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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1947 Volume 65, Number 03 (March 1947) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 65, Number 03 (March 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/186
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X£fr3Nnr o 90ifr Piano im Favorite Compositions Educational Works fa*™* Set! containing y By Louise Robyn a in OnfppWf FULL SIZE TECHNIC TALES—BOOK ONE FIVE OCTAVE cents By Louise Robyn Price, 75
with any first grade instruction STAFF May be used in conjunction essential prin- book for the piano. It contains the fifteen building up the child s ciples in first year piano technic, NOTATION music-reading hand so that his finger dexterity equals his powers. Each prin- ability, thus aiding his interpretative CHART that appeals ciple is introduced in story element, a feature
to the child's imagination and creates interest.
TEACHER'S MANUAL TO TECHNIC TALES—BOOK ONE Price, 75 cents is an indispensable book for the teacher. JOHN M. WILLIAMS’ TECHNIC TALES—BK. TWO CHORD CRAFTERS GRADE -BY -GRADE BLUE BOOKS By Louise Robyn Price. 75 cents TECHNIC TALES—BOOK THREE These books contain a staff notation chart to bo placed on piano By Louise Robyn Price, 75 cents A continuation of Technic Tales, at 75 Book 1 for the second year of study VERY FIRST PIANO BOOK The tremendous success of Miss the piano. It contains fifteen addi- Robyn's Technic Tales, Books 1 and 2 tional technical principles, including FIRST GRADE PIANO BOOK 100 is undoubtedly due to the feasibility the trill, arm attack for single tones with which the study of them can be 100 and triads, various crossing problems, HAPPY HOUR BOOK accomplished in conjunction with al- alternate wrist action, finger staccato, most any course for the piano. Nat- FIRST BOOK FOR THE ADULT BEGINNER . 1.00 melody tone, marcato chords, repeated CONTENTS urally, the results achieved caused PARTIAL notes, two-note slurs, etc. Teachers Romantic Compositions teachers to request a continuation of , , , Classic aand indispensa- I: -s , find these works absolutely Volume 75 i , szt, Mendels- the work. The new and augmented ble in correlating the musicianship edition of this Book 3 introduces the PERFECTLY FLAT! studies of the modern instruction book Each Page Lies twelve fundamental chord-attacks — with the technical development so es- REGISTER Strauss, marcato, legato, staccato, hammer, owning a Musicians and the Rachmaninoff, sential to satisfactory playing. MAGINE “^P^vol^meTnlhingTet! W^Fot DvorTk, arpeggiated, sforzando, pizzicato, ac- jf^pER odiers; (NO CHARGE) a11 composi- way the are esP e- Tschaikowsky, many companiment, single finger melodic, hard-to-find Ubrary Drigo , melodic high and low voice, passage -- way L'->uk — / ' Pold.m, Tho^ojrjj.^ x suen a .r TEACHER’S MANUAL chord, and alternate chords. These turn to. whatever page you n TO TECHNIC TALES—BOOK TWO may be given to students about ready at 4 Sr Rimskv-Korsakow, L aiiuuy receive a ' sa.nt°Saens, Price, 7S cents for grade 4. The Robyn-Tchaikovsky a ic fnr rlassic,classic, r c of the Library RossL your mood is for SAY. Purchasers of Kef Snow Queen (75c) is ideal for addi- Whether WHAT OWNERS in this manual will en- The teaching ideas sacredlor operate FINEST.” “The Radio book rack tional study along these same lines. -dern •"he specially constructed be appreciated by practical teachers. - the omanS Library is . . Radio Music Music music whole set o- „. Scribner collection of good to keep the 1S1C The est ... abling them as well ever home across old standbys the test-loved I have Phi*- reference. V.: Dance Music: Library includes —Webster K. Reinert, easy, quick use and Volume HIGHWAYS IN ETUDE LAND The par- gether for Waltzes, tangos, etc. each classification. lipsburg, N. J. musical as modern. -itions in SUPER- also includes a (The Child's Hanon) on this page can •‘NOT ENOUGH Each volume of contents ”1 find tnl table LATIVES.” cannot valuable biographical By LOUISE ROBYN on of fi for » gives only a slight indica,. superlatives enough guide that "he you hours of enjoy- about necessary in the . . many information Includes 12 exercises, with applied etudes of ma.on.l_ » . and critical fcemendou's rang, from it • historical, the child begun in Technic ment ; • fundamental technical training of 1 such Ohio TO you find 718 Faver, Cincinnati, their music. else could J. composers and ballads, etc. Tales, Books One and Two. Each exercise has been "brought where the in- such a compact, SAY: ntary compositions— explanatory selections in WHAT TEACHERS bio- l eme to life” with a descriptive story element. Helpful PIANO TEACHERS famous .EVER contains a concise form. ••BEST 1 HAVE Volume IX notes and photographic illustrations. Price, 75 cents conveniently arranged opinion it SEEN.” “In my all the com- 3K popular aance and of contemporary the finest collection graphical dictionary examples of IN THESE CITIES: fe arrangement ^ot of the best Library; a dictionary BYWAYS IN ETUDE LAND DeLtixe Musical Library music volumes I’ve seen. posers in the A Harold M. Kuypers, and a Low Price Mrs! terms and expressions; By LOUISE ROBYN at a De Pere, Wis. musical SONS MARCH 3-7 .... Richmond, Vo. age and complete index ot [Charles scribner-s splendidly prepared album of piano comprehen- •for every cross-referenced, This well selected and Mass. the most “Something . • • 1 Fifth Avenue . APRIL 14-18 . . Boston, Besides being TASTE.” DEPT. N. D.. 597 - their com study material is intended to enlarge the technical scope of MARCH 10-14 . Washington, assembled age and taste .„ and D. C. its kind ever for every 718 compositions York 17, N. Y. Y. sive work of recommend it- the I New the child piano pupil progressing in the second grade, and APRIL 21-25 . Syracuse, N. I heartily MARCH 17-21 Music Library** Archie Crim, Ellens- 40-page . . . Baltimore, Md. Scribner Radio Mrs. posers. illustrated I it has been prepared particularly for use by young pupils The 1 me, FREE, your Rochester, N. Y. collection, with smrdy burg, Wash. Please send who have completed Miss Robyn's very popular Technic APR. 28-MAY 2 beautiful lifetime about *e MARCH 24-28 . Philadelphia, Book complete details J Pa. and superb Send for FREE I brochure giving Tales, Books One and Two. Some etudes have been selected Buffalo, N. Y. gold-stamped bindings Library. This request 31 MAY 5-9 .. . . Scribner Radio Music and Burgmiiller, alternating MCH. -APR. 4 . I 9-volume from Czerny, Lemoine, Kohler, Brooklyn, N. Y. whatsoever. | 0. printing no obligation with ten exercises selected from Friedrich Wieck's Album of MAY 12-16 . . . Cleveland, places me under APRIL 7-ll .... Hew Piano Technic. Wieck had extraordinary success as a piano York, N. Y, »»>,y | SUta just a If under 21, teacher. Schumann, von Biilow, Spindler, Merkel, and others this music for musical library own all •• active music form you can 1 age, please his two daughters, Ung how were his pupils as also were Marie and For full Name particulars . . . see your Clara, both of whom were successful concert p anists. Clara I became the wife of Robert Schumann. Price. 75 cents Local Music Dealer, or write to: I Address sheet music a N. Y- full size 9" x 12y2 New York 17, ie same position, I Zone No. c . qf . corn any) State.. raging about «* t" .. (if ve | City address of your music | THE give name and BOSTON COMPANY I !l£Please takingjessons^ MUSIC are if you feacher J THEODORE PRESSER CO.. Distributors, 1712 CHESTNUT ST., PHILA. 1, PA. tl$ BOYLSTON STREET BOSTON 16, MASS. " — 707 V& Scribner ton* MARCH, 1947 * .
Editorial NCE on a trip to New Orleans during the war we saw two is leaving the nest when he is try- Bernard returning from the ; O G. I. Joes on IdJaanedd ing his wings and going ahead nmiiL had been wounded, but i ETWBE , front. Both his own.” not to an extent that they were un- m musi- (Piano PublicationwisvimLLUl mw@8- designed throughout stop. There are opportunities on „lder l„.gi t logical nr , co ursc EDITORIAL his companion, who said, “Lean and precise ^ . P™^** in an easy, and advisory by manner i t STST.il i This is particularly true in phase. l„ P,e OU”d" ,ion ni: for incessant self-development. provide substantial „J!“ 'terial at each DR. JAMES ain’t no cripple and I ain’t no crutch!” sides ' Dr Tf FRANCIS COOKE, on yo’sef, brother. You ‘"' 3 ' CdW ,eC,, on »f Classical con,enl includes Guy McCoy and records and great numbers of new musi- folk"’"'folk songs and OneratTc®mel’VJ!'°‘ Ethel M. McKr.y, the these days of radio and and ' ,,os 38 "ell as made us think of the reason for extracts fron, a - favorite This significant remark are espec.ally „, P Dr' Rob Ro>' Pee|T' Editor, educational I Malic high arranged all of J n I I Section musical books of and edited which Ha B rk e> cal books. The output of new fe° ™ Df . Nicholas know of the case of a woman Price, One Dollar p. c.. ! i, ; Douty Kiri VC failure of many students. We iVlirn' per hook. Grhrkent !),<•r v, OIVE Manner Dumcsnd Eliiaberh r.„, R 9,“* '‘••ter year, is many times that of the first years R’ 1 IVE g&feff Sternberg (1852- value, during the past ’ PI v\o George C Knck n McCu student who studied with the late Constantin von ? BOOK William D. Revelli rv. t_j, ^-J Peter N:cfc|"e of the present century. *»“»"> B. Co. & Hugh Reed 1924), in Philadelphia. Sternberg, a pupil of Moseheles, Reinecke, study *° harmony for •• the° -F of leaning on oneself is a trait 8 * ud OUNDED Personal independence, the habit Indij^cnanbJo *n ‘- A" 1883 BY TH £ 0 P^7~7^7T7j Kullak, and Liszt, was one of the foremost teachers of his day. furthering ,,tv • llmgton puts to shame that of many Wild finger exercises, scales, arpeg- Organ mstrong Accompaniments'. ; and then supplies who have no unusual obstacles y Miller 1 gios, octaves, - yrfy. ^r. ] of in their paths. One of the most ^eviohm^te^- Wi,li Herein him with the knowledge how ^ r j independent, self-contained, and "'‘‘“^""‘'"'“il'or Seaman 1 such technical equipment may PIANISTS More About (Ole Bun, Mazas resolute musicians of the pres- Jacobt 1 be kept up, expanded, and de- roVe The veloped. This, together with an ent day is our remarkable Technique K" Tl “' your of Oc/trfceni . playing understanding of the structural friend, Alec Templeton, who, l7fi MUS, C Dr It by CfflU Broadwell C background of music and an despite a physical obstacle, has mPO™°' S Technique in7DS'r «'««»»8 adequate repertoire, remains a accomplished a hundred times 3 ta pei*manent possession. as much as thousands of musi- d m cians who lacked his independ- S ' 9h, rr°' rea<<-n i°pSong Of Mr. Sternberg told us that 3 end Playing. the ^ S' H#nrp Mill. Lerinc 1 v REDUCE PRACTICE U m . Reginald ence and his enthusiasm to „ Enn° Martin ] after having studied with eleven y reach musical achievements m Organdy ' Robert Sgd famous teachers, he came to a " Duncan 1 "arlos Vocal and * RenaIdo 1 time when he realized that he MARJORIE LAWRENCE IN PARIS which have brought great joy “aottu,. xvia^gg 7' C°m '>"' 1 a ifti __ eiglit- Sarabande i«oni The famous Australian soprano singing with the French National Orchestra, lTOoT""violin millions. all of his and Pi would have to start a new musi- to Behind ano ) (Frnm conducted by Allred Wolii. at an important concert in La Cite Luminaire. Flf ty Thoughts of Classic work is sound musicianship Bprine 1 Masterpieces"— cal existence and develop his a C U Vol I) 0 G ° r 8~ De,t"Uc Karl Infte od shep^e medium Co]cZ ^~ Rissland II which has commanded the re- e rd Ce ’ It is ^Cross Of (Or Edna Earle own musical independence. Dunlap li ** (Fr °tn "Twenty PiW„ "U Roland Digplc IS not until a student reaches such a point that he becomes himself. spect of leading musicians of his day. Much of Mr. Templeton’s Delightful Du Tfnnscrlptions") Pieces l„r v„ „ Uhamar rn„l ^‘ U”e eV Clarence seek his own soul develop work is so distinctly original that his independence of thought is Tomahawk Dance ITaycri Kohlmann 16 Unsupported, unassisted, he must and School t s Outt. fields. become distinct artist. obvious to all. e Winding new Then, and then only does he a Rover. Bruce Carleton 16: He of course will continue to learn from his colleagues. He may, Another great artist who has surprised the world by refusing JUN,0R etude ;;;;;;; indeed, return at periods to other masters for special coaching. to lean on others, after she met with a severe case of poliomyelitis, BROADWELL “ N^w^^EOUS Elizabeth Australian grand opera prima donna, Marjorie PIANO TECHNioUF A. Cest 176 Two great master teachers, Theodore Leschetizky and Leopold is the famous feel rich bond with Miss C°“P°"~ N° Auer, always emphasized the need for student independence. Once, Lawrence. Readers of The Etude must a oWiSutfua for fREEfZ!: BOOK. at the home of Ernest Schelling, Leopold Auer said to your editor, Lawrence, as she has related her early devotion to The Etude, "TECHNIQUE" “A musical training that makes the pupil feel everlastingly that when she was a girl in Australia, at which time she stated she 5 his days until the brought ‘°°n"cMlS'° - he is dependent upon teacher never makes a real virtuoso'. used to wait at her garden gate for postman Gentlemen: The student must learn to think for himself. The master must her copy. After recovering from her severe attack she was unable sometimes resort to the Soeratic method of asking his pupil how to walk, but this did not dismay an artist of her independent 1 3 Unders,a - Quickly imp " d my Tech r secC NAME is no oblVodo”* ""i“«. Accuracy, naJc'bii/ *..°”‘!-ond-clas(clu. he would solve this or that problem. If these problems are all spirit. Her voice became more glorious than ever before and she f°' U. S. A ADDRESS. teacher, is follower, like “ Phu- p‘~ solved by the the pupil merely a a puppy returned to the Metropolitan Opera Company and to the concert ’ • °j CITY Zrh>>} Theodore Press,, rW __ Co.. on a string.” stage in America and in Europe, meeting with unusual success. state.. Auer died in 1930 but the astonishing number of virtuosos lie What a splendid example of independence! She did not give up mssHj a,s° in c ^ i P Dominican taught are still playing with consummate artistic mastery. lean on public sympathy. courageous Marjorie Lawrence! f &2> He and Not i® Single^^n°UfePanadSat SS iSSLS""*'. said, “The most interesting time in the student’s life is when he Recently, in lunching with the very active clear thinking ltu ,n and al > other countries. (Continued on Page 173) MARCH, 1947 125 THE ETUDE ? ' r " — music and Culture chair. Two ladies were with an Music and Culture him. “i arm. minutes to give you. young have man,” he said five the ladies rose Instantly hereu and took leave £ Pon laughed:‘"-u ' “That’s ““6 *““vo the way»ujf I get rid of ““Wl: of annovmannovin‘OyiHg ButRnf TI have plentynlpnfv nfof Ume.firm. v,... 8 vislf^visll A You don’t hu! ors . Master Speaks of the Masters the least/’ Ifowever, he preferred not to 11 certo which the hea^the Development young virtuoso c Sound Vocal was to ni °n- lowing Sunday 3y the at the Concert tQl ~ Isidor Philipp- -Colonn " Evokes Great Names of the Past said, “It -is wrong for a N°‘” composer to interE h Interpreter’s ‘ with personality. Jast play an Conference with it in Ur A and according to your own Ideas " 0Wn m pw!lpp % played for him ' lns his difficult Variations tead' But what kind of a f cmrice cj£)iune pianist W n„u._ . . 5 iiilil stein ... that fabulous Ru l^oAe J3ciyviptoncimpi musician uh0 bin- the light of a appears legendary character ivntT to Concert Pianist and Author * 1 Artist ““ “ ,h' k* Distinguished American '«“»*•'». IS ST the Metropolitan Opera "His A Leading Soprano of technic, though extraordinary emerged from his w*, „ . office at the back, and Liszt bought entirely clear. But alwa the Are, the bmv.'.r. .u . >s 1 E at c°ncerto, "^ the three Nocturnes, above all, lfe and ' u f.. . that the soul of and brilliant piece: hLs internJf!^;^ SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT The Fountains the ‘* of Villa d'Este breathlessly moved. One wonder, ft one When I drove up in the cab,” DON GIOVANNI" " R,K1lan back walkt« than a return of her voice to its original state; and she had to his hotel*with a few fn n f ,flSt ° the courage rebuild her voice after four eminently success- historical rcitefs w-ilch',; fhk to higher register and continued my studies as a mezzo Cn0rmoas ful years as recitalist, radio star, and member of the Metro- sensation to t»SSi*„d “ in which capacity I made my first public appearance. art£,c ? politan Opera. Miss Bampton has sung in the leading music from the ^ opposite dlrecfion centers Europe, earned a command performance And then, suddenly, I felt that I was making no , rdi‘ un hh" of has gsislisi'11 ' anns P 13 and exclaimed: ’ progress. I of late there "Rubinstein' before the King of England, and has won spectacular acclaim Deeply unhappy, sought counsel the unsettled ’ 80 \ ‘yiT Paris? you are 1,1 ^ anTS ^“m”* What a pleasant in South America. In the following conference, she discusses Albert Stoessel, who had given me my first opportunity surnr V Are you to give any recitals?” 80ln* her own vocal problems as a basis for her views on sound to sing the Bach Mass, and whose personal kindliness vocal development. —Editor’s Note. 1 and musical integrity made me feel that, if there were " nd PhiIip livS oil' L P provide first the 'same" street help for me, he could it. Mr. Stoessel’s °T‘'“i' Mat " rnlly they become acquainted * Onre step was to say, ‘Well, Rose, maybe the trouble is that you have come to the top of your tree!’ At that I was “TN THE difficult school of trial and error, I have crushed! ‘But that can’t be possible!’ I cried; ‘I’ve SS learned that the most vital factor in vocal study b6aUtifUl lyric hardly made a beginning—there’s so much I want to the W«S ««ate S is the proper placement of the voice. Now, this SFZJT nstr“oted learn and accomplish. This can’t be the end yet?’ He °? > was a center^ the capital entire matter of voice placement is extremely difficult attraction told me, then, that he wanted my reaction had I ac- ot the to define! Many young students have a tendency to — 22 cepted his suggestion and been content with con- a m w ^ confuse placement with determination of range. Actu- the aS right from my b°T: certs and operatic engagements I already had, he would one a Heaven ” Th'e,', ally, the relation between the two is of a secondary rir?he en ‘ The*' ^Ootinod ?rr members nf „, turned to the have given me up for lost! But my assurance that I Those were nature. It would be safer, perhaps, to speak not of °rche- stn‘ bad gathered wished to learn made things look different. around him! voice placement but of tone placement, for what is in- Meeting frlends volved iri the process is (first) the finding of the best Liszt of ’ who work under the sign The Importance of Study d a •BMthoven^T and most natural tones of the natural voice, and y U n m tcUlnR you: J'es. Beethoven PhilipP Was in Is the (later) effortless “At the suggestion of Mr. Stoessel, then, and after mS%tofe the latest.creates i n\ the most natural and most emission N But . . Dm-dillt l . T S at some Mozart Is unique!” four years of public career, I went back to the begin- a man came in silm En ? Pio °es, and resonance of these initial tones. In other words. ’ d 6 ed - ning all over again, and began rebuilding my voice. fitting ecclesiastical ’ “ tight Tchcrikov Rarb AlTh°Ugh£ ?f slcY VUils Paris seen the he had never Tn loo This rebuilding consisted in a most thorough and de- ‘'immortal .. i 6 youth a VS *Cy recognized ^mediately Paris Pald a Irngthy ^sit to tailed re-exploration of tone placement. I worked at him from his nicf Edouard !”°i say. and needlef* to the th° 00,1(1 " ctor save an scales, scales, and more scales, always beginning with looked at him most recent evening °^°^’ - with adm 0n PICTURP party 10 and curiosi ty- n°r ' PhiUp the my freest, most natural tones, and working up and “Could you ” With his ’ Varicap M P played telEme if i ?bUy pupil, M. Maurice PHILIPP from m i?° Liszt here?” me music by Dume Tn With Rfmy and Depart down from them; matching tones for perfect even- inquired the vf i ? “Tchalkovskv 01"’ ? evidently think- V ry k,nd ness; watching for flexibility, for forward resonance, ing he was * extl uisbely polite and talking to a clerk. courteous thn.,^gb ^ he always somewhat melancholy,” for firm breath support. Through this insistent drill SUre y° U Can savs -u„ your find here most S Pr°bably on scales, the upper register of my own ‘old’ voice worksf'Maitre.” of most unassnm?^ the most modest, the S th ar ° f ROSE BAMPTON IN "ANDREA CHENIER” “How do his f the 8 a11 artists I known, came back. And when it did, all my difficulties van- you know who I mi^r long firmament. During his cfo ? have am’” neck b^ in so doi y a few ished. Singing was easy again! least Who would not But in el° were Performances of his works The sensation of know .” his late, ngated given hv ^ , you. . . years evL there™ morp ? C°'°’lne fi°r pends upon its inborn quality, its timbre. It is very fatigue disappeared. Up to that time, in my public C y°n Meck only one listener: Mme. Zt heard i fi 13 possible that a soprano voice may encompass excellent work mezzo, interlocutor that as a I had experienced definite tiredness wasV his She sat ^^ tllese unusual presentations, ptaSst an “ alone in” pianist” as M. aPPrentice t>ox whlIe low tones without forfeiting any of its natural soprano after singing Amneris (except in the last act, where Philipp fokino-lv remained conmin.fi the rest of the theater terested he became ** '°* quality. the part lies higher) I and asked m- y d and two , and had never so much as whh whom N years Tchaikovsi- ln darkness. For “Georges ® tUdyln«- ventured to attempt lower-lying roles, Mathias He held a great fa vorite everywhere, such as Azucena. Stephenp n HeHellerfier ^ open tii/n Saens.” , and now Saint- 016 at th A Wise Counselor Now all that was past and over. Through intensive were many e Restaurant Maire and they an e “My own experience was not an easy one. First of return to tone placement studies, abused— Who °fi ten came used—or I had found my way “re «h-ST his ... and ^™ ^Z hns>!!t all, my development slow. ** I “ and L zt * s 1891 per' was have always sung, and back to the soprano voice which nature evidently in- he everything he was never °nal he madc ^ onIy in Prance! greatest musician ' did wl an aPf appearance Co my earliest, natural singing was that of a coloratura tended me to have. One of the f femi„„„ Wore onne s. He did a baton. ereni-o J«lr t ha “ white not use How '° / ™» *£ kid 1 °VeS soprano. During those early years, I shot up quickly “But that is not the whole story! As I have said, I fortunate M of the oZT'idolize ’ and altogether very • • • “l* T. man merely X Poorly. conducted Z Z • instead nf tho small men he requested °f a Never thfq in stature—indeed, it was thought that I was entirely developed slowly, and it seems to be characteristic favor: a Playing.” ^ PPreciating af 4 Was a the ter a huge success. Shortly STund this conrorNvf l too tall to appear to advantage in opera! Then, when I of mine (for which I am thankful!) of'g bereft and to accomplish e a that was Paris, never to return: was *>» very fort 11 m. fortunate enough to receive my training at Curtis, best results through unhurried application. I have ™ c - sln °e his into »“"”:'SS'r !: SV* disfavor music gradually fell I suddenly difficulty fmUCh I developed in singing; I con- never stopped studying traffic on afraid of the 0 owine was and I never shall; I take regu- these Paris streets r/ In 16 Artist 10 stupld critics ’ * y°U WlU 1886, thf whose dictum writings of a few scious of fatigue, and I had entirely too many attacks lar singing lessons, and devote certain be much ” do that 1 ye^of^ u° a period each obliged to you will ^ and followed by ignorant snobbish the public, of laryngitis. Looking back, now, I feel certain that year to the same intensive ‘study-work’ that I had to While rwnpp .« us ever.” om on th, emM M Ph this was in some way connected with my rapid growth do while I was at school. Well, it happened that over a M DlWffly PadCrewskl when at the time °f bis debut, and the purely physical adjustments of maturing and period of one or two seasons, my engagements mads the youn i goIden - ha ired Paris ‘filling out’. At the time, however, I believed that a this kind of work impossible. " unknown and u Pole arrived ln I missed it, of course, n eraIded difficulty that asserted itself MVSK veioped ' A s°iid soon de- vocally must root in a but kept telling myself that I’d find time for it soon. betw-po^ ,!. friendship exalts Cen them vocal cause. - 126) ROSE BAMPTON The result was that I abandoned my The result was that—whether Then < Continued on Page because of lack of study. THE ETUDE MARCH, 1947 "MUSIC STUDY EXALTS LIFE 125 ^ * Music and Culture student first and then enriches velopment is built. Hence, masters vocal surety find out the ^ jpUSICAL READINGS are quite different in Music and Culture voice first it with interpretative art. Certainly, it is the inter- your Tthe place where ^ pah their approach other phases musical it lies of [\/| from of the it has the best quality), lest h er b pretative art which comes into first focus with and work ' »he JL art. In the first place, one must build in the a e °f the exbra* uu a „7 re IV severe schedule of there. Take care Wn work that dPnH ^ finished singer—but the student must approach it that emission is ?° fr imagination of the audience the picture which is pre- °f thC Study- perfect o» toed J bepa™ over- out sign of Iree physicX" voeTu gradually. The first basis of vocal work must be that any constriction or ’ sented by the poem. This, then, must be accompanied y ’ every fatigue tv way •' And of it told - course, on my s’intrme A freedom and surety of emission which allows tones to on your ’best’ or ’easiest’ vowel, but prac by a musical setting so adapted to the verses that it began to experience on al1*51 % sensations of fatigue ‘sound.’ In most cases, I think, the natural voice of matching the less fluent S0Un detracts from the poem, but really adds to its But‘ thlsto/V T ones with THE ETUDE / ’ ' — ! Music and CuU..— The Lost Ford Sherman tions and through personal response Loyalty Jones he will feel a phrase Under: The of Men of his own aero?,? Mary Hall Through circumstances ’ A Child's Philosophy that were Christmas Miss Nicotine Deppen tunate I once studied the Wmewhat Music and Culture Eve piano with unf„ P Cuddles Peycke The Morning Call Jones who could not even old .... play the p,ano V,” CL,' Smith A Mortifying Mistake Peycke ayed the Mozart Cured p violin sonatas eek Adair together ' A Dear Little' Mother’s Only Boy Wing of bowing came to me and VThe Goose ; Un« oascSv *£ The Delusion _Halter The Movies Wing bow my piano \ of Ghosts playing. Technical beg Doughnutting Peycke My Skates Peycke corrected Xr X Time and I wasted much time *** Dressing P( cke Never as not Up Like y Say Die Peycke me it was the beginning 1 Mother ! . of musidaSwifS ’ The Elf and the Ad The Night after Christmas Peycke discovered X that I cause Dormouse. D f could use other Ihad The ’Cello—Virtuosity or Musicianship? O Mary, go and call the Cattle Home Briggs development of my own. S,^ents Further I LL the Family Traits Oliver Ol’ Man listen Conshunce Pease for other sounds than 0Rlpelled my own to Food for Gossip The Parade an and i Wing ensemble I gradually became 3chie Gossip Jones Peer awareL % Gynt Arr. from Ibsen J. most important of by F. Cooke " '' ' all-the music of WasWa Joseph Schuster, recognized as the foremost of our younger Grandmother’s Valentine Prayer for NlLLarL- A Conference with Jimmy Banks Peycke ’cellists and one ot the great ’cellists of all time, was born In Half an Inch Fergus Art Predicaments of Music a Life Constantinople, of Russian parentage. He comes of a thor- He that > Lieurance Study DweUeth' (Sacred The oughly musical background. His uncle was concertmaster of Ravea Musicianship is an awareness th.i How the Elephant Pergus ' Poe-Bergh got His Trunk ®ashes hension and a the Odessa Symphony Orchestra, and all fourteen of the sense of relative compre.w‘“pre- Wing and children played. Mr. Schuster's immediate family was Spring It is LTflX uncle's Gardening the reflective 'source Values .Scl 116 ter Pevcke „i a i! orchestra, either. Young Joseph and his Joseph . a Senior acthLX not lacking in a home , Spunk successful Jus Hall lawyer is not Uon 'cello, that keep on keepin’ on Peery merely brilliant a A two sisters were taught the violin, piano, and so In a J COnvin( Katy A Stray Letter courtroom. He its ensemble group! Since the girls Did Peycke Peycke Is a student of % the home might have own Distinguished Russian ’Cellist Kids Jones Sunday Afternoon events, of politics. At buman had the violin and the piano, the 'cellollwas assigned to the Wing certain points his'L’ Z "left over"; it proved to be a Little Supposing phasis is brought 1 em ' boy simply because it was Chink Fergus to bear on sjLciflc .Mana-Zucca would LsuC^* wise assignment, however, for there exists between Mr. SECURED EXPRESSLY FOR THE ETUDE BY MYLES FELLOWES Lohengrin • Wing When I am Very Old be at a total Joas were Sclentlsl Ad“ Wing it not tZ.' Schuster and his instrument that instinctive affinity which Pted by ' Vast J P ' ground of ba The Lord is" Cooke Woes of a experiment " <*- My' Shepherd Boy . and re- oarch soon gave Peycke Andd . would have led him to it in any case. The boy Lost Fergus Popular some who still believe Wtta,a» Pianologues that Roodgood ,i?„r promise of unusual ability. At seven he began serious studies, .' ' ' iierformance Inevitable is Peycke .' .' Twelve .' .' .' result the “This whole question of finger demonstration is a How? By analysis, by discussion of style, by learning Tuneful Talking' Songs of “taking lessons. and at nine was already giving concerts. ’JJJJ The art of music Mr. Schuster studied at the St. Petersburg Conservatory, and matter of profound importance. Hardly a day passes how to listen, by playing as much chamber music as is a life studv of varied No one can ^ Proportions. then {after the Russian Revolution) ot the Hochschule fur when one does not read reviews of recitals that tell of we possibly could and again discussing what was cope with all the nmhi# grasp ^e many sequent ® Musik, in Berlin. Just as young Schuster was ready for gradu- highly developed technical equipment combined with meant to be said, and why. Oddly enough, the em- ation, Gregor Piatigorsky, then solo 'cellist of the Berlin Phil- 1 lack musical utterance. such critical phasis of the young student is the ' of perfection mUMc ® 1 an utter When now of -o U d do ielel1 harmonic under Furtwangler, resigned his post. Although Avoid sensitiveZZr'™to 'teL10 become blows fall, they strike the individual performer whose his finger-technique. I get the question, ‘How shall Musical the oDDortuntn..,, .1 . place, Provincialism ‘ “re dozens of experienced 'cellists applied for the covefed accessible M «*»undant work is under review but the fault is not his alone. I play this run?’ far more frequently than, ‘What shall in ourTy and Schuster was chosen as Piatigorsky's successor. He remained — Behind him there is a long list of culprits who have I do to get at the deepest meaning?’ of a passage in Sven in Berlin until 1934, when his ardent reactions against Nazism ^ jCeile forced him to leave Germany. He came to this country and, encouraged him to go before the public with an un- which there is great inwardness of musical perception in the the following year, was appointed as solo 'cellist of the New balanced equipment. His teacher is to blame, the and no virtuosity at all! Caching of piano we are York Philharmonic, where he played as soloist under Tos- manager who engages him is to blame, the advisers “My own system, then, is to balance the student’s Walter, Rodzinski, other conductors of canini, Bruno and who applaud him are to blame, the public is to blame natural strong points with the most thorough insis- A ' f 1 board our students by key- S qmte overwhelmed Recognition note. He retained this post until the demand for his appear- problems. . for technical So much w h assigned me all th T when he Army, Navy, for having endured so many other demon- tence possible on his weak one. And, of course, the tec tech Beetho and ances as recitalist compelled him to abandon orchestral work. from digital cahsthexScs “ ~ work. Being £^£2*“* ™ as my strators that one or two more seem harmless enough. technique which so mistakenly seems to many students years * toZZS™ As soloist, Mr. Schuster has rapidly soared to the forefront, “ 0,“w" Actually, of course, technical demonstration for its to be the purpose of study, is the easiest to teach. be- q nfused both here and in South America. He is the first 'cellist to I and contradictions by repetitions Marino A ZZ f Musicians concertize in South America since Feuermann toured there own sake is never harmless! It harms every one in lieve in scales, and more scales—slow scales, fast scales, most problems Can straighten out by personal ten years ago. Since the local audiences were a bit out the list I have just enumerated and, what is more scales with various bowings ( legato staccato, spiccato, rorreT ° some , and n and sugges f a natural «on, 0W ng of habit of hearing the 'cello, Mr. Schuster was engaged approach win T! aoluU°te te'optedadopted the important, it harms the cause of music. detache, all kinds of bows) . The student who can mas- ," at tl ° ( the conven- cannot be ' f that The !tlonfn n"nf 11. L V^ . Before allowed to leave, he eighteen concerts. he was ‘’master^ by Background of m r an iteration for “My own approach to teaching is first to diagnose ter all scales in all bowings will have no difficulties a-Lt£d’> a Goodd Perfn heldi of Musicians, All Performance T in Minmi f f had to give thirty-seven concerts. In Buenos Aires alone, he too with passages. also 6 613 Often student ,ht ’ past year the individual needs of each student, and then to I advocate a thorough study of all ™ With the ’ me€ts ’t 111 ment as our “stru- 1 fullt and enthu played seven concerts in ten days. When his tour finally a^elficteLLLmsicT stcianship with ed to c °teuse / S"h C npi,roval strengthen the points that seem weakest. When the the Romberg Concerti (not just one or two of them!) 3Siveness or performance mu- fact,fact of The Etdbe. In ended, he was at once invited to return the next season. means to a deeper ^ a that fC?01 we luive mn!I ; , undem good performance d° they me* dr student shows a lack of technical equipment, my task as exercises, to be mastered at the time of original f music itself. comes ”! reaiize termlned to make this Despite the demands of his large coast-to-coast tours, Mr. advanced students Even of playing out Iff a matter a subtL^f of the niann in arge ° r 0< t is comparatively simple. It is not difficult to analyze learning, and to be used as ( Continued on Page 168) experience background °rlal dLscusdon. However, ltis Schuster always reserve! time for teaching, and conducts a are not generally 0Ur schooIs and mml? , so definitely ntid ^interested TZ™?*? y Crelely special class during the summer months. He has an ardent finger needs and strengthen them with the of cx > ,rev 'd In the following quality of the - - music or the Sa that« anall of music they t0 Play the l??points conviction that it is part of the musical of the successful . duty • JrpfavJ • them are" proper exercises. But when the student shows PDA ~ — WaS ’s tartled aI1 ’ adequatelyllu< quateiy ago when a some time Obviously • covered.c< pianop studen^f \L , Eve »h„ 7 artist to hand on the torch of his knowledge and experience ' °b fine, fluent, fleet fingers and a lack of musi- -* ectlve of war h, „“ ,1“°"°“”“' victory in is victor)’, but ™ s s,;, modern u ” r to the artists of tomorrow. Recently, four of Mr. Schuster's cal thought, then the task becomes more r™ th S ac,lle ved In Beethoven. quartets many ways. After This seemed nen„u of ah. the spirit th pupils have been appointed solo 'cellists to the symphonic 31 y m Tale ot <’ complicated experience ^consistent in his th fighting forces is of organizations in Baltimore, Denver, Indianapolis, and Spo- as he plaved flip ost ^±SL Z “If I had to select one problem as the capably. ^ flU6ntly and and kane. In the following conference, Mr. Schuster tells of the Likewise, though perhans'le the P sul risin teaching methods which have brought about such remarkably greatest to beset the young student today, instance of another niamL 'P g, was WhoV ^ successful resulfs. — Editor's Note. unhesitatingly his impa- “Carmen” knew nothing of I should choose and not a sdnLe f , he had Pa,estrlna. tience to play difficult works and through no idea of ptSina ^ Further, S°rt S f ,he them, to get into professional career chan- wrote and of music he gaiu we pred ' highest order, requiring tech- the period in whLh attitude that to are faced with t?’ nical experiene. ^ ZZ ei ke a d manding nels. I do not accept beginner-pupils, and difference he With in - he Gieseking bsurd does .wars of intense study. It passed ^ is j. plays . the a p u- not t ? XtL off great arr Baeh seem < he probably 8 S°methlng 0 3 « * S SOON as you begin talking about the ’cello, I devote many auditions to discouraging less should have vince a ^ b ® a sim ^ 6 forward lndfvid uals cannot look once remembered^”Sm0e student 'thafth Ple matter t^ to /\ you have to go into the reasons why this gifted aspirants from cherishing career- had a course he had tke reverse COn ' hl‘ ghcr ,h Warrant in music because Giesek la true ° ffi cer. an that of hLtorJ ni Z , and th ^ Sociallv mIL 1138 tak tb 1 3 4A magnificent musical instrument is still less dreams. Thus I may say that my students 11 ‘ y conie en s ’ from families the front great. It is hieh pains that he h u rank and n* # cf r have ‘popular’ than the violin or the piano. To my mind, are of most musical of those A Sound Principle made up the these reasons out m 10 reduce themselves to only one : the 'cello who offer themselves. And even among them, s « the». the at ^ast a first lieutenancy in 11 ?s Armv or Mo and °f ex 5 is less ‘popular’ than it deserves to be because there I have time and again had to stop work erien ss ' Practice P ce 5 ’ ° f °r t0 the grade TurtherearTIoLe Although heutenant ra,lk ° f a Junior should matters which are certain in tt/"^^ are not enough first-rate ’cello soloists to make the to alter and correct approaches, both tech- be or indefinabl avy - assumed It Zt Z , Sousa Lt Commander Philip received vft John the Instrument widely known and appreciated. We still nical and musical, which should have been * dif- during commissiori in the Naval Reserve virtuoso — World tv T professional °orr need to build a public for the ’cello, and this cannot be set in order years before ’cellist cannot thatcnat a they attempted ordinarifv “IT''b h Reso,uti ‘ achieved speak with authority expected to r“,n ™ adopted until a sufficient number of truly musical work on the sonatas and concerti they bring on the 1 affc™Sn“ “tun rolZ at the Convention is there are 2 m rigal 4 '“‘“ah'”X artist- ’cellists carry their work to the people and con- me. in the very earliest founda- certain musLaSly But Produce WiU h°Urs a Somewhere tail'b* that f fluent gradually and stcian and quallfy the mu- LTtf”ccepta laevitabl vince them of its merits. tions of music study, there must exist a lack identify him as „ centration ble piano y Xt iS a Professional. on the t plavine generalI .v agreed that the musi- versation . cimns “The some years LffAmerlcaa m . next question, obviously, is: why do not more of awareness of and devotion to matters of fnr^°. who served in the armed forces casually, young artists devote themselves ’cello fill “As a Pianis“t, ».«r,buu,a - to the and musical insight; otherwise the advanced TLderstanL^^ ^ to understand ' d the pian winning of World War in this lack? the music I ° but I I think I have the answer to this, too! student (not to speak of the young profes- 2. The ’cello is «• * — y serv Whereas Th an instrument that is so truly and purely sional ! ) would perceive the simple truth that ««* „ ’e ' r no - survey . y ofnf no—. v mmorale°rale andnnd fightingflrrhtmc spiritcr|irit of -n- Personalities combat and cZ. musical that it demands the highest degree of sensi- his business is to make music; that music- constant “”r d the troops was maintained under oPwSmf » h»e most trvirying tive musicianship: mere show, brilliance, and finger- making grows out of musical thought; that PHrasir conditions when was music, and there virtuosity are not enough to .bring its best qualities ‘fingers’ are valuable only as a means of al- 2- Whereas ti, from it. It is not even easy to be a mediocre ’ceilist lowing musical thought to come to life, and 0 metebers of Ma- rine Corns Army, Navy and and enormously difficult to become a fine one. In both never as a glittering goal in themselves. »' »'*!»“ Lmfds up »‘>™ng r,„°!S ield the best traditions of our “ram' “tiS te vol militarv fnrr cases, the ease and the difficulty have nothing whatever “At the Petersburg r® balance is in sop ved in CS Conservatory, we were mee nch pedaP ag° best elemLn gs t^i 35 bandsmen sol- a sound g°g.S ' once diers, and as combat principlenrlnetnio , gavegavf and to .do with the sort of showy equipment which, alas, trained in music. Obviously, our fingers had Though that T h,', , rmarkaWe can seem to lead (for a brief time, at least) to ‘sen- to be developed to the point where they could pianur^'^r'S band leaders of bands of The United State^A the sational success’ on other instruments. The heart and serve our needs of musical expression but I ny — ’ during were 128 educated ta^L I World War II. the soul of ’cello study lie in earnest, devoted musician- the student who attempted to play technique ni ^ 3nd highly trained in the tech- que of ship the expression of musical concepts rather than must c — alone, would have gotten into difficulties! Wcngerow Pholo Studios and and als« in tactical, administrative, '*«/C STUDY executive the superficial use of music as a means to demonstrate We were made to steep ourselves EX/iUTs duties in the JOSEPH SCHUSTER ( Continued on Page 166) fleet fingers. musical thought of the works we learned. Note the unusual stretch ai Mr. Schuster's left hand THE ETUDE MARCH, 1947 "MUSIC STUDY EXALTS LIFE” 129 ^- T 1 Music in the Homo finale. Neither pianist probes very far Music in the Home surface of the lovely slow ^“eath Cutting the Gordian Knot movement the Gordius, King of Phyrgia, tied a knot in a thong An enjoyable two-piano recording k Prn pole of chariot with the yoke. None Robert and Gaby Casadesus Vlded connecting the a playing Milk ?, by Martiniquai*, ^ * Le was able to untie it, but Alexander the Great came Columbia disc B 71831 The a | along and severed the knot with his mighty sword. well integrated blend of sentiment has and rhx??Yyuun a Thereafter, when one got rid of an obstacle by sum- and the players savor it zestfully. *c verve measures, he was said to have cut the Gordian Among recent mary A recordings tlie album The Etude Music Lover’s Bookshelf Rich knot. Harvest of mas Hymns and Chris Records Carols t- sung bv th. Your reviewer has had a Gordian knot facing him Chorale, under the expert Vlctor direction of Rnh' for months. The extreme paper shortage made it im- Victor set 1077, Is the Sha most satisfactory^^ "’. possible for him to give the space he would like to kind available; not since of the albums of ita give to the great number of extremely worthy books Singers have we had anything EngU e^er of its t ? *h that have poured upon him from the publishers. It hff l\eed didly done. 80 R The varied selection 6pIea - reader, nor to the publishers, Any book here of ChH? is not fair to you, dear reviewed may and hymns has been well carols chosen and th*** nor to the authors of these books to delay any longer be secured from ments arrange are simple so that the - them. therefore have covered several in THE ETUDE MUSIC spirit of eace»7h reviewing We preserved. “ Piece n comment. As more paper MAGAZINE at the this issue, with abbreviated price given on the F.fth Operatic fans will in will receipt of Symphony of Prokofieff, find much fn , is procurable, the book comments The Etude - Columbia set 661. cosh or check. highlights from Victor iss- y no means one of Bizet's Carmen ’S be extended. TEr" the composer’s fe i greatest scores, Swarthout. Victor 8 Glad s has nonetheless set *1078. l' eaugfit on in the concert The ladv???' e wL tonally and dramatically rmance r r dingS) curiously ambling wholly i)crsii^° h “The Diaries of Tchaikovsky.” Translated from the ' WhiCh one, somewhat when heard supporting ’ and PropeTeq °n tS °“fslow cast ls a Pages, 365. Tment T movemen ts, but quite generally Russian, with notes, by Wladimir Lakond. fnA-he h delightful US scherso ChUean u™,. n. Company, Inc. and the satirical dance-like $5.00. W. W. Norton & finale. dramatic voice being best employed ^ A most readable and valuable Insight into the in- Robert "nal Merrill Is ”, due ‘ chestral recordings, recently a spirit^ Fscn timate thoughts of one of the greatest, yet most mys- s Rad?° °l issued by Pilot Albanese hj *i Y!ereclith C^acLman ~r;r^ Radl°’ °ffar is a '° Russia. reviewer found it “equal dependable terious, masters of Your R -c£-~ fare. Grieg’s Micaela Holberg Suite T bv Chorale, under RCA vY™lct0r the direction of especially absorbing. trsz major Hobeit ?? it ? tle contrlbuUon to this well ’ 8 date, ^RR sets, heard to recorded It have been thP aT, T In an album of n excerpts from m 0 h r, “J. S. Bach’s Musical Offering.” By Hans Theodore .° PhiIha™onic Orchestra performance /”^ Victor 1068, U “ erfly 0 Llcla Albanese Pages, $3.00. G. Schirmer, Inc. . Ballet ' Petr°u*'"<* gives an inWH David. 189. Suite, Decca sympathetic 8ent and set Em , an the account of the When Father Bach visited Frederick the Great, the in America, by Harvard’s famous musicologist. Par- them with an eloquent pen. Reading this book, one pany—Anatole Moura L.vm- tragic . nn „ , Fistoulari T nns Y r» M 41 & clavier. and misery of tra n SymPhony Orches- noun, ,o, lu ,,,2'"^ Prussian monarch improvised a theme on the ticularly noteworthy are Mr. Koussevitzky’s valuable forgets all about the Europe of murder performance of the Kh.it tA° , proves a sadly routine affair- the Bach promised to write a fugue upon this theme. This detailed notes on the performances of the works of Nazi days, and is carried back to the banks of the conductor ne ° f plays the slow Frederick, the always given the fairy world of the land of Mozart, ances of the best Perform- move- he did, and sent it to accompanied by American composers, to which he has Danube, and the Stravinsky ment and the ecords lovely final adagio customary groveling letter and several other composi- feature of the book, in itself, Haydn, Beethoven, and Brahms. One delightful bit ' recognition. Miss *[ to date, and primary This Lympany and Mr p/f °f faSt a tempo Russian d° justice to the and with tions. David’s erudite history, interpretation, and anal- should have great appeal to the music lover. has to do with the visits of Debussy, Ravel, and Mas- romanhcism an? httiehttie°°eexpressive earty Wildness sensibility. ysis is a highly important contribution to musicology. senet to Vienna. Khatchaturten of ** °Mer An wofk Perfnr? set of this work Italian Symphony ° f Mendelssohn’s Henry by Sir “Listen to the Mocking Words.” Compiled by David bv Wood and the Symphony tbe National London “Gustav Mahler. Memories and Letters.” By Alma Ewen. Pages, 160. Price, $2.00. Publisher, Arco Pub- “Giuseppe Verdi. His Life and Works.’’ By Francis Toye. Orchestra and Symphony Orchestra, e®*hoven s Columbia Overture No. 2 Leonore Mahler. Pages, 277. $5.00. The- Viking Press. lishing Co. Pages, 428. $5.00. Alfred A. Knopf. by Van Bplnnm ' ls greatly preferred. Both Orchestra are Pj)I An affectionate and comprehensive biography of the A series of fresh musical anecdotes and humorous Far and away the most comprehensive and detailed interpretative? le Sets are bu tnLTor to the ?°i rdened by re- mgs of the same works hv record- Yorded brilliant composer, by his widow. Those who have comments upon music certain to entertain many. The life of the Italian master, written charmingly and sym- commentaries by Deems Among Toscanlni - domestic orchestral Taylor, which thought of him as pedantic, austere, and cold should book is cleverly illustrated by A. Birnbaum. pathetically by the famous English critic. After an en- re^oTri^gS the would have NBC Symphony “! ’ Toscanini- better been° read this book, filled with his rich and human ex- gaging life of Verdi, the writer discusses at length all Orchesh-a v put in print. J up iter anC Of Mozart ’ Symphony, Victor s The Violin periences of interest to the average musical reader. City.” By Max Graf. Pages, 302. of his major works. set 1080°^offers !i, Concerto of “Legend of a Musical ued ’ the most Louis reading of this great val- Library. srnrP reC° h $3.00. Philosophical of Toscanini rdS ' The g“ius is evidenced in th A “lovely” story of one of the “loveliest” cities in the “Manual of Functional Harmony.” By Samuel A. ISe and a? rL “Listening to the Orchestra.” By Kitty Barne. Pages, the outer power of ,r; movements and in t u° 298. $2.75. The Bobbs-Merrill Company. world, by a really great historian who has known many Lieberson. Pages, 167. $3.50. Warren F. Lewis. writes writes about 1 T A highly lauded and well worked out series of essays of the characters he about and who An unusually clear and workable harmony with ex- Boston Symphony Koussevitzky- P disc nf ih , and biographies tracing the development of orchestral cellent worked out problems and a fine key to 216 E-flat, K y M °Zar‘ S >^°"y lKtor n 93|f music and the makers of orchestral music, so that the exercises. It is a book to delight both teachers and in SOmewhat inflated performance and leZ chfAf- real, its “ lts emotional intensity average person may readily grasp the main points in pupils. ments than it outer move- mightS have hY™ ,LI fine ne Welcome th performance. Fifteen pages are devoted to American recording of ,' s this k an earlv overt f ST music there thirty page list the records r and is a of best which tyPe 0f sym b°ny ^s P tcr^ “Make Way For Music.” By Syd Skolsky. Pages, 138. dates from its P r coLl V pertinent the text. 1 1118 days to $2.50. E. P. Dutton & Company, Inc. Beccham-LondorPhnhTZm/or ’ Orchestra^ ? s STSCTi"-? Beethoven’s version Miss Skolsky has a smart manner of digging up in- Fourth of parodying 1 Svmnl ldtor a hiiilbil? well set 1081 is Sail “Musical Instruments.” By Karl Geiringer. Pages, 278. teresting facts and making her comments upon the recorded exarnpf Y , a somewhat tured /7 tho? onduct anticlamactic music-making ^ f °r’s cul- rs a S ^ $4.00. Oxford University Press. development of music unusually pleasing. The second and if^nt definite ' shoTfTuTt^ as the Toscanini y Pei SUasive who Twenty-five thousand years ago, Man, in the early half of the book is devoted to excellently annotated version iss nonethYi does full Partner. nonetheless a worthy justice tn Stone Age, cut his teeth on a bone which, when rubbed program notes on outstanding recordings of famous with Monteux^and ° the°San M? IASCHA HEIFETZ with a stick or a rough surface, made a rasping masterpieces. orsco Symphony by Second and provingmg a ? u noise. This, and one or two other devices, probably TH^SSS the ground. “perb orchestral set back- c a were the first of the Pastoral ently- The musical instruments, and we find them “Music in Medicine.” By Sidney Licht, M.D. Pages, Second by tW rPC PWre dln S by A] San Francisco a”d the 9an a tQn, is banese and James Mel- duplicated in Latin American bands today. Dr. Geir- 132. $3.00. New England Conservatory. Symphony n Rhaprod Ubiqui to cffectivekYnY^^u is Orchestra vt™* y No 2! US Hun- a performance tor set 1065 our the Mlss Albanese brings inger, Professor of the History and Theory of Music The most illuminating and readily understood book in which taste on? . requisite feeline f’ alone well d uslCIanshi the at Boston University College of Music, in a not too displayed; the p are at his muslc : Mr. Melton, vocally upon the subject we have yet seen. The author, a Fel- distinguished . tor'dLT'L-S™^ best, is curm,,c° reveals ?en °h conduc unern technical book, takes the reader from a surprising affinity tor With the °tional for a bridegroom. the instruments low of the New York Academy of Medicine, has a fine with the n aid of n I mood of eman romantic d Suzuki of the Stone Age right down to the present sym- the music. This Albanese - Lucielle Browning, Miss day literary style, musical knowledge, and a familiarity issue is definft ? gives Jf_°f to the long admired ™ competitive •dated sssss: perf Duet. appeaIin g account Flower phony and the bizarre instruments of the modern with the subject which give this book both authority Beechamam one arrangement °rmance, The final of the formance - The new by Mnei? an in “trick” orchestras. It makes very interesting, easily of the Brahma -ru- 7 , per- rom the a popular interest. Farewell to ? °Pera is Pinkerton's and ° ’ Philadelphia rmandy and the J Home in comprehended story. Orchestra CotolY tricious aria the last act, a mere- tonally 642 at hns,t \ persuasive as the ’ is not aa Me] ton. U{ 15 sung indifferently by Mr. “Music in Radio Broadcasting.” By Gilbert Chase. noi u sevitzky it seems a nu *? does one feel version, P y tba that the conduct ^ Spsssgss substituted. ^ Butterfly’s Death was not “The Music of Tchaikovsky.” Edited by Gerald Abra- Pages, 152. Price, $1.75. Publisher, McGraw-Hill Book compatible etnotionally to the score ° *? ham. Pages, 277. $3.75. W. Norton & Company. Company, Inc. most A W Ja W. welcome, V“ ** and henca 6 recording' th °f “La f m the end of act This is a series of highly informative and excellently University Broadcasting Rodzmski^ - TraviaLv’^vkY the flrst The NBC-Columbia Series, harmonic-symphony pWl- °r J° presented Orchestra’s nprf refinement; isc 1 -9331 reveals stylistic essays upon the works of the great Russian designed to include ten volumes, is an indication of Moussorgsky- Ravel ® 6 °f the ssissfgi her sinef ? , Pictures 08 of master, at k K 0 feeling the Ah! fors’ e lui has true by gifted writers, mostly English. Together, the very thorough manner in which the broadcasting bla LTS and . s et 641. Ravel’s 7'°"’ Colum - the °f her v? , transcript?? 7 sTnata in some libera. these essays form a distinguished and comprehensive mustc ousaor riighte others If not as brilliant as companies and the educational interests of our country remains gsky’s legato V6m and Plays nonr.,!!?6 unmatched and playing shows singer eSS ha~s treatment of Tchaikovsky’s works. In the list of vol- as has ionY ? g whichwtah "a mff ? is 0 the requisite lilt. The are united. Dr. Chase, who is Instructor in Music for a more convincing S b6en regardeci „ aMote% “ ' ne of the score than ,p « Mt Violettas. most uminous compositions there are mentioned twelve suite, which th ® ongmaI c distinguished of present day Radio at Columbia University, has assembled a series is far too Piano literary volumes mil? The by Tchaikovsky, including transla- of chapters by top-ranking experts, such as Thomas successfully written not to album of M for the ° set art ^ r,as tions from French and Italian texts. i-ects SZ? t 643, Ezio Pinza Columbia H. Belviso, Tom Bennett, Frank J Black, Samuel the work Rodzinski reveals t h°J cleanly and di- n°ted YithT There are basso vocally at his best. Chotzinoff, Edwin L. Dunham, Herbert Graf, David the Same °rchestra two finYf ’ Rodzinski Rigaro,” fr0m “The Marriage of “Serge Koussevitzky.” By Hugo Leichtentritt. Pages, Hall, Ernest La Prade, Morris Mamorsky. is has'also^ecordYd records one leSS The work 130 the Seraglio,” nown from ’’The Escape from 199. $3.00. Harvard University Press. based upon a fifteen-week course given by Dr. Chase Sarn.tt , Courtyard of an Old Viennese Commoner’s House len •'sung noble In Hal- A splendid record of the man and his great work ^ deisen heil'gen From “Legend of a Musical City" at Columbia University. famous Italian i° f " •musk study Catalogue °m The Ma Flute." the exalts nil fromf ^ lwe, ( Continued on Page 173) MARCH, 1947 "MUSIC STUDY EXALTS LIFE" 131 THE ETUDE J : ? Music and Study Music and Study Again, Thai Trick Rhythm Bugabool My fellow round tablers, The Teacher’s Hound 'Table Here we are again, and number judging bv the Selling “Music” to the General Public °f distressed letters and coming in calling for help, we Therefore, may have to Conducted by I n m tokl °* a speclal oversize older children's Upon table to first n? myself1 ' f accom- p “>no modate the are ratedmterf 'high* ...T'qI liningtrain,l?'a®* crowds who want to • senting this information on our sit in ECOGNITION of correct public relations as a to all papers, you must discussion of this “problem in a usable form. The of the necessary corollary in the presentation of music not submit feature or hour, even if their 'aurice o&umeiniioUumcini 0" complaints remain Ods-E. a: S„ mod si- dividends, of course, • widely neglected in small picture possibilities inarticulate and “ Mtchlgan. “Cet,!! R to the public has been hidden deep come in wide coverage groups. The result has been loss of a great multaneously. Violation S HaCl Ch°Pin had musical the lightest Eminent French-American Your letter confuses musical groups, well-known of this unwritten rule which will make people inklinginklTng of thei. me pi potential audience. Large misery which his speak of Prs Fantasie “small yo in fact, any mu- has cost many amateur aware of your musical Impromptu would Pianist, Conductor, Lecturer, children.” the„ “ soloists, established opera companies— inflict on students non two. ° U venture and increase at- century a ages seven men - organization whose success was achieved and professional publi- later, lt is and five sical artist or possible that a feeling finally you anda n rt a tendance. This outline of of anticipated and Teacher write about "rvi half; public patronage acknowledges the importance of cists a great deal of news- commiseration would by have So which Is which, Children ” publicists are employed by print. News is admitted story sequence applies P to deStr who’s whn press coverage. Professional °y this comPosition insteadhistead nf what? However, in Whatis for the specific purpose common property in this generally to any pre- of I” . pit artists or their managers keeping it on file e of these and awav I will 1 sentation of music. ’ endeavor ***!? press. Yet recitals and musical case, but not features. ^ PUblLshei: s to help of dealing with the - hands. Why W^ he did luck From long experience tha? that I hit on the programs, concerts and even opera and light opera’ per- After you have placed mySt6ry - Ifc See rlS" 1 ™ hardly problem. PhaseTJ of on both sides of newspa- possible that he could your formances presented by teachers and their pupils or any feature stories and have found it un- worthy receive only a small part of pre-performance pic- per and magazine desks, of publication, for by civic or amateur groups when it was as a newspaper reporter the notice they both need and should attract, because ture?, again call the pic- 11 •» unanimous^ dlren rSdlSTd &S a favorable M Wesuch have not given the press material which can be ture editor and suggest and magazine editor, and a Very -h„ , they charming, ro- mantic,manHo ^ Important note: in placing stories as a and inspired smoothness may be think that “e covet age of the recital piece of music lack- you are cquipS’ used. Moreover it ing at first, but of takecare course of basic public relations woman, has exceptional don’t give up for lt Us solution. The following is an outline of a good by both reporter and pedZohn There .re m value: will come gradually. y others the title I advance a few em- development ' who. just what photographer. of This problem has as like i. practical procedure designed to do Many fleet Angers aC your.se li Vf. ? esponicnts with much to do with the 5 general public, your public. charming criticisms phatic don’ts. singing th{* depart- mind and the and find It indicates : sell music to the have “Vising, tone, fnd’ last ?„°,Zt ar re ear... difficult to ‘luested to limit letters as it reach thT’-hf " Van n %, f, has with the fingers. gCity^ been written report- If a newspaper mis- Uishing fto One But It BUI is this by th®t bete noire, Hundred and Fifty Words. always necew.y? Tv*;. ^ the tnicethlpTT ? yields to Pe Publicity for a Recital spells names in your against four trick Perseverance. And now arc not t€achers ers in the manner of rhvthm t In coni at all neeiLi r trast to dry S? story, don’t telephone the technicalities, 1 teacher of piano whose authorized critics. let me relate fact. I doubt fa Let us suppose you are a Be what if any of thLSw? I once overheard In connection students pupils are going to present a recital, and that an audi- sure, before you invite a’ office and berate the edi- with „f the first grades Hu ^ relatives is tors. Try to understand lmprom than friends and critic that you want This P(u «nd the picture Possible to find. ence composed of more him method, however, nlhZ tl In one', viclJ cannot apply to m which it is used: ty JS desired. The hall has been engaged and drafting of to give a professional that these people know S S f f°r the placeme“t of Sdmmer as 1 motored the program is finished. Two weeks before the recital printed opinion. Because how important names n5es ts tnn f T’ , through the a i °naI - And 1 cannot en- 1 stopped well begin to place your publicity. pictures and space are and titles are to their dorse the ‘. r at a restaurnnt you may tofor a short order.” A movie First comes the news story. A cardinal rule in jour- equally scarce and valu- owners and friends, and was m t over at the make every effort to have “Bijou Theater” nex? nalism directs you to place in the first paragraph of able in a newspaper, do snd a doL family came in* Pnnn *r this story, undecorated with what you think of the not present all of your them correctly stated. ° U ‘' ' sister, anu Jung,,. y c,,lldren 8 P«liminan occasion or your pupils’ ability, a statement of who, ideas to an editor at But errors do sometimes t always pays in the Thv tra nlnT nf end. n ° Ur ' lf ®~ « Here is a Tvs' the splendors y ' Thc important words, “The pupils once, allowing creep in and a linotypist , 2p of what, when, where, how. In other him to "A Song tn j3S*J*C haVe indicated Rcmem? ‘ ™ various b^”. Ur, lhat is infallible. Still, oc- acquire good of Amelia Wright will present their . . annual or choose from them. One not Sonf°and KcinieTffrOM1 teaSt0itS e® P lhc st«rt: it Ciency then . . “program of should you feel abso- havebeenexceTlent n' a“ «- m. when thc whatever the usual routine may be . small carefully selected «>» CS, to cn ‘rust call sVSWS e«ss?Jm i 0 them to a spe- piano music in a recital at Woodland Hall, beginning and presented piece at a lutely necessary to STSsif S r rhrif u degree of with any ease and finish ? thC h ‘ 8hcr gr“des, 1.” attention the error, the te chin he or she at 8:15 P. M. on December Next mention the news- time is the best insur- to rhythm two to ? S wm^ °l.Wb three a littl ° 10 talCL' over Why don’t he ph™ se: where you leave worthy elements in the story. You may say, “The ance’ against blanket re- do it courteously and ac- come' seems h ^ off a °d| do not know But 1 ™ ° foutmue building on is Sally cept the paper’s apology any ”to heIpbeta i the sound youngest child appearing on the program jections. Can th ree to four, csUXZSZ ,1 a you suggestggeSt LSOme 0° already laid. all, waV of helping .. As to “modem Brown, age four, 1312 Park Lane, who will play a group The society angle is in good faith. Above pupil?” this 10 methodsm keeping d dandy staff,- wrltc I could i>erhups take with And .‘his strictly 7®’ cut-in Bapa say that there of specially arranged folk melodies. Jack Smith, age also an important fac- the matter up from Mrs. L. D obedient1 to theth 0 and p^pe ' Ststsn ter nodded 6 In the h a nome metro- added: P y "tiotlilng will original composi- the person who handled little town beats: , new under the twelve, 312 Elm Grove, play his tor in publicity. Are any are whereere ! mIve there,T C n„ V,^* many children . ’ a nutnber of story, kii works have been tion titled The Swallow in its premiere presentation. A of your pupils the chil- the not with the the study of '?terested in And n. mus"e tLV”’ Play swell?” dldn,t he . published In ” recent years, which combine group of Chopin Waltzes, seldom heard on student dren of socially promi- managing editor or the tare in teehnS ® C ButThtoT'“10r "'anted ^ong^Rem°°n ? Play his to d ‘=- giiiuity with was shown at one Remember' eruditioL: efficiency. Some are de- recitals, will comprise the portion of the program nent people? If so, call the society editor of the paper publisher. The good will of a newspaper staff is too ters of my ' Th sed for advanced gfris «e 7 individual or featuring Jones, age fourteen, 420 Green Road, suggest that she might be interested in a charming immensely valuable to you to sacrifice it to your irri- asked ^to be glven group instruction Marie and opportunity of Ule fellmy Playin d learning called S- A contain pictures practicing dili- tation. in this show music played Eye-to-hv^T and words as well one of the advanced students.” photograph of young Peter Cortlandt SoTsJ,,^ an aIbum somep’n.” ^hbbed in or as explanations Piano of and recital his fashionable don’t : music by Frederic rh occasionally a par; gently for the under mother’s Another Don’t take up the time of newspaper for the ™°Pm ’ arranged for duet playing Feature Angles of the Story average pfanTst he with thc teacher. Here eye in their music room. people, who are tyrannized by deadlines, with flounder- this album numbers in I left. ° a are com? *' But ^ VCr ’ " a few hrough it dawned'Tmn and title, which you will find worth- Going on with the news story, “The work of Amelia Is one of your pupils the child of a locally well known, ing or irrelevant details. Whether you are being inter-, dents with a 5,l the stu- nice nnd ® rstan( ever way that What ‘ mie to Fantasie dmg, except they put n - investigate: Bilbro, Grade Wright has been known in the musical circles of Wood- if not celebrated, musician or other public personage? viewed or whether you are placing a story you wrote, Impromptu ^ mlly “First the best e plained to come aware had ' «ook for of myy ability 2 that a h6 the Pianoforte;" Wil- land for ten years. Her career, beginning under the You might suggest a picture of the child with his par- have your relevant details in hand and advance them over Tayed measures centnrv John M. and over but hi' ? musician a ams "Hirst whose Year distinguished tutelage of . . the most eminent of or relative, and a story showing their parallel or clearly concisely. find ent Seems name ,, at the Piano:” Presser. ent and Don’t attempt to impress these it so difficult to PreT ; to n,/ .i iS m lived deri s the addition and coninLoli c chop- Music Play of 1 for Every Adler your teachers . . . “includes performances with . . opposite tastes, especially if it is the child’s first ap- people who may have just finished interviewing cele- aT follows a few notes, day. Day;” Myra - "wt t , Perhaps, 800,6 fulu ringer ssr^ rr^ thch mTs^T' m Pun;" Robert Nolan Kerr, “Little whatever noteworthy appearances you might have pearance before the public. brated artists. You will find them generally kind and lU grow, aPPreCiation ayers;" stimulateT Louise Robyn, Tales. made. “During her teaching career she has furthered intelligent, and you will have their respect if you deal Ex. 2 counter^ bvby th,sh “Technic U 0 with the first en- Hook I; Cooperation From the Press re Ada the talents of . . those pupils who have achieved with perfectly m end the eternal Richter, “My Piano Book,” them on a honest basis. On the other reTedy° paUenJe ter’s genius of the mS- “Ugh fo°r T take Arnold. “The Child's Czerny:” distinction. Attach a copy of the program to the news By all means make every effort to see that the news hand, don’t unsell your product, which is music and to acquire y Phed in happen “ease ?,f the - s ii'l ’nd V thousanrif multi- Ramsay, C. story. releases are typewritten, with spelling, punctuation, important, by a timid or apologetic he, “Plowerettes;” Anita approach. then the 1 may Wel1 ilbbits, producersTAV “Two Very First Pieces” (with In addition to the initial giving of vital information, and grammar correct. And do take time to bring them, words). Photographs And please do not forget these these things must be observed : Give ages and addresses personally, to the correct person because it helps in- most dependable, long tested stand-bys: in the news story, except where obviously it is inad- sure publication. Don’t allow a photographer to direct you to pose in a flayers ucodorc Prcsser’s visable, such as with the teacher or adult pupils who Ask the newspapers about the dates of their dead- technically wrong position. If ume Hook, Vol- . "School for the Piano- your hands must hold III rnnfoin, forte." and W. S. B. Mathews' "Standard might object to such disclosures; do not editorialize lines, a deadline being the latest time at which a your instrument in a certain way, tell him so quietly. exercises” (see Page ‘ traded or eulogize, the editor will blue-pencil will material such A hort Phrase Course.” both Volume I; for they because such publication accept for a given issue. Fea- He will understand and thank you, because he is a as the one that the nientioned often rhythms^v^gottenin^ two >rc the words except in some of the less discriminating small ture special sections sometimes deadline photographer, helnfiii tt,,,. . proves outgrowth of many years of ex- and days not a musician, and may not have known ° 18 a su es perience use a S§ tion; why not in teaching children and cannot newspapers: do not make the story too long because ahead. of their news sections. And find out when the certain facts. But again, remember that the camera littleLT jingle, for instance! too highly recommended where serious it will be cut ruthlessly where otherwise you may have weekly publications in your area have their deadlines. angle distorts certain positions, and that what might Ihis is the way youngsters are gotten it printed intact. Weeklies and labor papers are important mediums and, appear a cramped position will look and „_' nored in who. concerned quite all right on Now it’s O. !” Ex. 3 studipd theory K 1 an and Plano * • Now we go on to feature angles of the story. Out- as a rule, both are cooperative toward musical en- a photograph. or: have don,°? ‘mnipet^ otoK -n * nitle ' L a auit ae. standing is Jack voino , Diann : V Smith and his original composition. deavors. Don’t be affronted “I chm in °ur c° un,ry sh when a photographer suggests a play this ' ' right. vas a churchehur,h g anda"d for 8 3a hJrz ui a jc&iuu aiiu Jioi 01 a Cau.SC T simply, the expression of an mJnd age m IF - Ja» OING BACK to the day of “the greatest theUiic termsLC-IHU, classicalClassical Music and Study music, romantic ' Tb singers the world has ever known,” lc picture comes to mind-a ’ An picture of ,^ ^ entfcen and to the days immediately following, thought and felt; the G an w Interpretations expression A »y Den.? we learn that the order of the day was “Sup- in to the conditions under 1 Jazz which they UvS? port the voice from the chest.” The question How then may this proper position be es- dream of associating a °U W tablished? Like everything else touched by certain rhythm „ °«C now is, was this support purely breath support -4 Conference ...Ml quality with either of them. ' * flxed the tone supported from the chest? In science, it is simplicity itself. Giving no with Jazz is ex 2 or was not in itsa iaj y Chest Support forms, ofvi course, the sa words was the resonance of the chest thought to a yawning sensation, or a somber- butt>i hi the meJ other pattern of its Se cause an excessive expression. - 0Veov»- used to amplify the resonance of the head? ing of tone, which can Just as the"*."!**’the ,V^ r-ali resents strict adherence C forn Bassini, who was a pupil of Crescentini lowering of the larynx, and at the same time to a structL w > ten. as romantic music represents andard (“the last of the great singers that Italy pro- exert a drag on the voice, or to nasality which o^ule £*llinc^ton a rdlnfl ; Jal forms in favor of more aeaitlst duced”) in speaking of “falsetto” says that prevents a lowering of the larynx, fix the personal utlerane fi , tinues the pattern • so theoretical signification of the word mind on the chest, at a point about three of barrier- bre-tkm Ja« coj the In Singing thetne freest “falsetto” is not that voice which imitates the inches from the top of the breast bone, and musical expression emermergas Renowned American Tewe Z?th... f ^a Composer, me. then. Jazz means simply yet seen woman’s voice, but “all are falsetto tones with the chest elevated and the mouth opened freedom i - T< F natural smile (Mancini), direct, not Pianist and And it is precisely ea!speechl which are not produced from the chest.” with a Band Leader because of this many varied r,^d°m Mancini (1716-1800) supported the voice i / force, but breathe, sigh each tone of the entire forms of Jazz tha t exist T e . so SF, 'mF CX to remember, however, ant from the chest, and he was a pupil of Bernac- L - range to that point. In this we are using men- “ "RESSLr l , that \JUiiiiam «2). s^lrmstvon ™ no^LT/‘ of the greatest, and the most florid tal persuasion instead of physical coercion. ™ By represents Jazz by he3e chi, one emKM ASKLVNb itself. Jazz means for® V dom to have slmn,imply singer the world has ever known. Sbriglia The instant the thought “voice” enters the many forms free . I made the head voice, supported from the mind, the subconscious mind, associating chest, the basis of vocal development; the “voice” and the organ that makes the voice, of |oa lt the tone brilliant and powerful. Then if chest-resonance is ever present, why, in the becomes fixed on the larynx. Almost instantaneously his melodies ’ ,om ond boton has *o chest support making does not "dJl N recognized in th. . ^ his credit In connection with the Bassini-Mancini period there majority of cases is it too faint to be perceived? Submit with the decision to direct tone downward to the chest, is one point that will greatly assist us in our investiga- the question, as all other questions pertaining to voice a message “downward to the chest” goes to the motor ~ tion; that is, that prior to the coming of Garcia the should be submitted, to the judge of the supreme area of the brain and the larynx moves downward. t - C" x IF'-X‘vxt ?,/ ttXsx second (1805-1906), the voice was divided into two, court of investigation, that is, “judge psychology,” The mind cannot be occupied with two opposite im- and not three registers. Cassini (1606-) named them whose decisions always are final, and the answer will pressions, such as downward and upward, at the same “natural voice” and “feigned or falsetto voice”; while be “an upward displacement of the larynx.” Then, time, so that as long as the thought “downward to the Mancini named them “natural or chest-voice” and how does the larynx become displaced? Through a teen chest” prevails the larynx will hold its new position, or "artificial or head voice.” Also Mancini demanded age contracted habit of speaking in a too highly pitched until the counter-thought, “upward to the head” that the two be united and equalised. Therefore, since tone of voice, and in singing, through strict adherence causes it to rise from that position. there were but two registers, there was not the Garcia- to “head voice.” In what way does this displacement introduced third register with its pronounced break cause chest resonance to be faint? If the reader will Directing the Tone Downward in the low range, and its resultant masculine-like tone place a finger on the larynx on the chest and a hand Through concentration of the conscious mind on to contend with. And significant it is that we are while producing a “falsetto” tone two things will be “downward to the chest,” the impression finally finds speaking of the foundation of the development of the noted, first that the larynx has taken a high position lodgment in the subconscious mind, and like all other °° 6 '» *933. Ellington ^ ^ greatest voices the world has ever known. Faustina and second that only a faint vibration in the chest is "toured Errnl** ^-^wo^^oLdT'T bodily activities "^T' ” ^ ' new which have been impressed upon modern concerts ""j 1 +he “>"«"«"* ^ Cof felt. Then, ^ with , . (1695-1783) was noted for her unequalled agility, bril- upon imitating or producing ratherthon se the deep tone nsatio„ , the subconscious mind, directing each tone of the en- a y a n d B S liant embellishments, and exquisite trill; Cuzzoni of a basso or a contralto it will be noted that the In° I C °" tire to 94 3, h e "ZTJo iW"‘d range our given point on the chest becomes g^TtVTt^ t T" (1700-1770) was known as a mistress of her art, her larynx has greatly lowered, while a strong vibration in “second nature,” and having become “second nature,” high notes unrivaled in clearness and sweetness, and the chest is felt. Further, if while producing this deep «?«!: no greater effort is involved than in directing tone W-2& tone the larynx her trill perfect; Banti (1759-1806) Is spoken of as is moved from side to side, a grating upward to the head. , having a voice of most extensive range, while her of the larynx on the spine is felt, whereas, when the Through directing or sighing the tone downward to T3 agility excelled most singers in the bravura style; then falsetto tone is produced no such grating is felt. In this ^i^sad."ssFS'-^ sc u »re e e ° r ated Ue the chest, the voice is, as it were, resting upon the Award. ? . ^ bearing j^ . Magazine musicians Recently cm* k the Mr Gold M ^ i Hp there was Ansini whose tenor voice is described as grating we have a contact of the larynx with the spine chest instead of upon the throat, thus permitting that sweet and powerful; as for Bernacchi, it is recorded through which the vibrations of the larynx are trans- “ ’"• “'"“«•• “-™». muscular freedom so essential to a facile technic. M-. that on one occasion Farinelii, mitted to the air in the lungs, thus setting sCirSitr*/ when lauded as the up resonance Mancini supported the voice coders4^1Of from the chest to, as he The Etude, ;"™ greatest of singers, had given an exhibition of his in the chest. To illustrate; In the erection h;s v of the steel If . said, “leave the throat free.” YI AZZ Editor's wonderful dexterity, Bernacchi, not to be outdone, skeleton of a building, an electrical riveter is used to today is no Note. longer the ia^ + I ago. When tWenty arose and poured forth a veritable torrent of florid unite the steel beams. When the riveter touches one I began my work years something ’ JazzLFWas a embellishments which so astounded Farinelii that he of the rivets used, the whole skeleton of the building J ‘different’ Nnf st unt— jazz, and 3*0 * duke Ellington begged Bernacchi to accept him as a pupil. and the surrounding air is set vibrating; the vibrating those who did ^ cared for as -sr >*. .. fe^tL^ ‘ — » thing’ unless the Now since all of these wonderful singers, save Ansini, ceasing with the removal of the riveter. they were given real loudness a sbockhi T"’* were florid singers, or sensation of it stands to reason that they did unpredictability ,i„„ In that reason, music many openin the way fo not carry into the high range that which we of today I fee i that I ’ Por ktodslf « The Position of the Larynx was extrem f expres the picture lucky to *y American. sion. jazz is peculiar name “chest-voice,” for that would have made their when I did' I en ter Thu, 11 1 had tF r !? ’ Now the beating riveter represents music; 11 erlc the larynx; the I relied on “yself to «a«j derives simply an character of jaz astonishing dexterity impossible, inasmuch as there instinct rather^? rom 1f „ f ^ contact of the riveter with the rivet, the contact of the guide lan ^ specifically edom would be constant drag voice. me; and had apvoi nowledge to rather ‘ h “n from anj a on’ the Then, since it to Ameri^.l? larynx with the spine; the skeleton of the building, spotlight technl case ’ is only positions. Ques in of other muslca * descent. In the through the use of chest resonance that When I lands u- . the bony framework of the chest; the surrounding air, theJr “feigned,” “artificial,” “falsetto,” f™« »* cMta ^rwich, or mus ic is 'tj-plcally' “head voice” could three 1 S 1,1“ Italian or the air in the lungs; the removal of the riveter, the SS Tdays be engage tional n tsh be made true voice at a theater d for pattern ’ if 11 follows a tradi- and powerful voice, how did Man- in I/h I (whether ? displacement of the larynx, and the ceasing of the and on the third Went tIon me cinis “natural or chest-voice” become the means to that day, they well, ’ ar *°dic line, harmoniza- open toto ™ ^ J azz 1 un rangement r i,, vibration, the loss of chest-resonance. Now when the at the was scheduled today j s _ Age sa °r end? Is not the answer in Mancini’s that Palace Theatel to hv y that anythln at all). We demand the days /L music is (Vnilln 8 muscles which draw the larynx up and away from the the Palace Now in lf it &zz tioo be united and equalised? Then, how were they was the those follows ' or typically American, theater, roun^™^ no nafter,, \ spine and those which draw the larynx down and back the goal nklng at aI I! united and equalized? of every vaudeville ment m Even the Negroid ele- seasoned f jazz . against the spine are pletely tum.s . , equally contracted, the position P ayer ‘ 1 out bewildered Was com- can. ^ ^ ^ ess by fr * c the to Actually, A ®n than Ameri- of the larynx is «° there i central. So that a position half an special African n inch preparation-but I lh .° more of an essentially An Interesting Query had is “ strain in th» . above or below the central position is a displacement. £»££” 1 ml, here V,> 1® is an American Negro than Suppose that it were possible to empty a resonance iia,d work that 6 playar: essentials r-' Therefore, in the average case, and with the exception The Hem wJle 'classical- m American Prench or ents of repres 15 Italian strain in the cavity of air, would there be any resonance r Lucfe Pure ents means of those . without of cases in which habitual use To start the voice fun. Weil tw the livolil^ an of falsetto, or strict on a sigh w e use the prefix h, 1 rbythm air? No. Then it is not the itself certainly be aspects and ^ pure African beat cavity that is the adherence to “head voice,” or a nasality because being an aspirate it ^ so-to of X£ has caused a initiates free use of the ^mouncc “ WOU,d the ^% ts le ody ba ^ llste resonator, case American have become but the air in the cavity. Then since it is my^ - as ner! . absorbed i” great elevation of concerned far c the larynx, a lowering breath. Tho a It t0 environm1 0111 of only about Ja Z ' Tt musician Perf emphasize bk thlsthis that tri* the air that is the resonator, wherever there is con- thorough °rmer is i n I have u. half an inch places the larynx in contact All three exercises are to be sung first muijL h todlv n! and“ nJ ^°*wn with the to the vowel niiB • n writings. fined needs gr0Und 6 Beige,«se, t h n ,.„ ? Citings. In Black. B:Brou air there will be resonance, hence all of the air spine. the foothghts, Ped ny Way to be more he can 111051 Ihave u, and then to each of the vowels e, a, e, a, 6, 6, 66, or, trusting to toward than Possibl^b egro 10 sh°w containing cavities cells Provide° / striunent, m°dera ?et in the development of t and from the forehead to the And so, through simply e, e to tely y ’ He America- The lowering the larynx about ai, eh, ah, aw, o, oo. The vowel u, as in the word my pUt the whatever fh <- exMrf mouth at the ri6ht at ° o be ° sh°wn pit of the lungs resound together. Therefore, there praised rightSht m° kind of may be; «£?* n his in- and as him as he is suppos are half an inch, head resonance is reinforced deeper, study, is next in order to the “natural” for a moment - After, theored! !, he he is ts by vowel u, new style nf X was tery S movement e °pening not several resonators, but only one, that idea what announcing! harmonic that havethe reflect themes of the thi: and one the fuller, nobility giving chest resonance; that “natural” because it is produced with the least kind of i i and can l, the * balanced effort, “stvie" il lave , ln arranw solve 'died, SUpposed air in the lungs, bronchial ment’s probl sorts noisy 'to-be-Negro the ui tubes, windpipe, larynx, resonance heard by the sensitive ear in all and hence with the least lift6d a the flrst hesitation- ems ^. of confusi — great voices possibility of throat contrac- baton was ’ ««« ^ with "at ° f sonalsonlf whin'll^I h aware °f aU a have the Harlem whic mouth, throat, nasal cavity, and passages, and the from soprano to basso. c of - he >no- plenty cabaret Evidently it is this position of tion which prevents a lowering appearance onducted the - musical' hTl nel i 0f ‘a? of the larynx, con- opening er history f - of j ^e smaller 1 p that an ^ b° tourist’s e^^.^mosphere’ If it cavities of the skull. Therefore, the air in the the larynx had n° idea Maurice Chevalier history. d the acute*y is to live up that investigators have in mind when they traction that often accompanies the utterance what to do Again positj of “ah”. nt, more But~there lungs is just as much a part of the resonator as is the agree that indeed, to 1 « *“ churches are, by numeric tone is at its best, when the position of the Also, “u” is the modification of ah through which beeto - th air in the «£ But -X' a ' the) the cavities of the head, while the amount of larynx is central. perhaps 1 Harlem voice is carried above /-natural, I should jsXsrsRisr »•«» wal^r ^h-cducatedald^l” sounding fifth line, treble staff, Those d°X 5 ambi, ious air in the lungs is many times that of all the 134 matters may harmonies^ ^' And my Negroes thain without injury to the vocal bands. So that in starting 7 6nterentP° actr fantnsJ'^ cavities put together. So that chest-resonance, mto ink p t ro aduaIIy its chichar faint with instead but not ' duce Ganges “u” of “ah” we are anticipating this im- onlVn** J XXI u with h? the ^l5 in theI he some cases and strong in others, is ever present. Mature hopes and ^ f^Part of Amerii portant modification. MVSK have dren^l The physician knows this Jr made and ^ove when in testing the lungs he ®r ex America °f freedom th The only novelty about the use of is the alts a for a11°rf places his con- Ufb ( stethoscope on the chest while the patient Continued on Page 17: VOICE scious use of it. Most singers, and especially coloratura says ninety-nine, pulmonary, and so forth. sopranos unconsciously take ( Continued on Page 166) ETUDE THE MARCH, 1947 "MUSIC STUDY EXALTS LIFE’’ 135 : ° . Music and Study while the passage on the line abovee thjs urally into threes. divid. es nat he BACKGROUND of any accompaniment for Music and Study the organ is the real preparation previously done Ex. I! T on the piano. Before one takes an accompani- ment to the organ one must know the notes and know them well. Too much time is wasted learning notes The on the organ (now that organs are more accessible Pianist’s Page than they used to be) . One must remember that most written of our accompaniments are for piano, there- On Page 9. second line, the Organ Accompaniments left hand is of after we know the notes thoroughly, we must try ** °i course:^ fore, effectively to picture how they will be most played on Ex.C the organ; for something that sounds well on the piano sound pleasing the organ. is not necessarily going to on 2)/% Cjifuij l/f]c(durclij. IIIcuer For instance, when there are arpeggios in the piano Inj ^Z^lexander 7 etc. accompaniment, they should be carefully played on the Noted Pianist and » 3 organ with the proper harmonic background (it is a of the Organ Department the most part, to omit the arpeggios Editor Music Educator good idea, for important thing in this case is to keep Examples A and B are entirely) . The variatloas of the one,,. the rhythm going well. *“* tet »«* <». Ex-3 an accompaniment such as the tenor aria from the tSSSiSJ Some parts of the piano accompaniment sound thin 2J? “Messiah,” Every Valley, he should be careful to use a on the organ, and these parts must be filled up. When Ez.D combination that is clear and light. There are accom- a~ the harmonies are too thick in the treble and in the r paniments which definitely demand a dark, heavy tone. C\”; the middle voices should be filled up. For ex- bass, There are accompaniments which demand a light, clear ample, we can use the accompaniment from the “Mes- raPid ° tone. For the latter type of accompaniment on a two CtaVeS (b) brilIiant incisive . — siah” as it appears in the edition of T. Tertius Noble octave?^’ ^ manual organ a combination like this would be suit- 2 and Max Spicker. The accompaniment sounds well on ' there in (At first, able: technical approach practice octave just as it is written, but if one plays it as (or execution) passages intm- « the piano 8' -4' between (a) chords, like PerMd Swell: Flutes an octave passage the above, as the organ, the result is “fierce.” To begin “stroivht”Khl , written, on 8'-4' te the inside octaves withou Great: Flutes ^ 0,16 Pl *yed » bb“k notes.) with, there must be a continuous background of the and^whS SysT Pedal: light 16' harmony. Even when the “Messiah” is sung with or- r 8' 4' Should ““ ‘ aVC All and couplers ,° p^agc chestra, there is a continuo, for the most part, played ^StS pracUced^ve S Wly Play on Great fortissimo and staccato '/eUlXedl> organ as a background to the instruments. This are hands oi)'n?at i° on the • reP6ated l° ^ note °c ‘ aye without pedal gether Then for a dark tone try a combination like this: passages and continuo is all the more important in our arrange- Sayed without SoklM al h “I, Bt hand* not€S keyboard. (“Ouch! 1 oi organ. rich harmonies are if 8'-4' 5 All that’” r i . ments for the The there Swell: Flutes ' it's the ' iTthe "6 What only way to YeS we will only take the proper care to put them in the Strings Ars^i" d aTjseTtS ' How to ‘T* 6. Since it is the endurance.) right places on the keyboard. H*ere, for example, are Flute 8' fingers whi, „ ' . Great: h at tUaIly octaves, the play the first measures of Comfort Ye, as they appear in 16' pure finger-octavp , the Pedal: light atre,,Kth of and fifth fingers the Arst the vocal score (Ex. 1), and below (Ex. 2) is an ex- Only 8’ couplers a I and first n ^ b t f Urth fln Chips CtaVe passage be developed °, gers must of that they should from trouble gives to . ample the way be played on the Play on Great the Block what are°the spedfi the utmost N* °t mS to a ° plnnLst can become 8- What Cbeck up good “octavlst” ; organ. When one uses his imagination in accompanying, he There are certain combinations for accompanying I SI “feeling” 27 ' ta?r * l ,>OW< LTnfh^and must be finger rf Ully developed in octave playing? cultivated octaves. Now can achieve good results, even if he has to play music which must be set ahead of time if the organist wants readad agalnal „i n , stantly' ' No. question and ta 3. answer Ext for singers which perhaps isn’t as good as he would to do a fine piece of work, providing he has an ade- months proddin^?^d S teachlng to accomplish takes Answers like it to be, remembering that it is possible to make quate organ with general pistons or one that can be Pictnre» . WrtSt (b> dramatically 6 slogans ” spoken before key-t°P contact , something of something that is trite. by the teache^T phiying'each octa great out set up by manual pistons. They should be set for solos dent’s Wntten ln C> CXCCSS or ' notebook are the sr tion on the lost mo A great deal has been written about registration for and accompaniments on swell and great, also soit, amonfth' , * %> pfrt of wHsfr 2.l as“xr« -sr the petave ‘ Almost keys - ' is well to remember that none; both are mechanLsm ^^ solo accompaniments. It medium, and loud ensembles. I am asked continually qufet! e^tiv^ ^ * d) SLhSTvelS' varying degrees MffCTS with before playinc preparation proper support should be given to the soloist. The or- about the use of tremolos and celestes in accompani- of remforceLZ pnrh^f * arm. Tfr°m the * * * do|,’t “stick” The black-and-whhe n^? hand and keys nZtlZ on gan always should be just under the soloist as he sings. ments. If the tremolos are not too violent and the have WlU Ver t° th< ' next a very *‘ naturaUy thumb too ° one - (e) When there are interludes, it is perfectly all right (if celestes are not too prominent, I see no reason why slight 0iling tight? Music and Study factors and wid minimize the final r each participating group, « it will adjw. Music and Study each participant is competing the again*? fact ?T' such standard is a stan perfection itself A daM ’ ^ the point that aU participants W1!1 e are’ 7 mpt1 a ? this standardotu Ituu/U 1ratherex LiiCl thanLXian Eflan 07) 7V) agatf rating plan was Tb :'7l The so conceived e Df Competition - s e? Festival that be placed* upon the participant’s wcipant s proerpecpr0gjL ments. S and It is deviseddemised so as to compS^ acta*? Viols and Hautboys ones performance of ch today as against L?£ e rather than over that 0 < of an opporKf ****? structure is based on ' The WL», 2>. individual and «Rb k &Jti improvement, and ean whatever competkL ^ti<2 should be a result of such objecuS atber of defeating an ’ than opponent. t|>. Julian Sceaman Through thewic course ofoi years mnrAmore nd ductors,jctors, administrators m°rere and ' CekS thousands and school na„_?fr con. °f school mu- the 0 Vr u general music program of come familiar with the have 2K our schools. The festival purposes be* 0 f thtaT wend participant, who recognizes the sical competition and m of making it smaller and more delicate, raising the arch he wrote. “Probably some careless aborigine, a poet at W th^r/S true values of the changes that h. >Htt- SCJS 2 festival, gains much from his participation, the manner of evaluating eVOlVe(1 and narrowing the sides.” heart, flattened an end of a wheat straw, which con- instrumental while the perfonnanc^h?v 1» and vocal com- participant, 555^“ whose sole purpose is the opposition. mello The Amati brothers, Andrea and Niceolo, were the stituted the apparatus capable of setting in vibration that Administrators of being a favor th,^ "'ci winner, represents petition first the column of air contained in one of education's most violent as being fair, clean of «*• real artisans of the violin trade, establishing a the rudimentary tube. enemies. and healthv ?? Jority have come n the tradition of expert workmanship carried on by Andrea’s Having gone this far, it was easy to improve upon it to see Its values 1 n;a ' It should be come Thev have sons, son, and the reed stalk with the rudimentary reed inserted 11 emphasized that the attitudes, reactions, to regard the festival two Antonio and Geronimo. But Geronimo’s ,am a , “'on “ d concepts an rm2 . ^ fcLoSV/ZSS of students, administrators, teaching students Niccolo, added individual perfections of his own and in one end became the form of this primitive instru- SSrT„»"*’ and school the ethics and ^ for prinrtof' S Wa d he festivals competition P es came to be known as “the Grand Amati.” ment. are largely determined rather than of fair bv the i!lri l l Ignoring m ^ COnd “ctors thereby P n Two famous pupils of Niccolo, Giuseppe Guarneri, “The_ fundamental lateral holes were next added and ' For 11 is they who are falling to provide for ce and resmnsiWelesponsible u., !, n tom Ta marked degree and appraisal “nderstan^ , and Antonio Stradivari (called “the Raphael of the these, too, were probably results of chance and not of 10 for the molding of of Its values. »ssirs wune attltudes Although » % ' and the of the past educato,s violin”) brought the art of violin-making to the very careful experiment. Then a wooden tube was substi- mentals establishment of funda- have evinced some opDasfuon" t festivals, such ° C°mpetiti zenith of accomplishment. Most of the early Stradivari tuted for the reed stalk, still, however, preserving the opposition l.s rapidh- a, ™ the nng violins retain the name of Amati. So reverently did reed tongue.” impetus and motivation Eince whh-h^n.# Tt the music Niccolo’s pupil regard the reputation of his master, And now, for the sake of further clarity upon a programs of our JULIAN 22L SEAMAN that not until did his his melancholy subject, let r shown by ProgIess 1690 he use own name on us examine the oboe of the to Show m ‘‘‘’' participating groutxs have ,£ZZZTZ*Z ' d ^10 a violins. The Stradivari violins may be distinguished modem orchestra. It is tapering and encrusted with i°z? elimination of such elements ’»”« by a redder and darker varnish, a wider waist and a stops and vents, and contains a conical column of air 5 In defense of thase who HE MODERN orchestra, suave and polished and 5ES gentler slope in the arches. set in vibration by means of a double reed. The reed of the past, we must admit ^ COntets nicely turned, is compounded of sundry ancient UiaTthe^hn The recipe for the Stradivari varnish, an important is a mouthpiece made of two leaves of cane, suitably objectives Pte and voices viol and pipe and throbbing string that of those contests were T — — ffii'StrsjslSpi i!i7^°!! requisite in attaining the full and golden tone of these shaped and tuned. educational ™“ desfrahile from M whet the ear and calm the spirit. This conclave of har- „ the ,ppear, viewpoint Thev n^ of i n r e instruments, was written in his Bible and the secret A series of holes pierced in the side of the oboe “^,^2 « Music and Study j™ u -uuunce of , r aristocrats h pie, housewives, bus and men-about-tou ‘ness ,, ^ the changes and developments by Ole's European glorv. Were ONSIDERING in Music and Study In t he mT? tr- violin technique that have taken place in the ance a string snapped ' ** nl £fS? it is ZT ' years, amazing that more books *1 hundred grmnea,grinned, »mwinked,Ked. last and fluishedfinished g N°rw C house oVTh^on thl Cfe study material have not been written embodying expiodedexploded in admirationadmiration. strin «g of % The 8s ' fact remains that fame. ne storyV these changes. But the almost all • sp spreadF ead l. to the training of present-day The Olenio used„„h * „ ^ the etudes necessary Violinist an almost flat Who Thrilled bridge on h. were written prior to 1880. Jacques-Fereol violinists he could play on all four violin, strings so , Mazas th ninety-eight years ago, yet his Studies are More About ™ died effect. This "quartetto” nce With Mazas playS !i° valuable to the student in 1947 as they were the 0 still as groundlings. Bull's sensa bow tion violinists of his own day. As T ]° JJ to the young that no ordinary violinist n8 3nd Your could usTi h On this page last November, I commented upon the Great-Grandmother t V Brilliant Studies unwarranted neglect of the Mazas Studies during the The 27 A Natural Gift two decades or so, and also analyzed some of the Today's last music historians their merits in the light of concede t h „, „ Special Studies to show an«... c.c.ucnuuelemental natural 0IeWie gift which ~«T Bull-Bull hah modern musical and technical requirements. This him to Wght even greater haveha ve height r, , c will be examined heights n carriedarrie month the Second Book with the one of the most T VCeded Stanley. proficient fidcilerl be Was same object in view. S. acoli how. But he ^ ^ ^ was not merely^^ b»«U As an adjunct to the study of Kreutzer these 27 HIS p0Wer Brilliant Studies are invaluable, for they demand a flexibility of style that Kreutzer does not encourage. most students would do better with Kreutzer of the slurred notes. Too few etudes call for continued A sharp martele alternating with two slurred notes C In fact, d a r playing in the lower half, and use should be made of is the predominating feature of No. 43. Very short bow W°M ' 0le Bu" had previously worked on at least some of ThooM^ had a ENTLKTA 1 if they t?o n°| os motifii dT i" S* every study that can con- strokes should be used in all passages marked piano, that m which the f NMENT " studies. be so adapted, for a fluent radio star affects f ,N A,B these the bobby ° OF TH E trol of this part of the bow is essential to the modern the strokes being lengthened for the passages of [ots."" mj Cl t For the development of a flowing, vocal quality of JJJ violinist. crescendo or mezzo-forte. In the Musette section, con- Old South tone and for training in subtlety of nuance,, the first Preservation The arpeggio passages in are the siderably more bow pressure must be applied to the Fund, study in this book, No. 31, has few equals. The student No. 37 among most Q otherwise the repeated h h m t0 to give full rein his imag- difficult in the entire book, the E major arpeggio which D string than to the open G, G ™Sp acoept In />>d SnUll should be encouraged to rLY 32? 6* i “ occurs several times in the middle section making will overpower the melodic line. This section contains A paper woman iT York news ' yet that eVer Cturch, ination and to play the gracefully-molded phrases wrote th, , creased "the “* I boref broad^Atlanr i~ especially heavy demands on the left hand. For this a trap for the unwary. The notes flow along easily and Adam must have p himself “as Wgh, ^ «l»n the as expressively as he can. But the expression must be looked in ^ , hoflzon iJhUHidmj vvoria. Sveuinl, reason, it is well to hold back the study until comfortably for a line and a half then comes an his butler for his ® Women bribed Another reviewer go, kept within the limits of rhythmic accuracy. In this most — b^hwaVVnf mooned : Jan. tr^sured it of the others in the book have been practiced. But octave shift! The student who has not prepared- his A in vials, I giant Al 7 #1 A’rlrw l *i there are many pitfalls for the careless Norwegian vi^n f direction Ie n6d will inevitably find that he has idol Bul1 St ' there is much to be learned from it in the of ex- hand for this shift who made ^ was the stringed Pet6r °f the student, and even the careful ones may have difficulty way your TreTt-H £ instrumen'ts!’'’ heaven of SW00n OLE pressive technical playing. played the upper E- too flat. was too - ladylike to squeal she BULL, at first in giving each note its exact value. When a and aah!” as One might call No. 39 a “triple-threat” study, in that There is a good deal to be said for No. 45 as a great-grand-daughter , her Pr° play the study expressively and in strict does torio ‘°hTs Clalmed: FISK pupil can Prankie ScVfTlTaW' it compli- clutches the ® si“a‘™ JUBILEE teacher will find it useful material for a dis- should be practiced at the point, in the middle, and spiccato study. However, the numerous slurs m.crophone upon the roots U,at pUlLs hard SINGERS time, the flowers tfl ted of my Llr at the frog for has not and some P °le with a His *TVaCe ^ 83 Ralph cussion of the rubato, if he judges that the time is of the bow. Each part of the bow calls for cate matters considerably a student who of the bolder m t! cathedral window!” luminous as Waido riage VS unhorsed Emerson, a different of wrist. fair control of the bowing. In such and pulled him his car- ripe for its introduction. motion the At the frog and in the yet acquired a very through th t hvor and lithe, ° le was middle, the bow should leave the string after each a case, it is a good idea for him to eliminate the slurs possessed tal1 we hlre ‘°° The same remarks apply in a great measure to oSll^' inSSfnTole? ’ k pIeas ‘ somewhat eyes and si?p? B*r»TR«us? note; irregular broad, 4eL^IV No. 38 is more difficult because at the point, both the martele and the detache and play the entire study, including the sforzando featuYefw Women and Perfect dia,nonds — * Nos. 38 and 40, though men - PIANIST. even uncouth, Was rough poured gifts TT, ; should be used, the bow, of course, remaining on the passages, spiccato throughout. The slurs can be re- yet ’ shifts, 40 this seemed stream: vases, ™ in an of the many awkw'ard and No. because of sonahty in VT moTy Tafr endlesa the eyes ““ pel" wTT involved. string. One may consider a fourth “threat” to be pres- introduced later, if a review of the study is felt to be of his shawls, nngs •- the higher positions Both studies give the TvoteS. mustache ' ^che.s. [l Piano Solo, cups smokint f ent, for the left-hand difficulties are considerable. The necessary. Until the left-hand difficulties are mas- ofl ' ' i teacher opportunity to point out that the bow should paintings, cakes, night caps » B.,„, »"t STRAUS! According dogs bWs aTn ' U^olA, study is really a series of broken double-stops, but it tered, the sforzando passages should be practiced as to the A ’ and V' be drawn nearer the bridge in the higher positions Critics normally hair-shirts *,' “,' sedate TwV- I'I'K V a r JUBILEE WWUII*INOERs should be played as if each triplet were unbroken. For unbroken octaves. nU C the news of CXCitedly L . than it need be in the lower. Work on No. 40 may well “He deIi a creakyTld^ reported lh iVyouIg riously: gaffS^' r Music and Study ““u aynamics ' lcatl sometimes they °ns, , Chelm, near Lublin, Poland, October let the an M Leon was born in 10, Music and Study How to tempo a bit Cha organized musical instruction in his native 7 each the Adult if he mtoLT' 4 roo4 He had no 9 S that way. And of Unds studied violin with local teachers but by far the course better | d He Beginner thefp was done by self-study, from pupils, in Pect Hater part of his work books. due time, to the* as my pu iI leS11 ? not want him to become a musician and dis- P a married man musical score. to read M's family did twenty-four2 years old the who progress by refusing to pay for lessons. When hfls grQwn 5 couraged his mUS1 a family All these and learns quickly things and man,, he came to America alone, not so much with He hash !, a A was sixteen fine memory but does the pupil learn y ®ore h not care if he »Uist making his fortune, but with that of following much about performing. is a the idea of But he would like little musician Side , musician. When he sailed Business the to into a to America on teach becoming piano, s0 instead a | 0f he wants to of . |j ea learn all his about music. He cannot Conducted be merely a nuin all that he had, other than passage money, for sight read, and be- by litUe pupL « to he spent u World with nothing 1166 hC thinks he '‘ strings. violin. He faced the New more can "'ike But each ked by new hhsToa'lnis goal. I ha , , teacher h hate to give this man babv this violin. In order to gratify his lofty stuff method of going 1*5 formidable than and I should like to at all °"’n A Philadelphia Business Man Who Organized His Own Symphony have you advise nie as these mat/ go ahead in music he realized that it was first to how to it is not 8 ambition to handle the case.-T. for me ' atlcl B to .suggest make a fortune. He had a brother in Philadel- method or e therd necessary to the materiais the candy maker and thus he entered that to L , who was a Y Ur J(aJ QeUeni, teacher nhia Orchestra “For the Joy of Conducting’’ Makes Business His Avocation pupU evidentIy ne W WU 2)oc. in the case by a of hard labor, enterprise, and originality, eds some of of V? business. By reason thethf'« f ^ material now pupil. However, PartlclUar the age of thirty years (in 1934) the available that Is written my replies he found himself at especially to L, for adult beginners. questions may SPecific of a sizable candy manufacturing company. Mean- I advise enlighten both president you to go to some the teacher y° U he organized small ochestras devoted largely to of the music stores Professor Emeritus with reference and while, From a Conference with Uiere Ce to of a process in teaching himself in New York these some popular music, as a part and ask to see such matters; 0f Oberlin about the instruments of the orchestra and the art of y0U d0n,t flnd College 1. Music thonn, _ . more what you want, theory is * wmoT ;, a bmoa ' Pttb“8hers of covers more t I m The Etude and or less everythtof that time he went once a week to New York to study “‘ to Music Editor. Webster’s g s At the same ta send you a New sic as about mu - eon package of ma- contrasted ni*., with Paul Breisach, of the Metropolitan Opera Wax a ( with conducting X terial suitable for adult beginners. Prob- International Dictionary m. n inciuj He also studied with Martin Rich of The Curtis thl S“ Company. man wiI1 Progress very and Philadelphia. In addition, he did an enor- „ jj T f rapidly terminology, harmony, 011 Institute of Music, 1 ad 1Se °U cojnto^ Conductor, Philadelphia “Pops” Orchestra y t0 suPPJ ement the form, 1 pouit mous amount of self-study, through books and scores, ac- teHai ma- orchestration and . la m lns study personal library which also includes a book with the sight- sions of these. cumulating a large playing of Sometime! uries of the world's great music on records. His hymn tunes, easy singing in sight vast collection folk songs and ear trainim, and very easy ideas upon the relation of music to life are distinctive and little pieces, playing each under the lndUded SECURED EXPRESSLY FOR THE ETUDE one only heading of what may be accomplished in a relatively short time, once or twice and then theory wbecause indicate going on work is connected such enterprise and experienced .direction. to another even though so with proper it is not any- study of th the Editor's Note. e notation. But — y PerfeCt AS 80011 .% far^ 85 P'»sible Shall child Is your DUt Wm S Patricia Learn concerned, muslcffiil °me ° f the Sl0w Theorv beginning career, movements mostly of the COnsists « VERY man, at the of his has were to make up an orchestra that would bring enter- certs were to be confined to light classics. There are of the KuhlauN?,n sonatinas T things that | ^ or the oo? ^ SUg ' opportunity to look ahead and determine tainment of of music, that at always will Haydn gested in the the higher type popular and be millions of people who might be sonatas—or other my first paru«- “adult" material. Pa ^hcia is a„h I -/ • nine-and-a-half how he wishes his life course to proceed. It is the same time was good music, to returning wounded uncomfortable at a severely classical concert but who I suggest veir*; niri probably Patricia's further that you h taken iano teacher ha. If’ ask vnnr was |L p '“sons since she made a ^ necessary for him to make money, to some extent, in veterans, and to hospitals. (The orchestra now num- are overjoyed to hear the light classics effectively Sx , Purchase a c DC ’ satisfactory beginning °Py “Harmony for Fire y FaIte s Rltual g mng ond some order to live. Now the question is, how shall he look bers eighty-five, all from The Philadelphia Orchestra, played by the best obtainable musicians. Up to this Ear^F-vE e £>ancfahn?snfkt of these. ’ and Keyboard" (Heacox) Surely, is “first chair” leaders.) First of all, I had to time only fh /; J , and upon this problem? making money not the including there was one permanent ‘Pops’ orchestra through the *” 1° lessons with h«t, ,he end and aim of human existence! If this were the learn from the orchestra whether I was acceptable to in America, the Boston ‘Pops.’ After ours was estab- him2 Give him some dictation too, alth told that he has and if the ’ °Ugh case, life would be a very drab and useless thing. Music, them. We had some rehearsals and I the men lished, several others were started. The organization not read any music mctronome amount of the inhlnnh ' rltanc history, urge teacher is Her e varies in the power of music to bring beauty and joy and I had no idea of introducing symphonic music until and management of such an orchestra is a serious busi- turn to get givine her h*Vemoy the case of hht and Theodore ° ' 120 different Finney’s “History practice with p to individuals. music to it of L met fun , Tliis human uplift to others has been my innate ambition I knew enough about conducting such do ness undertaking and is no plaything for amateurs. Music and the ronome instead study it carefully. regular fmint , of from the start. I feel sorry for the man who gives all with confidence and credit. They were enthusiastic. “At our November concert in the Academy of Music, A t t dentS n d t0 g° through more ^ his and energy to making money for his During the war our orchestra’s aim was to give really Philadelphia, we had eighty-one in the orchestra oroi- lessle.« the '^rieZ'Z of thought men the same steps? as tmimnTS children and e 3,50 own selfish gratification and wastes it upon useless worthy programs of inspiriting music in veterans’ hos- and as soloists. The rental of the Academy is five yet the whole thing may be presented extravagances what, in cases, is cheap dis- pitals. Among the groups visited were the Thomas hundred and fifty dollars. cost of orches- rom an adult and many The the standpoint, 31 ‘ and the steps least tIle 1 ° r P ay at a steady Hospital and the Army Ground and most popular All ^’ Can »e *? tempo, sipation of the gifts that the Almighty gave him. England General tra for two rehearsals is about $4,000. The price of May usually be much nf th*he sonatas taughM^ho^ 2 ftehahH, longer than ever , how- 3 a8e 18 deflnhely at Atlantic City; the S. Naval ehud are nf in ,, V Vh harmful, “It is a good thing for a man to know his own lim- Service Forces, both U. the soloist may range from ( Continued on Page 180) 8 steps 0 The tonmf ! ordinarily are. I UUion y°°r Ule lv am great- and Te^in^l^v ! No- °\ metronome is to help itations, because in this way he can work incessantly Hospital, Swarthmore; the U. S. Naval Hospital, Phila- 68 d 111 " the * having a vcry mony for Eye o£ Har- perform! , much , larger Ear anc^ determine Forge General Hospital, numher f ’° ’• K eyboard ”> * the correct and prepare himself for better things. I worked very delphia; and the Valley gl 4 What ,-c. uf’ tempo as Hi t° Wn People take readme direoted * Mr. Leon received grateful thanks from the patients, the American Red UP the ' and by the composer hard to would ac- Phoenixville, Pennsylvania.* one '‘™ , make myself a conductor be studvy ofnf a .earn it?-D can the editor (or who Cross, and all the veterans’ organizations for these heart-warming con- musical D . instrument ’ “ nd certs. June 27, 1945, he had an orchestra of one hundred at the not in U has but utUe ceptable to a of the best musicians I could enlist. “At the conclusion of the war the enthusiasm of the On order to become value in group Academy of Music for a war bond concert. The house was crowded to performers or anyanv m2other respect. toachers This is the way I went about it. First, I engaged six audiences convinced me that Philadelphia should have capacity and brought in receipts of a million and a half dollars. For this and at>° Ut Patricia contribution he received the following citation: ‘In appreciation of I will try - oertain as those which are to enlightwi *2. of the price of men from The Philadelphia Orchestra. We came to- a fine 'Pops’ orchestra, such now services and patriotic cooperation rendered in behalf of the War Finance COncernin either book Program, this citation is awarded to Max Leon, giveruthis 7th day of some of the g beheve important need in other cities. The con- things aD0Utfbout wto they cost about gether and I outlined my objectives to them. They supplying an July. 1945.—U. S. Treasury.” y ' lnese whlch you two dollar^’ sonatas But I cannot toil ask. aCh - are all written in ti,„ They may be obtained, your S the rt f & d and all present teacher What t,irough learning how to the samH ough/to the handle them Tt i this the Case itahemoTS^E.’ entirely Pem ’ rt ls an ly, perfect prXmTnS’ particular of y uurerentdifferent technical control f child Most . piobiem from that nf c anty of believe teaChers 4 readine enunciation, and delicacv that the pipil in ‘he case of music r nf nh oulT 1tn°l is m S’ m nuance. aDd basic items learn the !ft 6 SEme 2 if, Those in of thenrv as the si eht reading s :r;r 011 c 2 ai' d of b° general Znl and th material sicianship as mu- 6 11 he i looking methods ifi heiftohhe is eapJ at a PaSe of to be successful stead and tllat - music tiw If in it of merely in 006 bas not learnim-T^to , Performed, and he ought P ay the piano Dlavino- ^°r to be studvirfdy nging> accurately and in- 4 guage music aa tellicend u Afcouf S.'S SO that hi“ ^ a lan- g 7 what the Mozarts ^ , symbols stand for. Sonatas T ^ O 1U cx5tana e rns 10 read music learn f just as one teen Play or sing. “ Wel1 ai to to read pialo'sonata^i^ the‘ Therefom fb language— intelligent orTeTot "2 Pupils they teach nr„ “f by an<1 aIS° the c the scales t] 11 you difficulty? m order °f their nnrt l tried to teach six-year- bMto gnatures, old I! <0, the - Sic3 ^ basL ‘ d n ,7ud“'S,» of Cs f 10 read English by giving 6 ach ‘ knowled^ 5 andFugues ludes rr, Pre courage ge they thtm a v2 tended ^^/ in- and Fugues and them to'T l_ volume of fo^exercises 22 ,. Shakespeare to practice ' very **** their Priate recital ^ appro appropriate Piecestoto ea-' pieoes ?'-Metle. ’for recital T WOUld robubly 1 P es v^usSrf P get discouraged. 22’ Simiiifl are and Playing 3d °f often ' so used Barb, I , them i alw S hlmseIf n theTevf you Place difficult, involved » however, ? \ e did not consider thee* are Witten. Which « innci eforeI' 1P°'Sible to They sh y a ohild who is just beginning Mozart’^ arran&e either OSitions fro melody them to piano sonnt potat of v e ™ i s how 3 w k°? built of 40 Play or sing be their !"** °f a - he will not greatness, amnged the “* °me a R°me ali ahto t TnTZ toToTiuSes ?™ little grasp it- 2 V 0 differem^ *' But if with ever agree ° UW Tempered We“- different; thers thp vp you begin upon such ILSt Clavichord" and en tir Iy easie a fet * Tf° lsi 't- to S the n,?\ y st known how to® pu ] music and proceed gradu- that Mozarf ticality of come P ^ therefore all,, W the system of 2,2°' aware of tho t 80met ParticularI equal te ' hing a little harder and still fond of two of r ment in tuning. mpera- The, the a ihm them th Manv nfT° f 3™ 5 harder (K. ® “ C these Preludes ' - your child—if she has a 279) and the and fugues had i,»»n of the 661 the JT one n °o music rhyth 1 m lnd~ fi S D ^(K - 284 by clapnin Wi11 learn often > , and these f°re to read music just plaved thpm u volumes and this g W a, ci,p , were organTzed^b enables EWingir earned p them to i to read and in freedom ' English when she several and ^ W ‘ th first v, instances he therefore mo 1 t0 sch001 ones’ filing arfthe traLmA withth - But let the teacher thafS and even rewrote ^5ed SIOn .' and 1”ore ex ££ them to fit t of course !l Pre Certa n that Pose. At Phrase the beginning is made Photo- Associates least part of rhythm teaCh the on h, , ! those that Wi as well 6 is of the PERCY GRAINGER AND MAX LEON previously written been showing as f Ufe evpn very easiest music, UgHp may them rhytb r 2 8 * maj0r have how them f 3S 4 Eirst ^^PHolo Acknowledge the enthusiastic appreciation of The audience. Music and Study All radio stations employ pianists for both classical playing, and ng an motion picture Kt.fd? d recording studios must engage good routtoe,’ and There is also a new playe trend in some of the A rs. in the larger cities to “allow” art caf a guest Planistnian.-J es The Technique his classical repertoire. 40 feature SWAYING DANCER of Arriving The Child Prodigy I feel that all child prodigies are born From a Conference soon, we have fivp 3R with had too many of them 1 ^ careers because they were Short appreciated before th ready to be appreciated. tbey Wer It is unfortunate thld e must have parents, for P™dlgie^ many wonderfnl to, been lost on have account of the egotistical parents. f tZudolpL anz They so often exploit ° the their c£S?P Q monetary reasons in mind, with and then LI™*® scrupulous manager who U“' Eminent Virtuoso Pianist and generally finilhef Conductor and the prodigy. he job The juice of the - President of the Chicago out talenttallnftLs Musical College before the fruit is ripe. squeezed Todaj', the standards ‘ of excellencv , mm **'***«* f „ ’ ™ t„e ETtlDE Br , vv< are so distinct Perf0nnanc „,x mmom that a few years in Lp H e It is better ”0t C0Unt to prepare slowly ' for whatftat isto your first initial step. considered U NOW anyone wh0 a is not trying to b TnT?eme atnf some d 0 e h°me Teaching the Child destination? There ’ and ifcs early training. to Arrive D are few" Out o1 the Through 1S1 W6 haVe Musical three (3 > Happiness Th?remafnin°g (?i what greater srjxs brickla er wSi? 6 re a4ively happiness could .mi. „ clerk, x y , the r store successful and the stenopmnho careers if two (2) child a paren4 of them bh^ has learned . whose 10118 ecome g°°d to express him if Each year large - can teachers who cities liL demonstrate aualifvUf t estly, ' through a ’ mod hewYoTranrcm Speech ' musical m 0f yOU derstand proportion and ’ m progress, iLSn 1 Watch m iC St - and see his ^ his SZ highho M° ° 4 4b and “ Plan° playing haiiDv pe fo r r^o - thei/ background : When A iU the big sCl^ accomplished what he ha^ many 4 °wn, for 0”13 101-6 he were ‘‘bi shoJ- i/ffi? than just musical. *” general Stbdied t( S they Thelne remaining To hear him for! The first Ief4 behind, pianist or tenth speak of things fanciful year in thP ft n T (10) The nnli be willingness tangible - second y frui4ful -‘ but to achieve year may reveal the the desire ^ ^ thh Jf re of those 5° bec°me in a large 6 °ther musicians who can do somethin* one city besTde t hemi^ t" 13 ReaI muslcal inconspicuous 1 h°WeVer petition comes from com- will not be wasted n" all of thn^' , soul '^d °S6 the 0 re r6Sent will rise to speak fragile most gifted from every P to others Sgle stldto^0r music in the country schoQl of and it wfi ho A . “top pupil” " or the **£ who wifi’ turn ~ out to hebe a may come from Los AiwL v Performer. He fk °r He does ’ Kalamazoo. SSJSL-w not have to £“ '' be a tranZ T° e contJnental little ones USe to let his but he can be a local performer; participate in f a district n which or western ’ “idWestern has taken movement artist who will apnTal and ' hold of ^ur Mtion' 3 65 8"* Ple3SUre not aspire to parent should ’ and push be e^PPed to hto chlto d leach monetary tha ' lle wln have T^m resulto from him h.'n? 3 Career the ' CWld having the^hf "* without enjoyment of music ^ to^do ' soAtT* UPAt0 which L w.s be frank, and the teacher to Ught honest He S3y nice talent, ’ Y° U have a ver and you will be ^ y wm be able to T" teacber wba d Co,or perfoTm- orr -AouYou bave public performance a flair for r itself to Wl11 Iend popular shccesl ” fL ^ teacher a certain tamiy add, “to should cer- have culture degree means get to the tA There is n to very hard, haV6 to Work begin ’and • to cuUura - So you Sll . lets hav^^40 4aketoJw teach El™™* like *51 a soldier.” disappointments ^ 1 13111 pnnci Ie terpretation P s of in- to the Chddrenchild/™ . It was Paderewski moment. at the earliest who saidai “Tt .. possible get there; 14 seems so easy but it is w dim ,.\ to arrive, but tay there -” A those who arrivelh™, i few mandingattemtoif means of com - luck are U! b a stroke of good during' perf invariably slowed d ? trast the secret mance ? Is not con- by of nro^.m 1°f steps in. It took somethmg that m3king? 500 000 piantotTto teach the small Why no4 then 100,000 3 Paderewskf child the ene violinists to ’ effects rgetic make a H^ifettife of forte and vivifying *z> a and cellists to make a sood 50,000 Thus s°othlnS blessings Casals a the , of ’ and 3t?f child piano to make leMt 3 million begins a Carusl. singers which 111 4wo worlds, is around us the the one 3rd ° worth-while ne ’ and 1 one which the more ents. Some^'have^ ^7 wonderful tal- d® ‘n arrived^some h "e call our WUhln us a«d which others atU1 inward one w have gone * and broken VCr httle astray I woul/sav^h^d chord, y exercise, scale, that arpeggio , Portion among y the Pro- a ' ten gifted f be ’ sk ‘ o 5 . <;t„I, studied in p ’ and so on should T"\ 4 16 both , I .2 ambition for l career a11 of their from forir lp 3”0 m. 2 2 2 womd be th^ the start ’ thus elim inating 1 marry early. °f 6m wU1 that deadlv en^ f: Now these three have that compromising personalit 1 6 fde f go-between y, mf, ^ 3 ference, *1’ tbat apostle of • of =f=V arrives. DH. hesitation indif- -J RUDOLPH GANZ mn 1—-LJ Any child enority cotn having a cmd?V^ Plexes. may combine distinctly ability to Portray two - a recital. concert , opposite ^ giVe th» ciple expression^h3S »;f Sng^^whi^tedlnf «„ strengt of contrast niastered the prin- C?Kt2f, and is theeraff to appear ’ ™and aPPease « terpretation. °re on the 1 publicly. his desire in m way to in- v humhi ' s the technic b le4, the — HHi ttsttvstSS c * . (\i did disappointed of conquering of =i=— r=F=J ^t=F= -A not that contrast is go on with she self tbe.h « -=*—? i her rst st r— 1'—m— * —£ =flN= 1 expression. ep to V \-f\! * Pleasure cS 1 yes ? worth-while 1 r of entertaining have the anri b you at a PJght, sun and ack and white, day and ^ three children P Where my moon hanli will play a Trio ?’ heath, 8 and I bvZ°by Mozart.” what sadness, life and see that you - I replied riches are Inn have ’ D. C. good living 3 They tained in these This will be y0Ur Wh°le family in their are makinTa command both contrasts! far more sattoSfS can private st^d ^ eternal n»H?re and S supplement today humanity ’ - by than had you m the long run his income f A Pianist forcefuinessness of p . their — ^ continuedUed to bebP PV -f°d . every as values. of vanety 2 ^ exc'ted symphony °hUrCh orga and ever-changing ' 2 2 1 playing.” about your own orcheTa nist, and ", 2 1 ^2 1 jS f >• hJ ; l hp-J T' TaTcy ]L2 m — pianist. Let — — • i?pr us not forgeAhe g00d Job for i / k yr i f ir t I — J . ^ 10 w > m j m 1116^ accompanists. Seld open consider: technical — 9 m m careers ¥ I ness They for achievement. 1 J E ! or because are Evenn^of 1 physicafhandica^s. of ill- neededneeded^? good t, l L/ r — everywhere. by P aying of 16 f— i Performing any ’ y tba4 1 mean the artfeto pattern n* b® he ? same quality 6 or chord like, with tezineVor of acute a of tone wk*? Stability to fes great ,0Tte '• -s it is lack wtSV^T® disdptoi ° - and Viano. It of 48 nan ot £ nd and absolutely corrotl® ear *o main- - t* s °ntinui4y^ | Peed” is of tone. ) : /> a? the T * A 144 , nllt ! . i f pIay n v l _ S v ft F fast - s4udent- • Pew only Many can : is caoHnf ^ = - ^1 4 to their ' i i-l ^ Study speed - M “* STUDY slowly My ad -» r 4=^== y and BXAITS ( Continued, T V > ^ ^ UPE" on Page 168 J Copyright 1946 THE ETUDE by Theodore Presser Co. British Copyright secured MARCH 1947 f.r.y , 3 — — — - -ii . / AIR J- s. BACH This Prom "SUITE No. 3 in D” Arranged by luscious th Henry Levine Icey ^ ° String focviolin is one of ey of C. > Bach’s most loved works. Arranged forgiano, TheeightTnoteVin IhTlefi it appears h« • ^handTaccompaniment h *' are usually played staccato (never“jerky ”) ein the 4 J throughout, and this contra^ beautvof , ti<# WQrj£ Bach fatW tau fat /ohn Sebaftian the violin th « > Tad nehi V* played the Adagio ( Many Etude readers will be fascinated with this piece of musical sentiment, which is essentially pianist ic in every respect. Theveryeffective cl i- max at theend of the middlesection may be madeasdramaticasthe performer’s technic permits. It should be sonorous without any suggestion of “pounding.”F Grade 5. t .| REGINALD MARTIN Andantmo espressivo J = ios & . ^ - r—0 L 1 J* 2rT •; * J -yf 14 E M a :=P— rz J i -0-» ^ m i 1 mi _ - a 2- k _ U — r— • i m X ' a > A- i m E E P -Tirr& J ’ tf* r t y r j T J "j j r ! 1 *r 4 j , 1 * } , L « P w — J2Ar ptjq -? g m 1 - 1 n f— > ? * r p r r TT pr f r p f =F & a tempo ^ 3 Fine -+• ^ ff- m h:J1=^~- * in- .WTT r » 4- - -P T r vf NM=[Mr— W=( f P~N V P » ;IL-tf - ^=±4= -tt-a 9 - I ^ 1 J bf= — kk= Copyright 1946 by Theodore Presser Co. British Copyright secured THE ETUDE MARCH 1947 ' it? SONG OF THE MILL mill wheel The movement of the must always be observed in the background of this composition. The composer has done a fine piece of work here subtle accents in the left hand. Pedal as in indicating' the indicated, and do not permit it to be blurred at any point. Grade 3. * — , a - * —a — REVOLT m RHYTHM WITH APOLOGIES TO RODOLPHE KREUTZER , ’ * benef ‘ Cial t0 students ^ ho have difficulty in forming stable e layed tune and rhythm concepts. It of p wUh gr^aU imTlc c I racy^ r^deT course must ' “ rj ii 2 ^ i 5 4 5 *4 > e—i I -t 13 2 1 2 2 3 2 2 3 1 5 T t-Yt- ,_h_U-fc—rV 9 / wtfe—*— b m ^ H • — >o p # a^-vt-zr ft - ' m rr^ *• is m mm- - J-WJ- ^ 2 -0 | P ^ \\2 1 J. > i — 1 — 1 —1 m 5 1 jfTV • r p 9m m —1 L_ - - r \ r • M. • m —1 m ii *~P r, * ~ L—M LLM — v lb±rE=|=_-j- =1 —«—\>m— L -J—J- - Y - m 1 2 1 9. a T 7 1 S 4 5 — = ..... -(• I tJ- =F=p H ( V Id 17 s - . i ^ - __ I tty J J -f f 1 f j 1 f f — lzJ jTj n = 7* M ImsdM i 1 i M i i i— 1 t 1 > Ped. simile a R 2' 5 f\ ^ 1 ~ 1 " K m -p T) 1 ‘ *T — ^» m p j 1 1 1 1 : : H m , ' m 1 • O j & 7T p _) 1! / 'a - l - ' m - m r • r r). A 3 r « 9 p 1 AM/ 1 L— —1 r p- p 5 : m * ! 1 ^ 1 ^ m — 3 1 • T m £1 m \ M 4V* >• M % J « ! > T(1 # I _ 0 , 3 -j T M ii L_ m + ^/ M p-w 1 _1 i — J * 1 m -- — —— J-' O 5 1 1 > — —— v$h foj J_J_ " HI Wt— J « : rn 1 Y' E-J f i f pt— o " ~ - =r= o O :io ZV—i_L - 1 P* i i i i 5 > 1 3 > = :=E= rfYTr-Fg p 1 -=P=?^* J ! 1-44= ^ * g-M * a 1 1 1j —lS r j «jj-s ~ r. h. — 13 2 1 2 u • J U i » it /i- ^=— b 1 ^ —— 1 — 1 J irJ 1 U* * 70 1 — — — —[rf b- Copyright MCMXLVI by Oliver Ditson pcrr r Company i i i i > 1 iiii i 1 5321 imt International Copyright secured MARCH 1947 151 ENTICEMENT ARGENTINE TAtonr* International Copyright secured THE ETUDE march 1947 153 — — Thismtlem LADY in organdy , °^' U ‘ lDSty ,e 15 80 With grace. exceedingly simple and yet so SARABANDE ANDRE DESTOUCHES fresh that Grade 2-3 it will be welcomed by many. It should be played w j ,1h Primness Ajidante tendrement Arranged by Karl Rissland Tempo yet n i _ Cl * rfi Minuetto (J= i — _ 120 ) s fLV^ORD K =j= E V 1NG VIOLIN j sul D ipoco a pooo R' P I sul A H -+—*fA?=N=i§* P =M=* FI $ ij: ^ 3 4 fc y?oco a y?oco; cresc. f t=t=: PIANO < =f= A- , g m 1# :£• J | 2* 4 -=3=A-^^*=~E==~ 3 — f 1 2\_ 5 3 g 4 — 2 I r * ^ L ya r * con Pcdalc 1 * * rr # g £ / sul A =3*= 4* m w. ii-Fl f j & f * -i to T~V~f 2 * i 2 _i — ?;: II &M~JMsJl 1F-= 1^, J *=£j :L— -1 r . — ML -r r fmm dim ' 4’ * -/§!- > a .. ^ m k. 0 ~m j J--—Ju g=_ - — (9 H m -J— (5^ Pf | d. _ r J. M ^ ~~| f dim. 1 M 1 —--- ^ - m-m - -:=TJ :J lLhp j-h— —• bAl> a ' i~ —J —*-fi—T p p p J * ] J V 1 J °Pyiig)it MCMXXIX by Oliver Ditson Company International Copyright secured march 1917 155 THOUGHTS OP SPRING Words and Music h, EDNA EARLE DU^, 1. How can I ev-er bear the spring 2. How can I When ev - ’ry green ev-er bear the spring and ev ry I When each day’b a tempo love - li- ness will f tk g p & s SI .Mp p Pflir m pt V mg thing Will speak; , of you? The ros-es you but tend-ed yes - ter-day, And know that youll not pass a - gain this way. y bring The thought of you? II |k<: A5f- 1 SS^i * 1 f Hit Ffftf P w T n J J J PE -o- I I Copyright MCMXLVI by Oliver Ditsom Company International Copyright secured MARCH 1947 157 THE ETUDE = r - m — ^ b — * ( S\v: Strings ft' Gt- Solo Stoj) SQNG I OF THE GOOD SHEPHERD Ped: Ifi'toSw. — (INTRODUCING ME") 1 “DOMINUS REGIT & 5t ^ f Hu turnout/ Organ Registration And so through .all the length of days m Gt. (to) 00 0 754B too Thy goodness faileth never; Sw. i ® (11) OH SHOO 000 Good Shepherd, may I sing Thy praise reduce Su\@ -m. A P M' (to) to 79 f 5 201 Within Thy house forever! He n rg W Bake te- ROL AMD " t- Andante espressivo DIGglj; f r r r ,r L £ m Sw. © MANUALS < — 1"L— '<<(. 42 V Peel, staccato -4 A J » j • r- J . ..^1= j Jj i < H* 1 ' - — r i t r--i- r f cjr \J ^ m m 3 1 £ 4==i n PT j ^ "^rr ; • i l .« i r~ T~^ / .. m_ ^ m ^ 9^ / r • j o D m * fi. _ • w _ c — j « * 1 9 nf l Te\ # —a— — ’ m Z _» _ A X - 2 m. A. r I.Lp 1 A~ nm A r p_—A— —J i w i a — * '\ 1 J-^-H r ' — 1 r J Gt.@ ) r S^ v'®^ — ~ r _ a - m ^ .*tr -vV * pz r m / — — — m 1 1 JTTs • 0 J p LI j j \ ^4 — 0 J — 1 J 1 v = -Fp—~d 1 — f — / 1 1 ^ * \J- J — d a—i ^ r r _p — m I m H Z ^ — ^ -* j 4f»y r — j L 1 I rr^trli 1 ipiiN^ 1 — ^ 1 —--g? J 3^4 £T*rf=^^ ^pjfr dim. -w=w---Z==$^=^ :: —1 -f==f H=====^===^ ^:*3Epgl • • Copyright 1946 bv Then,lm secured British Copyright March THE ETUDE 1947 159 I ~ — v — . — - IN THE CROSS OF CHRIST I GLORY ITHAMAR IN THE CROSS OF I SECONDO CONREY CHRIST GLORY Arr. by Clarence Andante con moto Kohl man « 5 r L___ 4 t 5 2 5 5 i 3 4 2 3 1 3^^ 3 i i i « i * i i*P-1 1 14i 1 1 till -i "L * m — - r- *- • a • / ~JL fit • m ^ *Lft _ H . _ w w — ... 11 — ^ w 1 AW ^ PH-H H— r l r — 0 J M m i® — -Z-- - L"" ±-d— h- i= -H--— =f=: 4=* f— : — t. i— % i i l— //^-— m £ * i£ S rj 1<2 ' vf — _£< * V iS -i ' ^ * Xffi p " r : 1 1 T=f J 8 the studs — l/xlli ViJ Grade 1. 1 VyiVlxiilxi. VV Jlx THE WINDING RIVER BRUCE Grade 2. Stealthily (J = i20 ) Carletq •u BENTLEY flowing(J-z BERENICE BENSON 3 2 1 5 3 Smoothly about loo) l -6h r -w) ^ — . rJ i ^— prru• " - • m J ' ^ f J » J J » • - j» p 0 0 by, i g r —(•— -f-f—f 0 I- —— 1 l H — H l Copyright MCMXLVI by Oliver Ditson Company International Copyright secured MARCH 1947 163 — Pianist’s Page ( Continued from Page 136) without confidence a few some easy sight reading, a “popular song” lovinelay“ only P * wh0 despaired of everplay- or sentimental radio tune, simple im- ago. years nQW perf0rm authorita- provising, and so forth. irnpor- ’ what is more m r .n well, and tive‘y become happy, well adjusted have 5. Genius VUS/CAL ta beings who in their turn ant human H to hundreds of Someone has, alas, debunkea the fa- Spreading the gospel miliar definition of genius by stating that young people. other the “infinite capacity for taking pains” is a contradiction. If you take pains you Tension 4. "Exam" are straining yourself, but if you have complain of the tension infinite capacity, nothing can be a strain when students examination to you. . . . J? under at school Hm-m! . . . That’s probably ^ can that their music right! . . . ZL tell them relaxation and rest at these And as to our convenient escape-word, rive them added tension. Advise “Inspiration,” let’s not forget that it ODUCTIOA/ Sods instead of off” a little while several never occurs except as the reward of SSL to “knock from their exam-cramming strenuous work. (AUSICA^ limes a day piano; assure them that they n bo to the refreshed to their studying, vvUl return 6. Young Man's Credo twice as quickly and A able to “cram" Many persons have asked me to print PATRICK surely | mathe- the “credo” sent me during the war by Why do so many doctors, PAUL CARSON study music a young twenty year old soldier friend maticians, and scientists to relieve their mind’s from the wilds of New Guinea. Here it is: MUSICAL THEME OF THE RADIO PRODUCT/ON seriously if not " concentrated problems “I don't know it all, but I know a little ONE strain from the ...... MAN 'S FAMILY" . Impress this enough to learn more; and I can’t help which they must face? . . but feel that the eternal quest after on your students. times. knowledge and understanding is the only Treat them lightly at “exam” Portrait of a worthwhile calling in life. . . . That’s my Do not require memorization or con- for religion; and as a religion determines the centrated technic, make no demands course of a willful existence, so shall that PIANO’S ANCESTOR perfection or finish During these days No. *7477 Tvincf Vio frw fun nnrl relaxa- attitude become the inspiration of my life.” OF MYSTERY SONG What's the Name, Please? Early ancestor of the piano was the Monochord, a key- running over a Uj Wifiiam less instrument "consisting of a string long, narrow calibrated sound-box”. Pitch of tone was N LISTING compositions for recital one Brahms, one Chopin, and one De- determined by placing a bridge at the points of calibration. programs why not give the first name bussy, there are other names in music composer as well as his family which seem to occur again and again. I of the Originally used to give pitch, the Monochord became a the of name? I have two names, so probably do Some of these names, and number be called playing instrument about the 12th Century. First evidence you, and so in all probability do most of people possessing them who can our pupils. It will make the composers of to mind off-hand, are: of it with multiple strings dates from the 14th Century. least the recital pieces seem much more real Bach At 5 sequence of improvement to multiple strings led and close to the audience if they are listed Handel or Handl 2 The by 2 Copyright mi by their complete names. Mozart in turn to the evolution of a keyboard to make playing One of is to make Puccini S our important duties easier. The Clavichord, originally also called a Monochord, students realize that music is written by Haydn 2 was a natural development. real, live, flesh-and-blood people, not Schubert (not including Shobert and mythical, legendary beings. The posses- Schuberth) 3 LULLABY sion of both a “first” and a “last” name Schumann or Schuman 4 3 OF IKE makes anyone seem close, real, down-to- Mendelssohn Even in a modern piano like the Jesse REDWOODS earth. Wagner 4 French, improvements contribute least 3 PAUL Socrates had just one name, it is true, Couperin At CARSON piano solo to fine musical qualities and beauty. Andanli and so apparently Nebuchadnezzar, Franck or Frank . did You’ll appreciate this when you sit Tutankhamen, and Moses, but we must Strauss or Straus at the keyboard of a Jesse French not place music in the remote antiquity Arne . . .just as you’ll appreciate the fine which these great names suggest. There Gabrielli furniture styling given it by famed are probably people in this world who Martini is a piano you can think that Beethoven lived about the Giordani or Giordano At least 3 Alfons Bach. Here time the Pyramids were built; such a Scarlatti 3 recommend without hesitation, notion can be prevented at the source Nevin 4 secure in the knowledge it will attract + 27698 or 4 quickly pupil . . give parents long destroyed if already formed Rogers or Rodgers the . —by simply giving the man his full name. Griffes or Griffis 2 lasting pride of ownership. It more) 4 PUBLISHED makes him seem more of a “regular Williams (or THOMAS PELUSO fellow.” Therefore on a program of a Thompson or Thomson (perhaps more) 9 " student’s 4 MUSICAL THEME OF THE FROM "HANSEL recital it is often advisable to Rubinstein RADIO PRODUCTION AND CRLTEL BY HUMPERDINCK follow "THOMAS ANTHONY and ORCHESTRA" the name of the composer with the Stamitz 3 date the fig- PIANO SOLO rzx> ay WILLIAM J REDDICK of his birth and of his death, thus This list could be prolonged, or .50 THEODORE Camille Saint-Saens (1835-1921). ures enlarged, by use of reference books. Andante espressivo ^ere are “Grove’s Dictionary” at random (cn . more practical reasons than Opening • hese— composers PRESSER reasons that pertain to the best disclosed a page listing six educated Schmitt, just of us. in the case of a little- named Schmid, Schmidt, or CO. nown composer, merely mentioning his as an example. st name is remember that Solfeggietto, The . , hardly better than not Please 1712 Chestnut Si. TK»odo»« P> t?4*6 aentifying Eagle, and Oh him at all. The full name in- Bee, Under the Double PH1LA. 1, PA. Copyright 19*5 by Thiodore Pi oduces not written by him; the last name alone is Worship the King were DIVISION OF H. Sc A. SELMER, INC., ELKHART, INDIANA ^ a name and nothing more, Bach, Schubert, Wagner, and Haydn re- . Th Cre lesser who hap- wMwSwS st, dl a better reason. Although spectively, but by men thore names. THIS IS THE FIRST OF A SERIES ON THE EVOLUTION OF THE PIANO seerns to be only one Beethoven, pened to possess these famous ETUDE 165 THE march, 1947 "MUSIC STUDY EXALTS LIFE’’ —A . masculine-like “break” and resultant Chest Support quality of tone. Voice Questions And now the final thought. It may be “the taken for granted that in the day of in Singing ever CENTURY greatest singers the world has known,” a full expansion of the ribs was (.Continued from Page 135) the a second order of the day, for, since DR. NICHOLAS DDU.TY resonance of the chest was used to rein- -AmwerJLy to it, and because of an instinctive fall- the resonance of the head, expan- hence force ing into the line of least resistance, permitted the lungs also sion of the chest For longer than many of you con remember greater freedom and ease. increasing the our questions will be answered in THE ETUDE unless accompanied by the full name to expand, thus greatly easy pieces have been Mo (ONE PIANO-^Of teachers' pets. initials, IffNDS) teacher No child the inquirer. Only or pseudonym given, will be published. The writer knew an Italian sounding air in the lungs to and address of amount of gets bored when gay, sprightly pieces who, when the pupils tone showed signs like thes varied reinforce that head resonance. ore your selection—in CENTURY A selection of interesting ar- EDITION—ot of strain, exclaim “No vowel! No 20c' would we should see to it that, a copy. rangements which will add to the Therefore vowel!” and immediately and instinctively singing, standing, sitting or 3750 Bamboo Grove, Am-1 pleasure of duet playing. a copy. whether 20£ the pupil would change from “ah" to “u.” Throa. erb, "You can drive a horse to water but you walking, the chest is elevated, and the 3589 Busy Little Clock, F-l She Gargle Her Arnold Should cannot make him drink.” If she makes up her 3738 Anitra's Dance, Am-4 Grieg All three exercises are to be sung first Captain Jim, Times Every Day? shoulders back and down. 3045 F-l or Four mind that Hopkins T whether the habit of she will only sing in English and 3503 Aragonaise, G-3 Massenet staccato staccato- Going to wondering and then legato; the 3691 Market, C-3 » o!ll am before no other audience than times daily with salt water the people of 2988 Black Hawk Waltz, Eb-3 Walsh 3684 Here We Go, C-1 -otiva several song tones to be struck downward to the 9 throat in- her own church, neither you nor any other ••••....Porter bicarbonate of soda to ward off 3124 Country Gardens, F-3 Traditional 3134 In Gay Costume, G-2 A person can make her do so. What good could chest, and the legato-sung tones to follow Crosb in the long run to the stng- 3085 The Dancers, G-2 Greenwald (oetinn is injurious a psychiatrist 3537 Old Time Barn Dance, G-2 that G. S. K. do? Until of her own volition, exactly in their footsteps. Recognition for Army, Proehl you answer one?— 3078 Elizabeth Waltz, ing voice. Can she makes up her mind to take your advice, C-1 Martin 3117 Out on the Ocean, C-2 The staccato sing- Hopkins 2933 First Rose of Spring, C-1 Hopkins tone resultant from to study hard and to submit herself to the 3524 Paper Boots, C-1 cavities of Scormolin membranes that line the usual normal training 3504 General Grant's March, F-3 Moc/c ing is the most lofty and purest tone pro- and Marine A —The of a singer, you cannot Navy, 3756 Ping Pong, F-l head and nose, that cover the ducible. Sterner the mouth, hope to do much for her. However, do not 3739 Hungarian Dance No. 5, Gm-4 Brahms Also it is the only tone that can- and extend down 3443 The Postman, C-2 Slate-pharyngeal muscles lose hope. It is not so unusual for a sensitive, 923 Intermezzo, Cavalleria, F-4 Mascagni not be produced under force, and hence, jeQf) Not only Musicians 3377 Prancing Clown, C-2 PT, +h e larynx are very sensitive. highly strung, shy girl to suddenly see the 935 Little Fairy Heaps March, G-2 Sfreabbog it is the only is in subject to microbie infection, but tone that produced 3144 Singing in the Glen, C-2 „‘ “Je they light, to return to normality, and grow into a 1827 March, Prophete, D-3 Meyerbeer Page 128) Armo conditions affect them accordance with the construction of the (Continued from 3459 When many other abnormal fine, strong, well controlled and cultivated My Birthday Comes, C-1 of temper- 1840 March Militaire. D-3 Schubert Richter disadvantageous^. Sudden changes woman. Let us hope that she will do so very individual vocal apparatus. Therefore, in 3521 Wild Blossoms, D-2. . over eating, over 2987 March of the Boy Scouts, C-1 Martin which are usually associated with Quincke ature too much smoking, soon. starting with staccato-sung tones and alcoholic drinks, dissipation, and 3499 Merry Widow Waltz, F-2 Lehar the requisite qualifications for com- ESSENTIAL TECHNICAL indulgence in planting MATERIAL of sleep, and quite a few the tegrato-sung tones in their ts consequent lack Ail F.xtraordinary Case of Dad Breathing 3500 Old Moss Covered Church, C-2. . .Hopkins 3726 Arpeggios, missioned status, and Triads & 7th Chords Abrams upset the entire mucous sys- footsteps, we are producing and sustain- other things may Q.—I come from a musical family and I 3505 Poem, C-3 Fibich 382 Scales and Chords you have any- 5. WHEREAS, The present rank of Czerny suggest that if you find until took 941 ing a truly is tem We sang all my life I was forty. Then I Poet and Peasant Overture, D-4 Suppe natural tone. But there 1312 Scales and Chords your throat, nose, ton- Army band leaders, that of Warrant Kohler thing the matter with some lessons from a teacher in New York. To 3740 Polonaise Militaire, AS Chopin something else. When directing tone 3637 Scales In Double Notes sinuses, you should consult a Officers, places them in an inferior (Thirds) Abrams sils, or your the surprise of everyone, in three months' time 1929 Priests’ March, Athalia, F-4. .Mendelssohn something of the anato- downward to the chest, the lighter reso- 3638 Scales In Double Noles (Sixths) physician who knows I was singing difficult arias. About five months position to doctors, lawyers, dentists, Abrams organs and ask 1983 Rosamund, Ballet Music, G-3 Schubert and hygiene of the vocal teacher in Hollywood, with an master pianist nance of the Schmitt's Five later a famous of head must not be dominated 1207 Finger Exercises, Pt. my choice 1 the meantime 3502 Skaters' Waltz, C-2 Waldteufel veterinarians, financial, welfare, and him to prescribe for you. In excellent clinical ear heard me sing. He told by the heavier resonance of the chest. A 1208 Schmitt’s Five Finger Exercises, Pt. 2 T carefully, get plenty of 3741 Song of India, G-4 Rimsky-Korsakoff recreational personnel, all of the watch your health voice was well placed but that I had 3728 Staccato, A me my natural smile is sufficient protection Technical Discussion. .. .Abrams and do not put anything 945 Spanish Dance No. I, C-4 MoszkowskI exercise and sleep, no support. One month after that my breath foregoing having commissioned sta- 2379 Virtuoso against this, but we are not sure that the Pianist, Pt. 1 Hanon-Burdick 3507 Tales from the Vienna Woods, C-3. .Strauss disappeared, that is, I could not let it out CLAUDIO ARRAU tus with promotional opportunities, 2380 Virtuoso Pianist, Pt. smile 2 Hanon-Burdick I breath and hold, but as 3742 Two Guitars, Dm-4 arr. James will be natural. Therefore, to make gradually. would in some instances to Major General, soon as the tone started, my breath would all 3743 Waltz of the Flowers, D-4 Tschaikowsky doubly sure, the lofty and pure quality and Has Three Different Kinds of Pupils rush out at once. If I walk fast for about fif- 949 Zampa Overture, D-S Herold of the staccato - should She sung tone be well voice three teen minutes and become “winded” I can sing 6. WHEREAS, Such inferior position Ask your dealer for Century Music. If he cannot Q._/ have been a teacher of for impressed upon before singing I to need ex- Ask your dealer for Century music. If the mind supply still continuing my study and afterwards without effort. seem he for Army band leaders is incon- you, send your order direct to us. Our com- years and I am the exercises legato. believe in the ercise to expand the chest and push up the cannot supply you, send your order direct plete catalog listing over 3800 coaching. My teacher does not sistent with the relative position of numbers is FREE for the voice. She says ribs. Also if I vocalize for twenty minutes to us. Our complete catalog listing over on request. use of exercise books Coming from Chile to America, Claudio similarly qualified leaders in civilian results can be accomplished with the while holding up the chest I can sing. Also if 3800 numbers is FREE on request. the same interest to the it is raining I can sing without preparation. I as The Subconscious Mind Aids life with the other professions, and use of proper songs, with more Arrau was hailed virtually overnight on a mezzo soprano with a range from G be- CENTURY MUSIC pupil. Will you please give me your views am PUBLISHING CO. But, if the mind cannot be fixed on two 7. WHEREAS, Such discrimination in higher. greatest sensations in the CENTURY MUSIC PUBLISHING CO. subject? low Middle-C to two octaves one of the 47 West 63rd Street, New York 23, N. Y. this different things at the same time, how career opportunities will deprive the 47 West thirteen-year-old girl —M. H. MacG. 63rd Street New York 23, N. Y. 2—1 have just started a pianistic world. Under the inspiration can the lofty, pure quality Peace Time Army of the very type unusual voice for a child. of the stac- ( soprano ) with an Breathing is a natural function, a proc- cato-sung tone be kept in mind while of American musicians who could What songs or studies would you recommend A.— of the Baldwin, the technique of his has sung exercises only. ess designed to supply the lungs with enough directing the impress upon the people for her? So far she /fufUMdccment / tone downward to the chest? of occupied life and health and to perform 3—1 have a twenty-year-old soprano studying air to support performance is phenomenal. Ideas connected with territories overeas, the high cultural actions of our daily life in- things of great for church singing. I wanted to give her some all the necessary attainment Music Readiness Program and song. You seemed to have value to us are most readily and quickly of our nation, and work in Italian to improve her vowels and cluding speech ’Of the Baldwin’s share in this, Arrau ALL PIANISTS! anything no trouble with your breathing when you impressed 8. WHEREAS, The inferior position By Sister M. Xaveria, O.S.F., Mus. M. enunciation, but she refuses to sing upon, and stored away in the of from York for but English. Would you force the issue? She studied under the teacher New says, "The Baldwin is today’s great the band leaders of to From CAVANAUGH PIANO subconscious mind. Therefore, since in the United States The MUSIC READINESS PROGRAM is intended psychiatrist's your arias so easily and well, that SCHOOLS: build up musical concepts and experiences necessary is a very odd girl who needs a you sang We now have a Limited Reprint Supply of our Army has become to ideas implied in friends. Also you were responsive singing, pure tone is of the greatest value a matter of na- comprehend the many abstract help as well as that of a singing teacher. She you surprised your piano. The action is so evenly PIANO INSTRUCTION BOOKS. Due to the still the study of music, and to develop fundamental play- tional concern ing the simplest told that your voice was well placed. Appar- acute paper shortage, and, in the present case, the preservation and an intolerable and reading habits. is so self conscious and afraid of no more reprints will be criti- it seems part of the artist. From bass to things; does not want her own sister to hear ently you must have misunderstood the available this year. of a lofty quality of tone while directing situation, • My Music Picture Book.. 60c her cism of your Hollywood acquaintance, for the BE IT, • My Music Color Book 65c her sing, though she is responsible for treble the scale is completely balanced, downward to the chest is essential to THEREFORE, RESOLVED, That practice it is un- HURRY! HURRY!! HURRY!!! the • My Music Letter Book. . .60c taking lessons. Says she knows she can never act of breathing as you now ( Orders shipped same day as received) 1. Appropriate action Book....75c complicated and all end in view, the lofty quality of the stac- be taken forth- • My Music Note face the public except in her church to which natural, effortful, and and the tone is of singing beauty and You now can own Cavanaugh’s finest • Musle and Guide Book.. 80c Return to the old simple, natural cato-sung tone is readily and quickly im- with by the Congress and the Presi- she is fanatically attached. Any help you can together bad. PROFESSIONAL is do it. make PIANO PLAYING INSTRUCTION BOOK The MUSIC READINESS PROGRAM give me will be greatly appreciated.—L. H. O. manner of breathing, as you. used to amazing color. These combine to pressed upon and finally established in dent of the United States to create (Exclusively Popular Music)— 100 Pages of up-to- adapted to various ape levels. Most children Practice your voice carefully every day, exer- the-minute Piano Styles. Learn to build up songs the commissioned status at the age of six nine years may be con- which is my favorite beyond subconscious mind, while the con- for all band to cise in the open air, watch your diet, so that a piano with Chords — Basses — Fill-ins — Modulations — leaders sidered "pre-schoolers” in the study of mu- A.—1—Of course these things are matters of scious mind is busily engaged of The United States Army, you do not get too heavy in weight, and we Breaks—Intros—Endings and 1001 Modern Ideas in directing sic, especially in instrumental music. MUSIC opinion. It is difficult for us to understand how comparison.” The Army of pupils believe that your voice will soon regain its FOR THE BEGINNER-MEDIUM -ADVANCED PIANIST the tone downward to the chest. And so, the United States, the READINESS is as essential to these a voice can be trained, without the use of and ease of production. A GOLD MINE National Guard as it is to the younger beginner. scales, arpeggios, vocalises sung upon beauty OF MATERIAL! through starting with staccato-sung tones and The Army Re- and Baldwin and Baldwin-built Pianos are JAZZ-SWING -SWEET-SYNCOPATION-JUMP- serve. vowel sounds alone. When the voice has been and planting the legato-sung tones in Circular on request Above HigH-C but PROFESSIONAL-BOOGIE-all these in 1 Big Book. sufficiently developed, consonants should be She Sings F available to teachers and ter 2. Commissioned increasingly Be aMas Arranger and Stylist—EXTRA : You re- their footsteps, status Mezzo neither the lighter reso- for Army band added, first an initial consonant and then a Still Calls Herself a ceive a Booklet containing 45 lesson assignments. Published by THE SERAPHIC PRESS voice with a nance of the head nor the leaders shall have rank terminal the pupil will —I have a mezzo soprano pupils as the perfect medium for en- This material is that which is used in Cavanaugh deeper, fuller not lower consonant. In time q 1501 So. Layton Blvd., Milwaukee 4, Wis. B below Middle-C to F above high- Schools by their Instructors. These lesson assign- resonance of the chest predominates, than First Lieutenants with pro- achieve sufficient control to be given some sim- range from and I sing contralto very well. couragement and success. Your Baldwin ments will guide you throughout the large Instruc- motional ple songs but only gradually should she be C. It is strong and tion Book—Easy finally “natural or chest-voice" and “arti- opportunities based or F but I cannot sus- and so much fun you'll marvel at on given the more difficult ones. Finally she I can reach high E-flat the results. length sus- dealer has set one aside so you can hear ficial head of service and , TRAIN the breathing power to or voice" become united and responsibilities. should study the classic songs and operatic tain it. I have not BE notes. Why is this? My tones are ab- OUR GUEST! (This offer for U.S.only) equalized. and oratorio arias. If these things are done in tain ihe and play it any time you like. Let him Yes, for 4 Days — order — I could only sustain the high our Book Look it over— Having the proper order and selected with skill, she solutely true, if Examine It —-Test it Out—We’ll guarantee you’ll established this equalization, it soloist.—H. E. W. should by this time be a good singer, if she notes. I am a church tell you when and how you can own a never part with it. You also receive an 88 Piano is as far as the two registers of “the has a voice has Keyboard Chart showing all the keys on the piano LEARN PIANO TUNING to begin with, and if she AT HOME (Results GUARANTEED! essential thing for you to do, Baldwin. and where to play them (This is for greatest singers the world done her share of hard, serious practice, and A.—The most BeginnersX has ever We build, strengthen the vocal organ*— 6Cl . WITH OUR NEW so“ get in touch with the most PATENTED not with singing lessons—but by JL. s, clear immediately, is to 1 TONOMETER j se unbiased thinking. This Is what you receive from Cavanaughs: — known” can take us. The new position and voc*ie* of 'UiMW entlflcally correct silent e tlon teacher you can find. Have 100 Page Professional Piano Playing Instruction *nd absolutely guarantee complete satisi£ 2—Answer number one equally to your famous singing C 1 1 fl , u applies t e C 1 tU with . Sent to the larynx, and the vocal bands, nln8: lnstr«“ent. Sirn- "rite for Voice Book. FREE. examine your voice and deter- Book. 2—Our Booklet of 45 Lesson Assignments. have plifle| ?i t one thirteen-year-old that carefully le a rnin B i^rn . careful him ellmmates «"•“»“*. under 17 y»*rs old unleva aimed bv parent- soprano. Be most 3—The 88 Keyboard Indicator. as- Chie*0» whether you are contralto or done all that normally can be done to sures accuracl: PCRfECT VOICE STUDIOS. SluN.o 55BC, Eatoll toll Bldg., you do not try to develop her voice too quick- mine for you, to sing ly. She It may be dangerous for you ONE PRICE—$10.00 COMPLETE give depth and fullness to low tone. is only a child after all and the songs soprano. We teach precision tones, especially as they seem After 4 days, if you are not completely satisfied, tuning, action regulating you give her should not be too difficult for her all those high return If the vocal apparatus is voicing and fine repairing full of effort. the Book and get your money back. constructed in one practical young larynx, nor for her to be so insecure and so aI d c too complicated for deep, y °m Plcte correspondence that bad breathing is the How to order: Mail check, P.M.O. or Bank Draft. full tone, that tone will come !!r! t l course A budding intelligence. If she has even a smat- 2—It is doubtful ° f pian roy ° We will hold deposit while you examine the Book. *«««• exists today tering of the insecurity of your high tones. naturally. If the vocal HereiffSh3 1 Italian you might give her a few of cause of apparatus is not so P g U C 0 d Dej>£ Cavanaugh Books are packed special, postpaid tw'oVr 'y AIter UNWANTED HAIR the early would seem to us that you are sing- thrTe Italian Rather it constructed, then, to satisfy moX ou c an begfn1o songs because in the Italian and insured anywhere in the World. ACT NOW! preference relief lit en« range of your voice and eStabliShed Temporary language, vowels are so pure and the con- ing beyond the natural TODAY 1 1 We have only 100 Books to sell. for * Sen3 Only by KILLING THE HAffilr h*a *-on* tones are ab- such tone we shall have to unwanted h*tr . . sonants cords rebel. If your fftal&totn resort you your uC so vocal to Sew be sure Method-useu few. We wish you every success your Write Mack Starm, Dept. E FOREVER. The Mahler with you say, you must have some- Garcia’s sensational use of cessfuily all over the world for in her. solutely true as “chest-voice” to no COMPANY, CINCINNATI years—positively enables you ^lef with, so you should be encour- THE BALDWIN PIANO CAVANAUGH PIANO SCHOOLS NILES BRYANT It bnnK& twenty-year-old thing to start with its inartistic home. . soprano is a problem result, and to SCHOOL the privacy of your u _ Garcia’s • e and social happiness long fr,trated ndeed. AUo makerj HAMILTON and HOWARD PIANOS 475 Fifth Ave. New York 17. N. V, P.O. Box 5565 for 9, We might remind you of the old prov- aged. of ACROSONIC, son’s “third register” with its Washington Send 6c in stamps TODAY pronounced 16, D. C. booklet, “New Charm for Madame. MAHLER S. Pwwidencgt-gfJto^o f. , 166 Peot. 107C. e~ "MUSIC STUDY EXALTS LIFE” 16 7 "MUSIC STUDY EXALTS LIFE” March, 1947 THE ETUDE ” — ? thoughts to communicate, he will quite6 simply communicate them, The Technique of Arriving if he doe not—then the fault will be, not that of TWO VALUABLE (Continued from Page 144) copying a teacher, but of having nothin^° of his own to say! Organ and Choir of Questions then, with the same distinct quality “And, of course, the student should double the speed of the exercise. tone hear as much good music, of all kinds unless this as Nothing will be accomplished he possibly can. He should play accomplished in chamber speeding-up hjis been works. He should concentrate on the in- both forte and piano. wardly perceptive expression of gr FREDERICK again in the direc- ea t .Answered L>f PHILLIPS The next conquest is artists, finding out, not how they sav tion of expression. Rise and fall are first things, but what they have to say. YOU SHOULD HAVE! They demand a There cousins to loud and soft. are specific cures for technical weakness- From my youth I have been enthusiastic in imitating pipe organ tones. great deal of attention. To be able to play o child there is no single remedy for lack musical concerts, but being a of a starting piano of nhniit advantages a two octave scale upward, ? home I have not had the Q. In a recent issue of The Etude there is musicality. Simply, the person—the hu- lL the tone to paternal love. I know the love a composition for organ, Hallelujah, Handel. and gradually increasing man equation—of the student, nor discipline of by mast be mother. For twelve years I Kindly tell me the meaning the following forte, ending or beginning with forte and and sacrifice of my of built up and rounded out to the cheerfully served my church as which are under the title: last note point willingly and decreasing the tone to the pianist, helping wherever (10 where he can think and make music. listing organist and A# ) 23-8888-A20 played piano, is another achievement. possible, only to find myself the B (11) 13-8888-321, and Whenever and so forth church organist and I Play that scale in three different speeds Have or victim of our have noticed similar numbers in 'former's electing officers for the year, our book of organ selections, and have often with the same and then with the in- ‘Cello Literature choir When won- assistant but added an- dered what they choir did not elect an meant —K. C. verted dynamic scheme, and you will find “Finally, there is yet advise working for a another problem' other organist. Do you yourself on the way to interesting results to prepare for a better position? A. The numbers in question refer to reg- for the young ’cellist, and that is n A Degree For PARENTS the teach in a con- of interpretation. 1 have the ability to istration indicated for the Hammond organ, question of what he shall play. It r feel that troubles advise me how to save my which is quite different in set-up from the reg- A 2-color book of If all teachers were conscientious to servatory. Please me greatly when I hear that the circles. ular pictures and text ’cello being victimized in music Do pipe organ. The A# and B are the “pre- the point of insisting upon correct read- son from literature is ‘small,’ and therefore advise me to prepare to teach public school set” keys for the two manuals, and the num- showing the advan- hack- Vyou ing of the text, both as to notes and as . « r l « Innnhov’v riinlniTM. fOT T)iflTlO. bers are suggestions for the harmonic draw tages instrumental neyed. Actually, in the last four years, to dynamics other indications of the bars. As so many Hammond organs are in use, music training can and more valuable ’cello works have been publishers of organ music now show suggested composer, life would be easier for all of give your child now composed than in the preceding registrations century The disappointments such as you mention for both the regular pipe organ and in later life. us, and the creators of the master works A. and a half! I cite the Sonata advice is, and the Hammond instrument. tMOTiOHM. and Con- are of course discouraging, but our could rest in peace. No correct interpre- do not let it certo of Samuel Barber; Concerto and do not take it too seriously, and (OUTH tation is possible without you have a good Q. I am a church organist. About two years correct reading. Variations by Hindemith; “get you down.” Apparently two Concert! study, ago a lovely new chapel was built in our local- I personally consider the lack of discipline and piano foundation, and certainly further two Sonatas by Martinu: Concerto by Degree, or preparation to ity, in which was piaced a organ (elec- in the either for the B. A. approach to first study on the part Prokofieff; tric), with the thought of later adding pipes. Concerto by Mjaskowsky; teach music in the schools, is well worth while. of the average student a real drawback can obtain a This organ, as most electric cabinets, has a Sonata by Shostakovich; Concerto and In the meantime probably you in the popularization church, which tendency to be gruff in the bass, when heavy of good music. In- Fantasie by Villa-Lobos; position as organist in another Concerto and opportunities for or full organ is used. As this is a new ex- difference is the foe of clarity of purpose will give you experience and Sonata by Guarnieri perience to me, having used pipe organs —and many more. practice. If your son is musically inclined we and of performance. wherever 1 have played previously, I would The works are there—but see what hap- should not hesitate at all to give him the best Yes, a very few pianists arrive appreciate a little help in the way of litera- at the pens to them! In possible in the way of musical education. Our preparing concert ture this particular organ. We have Swell top and stay there, and some, including experience has been that for the most part for schedules, managers send out, each year, Great keyboards as well as foot pedals. lot. and one un- and charm to any dicor. . styling prodigies, arrive and slip back into ob- musicians are a pretty good Photography: Heiser The Contemporary . . refined modern that adds the lull repertoires of their artists to the should not “sour” your When soft organ is played it is fairly satis- * ~ livion; but fortunate experience -t‘ -v-'- many have the chance to factory; others have expressed themselves K local managers who select what is outlook on the profession in general. to be not arrive at happiness and joy, a good life, the same way. It is my thought that we do performed in their communities. When its and a good living, understand this particular organ and me- by pursuing and then Q. Where may I secure information regard- . 4/^/c frei^i/na/ice these vital and excellent Since our chapel is often open to an . , a/wa^-j asic/ new works are Atlantic chanics. accepting the opportunities that ing the organ in the Convention Hall , come included among the audience of 1,000 or 1,200 people, the full organ their works of standard City, New Jersey? Also concerning other large way. is needed very much.—O. B. repertoire, the local managers generally organs, and theater organs.—C. G. S. Confucius many thousands of years select the standard works—Schumann, For YOUTH ago said, “If there were more A. We know of no literature which would music in Haydn, A. Information of this sort is not. to the best the Dvorak, which, of course, are help in a case of this sort, unless the manu- the magnificent world, there would be more politeness of our knowledge, contained in any one book, Colorful, profusely magnificent works, but which cannot be facturers themselves have a pamphlet of in- and less war.” but the specifications of many of these large illustrated, packed The power of music is structions. You refer to an “electric” organ, by listened to all the time. Yet. by man- organs have appeared from time to time in with thrilling divine. which we presume you mean a reed organ agerial selection, they are heard all various issues of “The Diapason." Chicago. examples of how the operated by electric power. The writer once Ma westerners on a Mississippi River steamer To his surprise, one burly More About Mazas fellow chal- lenged him to a fight. “I’ll light the from Page 141) ( Continued, strongest man in your party,” said I Ole B CHORUS “I SJijestions M CATALOG quietly. don’t want to fight, Violin It is just as but ou includes second page are complicated. y a wide variety of selections especially suited for Church, leave me no choice.” When the the study appears at the end fellow Festival well that School Events, Clinics and regular programs. BMI will send faults was named and came forward, Ole of the book! One of the commonest with FREE reference copies of any of these choruses at your request. a single blow of his ham-like usually becomes evident in the first hand knocked the bruiser to the Lj measure: The thirty-second note follow- floor. The -Answered HAROLD BERKLEY too rest of the pack backed away. S.A.T.B. S.A. ing the rest is nearly always played When the very many tough guy regained his senses, he know. You may learn more slowly, but I am Cat. No. Cat. No. long. As the figure occurs swore b undying friendship for Francesco certain you learn more thoroughly. Don’t be is required to keep “the strongest genuine 103 Hail Gladdening Light . KASTALSKY Roy times, keen attention ViS“nia'-A 113**The Lilac Tree (Perspicacity). GARTLAN E and pessimistic. Two things are very necessary to fiddle-player I’ve ever ’ valuable instrument, met!” and , • vello is a 104 *0 God Beneath Thy Guiding 120 Let Freedom Ring the rhythm exact. followed successful violin study, —and pa- SCHRAMM Ruggien attention. As you plan to be optimism (20c) Ole from town to town, pummeling t Hand TALLISLoftin 121 The World Is Yours. ...'.. foregoing notes it will be any- deS I would tience. Regarding the vibrato, see if you can .SCHRAMM From the the near future. j r'! YorYnrk CKvl in 105 Cantate Domino 122 Brave widely body who dared to criticize the in New Rudolph Wur- get hold of The Etude for July 1944. In that I New World seen that these Studies furnish violinist you£u take it to The suggest that issue I had an article on the subject which I (Sing Unto the Lord). . . . HASSLER-Terry (A or his playing. street. (2) August Pan-American Song) SCHRAMM diversified material for the development in 1928. I am am sure would be helpful to you. (2) There is 106 In the Valley Below (20c). . . .Manney 123 Mon Petit Mari When Ole gave his first died in New York right- and left-hand technique. concert in San if'Gemunder no “deep, dark trade ability 107 Fearin' of the Judgment Day. of both device you mention, as secret” about the i .SWIFT (My Little Husband) HERNRIED * ffmUiar with the Francisco, the toughs of that robust to distinguish one maker another. It is The needs of the bow arm as a means of city I doubt that it is used from U0**The Lilac Tree hi* invention and well came to jeer but remained to give Semg merely a question of experience, of handling (Perspicacity) GARTLAN-Braine artistic expression are particularly him many violinists. the biggest ovation of by and observing the work of many makers. It 112 Let Freedom Ring care of. It would seem to be im- his career. Before SCHRAMM S.A.B. taken cannot be learned from books. I know of no he left San Francisco Pietro Gormini 1 the citizens Named 15 God Save the People . . GENET-ELLIOTT to study Mazas thor- be- Maker better book in its field than “Violin as possible for a pupil A get Making I have not been able to stowed on Ole a wreath Illinois— it Is” 116 Praise Jehovah (20c) 144 Let Thy Shield III undeveloped of gold set P , Was and by Heron-Alien. You were From oughly and emerge with an with F whatever regarding a maker (Psalm 117, 118) thirty-six pearls. information lucky to get a copy, for it has been out of MOZARTBinder Defend Us WEBER-Springer bow arm, yet very many succeed tri- In the center glittered any The experts I have ^wvl Pietro Gormini. print for a number of years. Incidentally, my 117 . Saviour of the . O World. .GOSS-Ray 146 Silent Night, Holy Night (With the coat of arms of California to think it is a fictitious umphantly in doing so! Can it be that and the to are inclined name is “Berkley,” not “Brinkley”! 118 *The American Song (20c) Unison Sb with the idea Choir) (10c) MOLLER-HOLST initials “O.B.” set with fifty-six inserted into a few violins all of them are careless? Or is it, per- diamonds name This MARTIN-SMITH 163 To A Withered Rose them a somewhat higher value. necessity for a good bow- Ole had his advance agent exhibit of giving Value of Friedrich Glass Violins 124 God, the All Powerful (20c) haps, that the the practice; nowadays, (S.S.A.B.) BANGS-FALK "'J to be a common B. A. T.. South Dakota. Your^sviolin was ing technique has never been brought San Francisco gift in the show windows and dealers are more LWOFF-Walton however, most makers made by Friedrich August Glass, who worked of jewelry stores in all cities of a violin bearing this 125 Sweet Jesus, Guide My Feet. .MEEKER clearly home to them? where he ethical The value in Klingenthal, Germany, between 1840 and be determined by the in- 126 Brave New World S.S.A. was scheduled to play. hSne would have to 1855. The label means only that he endeavored merits of the instrument, since it (A Pan-American Song) .... SCHRAMM dividual to copy a violin made by Stradivarius in 1636. standard market value. could have no Which is very interesting, because Stradivarius 127 Songs of Praise 1 00 O Saviour of the World .... GOSS-Ray Esteemed by Renowned not until about 1644! The violins of GESSLER-MONTGOMERY 101 In the Boat GRIEG-COULTER-Loftin was bom Musicians Appraising a Stradivari** F. A. Glass are worth from fifty dollars to one 102 In the Valley Vials and Hautboys 128 Spirit, . Sweet Comfort Me! (12c) Below (20c). ..Manney California.—It would be im- PERFECTED The fiddler had Mrs J. W. M.. hundred and fifty dollars at most. BRATTON-HERRICK 109**The Lilac Tree (Perspicacity). .GARTLAN a singular talent for description of a gen- possible to give a written 130 Lord, 114 Sunset getting colleagues to sing his enable a layman Now Lettest Thou Thy WALTON ( Continued from Page 139) praises. uine Stradivarius that would A Genuine Stradivarius? 129 Let Freedom Liszt, Chopin, fairly good copy. It designed by Armour and Servant (12c) KING Ring SCHRAMM and Mendelssohn pro- to distinguish it from a G. A. S., British Columbia.—A written de- Special Machines, able to see the 131 133 I Wait Alone of experience to be scription of a violin, particularly one written the Come Now, Neath Jesus' Beside the Sea Accordingly, to make that peculiar nasal claimed his talent to the world. takes years made exclusively for Armour, now split differences in workmanship, quality of by a layman, offers no evidence at all on Cross (12c) Moller-Holst GESSLER-SIMPSON Among his devotees were subtle accurately than tone strong and distinctive, the player Mark Twain, on. which to the expert eye opinion regarding the origin fine quality lamb gut far more 132 Bless the Lord, O My Soul 134 Music When Soft Voices Die varnish, and so which to base an frequently introduced a brass pallet William Dean Howells, and Thackeray! of the master. Hundreds of instrument. The description assures exact (A Cappello) in proclaim the work or value of the ever. This splitting operation GESSLER TAYLOR-SHELLEY about Stradivarius the stem of the reed, against which he Henry Wadsworth Longfellow and Jo- books have been written you send me of your violin could apply to required for 136 I Will Lift Up Mine 1 35 Cradle Song EISLER-BLAKE of the types of gut Eyes Unto great and near-great makers, thousands of others, instruments ranging in separation blew with all aquin Miller wrote and the other the Hills (12c) 140 The Owl JOKL-TENNYSON his might. Straining in this glowing verses about violins better be. ERWIN-Harlow but no one yet has become a judge of value from twenty dollars to $20,000. If you each Armour String - guarantees a 142 way often Ole’s personality 137 Christe Eleison (12c) Lacrimosa (12c) SCHUBERT-Falk caused hemorrhages of the and his music. Ibsen, it the books. One must handle the in- to find out who made your violin and by reading wish in turning finest gut into perfect is If ginning JOSQUIN DES PRES-Bleck 147 A Christmas Song (12c) throat, to prevent which a collar of leath- said, borrowed him as the model for struments, and handle many of them. (2) what it is worth, you must take or send it to appraised. I Strings through rigid quality controL 138 *Hymn of the Soviet Union (10c) CROKER-SCHOFIELD er was worn. Peer Gynt. you wish to have your violin a reputable dealer for appraisal. I think I Armour 148 Twilight would suggest that you take or send it to Mr. should warn you that the probability of it be- Strings is the ALEXANDROV-UNTERMEYER (12c) KING-BLAKE Often, the effects of this style of Thirty-one United States The perfection of Armour play- senators once 5625 Wilshire Blvd.. Los Angeles. a genuine Stradivarius is very remote 141 Laudamus Te PERGOLESI-Falk 157 Two Czecho-Slovak Folk Songs Faris Brown, ing Getting ing were so fell as to cause insanity. This wrote Ole a letter begging him to give a result of six important steps: (1) 143 Sing Unto indeed. the Lord a New Schimmerling quality has been passed down through the ages concert in Washington. John Ericsson, Who ig Carlo Micelll? finest raw materials; (2) Protecting Song FRANCIS 159 Aften Water (Old Scotch Song) Carlo A Different Stradivarius and the laiety of inventor of Dr. H. W. G.. Connecticut.—The name Controll ng 145 Where (20c) every epoch has believed the “Monitor” of Civil War E. D., New York.—I have never heard of a constant refrigeration; (3) Willows Bend (20c) . . «... Strickling by .ELLIOTT Micelll is, I understand, well known in the 149 164 Oh, that all oboists are insane. Personally, fame, designed a piano to maker named Francois Stradivarius. The great Precisio. Kde Su Kravy Moje My Beloved I meet Ole’s ex- violin trade. It is a fictitious name inserted by quality by laboratory tests; (4) a son named Francesco, but he (Slovak Folk-tune) (Caro Bell Idol) think the oboist of a modern acting requirements violins he imported Antonio had (20c) . . Schimmerling MOZART-Falk orchestra, after the violinist a New York jobber in the exclusive Armour would scarcely have put the French form of splitting of gut; (5) An 150 Come My Way, My Truth, 166 The Irishman Lilts (12c) COWELL engaged upon a modern had sunk from Germany and Czechoslovakia. These score, is apt to $15,000 into other experimental his labels. Moreover, only two exact di- different grades; so, his name on Tanning process; (6) Polishing to My Life (12c) WICKLINE 177 April LUBIN be the sanest soul of models. violins were made in the work the entire ensemble. impossible violins are known definitely to be 152 182 O Promise without seeing yours, it would be mension desired. When you specify Armour Ode to America BLEDSOE Me DeKoven-Cain So much for the Even late of Francesco Stradivarius. Without examining two patriarchs of the in life, Ole was ever ready it worth. Instruments of 155 All 189 Jubilate Deo (SSAA) to say how much is made your are getting the best Mah Sins Been Taken Away (12c) orchestra. it personally, no one could say who Strings, you know you Subsequently, we shall scan for a good stunt. King Oscar of Sweden this type do possess, occasionally, an unusual- Sister Elaine violin or how much it is worth. Hernried M. ly no other manufacturer duplicates the rest of the choir, from tuba and bas- half-jokingly said: “Mr. Bull, good quality of tone. because 156 Song of The Russian 190 Where Willows Bend (20c) .... Elliott you should Musicians use Armour Music Plains More perfecting strings. soon to tympani and celeste. play the Saeterbesog Another Fictitious Label the Armour process of (Meadowland) (20c) It is re- from the top of the brand Strickling Regarding August Pilat Louisiana.—You are quite right: Strings than any other 158 Afton markable that families of such Pyramid of Cheops.” L. F. C.. Water (Old Scotch Song) disparate The aging fiddler C. W. H., Louisiana.—There seems to be no quote Antonius Stradi- T.T.B.B. antecedents the inscription you — (20c) Strickling can agree so readily upon a headed for Egypt, rounded up dragomans, information available regarding a New York faciebat anno 1716—does varius Cremonensis BY ARMOUR 160 The Immortal Father's point of lambent harmony! and maker named August Pilat. There is a well- violin maker. In Quality Controlled Face . . .KLEIN nimbly climbed to the top of Cheop’s have reference to a famous 108 The Mountain Girl (Boys' in- 161 All Ye Angels of Chorus) known maker named Paulus Pilat, but he the wording used on the labels of God (Motet) . WALTON tomb where he played his fiddle with fact, it is 162 Manney forms me that he has no relative named Au- maker of them all. But don t get Come Holy Ghost (Anthem) (12c). Holst insouciant the greatest 1 1 1 The Lilac abandon. Crowds of natives gust, that name. I is to Tree (Perspicacity) . . and knows of no maker by —the same inscription 165 The Irishman Lilts GARTLAN excited about this OF VIOLIN - (12c) COWELL listened. - WANTED—TEACHERS 119 Elegy (Satire) (25c) Even now, such shenanigans am sorry not to be able to help you. be found inside many thousands of violins Sort 167 Whispering Voice (L'Arlesienne UJiMiant age, experience. SCHIMMERLING-GUITERMAN would be which Stradivarius had nothing at all to Give full information, sex, Suite No. worthy of a high-oriced Broad- with III. 1) (12c) BIZET-Strickling The Violinist are quite good in- Wabash Ave.—Chicago 4, Students of violin may qualify. 139 *Hymn of the Soviet Union Who Thrilled way or Book on Violin Makers do. Some of these violins 207 South Advanced 168 The Irish Girl (12c) Hollywood press agent. But these of them are REPAIRS, etc. Cowell E. J. C., Alabama.—I think the book that struments, but the vast majority SPECIALISTS IN VIOLINS, BOWS, Excellent opportunity for Advancement. 169 My Mother (10c) ALEXANDROV-UNTERMEYER things occurred INFORMATION (Christmas) ...STRICKLING to Ole on the spur of the would be most useful to you is “Known Vio- very inferior factory products. WRITE FOR 2537 N. Bernard St.. Chicago 47. III. 151 Hallelu! (a patriotic novelty). WINKOPP Your and VIOLINISTS Write to 170 Little Dove (S.S.A.T.B.) Robb Great-Grandmother moment. lin Makers,” by John H. Fairfield. It may be PUBLISHERS OF “VIOLINS 153 Dark devoted to the violin 171 Old Joe Wings in the Night obtained Wurlitzer Co., 120 America’s only journal Clark Kleinsinger from The Rudolph Large Collection Of Fine per year. FINNEY VIOLIN KEYBOARD SYSTEM (20c) contains A Specimen Copy 35 same human scene. “In this sense, then, it becomes increas difficult ingly to say just ' where eooh music’ leaves off and jazz begins jaz2 good music—when it PARTIAL sets itself, as earn LIST OF KALEIDOSCOPE PIANO SERIES estly as any other form, to explore and to express the feelings Apprenti Sorcier—Dukas and the conditions 1.25 Notturno—Respighi 50 of its time. There is good Dance of the Russian Sailors Gliere ’50 and worthless — Polka (from "L'Age d'Or")—Shostakovich 50 jazz just as there is good and bad Dance Macabre Saint-Saens music | qo Prelude a I'apres Midi d'une Faune—Debussy 1.00 in the purely classical or romantic El Viejo Castillo Moro Chavarri styles — [50 Prince Igor (Polovetsian Dances')—Borodine 1.00 But for good jazz, the hit-or-miss Espona—Chabrier davs | qq Rhapsody (G minor, Op. 1 No. I) Dohnanyi . . . . 1.00 of making a noise and being 1, ‘different’ Evening in Seville—Niemann '75 I . . . .60 are gone. Expressive jazz Rhapsody (F# minor, Op. I, No. 2) Dohnanyi. requires as Jeux D'Eau—Ravel much scholarship, as much Roumanian Rhapsody—fries co 1.25 musicianship Jota Larregla as any other — Serenata Andaluza de Falla 50 kind of music. In addition — it requires Les Demons s'Amusent—Rebikov a peculiar awareness of form 40 Valse Triste—Sibelius 40 and of the Marche (from "Love of Three Oranqes") ") human thoughts and feelings Waltz (from "Sleeping Beauty —Tchaikovsky 50 those forms express. The Proko fieff young musician .50 Write for complete list. will do well to reflect on the needs of jazz before he gets himself a drum and • City • New York starts out on a career. EDWARD B. MARKS MUSIC CORPORATION • RCA Building Radio If his 'rights’ are in good order, he’ll have luck!” despair was short-lived; his spirit was tor’s first releases of its “Heritage Series” ADS The Violinist Who Thrilled too resilient to be throttled. —reissues of famous singers of bygone CLASSIFIED Selling “Music” to the Like many showmen of today, Ole was days. These included discs by Tetrazzini, YOUR UNWANTED MUSIC exchanged an easy mark for a confidence man or Mario Ancona, Marcel Journet, Enrico piece for piece, or each; quality matched, Great-Grandmother Burpee’s Specialty Shoppe, Delton, Mich. General Public Your for those with a hard luck story. There Caruso, and Frances Alda. Ancona, a HOME. ( Continued from Page 170) was a day, for example, when a glib great lyric baritone, is represented by LEARN PIANO TUNING AT Course by Dr. "Wm. Braid White. W rite Karl ( Continued from Page arias from Ballo in Maschera” and 133) rascal sold the fiddler a rock in the “Un Bartenbach, 1001 Wells St., Lafayette, Ind. avoided moonbeams which he considered middle of the Taunton River in Massa- “Faust.” Alda is heard in the Salce, Salce IIV to be the cause of yellow fever. Ole also DON’T UK EMBARRASSED PIANO for fifty dollars. “This rock is and Ave Maria from “Otello.” In our undistinguished civic symphony group re- chusetts PRACTICING. Use Mayo's Muting device had a feeling for auguries and omens. valuable your prac- fuse the request of a photographer the original landing place of the Vikings,” estimation, these are the most which enables you alone to hear for a Going down the Ohio River one night, ticing. Easily attached or detached with- similar pose said the con man reverentially. “You’ll be discs. Journet sings a meretricious air on the ground that it was out harming mechanism. State make of his boat collided with another vessel and not to such a relic.” from “Les Huguenots” and another from piano and send $5.00 for Silencer and full dignified—until he heard that his proud own sank. Ole managed to swim to shore, his instructions. Guaranteed. Richard Mayo, sixty, after his first wife Gounod’s “Philemon et Baucis.” Both distinguished colleague had complied. When he was Piano Technician, 1120 Latone St., Phila- violin case clutched under his arm. *'I stylistically, he is admirable. If your symphony or musical died, Ole married a twenty-year-old girl vocally and delphia 47, Pa. group like had a premonition that something nuptials in Tetrazzini is well represented in the rehearses in its shirt sleeves, don’t de- of Madison, Wisconsin. The PIANIST! Play popular hits, standards, this would happen, so I slept fully dressed Polonaise from “Mignon” but her singing by Phil Saltman, mand that each man put on his coat Madison were distinguished by a display with breaks composed and solemnly told teacher and radio pianist. tie in preparation for it,” he collected from of Voi che sapete from “Le Nozze di leading Boston for rehearsal pictures. Leonard Bern- of the presents Ole had Up-to-date, new ideas monthly. Sample his friends. years. Figaro” is inartistic. Similarly, Caruso is stein posed for photographs of the his adoring ones throughout the or 'boning' for New His robust sense of humor often exams . . . about ideally represented in Ah! fuyez douce York Symphony rehearsing to inaugurate The newspapers ran many stories plunged him into trouble. In his native citizens of San image from “Manon,” and less happily its first season under his direction and the gold crown from the At the ball Bergen, he refused to send the local po- aria from “La juive,” double-violin-case, solovox, game or in class his shirt was open Francisco, a ring bestowed by the queen represented in an WANTED: I LIKE at the throat. News- old violin or cello. Any condition provided BOB lice force its usual bloc of free concert in good health at JONES hundred and made when he was not dealers. Claude Wood, COLLEGE papers call this type of informality and of Bavaria, a pin with one price is low. No tickets. When the cops growled. Ole Spain, the end of his career. These discs are Johnstown, N. Y. authenticity the human interest touch. forty diamonds from the queen of "I am grudgingly sent the passes, but he placed the king pressed on plastic. an ex-G. I. from The public enjoys seeing how a gold snuff box bestowed by harmony. Composition, Orchestration, New I , , you work York wi green with this Private or Correspondence 9 h a co-ed from to achieve a lantern over the seats and a silver vase from the Musical Theory. roommate is Oregon ... your results. of Denmark, Manuscripts revised and cor- from Toronto the felln my placard: “These free seats reserved for Instruction. At the same time, of New York. Despite frequent rected. Music arranged. Frank S. Butler, Springfield, do not lend yourself YMCA Birmingham, P '°CeS ~ to our faithful police!” Everybody laughed. Ole was happy 32-46 107th St., Corona, N. Y. Detroit, Columbus,''eveT ridiculous gag pictures that might be tangles with his in-laws, MeTco'cTty 'and Shanghai Ole was arrested. During his trial, the suggested. I know one reputable musician in this May-December marriage, which PIANO TEACHERS: Increase earnings judge Ole’s fans popular music. who still became fearful when $1000.00 annually. Teach regrets the lapse in judgment lasted until his death. Chord Scale YOU'LL demonstrated outside the courtroom and Send $1.00 for essential Carol LIKE BOB that led him to Bull died in Norway August first lesson. Strictly JONES COLLEGE TOO thnt c thrust his hand clutching When Ole on Yourself Charts and free ° U he ordered the fiddler released. Lean 21E, Leflerts, Christian V Want f° associQte music into his after fifty years of fiddling, it Teacher's Course. Carol, Box young ' with fine tuba to portray the absent- 17, 1880, people, if you like culture from Page 123) Brooklyn 25, N. Y. and n | minded had stilled all (Continued i.Vhen musician misplacing music. The was as if a giant hand i, comes ,ough — * >» Visions of A New Norway Hammond Novachord In excel- picture Every- FOR SALE: L3„Z"s and hard was funny, yes, it activity in his homeland. W but served no human lent playing condition. Reasonable. Radio ^ earthly point Despite the huge sums he earned work and stood transfixed head of a large music publishing firm except to make him, and body stopped Station WSAZ, Huntington, W, Va. indirectly 'more than a million dollars Ole was women fought the Carl Fischer his profession, the butt of — by personal grief. Again (Mr. Frank Connor of FOR SALE: Two old violins. Glorious tonal September comedy by perpetually in debt. One of his greatest time, to witness his fu- we discussed the need for quality. Exquisite craftsmanship. One a this Company) , 1, Bob Jones College Marx brother situation. each other— beautifully inlaid. Testimonials available. Becomes Bob follies acres Jones University was the purchase of 10,000 neral procession. Fourteen black-swathed sustaining musical interest from student Box CS. Public Support of Music of scrubby Pennsylvania land which he Ole’s funeral cortege, to mature life. Thousands of music steamers formed days COMPOSED, orchestrated—songs grandly shall be- in- MUSIC Not all artists and dubbed “Oleana." “This down the Bay of Bergen. Guns students spend large sums of money, arranged at small cost. Zygmund Rondo- the pupils can become sailing first unit of the modern come America!” Ole only to per- manski, Holke Rd„ Independence, Mo. university plant celebiated, and not all the new Norway in boomed in tribute to him. vest years of time and labor, now under ° ° neS symphonies, op- construction in Greenville, g6 ’ StUdenfS receive erettas, boomed to shall bring and vanish later S. C., is firfished '"‘Auction and operas will be excellent. But newspapermen. “I mit their interest to fade FOR SALE: Rich Wagner Letters to Math- as expected. in tlvoice, piano, speech, Bob Jones University pipe organ, violjn there is a thousands of poor Norwegian immigrants of course may be due to- per- ilda Wesendonck. In good condition. Price will begin its fall 3n premiere February 1 sisted in this work by Carlton Cooley, . j its world receiv con- violist, and Fank Miller, ’cellist. Others rJhas symphony Orchestra, th® D the NBC participating in program W Intal Dorati, on the were Joseph PIANO TEACHERS! “ bvoy Junior Etude Contest Etude will award three at- you enter on Music Boxes The Junior upper left corner of your month for the neatest paper, Hve prizes each and put your address on upper by Paul Fouquet stories or essays and for answers right corner of your paper. anda hest contest is open to all boys and puzzles.°_w Contest Write on one side of t0 paper only. Do eighteen years of age. not use girls wider typewriters and do not have any- one copy a fifteen to eighteen years of your work for you. OBGRLII NCLE John and Bobby went to "The the one with the ’ fifteen; Essay must contain cylinder is the eie b, twelve to Class C, not over one hun- attic and began searching Jg. class among It was brought from - dred and fifty words Switzerland in?* twelve' years. and must be re- numerous trunks and boxes that great Under U grandfather. The ceived at the Junior Office, Swiss clock Etude 1712 were stored there. “I’m quite sure they ers were the T of prize winners will appear on first to put the Names Chestnut Street, Philadelphia Pa., metal - (1) , by are still here, Bobby,” Uncle John said. idea into combT in a future issue of The Ktude. use. Let’s see tint this page the 22nd of March. Results of contest “Ah, here is one,” he exclaimed, as he the latter next best contributors will re- part of. the eighteenth The thirty will appear in June. Subject for essay seized an oblong box covered with dust. Only a centmv honorable mention. watch or clock maker ceive contest this month: “My Favorite Piano “Are you sure could h? that’s a music box, Uncle made those very 3 COLLEGE early music name, age and class in which Piece." John?” Bobby asked. “I never box^Th!* put your saw one were really forms of jeweh-y, like often studs * ELIZABETH A.GEST that. Do you think it still plays?” with precious stones and made of Starting Addresses “We’ll soon find out, in The Advantage Bob,” Uncle John sizes and shapes, such S" CONSERVATORY OF MUSIC answered, as he as snuff worked a lever to wind up watches, clocks, Music When Young Joan Zett wrote to the Junior S’ books, Musician’s the spring. mugs tovs s u Picnic “Notice this long metal cylin- and chairs. in Glass B) Etude, asking for some information, They '' Winner by Lillie were reallv'very (Prize M. Jordan der with those hundreds of tan^ music does not steel needles “I should say so!” young child starting but forgot to give any address. Now, school in an attractive that seem exclaimed A A professional music to be sticking Bobby . ex- the out of it? And interest; he finds it fascinating, Joan, don’t forget boys in the Music Club see that lose an important college town. (Member of the National gested °J sug- dolce con grazia. metal comb? Its teeth graduate wonderful. Imagination fills having a picnic. The boys and girls citing, and thing like “The weather is were m size like that the next time; be- sempre S lermnd0 the strings of a piano, long the very beginning and he Association of Schools of Music.) warm these days,” mood and danced a his mind from he TaTd “no t u teeth for the low cause it was not possible to answer a capriccio, tarantellaZJ and a gigue; tones, short teeth for a strong connection be- as in April. We can then becoming the also develops sit out piu serioso they high tones.” strong your letter! Thorough instruction for carefully selected of doors ad libitum and danced a minuet, mod- tween himself and his music. A a piaccere." The erato Very slowly the 0 S espond poco maestoso. Towards cylinder began to re- together. This new world students in all branches of music under artist teachers. ed con anim «- the finis tie binds them and fortis- th day volve and a delicate musical simJsimo Preparationsp, f ‘h®y grew c° sound tinkled it Is like a song that never began subito, P° a Poco tired is not strange, Special training in hand and choir direction. assbi andann theirth through the air. “I know CCelerand0 high spirits began that tune, Uncle road to success is open - Choosing to morendo grows old. The a place to and John. That’s the Waltz ” eo th°J l perdendosi. They finally from ‘Faust.’ Write for catalogue describing Oberlin’s conservatory am gitat° and argued walked to the young. IlirUo con home adagio, "You’re right. And do b^ ^d meno mosso. But you see what is Shirley Davison (Age 12), V0Ce ' At they en- equipment (200 practice last they joyed the happening? The tiny courses and its superior startedstarter) allegro con day molto and voted needles of the cylin- Ohio. moto for the woods for a der are and zposfa of the picnic. plucking the teeth of rooms, 23 modern organs, etc.). Degrees: Bachelor of pin stretto. The birds Encore, encore, they the comb were singing all y making the cried in unison. musical sounds. The needles Send answers to letters in Music, Bachelor of School Music; Master of are very accurately (Prize Winner in Clam C) placed on the cylinder Missouri. care of Junior Etude so Cherie Lee Medus (Age 11), Music, Master of Music Education. they will pluck just the correct tones An Old for the piece.” Fashioned Music Box Animal Honorable Mention for L**aya: Dear Junior Etude: Game “That’s “Especially It has been a long time since I wrote to you. wonderful. Sort of like chairs." Anita Morley. Adrian Blecker. Carole Caw- Frank H. Shaw, Director, Box 537, Oberlin, Ohio. by the holes years Betty Griffis m a pianola Yes Lester. Freddie Turner. Ethel I won a couple of prizes about four roll. There used to indeed, the chairs thom. Billie be a were a riot! Miller. Muriel ago. I no longer take piano lessons because .""5? the blanks in the player-piano in When Weder, Virginia Orscheln, Janice following 4. the gym in school.” you sat on now, but sister gave While them out came XI Mary Belle Shelton. we have no piano my ™g dtles Wlth names of Shepherds Watched Uncle tune! the McKennv, Haft. , animals or Their John was searching They were Hayes, me and my brother a trumpet and cornet for around the not as early s Nancy Burch. Doris Walter. Evelyn something an animal garret j eats. The one filling as the music box e 5- kept ’’ th° ’ Jean Wagner. m°St Baa, Baa, Black pouring out Ugh The music boxes blanlcs in a iven he tinkly tunes. ?ewerere° e number of 6. Bobby knew mademadeT’larger, as minutesminute wins. Listen to the them all time went on so Junior Etude: the Toreadors t ley Dear 7. Song from “Carmen,” couM p i ay longer Little Artists Club we have fourteen 1. Old Mary Had a Little The and by the end In our Tray. Coronation of the the age of five and twelve. 8. March from “The nineteenth members, between 2. Three blind - When the - Prophet”P 1 century they were must pass an exam- Homeward Ply. and several others. To become a member we 9. Coming QUantities t0 before our teacher: be able to play all 3- in the Straw. Through the ‘^PPlv the de- ination Eeres the other one Sd 'VT major scales and write relative and harmonic 10. , I WaS The Old Gray —- was hunting a mUSlc box in nearly minor chords with for, minors: play all major and said Uncle John everv 'hnmph , carrying a as later ' pedal; play all major and minor square k’ on the! e was a syncopated Bachelor of Music Degree, Master of Music Degree, Artist Diploma Which phonogiaphnhn? arpeggios, legato and staccato; name and play he laic> on and now topp U1of a radio or two. With scales; play aaTrnnk-trunk and he I. IV and V chords of all major Mus. D., Director 3411 Euclid Ave., Cleveland. O. opened. metal disc It number BERYL RUBINSTEIN, Henry VIII was possible to have a a second grade piece at sight; know a and his Bobby syncopated Charter Member of the National Association of Schools of Music Flutes ' you notice 617 °f of musical terms; be able to play this one is iCCes as the discs could any ? and simultaneous pedal; tell the life of some people Plan - XuIm collect things: ThiS mUSlc e bUy Phono raph composer from each period and name one of uses nat£1 hill* •7 S records, some tUb6 metal discs, a And his write down some notes collect ^ > inStead different one °r not works; be able to stamps, others Of ’ music b° xes Played class Iike a anim^rf t as our teacher plays them; play in one M glaSS ’ as in °ther Pbono an part in s a d° 11S flutes giaph°record read and give ’ - ing recital ’ buttons, P a knowl- or two school programs; Indian Whatwnat Ldo and sbaPe. memorized Indian baskets—most you collect for “f The little prongs un e^T USic even studio recital with at least six anything will your ', though they hobby? P UCk the t6eth wem verv°m P pieces. Dwight and Roy Reneker b iS Write and tell of the mechanical^ have as 01 hobby collecting. the Juniol combmo as toe H metel and without anv We hope other boys and girls will the disc nZrJT r OF MUSIC revolves in SCHOOL Some n f Etude Listen » e reSSi0n much fun in their music clubs as w e do Christmas present EASTMAN collections about it. ti! ’ 1 It was the best mysel1 - can be And in this case, " hen a ours. Christmas. made very you smafi eh m ? We are sending you our picture. play in our High School ’ got. We now cheaply, others nte b6Came lamiliar with From friend, we ever require spending on a musical many your at some church pro- lots topic- comL through Diane Divelbess (Age 11), Band and have played of money. lustust teTtell about^ f these very music the drums, which we of Some people collect cer- what you really box^wf^boxes we Arizona grams. We also play enjoy have been band. I hope to tain things m the playing." used to play in the school because they way of hobby I be really like collecting >OXeS V6Iy °ld t y0u wish leader some day. the ’ ^nc* e You had radios then,” be a band things they _^oh^^aSed B^)by! B 'h h . collect' others do & m°St whispered From your friend, The University of Rochester not . without inter- Reneker (Age 14), care particularly for rupting Dwight the things Pennsylvania they collect, but they Enchanted T Howard Hanson, Director enjoy the col- Notes f the tinkling music box lecting of them. akn m many l>y Frances composers to write A N Wilson, Assistant Director 1 Gorman Risser Dieses in —. trombone, piano, and pump organ Raymond King itation of [ plav the ?’ of Engiand them, such as the band. At present I am r d am in our School (iSTiLtT7 quartette. In ’ lfc Seems liked Liadoff second trombone for a t0 COllect ' and tbe acticing Undergraduate and Graduate Departments flu tel W possibly have an opportunity to H 15 said ’ by Po!dini mo l may to have possessed - no doubt in- /Mir Rnrnrv one f sph-eri h £ hundred and forty-seven ^tle mechanical dancing flutes. dolls wi/wth hlChl No doubt they many of the old music were very valuable boxesixixes werew SUMMER SESSION instruments, equipped.” as kings usually have Pl£ he Dancin LITTLE ARTISTS CLUB Etude: b6St ° f everythin dim nnni u S -Doff, by Pol- :ar Junior 23 g- 6 7 ’ Phoenix, Arizona old and I play June —August 1, 1947 Some of J°hn- a boy. twelve years thesethesf^flrflutest You ve heard me play [ am may have it aE , Linda Hutchison, GeorgeAnn and the piano. I have played been gifts for Why d Hermia O'Dell, e trombone ° you kee those swell Jensen. I be- he must ll,v P Mary Lou Chambers. Jocelyn Jensen, solos in the band to which P™bably spent large es u Eve >mbone sums P'here in the garret where Tomlinson. Patricia Arnold. Robert Wil- entered some of the Junior Etude of mone^mnn Seventy no nnp Donna lg I have FALL SESSION of his flutes are an hear them?” iams. Smith. Hazel Green. Barbara Mc- and have received honorable mention, L^irmis. ntests said to «w Lauralee O’Dell, Marjorie Taylor. Diane I like to play have been Bobby I get home from school recorders. Re- ’ you make me feel almost nen corders, ash-i T Divelbess. mother, or just play alone. My September 22, 1947—June 12, 1948 with my you know, are old really had forgotten ets he instru- all about- teacher is away now but when S them nnn Dear Junior imbone ’ ln 1 y U Etude: more lessons. I vogue in asked me about music I will take some the time of boxes lac/ ? I have mes back Raahh ^ nl just been reading The Etude and de- to hear the Symphony Ut WhlIe they bt’ You know, music boxes cided Toy music and like ’ 3X6 called are to write to you. I have been taking For further information address a f A mm °" f on the radio. flutes, they are leSS being revived now. get- niusic lessons mother, chestras not played just as MnVmrn for seven years from my From your friend, ur 16 faahion J*ho is a music teacher. In the recital I was Hunsberger (Age 12), present-day flutes ’ y°n might i&y. Donald R. ARTHUR H. LARSON, Secretary-Registrar are played. Well dust1 th enou6h medals ^n ^tha? th Se off and to w * n one of the two Pennsylvania They are '° °-’ take them down th*mat more the shape of Each m n stairs f, were given. I practice one hour and a a clari- tlSVnlTT they can exei quarter net, 't their charms every day also sing in the Junior Eastman School of Music and Is ' & blrd on the n and to Game the player blows given back P Sent noir Answers directly its song? mUsical generation.” and Glee Club. I practice some on the (How m Pipe 3 7 dunior Binders organ, too. Rochester, New York 176 ^ have music boxes v u From your friend, you can find your Sattfiybe one in Katie Lee Currin (Age 11). North Carolina 177 THE ETUDE March, 1947 E — - THE COVER FOR THIS CHAPEL ECHOES—An Album minor, for Two ELLA KETTERER’S BOOK OF PIANO MONTH—At just of Sacred and cV IN F-SHARP the time we were ready to turn over Meditative Music for Pianists Young by Ralph Federer This PIECES, for Piano Solo—This book will to and Old ^ four Hands, the lithographers the cover Compiled and Arranged ’ Pianos, concert performance, be made up of pieces in grades two-and- subject for by Rob Roy p,.,. for kis (ies is this March issue of The Etude —This compilation of w°r ’s Rhapsody in one-half and three, and special features Music great sacred music composer Magazine was tne will be diversity the sad news came to us'of the is for pianists of grade two-and-one-half as testing sections of the one of rhythmic pattern and Minor- c 10 passing of one of America's great con- attainment. The source of p Maestoso, Allegro a variety of style. It is designed to en- most of its e marked temporary composers, 0V Allegro gage the interest of every Charles Wakefield contents is from the choral literature ® con Moto, student, and 0f drito Andante Cadman. The original T its wide acceptance in field plans for the Bach, Bortniansky, Franck, Gaul, Maun- ending WHh 3 SUlTlng the teaching I* ^ March cover were changed, and in mem- der, and Mendelssohn. -Tan. is assured. As in all her work. Miss Ket- Also included are ory of Dr. Cadman and to do honor S< terer here again reflects her keen sense X to many familiar compositions in easy G Federer’s Fantasy in F- oCCe him for ar- Mr. \,o '5 the place he achieved in Amer- rangements, including ^£ prepared for the of values in a combination of educational jl^oo>^er Adam’s O Holy is being 0^ o0 ican music we are presenting J^ Minor 9 on the Night; Faure’s Palm Branches; S be reserved at features with musical appeal. ^ the 17th single copy may 6 cover of this issue the unusual but very Jit a ' century melody, A Joyous Easter of Publication Cash A single copy of Ella Ketterer’s Book en0t characteristic song- Advance portrait of the late Dr. and Kremser’s Prayer r/special of Piano Pieces may be reserved now, for er 0 of Thanksgiving cents, postpaid. ^ 50 °P Cadman. This picture was taken of GoffiP . in 1935 The player also will like the price delivery when ready, at the special Ad- to* ce at musicianly 9 ° V°' ' fAusic. the console of the half million , R'9 dollar easy arrangements vance of Publication Cash Price of 35 piano. oh of Ode to Joy WORKS, Edited beg"'""' Rill' from ORGAN ’ 8 00 ' “Spreckles” organ located on the MVNnELSSOHN’S Vue in Sch°°' 1 grounds Beethoven’s “Ninth cents, postpaid. ses c der G’ 'vVildm ^Ijarch, Symphony” and the Edwin Arthur Kraf.-ThlS ur publ' Ufl of the World’s Pair held in San Diego, / 94 7 ^°Ssed by c0 nS rthU ° Adagio Cantabile from his r ° 3 California. ETUDES FOR EVERY PIANIST and How "Sonata pa - publication by a distin- -e+e +e A hic° Inortant new De9 |ns+rumen+s 'ri C v/ ' thetique”; Triumphal ETUDETTES IN THIRDS AND SIXTHS |n 5 TUtor^' i e to Study Them, Selected, Revised, and March carefully TEN _ ,. es rm, e nd Charles Wakefield Cadman was by Grieg- organist and scholar is WindZ - rs 0 /w born ADVANCE Theme from the Sri Manu-Zucca The Music Mas- ,:o OF PUBLICATION Edited by Guy Maier— tude readers will “Symphony No. 5 with newly for Piano, by — pg in Johnstown, Pa., December 24, 1881. hi, to the modern organ ,ducH pi*° Ww" D” by Haydn; adapted very long will include c oaPHP : His remember the “Technic-of-the-Month” Humperdinck's Evening pedaling, and reg- tery Series before Con and u+h middle name came from his mother’s prepared fingerings, So OFFERS pages Prayer; Romanze from this practical collection of exercises for atd°9 2 maiden name, she having been conducted by Dr. Maier which be- Mozart’s “Night contents, of course, com- Carrie istrations. The grades. gan in January, 1941, and continued for Music”; Schubert’s Ave Maria; students in the third and fourth Wakefield before her marriage to William and “Fin- complete organ compositions landia” Choral nrise the foremost Ameri- ol All of the books in this list are in several years. In response to numerous by Sibelius. three The author, one of our Cadman, who was a metallurgist with the Mendelssohn, six Sonatas and h0 Carnegie preparation for publication. The requests that these “lessons” be made A single copy may be ordered now of one can composers, is noted for the solid SC Steel Co. There is no record low Advance at and Fugues. Among them ,C Offer Cash Prices ap- available in the special Advance of Preludes of her musical works, especial- that his parents were particularly mu- permanent form, the 'author Publication Cash noblest organ music. character ply only to orders placed some of the M^ of NOW. finds has assembled Price of 40 cents, the educational type. Added >ol* sical, although his great-grandfather, the best of them for this postpaid. Copyright book may be ly those of ch ° Delivery (postpaid) will be made copy of this new 5> restrictions confine A single these etudettes n at Samuel Wakefield book, which is planned for the inter- the sale of the to their intrinsic value, .TOti° D.D., L.L.D. was a when the books are published. book now at the special Advance of mediate grade or early to the United States reserved quite satisfying musically builder of the first pipe organ west of Paragraphs describing each pub- advanced student. and its possessions. cents, post- should prove Publication Cash Price of 75 lication The technical applications key variety and vary- the Alleghenies. appear on these pages. cover a wide with considerable range with emphasis on melodic, KING paid. patterns. Teachers wishing Charles Wakefield Cadman never was chord, MIDAS, Cantata for Ttco-Parl Treble ing rhythmic robust in health, staccato, and octave studies. Voices Lyrics acquainted with this fascina- but he worked hard to , by folia Thaxter, Music by PIANO! A Hook in to become The Adventures of Peter the Piano— YOU CAN PLAY T1IF. order achieve success as a An Eighteen musical etudes comprise the May A. Siron*— new piano study material may composer. Among illustrated Story for Children For the school music fes- Older Beginner, by Ada ting useful contents, Tiro Parts for the at the special Season- his larger works are the operas Shanewis Dorothea J. Byerly .50 drawn from the writings tival here is a charming a copy of the book now the Eleventh cantata. Mrs. Richter here presupposes — Announcing and the Chapel Echoes—An Album of Sacred and of Stephen Heller, Carl Czerny, Richter— Publication Cash Price, 25 Witch of Salem; and the orches- Franz . Children love the familiar story Advance of Meditative Music for Pianists Young and of pupil’s knowledge of musical funda- tral works Oriental Rhapsody; Old Liszt, Frederic Chopin, Sigismund Le- King Midas, the postpaid. FOSTER MUSIC CAMP Dark Peery .40 whose golden touch brought begins cents, qtpphfn COLLINS bert, mentals. Thus, musical experience STE RICHMOND. KY. Dancers of Mardi Gras; The Child Tschaikowsky and Louis Stark. Each is complete him Awake, Awake; —Childhood Days of despair. Designed especially for PJe Famous Composers once. Book for and Festal March in with the original “Technic-of-the-Month” at BOOK—A Work j l LY C. Besides a number Lottie the upper elementary grades THE MUSIC FUN 15 TO 19 Ellsworth Coif and Ruth Bampton .20 or the early original com- 5 WEEiMUNE of article which The book includes some 'Virginia Mont- ta». successful operettas, cantatas, Ella appeared in The Etude and junior high Piano Beginners, by s C and Ketterer's Book of Piano Pieces— For school years, this two-part of Young • tnsemo/e which is positions, and novel arrangements the Band • Orchestra choral works he wrote many songs Piano Solo 35 written in the characteristic cantata, work book presents widely requiring no solo voice, affords the gomery—This Etudes for Every style folk songs from Europe and in- used by leading singers Pianist Maier .60 that has made Dr. Maier’s popular in a variety of $ and standing in work so tuneful, singable music in easy range music fundamentals 75.00 Fantasy in F-Sharp Minor For Two successful. Americas. There are also adaptations learning a Only great favor with the American public. — Pianos with which make Four Hands Ralph a piano accompaniment not beyond teresting ways, and ™ Federer .50 No progressive from Brahms, Johann Strauss and others. that Board, Room, Best known of these are his At Dawn- King teacher can afford to the ability organization is such For Instruction, Midas—Cantata for Two-Part—Treble be of the average pianist. or- delight. The ing; V°' ces without a While this book is in preparation, nota- From the Land of the Sky Blue Thaxter-Strong .35 reference copy of this present alphabet wa- impor- An order may be placed now for a the teacher may s of either or both L 1TED ter; Lilacs; Candlelight; I Have a —A Piano Book for Young tant book, which may be ordered ders for a single copy time in any order de- : ™ Secret; Beginners now in single copy at the special tion. position, and Ella Ketterer .25 Advance of Ad- and The World’s Prayer. advance of publication parts, may be sent in at the special the variety of hach rixtra Mendelssohn's at the low cash Publication Cash Price sired. Repetition through at $1.00 to"If&S$1.50 Organ Works Kraft .75 of 35 cents, post- of 35 Private Lessons Dr. Cadman had felt price of 60 cents, vance of Publication Cash Price imprint upon particularly phy- More Themes from the postpaid. paid. presented here will VanPemSEU^Drrector Great Concertos— drills For Details write J.AMES E. sically distressed early in November, For Piano Henry Levine cents each, postpaid. mind the funda- 1946, .40 the beginning pupil’s Kegion of Kentucky and The Music Fun Book— THE u, Heautiful Blue Grass eventually had to be rushed to the A Work Book for CHILD TSCHAIKOWSKY—C/uldfiood and add immeasurably m music, Young Piano Beginners TWENTY-FOUR SHORT STUDIES for Tech- mentals of hospital as result Days of Famous TUNES, for Piano, a of a heart attack, Virginia Montgomery Composers Series, by Lottie nic and TWENTY TEACHABLE in playing. .25 Sightreading for Piano, by L. A. to his pleasure dying on December Ellsworth Coit and by llayc* The studies pre- be or- 30, 1946, in Los An- Rhythmic Variety in Piano Music— For the Ruth Bampton—This Wilmot Opal Louiec — to a customer may new A work in grades two and three- One copy Child geles a few days after Player of Moderate Attainments 40 addition to the sented here charming, simple num- of Pub- diller-quaile Your entering the popular Childhood Days and-one-half, are at the special Advance Has Selected Second Grade Studies which will prove valu- dered now of piano study with hospital. for Piano .... senes will be greeted bers to augment the regular instruction cents, postpaid. the advantage David with high enthusi- able and Cash Price, 25 School of Music of the Lawton .25 asm interesting, and which will be easy lication a member Ten Etudettes by the many music book of the first grade pianist. Only in Thirds and Sixths— For Piano teachers who especially welcomed for the train- have found by the pupil with these solos, Young Be- Normal Department GUILD EVERY Mana-Zucca .25 the earlier books indispensa- major keys are employed in Piano Book for NATIONAL TEACHER OF MUSIC CONTRIB- small hands. Variety I FT’S PI.AY!—J in modern Twenty-Four Short Studies— For Technic ble With is achieved by util- easy now ing of teachers and its illustrations, it which range in difficulty from very Ketterer—-This work TEACHERS UTES TO AMERICA’S MUSICAL Sight Reading for will be espe- izing Ella of PIANO PROGRESS Piano... L. A. Wilmot .30 major and minor modes, and keys ginners, by of teaching music. cially attractive to melodies between the hands to market. methods Inc. —When this issue of Twenty Teachable Times— For Piano pupils between five up divided ready for the The Etude is dis- to four sharps and four flats. be is well nigh student suitable and twelve. To one-and-one- ttus wok for students of achievement for every tributed the Opal Louise Hayes .25 A selected list of recordings engaging pieces of grade has prepared Adult Department A goal Music Teachers National issued in the Music Miss Ketterer his age and advancement. You Can Play the Piano, is included. Mastery Series at 60 in to Part One. .Richter .35 The six half. The delightful words which accom- beginners at the key wish to specialize (NOT A CONTEST) Association will have had its simplified musical cents, youngest who annual You Can Play the Piano, single copies now may be ordered for the Part Two . . Richter selections pupil age meeting ,35 comprising the pany several studies will help the 5 to 7 years of musicianship. Better Teachers Are Members in St. Louis. A little major part of by teachers children from piano and The later at the special Advance of Sard! music center book is de- the form o Chapters in every large thousands will attend the themes from Allegro to master the rhythm. The material is in for children sectional Mu- fh! of Publication Cash Price, 30 cents, post- Much of the Junior Department FOR INFORMATION WRITE sic SlXt Symphony”: signed in the practical oblong shape with verses to aid m Educators Conferences which include from Marche paid. little pieces with people. These are the teachers who find every Slave,Stone H f tuneful and young M. A. the and from Piano lively titles delightful illustrations. and melodic IRL ALLISON, Southwestern in Tulsa, Okla., Concerto No 1 • and the rhythmic PRESIDENT March issue of The Etude particularly helpful establishing Street FOUNDER AND 12-15; BarCar° lle) ™’ One may be or- pages abound m 66 East 80th the Northwest in : and> in duet f0 copy to a customer music. The TEXAS Seattle, Wash., and who use all the conveniences flow of the Box 1113 AUSTIN, March offered rroL! dered special Advance of to catch and York 21, N. Y. 19-22; the California -Western in THE now at the illustrations New by the Theodore Presser Co. in giving In ADVENTURES OF PETER THE PIANO, appropriate Salt Lake City, advance of publication, Publication Cash Price, 25 cents, postpaid. Utah, March 30-April 2; teachers the opportunity a singie An Illustrated Story d to examine mu- copy for Children, by Doro- h d . = OF MUSIC- may be ordered : JUILLIARD SCHOOL The North Central in Indianapolis, at the special ihca MV« »t pucea In- sic, maintain studio stocks, and Cash J. Byerly Here is e.a,2’Sto to enjoy Frice, 20 cents, — a fanciful and de- STUDIES, for T do »> th* President diana, April 9-12; the Southern in Bir- postpaid. SELECTED SECOND GRADE would do well to WILLIAM SCHUMAN, charge account privileges..Any established lightfully entertaining story, told in such mingham, Ala., Piano. Compiled by David Lawlon—This Play! still is obtain- April 17-19; and the teacher, or anyone a way that while Let’s ready to enter the FR it no doubt will reach beyond addi- ” Cash Eastern in Scranton, Pa,, April 24-27. °M ™E GREAT useful new compilation provides special Introductory teaching profession, is invited to ask for GEK CON- its intended juvenile audience, and ap- ble at the SCHOOL Private music teachers ™S ,OT , Solo, Compiled tional early supplementary ma- postpaid. JUILLIARD SUMMER will do well to full details. : and Ar- peal to grade cents, Simply address Theodore ranged grown-ups as well. is designed Price, 25 look in on by Henry Levine— It terial in their such Conferences. Presser The widespread for by composers outstanding Director Co., 1712 Chestnut Street, Phila- tremendous recreational reading only, and so con- GEORGE A. WEDGE, Not to be overlooked are popularity of Themes technical writing for children: Edmund OFFER WITH- the fruitful delphia 1, Pa. from tains OF PUBLICATION the Great Piano no music for the young player to vnVANCE mailing meetings of the New York State Concertos and Parlow, Cornelius Gurlitt, Mathilde Bil- we will be Catholic the in master before AWN—This month 30 to August 8, 1947 Educators sistent demand for deriving full pleasure bro, Kohler. DR that has June Conference in New York City more books of Louis Streabbog, and Louis subscribers a work RHYTHMIC VARIETY IN PIANO MUSIC, same the from the book. . vance March 13-15, excellence have Legato passages, repeated attention. This no for the Player of Moderate prompted r The and staccato considerable branches of music and music education Attainments—This Levme to dip M Adventures op Peter the Piano aroused of Instruction in all It is worthwhile for every music teacher once more into the notes, cross hand work, scale passages in an announcement symposium of third grade piano pieces rich re relates will serve as to be is r S °f the a succession of exciting events in of affiliated with a music teachers as- concerto literature both hands, arpeggios divided between the special advance an innovation, and should ten ih The the life withdrawal of sociation. stimulate the ten themes and of Peter the Piano from the time the Professional Courses Invaluable is the free exchange musical melodies which the hands, and syncopation are repre- curiosity of those students who this comprise of his lonely n of ideas through second volume existence in a dusty ware- sented such mC Robert Nolan Music. Radio Technique. membership in such have a limited have been in attractively titled numbers by Opera School. Church time for practice. The principally, chosen house until he pos- mtpC, groups. but not becomes the prized as The Tiny Rubber f T pupil from Ltttte contents will include some exclusively from Tambourine Dance; the young Stock Arranging. Jazz Improvisation of our most great works session and beloved companion of a sweet Kerr* takes Conducting. There are thousands of teachers in for the piano. Ball; Fairy Bells; Witch Rides Her completed, through ad- successful publications of the New arrange™ little The nmvers wwhen these past and ments and editing girl. Sixty-nine attractive drawings Pfayers, United States living in communi- mark all Broomstick; Magic Stream; and study with charming request several recently published compositions. the delightgm in color The Catalogue on ties where the population ful contents of this serve to illustrate the story. Pickaninny, as to in a radius of One copy book all carefully edited , may be ordered now at the Prior to many miles is not sufficient SPeC al Advance publication, a single copy may Phrasing New York 27, N. Y. to support special Advance of Publication of Publication and fingering. ksk-“” Avenue Room 122S Cash Price Cath ~ „ i be reserved >• 120 Claremont more than one or two music at the special Advance of In possessions ^»SR «> teachers. of 40 cents postpaid. °ne C the United States and its !“ “ may* b^ordered^ow.' °^ Publication Cash Price of 50 cents, post- ge for a copy may be ordered now at the special practical preparationf 178 paid. eft provide Advance of Publication Cash Price of 25 Price, 60 cents. Advertisement paying each tune. cents, ADVERTISEMENT 179 THE ETUDE postpaid. march, 1947 1 " quantity with a of sound that ranges THE DUNNING from pianissimo to fortissimo. COURSE “Climaxes must be very carefully Prepare NOW For Tomorrow! pre- of Improved pared at rehearsal. Music Study Business on The Side The orchestra must WORKS be held back, in order to Gladys M. Glenn, B. Mus., M. A., Dean reserve enough volume to make a real climax ANNOUNCES ( Continued from Page 143) at the TEACHER TRAINING FACULTY AND CENTERS proper place. of the Probably the most difficult FOR 1947 AS FOLLOWS: test for conductor $500 to $4,000. Offices, printing, adver- a is to direct the ex- Elsa De Voe Boyce, 105 tising, stage hands, and all other inci- tremely slow passage. This Hyde Park Place, Tampa 6, Fla. must be done Mildred Briggs, 666 Washington St., dentals to per concert, mak- with great poise and Grosse Pointe, Mich. run $1,000 exquisite finish MASTERS Mildred M. Busch, Musical Arts Conservatory, Such a Amarillo Tex ing an anticipated over-all cost of not passage as- -one finds in Ase’s Jean Warren Carrick. 910 S. E. 68th St.. Portland, Oregon Death Solo less than $6,000 per concert. The great- from the ‘Peer Gynt Suite, , Minnie M. Coghill, No r IN 2727 W. Grace St., Richmond 20, Va. est possible income would be about or the Largo from Handei’s ‘Xerxes’ Adda C. Eddy. 136 W. Sandusky Ave.. Bellefontaine, Ohio $5,000, leaving a deficit of at least $1,000 which seemingly are so simple, V Grace Tudor Mason. 6262 Oram St., Dallas, Texas must be CV"*' Florence Adams per concert. I have cheerfully met these guided with a very sure and certain McKinstry, 3735 Ashland Ave., Detroit 24, Mich. hand. “So far as jSimialiAu Laud German Phippen, 3508 Potomac Ave., Dallas, Texas deficits because I have the great joy of I am concerned, the Phila- Stella H. Seymour, 1119 S. St. Mary St., San Antonio, Texas the response from the audience and the delphia ‘Pops’ Orchestra has compen- E. Cormne Terhune, 251 S. Miller Ave., sated Burley, Idaho consciousness that my life is not thrown me for more than the outlay of Uncle Sam makes it possible for you to take practical music Elizabeth Todd, 1007 W. Lenawee St., Lansing 15, Mich. away through mere money grabbing. time, money, and labor I have made. I ARRANGEMENTS lessons by correspondence, even though you are thousands of Eventually the project may earn money, have a wholesome respect for the indus- Classes are to be held In connection with summer school in which event it could be diverted to the try which has made it possible miles away from your teacher. curricula of several colleges and conservatories to secure for promotion of music in general. the funds to help with this interesting The Dunning Course is an inl.re.ting and effec.ive plan “It is interesting project. It M of presenting Ihe fundamentals of music so that to note the way in is a necessary industry in Definite, concise, comprehensive lessons (prepared by able, musiciansh'p w'll he maximum the developed in the shortest possible time. It is designed for Pre-School. Elementary, Junior which the average layman looks upon food field, but I te* and Senior High School pupils und prepares would be ashamed . , u- them to be strung college! and conservatory freshmen. of Piano Solo recognized teachers) illustrated and clearly explained—always a conductor; as though he were a time myself if I had to conduct IT IS ENDORSED BY THE WORLD’S LEADING MUSIC EDUCATORS my business keeper, to Teacher training classes or time beater, or a kind of with such a consuming attention before you study and refer to over and over again. earn 4 semester hours college credit that it ,i BY CHESTER WALLIS when taken as a part of an institution’s curricula. human metronome. The first objective deprived me of living and striving to do i of Write for an experienced conductor, however, is things that I am now sure Nothing is left to guess work. information and schedule of classes to bring great to make the music live. It joy Dunning Course must be and inspiration to others, Executive Headquarters, 1710 Tyler St., Amarillo, Texas who will brought to life; resurrected from the carry this inspiration Classes in Sail Lake City, New VorL, Chicago, back to cheer their An examination paper accompanies every lesson. If there is any- Los Angeles, SanlFrancisco, New Orleans, and other MOZART cities. printed page. -This is done, first of all, daily work. thing you don't understand it is explained to you in detail by our by stirring the imagination of the players Ten fovorife compositions arranged for “My ambition at this moment, should to a sympathetic cooperation in the re- piano solo. The representative works con- experienced teachers. anything happen to me and my curious, birth of a masterpiece. Cooperation can tained herein have been selected one-man sponsorship, is that the Phila- os ex- best be obtained by getting the sincere delphia ‘Pops’ Orchestra will be so firmly amples of Mozart's versatility in musical sympathy of the players; not by dic- PADEREWSKI said ot our Piano course— established that it will go on indefinitely. expression 60 cents tatorial military orders. Meanwhile, I have the great satisfaction "It is one of the most important additions to the pedagog- “One important matter which the con- of knowing that I working am for an ical literature on pianoforte playing published for years. ductor must face at the outstart is the idealistic project. My business, of which SCHUMANN matter of the entry of themes "As an excellent guide for students and solid and reliable or parts. I naturally am proud, The is so organizer Fourteen favorite compositions for piano layman, in looking at a conductor advice for teachers, it is bound to become very popular, that it is possible for of me to take severa. solo. an orchestra of eighty, le.t us say, Schumann's mastery of detail ond and the more so as it bears the stamp of a real pianist, days before each concert for rehearsals thinks that the conductor is emotional depth ore displayed to best leading and preparation. Therefore, accomplished musician and experienced pedagogue eighty different music be- wUnsM individuals; This he does, tCd odvantoge in the smaller forms piano comes my main aim in life. ll — of Business is l course, but he thinks of them as sec- C Si’”P distinctly “on the side.’’ pieces ond songs 60 cents tions. For instance; f First Violin DEGREE OF BACHELOR OF MUSIC Second Violin j SCHEHERAZADE STRINGS ten You are awarded a diploma when you have completed a course -j Viola By N. Rimsky-Korsakov simplified for ’Cello to the satisfaction of the Instruction Department and the Board of j JSMOPOLITAN BALDWIN-WALLACE [Bass The piono solo 60 cents WDrld of Music ’ Directors. are also authorized to issue the Degree of Bachelor vLaiU.is We SCHOOL OF* CONSERVATORY OF MUSIC f Flutes MUSIC ('Continued, fro’m Page 175) CLARENCE EIDAM, President BEREA, OHIO (suburb of Cleveland) WOODWINDS Clarinets of Music upon those who comply with our requirements. These . J ROSSETTER COLE, Dean Affiliated RUBINSTEIN with a first class Liberal Arts College. Oboes 43rd year. Accredited. Offers courses ] F0U *?d five Y ear courses leading to degrees. Faculty pete in are Harmony, History of Music, Advanced Composition and an in all branches . f . these classifications; singing, piano, of Music. Certificates, or Artist Teachers. Send for Bassoons diplomas catalogue or informa- [ Ten favorite compositions for piano solo and degrees. Desirable board- tion to: violin, clarinet, and trumpet. All details GR^G ing accommodations. Located advanced practice course. The latter may be voice or instru- in down- ALBERT f Trumpets town musical center. RIEMEWSCHWEIDER, Doan, Berea, Ohio may be secured from the Secretariat of . . . Volse Coprice, Romance, Serenade, Box E. 306 S. Wabash Ave., Chicaflo4, BRASS Trombones III. J the International Competition for Musi- T»» V ' Melody in F ond others 60 cents mental. Each subject carries 30 semester hours. 1 * Horns , »V C* ] cal Performers, Conservatory of Music, m MILLIKIN CONSERVATORY [Bass Tubas Geneva, Switzerland. OF MUSIC PHILADELPHIA PERCUSSION Remember there are splendid opportunities in the CONSERVATORY [ Drums GRIEG DECATUR. ILLINOIS THE FIFTH OF _ l Tympani arid so forth ANNUAL CONTEST for music Held to make a very comfortable income. Offers thoro training in music. Courses MUSIC leading to The conductor young composers, sponsored the Stu- Twelve favorite compositions for piono Bachelor of Music Degree. Diploma must hold the intense by and Certifi- * Let us show you how. Mail the coupon today. cate Piano, 4 Faculty Concerts interest dent Division of the m Voice, Violin, Organ, Public School in of each of these sixteen or more National Federation solo. Grieg's music, be it the short form Music Methods and Music Kindergarten Methods February and March sections, ol Music Clubs has been announced by whether they are playing or not in which he excelled or his longer com- Bulletin sent free upon request Marion Bauer, chairman. for Admission write playing. For instance, The awards —216 South 20th St. it is sometimes are for positions, lends itself readily to the W. ST. CLARE, MlNTURN, Director ivorks in two different classifica- very difficult for the horns UNIVERSITY EXTENSION CONSERVATORY to be ready tions, choral and small orchestra. The piono 60 cents so that they can come Dept. A-566 765 Oakwood Blvd., Chicago 15, Illinois in with precision. two prizes in the choral contest are for 50TH The conductor YEAR must actually breathe fifty and twenty-five dollars, while the SHORTER COLLEGE OF with flKfiene TKearfre his brass players, so that instrumental awards are one hundred (for Women) r making.k they enter EXTENSION Dept. A-566 • f S seeking profvss.oualprofessional engagementseng UNIVERSITY CONSERVATORY. Founded £SStSS iS Sta£e,h. Screen. at the exact dollars and fifty- by Alfred Shorter* -tESttSi _Radio and presented in pro- moment after a dollars. The contest 765 Oakwood Blvd., Chicago 15, Illinois. &uuwing t. _ rest, and ROME, public. B’waj „ wll Talent Scouts and closes GEORGIA ?!?P. Stocky _Spr April 1, 1947, full SEC’Y mg ^course openings and details may catalog, sample lessons full SHUBERT. 1780 BROADWA Y.“ Please send me and information regarding course I have marked S t ,nal m ®mber ° f the National nVV" be secured . Association from the IV' ol tfi , , chairman, 115 West with an below. ^Schools of Music. Excellent faculty. X Moderate 73rd Street, tuition fee covers all. music and academic courses. New York 28, N. Y. Piano, Teacher’s Normal Course Harmony Violin Catalogue and illustrated bulletin. 0 74, WILLIS MUSIC CO. Piano, Student's Course Cornet—T rumpet Cuitar WILBUR H. ROWAND. Director A FIRST of Music PRIZE of one thousand dol- 0 Public School Mus.—Beginner’s Advanced Cornet Mandolin Schools—Colleges PIANISTS • lars, Voice TEACHERS and a second prize of five hundred dol- 124 EAST FOURTH STREET, CINCINNATI 2, OHIO [J Public School Mus.—Advanced Saxophone Advanced Composition Choral Conducting Reed Organ lars, are the awards in composition 0 New piano a Ear Training Cr Sight Singing Clarinet Banjo SCHOOL music. contest 0 announced by the Jewish Music History of Music § Dance Band Arranging OF 22 complete Council 0 CONVERSE COLLEGE MUSIC break sheets on standard Awards Committee, sponsored Please send books indicated above. Edwin Gersehefskl, Dean, 1 by the Spartansburg. S. C. Autumn (Piano Solo) National Jewish Welfare Board to Name Adult or Juvenile Rhapsody NAME 40^. m Rhythm (Piano encourage composers “to write musical Department of Music Solo KNOX At ur favorite works of Street No. ROY Galesburg, Illinois . music Jewish content shall CAMPBELL j. . counter and which J° or ADDRESS .... Thomas W. Williams, direct. Write reflect Teacher of COLLEGE Chairman for catalog and the spirit and the Successful Singers Catalogue sent upon request. copy of tradition of The Pianist magazine, Jewish people.” City State of both sent free of The closing date is Sep- CITY State charge. State Radio • Theatre CONSERVATORY if teacher. tember 1, 1947. Pictures • Concert * Opera OF MUSIC The contest is open to Are you teaching now? If so, how many pupils have you? Do you Wade E. Miller. c< m oscrs Please “STYLE -IZING" for Radio and the Theatre SHENANDOAH Pree. ? P. t without restrictions, and O check here if you wish us to send you our complete catalogue. Certificate? Have studied r it hold a Teacher’s you Harmony? ROBERT WHITFORD lull details may be —Studio— PUBLICATIONS secured by writing like to earn the Degree of Bachelor of Music? the B. Mua., and B. Mus. tn G-347 Would you 607-8 Carnegie “Publishers of Distinctive the Jewish Music Hall New York 1 11 ' pinno Council Awards City Il rt ot the Shenandoah Telephone Ci 5-92-1., Vanev’Valley, n.J ? 18 North Perry Committee, care Dayton, Virginia. Square, Dept. 5E, Erie. of the National Jewish Penna, Welfare Board, 145 East 32nd Street, 180 New York 16, N Y "MUSIC STUDY EXALTS LITE" THE ETUDE . . * A New Electronic Organ with Tone of Traditional Organ Character by BALDWIN After 16 years of research and development, the Baldwin Tone filters. Ihe resultant tone is amplified and projected as Electronic Organ, in which tone of traditional organ char- a musically authentic sound wave. acter is both generated and amplified electrically, is available ine action ot both for delivery. manuals and pedals is so designed that the attack and decay of tone is graduated, The tone-colors produced by the Baldwin Electronic Organ producing a tone are of true organ character. electrical analogies of the true tone characteristics of Diapasons, Flutes, Strings, and The exquisite Reeds. The harmonic walnut console is a classical example of structure of the initially generated tone contains all the audible simple, dignified design. natural harmonics or partials as well as the fundamental tone. Specifications for the In Organ Console are in accordance order to achieve the desired tone-colors, the undesirable with A G. 0. standards. The 32-note harmonics are subtracted from Pedal-board is concave the "rich” tone by means of and radial. SWELL Salicet 4' Violina 4' Violin ' Dolce Diapason. . Cornet 8 Clarion 4' Stopped Diapason 8 ' Swell to Great 8 ' Aeoline 8 ' GREAT Trompette 8' Bourdon 16' PEDAL Clarinet 8' Open Diapason Open Diapason 16' French Horn .... 8' Melodia Oboe Bourdon 16' 8' Dulciana Cello. . . ' Vox . Humana 8' Trumpet 8 Flute. . ' Flute . 4' Octave . 8 8' Great to 8' Pedal Vibrato: Pitch-vibrato of two stages—Medium and Full. Echo Switch: Main— Tone-color Variant: Echo—Full Graduated control to accent or subdue the higher frequencies THE BALDWIN ELECTRONIC The ORGAN Ultimate in Electronic Science THE B ALDWIN PIANO COMPANY . CINCIN T I Makers of Baldwin Acrosonic, 2, OHIO , Hamilton and Howard Pianos