergarten. The meanings are met with cW of church a three months subscription at a cost of e “elodles are easy man, composer th. rt3 k to learn, and the Great than good luncheon. ll httU1 mission at For years the offi- less a Send your Pen and ink sketches will s' patriotic music. aDMal f U1 immense Convention 35(* in cash, money order or United States e ery cial organist at the chUd - Parents and kin- this small derearn™ 7 ”ted i Ocean Grove, N. J., a community stamps now. Canadian subscribers please teachers, even though Hall in niake no they summertime religious activi- add 10',' additional to cover Canadian pecial claims to mme. To the devoted to hy pianistic abil- organ position m a postage; foreign 20tf. will et y and holding an “ in the accom- provided that ties Philadel- Pamment' ** \m'0^h pi“ure° prominent cliurcli located in Germantown, he has had may paate ”1“ phia's famous ADVANCE OF PUBLICATION OFFERS WITH- 68 the case wlth e child ^'needle and for hymn-tune all her ' opportunities wor^wu/aHttl ? places, exceptional DRAWN Right in time for the gay aCUheyounBvocaI " signaled do his soloist. — sum- ist. Mrs chUd to as accompanist and Borie\ f ^ that enables nlaving both mer season are two new publications that ar6 0f Course ‘ k cord by no this experience to ta t . in but brings i“s Who once% '-, binding an Mr Kohlmann are being delivered to advance subscrib- With the oi book . space pro- piano music Con- irresistible through ample collection of month. In accordance charm ot tans least, his new ers this with the ever forget toXbought, can u ^ of Favorite Hymns. ctit, , of the J Transcriptions the f end ll, Publisher’s usual policy the special ad- * ouc l '- s °t led at ^ twsgreat best beloved which : humor with of the she distin about twenty vance of publication cash prices on : hi Taking these tmgmsh . es her ' ild to write ls m to smg and The titlesHHe.i‘? eraeveryy effort.efCmt sousa book everyone loves ofsomTofof tvf life. Smns that volumes are now withdrawn and copies the s _ , t com- nie songs are: Bun- nencan r Q Great Mu- of them piano Rabbitt n he has made may be obtained from your local dealer US h6W 20 1 eS Church or Sunday Fresh ’ Chew Train> iPPer's^®'^ nowûdes V- that every Air inv S or the Publishers at the established price. U Tlre* ! ns senes, Sousa attractive for > Just Soapos- :ia thls new will find most %, Tooth R r? r copy o f school player Games and Dances, for Exercise and ^ single^ ordered p j meetings, as and Sneez oklets. A services or êezies Again! y Recreation by William A. Stecher and b church or home social oi for Mueller is probably e iG ?e°rtories Grover W. the most copiescopies °f its Publication, the arrangements are in of 7 pr single MMt of comprehensive book of its kind ever pub- S Stay affairs dered•"- icu at Wel1 may be or- at ththeth?no , lished. It is thoroughly indexed for ready hoi, 5 e cashs ni’i'no are Paid. P r*ce °t 50 cents posl ^xtmler^he'contents includes Deliver .{ — reference and games and dances 1 Hour upon hi be madem de immediate!immediately Lead Us; Sweet of Publicationpuhu«ci., r U n SShepherd from all nations, for all seasons, and for of Llk Onward, Chris- ^ ^ of My Soul ; all t>tnor j or Sun participants of ages. There are sug- i er s PmV ' Tell the Story, r Hove To gestions for clever “stunts,” for Katzner (Un- t,a %’oW conduct- ; ,Iel Minol' ad- in equally weil known. In 5 Symph°ny .Schubert andH ftl ers ing track and field events, demonstration 'Wthco^n b« A,In Biclilcr A , — single copies of this •/"' - publication activities, and even a full-length pageant. tlon finished ) Mozart Va Ce dr t0 Mrs. Richter'! ivT jnor !’ at the special w ? distil in G be ordered directions are given as to 0lks U Shed __symphony ago of VOl » nmv Full staging, for grouP of pianc 6 months cents, postpaid. Copy- J-uv P!1 : s °“ of 40 costumes equipment, music is JUveniies Publican TSchai- rDr ”e and printed Designed as firsl rhe tlloven, the sale of tins a B ^restrictions limit right in the book for the dances, symphonies by in this light’t and ook for e ritd , u possessions. the older child Brahms are made of 1 Fianck, Shel suggestions appropriate as a “follow-up” wsky, nnphoiiic boob aenes music or phonograph records. Directors or the created .°^ such a hearty young beginnei wly youth and adult uo Scores lias “ music lovers KEATING’S JUNIOR CHOIR of juvenile, activities has studied her suc- m W and Nrr parks from skeleton interest in general in summer camps, and playgrounds cessful Kindergarten Clasi iponse more The added adding pub- following the organ- will welcome this new and greatly en- 0°fc, we are already attendance, this new work car- at edition of a cloth-bound l' st 0 * Choir, has impelled larged volume les to the ‘ symphony « a junior the student forward ires of this that has been a handbook for many an r »«> and the to look upon °m hed. These ™ chubert s leaders the early stages ol by s indispensable aid athletic director. Now a book of more (Unfinished) Mozar t. feature as an eyboard I nor i work to the ^ than 400 pages, its explicit directions will Playing mphony m subsci of delightful little become with prove invaluable to beginner and whop hove tion of be highly elated the those publica masterawiu a d exercises Pol' tn p alike, to those who have auth - since and arrange^ experienced in ttSSi or>s ? the Etude thQse wh0 as the author dlc mventive i to S grammar-grade age fm-I^ Sifts _ genius scor« we included numbers of charge youngsters, ler four n„tes, has W0l .apparentaiJ1Jarent e first “ating, or girl scouts, or adults. Cloth bound. denp'r Works,’‘ks, in all he the vol- composed and ar- boy e a,-P , read these elodic beauty, ‘ ere ve not of $3.00. Piec again in full < of the Price, qav es nam *L preparation- full understanding et* for repeat of with a Compiled a,-, ^ ibrouphrv,., our various aU of the Solovox Album. and Arranged h tlie sk and limitations the now m ,, symphonic risibilities hee >. Jr. in i, stiirin.: year are ies the sy and by John Finke, —Some of the most de- to fr studeni includecinclu of roken diversification , * idea unb a voice The aPPPt The basic lightful recreation of summer days la fr to rsspon p, ” from service use of this will *i”w ®Sess score is to passed ditv for church Way d 0!'iginality. f, itt “is n the con- be enjoyed by those pianists who have T1 '!fas ren- in the list of Went m whic?1C the melody the m be shown " nted l each 7 Of anan a the new and interesting Solovox attached stanf Win h W, new step includes two part = th ’ vnvhich their pianos. With this student s cor the masters, to- to three-octave ttiiouWtorest, 0 .ire from kh°ut andd theIL some weu keyboard accessory and its sound pro- My are an illustratior Sf-SSSsSs final ”ttUs of liTo amplification an° adde^ feature. ” part arrange- ducing and unit, the pianist 4ho, *Oofc“ are without the texts, two 8 se who âfthemes gofie! „°wh entirely on the multiple " Wha® varied '? . tn fnllow ' Points experiences as 431 e introduced whic' M “ « t

the pianist may please his musical fancy THE CONSERVATORY MUSIC at and entertain others as well with solos The OF World of Music Berne, which sound as though they were ren- Switzerland, has recently moved into larger and more impressive quarters dered on a chosen flute, brass instrument, ( Continued from Page 410) string instrument, or reed instrument in the heart of the old city. Musicians on the teaching staff are giving a series with piano accompaniment. THE PHILADELPHIA BACH FESTIVAL of Sunday Matinee Concerts during the Mr. Finke has arranged for such play- was held on May 2nd and 3rd at St. 1941 season. ing, more than 30 melodious numbers, James Episcopal Church in Philadelphia giving the Solovox performer a wide va- The Bach Festival Chorus, under the riety TURN ABOUT In past of musical favorites ranging from direction of James Allan Dash and The IS FAIR PLAY. folk melodies and universally liked Philadelphia years many of the men’s universities Wontl Opera Orchestra, with standard numbers to a representative Randall Wilkins gingerly let women students into their and Robert B. Miller group of melodic gems from classic and conducting, and summer courses. College, at many outstanding solo- Now Smith opened operatic sources. Those who have a Solo- ists took part in the cantatas. Northampton, Massachusetts, has vox will be immensely pleased with this THE HOME OF THE FOURTH its doors to men applicants for the Sum- collection of fine numbers expertly ar- OF JULY EXAS mer Session, to be held in the School of Philadelphia, the birthplace of the Decla- state teachers ranged to enable the performer in being CCOLLEGE T, Music. With music ration of Independence, on July 4, 1776, o™“music department a completely equipped gave a three- American liberty, is also building, both soloist and accompanist to give an and the symbol of Fe aI to DeiUOn containing fifty-six practice the home of The Etude. Perhaps, for this ' Irom May effective left hand piano accompaniment issue, 2nd to MMay a^ rooms and reason, the July, 1941 coming out at 4th, when Bach’s “The a rare music library of a time of world crisis, reflects the patriotic St to any instrumental voice being used for Matthew Passion” and thousand volumes, with a great- background of our fifty-eight year old the “Mass in B together the with a ringing editorial Minor as ly every melody played on the Solovox with magazine. It begins well as several enlarged teaching staff, there is upon ’’Music the World Wants” and is fol- chorales were the right hand. Price, $1.25. feason co- lowed by: why such a course should be educational. CHANGES changing THE LONGY OF ADDRESS—When SCHOOL OF anisic , your address, advise us at least four sa weeks in advance giving both old and r“ mg baritone Opera “St — of r the Metropolitan Minna Franziska MlSS ft new addresses. This will insure against hS? af'direc^o Association, will devote a pa faculty hereafter copies going member. his take astray. Melville Smith of time to teaching, having rw the direction of the Vocal Departmen of the Hart FRAUD AGENTS ARE ABOUT—This is Music School the Julius of * Musical c °a a warning against paying money for Foundation, at Hartford, Ut in 1 subscriptions to The Etude to strangers - ’ wllich already includes serve University, Re fcfo i? unless representative can since 1931 suc as Ha the supposed , h outstanding names old u' produce unquestioned credentials and Bauer and Alfred Einstein (the m sicologist, printed contracts or receipts. Look out not Albert the scientist). for the man who offers The Etude at a w™^r^”r 0 1 cut price. Read any contract or receipt 1 0 ELBERT kn°** spoifso^ed^y ^’ ^ ^^^ L ' SANFORD, well offered before paying any money to Th'^CMcagif'T comnP Ser itles, '- and teacher piano and Inc., L meChai ear. f of codpTmtton ' strangers. Representatives of The Etude wi,T 1 aSS pers, newspa - rnore than forty years, P LT. CHARLES T. BENTER music and carry the official receipt of the Theodore civic Tr awav dPnngh throughout the ° Jamzations March of this year. from Middle his h * Presser Co. Help us to protect you under U b< knowi Beyond the general be Go2rf n songs are the work of swindlers. MUSIC THE NAVY NEEDS musicaT df’ c‘ Portal Henry Weber, t,on ot - T/ie King of the ^ Lt. Charles T. Benter. self-made conductor with Dr andanri^” United States Navy Band, L Go*s Paradise. of the brilliant acting as general Nelson etude in a stirring article tells how he has made choral fine merchandise given for of our Navy lOO'l American; Contests will “hductor. the bands be held for v SUBSCRIPTIONS any of our subscrib- how the U. S. Navy Bands rank with the vidually StS RL — ’ tadi- DERSLEEVE CURKA best in history. This is the kind of article and in chorus ex- t™T knoTO f’ tfe* ers obtain excellent merchandise in which, when once started, "you can’t put talists, individually mstn“nen- com!;poser of Larchmont. and to Yn,-k Etude. down”. d ‘ 1 change for subscriptions to The adult and UpS: for ed ln Na HospW juvenile bands- An..,,' w Rochelle a a„?'J 1 Any music lover will be glad to place I BECOME A GREAT ARTIST? twiners Ior 7 * 11 CAN ' and flag swingers’ baton at ‘he age of sixtrfl known concert {£i. AmoL , year’s subscription you if you will S. Hurok. internationally Va with of the greatest artists quarters are in ' head - SOngS 0UtSt manager of many the Tribune ing ’ sung by such simply each sub- in tells how to une To artists show your copy. For and organizations history, cago. Tower, Chi- aS Carus CaS8 > opportunity on the concert stage. His °’ Anna ' scription the full price of find Charles 2# secured at varied experience makes every word of real .^homasT and are: given Daum others. iis $2.50 a year, one point credit is interest. J ASCII A and veVt HEIFET7 ’ Nocturne. Her our songs to { Tll e toward any premium selected from ADVANCE IN URUGUAY Kubik With ed Gal1 Clude T . MUSICAL his personal T The I-ord’s Prayer, guaranteed u Do rl i, U, catalog. The merchandise is AND BRAZIL thousand dollars ‘or one heVherd of articles the nrira R aPd by the and is sure to This is the fourth in the series the esurrefuon manufacturer countries by Winning concerto ‘ ardM for upon music in Latin American f0 ^to,7 pianist, M. Maurice chestra please. the Prench-American in the recent and °r - selected Dumesnil. The writer has toured South by conw spo CI The following are a few America many times and speaks Spanish Carl Fischer, l nsorecl RIPPLE tenet nc I! acta- ’ distinguished ‘°ie premiums from the complete catalog: as finely as he writes English. He has Mlt Kubik, PUblish p musical contacts with famous who is twenty «s. d away in Pos t- G1 Wrought countless and si Hospital Bon Bon Dish: Bale Handle, musicians making everything he writes of now resides in years old N ’.?V- to practical New rk City 011 AP ‘’ e new and fresh and engaging interest from Y„ra He ’ Aluminum, size x 6". Very south CofleyviUe, °ame made hiTdhls m° t»*" musicians. debut in England in® ,jr very attractive, and may be used for OHahom^’ Carl r „„ IN BRITAIN’S WAR P ra Company d many purposes. Your reward for secur- MUSIC A DIAMOND ‘oin'ed - p^ Betty Humby. British virtuoso pianist who JLRIlFr with° ththe 0 own.,/ D ’oy 15' Cartef ing one subscription. (Not your has ‘been touring America, knows brave brated during be Company Her t*' of terrific trial. How tie c <*le- P ylng unde* Mint Chromium finish Britain in its hour Clucago omw" v° direction^’ i one season Server: Bright British musicians are living above the great Conservatory by ^ 0 f the 1 Slr Sullivan with catalin trim. Three ordeal and meeting with success will institution C Sir Will Arthur center handle, is really ‘ The Whamto terest all. genL^ in- Gilbert, compartments. May be obtained for one years older, °glCall in London. TEACHING in thaf f y eiehf subscription. (Not your own.) CHOPIN’S UNUSUAL •wo. in 1857 METHODS Dr ao*gj£, Desk Clock: inclfned plane New highly Gpldb founder This making a study of esteemed eek, s Sidney Silber has been pianist a ^h‘ of and . base 'pupil M. Witmark s Haven Clock has a solid mahogany the manner in which the immortal Polish- of Kohler pedagog music pub taught. Chopin’s clientele and Litolm^ he S brass French master a !’ ’ died polished conservatory • aa Pital, with a cream -color stripe, different from that of Liszt in in ‘ab m was totally New y® Ushed Newvy ° rk lOLt out- pupils were aristocratic to ci ‘y, on April hands, etched gold -color numerals that most of his moved t0 lty Witmark „ 0 ir,' rather than aspiring CWcago ’ which S ^ move- residents oi Paris and eightgbt Poser also wel1 known as 8 y- lined in black, and an accurate virtuoso type. Both pupils renamed Years of t pupils of the The Ohio later no , ° will find pertinent hints giv- of Ular S 0 waS s ment compensated for temperature and teachers Music. This 80 0onsa one years ns s - Ha to problems which ’turn up conserve rvator1 °f ing insight abs *” d changes. Size 4" high, 314" wide. Award- constantly at lessons. 01 bed «« ysub5a , . Institute TOemiy bed 4 f ed for securing four subscriptions. Arts (1931), Music a THE BOY AND THE PIANO The jto n «d A1 Y C “ kitchen of Music ° ’ T ’ k chief e Savage" Ovenette: A practical Dr Thomas Tapper aims his analytical (1932), onse musio-eng, oerner, ttt The ivatorv 8 V ‘ on at the problem of the interest of the Music Ohioh lca P8' utensil bakes, roasts, toasts perfectly mind (1935), e° College Theodore department “Ujel- — bov in this new age oi musical activities The nS °* p! cooks Music Columbia 61' any cooking burner—saves fuel— and methods. If you are a parent or a (1937) Xh schoto Phia, c°mpany in Dr Tapper’s article will give you Passed without overheating the kitchen. Your teacher. the founding tien, away at his home ® the professional advice you are seeking. was Jubilea New subscriptions. a concert ma tbe of ey reward for securing two given 0ccasion Koerner ’ on April WILL THE ORCHESTRA BE by the16 off wasT Book Cover: This unique Book Cover Chicago lxty ° where, born in Leipzig, On" MODERNIZED Conservator^ r5 “five Di at is made of Florentine leather, has hand- ducted by °rc ‘he OU tGen Lehman, composer, pianist, hestra ’ he began Evangeline Ludwig r 1 craft (,, y , p teacher, had a talk with the laced edges and includes a page marker. singer and ht reat T.hi S an artr _• fs Emanuel Moor, of Switzer- Koi'thern apprenn He was an late famous 16H Th e 4 tad 1 have” for 16th. T? 66 P . A grand gift or prize—a “must land composer and inventor. It brought The School Jheatre on t° the he used to deliver r some surprising ideas which mu- ha? Marc, fain, ^ the itinerant book lover. Your reward forward “» 1S Com cr want to think about. K°erner Poser, Franz s (Not your sicians will dps io- for securing one subscription. facX^s staff of tbe ei own ) 12 b 0e outand^XXa-oUrXr^! and i-espeetoi ' where he was was d thr of eight v °Ughout the 432 years tJ his death of age at the —

Some Secant Issues to Aid Piano Teachers Teachers may secure any of these "on approval" and through such examination privileges - choose splendid materials tor their bummer teaching or in early preparation for the Fall season.

MUSICAL VISITS WITH 28 MINIATURE ETUDES—A Book of THE MASTERS—For Piano Studies for Third Grade Piano For Piano 16 Simplified By Arrangements from the Classic Composers Students J. S. BACH Edited by F. BUSONI Compiled by BRUCE CARLETON By ELLA KETTERER Carefully Prepared with English Translations

is interesting group studies for the piano By LOIS With Biographical Notes by PRESTON WARE OREM This book a particularly of and GUY MAIER student. They may be taken up at the beginning of third grade work SOLD season's ONLY IN THE U. S. A. Every sincere teacher seeks to inculcate in the pupil a love for good and used as supplementary material throughout most of the. study. Each etude has a somewhat descriptive title and is virtually a Here is the famous Busoni Edition music. It is generally agreed nothing proves more interesting than of Bach’s Two-Voice. Inventions that solo selection, although each one does cover definitely some short piano Bnghsh translation of the text by Lois and to have the this possible, Guy' Maier student, himself, play the classics. To make of thc technical equipment pupils should work to gain in the third i ted a sunprinr n( • - - on mmlitv n,n.r from Drand-nr triplets, the trill, for the pupil just about completing the first grade, this book was com- grade of study. There are such phases as hand work, syncopation, staccato, left hand alone, development of the weak piled. The title shows portraits of the sixteen great composers page fingers, simple suspensions, broken thirds, changing rhythms, repeated whose works are represented, and upon opening the book the pupil finds notes, arpeggio chords, wrist work, preparation for turns, chords and (Presser Collection. Vol. 346) simplified arrangements of pieces considered best representative of the octaves, ascending and descending arpeggios, broken chords, etc. price> GQc composer’s style, each two pages in length and accompanied by a Price, 75c brief biography. Next to the biography there is space provided for THREE-VOICE pasting in a pen-graph portrait of the composer. The sixteen por- INVENTIONS— of the traits are provided at the end of the book. Here are the names TEN STUDIES IN For Piano Gluck, composers: Brahms, Mozart, Schubert. Verdi, Mendelssohn, By BLACK AND WHITE—For Piano J. S. BACH Edited by F. BUSONI Rubinstein, Chopin, Haydn, Bizet, Tschaikowsky, Beethoven, Handel, Carefully Prepared with English Translations by Liszt, Schumann and Bach. By MANA-ZUCCA LOIS and GUY MAIER Price. 75c Just the type of material to help the piano student of today move SOLD onward in about the grade four stage. Each of these study offerings is ONLY IN THE U. S. A. in the ’’study piece” style. The titles, as well as an indication of the The editors who so efficiently prepared the above-mentioned technical phases covered, are A Misty Scene (legato), A Skyline Bach’s — FusoA/otce Inventions also made this excellent (hand stretching and accuracy), Dancing Spray (wrist attack and American Edition of CINDERELLA—A Story With Music T e Vo,ce nve ""°"s- The work should be especially rhythm). Leaves (octave staccato), Seascape (arpeggio : t appealing Autumn A ac- tom .AmericanAkk.kkiik.uJ>". studentsJ omuciuj andanu educatorseducator:. because it is thc to ,, product of one^ o? companiment right hand melody), A S banish Scene (rhythmical America'snerira s AiirVunninn .i.rLnr.t.ap An it. i "I For Piano outstanding authorities on the works of r (legato). Over Ocean Bach Whwho , n study), Stilt- Lite Clouds the (double notes), collaboration with his talented By ADA RICHTER wife, made the English translations The Fountain (velocity), Flowers in Bloom (quick attacks) . These and carefully edited every detail of the book’s preparation. studies are well produced in the Music Mastery Series make-up and to Don’t1 13,1fail added delights for the young piano student of today. mention Presser Collection in ordering. One of the the name of the composer is assurance of their musical interest. story-telling book, the young piano beginner gets real (Presser Collection, Vol. 347) Through this Price, 60c Price. 60c pleasure in playing little pieces that help his or her progress. The pieces in- help express the emotive qualities of the story. Further individual to young pianist through the fun that may FRAGMENTS terest in the book comes the FIFTH YEAR AT THE PIANO FROM FAMOUS experiences of be had in coloring the nine full-page illustrations of the SYMPHONIES—For Piano teacher may By JOHN M. WILLIAMS Cinderella. As a show piece for young piano beginners the audience, successful ’’year by year” piano course Compiled and Arranged by have her pupils present the material in this book before an This addition to the immensely WILLIAM BAINES refreshing discovery to many teachers various pupils by John M. Williams is proving a Mr. William Baines has produced, dramatizing the story or presenting it in pantomime with in these arranged excerpts adopting it for the teaching of pupils at this stage of piano develop- these the symphonies of such composers as Dvorak, Schumann, playing singing the texts to some of because there is no necessity dur- MozaT the piano and assisting in ment. It is refreshing to the teacher Schubert, Tschaikowsky, Brahms, Beethoven, and Haydn period or apart from the lesson period to take time to a splendli musical numbers. ing the lesson means by which young piano pupils as well as as study material are pianists of limited annotate the study material. The selections used mg ability may en,oy Dial Price, 60c producing on a piano keyboard the fine as to study points and everything is so set up that the music to analyzed be found in these melodic excerpts. The recent increase satisfactorily and more in the number teacher is able to carry the pupil along more of symphonic orchestras throughout the country as well as the average work offering study material for this grade the nil™,T' rapidly than larity of symphonic music in radio progress has virtually fact that Mr. Williams has selected as a basis made usually permits. The essary a collection of this type for pupils along in the sec6nd material such numbers as Dvorak s Humoreske, Grieg s grade of play Songs in for study study. This collection also is of a character to provide real AND SING—Favorite Evening Prayer, Nollet s ypleasureensure to Butterfly, Lack's Esquisse. Humperdinck’s the grown-up piano beginner. few other interesting Piano The Raindrop, Lack's Valse Arabesque, and a Easy for pupil... Certain Arrangements compositions enhances the value of this book to the Price, 75c RICHTER covered through such compositions are By ADA definite technical needs not selected and carefully edited Czerny Studies. year or the met by wisely >kis collection pianists along in their first X* the young Price, $1.00 R' nn, - satis- MASTERPIECES ng of lots of fun and WITH MASTER the| r second yeaf of s[udy may have Mrs providing things ’ Richt been very successful in LESSONS—For Piano to ". who has piano thc re activities of young Pupi| Pert oire as well as the scope of For Piano s S' IN STYLE— arran as to have them TEN STUDIES effe«iv 8 ed 40 favorite melodies in such a way e'V WILHELM KERN By CARL ” -. **"- ia accompaniments ” jC — -eH'-iiac involved s,n ging P no solo recreation or for piano 7 v. ~rp and distance from their residence to the place pupil. I be in- where these mast*? dcx di T' 60in ability of the young classes are held, will find in this volume ' vidcs e beyond the This. . urn™ i”|.ta.w ”".SoS much that they would h, * learn to sing in obtained had they been able register ho°l. ' 0n Rs. favorites youngsters to with these teachers for s Qn There are Kern. In each some special technical prob- Drival» V are in- '"Richerteacher, GanCarl Wilhelm lessons. Imagine having under one cover master teachers' d'vidualiy F come other lands, songs that and pupil's development is given analyses and to us from arisingw at t directions for playing fifteen of the great master pieces usually , 8 for the ° Ur e ic lem , contrasting dynamics, pianni r,Can and songs w hands ErasingPhrasing . «nm B y 8r . operatic sources, as crossing Here each master lesson is given not only once, as andp . songs from attention, such : in a class but are :e m ore interest I S (My First and v-no« rhythmi*- To ways is in possession of the student and may be read °"R Book) long ago. Like Mrs. Richter’s book scale passages q{ a|1 and reread hi exercis re - ^ fore and during thc practice period. Each s Pp Cccd interesting pupil these composition is °me 'ng promise of ing to the p o ne £//J„ March, Merry complete!H lely bey , i t gives Bd/j j on( , Play and Sing keyed with the master lesson that accompanies it. j e the Piano. iuv ••pj out tunes” at enilc stage who ljkc t0 ck Price, $1.00

Price, 75c Price, 60c MEDIUM GRADE PIANO SOLOS IN PlANo SHEET FORM r SOLOS IN SHEET FORM 5- No. ? CAT. NO. TITLE AND COMPOSER GRADE PRICE PRICE 27124 TITLE and COMPOSER GRADE R Ue 27076 Pink Peonies—Robert A. Hellard . 3 .25 -Eyed Doll (With Words)— 27070 Limpid Waters—Thusnelda Bircsak 3 .30 -25 Harold Spencer 1 27077 Drifting Blossoms—A. R. Overlade 3*4 .40 27065 Sln 27138 WhiteOrchids—James FrancisCooke 3 .30 ging Brooklet E presser CO. (With Words)— THI0D© r 27092 Ballet In White— Evangeline Lehman Louise E. Stairs 1 -25 DEALERS 5 .40 PUBLISHERS AND Gavotta Pomposa y l-rttle MUSIC 27074 Chickee (With Amber Haley Powell Words)— PHILADELPHIA, PA. 4 .40 Whispers— 2 Geo. Johnson 1*4 CHESTNUT ST. 27069 Viennese 708o 1712 N. Louise Wright 4 .50 u 1 David * ' Cal1 wi ' h Spanish Gardens— Haupt 4 .40 °WoS?L~ < 27072 ' Serenade— 2 "helma . 7079 Vera-Estanol 1*4 '25 27071 Campus Arthur E. Korber 4 .25 Heard a Cuckoo-

~~Anna Priscilla Risher ll/2 — : ^~~

~~The Musician’s Library~~

~~WasterpieceA of *Soticj. cut i Picino musu~~

~~(Seautifudy YFjade Uofurried of Unifi^orm Siize~~

Each volume Is compiled and edited by an authority on the subject, and contains a valuable, critical, and biographical essay, a bibliography, and the best obtainable portrait of the composer represented. Each volume is a treasury of musical art of enduring and uncontested Worth. PIANO VOLUMES C0 “?,SER title Bach, t EDITOR Johann Sebastian. Vol. I- Pi, Shnrtpr nn n Prout “ . . Start Now to Build Johann Sebastian. Vol. H= Dr. Ebenezer Prout Beethoven, . . Dr. Ebenezer Ludw,g van. Vol. I: Piano Compositions. . . d’Albert " ' ' Beethoven Ludwtg van. Voh Eugen II : Piano Compositions... Library Brahms, Eugen d’ Albert a Fine Music Johannes. Selected Piano Compositions Rafael Joseffy Chopin, Frederic. Forty Piano Compositions Huneker Grieg Edvard Piano Lyrics James and Shorter Compon'tions'. For Yourself Bertha Feiring Tapp** ’ r ' nal Pil g "° ComP°utions. ... Mozart,M Wolfgang “'a a August Spanish Amadeus. Twenty Piano Reinecke Schubert, Fran, Selected Piano Carl in “The Schumann, Robert. Spanuth The individual volumes Fifty Piano Compositions August Xaver Scharwenka Musician’s Library,” which is a on musi- veritable “Hall of Fame” Early Italian Piano Music. ‘ The HarnsirWd jo, • , Modern Russian Piano Clavichord Espos>to cal creations, may be purchased Music. VolM- AkimenU Michele Modern Russian Piano Korestchenko Sternberg Music. Vol IT- T' A a ...Constantin von ' a to Twenty-four Negro °Ji Wrangell Sternberg separately. Melodies • . . Constantin von ranscribed for 0 the Piano by S. Coleridge-Tay VOLUME NG OLlJMES PRICE OF EACH Brahms, Johannes. Forty Songs Hipb° ^ Franz, Robert. Fifty Songs. High ^ Ho**' voice; Jam* In Heavy Paper Cover Low' voRc ' ' :::: $2.50

L< rr;.-v Schumann, ’ VO,ce KlS- Robert. Fifty Songs t Finck Hi P h , T u Strauss. Richard. Forty L°W V °‘ Ce n Issued in Editions for Songs High ^oicrn'l Hcndc«° Songs are ’ L 'vTTW Tchaikovsky, W V° 1Ce f Volumes of P. I. Forty Songs ? ‘ Huncke Low Voice, Unless Hi„b T High Voice and for wolf, Hugo. Fifty Songs. ' i : : : : : : : : : : : : Specified. 12 Otherwise Ernest Ne^"

,t G Early Italian Songs ANTHOLO and Airs. Vof ? p GIES ' High UlCCIm ( voice; Low voice o Bononcini Eatl cases. Trans- .. F.o^ Original lexis are given in all Pietro ^^r^v^-^L;'p;o-;i-;- Sup ;ja Musically F,t and of lations are Faithful, Kfly ' ' ' ?iet,0 orth. SfTakespeare 8^.''^ ' " • Literary W I •777.7. ffS Le™!"Low voice Henry Modern French Songs. oC . Vol T- R* i J- p mberg l° Charles Mu®- Modern French Franck ' Vincent, c Songs. - | Vol II - c High vojL' V ^ °W V° Ph Modern Russian Songs. Wid°o High ^ iCe Vol I- A??" t° \°L° , 'X £1 A,pherak >' ; L°W voi Ph,1 ‘ P High vo.ee; Low voice to Moussofgsky « CARRY Modern . Russian ' LEADING DEALERS Songs. Vol IT- „man ALL tissorgsky One Hundred to Ernest _ MUSICIAN’S LIBRARY” English FoILsr,^ Wihtol Hi'' n "THE g Vo,ce ' edlum ‘ One Hundred Vo >ce ; Low voice. .Ernest Folksongs of AlfLM r p One Cecil J. Hundred Songs by t ^ium * Ba Vol. I: Schubert, Sd£S ™,ce; Lo^ $ One Hundred Songs by ? Ten Master, "'""L Jens ''' Vol. Hkh V , II; Brahms, Tchaikovsky ° ,ce; L“» ck c „ voice ^T Fi» Company One Hundred Song, „f 8 ' W°"' Strai Henry Oliver Pitson England ftL'b '« Seventy Negro 8 V0,“t Spirituals. High Y Low voice. o „tock CO., Distributors S.«y Folksong, V „ a THEODORE PRESSER „f France, Medium °'“ , V.V/.V.V.V.' PHILADELPHIA, PA. CHESTNUT ST., T' Er 1712 Julian