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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
8-1-1954 Volume 72, Number 08 (August 1954) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 72, Number 08 (August 1954)." , (1954). https://digitalcommons.gardner-webb.edu/etude/104
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• • highlights of fam 1 rnu rc•
T 0 THE EDI'l'OR
mua"wl.1 ill "Genius Begins with Maturity" fees offered by managers and by rr ang ed lor Piano by 0 Sir: In your J anuary issue, you Hollywood. For his practice and CD E print a letter from one Mr. John enjoyment (he had to have an or- AGAI Vinton who makes some comments chestra to play any concerto for ~wriLU_~ about a previous article you have violin and orchestra J ), we allowed published about "Genius Begins our son, over a period of years, to U t'J 7S MElODIES with Maturity," which in turn de- appear once a week during two or WlJJ scribes some phases of the peculiar three months of the year. However, For leochers, sludents, ond pionists had our sari at the pinnacle of his who have Ions owoired I" early maturity of Yehudi Menuhin 75 melodies in ea8.V ar,"angemenls for piano pi/olion of lime lesled piec s, my son ... fame and potential fortunes asked NIr. Vinton makes the following to study medicine or mathematics, remark: "Mr. Menuhin skipped too two subjects he loved and is to this lightly over the essential matter of day highly interested in, his par·. finances .... Mr. Menuhin· forgot ents would have been happy for Dene., Agoy 0"on9 d on pHonolly Rn tilt ~o. ~c book of to mention the thousands' upon him. famllror melodl in 0 ty' opprop I f i. lot thousands of dollars it· took to Ask the young artists who have . _ _ _ _ 0 or In Otnaleut pianist " 'declo. up pI m nlory ,..,.h n9 mo, ,101ond n "'H . I I launch his career after his studies spent $2000 or $3000 on a New o f1 aUOI on, "'pr~ were finished. There is the point York "launched career" what they no 9 n '0' 'olt '/Ion 01 ih mo I po~.' f I"~ ~. 0' .. tun" dan I at which many a dreamer's career got out of it, except the nervous socr d songs •• h m , f,o,",h (I ' ca. is stifled .... " trying period of weeks and months . 0 .. , .,, Tn, originel "'''''"' conceptIons navo b I I hI II· , Having had something to do ahead of the event and the empty no, U y, loln-.l HIGHLIGHTS Of fAMIiIAI MUSIC will b e vol· bl d' , with the career of my son, and feel- heart breaking period afterwards. uo 0 d,hon 10 )lOUt ttoching tnoltriol Olll! ing strongly about some tragic con- Why should hundreds try for solo music library. ceptions, and therefore tragic lives careers instead of orchestral and of so many talented children who chamber music jobs of the highest are wrongly brought up and order, when God meant them even- wrongly guided, may J contribute tually to be normal, healthy, happy my observations and opinions people? It takes more than "finish- about this fundamental fact con- ing, studies" in a music school to cerning careers and money .... make a real career; one must have With the exception of one un- great talent and personality togeth- necessary though very effective er with infinite patience, time, and concert given by our young child humble modesty and inspiration, in New York City in the Manhat· not aspiration .... tan Opera House at the age of ten, Moshe Menuhin which was organized and managed Los Gatos, Calif. by the teacher of our SOI1: an event with which I had nothing to do as IlConcerning Interpretation" far as planning it and arranging it, Sir: While there is nothing that there was not one dollar solicited I would take exception to in either or required to "launch the career the fine article "Concerning In- after his studies were finished .... " terpretation" or the commentary In fact, I am convinced that with- "A Great Woman Composer?", out pushing and forcing and dis- (ETUDE for May) nevertheless I torting the life of the young talents feel I could enlarge on some reo by some parents and/or teachers, spective points discussed. but by giving them the natural In the first, Mr. Badura·Skoda road to gradually assert their tal· doesn't quite" leave the impression ents even while growing and learn· that edited piano scores have a ing: they have a better chance to considerable value for most piano "launch the career" than by using students and their teachers. My funds, solicited funds or family own experience has been that funds, to rush and make careers. edited scores offer the needed solu- .... I am convinced that long be- tion to the pupil and teacher rela- fore any real career has a chance tionship problem. With Dr-text to be launched by means of arti- scores, either the pupil himself as- ficial money expenditures, already sumes too much free initiative in some damage has been done to the asserting his feeling for the music soul of the young boy or girl! (if talented), or the teacher be· The word career was despised comes too arbitrary and dictatorial by the parents of Yehudi Menuhin (if working with an unassertive all throngh his childhood and boy. pupil of scant talent) . hood, in spite of his growing world In Beethoven, I personally use fame and in spite of the highest (Continued on Page 3)
ETUDE-AUGUST 1954 1 ! $3.50 A YEAR ETUD the tun.ic rtlagft:ine Editorial and Bustne •• Olliees Rryo 1I....r, Pl. Letters to the Editor IMPORTANT NEW STUDIES MODERN TECHNIQUE OF THE PEDAL 1.00 (Continned from Page 1) SIGHT READING MADE EASY. Bk. I. 85 F.."".rr-t.l 111113Ly TII£ODOR£ J'RESS£R Jame F . r'u ---. rnell UJCIke, £;lIor ~ SIGHT READING MADE EASY, Bk. II 85 • (EdUDt, 19r..l'~ SIGHT READING MADE EASY. Bk. III 85 Guy Me 0'" ll ETUDE-ACGU T 1954 ETUDE-AUGUST 1954 3 o CHEAT COMPOSER has Pauline Czernicka COm' N been the object of so many suicide in 1949_ Edouard t~ romanticillventiolls as Chopin. died about the same timea ~ Bioo-raphers took the scant facts of widow declared that he had' Cho~)in:s life as a theme for highly receive~ the ~lJeg.ed originah~ ornamented variations. There were ~l1ost painstaking Inquiry Il'as~ dozens of French society women In an effort to establish the ..he, who said that Chopin expired in abouts of the supposed cOUri,,; their arms. His deathbed pro- the French officer and the Poli;i nouncements were quoted in well- lady. 0 such persons seemedi rounded literary French. The rnel- eXLst. Further attempts lI'ere Il\a~ aocholy truth is that Chopin was B)' NICOLAS SLONIiUSRY through the hop in Institute~ unable to use his voice during the ~. arsaw to trace the original!. last clays of his life and resorted Pinally, ome scraps of paper liij THE SCORE of Vivaldi's Con- would summon Newton or some to scribbled messages for connuu- the text or one or t.o lei"" certo in B minor for violin other famous mathematician and nicatioo. One such message ha \\ I' produ ed. The) \\ere not ~ solo, string orchestra and cembalo would receive help. But someti rnes been preserved. In it Chopin. cer- hopin' handhriting. Thi« en~ opens with a very strange chord: I get the wrong spirit. And that is tain that he was going to die, im- the .rr ir of hopin' cO''''pont G natural, D, Band G-sharp in the how it happened that Mozart com- plores his friends to ha. . an au- nc \\ ith ounr II Potocka. violin, and Fvshnrp in the orches- municated with me and said that topsy performed on him so that h tra. Was Vivaldi a prophet of poly- the music he wrote on earth is would not be buried alive. • tonality, atonality and worse? Not nothing compared to the harmony For special occa ions, such as ' at all. He was making use of A B Y, hali.p lie hears now. He needed someone Chopin's anniver arie , new d u- earn d hi Ih lug lOingingiI Scordatura. The meaning of the who was still living to transmit his ments were conveni ntly dis v· a 'h rU8 \\ illl a tra\elling open word can be easily understood if it music to the world. I explained to ered and pu bli h d. Thus. in nil- eompnn . His companion I\a~til is spelled in its original form, Dis- him that I knew nothing about ticipation of the cent Ilnial of famou Ru ian "riter \farim cordatura, that is dis-tuning. In music, but he urged me to learn Chopin's birth, his lin!') was pul ork _ The compOl') prriodi,,~ Vivaldi's Concerto, the solo violin enough to write down what he had out in Germany and accept d ae;; is distuned by raising the G string \\ nl I nnkrupt. Bnd .haliapin.~ to create. That is why I am here." genuine by a sur-pri ing numb I" two whole tones and lowering the (I n rcdu d 10 the nereo;t:ih01 The fact that the man was of of music scholars. 'Wh n prell~cd E string one whole tone. The open ",nlking the rnilroad track. [roo about the age at which Mozart for the origin f this cliar). the Jow string then sounds B, and the to\\ll I t \\11, accompanied b~Iir died: the perturbed look in his publishers inquired from th tran· written G-sharp 011 the high string rc,1 f Ihe choru'. IIhen hi eyes, the earnestness with which he lataI': the translator referr I the sounds F-sharp. Thus the chord reached Tini. in lhe auca::u!.1t told his story, all this contributed inquiry to an American author !-Os reduces itself to a simple B minor dccid I t lake mu~ic I('~"ons.fir to the strangeness of the episode. who was supp ed t have triad. th tri cl 10 enr II al the Tini, But Mozart's earthbound proxy original. But the authorcs \\ as not could never learn Illusic, and soon rvolor . hut Ih doorman waakl to be found. Sub equ 11th. S III The most, remarkable exam- he disappeared. The harmon ies n l all w him in. hCfau~ of his crude anachroni In \\ rc' 51 lied ple of Scordatura is represented by that Mozart heard in Paradise "PI ron of 8 tromp. in ra~ the quartet for three violins and in the diary. and the whol' thillg and \\ ith torn ~h must remain forever silent. was written off as a hoax. cello by Benjamin Franklin. This hnliapin n8 determined 10~ For the centennial of hOI iJl' quartet was clesigned to be played When a folk song not a folk :- In in~ing I ..on... al1<1 he ,,'eot ;.s death. a whole batch of hi:; Icurt's by absolute amateurs, and open song? When it is composed by 'e Ih profc,-or of t"e Til!i; to CounLess Potocka has dis v. strings are used throughout. But somebody. Is ESlrelfila a folk n nntor)"l r..atoL at hi! home. ereel in Poland and published in because of the Scordatura, a com~ song? No, because it was written LTsal \I. n kindl) man. "are himan a provincial Polish pap r. The prete scale i~ represented, and by by Manuel Ponce, the Mexican nudilion_ h n 1,< heard C"alia- ,I letters revealed Chopin in a lIew jumping from one instrument to composer, who published it in pi n' ,"oi e. he decid.d to aett~ light. No longer was he the Joseph Szigcli, noted violinist. will rrpe ra-, and operettas has been acqnir~ Effective with the 1954 Fall semester, Roose- pr-esent next .:'prill;,!; at the Music Sehoul by IIw University of Pelln~~hallia. The ...elt College School of Music and the Chicago of Northwestern I niversitv at Evanston, announcement carne follolling the !to Musical College will combine their educational Illinois. the cornplete set of Bach'" solo curing by )Ir;:. Ella Herbert Bartlttl, facilities to form one institution of musical sonatas and part.itas. The presentation. Herbert' .. daughter. of a ICInglo-t tIIPJ The Harpsichord tnanie-." lhl: education. to take place April 12 to 19, wifl be of the score or "Prince accompanied by explanatory remarks. firf;l of the Herben operettas.\lriU/'ll The School will be known as CHICAGO for the famous "Bo ..lonian .." in 189t MUSICAL COLLEGE, a Division of Roosevelt The Goldman Band. opening lit Th colic lioll 118, e-tablished by \11;. "where music College, and all work will be offered at Rees e- 37th season IOf the Cuggenheim '!I'. Bartlett in 19:1 811a Inrmoriallo Ilr-t lives" morial Concerts on J1Int· 18. includ d father. Today velt College. first performancf's of several 11II III h{'r". The Schools believe that the union will serve to carryon and advance Howard Hanson's Chorale and Aile/ilia Tltr Yilte ni\cr.oily Clee Club the high traditions of musical education maintained by CMC during was given its world premiere with the tlir,'('h"d h) Fenno Heath. ha~ madr ~ its history of many years and by Roosevelt College School of Music composer condIICling-. Also on the pre- 1·'Il·n..i\,' tour of Europe thi ~nm/lltf. From an interview with Ralph Kirkpatrick for a lesser period and will create a school of music with outstanding gram was a number called illl(illJ; ..in~in~ 2-t c nctrl~ in 33 day . ~i-ilin: f'iAhl count ri II. '\11 a peclal part III facilities, faculty, and academic standards. Band by Henry Cn"'f'II. which wus r-un- Secured by Rose Hevlbut ducted by the composer. A IWI\ murch. the 101..11". the el"t" lnb ellnjl; I tribal' Joseph Creanza, Director of Roosevelt College School of Music, will Michigan, by Ed\'.rin Frnnkn nldll1un 10 IIw mC'mory of Elihu Vllr on Jul"! head the combined educational programs, and Rudolph Ganz will con- was also featured in the firsl con,·,·r!. in Chh") n flay" \Val!.'•• home dhlrict lIi tinue actively as artist-teacher in the piano department under the r1w man who lCay!' Vall'il.. I1Imt'. T title President Emeritus of Chicogo Musical College. The PhillHlelphill \Voo/lwilul En- inll'rnnl ional ;..on(l:fr"lhalc. al \Il1nid. One of the leaders in the revival of interest in playing this ancient instrument semble. made lip of the !f'udilll! piny- .Il1nc 29 and 30, and in U.n,olltl. Those interested in pursuing studies in the various departments are ers of their re~pe(·tive 8ccliol1:. in The Wale". on Jul) 10. \IIere inrludrd in th.- presents a keen analysis of the circumstances connected with this development. invited to write for further information to Philadelphia O,·chf'slra. nppearcd in t yr. Reykjavik. Iceland "n .\In)' 27 nnd M. They appeared al the invillllion jtf Ih,. n (',hH,il honorinA Ille I50th birth- ROOSEVELT COLLEGE OF CHICAGO Icelandic governmC'nt. Followil1~ lhr8c dn) uuni\(·r .. fl' !lira n Ih", or rrm (The current season highlights the versatile ear as regards qualities of sonority. The 18th Century music, and almost cries out 430 South Michigan Avenue, Chicago 5 engagements lhey fle\\' 10 Londol\ \\here ("(1I11IHl..("r. He lor Ilt>rliol.. i on di~pbt' activities of Ralph Kirkpatrick, distingu.ished they gave sevpral London (·ol1cert.. un· dllrin~ July and AlIgll~1 II IhcoPu~ preference of the late 19th Century was for the tonal properties of the 18th Cen- der till" au!"pices ,)f the I3rili'!:h Ilrflud- Ubrllr) of I ('\IIark, ~f''' Jt'r-t'y. TW American harpsichordist. It was inaugurated for rich, thick, opaque tone, as exempli· tury piano. casting Corp0ratinn. TIlt", Il1cmber:-(If f"xhihil of hooke. pirtllrt"l, mu-ic .. with the publication of Mr. Kirkpatrick's fied in the orchestrations of Richard Gradually, this sense of something Robert Whitford the quartet are William Kincaid. nlltl'; l\hol1oJ,tnaph rf' otd hi#hlight~ I~ long-awaited biography, Domenico Scarlatti, Strauss, Brahms, Bruckner, Mahler. Even missed has asserted itself in a change of John de Lancie. oboe: Anlhony (;ij.di. 1·"IlIIHl ...ilinn_ of Bt'rlin7 "fhedulrd IIlI" and further celebrated by a festival of rare 1954 PIANO TEACHER CONVENTIONS in the non-classical field, the texture of taste. We appreciate our thick tonal carpets, otti, c1arinel; .\1a ..on Jonc". horn; lind !)crfMl1lon C 81 lht Btr\chirco r~linl and unknown works at Dumbarton Oaks. It Hotel Statler, New York City, July 5, 6 Sol Sehoenbach. bassoon. Ihi~ ll;ulllmtr. popular music was heavier than that of but we don't want to walk on them all the Hotel Statler, Los Angeles, August 4. 5 continues with i1h. Kirkpatrick's perfoT/n· ances, here and in Europe, 'of sixty of Scar- today's jazz arrangements. time-even in jazz. And so tonal prefer- Conventions are sponsored by the Certified Robert Whit. Ten ol'chest"al wOI·ks haw' 1I("'n TWl'hl' nrlrlitionnl Composers MT1' Nor was this phenomenon confined to ences have come full circle, arriving at a ford Piano Teachers of America, but open to all piano latti's best sonatas; by his recording of them presented for Ihl" fir"l tinw III Ih" :=-:IU. 11('('n nnllwd In lit' a,,"ardcd commi::iIlD' teachers and interested persons. jar Columbia; (lnd by his new edition of them orchestrations. From 1800 to 1900, the current desire for thinner, more muscular dium COllcerts Ihi .. "llIllllWr. \Ill\lll~ 10 b rit~ "'or" for tht" Louic\·iI1r fK!.l Convention events are, a .two·doy teach.er training course, given (G. Schirmer).-Ed. Note) same preference influenced (or was in- sound, best typified, perhaps, by the sound p~rscnal.ly by. Robert Whitford-on art,st concert featuring the these are Marine Bo)'s llarch hy Knlh. PhilhamloniC' Orrhr-Ir8. Each compor nf Arthur (;0£1. \\'ill u't"i\"(' 1200 (or a work ~pecia1lf fluenced by) piano-building and organ- of the plucked string. covery----:-a reCital of outstanding students~educotionol exhibits and SOCial functions. C:omplete conve~tion charge 01 $6.00 includes frey, played by Andre Koslelanelz: for Ih,,, l'tr('he Ira's alurdar malwre voicing. All along the line, instruments In the past 75 years, this characteristic Robert Whitford all of .the ab.ove. W.rlte for convention p.rogrom which lists the Concerto for Tap Drwrer ami Orrhf'S' e;f'ri('~. Thn..(' 8~('rpling Cl'lmmi·:ioo> ~o~~re.lnterestlng sublects to be covered In the teacher training NEVALUATING the place of the harp· were made the medium for richly massed plucked sound has disappeared from classi- ~ra by :Morton COllld: Symphl1l1~ 0.2 are: Palll Nordofl'. Robtrt .\luczyn'kL Isichord in modern life, we find our· sound~and as they grew more and more cal music. You have it in the harp, but in a 10 C minnr. hy Tchaikovo:ky: O\(>rlure LI'O ~\, ("rby. Ho¥t'ard Swan~n. John Robed Whitford Music Education Bureau responsive to chords and vertical harmony, limited way. Only in popular music has the 204 N.E. 31st St., Miami 37, Florida Portsmouth Point by William WallcUl: Vin("f'1I1. • ir _\rthur OIi".5.Ft'lix 8oro..· selves dealing with two circumstances. The Writ,e now for 0 free copy of PI.ANO !EACHING TODAY which reveols Robert Whit. "Mississippi Suite" by rf'r ~ 10 .._------ETUDE-AUGUST 1954 ETUDE-AUGUST 1954 11 Prj nee Denlh:H"c1 inspects one of the 8Hlnl I belle, All loam coatings arc smoothed down by hand. The name of a Dutch province is inscribed 011 Carcf'ul hunde polish antI smooth rough edges. each bell. bells but the size of the bourdon that deter- porLance rapidly increased. Rivalries de- eists of a series of one-story buildings Bells from Across the Seas mines the rating of the carillon. veloped between towns and cities, each whose rooms, with the exception of the two These tower bells, arranged in gr adu- striving to provide the. best carillon. Every furnace units, are light and airy. ated tiers from the largest to the smallest, installation became a civic event, sponsored Here new bells and carillons are cast usually have a range of four octaves. They by nobility, attended by the burgomaster and old or broken bells repaired. One of Large bells, small bells, medium sized bells-each has its place m the make up of the are played either automatically by a clock- and townspeople. Since the carillon was a the tasks recently completed by the factory work mechanism or by the bellmaeter or vital part of community life, it became one was the mending and re-casting of the fa- mous mission bells of Santa Barbara, Cali- unique carillon recently presented to the people of the U. S. by the citizen 01 Holland carillonneur, who manipulate? the keys and of the first objectives in enemy attack. Cap- foot pedals of a clavier-like instrument con- tured carillons were often re-cast as cannon fornia. Since there is no seasonal fluctua- nected by levers and wires to the clapper or held for high ransom. tion of work, the factory personnel-like of each bel1. Today, tiny Holland-whose laud area the pattern of the bells-rarely changes. Players must possess both strength and is not much larger than the state of Mary- Many of the villagers do the same work that their grandfathers and great grand- by Norma Ryland Graves gift: seamen, miners, farmer-s, flower- In what better way than by a carillon skill, for the keys are struck with the bent land-posscsses over 65 carillons and has growers, fishermen, the services, teachers could the Netherlands demonstrate their little finger of the closed hand. The amount two modern bell Icuudries. Carillon music fathers before them did, proud to main- (The 49-bell carillon, gift of the people of and scientists, financiers and shopkeepers, friendship? Holland perfected the art of of tone depends upon the carillonneur's is heard daily during market hours, at fes- tain family traditions and skills. Holland to the people of the United Suues, was businessmen and drivers, pressmen, artists, the carillon. Today it has more carillons forceful strike, some keys demanding a tivals and special midday and evening con- During factory hours-7 :30 to 5:00- formally presented /.0 the nation. in a colorful women's organizations, sportsmen and civil than any other country in the world. Its pressure equivalent to many pounds. Few certs. Thc nation's "Klokkenists" (Bell- you are free to examine any part of the ceremony on May 5, the ninth anniversary of servants, resistance people who co-operated democratic people consider the carillon an women belong to this profession about masters) have long familiarized their peo· work and to ask any number of questions the Netherlands' liberation front the Nazis. with your troops, students, boys and integral part of their daily lives to be en- which an early Dutch writer observed: "A pIe with national and religious hymns, folk save one: the exact proportion of metal Ferdinand Timmer mans, Holland's greatest girls ... joyed by all-rich and poor alike. musician needs nothing more than a thor- songs, excerpts from world-famous music, used in casting. Every manufacturer guards carillonneur, and Dr. Kiuniel Lefevere of popular songs. As a result, the Dutch prob- this secret, for it is his skillful blending, Riverside Church in New York, dean of caril- "Small as it may be, this little bell is no Although the number of carillons ill the ough knowledge of music, good hands and ably know their folk and national music lonneurs in this country, took turns at play- less essential than its bigger and mightier United States is con tantly increasing (at feet, and no gout." plus proper casting, tuning and installation better than any other world nationals. that determine the tone of the bell. Most ing the noble instrument duruig the ceremony. colleagues," the Queen continued. "To last count it was well over 60) l still the Modern carillons or "singing towers" are -Ed. Note) achieve real harmony, justice should be average American knows very little about the outgrowth of watchtowers built in the Holland's largest bell foundry-that of foundries use a formula of SO-90% copper, dOl~e also to the small and tiny voices, them. The carillon, one of the world's Lowlands during the Middle Ages. Not in- Petit and Fritsen-is located in the tiny the remainder being tin. N THE SPRING of 1952 when Queen which are not supported by the might of largest, most costly musical instruments, frequently they charted their nation's his- village of Aarle-Rixtcl, in the southern part Casting a carillon as nearly perfect as I Juliana of the Netherlands toured the their weight ... So many voices in our consists of a set of bells ranging in size tory: calling citizens to arms, warning them of the country not far from the German human hands can make it requires the com- country, she made a significant gift to troubled world are still unheard. Let that from the tiniest bell-generally weighing of floods, national emergencies, joyfully border. Here in a quiet, tree-shaded town bined skills of designers, bell-moulders, President Truman. It was a tiny, three-inch be an incentive for all of us when we hear about ten pounds-to the massive bourdon. proclaiming peace. When the Netherlanders live some 3,500 people, nearly a hundred tuners, makers of mechanism, and assem- bronze bell, symbolic of the carillon which the bells ringing ... " which varies greatly in weight. For exam' finally became tired of monotonous bell- of whom work in the foundry. blers. The method of casting, however, has her nation was then casting to give the peo- The gift of the 49-bell carillon, now set ple, the great bell in New York's River- ringing and began tuning their bells to the As you approach the foundry you ob- changed little from early centuries. Gen- ple of the United States. up ne~r ~h~ National Cemetery in Arling- side Baptist Church tips the scales at 40.926 notes of the scale, the carillon was born. serve little to distinguish it as such. Aside erally speaking, each bell is made up of "This, the smallest of the bells which the ton, Virginia, represents far more than the pounds-large enough for four or five peo- At first the bells were small and had little from the 35-hell tower in the side yard and three units: basic core, false bell, and people of the Netherlands wish to offer to months of labor involved collecting neces- ple to sit comfortably inside. range. The method of playing differed, too, a modest sign, "Klokken Gictery" (Bell enveloping mould. the United States, is given by the Dutch sary funds. It is the spontaneous act of a Unlike chimes (fewer than 23 hells), the for each hell was tapped by the carillon- Foundry), its entrance is not unlike that of The core, brick-walled and hollow, is children on whose behalf Illy youngest brave, hard-wo~king people, never too busy carillon may have more than 70 bells with neur. Limited as the first carillons were, one or two over-sized houses located on the tile model for the inner side of the bell. 'daughter presented it to me," the Queen to express their appreciation for United a chromatic scale of half tones instead of they were, nevertheless, equipped with sparsely-traveled road. Back of the house" Smoothed over with loam, it is allowed said at that ti me. "The Netherlands people States' aid, both during and after World the diatonic (whole-tone) scale of the pedal keyboards. which contains the office, lies the factory, to harden. Then the core wall or "Ialse in all their strata have contributed to this War II. chimes. However, it is not the number of With passing centuries their size and im- the third since 1660. Built in 1906, it con- bell," composed (Continued on Page 57) ETUDE-AUGUST 1954 ~------~ 12 ETUDE-AUGUST 195_4 _ 13 RURAL MUSIC: It's Not All Hillbilly THAS been said that there are no great I teachers, only great pupils. This is defi- Some of the characteristics nitely not true of Leopold Auer. His pupils rank among the master violinists of the that marked Auer as among world-Elman, Heifetz, ZimbaJist, to name The country music teacher's but a few-yet, with all deference to their the foremost eminent talents, their careers were vastly tact and-diplomacy are often put to by BESS HOWES aided by contact with, as well as by insrruc- violin pedagogs of lion from, the man who ranks as perhaps the test in solving problems the foremost violin pedagog of all time. all time are Auer was a truly great teacher. I came not to be found "in the book." to him as a boy when he was over seventy, presented here yet he played as well as any of his fabulous pupils. That, perhaps, was the first notable element in his teaching. He not only ex- THIS ADVENTURE began in a small school piano-it had initials carved across Pianos, bad or ludlfl r nt, arc 1101 the plained and told what to do; at any mo- Georgia railroad station where I was the music rack-l said to the principal in a only hurd! for lh ountry mu lc t acher. ment he would seize the instrument out peaceably awaiting the arrival of a guest. burst of enthusiasm, "After it's tuned. let's )f he I a he singing sb may aleo find of one's hands and give the most graphic Denno Rabinof with Leopold Auer There was no ...varning that life would be paint it over with cream-colored enamel; the e lap r ·0\1 r d .song books with demonstrations. turned topsy-turvy by an earnest young let's stencil colorful musical expressions all "shaped" notes, like rnndma u..ed. Do Auer was also a master psychologist. man in blue jeans approaching to say, "Ex- down the sides. The children will love not think for a minute that these are com- First, last, and all the time, he imbued cuse me, ma'am, but I hear you play the that." I offered to furnish the paint and he pletely outmo led, f r, as the bus driver one with a sense of dedication to the art piano. Reckon you could come out to our offered to take it up with the trustees. A Iter assured m , "\\ C g I th lot sl OUI of Nash- of music. In his presence, one felt that The Magic of Leopold Auer school and teach it? They's twenty chil- a few weeks the grade supervisor dropped ville." orne publishing nrnpanl still there was more than a lesson or a piece dren wantin" to get to learn." in to the studio, a boarded-off section be- print them and s nd out singing teacher or even a career at stake; we were dealing If he had handed me a double-edged hind the auditor-ium stage. That was such a to teach both adult and children how to with the holiness of art. He used to tell sword and challenged me to a duel it unique idea she said, to paint the piano. but read H haped" not s. us that, whenever we went into our rooms couldn't have been more of a shock. Obvi- after all, the first rule of ART demands One of Illy I upils who keeps n painstak- to practice, we were to get down on our ously he was unaware that I had not had a that an object fit into its environment. I ing manuscr ij t book r h r seal and knees as though in a church, or temple. piano Jesson for over forty years, much looked around at the drab depressing in- chords. also \\ rit s in u parnt ~ tion of That was his own approach. We always had less taught one. He could not know Twas terior of that auditorium and realized that it her oth r I So ons n "shaped" notes, Per- to wash our hands before a lesson-s-never An interview with without a degree in music, nor that my hus- she had a point-an attractive piano would hap it's no hard r than learning two did one dare touch a violin with soiled band and I had come to Georgia to relax in stick out like a sore thumb. language. fingers. When I first came to Auer, I en- his pupil, our declining years. The whole idea Wl;!S But the piano did get tuned, by a para- One night a father called 11 me at home. tered his studio with myoid violin case simply preposterous. ' gon jack-of-all-trades, who could, to quote He was a fine up-tanding xnmple of man- -a shabby thing but the best I had- Benno Rubino! But twenty children who wanted to "get the bus driver, "fix most any thin' when hood in his community. deeply interested aud, remarking the beautiful furniture to learn" began to haunt my days; and at he's sober." He used a slat or two from an in supporting musj in the ~ hool. But about me, I set my case on the floor. Auer night my New England conscience was Secured by orange crate for a repair job. with a net he had come to say that he wanted his jumped at me. "No, no," he cried, "never nudged by an old axiom to the effect that result that made a lot of children happy. daughter laught only gospel songs ... he's cia that! The cheapest violin has more you should "do the best you can, with what lVlyles Fellouies Among these were the MacDonald sisters not going to have any use for that classical value that the finest chairs. Chairs are you have, where you are"; until at length I -3 name that will do as well as any. There mustc" he said. vaguely disposing of the just things but a violin speaks from the found myself teaching piano in a country were three of them, aged nine, ten and three B's with a wave of the hand. '"I want soul." It is precisely this attitude which school. The twenty. children had turned twelve respectively; how their family her to play for gospel quartets." speaks from the souls of his pupils. into forty, while J, studying harder than afforded three weekly lessons was a mys- Hedging for time. while wishing J could But Auer was far from confining himself Benno Rahinof with his talented wife, Sylvia all forty put together, was having the time tery! They slipped unobtrusively in and call up Harry, like Ethel ~1ermao io "Call to intangibles. A master technician him· of my life-a rugged one! out of the studio to practice during my me Madam," the diplomatic compromise self, he taught technjques as well as music A rural music teacher needs the tools lunch hour, or while waiting for the bus. came to hand. For every selection of my -always with the understanding that the fingers whicl~ manipulate the strings. This used to tell us that one can't place semi- of humility anCI understanding even more their music always handy in the school choosing. his little girl would be taught two cannot be separated. To my mind, one provides the instrument with the necessary tones close enough. Once they are in order, than a metronome or a degree. The noble satchel; until finally J tumhled to the reali- olle gospel song; whlch worked both ways, of Auer's most important contributlons to support, there is no clamping from shoul- the other tones will follow. If you watch objective of raising the standards of rural zation that they had no piano at home. for I learned the most fearful assortment violin playing lies in his theories on the der, chin, or collar-bone; the shoulder your half-steps and keep them close enough, music had best be tabled while she finds This. was a poser, because they were as of lugubrious. guilt-laden gospel songs I holding of the instrument. stays downt and the violin stays away from you will have little difficulty with intona- out why her pupils want to learn, and what good SIght-readers as their more fortunate never would have know'n otherwise. Also, Through his own work, and through ob- it. This position of the violin allows the tion. they want to .learn. With this open sesame schoolmates. "You see:" explained the it substantlated the beljef that once we serving that of his close friends Sarasate tone to soar as it should. And the viollnist 2) Developing octaves. Here, the index there will be opportunity later for what youngest, "we play on rocks." "Rocks?" know the music of a people, we can better and Wieniewski, Auer came to believe that never gets sores or marks on his chin! finger lS your gUlde, and you go forward they need to learn. Meanwhile the teacher T blurt~d out while conjuring up visi~n~ understand those people. the usual position of holding the shoulder Other viollnists have found their way to with it. Never start with the fourth finger; herself will acquire· an education in hu- of a trw of mountain goats_ "what kind Then there· s the perennial problem of under the violin and then clamping it into this correct position (Kreisler, for exam· it will find jts place once the first finger manity. a [ roc k?"s. It seems that they -had collected practicing, comnlOn to both lawn and coun· place with the chin, served only to mute pie), but, to my knowledge, Auer was the has its note. Auer wrote a number of Hazards confronting the country music enough little flat stones for three octaves I', try cousins. Only in the country we have tone. Consequently, he devised ways and first to formulate it into a means of help "Otaracteristic Etudes" (the best there , teacher are legion. Take pianos, for in- of naturals, which they spread out on a the added difficulty of Uthe cold parlor." means of leavillg the instrument free whlle for others. are, I think), each demonstrating a special stance, of '88, with missing ivories, cracked ~arge rock t~ simulate a keyboard_ asslgn. sounding boards, disconnected pedal action the unheated Toom in winter. equally hard playing. The object was, of course, to let Auer never stressed technique as such, technical point. His octave exercises, played H1~, alphabetIcal names in proper sequence on the piano and the child. I know whereof yet his pupils developed tremendous tech- and intermittent tuning, ills that are not - we pretend the sharps and Rate;:" I the shoulder down and never to clamp it. on this principle, are especially helpful. I d d Th- - -, S 1e -because my first winter in the country I The war he did this-the only way to do niques by adhering to the master's prin- 3) Using the bow. Auer was strict about exclusively rural. Paint, plumbing, books, conc u e. IS kmd of ingenuity is truly taught for many a morning in a fur coat ciples. These include: chairs, all have priority over piano tuning. a.wesome to one who can easily procure a it, in fact-was through the use of the the bow, and could not tolerate a change and wool socks. The first time I saw a really crocked·up SIlent keyboard from a music store. thumb as a guide_ He thos regarded the 1) Improving intonation. Thls begins of bow's being heard. To avoid this sepa· School busses call (Continuedo" Page49) thumb as of equal importance with the four with strict attentlon to semi·tones. Auer rate change- (Continued on Page 59) l /4 17 _ ETUDF:- wcrST 1954 ETUDE-AUGUST 1954 15 HE ABILITY to sing fluently is impor- Ttant to the success not only of every opera and concert artist; it is even more important to the success of radio singers, An Editorial who cannot compensate for defective sing- �akillg ins by channing their public with their ey~s a~ld facial expression. The microphone mercilessly enlarges such defects as "jerks" by JAMES FRANCIS COOKE and "breaks" as the voice passes from note to note. from word to word. It magnifies Good dry, thin, or strained or uneven spots in the voice. It shudders at the explosion of One of the most sought heavy consonants. It unveils static think- ing, a cold or calculating heart, a preoccu- after voice teachers and pied mind, or anything that lacks feeling. Asa Such faults are equally apparent to people coaches of the present who watch television, or any other form of its departments on lu t 1 by nationally "What under the sun can be the matter present day listening. People are aware of day emphasizes the with me?" he asked. "Are people giving Inmou experts in answering questions reo high standards, even if they cannot analyze up music study? the music teaching rrardinu th music rudy pr hi ms of sru- Is " e what they do not like. importance of knowing �usic profession dead?" .., dent and Ira .hers. Thi hal:. been in itself If you have ever read what the New York I assured him that in nation-wide trrps a major conu-iburt 11 in the advancement music critics write in their newspaper over many years I had found most music of mu ice! educati n in America. columns the day after a song recital or an teachers very prosperous indeed. although This and rnany similar cases brought 10 operatic performance, you will discover the the measure of this prosperity was natural- me the realization that rna t of the teach- high standards of all vocalists. ers who really rio make go I ar vibrant, Teacher ly always affected somewhat by general na- Every singer is expected to sing fluently. How to Sing More Fluently tional economic conditions. After much hopeful individual who have had fine You will know this after you have read questioning, the causes of his failure began preparation and \\"10 integrate themselves such comments as, "The fluency of his to appear. His primary interest was in with the con tru rive c mmon inter IS of voice resulted in sensitively managed me- F THE COUNTLESS thousands of in- making money and not in music education. the community in wlu .h the) live. In doing lodic lines." "She sings with a fluency and O quiring letters from all kinds of music He was a bachelor and lived with an in- this the) are merely Iollo. ing the practice purity rare enough in concert halls." "Vo- From an Interview with Crystal Waters teachers here and abroad that have come valid sister to whom he was devoted. He of any succ ful pr fc ionnl man. banker cal fluency gave her voice warmth and Secured by Annabel Comfort to my_ desk, the most frequent question apparently had no real friends; no hobbies; 01' buaine ...sman. All u h u gestions call color." "Because of unusual fluency there quite naturally has been, "How can I make he rarely went out except to leach; he went for continual favorable conta I in person, was spaciousness, breadth, sweep of line, good as a music teacher?" To answer this to few concerts or recitals, belonged to no or through corr pondenc or through and greatness." question adequately would call for vol- church, was a member of no club, and print with the public. In thi way a teach- 1£ you would like to sing more fluently, logical unfoldment of your son? The second approach to fluent singing uminous tomes supplemented by addenda was becoming progressively more and more er's rei utation becomes established. With· you must practice purposefully to achieve Take the time to play the song over and is both mental and physical. Now that the of limitless musical and pedagogical wis- introspective and misanthropic. He had no out such conta ts the tea her \\ ill lead a this goal. The first approach is purely over on the piano until you grasp its mu- mind knows the music and the words, the dom, which no Doe man possesses. Success spiritual convictions to support him. He dwindling and unin piring life. ln a cor- mental. Since there are practically no nerve sical idea. (If you cannot play the piano ears can guide the muscles pertaining to in most vocations depends upon such an had not married because of his responsi- poration such a tiviries fall under "Public ends in the vocal edges, it is the mind that have someone play it for you.) You will voice production. First, all muscular ten- infinite number of different things. Con- bility for the care of his sister. His idea Relations" which is now a highly lucrative leads the voice. If the mind knows where it discover that as the emotional feeling sions which are basically mental tensions, fucius insisted "In all things, success de- of a music lesson was "selling a piece of calling. and course of instruction in it is going, and thoughts flow in that direc- rises. the melody rises; as the emotional must be released. Direct muscular co-ordi- pends upon previous preparation, and time" much as a delicatessen store- keeper are given at for-erne t universities. Great tion, so will the voice flow that same way. feeling ebbs, the melody will fall. When nations should be encouraged until the flow without such preparation there is sure to would slice off bologna. fortunes have been made through public Take the time to find out what your. song the underlying chords are related to the of musical tonal quality shimmers with be failure." Quite true, but preparation is It was easy to see that no matter what relations and its place in industry is a is all about. Read the words over and over tones in the melody, you feel partially satis- resonance, like a river flowing in sunlight, only one element. We have known of scores occupation that man went into. he had no .necessity. aloud, until they make sense to you, and fied but urged to press on. from the start to the finish of every phrase . of individual teachers who have had years chance for success. Yet he had excellent The formulae {or success are endless until you memorize them. Say them slowly When the underlying chords are not re- For instance, the voice is like a wind of preparation in the best schools with the technical musical preparation and had at and they contain innumerable ingredients. and then say them fast. Say them expres- lated to the chords in the melody, a rivalry instrument. The French horn player takes finest masters, and yet have been dismal his finger tips a surprisingly large reper- 1n a recent sound and especially practical sively, intimately, and conversationally. is set up that expresses the tensions of con- in a breath before playing each phrase, failures. Thoreau in his apothegm comes tory from Bach to Bartok. I fear that the address. "Pattern for Success." presented Say them until you talk them fluently, in- flicting feelings and expectations. At last, and his out going breath pours out the nearer to the right idea: "Only he is suc- advice I gave to him was wasted because by Mr. James Q_ duPont. l. I. T. 1926. dependent of the music, for, obviously, if the melody returns to its final tonic chord, music. You, too, should prepare for the cessful in his business who makes that he was too far along in years to remold of "Wilmington, Delaware, the speaker you cannot speak the words fluently, you and you feel fulfillment, for you have ar- singing of each phrase by taking in a pursuit which affords him the highest his ways. T gave him a number of booklets singled out from the various factors COil' will not be able to sing them fluently. rived where the logical unfoldment of the breath, and then let your outgoing breath pleasure, sustain him." In other words, and quotations from stimulating thinkers tributing to the extraordinary success of Once you know the sense of the words music intended to take you. pour out your musical phrase. Learn to the teacher \·vho wishes to make good must such as Dr. Norman Vincent Peale, Dr. one of America's largest and 1110stdemo- you will discover that the song has an un- To sum up what I have just said: breathe naturally as you did when you were be gloriously happy in his work. Ralph W. Seckman, Bishop Fulton J. Sheen cratic industrial corporations. the E. J. (a) Take the time to find out what the a baby; but it will take more than natural Only a few weeks ago a teacher ap- and Rabbi Joshua Loth Liebman. and the foldment, like the logical unfolding of any duPont de Nemours & Company. Inc .. ten human experience. You understand how song is all about. Read the words aloud ordinary breathing to make you a good proaching middle life came to my office and prayer that some light might COI1l~ into his major principles. One of these principles until you memorize them. singer. confessed that he was a failure. He had receding life habits. Nothing short of TNT the experience begins; how one incident is that of supplying something for which (b) Play the song over until you grasp So many people take a breath and hold had wonderful preparation. He was a man could blast him out of his psychic rut. grows out of another, and how the visual there is a real and continuing need. not its musical content. it, and then they start to sing, and hold of character and ambition, his health was Tragic but true! On the other hand, I have and emotional images that arise in one merely a passing whim. Herein lies one of (c) Sing the melody over and over, un- back the tone thinking they are going to good, he had no bad,habits, he came from noted many cases taken in time where the phrase seem to reach forward, and overlap the secrets o{ many prominent teachers, til you can sing it without the words and a family of good standing, he was indus· teacher gladly listened to wholesome advice into those arising in the next phrase, like make it perfect before they let the tone out. who have learned to select those things in a series of waves, up to the climax and on without the piano, and not make a single As though anyone could make a tone! trious, he played piano unusually well. He from experts, and by taking 011 new direc- music which are based upon a substantial had had a fine studio in New York City, tives, effected a complete turnabout. reo to the end. When you can see and feel mistake. Whoever heard of such a thing? human need in penllanent art in the highest If the melody does uot hang together in but had been obliged to close his studio, sulting i.n greatly increased income' and these images, flowing along like a dramatic There is magic in your throat. Self oper- sense of the word. l\1r. duPont is the great. sell his fine grand piano and start going more successful results with their students technicolor movie, you will convince your one piece, and if it does not flow along ating magic. Your eyes and ears are also great·great grandson of the eminent French from home to home like a neophyte teacher, The ETUDE through the years has ren: listeners that you know where you are fluently in your mind's ear, you will not self operating; but the one thing that philosopher, Pierre Samuel duPont de Ne· just beginning to give lessons. dered a priceless "steering service~~ through going. You will fluently hold together the be able to sing it fluently. you must give (Continued on Page 64) mours, whose SOn (Continued on Page 62) ETUDE-AUGUST 1954 16 17 Iti~l _ ETUDE-A['GCST /954 BAND DEPARTMENT Edited by William D. Revelli co,-ds Reviewed by PAUL N. ELBIN Symphonic Band of (he Ullivcrsi1r of Michigan. William D. Revelli, conductor llimsky-KOI'sakov: Capriccio ES[Jagllol, Op. simple tribute to the Clmst-child may well 34 start a wave of L'Enfance dlL Christ pro- Tchaiko\'sky: Capriccio Italien, Op. 45 ductions next December. (Columbia SL·199, An authoritative discussion by an When Columbia wants a record to dazzle two discs and libretto] the country's hi-fi exponents, all it has to expert in his field on what constitutes do is to wheel up the tape machines to Philadelphia's Academy of Music and turn Wflgner Program on the Philadelphia Orchestra. Such a rec- A lot of people are going to enjoy the program of Wagnerian orchestral excerpts ord as this pairing of the Capriccios is an a. By reducing the quantity of the brass recorded for Columbia by the Philadelphia example of pops music at its most exciting'. tone well below the top dynamic levels pos- Orchestra, Eugene Ormandy conducting. The True Band Sound Every trick of the recording crew has been sible to the woodwind section. (This plan used to heighten the dramatic mood which Blessed by the finest of present-day audio engineering, the recorded program includes is adopted by the majority of bands play- Onnandy turns on in generous measure. As (side one) the Overture and Ven usb erg by JAMES NEILSON ing in this style.) encores for the encores, the record holds b. By increasing proportionately the Flight of the Bumble Bee, Dance of the music from "Tannhauser" and (side two) (Mr. James Neilson is Conductor 0/ Ensemble With many excellent bands being trained in number of woodwinds. Research by Hugh Tumblers, and THE Andante Cantabile. the Prelude to the Third Act of "Lohen- DI·. Puul N. EILJin grin," the Ride of the Vallcyries and the Drgunizations (band, orchestra, choir) at this fashion, it becomes possible to evalu- McMillen and Cecil Effinger at the Uni- (Columbia ML 4856) versity of Colorado seems to indicate some Ma,gic Fire Music from "Die Walkiire," and harpist. urfaces are not perfect. but the Oklahoma City University. Oklahoma City, ate performances in terms of these sonori- Oklaholna,-Ed. Note) ties. In these bands there seems to be: such arrangement for instrumentation as those parts of "Die Meistersinger" most fa- sound is go d. HOl merican buyers will Faure: Pelleae "nd MeLisutllle Suite, Op. 80 1. general and overall smoothness and that used by the symphony orchestra, with Ravel: Orchestrations 0/ Three Piotto Com- miliar to audiences. (Columbia ML 4865) react to Telefunken' thin ja ket with cello- A the woodwinds in a ratio of 2V2 or 3 to 1, positions phane protector is a que rion. (Telefunken IT SEEMS probable that the symphonic suavity of tone with a consequent lack of so that in a band of 80 performers there This M-G·M disc contains some of the Ravel: DapJwis lIml Chloe Suites 1 amI 2 LGX 66019) band as an ensemble for the perform- vivid tonal color. most sensitive readings of French music on Atborado det Graeioso ance of serious music has come of age. 2. Performances within reduced dynamic would be 11 first, 11 second, and 11 third LP. Gaston Poulet, who conducts the Lon- Angel provides a 12-inch disc containirur levels. There are no tremendous climaxes clarinets (capable of further division), 7 Poulcnc : Les Mamelles de Tire iag This, because more and more composers of don Symphony Orchestra for the recording, the two suites Ravel extracted from his hal- nor any finely spun pianissimos, although bass clarinets, 15 other woodwinds. and 25 This saucy liule opera.bOl'Oe is not likely merit are being drawn to it as a medium is known both as a violinist and as a con- let score. Each suite complete to a side, this latter may be an emphatic reaction due brass and percussion. In such inst;umenta. to come your way except by records. Writ- through which they may express them- ductor. His performance of the suite from comparison is convenient even if buyers do to the absence of vividly brilliant, contrast- tion Isee no place to fit the timbre peculiar ten to the 1917 play 01 Guillaume Apol- selves. Faure's gentle music for the Maeterlinck not always care to play both at one sittiue-c- ing passages. One may wellliken these per- to the tone of the saxophone. It is yet too linaire, Francis Poulenc's 1947 music is in If the development of the symphonic drama is pure poetry. The Ravel pieces in- a practice this listener does not prefer. formances to those of an a cappella choir early to analyze objectively the results of the authentic tradition of French comic band is to continue to progress, there are clude Alborada del Gracioso, Une Barque AI~dre Cluytens displays strong talent for singing with the "covered" tone. the experiments being carried on so ably opera. Angel's lively production features many things that need clarification and sur l'ocean, and Pavanne pour une Infante this type of music as he conducts the Or. 3. A lack of brilliance in tutti passages, by McMillen and Effinger. the orchestra and chorus of the Theatre there are many problems to solve. Chief de/unte, all played in good style. (M-G-M chestre. National de la Radio-diffusion due to the fact that since they must play Some of the weaknesses inherent to the National de l'Opera Comique conducted by among these is the need to define the sound E3116) Francaiee and the Chorale Marcel Briclot. at a reduced dynamic level, the brass in- proposed new instrumentation are as Iol- Andre Cluytens with Denise Duval and of the band in terms of its overall sonority. The second suite appears to be done with struments are unable to contribute proper- lows: . Jean Giraudeau in the leads. (Angel In this connection, two questions confront Bedioz: VEn/ance (Itt Christ greater finesse, more subtlety, than the first ly to the ensemble tone. A brilliant brass 1. With the proportionate number of 35090) the composer and the conductor. The way When the Abbe Arnaud wrote that Ber- but this feeling may result from the writer's in which these questions are answered tone cannot be achieved at these levels. brass players reduced, the solidity of the lioz had "transformed the concert hall into greater interest in the second. Technical as- probably will decide the future of the sym- 4. Because the brass section must use brass tone in the present day alignment pects of the disc are excellent. (Angel J. C. Bach: Program b)' the riel/tla S~·III· the legato tongueing so often, there is a would be sacrificed. This would eliminate a temple," he had reference to "The Infant phon)' Orchestra phonic band: 35054) b lack of the percussive quality in the tone much of the brightness of the composite Christ." Columbia's highly successful re- Very little music by Johann Christian First: What sonorities and timbres should so necessary in attaining cer-tain functional tone in the ensemble tutti. cording was directed by Thomas Scherman, Bach, 1. S.'s talented youngest son. has predominate In the symphonic band? whose Little Orchestra Society has pre- Mozart: Concerto No. 1 in G Major [or Second: What techniques must be devel- attributes of performance on brass instru- 2. Because of the prevailingly weak so- Flute and Orchestra, K. 313 COme to records, and this delightful pro· sented the work for New York audiences ments. These attributes produce qualified norities in the throat tones of the clar i- Concerto in C Major [or Flute Bur I gram from Vienna is therefore most wel- opedto make these sonorities possible? Bb each Christmas since 1950. William Jon- Orchestra, K. 299 ,p (Ill( come. Swiss conductor Paul Sacher, student The first question has two possible an- subito effects at every dynamic level. nets, a section of the composite tone would son's Choral Art Society furnishes ex- 5. A total sound that is pleasant to hear, .Rolf Reinhardt's way with Mozart 11.1akes of baroque and classical music leads the swers. Present day bands are being devel- be very weak. The better composers and III, quisite effects. Martial Singher (Joseph), yet lacking in exuberant vitality. , tIns Telefunken release a joy. It reveals, Vienna Symphony in four contr;sting num- opedaccording to the specific way in which arrangers of band music make much use of Leopold Simoneau (Narrator) and Donald 6. A certain affinity to music written in , moreover, why K. 313 sounded so lifeless bers: Sinlonia in E-Flat Major, Op. 18, individual conductors answer it. One large t~e secondary brass in reinforcing this sec- Gramm (lshmaelite father) have voices impressionistic styles and to transcriptions when conducted not long ago for Vox by No.1; Sinfonia Concertante in A Major group of conductors believe that the wood- tIOn of the ensemble sonority in vertical wholly suited to the mood. Mary Daven- from the orchestral repertory. Hans Swarowsky. Reinhardt conducts the for Violin and CcUo; Sinfonia in D Major, windsonority (saxophones included) should alignment. port's vocal color is more Delilah than Bands portraying sonorities in this South German Chamber Orchestra in per. Op. 18, No.4; and Concerto in E-Flat ~redominate. To these persons, the brass 3. In the proposed instrumentation the Virgin Mary. Aided by outstanding repro- fashion achieve the seemingly smoother ~ormances that. fairly sparkle. Willy Glass Major for Cembalo and String Orchestra, Instruments(French horns excepted) make solo line possibilities of the entire ~Iari- duction, the recorded performance of this IS the able flutIst, Rose Stein the capable Op. 7, No.5. (Continued on Page 56) only a secondary contribution to sonority. quality of ensemble tone in two ways: net family (Continued On Page 50) ...~.. _------18 ETUDE-AUGUST 1954 ETUDE-AUGUST 1954 19 PIANIST'S PAGE MOZ31.t'S "l\1.11'riflgC. of F.igrll'o" :l,S • presented n t the Unn·crsltf of Hlinols Some Outstanding Scene fl'OIll SII·a"insk,.'s Hl\1a\'I'a" pcrfol'mcd by stu dents at Uni,cl'sity of Illinois Short Pieces of the Year second year. Margery McHale-Corn Hnshin'-another by GUY MAIER peppy piece for tough young lads; second Many iruliuiduals are year. William Scher-Midnight Riders an ex- to-day making their first cellent quick chord piece (staccato and oo many teachers choose single pieces year. legato); a fine technic developer; third Thaphazardly for their students. In select- Michael Aaron - The Regatta - a useful, year. acquaintance unth. opera through the medium of radio and television. ing the right composition they do not moderately paced broken chord piece in A Edna Taylor-A/ter the Showel'-a line sufficiently consider the grade, age and Major. Excellent for developing hand recital piece-singing melody with six- Countless others are eager participants ui taste of the pupil or his needs for studying smoothness; second or third year. teenth "shower" notes and easy "splashes"; a certain kind of piece at that moment. Hazel Martin-Three separate pieces; sec- girls will love it; third year. this exciting activity through They must be on the alert not to choose ond and third year: N. Louise Wright-Glory to God-a short, material that is too young, easy, too diffi- Summer Starlight-fine for inside mel- massive and extremely effective chorale cult or not suitable. The actual quality of ody. study in chords, chord-flips and brilliant the piece as music is often not of prime Blue Bells in Spring-waving and waltz- left hand octaves; fourth year. Workshops-College and Community importance. The question should be: Will ing gaily in the breeze. Stanford King - Scherzo HU/Il,oresque- Opera it accomplish what 1 need to Hput over" The Enchanted Forest--alternately agi- one of King's best pieces, which means that now? tated and mysterious; strong appeal to it is excellent, original and very efIec- by Kenneth Harris The selected composition may be ar- boys. tive music; in exciting six-eighth rhythm; restingly "original," or more concentrated Lillian Miller-fn a Mayan Temple-:e: line fourth year. than others in getting results, or may pos- workout in great, massive, impressive From the Willis Music Co., we select: sess characteristics that intrigue or incite chords; third year . Olga Prigge~Black Swans-and mostly ....N AMAZING development has taken ment since 1946. However, the National at the University of outhern California. the student. The choice of a piece is so Louise Ogle-Twilight's Charm-to recite on black keys; gentle rhythmic sway; good .fl.' place in the operatic field in present- Association of Schools of Music, estab- And ~V[enolti's "Amahl and the Night Visi- important that teachers should play several the exquisite verse, then to play the sensi- for quiet, singing legato; second year. day America. Gone is the day when the lished in 1924, laid the groundwork for lars" had its first production on any stage. suitable examples for the student, then tive, pastel music creates quite a mood. Sarah Dittenhaver-c-F orget-Me-Not Waltz American operatic world centered in one this great expansion. This organization be- outside of television, at Indiana University. defer to him for the final decision. Pescetti-McClanahan-Presto in C Minor -a lovely small-hand, slow melody and opera house in one city. Today there are gan with a membership of 23 schools. To- There are many excellent workshops in Often, when a student wants to study -a delightful sonata movement by an accompaniment dance; good tor quietness, hundreds of opera houses and hundreds of day it has more than 200. There are 104 the United States. Opera critics agree some certain composition which I have not eighteenth century composer with stimulat- ease and playing without looking. performances, for opera has spread from colleges and 43 high schools which present that Indiana niveraity has one of the best assigned, I say, "Fine! By all means work ing study notes by the editor. It is joined Sousa-Washington Post March-a fine, the civic opera houses to the many audi- opera every year; these schools give more opera workshops in the country. But the at it, if you wish. I do not think you will to a very effective optional second piano astonishingly easy (second year) arrange- toriums of the college workshops. Now the than 400 performances annually. University of Illinois, the niversiry of be happy with it, because it's hard for you, part. ment by John Thompson, who is a genius composers are writing operas suited to the The workshops stress contemporary Minnesota. and Louisiana State College and won't do much for your musical The Presser-Ditson list includes: in producing simple music which sounds limited facilities of the opera workshop. works, but many colleges produce some of also have high ratings. The work at both growth." ... That usually persuades him! Beryl Joyner - Patsy - a gracious first sonorous and hard! These new works are chamber operas suit- the classics of operatic literature. In the Illinois and Indiana is a fine example of I believe that all the compositions listed waltz; large notes; very easy. Puccini ~ Mnsetla's Wallz - arranged by able to the small orchestra and the small contemporary field, Kurt Weirs opera the creative advancements the workshop is William Scher ~ The Weeping Wiltow - a Allen Richardson. At last a very easy and cast. No longer is it necessary (or practi- "Down In The Valley," with its 186 per. capable of. here will contribute to the student's technic, musicality or enjoyment. If you are shocked very touching, simple quasi-waltz; for first beautiful little transcription of a favorite cal) to write a work of the proportions of Iormances, leads in the highest number of The success of the workshop at the Unl- by some of the choices please remember year youngsters or adolescents. operatic air; second year. "Aida" with a chorus of one hundred, an performances of a single workshop opera. versity of Illinois is chiefly due to the pro· that first-rate music is not the criterion; Everett Stevens--Comes the Night-a se- Elinor Colby - The Ship's Cat - a gay, orchestra, two on-stage bands, and a clut- The workshops have presented 349 per- fessional management of Ludwig Zirner we want compositions to fill the student's rene, lovely melody for small hands; just giddy hornpipe for your plunk-a-plunkers; tered set of pillars, altars, and tombs. formances of Ginn Carlo Menotti's works. and his wife, Laura. l\Ir. and Mrs. Zirner, present needs, and also (incidentally) to as good for adults as for children. second year. Much of the expansion in opera today is Among the classics, Mozart is given both born in Austria. have had extensive George Anson-Ont lor a Stroll-a happy, Pearl Bown~JlLngle Dnun-another thrill- in the college workshops. New college many times; the Mozart librettos adapt training in their respective fields. Mr. freshen our own teaching perspectives. We are so tired of using the same materials, carefree study in unison finger patterns; ing and sinister plunk-a-plunk; a grand auditoriums are being built; new light- themselves well to English translations. Zirner, who directs. stages and conducts year in and out! ... let's look over fine for technical clarity and evenness. second year recital piece. ing equipment is being created, and special Gene.rally, the ~pera workshops use only the operas, is an excellent pianist. He So, William Fichandler-My Shadow-a beau- N. Louise Wright-From the Organ Lolt- stages erected. From coast to coast and English translations. Such famous works studied piano at the Academy of liJusic in the better offerings of a few publishers. tiful, sensitive, easy canon; could also be a beautiful, plaintive improvisation for ad- prairie to desert there are opera produc- as "La Traviata," "The Tales of Hoffmann." Vienna. But he also plays violin. viola Here are some short, new, first, second and third year pieces which I believe are out- played as a duet; second year. olescents or adults; third year. tions and opera workshops. Opera is given and "Dido and Aeneas" have been given at and cello. The operas are usually accom- Noah Klauss-Organ-grinder in the Rain not just in New York, Philadelphia, San schools such as Xavier University in New panied by .\1r. Zirner on the piano: some- standing. They are set down according to Edna Mae Burnam-The Singing Fouruain: -a delightful second year novelty; very Francisco and Chicago, but in Greenville, Orleans, Adelphi College in New York and times Mr. Zirller utilizes a chamber or- publishers, not arranged according to merit. -c-five pages of a charming left hand mel- The Cincinnati College of Music. ' effective. S. c.; Portales, New Mexico; and Burling- chestra which he conducts. Ylrs. Zirner, First, from the Mills Music, Inc.: ody with right hand playing a sparkling Jean Davis-Sammy the Sailor-a jaunty ton, Vermont. World and American premieres of un- who designs the sets and costumes. has Olive Dungan-The Singing Celta-for a figure above it j extremely showy; not march with snappy small handed chords; The opera workshop movement has been usual merit are not uncommon. Ceorae studied and designed sets in Vienna. Sect- smooth singing left hand; short; second hard; third year. (Continued on Page 58) increasing its growth, power and develop- Antheil's "Volpone" had its world premie~e land and Canada. lContinued on Page 61) 20 ETUDE-AUGUST 1954 ETUDE-AUGUST 1954 21 TEACHER~S ROUNDTABLE QUESTIONS AND ANSWERS "BUILDING A SCALE" or black, and he should probably serve for Did I stick my neck out when I wrote a "Horace Mann Piano Book"-Burrows Conducted by KAI1L frI. GEHnKENS,· only about a month. (4) Tell each class paragraph under that name in the Hound- MAURICE DUMESNIL, Mlts. Music Editor, Webster's New international (Boston Music Co.) table of May 1954? It looks like it. judging "Green Duet Book" - Diller-Page (G. that you want them to learn some song of Doc., comments again on scale Dictionary, assisted by Prof. Robert A. their own choice very well, and that when by the number of letters which have fol- Melcher, Oberlin College. Schirmer ). lowed. My correspondents are unanimous "building" and advises concerti- "Oxford Piano Course" (First Year it is as perfect as they can make it, you in giving this explanation which contradicts ing ETUDE articles. Book) (Oxford University Press) will tape- record it and allow them to listen "Music the Whole World Loves"-V\lallis to the recording. This will show up many the version I proposed: "The term 'building a scale' refers to and Weber (Willis) lmperfccti ns and it will be excellent ex- K. G. periencc to have the pupils themselves dis- following a scale pattern and playing the (Next month the third list will be pre- cover the Ila \'IS. (5) Encourage original scaleon the piano from any key on the key- board according to that pattern (thereby sentell-Ed.) composition by telling each cia that if any of them would like to make up a song clarifying the incidental key signature to MUSIC IN THE JUNIOR HIGH SCHOOL or an instrumental piece, you will give them the extent that it will be resultant from the a chance once a month to sing r play these scale pattern) ," says Mrs. A. W., Minnc- patterns. As I discussed the mutter with I teach music in a junior high school in pieces. (6) Ask your Director of iIIusic to sota. "The major scale is made by the fol- a large city, and after a year oj hard work allow you to tell the pupils that once a lowingpattern of 1 2 34 (half step) 5 6 78 Patricia Canfield of Detroit, who teaches conditions prevailing on the Continent-in I find that i have not been able to solve month they may ing popular ongs during (half step)-tones in major scale. Start on over one hundred students, mostly begin- France, says Mr. Cailliet, a year of solfcg- several of my problems, so I am COIning to half of the music period, the onga La be any key, calling it 1of the scale, etc." The ncrs, I heard that she uses successfully the gio is given before the student even touches you for advice. All the children object to selected by a committee of pupils chosen otherletters, though worded difIcrcntly, are method of describing the f rst octave as his instrument-this most important prep- serious music-rthcy want only popular mu- by the members of th class. identical as to the method employed. composed of two tetrnchords, the first note aration is seldom, .if ever, accomplished sic which I am, forbidden to use by the city In all these aetivitie make certain that Well, I still fail to be convinced and I of the second octave being the same one Director of Music. There is also much both boys and girl take part, so that the stickto my guns. I believe the word "build, as the last of the second tetrnchord. But she here. Such is the reason why we so often hear students who play at the music instead racial feeling, this being due to the fact that boys will 110t think of music a being for ing" in this instance is both inadequate and admits readily that this is only an "easy way," used in order to simplify scale study. of playing the music as it should be per- MATERIAL FOR BEGINNERS-PT. II there are Inany Negro children. We have girls and women only. Be ure also that all misleading. Let's elaborate further. In my excellent eqiiipnietit, an attractive music factions are represented. and especially thai opinion the term "building" conveys an As far as scales are concerned, it could be formed. Many of them have only an ap- compared to the "movable Do" ill another proximate sense of the values. Sure, the In the July issue of this magazine I ex- room, a record ptoyer and a tape recorder, the Negro children feel thai they are being impression of growth: literally; one builds field. whole note is the longest at all. The half plained that many teachers of piano have and yet the children are not in terest.ed- given a fair chance to participate in the a house, or a bridge, or a city hall; figura- note is shorter, and so is the quarter note, been asking about "the very best material they actl/ally resent being required to take planning. l I you do not already have my tively, one buiIds a reputation, or a for- Summing up, I think the whole fracas is then the eighth notes, and so all for the for beginners." So I decided to ask four music. What do you advise? own little book, "Music in the Junior High tune, or anything which gradually grows nothing more than a tempest ill a tea pot. rest of them. But there is Bathing precise, teachers in four different parts of the M. L. 11'Iich. School," it might be helpful 10 you to own toward completion. But I don't see how the 1£ my correspondents obtain good results nothing exact, and it is reflected in a lack country to tell what materials they liked and read this book. K. G, usc of patterns applies to the makeshift, from the patterns, they should by all means best and used most. Four very interesting You have given me quite an order, and I short-cut system of learning scales by what go on with them. And since the word "pat- of elementary stability in the performance. lists were received and the first one was cannot possibly fill it completely in this WHY THE SMALL NOTES? is only a mechanical process. I prefer the tern" comes up so often in their letters, why Another interesting puint in Mr. Cail- presented on this page in July. This month department, but here are a few ideas. (1) traditional and accepted way of teaching not coin a new term-if it doesn't exist liet's article is his emphasis upon the piano we present the list as received from Ella Treat all your pupils in a friendly way, 1. in the JoseDr edition of the Liszt themone by one with their different finger- already-and use pauernieing; it would be as a universal instrument. "No matter what Mason Ahearn who teaches piano classes irrespective of race or financial condition. Piano Concerto No. 1 in £-flat Major, on ings: and explaining the matter of key sig- adequate, and the word "building" could instrument is played"-he says-c-t'the play- in New Jersey, offers courses for piano They are human beings, some of them are pages 33, 37 and 38, the music is written natures and relative minors as one finds be left where I believe it righteously be- er should have learned the piano first." He teachers at Teachers College, Columbia still resentful because of past or present in italics, but in the Artur Rubinstein reo them since time immemorial in technic longs, in the tonal construction of cres- also makes clear the imp or lance of acquir- University, and is widely known through- wrongs, most of them are probably not at cording these notes are 1Iot played. Why books. Thus, the different keys become cendos in scales, arpeggios, or any other ing a working knowledge of orchestration, out the country as editor, compiler, author- all grown up, and many do not realize what is this? clear in the students' minds, and they think parts of the pianistic repertoire. and how wise this is, for where could a ity Oil piano class teaching, and lecturer at a great privilege American children have 2. In this same edition the orchestra and in terms of A flat major, or F sharp minor, pianist find a better guide to tone coloring many well-known institutions on problems so far as educational opportunities are con. piano do not end together, but on the or D Aat major, instead of thinking of fig- READ YOUR ETUDE than when calling to his mind the various of piano teaching. Mrs. Ahearn states in cerned. But they are as they are, and they record lhey end on the final cltord. Why? ures and patterns. As a result, they become characteristics of orchestral choirs? an accompanying note that she and Dr. have become that way because of home and 3. What grades are Scriabin's Prelude moreconscious of tonality and will be less In case it should have escaped your at- Every aspiring pianist anti musician will Raymond Burroughs tried for years to find community conditions for which they are for the Left Hand Alone, Op. 9, No.1, alld liable, when sight reading, to forget inci- tention, please be sure and turn back to benefit from reading Mr. CaiUict's contri- suitable material for a harmonic approach not responsible; therefore, like Pestalozzi Nocturne for the Left Hand Alone, Op. 9, dentals and play "flat" on the third or the November 1953 issue and the article bution and pOJldering at length upon its to the early study of piano, that this is why two centuries ago, you must learn to "love No.2? C. frI., Kentucky fourth heat a note which was noted with HFilling the Gaps in a Musical Education," cOllclusions. Thoroughly traincd in every they themselves compiled some books and them even though their faces are dirty." a "natural" 011 the first or second. I also by Lucien Cailliet. This 1110Stworthwhile branch of musical knowledgc, he reaped other materials, and that during the first (2) Try the plan of having each class elect 1. These notes in small print do not believethat the best and 1110stlogical wa y contribution will show you the way to ac· wide experience during his lllfllly years of year she uses all or 1110stof the following: its o,,,n committee of from three to five belong to the solo piano part; they belong of teaching scales is not to start with the quire sound musiciansh.ip whether you arc membership in the Philadelphia Orches· "Young Explorer at the Piano"-Bur- pupils, and meet with each of these com- to the orchestral score. In reducing orches- majors first, then the minors, but alter- a pianist, a violinist, or specialize in any tra, as a teacher and educator, and as the mittees for a half hour once a week to talk rows-Ahearn (Willis) tra music for the piano, the arranger is ?ating them according to the relative tonal- other instrument. Often in this column I author of many Stokowski-pcrformcd or· "Let's Write and Play" - Burrows- things over and to plan lesson programs. faced with the problem of including as Ity: A minor after C rnajor-D minor after have insisted upon the advisability of chestral arrangements. It is one of the most (3) In similar fashion, allow each class Ahearn (Willis) much of the original as pOEsible,and still F major-E minor after G major, and so studying solfeggio, for there is no other illuminating articles 1 have cvcr read, and "Keyboard Secrets"-Blake (Willis) to elect a conductor who will direct one have the music playable on the piano. That on.It is by doing this that sound musician- way of securing an all-around understand-, . if you follow my advice, you will return to "Young America at the Piano" (Bks. I song during each class period. The "student is the reason that the second piano part ship is developed. ing of the mechanism of music from the it again anti again, as I have done, and will and II) Burrows·Ahearn (Birchard & Co.). conductor" may be a boy or a girl, white of concertos va- (Continued on Page 57) Besides,there are other .systems of using very first. Unfortunately, and contrary to do in the future. THE EN D lrt.. . 22 ETUDE-AUGUST 1954 ._------ETUDE-AUGUST 1954 23' VIOLINIST'S FORUltl ORGANIST'S PAGE Ensemble Playing for Teen-Agers A Note Expert advice concerning of Triumph the advantages to be gained .jrom. playing in quartets, trios, etc. by ALEXANDER McCURDY by HAROLD BERKLEY [esu, my chief pleasure, duce in worshippers a grave and reverent Priceless pearl and treasure, frame of mind. Sunshine of lILy heart! But here I will fly in the face of cus- " . But tlie question I really want to may be able to give expression to their to the most advanced. 'Tis [coni Thee I borrow tomary usage by stating my belief that a piece or an insipid ng, and make a pre- ask rou is this-should a teen-age pupil ind ividualities. Antidote for sorrow, grave and reverent frame of mind is not lude [or a service out of it. be encouraged to play chamber music, All musicians are agreed, I think, that PIZZICATO PRACTICE HINTS Balm, for every smart: necessarily a gloomy and mournful frame Aside from the fact that transcriptions Having Thee, a well is inc! trios, quartets, and such? f have always the study of ensemble playing is the surest '.. . . /Jill I have never seen in the of mind. never sound a well as true organ music, But without T tiee, all my gladness thought tlie teens was the time to get tech- way to acquire a love of music and good ETUUE magazine any reference to Pizzi- The story is told that Haydn was cen- written with the in trument's capabilities Tiunctli into sadness. nione and that: chamber music should cc»,e musicianship. This study should be start- cato pLaring. How should it be pla,yed and sured because of the prevailing mood of and limitations in mind, it d cs not seem Tr, Cetuo. in 'Songs of Syon.' only after a. first-class technique has been ed at quite an early stage of advancement laught? When lny pupils play Pizzicato joy in music which he wrote for the church. to me that this prevailing lone of senti- built up. But lately I have heard and read by means of two-violin duets .. Then should it sounds dull and unmusical, and I don't The composer is said to have replied that mental melancholy is always desirable. that most teachers consider chamber mu- come trios for violin, cello, and piano: and know what to advise them to do that will NANY SERVICE of worship which fol- whenever he thought of the Heavenly One needs only t 10 k into the works sic a verr important part oj a violinist's a little later string quartets. There is no make it sound better. 1 shall appreciate I lows an established ritual, it is the or- Father he felt happy, and thus could write of outstanding present-day corupc crs and training, and that the sooner a pupil be- need to wait until the pupils can play the any help yOll,can give me." ganist who is the "nerve center" of the only cheerful music for worshipping Him. the great composer of the past to find, gins to study it, the better .... I have standard chamber music repertoire to in- Miss M. L. T., Calif. service. Although it is not his function to This seems to me a sensible answer to regardless of mood and style, a feeling three pupils around fifteen years old who itiate them into trio and quartet playing: preach the sermon, it is part of his duty to a silly reproof. I am sure there isn't one somewhere in the rnu ic of hope. triumph, can play easily up to the seventh position, numerous albums are available, the con- For some reason the Pizzicato is a neg- put worshippers in a receptive frame of of us who believes there should be elements joy and consolation. and they are after me to jorm quartets and tents of which call for a comparatively lected item of violin technique, probably mind for hearing it. of the frivolous or flippant in church; but And one need not be a theologian to see trios [or litem.... Do yon think this is modest technical advancement. Refer to because it is not very often used in solos He is also responsible, perhaps more so why not more joyousness, a little HIOre of that all these qualities are appropriate advisable at their present stage? I would ETUDE for July 1953. In my article, except for the final two chords of a piece. than any other one person, for making the the triumphant note? 1.0 the spirit of worship. ln the Protestant be glad to have your opinion .... " "Make It Interesting," there are a number Yet: when it is called for it can be very service go smoothly. It is his obligation To take a specific example: On Easter service these very words are woven into of suggestions for student ensemble play- effective if well played. to organize the music so that introits, re- Day, does it seem inappropriate to hear the ritual. Is not music which exemplifies Mrs. R. S. 5., Canada ing. But, as you say, it is very often dull sponses and other parts of the service are "Come, Ye Faithful, Raise the Strain" them more appropriate to the service than In order to form string quartets- among and unmusical. This is usually the play- ready at the proper time. He ought to spare pealed out by choir, congregation and the a weak and tearful adagio? Certainly a violin student should build your pupils you obviously must have at er's fault: though there are many violins his congregation those long, agonizing full organ? Or does it not, rather, seem Those of us who take part in services up all the technique he can while in his least one viola player and a cellist. But that will not respond even to a well-played "stage waits" during which a hapless or- a magnificent affirmation suitable for the of worship are on the firing-line in the teens. In fact: the building up process it is usually easy to interest a keen pupil ganist tries to find his place in the hymnal occasion? greatest struggle of our times, that of should start much earlier, even though pizzicato. In fact, the pizzicato is an ex- in playing the viola: you should have or searches for an anthem which he has I wonder if this affirrnativeness ought Marxism to overthrow the Christian faith. most youngsters would rather play pretty cellent test of a responsive violin. little difficulty on that score. Of course, inadvertently left at horne. not to carryover to other seasons. The We need have no illusions about this aspect tunes. But is there any reason why musical The first requisite is a strong left-hand All this is a matter of advance prepara- doleful-devout approach can be overdone. of Marxism; Karl Marx spelled it out a development should not advance hand-in- two viola players would be better, for then finger grip. The fingers must hold the no one student would have to play viola tion and organization. I once saw a church The use of an adagio or largo at each and hundred years ago and his followers have hand with technical achievement? string as though a strong forte tone were in which the organist had things so well every service can be tiresome. been burning churches ever since. The There are some teachers, I know, who all the time. being produced. Then the string should be organized at the console that he even sig- Many organists make it a rule never to real and crucial issue of our times is think that the soloistic qualities of a stu- The matter of a cellist may not be quite plucked with the fleshy part of the right- nalled to the minister, by means of a flash- play anything before a service which is whether two-thousand-year-old Christian- dent should be built up before anything so easy. However, in a town the size of hand first finger, and not with the extreme ing green light inside the pulpit, when it faster than a dirge, or which employs more ity, with its heritage of Judaic and Hel- else. To my mind this is a mistaken point yours there should be several cellists who tip of the finger. The latter method is was time to begin preaching-and by a of the organ's resources than a few flutes lenistie thought, has power to withstand the of dew. Granted that every violinist must would enjoy playing with a group of am- used by many violinists who have not given red light, when it was time to stop! and strings. This is one of those customs onslaught of the barbarians, these revolu- look upon good intonation as his first bitious students. Try to find one who would sufficient thought to the matter, and the This happened to be a church which which has become so sanctioned by habit tionary zealots who crusade with the fervor concern: and granted that fluency is al- he interested in working out some trio and result is always a tinny, unresonant quali- broadcast its service each Sunday morning, a.nd long usage that no one any longer con- of apostles and welcome martyrdom in the most equally important, yet the fact re- quartet music. At first you might have to ty of tone.. The first finger should be laid and the organist's function was almost like SIders the reasons for it, or whether it name of their cause. mains that technique is only a means to pay him a small fee, but it would be money rather flatly on the string and, after pluck- that of a radio producer. In most churches !s a good idea or a bad one. It may be, It is a struggle in which no one can reo an end, the end being eloquent and con- well spent. The rapid advancement in mu- ing, move away from it rapidly, so that a system so elaborate as this is not usual 111 fact, that diminishing interest in the sicianship your pupils would make would main neutral j and one in which our people vincing expression. Technique without mu- a wide amplitude of vibration may be or necessary. Nevertheless, it remains the pipe-organ and organ-playing is partly the need stiffening of purpose as never before. sicianship is never interesting to a dis- more than repay you for the small expense. given to the string. If the tempo is slow organist's duty to see that all the parts of result of this custom, which almost every- They can best renew their vigor for the criminating listener for very long. Added Furthermore: the fact that you could make enough to allow it, an intense vibrato the service go together like hand and glove, one fo~lows and n~ one has tried to change. contest at a service of worship; and we for to this is the fact that not many youngsters your pupils' recitals much more interest- should be given to each note. that the music is carefully worked out by . During a .ce~ta1l1 period in organ-play- our part ought to bring them in music a are so naturally gifted that they can look ing by the inclusion of some ensemble The question of dynamics in pizzicato all concerned, not just thrown together. mg, transcr-iptions were the fashion. It message of triumphant affirmation. not of forward to acquiring the technique of a works would be excellent advertising for needs some thought. When a forte effect The -first note of the prelude should pre- . b~cam: custom~ry to transcribe a piano weakness. "If the trumpet give forth an Heifetz. With any lesser degree of techni- you. is wanted, the finger should pluck the pare the way for the service of worship that piece In slow tune, an aria from an ora- uncertain sound, how can one prepare him- cal prowess they must have qualities of So by all means start ensemble playing string at the bridge end of the finger- is to follow. The prelude itself ought to in- torio, a slow movement from an orchestral self for the battle?" THE END musical understanding in order that they in your classes, from the near beginner up board. When a (Continued on Page 53) ._------~ 24 ETUDE-AUGUST 1954 ETUDE-AUGUST 1954 25 No.130·40439 Prelude in E~'minor Grade 4 of the orchestral instruments, especially ABRAM~CHASINS, Op.12,.No. z should he play some stringed instrument; Andante espressivo (J= 76·84) and he must study composition and orches- ~ tration and the technic of conducting with --; ~~: ~ I'~I' .. ~ ~ 1\ I .. .. e .. . some good teacher. If he does all these things he can learn to conduct, granted that °he has a talent for conducting in the II TRIO From Sonata, Op.2,No.3 UnpOCO plU mo dera t 0 Grade" Scherzo LUDWIG van BEETHOVEN ~ ~ 5 1 .------~ ~...... , Allegro (J.= 32) • 3. 4 ----- . 3 ::;. • ------~ . 5 t: ,:~""!J """-l """-l ~ --.'#~~~.::j~* ~ Io",l",J ,-.' q ~ it~ -.' P 13 :::--'#~~i~·I~~·· iii ~ . . . . . : ~. .~. ~' ). ;;;. Z • - 5 ---- 11 112 1 • 2 1~' 1 3 • 2 . - cresco 1'---" 1 #. 1 1 ? ~------>- 5 5 2 5 1 ::;> 2 2 1 2 of sf motto eTese,] ~ -== cresco ,-.f ------ 1 3 1 >- 3 3 '-'------1 1 > 2 "- i-I 3 4 3 4 4 5 - , h-- ~ 2 . ..------,.. -- >- 1 >- pp »-«: >. sf .ff r. > 1 Scherzo D. C. epod a Coda , CODA • .. 4 »> ---...... 4J • . . . , ------. -i! • 'itt"" . -i: : '-'- . : 'i "" . -~t <: • • ff I~ .If I#~ ~ p -f!- '----' "- '- "- ~ :: '- 2 3 ~.--~ ~ = .~ll= 3 • • "! 1:;; ~ .. > 112 I . t h~:: ! qfii lti ~ 11 5 5 4 1 'J 2 2 -- 1 I ~~' I~ '.,$' ~ . >- ~ Ii! . >- sf sf==-. sf f~ sf>- -=:::: sf . sf sf sf if. &', : : : ,. PP i7\ • I 1 I v~ !"U -~ -~ ...C-~ 4~.4f ..~ !"lJ ::> :> ~ :< > . I "-' . From "Piano Compositions by Ludwig van Beethoven;' Vol. I I edited by Eugen.D 'Albert. [430· 40002J 3 --eopyright 1.909 by Oliver Ditson Com-pany pp~ 3 Itizl. .28 _ ETODE - AUGUST 1954 l EToDE -AUGUST 1.954 5 ------Rumba 1 1 Grade 4- (Based on the Mexican Folk Song "La Cucaracha") • DENES AGAY . >==-:> ::> >- motto marcato tema >-::> >- .t ff::>::> ::> 5 ~ Lively rumba tempo cJ=84) 3 1 r 2_ 1 3 1 2 • 1 2 1\ .~ - ::> ::> 1 '2C./ ,,,"~ ..._ y ::-j:'!" .. ~r" ": L....J>-::> ~ ''':.../ ::=- ::=- ==- p. ~~ It!: +- ::=- ::=- f ;i.... -~ .r-. ~. /1". . ~ ~ . ~ ,.. ::=- ::=- I- 2 .. ::>::>::> 1 2 1 5 5 5 5 • • 5 p subito 5 • 5 L-_---"::>LI __ ...J 1 ~ 1 2 1 2 121 121 ::=- 1 2 2~ P""\ ,.., 4~ 2~r" J • N 1\ I .::: - ~ u.J-I --=:::: ==-"" -: ::=- .": .1 ~ -==::: 3 'i;. , Grade .q. Chacon JOHN BLOW .~ ~ If--" ~~ .. I""'r'T""I . .#!±..,.~ ~ <1648·1708) I .0 1 >- Lento ~ • 1 2 1 L--J L----l ~u • If:1 2 1~·tiP"5~. , 1 , 3 2 1 PIANO • 1 3 1 ------~ 'I v 1 P 1 2 J 2 2 ::=- ~ A 5 2 1 , 1 2 3 ::=-~ L-. ./1 2 1 ,5-2 I • ~LL-.l pp 'I ~~3. 3 2 ~~ l ~~I ~ I~' --- liT,.., 1\ I • 0 . 0 0 j 0 I?-"I 0 ~ I 1 I 'ICW 1.11 i - ~ piuf fU-J ------~ ------@ . -, 1 5 2 1 2 1 . ~ 2 .- , (J .t. ~ ~ , I ... J. r. 5 ~ 1 ~,; ,,-.. ____r:rT11 f1Jb r' v-- 1\ JJ. ~ .-- 1 5~ , ,-----. . 2"'" , , I I , Jrt s: LU !'!!ll . . 4 I lcresc. 3 1 1/· -rr- I It /nwnoJ: "'p rit. :t· t -- ~ ~ ri tz u ~,l~ rm.'r~~ f ~ r::--. ~~ ... -> ~r; I I C . . , . 3 5 . 4 ...3 1 1 5 -;::.J~3 ?______-6 :: if" 5 ~r .1, ftf~5 4 .. 4 4-3 1:. 1 5 rf11",4~~. >"11' JJ.1I ~I m rTn dOl r:ll .1 J . . . . 2 Ii p. U' LU" .If v~rp rq ~'1H 1 'r- r<- '[ r- .crF~ fl~ ~rr>' 4 " 2 4 I • 1 2 1 No,1I0,40320 1 Grade3 Evening Fields Andan te C)J= 112) WILLSON OSBORNE -- 3 )r }r 12 3 _ -::~ 4 2 42 -> 2 3 1 PIANO Ped. simile diut, J. J. , . 1 3 3 1 3 z----.--' 3 ~- 1 sub. mp r 2 3 3 5 - Come prima WILLSON OSBORNE >. ~ 3 Andante con moto CJ=60) 5 4 1.-----J:--rls~nta~ 4~ ~ 3"'5:i ~ J. =- I I 1- II I_ I U II 'ri l 12M J tJ J m I J "n J rJ J , I • . 1 2 . . . . 1 1 2 v I p. f;. q 1 I '- ' 1 17· q ~ L.H. 3 tf-2 I tz q ~ f PIANO W· I r- :n ~p legato5 • 4 2 Il~, ~ ~ ~ 4 2 1 "I - I .--...... · I" , ~ t--" . I , 43 5 f --... ~ L,H -_'"I - - pp ~ ~~~ 2j ~~ ~ ~J. e ~ ~ ~#~~q~ ~ ~ ~ ~ :- ~: ~ ..D I~ . . . • . . · . . . ~ · 5'-- 2 ------I >- :> :> >- >- ';' E.H, 2 5 , ~_. Qopyright1954 by T'heodore Presser Co. International.Oopyright secured. - -~hi,i9':;U~. PresserCO. _Internationa.l Oopyright secured ETUDE· AUGUST 1954 ETUDE·AUGUST 19!i4 ~32 33 = r :;:- ~~ <, ---4 2 3 ~ ------,.------' . . ~ . Juliet's-Waltz CHARLES GOUNOD ------Grade 3! - ,~ ..... n:f< ==- p~ , • /l"" 3~ ~ !J §: ~ ~ ~ ~ f ~ J~ f s. f J i:----- ~ • . . . JJ ~. J J . JJ . . J ~ · ,~ - I · - I I --= -~ ~...... 5 p ... ~ ...... ~~------, I L--I · , , · ~ 1 ~~h! 1 I , ~ 3 1 1 '----' '----' I'- ~J,l.:. ... , • 2 , • ------, , ~ - - - I I 3 3 3 It -<; Ii r, ~ -:::... - r---- dim. P ---- ~ - :-t: , r-~ , I Ii!...... , - - I ....- , ~ p I -- ,_J ...... ~J.J. ~11~LL -tt ~~ ...... , ----, . . -- Is ~ • - - ~ .. • ::---. ~ I '" ---- a t..",po I , - , ~ - , ~ . ~>l2 .. ~ .. ~.;. l~ • I TI I ~ 3 It ------~ P , ' ' I _.# , ## ~.lL I ~ I pocorLlc,- :lim~ ,- ~~ -.-. ... Lj.J. LlJ...... croOC'J ~ f P , , . . . ~ -- i:j~ ... h~~ hee .$ I ~11 " ,-- L~#". .~•• . • 3 T -- 5 S ,--_JI '--' 5 • ~ ~ Ie • ~ 12 1 3 1 .. • - 3 .~ ------, , , It I I I T - - -. - I I I ~~~ , ~~~ ~~~ ~ ~~~ It." ••, .~e ,::, ,u:., :t p , , , ,: m . ~j. j jj;}' 1!. It l- f I: s: jjR :: I: L I J f ~~ II 5 2 3 5 2 ..- :o>~ ~ 2 I 2 1 :> 2~ 1 :> >- :> ;:: 3 5__.____ 5 ~ 3a !a#1.11~ ~~~~.-# -II ..... :> :> :> . ~;--;;;; .... • ~ ..---.. . ----- ,k . , ,- , It · 1.11 ~ ... " . W f.s mf f. ---f ff -'-- I-- ~~ :::: ~ 0p- t t ..... ~ ~ ~': ",I: .1: .1: ,;, ,;, .. ~ >- ~ , 1 ~ , I , , I ! -- I I ., · " · From "Melodies Everyone Loves;' compiled and arrang-ed by William M. Felton [.UO-40164-J I , I ".::::-----• - ! Copyright 194-0 by Theodore Presser Co. ETUDE-AUGUST 1954 35 34 ETUDE-AUGUST 1954 Tempo di Ballo Grade 3 t Tempo di Ballo PRIMO DOMENICO SCARLAT TI DO:\lENICO SCARLATTI 1685·1757 SECONDO .1085-1757 Arr. by L.J Beer Arr. by L.] Beer NOll presto (J.=76) 3 4 fi fJ 5 1'\ u 3---=--- . ~ 3~ ~ Non presto (~'-76) 5 5 5 - 2 2 . I'll> 5 , . -~ -'!" r~ ~ $ It c:::: '. '!" ! '!" -. • . . . l~ PIANO P • '!" '!" '!" '!" • ~ I~ \jj - ,t ~ ~~ - -- , , p . ~::..:. .. , . . - . , . . 11 t . I 11 • 4 I "iI • "iI. "iI. 3 4 5 4 ~ 3 " F3 _____ - ;,. ~~ L f- ~f.t- t- .. .1 ... flhj jj I~ ,::;~ ~ J]...----:. 1<:.:, - ~ <:: .'-.; - '-- .... -If '-- ~ ~~p #1 --u ~ '-- ~ ~:;j: If V cresco f p cresco f.- , ------, I' !'", .... , '--' '--' '---- 4 -.. l,... 11 l- "iI ~ 4 3 5 4 , ,..-.... 3 5 4 , 3 ~ 3 >- 4 3 2 3 3 2 3 , i ... I'I~ s , :: 11& 2 ' . t:~ F ~t ~" ----- ...... ~- .. l ..... • l~ . "! ...~ ... ~ ------~-= If: "--1! f .-' ~ p crese. < cresco - "'1'~ f mf '1\. --" , l :;j:....), 4 ....-/ ... , "! "! 1 I -..J J "! ~ "! ~ :e 3 4 , 3 --- 5 4 ~ 5 3 3 2 5 ~ (I. 3 I'I~ 4 'j: fl~ f: ~.----.. : 1<:& 2 ~ ~ ;. ;?- ;,. - 4- .. - ... ~~1I' , ~ ~' I-If t .. --ir :J P cresco .' I It 'p -..... - -... cresco f-r-:. \~ ~ - , "! ~ "! ~ .. - ~ >- . ( it- etr~~ . \ " ~ ~ e t t.: i .. .. ~..- --.~ .. ~. -* -.--;---.. , In "-.- -¥ ~' '!" ~T , ~...... -~ ~ ~ :S: , If: '------' KIf !!. f P t - , I .:.. .- f p - - fl.~ - -.:.. >- ....----;- ,------~ 3 ~ . . "! 11!:/ ... '! "!' 1! 3 , , , ~ 2 I _.c:::;; U ~ 3 .' 5== ------5 3 , 5 M : ~f:~t:~IL\ ~,"""""""""""""""""""~"""""'""""""""""'" fl. .. +-: ~ --.~ ... j::: ~ .. ~ .. j::: .. 1 2...... ---.... 1 5 : '! '''' /' ~ ~' . ~ ~ 1$ '!' ~ 'r! ~ I~~ I~: ~ .. C'resc. ;~ 11 . , . · " ::=- #' It ...... , I' I ...... C1'esc. - ~-..., . .f/ r----.. 1 3 .... "!' 3 ,- "!' i1! -II . \j ~ ~ , ~ . . · 3 , , · From uClassic Masters Duet Book;'compiled and arranged by Leopold J. Beer. [410.40033J 2 , International Copyright secured Oopyright 1941 by Theodore Presser Co. ETUDE -AUGUST 1954 ETUDE'AUGUST 1954 J7 36 - -- ~- - -- � PRIMO SECONDO 5 1 4 5 ~. . . /lu 4 . ';j ~ P . ~' f- • ~ -J:' ~ "~ ~ rt cresco f I'· "Ii ~ "!' ~ '*!' 7!"*!'!' .. ~ , . . 4!" .. f I. .. cresco , < p I I ~- 2 . . 5 1 t: 1 3 1 2 3 : :::: 3 1 :: '= ~ :4= .. ~ :4 (...... ::- 4 b, . I 5 5 5 2 5 III ~., Iii ~~~ I~ I! ' . ~ ~ ~ ~ I~ ~-~ "*! ~ ~ .ff. p ~ '1~ ~ -u~ dim. '~ ~ ~ ~ "~ P.. II' diu/" , u " I 2 'I ! 2 1 4 :::: 1 :::: ~ -=:4 4 3 =: :,= :;ii ~ .. .. 4 i , 1 2 ,: . . 2 1 III ---.... 3 ; 3 u 2 . -~ ~' It p cresco , . '---' ~' cresc. f :=> ~'-"!' "!' ~ ~ lu ~ 4!' . bd"pP cresco < '---' P <, -, f\ f f.- erose. f\ p" ! '---' 2 3 5 I • 3 ~ 5 2 3 P V P 5 2 3 2 III f: ... ~ 2 3 ; u • ~ '---" fp cresco ~ "If ~ '~ ,;' ~ 3 2 2 'IT 5 2 2 5 /9 .••••••..••••••••••••••.•••••••••••••..•••...••....••••••••••••••••• 1 5 1 1 2 u - , ~~~:4 II ::::- .. . ..:. t .- ~ . ... T .. ~.:~ . .I ' ------· • "!' • ::: :, , · If. -. • ~~,It ::>- cresco f'---' Cresco f , .fL A ..:. · ll::::- ~ I--...... - -- .- - : · r ~ . 'I • t · ... I ~ ... 2 3 3 5 2 - 3 i ETlIDE·AlIGUST 1954 ETUDE'AUGlIST 1954 39 38 • Von Gott will ich nicht lassen . '1 i I" • From "The Church Organist's Golden Treasury:' edited by C.F. Pfatteicher and A.T. Davison. [433-41005 J Copyright 1951 by Theodore P"e"er Co. International Copyright secured; ETUDE AUGUST 1954 41 ETUJ)E-AUGUST 19$ 40 ~------ • slacken ,Melody (nachlassend) (Adapted from Sonata in A major,K,33D ,v. A. MOZART greet. _ Let the flow· ers bloom.ing Allegretto (J= 138) Arranged by Charles Krane to L.H.~ V.-..V grusst,_ d as s s ie 'liJach - sen I dass sie v~V v_v neu - e Tag be , ..- r"1.--!"1 .-.. ~ . • . CELLO ------mf T 1 I I fl.u • . '- 77 • <;; • -6 e- • e- PIANO p 1L1 ~r . • slacken more and more r pp~ ( ::::::-. (immer metir naphlass8nd) - . I • --::::::==:::-- I I I · . =! . ---- I I r .r' ' On thy bas - am rest . lDg eo . Soft ex - hale their fra-grant breath.- bright ly, ner Brust fltf . vy---..., v . s anf t an de£ - - ~ btu - h en., frau mend spen - den ih - rea _4uft, ----. rr<' , ------. - - ~ , . . ~ I .--r . ., , I I I I I · , e- ::- ~ 'fenderly • • 'f: -I: j J : ~U p (weich) r' 1;:up < I I T----- 'tM 1--- ~ u <;;. ~I 'tQ 'tM . l • '" • ~ .. '" • -Ii . , . . . ::- f': 19-. ~, ~. I ------I ------I ------.. I I I I I I I I I I~ (PPl!1 -1 - , .fl.' ___ v v r"1______:::; \l---V . them, fad-ing, sink to death. ~ -;;; ~ ~ v ...... v _--...... , light 1y, Let - , dz'e Gru t. gtii - ken, und dawn.. sin-ken in -----... ---= 1'!f - f I = P , 'U l r • I , morendo -. .P.P : It ~ • "'~-li <;; <;; .- p------ir:f" - P ~ fl .fI. t2 .fI. P. f2 ~' fJ- .fI. <9- fJ- ...... = ------, ---- I T ~ ;- -...... I fl I • ! L ''------I ! . e. I T I I I I I I r"1 WW 1"1 ..-.. 1"'1 - 1"'1 V ...i jl. ~ I I , I I I -I I l I I I I I I I I 1 I I If'uP . ----- :H I l I. r r I ~ r I , . I T ( , T rit I I , . . . ::- --I • 'I I~ 1------1 T~ IU I - morendo fl' Il -61 Q '" .. :&...... J Q • <;; . . :::-t I ,; ~: t: , , :fff~ ,ppU1111 ,~ ~ 1 rrr~' ~T1$ -. . r,"" I I I , I I I I r . -"" ?;I. I . , , . . From Ilel . -I 1------1 Copy' htSS1C and Folk Melodies in the First position for Cello and Piano;' a.rranged and edit db Ch 1 K 1 1- 1-----1 ng 1946 byTheodore Presser Co. e y ar es rane.[.UO·40039J 44 ______...... ETUDE-AUGUST 1954...... __ETlfD~E_.AlfG[JST 1954 British Copyright secured • 45 _ I"~ RU.RAL MUSIC I pronounced, "This is a song about They brought in cat bells, goat bells, matter bow "corny" these sound to a bull-fighter. He's an important fel- sleigh bells, toy telephone bells, and the sophisticated ear. She also hopes (Continued from Page 14) low, the' girls all like him. Make it the inevitable school hand-bell that t.o introduce in a meager forty min- Oh Where, Oh,Where swagger and march, Charles. Esca- tolls the end of recess. Older pupils ut.es a week some music of the mas- Grade 1 , SEPTIMUS WINNER for children while it's still dark in milla fights bulls." did some research on famous bells ters that will bring them joy. Arr. by Eli, Siegmeister themorning and return at dusk with Charles, born and bred on a farm of the world while others learned \Ve do not expect to turn out con- tiredpassengers who have yet to per- eyed me indignantly. "Bulls?". h~ cert artists from count.ry schools and 4 5, S-- 2 1 4, bell songs for the piano. and one ...Sing song form chores before supper. How said coldly, "what's he want to flcrht grade practiced bell "rounds" with surety we'll never make a fortune. these pupils can keep their eyes bulls for. Bulls come high." ." fervor. But we will have priceless heart- open to practice in the evening is Even pictures are a feeble aid Just before the big event a friend warming experiences; like the time be? a wonder.But some of them do. when Spain, bull- fighting, and opera that Archie, who has hands like .~ gone? Oh, where, oh, where can he of a friend in Atlanta sent out, all where haa.my Iit-t Ie dog Like Charles and .Jane who live are completely outside the ken of unsolicited, a fine collection of bells hams and a piano touch like a P Oh where, oh , __ .fL - PIANO' ... _ that kind of 16 hour-day. Charles the country child-though TV is from all parts of the world to be sledge-hammer, whispered furtively ~ .. --- started piano in the third grade, rapidly changing all this. The rural used as an exhibit. Were we excited! at lunch, "I done heerd that Brahms propped up on a couple of thick II s 3 music teacher has had to bring along But pride goeth ever before a fall. \Valtz in Ab on the radio last night." 3 1 5 CongressionalRecords (how did all with her technical knowledge plenty While unpacking these gorgeous sil- It's all his now, no one can ever these get backstage in a country of geography, social science and his- take it away from him. 5 1 2 ver, ceramic, cloisonne, copper- school!).The first summer he walked tory. I once told a little boy learning every kind of bell, on the library My real payoff came the day after threemiles each way to his lesson- Yankee Doodle that this was a song table, the two bus drivers walked the Christmas Concert. A second likethe appointed postman-in wind, featured in the American Revolu- in. For a bit they watched without grade blonde who looks like the lit- I -- heat,or rain. Usually he was soaked tion, whereupon he asked eagerly, comment. Finally one said noncorn- tlest angel had sung, "Wind Through , long, Oh , where, oh, where can he to the skin, and hi", bare feet. mighty "Did they sing it on Kennesaw mittally, "Them's bells" and walked the Olive Trees," accompanied by a With his tail cut short and his ears cut soiled, but he always had his les- Mountain ?"-the local Confederate out to t.end his bus. But the other piano pupil. All three of us had ~.. "-- .. _.. ¥ - son-and good. Two years later his landmark impregnable to General driver ventured near enough to in- patiently rehearsed it from Thanks- . sisterjoined him. Now they come 10 Shennan on his march to Atlanta. spect them with the friendly com- giving on, for small children must '{~~~~~ ~~~~g" ~ the house, being driven the fifteen In the country, minus the compe- ment, "Bells your hobby I reckon." feel secure. The presentation was so miles by their father on his only tition entertainments of movies and When I explained that they had all gratifying that at lunch the follow- From" Folk-Ways U. S.A: 1 Book I, by Elie Siegmeister. [410·41033 J Interna.tional Copyright secured half-dayoff. Sometimes one of them such, children can build really cre- been loaned by an unseen friend, he ing day I congratulated the little Copyright 1954 by Theodore Presser C.Q. fallsasleep while the other takes his ative programs. One of these was looked mightily relieved that I was singer on her rendition. "Oh," she lesson.Currently, Charles is working our play about bells. Anything that absolved from such a balmy pursuit beamed with her most dazzling smile, No.110·40307 Saturdays at a chain-grocery store. takes place in the auditorium is a and left for his bus with this part- "were yon there?" Mystery Story RENEE MILES Grade 21 because he's saving for a grand play; after each program, before I ing shot on hobbies. "Mine's fishln'." Yes, in the wings, mending torn 2 pianosome day. can draw a full breath, they ask So the rural teacher cannot hope sheet music, calming incipient hys- 112) ; 11 " ,Misterioso (J 5 1 . It was Charles who taught me, "what will be our next music play?" to please al1. \Vhat this one does terics and straightening the crowns hilariously,never to "assume" a pu- The bell program began with an hope to do is to relate their music on the Three Kings of the Orient. pil's background for music. He had old New England cowbell which I to their lives-home, school. church, I wouldn't have been any where else the Toreador Song from "Carmen," carried to class in the interests of play. She believes they should help in the world than in a counu-y school and full of enthusiasm at present- pitch. The pupils soon discovered plan their programs and fulfill some teaching music to country children. ing him with a real he-man tidbit, overtones and bell-fever took over. of their most cherished desires no THE END 4 2 4 4 1 Moderato 5 S 1 \- I S, 1 , 12 1 I 1 4 1 I '!' = ... h':' I~', .• I I~ 1 6 1 1 1 6 5 2 5 -if 2 5 6 >-...---.. Meno mosso 5 CONSERVATORY -TRAINED MUSICIANS COMMAND BETTER INCOMES a tempo 5 2 Ii. >- S i I 1\' Youcan receive the highest type of musical training in your own home. These Extensien methods and ihe This Is Your Opportunity-Mail Coupon Today! curriculumhave been developed and perfected by the Conservatory over years of time. T~eir value ~············ •••••••••••••••••••••••••••• I and 50undne~s is proven in the careers of thousands of musicians and teachers, who owe their. success UNIVERSITY EXTENSION CONSERVATORY. Dept. A-802 ~ ~ ...... 1* ~ lorgelyto the personalized and painstaking coaching of this great Conservatory. Courses Include: 2000 South Michigan Blvd.• Chicago 16. Illinois re -~~·I~ ... Please send me catalog. sample lessons and full informa- =-mf = ~ARMONY:-Written by two of the finest HISTORY:-A modern course including all types tion regarding course I have marked with an X below. mp = theorists in the country. Simple, yet thorough of music from ancient origins to 20th Century. o Piano. Teacher's Normal Course 0 Voice in eVery way. From basic fundamentals right Interesting-with emphasis on the anolysis of. o Piano, Student's Course 0 Choral Conducting t~rough to Counterpoint and Orchestration. music-not a dull collection of .facts, o Public School Mus.-Beginner's 0 Clarinet I 5 1 5 2 o Public School Mus.-Supervisor's 0 Dance Band Arranging ADVANCED COMPOSITION:-Designed to ARRANGING:-All the tricks of modern arrang· o Advanced Composition 0 Violin giV! you a useful knowledge of musical forms jng drawn from the experiences of the biggest o Ear Training & Sight Singing 0 Guitar and the general processes of Composition. "nome" arrangers in the country. o History and Analysis of Music 0 Mandolin o Harmony 0 Saxophone NORMAL PIANO:-Especially designed for Cornet-Trumpet 0 Double Counterpoint CHORAL CONDUCTING:-Brand new course o teachers or future teachers. Treats and solves o Professional Cornet-Trumpet 0 Banjo includes all the modern techniques-even broad- everyproblem of the progressive teacher. casting. Name_~ Aqe _ R.E. PUBLICSCHOOL MUSIC:-Fi+s you for actual Street No. i 'wOrl in the school room. Our model lessons de- VOICE:-lncludes all essentials, such as Breath- veloporig.inalityand give you on excellent guide ing, Resonance, Vocalization, Enunciation, Phras- CitY·- :Stale _ lor teaching others. ing, Style, etc. Are you leaching now? If so, how many pupils have ! you? Do you hold a Teacher's Cerlificale? _ UNIVERSITY EXTENSION CONSERVATORY --- Have you studied Harmony? Would you like 10 earn Copyright 1964 by Theodore Presser Co. Intern ..tiona.! Copyright secured 2000 SOUTH MICHIGAN BLVD. (DEPT. A·802) CHICAGO 16, ILL. the Degree of Bachelor of Music? _ 48 ETUDE- AUGUST 1954 ------ETUDE-AUCUST 19.'{ 49 by the tubas is not the answer to of tone thus afforded is uniquely the THE HARPSICHORD 1 with the difference being made the problem of achieving smoother THE TRUE BAND SOUND % exclusive possession of the o~ches- up in t.he clarinet section. sonorities.) I am of the opinion TO.DAY tra. This fact makes it imperatIve to The advantages of the homcgene- that in bands using the basic wood- (Continued from Poge 19) keep the brightness of tonal texture ous tone developed by ensembles of wind sonority, the sonorous possi- [Continued from Page 9) that can be supplied to the band only bilities of the brass section would he would be sacrificed in the interest this ty pe seem to be: 1. A vital and exuberant ensemble through its brass section. more Iu lly developed through the want to find in tone the peculiar exposed. And unless it is played in a of the basic woodwind sonority un- Much is said about modern com- [and peculiarly satisfying) bite t.one in which the secondary brass addition of such instruments as the ~ann~l" which is musically corwin. derlying the ensemble tone. posers not understanding the art of cing, It sounds awful! may speak with clearness. This gives fluegel horns, and the upright Bb which comes from the plucked 4. It would be necessary to make writing for the symphonic band due incisiveness and clarity to the ensem- and Bb tenors. string. Among young people espe- It is this matter of musical con- extensive use of the string bass, with to a lack of specific information con- ble sonority. In bands where the ensemble so- cially there has developed a new ~iction which gives the harpsichord a probable ratio to the brass bass of cerning the available timbres and 2_ A resonant bass tone providing nority permits the brass section to affillityfor the quality of harpsi- ItS. greatest strength, producing a <:» 2 to 1, thereby greatly reducing the sonorities. This is difficult to be- a solid tonal foundation. This is true make a valid contribution. perform. chordtone-indeed, there is hardly heightened musical consciousness in tremendous breadth and dignity of lieve since in music written {or band particularly when the EBb bass parts ers on brass instruments must be. a first-ralejazz band in recent years those who work at it, and encour- You can depend on the brass hass sonority in the en- by s'uch composers as Holst, are rearranged to take advantage of wu. thathas not used the harpsichord in aging concentrated musical effects semble tutti. come the masters of every conceiv- Iiams, Milhaud, Respighi. Copland, certain of its arrangements. Thus, w.hich, once learned, reflect back on 5. It would be necessary to rear- the affecting notes in the lower able style of tongueing, able at will the accuracy of Creston and others. I find no con- alone with the purely antiquarian plano and organ playing. On the range entirely most band music in ranges of this noble instrument. to control the action of the dia- scious striving after effect. Rather. illter~stof curiosity, there has de- harpsichord one gets away from the present day use, since this music (Unfortunately. many otherwise fine phragm in supporting tone, to con. in their original band works these shibboleth of touch and tone. The METRONOME de Maelzel would not fit the proposed instru- conductors have not realized the trol the speed of the release 01 the veloperla revolution of taste which composers show the same intuitive fact is, you can make the identical mentation. Bass and alto clarinet necessity for rescoring the bass parts longue, and to provide the proper welcomesthe harpsichord in its own sense for tonal color as in their ma- passage sound beautiful or terrible by SETH THOMAS parts and the secondary brass parts to provide this additional depth of size of aperture for the release of right. Even eminent pianists no tone. Our American publishers jor orchestral works. I note that longerdeny its place in modern life! on the harpsichord, without an; would need to undergo extensive re- Creston. Milh aud, Copland. Harris brea th. The lack of brass perform. should provide parts written espe- Andhow does this affect the stu- change in lone! The effect depends GOOD RHYTHM HABlTS are vital to Ium. It is easily adjustable for tempos vision. The upper clarinet parts and others are able to balance dis- er able to do this causes many con- cially for the BBb instrument. dent? He will find the harpsichord on how you control legato and stac- fine musicianship ... accomplished from 40 to 208 beats a minute. would need revising to allow them to sonance in the same careful and ductors to in..lst upon the basic 3. The possibility of extending the chieflyvaluable for the light it sheds cato-on how you project rhythmic dancing. That's why teachers and stu- Enclosed in a handsome hardwood function as do the first and second precise tonal relationships in works woodwind sonority, or to fail in pro- dents concentrate early on developing case, its sturdy keywound mechanism dynamic range to both ends of the on the music for wh ich it remains shape. The illusion of beautiful tone violins in the orchestra. One is written for both band and orchestra. jecting the ba ic sonority inherent this important technique. That's whv is built by the skilled hands of master dynamic scale. the best medium. In my classes at comes through these controls. And forced to admit that the proposed Since the techniques that must he to the full ensemble tone. so many of them turn to Metronom~ craftsmen. Painstaking attention is 4. The possihility of using a wide Yale,I regularly gel two and three after you have developed them you instrumentation would enhance band developed in order to have either In conducting performances where de Maelzel by Seth Thomas" ... the given to every detail of construction variety of solo tone against a rich timesmore applications than I can are the better able to control the transcriptions of music written orig- basic sonority largely concern the the basic sonority i.. an homogene- company whose name has meant pre- to assure you unparalleled qunlitv-, tapestry of accompanying sound. piano. inally for the symphony orchestra. brass section, a few observations ous whole. it often becomes neces- accept. Only the fewest of these cision in time for 141 years. to make Seth Thomas Metronome the When there is provided a proper per- comefrom students who wish 1.0 de- Again, the harpsichord lacks the In present day bands where the should be made at this time. Tn sary to reduce the weight of the This durable instrument is famous finest you can buy. spective adduced by a reasonably votethemselves to the harpsichord; piano's Hexihilit y of dynamics- woodwind sonority is allowed to pre- bands where sonorities center in the brass tone by reducing the instru- for its exact and dependable measur- Ask your music dealer, department dominate, the following observations thought out dynamic scheme, a wide the far greater number comes from which means that you can't correct a or jewelry store to show you this one woodwind section, brass players mentation. Conductors must not be ing of time-audibly and visibly- by variety of tonal possibilities is made bad phrase in the middle. On the metronome. Only $13.50t• are pertinent: must be masters in the art of legato opposed to using this interpretative pianists and organists who wish to distinct tick and oscillating pendu- a. Much music cannot be played available to the composer. (Many piano. you can, to a certain ext.ent· .Reg. u.s. Pat. orr. tRetall ~Price subject t<>change> tongueing with all this implies. The device. since at the top level of sym- penetrate more closely into early band conductors fail to realize the you can start out in haphazard fash- in style. One hears such bands in failure of many bands to develop phonic band performance the cor keyboardmusic. For these. the harp- exquisite performances of such mu- full potential of music in perform- sichordis a necessity. {or the per- ion, and then improve or correct as ance since they are not aware that truly the basic woodwind sonority is rect balance of timbres is often sic as the "Unfinished Symphony," formingof 18th Century music can you go along. On the harpsichord, balance is achieved and maintained due 1.0 the inability of the brass sec- achieved in thi fa hion. Of course. only, and in the next moment to hear createdifficulties for those who have every detail of every phrase must be through the considered use of dy- tion to play with the legato ap- it is a lwa ys neces ary to re·edil the "Rienzi" played in exactly the same no acquaint.ance with the jnstru~ conceived in advance. The g,reat Ihcmcstcn, Co",. proach. When the basic sonority is in scoring of seriol! music 10 suit the Seth 1homas Clocks DIV. of Generat T,me Corp. manner. This is not a logical proce- namic pel-spectives.) fault of Loth piano and organ is the woodwinds, the brass section specific need:;: of each individual mentsfor which it was wril.l.cn. It is dure, yet one finds this glaring dis- 5. The possibility that the sym- must forego the marcato approach band. ince these alterations are nearlyimpossible, for example, ade- lhat uninten."upted sound tends to crepancy on every hand. phonic band may properly function at all times. Staccato passages must minor they do not affecl profoundly quatelyto decide purely pianislically constitute musical connection-you b. There seems to be an inability in every area for which music has simply keep on going, and some- be played lightly and without sud· the basic sonority. where tone is to be massed and to function as a unit while playing been written for its use. thing comes through! The harpsi- 6. The maintenance of the virile den attack_ Such effects a~ Sf=, fp, Whif'h t)'pe of band is best? One where it Illust be kept thin. music written for band by such com- chord requires concentrated and and masculine qualjty of tone that accents. etc., depend upon the wood- may well ask this question since its A frequent question put to me is posers as Holst, Williams, Milhaud, thoughtful planning; not.hing comes winds for the precise articulation_ answer i~ apt 10 decide a lifetime whetherthe harpsichord is "harder" Stravinsky, Copland, Creston and is the heritage of the symphonic Since the brass section must play at of activity on behalf of the sym· or "easier" than the piano; and I through which has not been inten· others. band. It is this unique tonal quality phonic band. For me. the brass sec- generally reply by asking which is tionally put there. c. There is an inability to func- that sets the band apart from all a constantly reduced dynamic. il is "harder," the flule or the oboe? Ac- In playing a sarabande, for in· tion as a marching unit. Such bands other ensembles. l\'lany superior con- necessary for its members to be able tion must be allowed to contribute tually,the answer depends on what stance, t.he slow continuity must be do not develop a sonority sufficiently ductors demand this type of sonority to support tone with the utmost the true value of ilS timbres to the one wants to get out of an instru· put there through imagination; the brilliant to make hearing an out·of. from their bands. Performances at restraint. ensemble sonority. By this I do not ment-mere nOles or full musical notes fade out almost as soon as you doors performance a pleasing musi- their hands do not lack for clarity, In the ensemble sonority. sudden imply that I find performances by sound Ihem and the desired effect for precisiun, for delicacy when it is dynamic effects aloe produced by an bands using other techniques to be feeling? As a mere note-calchinu o PORTRAITS OF THE WORLO'S BEST·KNOWN MUSICIANS cal experience. doesn't come through tone or pedals needed, nor for a tonal sheen of accurate balancing of instrumenta- wanting in those essentials of mu- mechanism, I should say that th~ compiled and edited ['y Guy McCoy In the second school of thought, -it has to be planned. put into the many hued colors. Indeed, these pos- tion, with a consequent weighing of sicianship that mark the superior modern piano is the more difficult ~~i~v:,:r~(g~~. ~~O'-c:"~ge Id~t~;.bound book Fresents portrails and thumbnail biogrophi(al sketches the ensemble sonority of the sym- instrumenl by sustained musical phonic band is considered in itself itive attributes are coupled to a tonal values. With unlimited re- performa nee. I do find such per' becauseit has more notes to catch: patr<>ns of the arto~d (~u~'I~n~~sn:e~r::i~nl~~~'i~~:~~. phose of musi(al ende<>vor. even induding Beyond the beginner's stage. the feeling. and then drawn forth again Price-51.50 1.0 be the whole, with the prevailing brightness and overall tonal and hearsal time and boundless patience. formances to be less impelling. and dynamic perspective, so that the ex~ sudden dynamic effects can be pro- less apt to hold my undivided at- ~echanical aspect of any instn;ment by carefully conlrolled fingers. When THE 0 D 0 REP RES S ERe 0 M PAN Y, Bry" Mawr, Po. sonority allowed to develop accord· played in this way, the harpsichord ing to the type of instrumentation, perience of hearing these bands be- ?uced precis_ely by bands develop- tention. 1 feel that Ule lanai charac- 15 not too important. becomes a powerful carrying me- and with the instruments of the comes a pleasure long to be remem- mg the baSIC woodwind sonority' ter of the symphonic band has been In the sense of finger-mechanics, brass section making a vital contri- bered. The brass section. while nevel- however, since brass players mus~ solidified due to the many efforts the harpsichord has much in com- dium. In approaching interpretive ef- bution to the total sonority at every overbearing, is allowed freedom of av?id the marcato approach. the exerled in its behalf by conductors ffi?n. with organ lechnique. All sus- fects, we find that imaginative inten- prevailing dynamic level. expression and in the ensemble tutti bnghter tonal effects inherent to who have sensed the noble insUu- tammg of tone is done with the fin- tion is fa'- more important than mere When sonorities are developed in may develop its sonority to the full many of the sudden dynamic changes ment that is the band when its so- g.ers; the instrument follows the ::D. acoustical facts. We must remember this fashion, first chair players in extent. Such perfonnarlces are vital, ca~not be produced. Wilh all arlicu~ norities have been fully de\·eloperl. ~Illearslyle of wriling; and much of Its ~pre . . . that we are not playing on instm- each section are permil.l.ed to assume alive, tonal1y opulent; they are latIOn subordinate to that produced I believe that most of our present SSlveness IS achieved by ments or ears, but on inner feeling solo status, thereby giving the com- brightly conceived and executed ex- by th~ .woodwinds, and wilh all other day composers who are writing seri- durations. The transit jon [rom piano "Through many years of service as adjudicator which can be reached only by our poser a large range of tonal color positions of the best in music, and S?nontles glowing with a lesser ous music for band have also sensed to h.arpsichord is roughly like that 1 have noted a steady advoncement in the ideals own inner feeling. The harpsichord with which he may portray t.he emo- are in direct contrast to the rather hght. the brass bass must speak with the unique tonal qualities of these of plano to oro-an . and objectives of the Guild. Today. it stand~ But the "J •• ·1 develops this awareness. Accom- tional connotations inherently a part somber performances of bands using ~ g:eatly reduced urgency. Indeed. bands. and are presently well able 1 mec lanlca aspects are the alane in its lofty height for the progressive plished performance 011 the harpsi· of his music. Contributions to the other techniques. It WIll often be unable to play within to write in Ihe band idiom. Since ?aSlimportant. Viewed in its rela- teocher and ambitious pupil, who strive for the Be it understood. there is no way tlOntom' I J • chord becomes an evocation, like the total sonority are made by both t.he ~he narrow dynamic range alloued this is true. I believe that we should I liSle, tIe larpslchord opens best ond most beautiful in pf~istic attainment." through which the symphonic band quality of poetry which makes hear- pecondary woodwind and secondary It. It therefore becomes an adjunct consider the symphonic band to ha..-e ~Ie possibility of much o-reater clar- joll" C"rre may produce precisely the tonal Ity in mel d· I. C ers participate and wonder. Thus, Uuci"e. Wis. brass. The ratio of brass and per- not necessary lo successful band "arrived." that we should cease fi . 0 IC me; much greater sheen of the symphony orchestra. the harpsichord fills definite needs cussion to woodwind is usually put perfo~ance, its place usurped by our apologies and demand for the lllesseIII linear phrasing' and much The multiplied overtones of the open in modern life, providing qualities of at 1 to 1%; i.e., in a band of 81 the strmg bass. (This could b symphonic band its just rights. from g.rehaterrhythmic strength~ The harp· NATIONAL GUILD OF PIANO TEACHERS strings in free and sympathetic vi- bl . . d e a sound and stimulating deeper musi- players, 45 total woodwind, and 36 essmg In isguise to many bands composers. [rom audiences. and ~IC .ord is an instrument on which it (Founded 1929 by Irl AII;son. M.A., Mus. D.) bration have no counterpart in the I h.ave heard, but surely the elimi- IS nnpo ·bl cal penetratjon_ lts rebirth began as brass and percussion. There are from the conductors who 80 oftell fi SSI e 1.0 rake! One cannot symphonic band. The transparency a matter of curiosity, but it. has come BOX 1113. AUSTIN, TEXAS some bands where the ratio is 1 to natIon of the noble tone produced mis·use it. THE END Oat along on a sea of thick sound -ever)'lhi ng one d·oes IS completely to stay. THE END ETUDE-AUGUST 1954 51 50 ETUDE-AUGUST 1954 = ENSEMBLE PLAYING ..~--_ ~ ~ (Continued from Page 25) TAILORED passage must be played softly, the ~r9an ~uestions plucking must be done three or four TUNING "iolin Iftluestions inches down the fingerboard. "Routine" tuning To gain tonal control of the Pizzi- will not restore or Answered by FHEDERTCK PHILLIPS cato is not difficult. Assign 10 your maintain the love- By HAROLD BERKLEY pupils for practice a two- octave scale ly tone of your piano. Only tuning For several "ears I have taken or- hymns or tunes. but you would have in the first or third position. and tailored to your personal needs can ganlessons during the warm months quite a long way to go before you do that. workmen. and more than a few of ask for a crescendo on the ascending OF MUSIC (our church is not heated in winter), could really call your-self a compe- scale and a diminuendo on the de- American Society piano technicians Fr-om Far Distant l\lalaya their violins have good tone. F. K. C. Malaya. It was good to and have played the pipe organ tent organist. scending; every note to be played are trained to give each piano spe- Dedicated to the Superior Training of American Talent I twice a mOllth for the l unior Choir, (2) The Presser Company is able with vibrato and the dynamics to be cialized care. You will find them hear from you again and to know Appraisal Recommended listed in your phone book under • Intensive professional study of MUSIC, bal- that our magazine is carefully read IIlld also as a substitute. My teacher to supply all the numbers listed in varied hy moving the right hand up Mrs. n. K_ D'H.. Florida. There "Piano Tuners." has neL'eT su.ggested organ books for the McCurdy article. but those titles to the end of the fingerboard or away anced with a liberal arts program in Amer- so far from where it .is published. .is nothing J can (ell you about your study purposes. What books do you which are followed by the name of a f rom it. Call one; enjoy "Tailored 'I'uning." ica's first coeducational college. Dormitories, The sign and number you dis- violin other than that it bears a covered inside your .1_ B. Vuillaume recommend /01" technique, pedal book in parentheses are .with few An effective Pizzicato is not liard For lr .... "..mphlel,' "" l'lallo Care (lnd ,If,,,I, concert series by guest and Oberlin artists, correctly-worded Cuarncrill" label. Pre'· .."';"" ,rrile to Maggini copy was ahnos.t certainly work,etc. What about Bach and the exceptions. obtainable onlv in those to acquire if its essential technique A5 a Iong-t ime reader of ETUDE )"OU excellent practice focllities, faculty of 55 books and not separately." The best put there by VuiUaume himself. a~d are certainly aware that a label is Mendelssohn Sonctos? In piano I is understood. "'tz,,$U<-d"~qfp""", l:dHU<4N eminent musicians. the number is probably a serial have studied the Bach Illventiolls plan prohabl y would be to have tbe no evidence of a violin's origin. BUl 1022 W. GARFIELD AVE. number indicating that it was the and most of tlie flY/,ll Tem pcted Presser Company send you on ap- The Vioiinist?s Posture I can sa y that the chance .. against MILWAUKEE 5. WIS. Memher National Association Music. 42nd violin he made. No one else Clavichord. This slimmer I shall be proval a few numbers taken fr-om 01 Schooh 01 your violin being II genuine CUlIr· I am. beginnin.g t o do quite but the maker would have a pur- nerius arc many thousands to one. busy with college lUork and shall be this list, and then YO~1 could better a bit of leftchinM, and nruurnlly some po~e in writing anything wher.e _il judge of their suitability lor your Write for: 1£ you arc anxiou 10 have the in· III/ableto take lessons, but I unuu 10 problem.s arc arising. As 0/ nnw. Ih(' '-F;A;; ;;A;D-M-;";;;/~L;; ~~~-: could not be seen unless the YIOIII1 needs. . strument appraised. \....hy not send it practice, alld would like help in Ihe No. l problem is how I should lell ! A WORK OF MUSICAL ART Conservatory catalog describintr de- I Mellow, soulful tone like on old I were opened. IWy 0/ material/or self-study. One (3) For collections of rtrp:an 111_\' pupils 10 stand. Shollld Ihe grees awarded carefully packed, 10 Shropshire & I Antonio StradivClri! 'i Frey. 1]9 \Vest 57th Sir ·ct. or to teacher says that {JIW /('SSOflS is SII/' pieces w'ilh chimes we suggest "Or- we/MIll. be {'{fua.l on bOlh /er't a/" Bulletin on admission and aUdition 'DON'T WAIT-JUST INVESTIGATE! i Concerning ThOlnas Rauch ,neil'nt to learn (,0 play /he organ. gan Compositions with Chime:;;." should mosf 0/ Ihe wci{!.hl hI' on Ihe Rembert Wurlit'lcr. 120 We:,L 42nd 1 CHELSEA FRASER, MVM i procedures F. J. MeA., California. Thomas Ho-wabout it? Kinder;. "Twelve Compo.<:ition ... hy Ii'/I foot? I should be glad lour StreeL-both addre~~e in New York 0/ L ••__I_L~ Rauch, of Prague, was a clean an.d ! 2025 Stark. Saginaw. Mich. I Calendar of music events for the cur- City. For a small fee. either fmn (2) In the list 0/ pieces sllggestf,(k American Composers for Orj!an and advice." accurate maker, and many or 1115 rent year would give you a r -liable al'prai~1. by Dr. McCurdy ill th,' May ETUDE. Bells"; "Book of Chime Pieces for F. 117. H .. Ohio violins have an excellent lone. To· as SIlitab{e for /hc Church Yeflr, I Organ." The Presser CompUlw will Programs of concert. and recitals day they are worth between $200 also. if desired. add a few nu;nbcl"s An Approximntc Apprajsal (Ind jew numbers ill fhe Presser A majority of tbe famous "names jn lIJiIt"ant. ~ and .J;,." given during past season and $350, according to condit jon. in separaLe sheet music form. Miss /3. S., Missouri. I hu\·c lx:tn catalog.Where can /h(,y bf' vb/ailled, the violin world say that most of Ihe 30 E. Adalils St.-Chicagu 3, III. in touch with the present head of alld which are the b('sl for fII('? I (4) "The Organist" is a bi-month- player's weight should be on his left An Exeellen 1 Bow Maker VlOlIN SPECIALISTS Director of Admissions. Oberlin College the firm that imported and sold 'Mill! to play things the audience will ly magazjne containing easy music fool. When such outstanding violin- l11rs. P. P. G., Cali/ornia_ A gen- written on two staves. It is still pub- OUR NEW OLD INSTRUMENT your violin in Iii, first place. and like and yet not too "lowbrow." I ists and teachers as Alard. De CATALOG NOW AVAILABLE Box 584, Oberlin, Ohio uine .lames Tubbs bow, if gold- he told me tlull the instrument I!link the ETUDE repertoire is faa lished by the Lorenz Publishing Co .. Beriot, Joachim, Auer. Sevcik. and Publirohers of "VIOLINS & VIOLINISTS" • mounted, could be worth as much jor 501 E. 3rd St.. Dayton, Ohil): single Kneisel agree that this posture is .._ •..•..•..•.. __ _ _ .._ ~ !3hould be worth between 75 and hard me; isn', there som.ething ~--_._._-_ as $250. The usual price range. how- oj the in-between grades? issues 60 cents; yearly subscriplion best., it would seem difficult to hold ever. is between $75 and $150. But 5150 today. according to it !)resenl (3) Gllr church ;s goil/;!, to iI/stall $3.00. The same firm also issues an- a contrary opinion. Nevertheless. GIVE YOUR CHILD THE ADVANTAGES condition. l? e.r ther~ are many bows stamped James a !lew larger organ. sOllletiwe t.liis other magazine called "Organ Port- there is another school of thought. "'11". ~ Of Studyin9 Piano With An I.P.T.A. Teacher Tubbs that never saw the inside oE summer. It will be electronically folio" containing more difficult mu- headed by Marteau and Flesch. that Send Inferior Inlitatio118 The Jnternational Piano Teachers Association, the world's his 'workshop. 'Vbether or not )'om sic, written on three staves; al~o bi- suys the player's weight should be K. D. /P., Oh;o. J. B. cbwcit1.er's cOrllrolled an.d will have chimes. Can largest piano teacher organization. devotes its entire bow is genuine, no one could sar monthly. and the same price. for energy toward making music leorning the p\easura~le reputation has ~ulIered from the un· yon suggest music jar organ with halanced even lyon both feel. without examining it. The same ap- chimes? Experience has taught me to agree experience it should be. Here ore some of the speCial plies to the violin with the Cobetti scrupuJou:: use of his label by very FREE benefits it offers. (4) Is the rnagazinf' calln{ "The As 'he Hammon.d organ is Metlin!! wit.h t.he first opinion. mainly be- Label. If genuine it could be worth inferior copyists. A genuine hweit· Organist" still published. and how so popular in church and hom.e, will cause thjs way of st.anding promotes • Student Membership in the World's Largest .Fra~ernity of Pian.o Students· Annu?1 as much as $3500. I would !:uggest zer in good condition could be worth BOOK Notional and International Piano Playing Examl~atlans •. ExclUSive I.P.T.A. Ac.adem c. may it be obtained? . you please give m.e a jew regisfra- greater freedom of bowing. A few Music Courses. Over 65 Copyrighted Teacher Aids E:Jablrng the Teach.er to do the. Best that you take the violin for ap- five or six hundred doUars. but most ABOUT lions for hymn playing. experiments will support this view. Job • Annual National Convent,ons Alternately in New York. City and Chicago praisal to 1\1r. Faris Brown. 5625 of the Yiolins bearing his label are J. R.-lowa • Periodical Educ.otional Bulletins. AIII.P.T.A. Teachers are Certified. C, R.-So. Oak. If you will playa passage of rapid Wilshire Boulevard, Los Angeles. German factory products o[ \·err iii· MUSIC Under the guidanc.e of on I.P.T.A. teacher, yo~ learn to play the ;",orld's finest piano (I) For basic organ studies we and vigorous detache with your literaTure. The Association advocates the teaching on the best musu;: of all publishers. lIe 'value. 5\·,1!,;1':hert: does oot permit an ade- You are invited to write ROBERT WHITFORD, I.P.T.A. Fo.under-~resldent <;d t~e inter- recommendthe Stainer-RorYers Or- The Pre-Set keys on the Ham- weight evenly balanced on bOlh {]ll,tle de~1,;drtion of this renmrkalJlc;, national Headquarters lor a c.omplimentory c.opy. of Plano Time, a dlrec.tlve that Well Made InstrunlcntlJ mond organ are. in a general way. feet, yOll will find that you cannot Scribner I{"dio Milsic Li1'l"ary. We explains the Assoc.iotion's philosophy 01 mUSIc. leornmg. E. M. Kansas. The vjolins of Jo- A Fair CraftsDlan gan Method, or First Les~ons for arranged according to volume. starl- conlrol the shaking of your body. If. wilt therefore be glad to scml YOI;I International Piano Teachers Ass'n, 204 N. E. 31st St., Miami 37, Fla. hann Adam Schonfelder are quite J11 rs. J. S. 8., Cali/omia. Carl Organ,by Nevin. For supplementary fI·ithQul QbfiyativlI, an illh:res( ing "aok- A NON-PROFIT ORGAN IZATION ing with Ihe ro-ofter stops on the left on the other hand, you play the let Itlling" how you can OWIl ail lhis well made, and as the wood was Georg Krctz5hmanll was a member work we suggest "Pedal Scale llIu~ic [or (I sml/II [r(le/iml 0/ its flor- Three greol ,"P.T.A. Acodemic Mvsic Cavrse~ in KEYROARD TECHNIC, PIANO PEDALING and MUSIC Silidies" hy Sheppard: "Master (or lower part of the octave). and same passage wit.h YOUI' weight al- carefully selected, his instruments of a 'violin-making family that Ihed '''(11 fO.lt. INTERPRETATION are now available. exclu.tvely to I.P.T.A, Teachers ond s!vdents of I.P.T.A. Sllidiesfor the OrlTan" by· Carl' the increasing in volume as one goes up most entirely on the left fool. your teachers. They ore the most comprp.hensiv& covnes ever published on t.hese sublect.s •. and .were de· often have a very fair quality of and worked in )larkneukirchen. Ger· Tl) ol.lail1 this 40-page illll,slrated signed and written by Robert Whitford. i.P.T.A. Founder-President. Wrote for destrlptlV ETUDE-AUGUST 195~ 53 51 ETUDE-AUGU T 1954 The Singer of Bird Meadow Junior Etude Contest BEETHOVEN AND BUBBLE GUM (Continued from Page 11) Junior Etude will award three attractive prizes this month for by M(ll·tha Y. Binde the neatest and best original poems. Contest is open to all boys and To begin with, the series is divided Except for an intermittent popping girlsunder twe~lty y~ars of a~e. '. into two separate sections, introduc- of bubble gum or a frantic search Names of pnze WInners WIll appear on this page In a future issue tory and senior, each section posing [or misplaced overshoes, the audi- of the ETUDE. The thirty next best contributors will receive honorable strel Knight, Walther von der its own special needs and problems. ence is well-behaved during the con- For young people nine years and cert's one hour duration. lONG AGO, in the twelfth and Vogel weide, Wolfram von Eschen. mention. Put your name, age and class in which you enter on upper left older, five concerts are held during Sometimes the children jump up unior Uthirteenth centuries, ther~ were bach, ·Reinmar von Zweter, and [btuae ers corner of your paper and put your address on upper right corner of a season, each on a Saturday morn- and down in excited rhythm with bands of traveling poet-smg , Hermann, the Landgrave of Thu. the music. This, however, rarely dis- known as mi nstrels. In Ge~many your paper. Write on one side of paper only. Do not use typewriters ing and each of about an hour's dur- r ingia. ation. Originally the concerts were rupts a concert nor bothers the they were known as Miruws.uI-gers. anddo not have anyone copy your work for you. (Note: In Wagner's opera, "Die held at Aeolian Hall, but. as interest performers. As MI'. BuketofI ex- The story of o.ne of these minstrels ClassA, 16 to 20 years of age; Class B, 12 to 16; Class C, under 12. Meistersinger," he included an- grew and the audience consequently plained, "It's only parents who have ·l R' h d Waoner to Contestcloses August 31. Prizes will be mailed in September. Results promptc( ",,-Ie ar 0 " _ other singing Knight named Wal· increased, they were moved to the the mistaken idea one must be sol- write his famous opera, Tann willappear in a later issue. Topic: Music in Summer ther, but this was \Valther von larger Carnegie HaH auditorium. emn to listen to music." I . " Musicians everywhere Every program must take into ac- The theme of the concerts for 13USCI. .. . h .h Pil"rim's Stolzing, who lived in the sixteenth b. count the youth of the audience, the 1953 was "FUll with Music." In are fatlllbar WIt t e century. He is the singer of the Chorns and the Song to the Evening two-fold aim of "Enjoyment and Edu- October the program featured Don very f amoue "p'Snze eng, "k nown Star from this opera. , for young folks. I would like to hear cation," and the great necessity for Gillis' "The Man Who Invented to all music lovers. When we see, Lettm" Box In, the opera of "Tann hau~er, ' from others who are seriously inter- keeping the youthful audience con- Music." In November the main se- or think of these opera, we are apt ested .in music. tinuously interested. This past sea- Jection was Dukas' "Sorcerer's Ap- a minstrel knight takes part 111 a to forget that \Vagner modelled prentice" and in December a gay Wanted: Good Accompanists . . contest or "Tournament Scnd rcplies 10 letters ill Ci.U·C of Dorothy Lea Conuoetl (A/?e 17), son a centra] theme was adopted for smgll1g, , . them on the lives of real people Junior Elude, Hs-yn [\'law,', Pl'I., Colil ornic each concert-the St.ory of the Or- Christmas feeling was brought into rr" as it was called. 1his by Auee Brl/;IIanl af Sarlo, who lived hundreds of years ago.) and they will be forwarded to the chestra, the Story of the Nativity, the festivities which were highlighted evcnt was held in the great hall at "Tilers. Do 1I0t ask For addresses, the Story of the Symphony, the by the perennial appearance of " " . f Foreign mull is 8 cents; some fo~'- tunity so that he can cover up 1 Wartbur ETUDE-AUGUST 195j ETUDE-AUGUST 195~ 55 54 baroque music at its best, don't BELLS FROM ACROSS rained throughout centuries. BEETHOVEN AND BUBBLE GUM overlook this disc. (Decca DL 9619) THE SEAS The first of our modern carillons from across the seas was dedicated (Continued from Page 55) Mozart: Concerto No. 23 in A July 29. 1922, at Gloucester, Massa Mnjor, K. 488 (Continued fram Page 13) chusetts. At that time a large Hum AMERII:AN it was the 'best yet!' When they. all Concerto No. 24 ill C Minor, K. 491 "Do you think one must start study- sat through the concert barely wl~k- There's a tragedy in the month's ofa mixtureof cement and sand in a bel' of the church members of "Our ing an instrument when one Is young Lady of Cood Voyage," who had pro ing an eyelash, when they. even. tried record news and this is it. Two of specialproportion, is fitted 011. After like us, or can an older person of vided the gift, were Portuguese fish- I:ONSERVATORY jotting down notes, I realized It had Mozart's loveliest piano concerti thefalse hell is completely dried, it about twenty learn to play an instru- ermen. One of the largest carillons ably played by one of the best MOl. receivesanother coating of loam and ment?" The- questions were proof in- not been in vain." As the Philharmonic Young Peo- art interpreters (Clifford Cunon) one of grease-the latter for im- in the world is that of Riverside of MUSIl: deed that the concerts had stimulated ple's Concerts moves into its thirtie~h and a splendid orchestra (the Lon. printingof decorations or inscrip- Baptist Church in New York, given their interest in music and musicians. year. there can be little doubt of Its don Symphony) under a good con. tions.Finally the core, false bell, by John D. Rockefeller, Jr.. in From t he parents of the youngsters CHICAGO 68th SEASON achi~vement nor of its future. As and mould all receive a thorough memory of his mother. Its 72 bells have come perhaps the most inspir- ducior (Josef Krips) have been th RAN Fla5h_Beat Eledranome Mr. Pelletier remarked upon the ruined by poor engineering, You baking. have a range of six octaves. Other the 0"'1 Underwriteu approved· elee/ric ing responses. One mother summed Founded in 1886 by John J. Hattstaedt, today The American Con- completion of a children's concer.t, have a choice. Either you set your ~10W comesthe transporting of the notable carillons include the Bok metrondine up t.he views of the others ver-y com- servatory of Music is considered outstanding among- institutions "The way they listened to the music embryohell-core. false bell and Singing Tower of Florida with 61 Wtth J beat yo", can SEE gnd HEAR! pletely when she said, "My oldest controls (or the orchestra or the solo for music education in this country. .'#acC",rgle, convenient, dependable has convinced me more and more of mould-to the casting pit. It is bells. and the Stephen Foster Me son is llV2- so he and I have at- instrument. 1£ for the former, the THE FACULTY-One hundred aud thirty teachers, many of nuuonal • light visible from all side5 the power of music in education. Our morial Tower on the banks of the tended the concerts for many years . piano is all colton. If for the latter. tampeddownto prevent breaking of anrl international reputation, including p ian ists : Rudolph Reuter, Kurt • 5 year written guarantee programs were of a symphonic type Suwannee River at White Springs The other children joined us about the trings arc all knives. (London themouldwhen the hot metal flows 'Vanicck, Hans Heuiot, Hi-uno Glade; Voicc: Theodore Hurrisou, Charles An invaluable aid for teachers, sludenls, -c-overture, symphony. modern Amer- 918) downbetween the mould and the Florida. where daily concert>; of LaBerge, frances Grund, Barre Hill, B. Fred W'ise, Russell Hof liger; five years ago. and now we all regu- Violin: .101111 Welcher, SCOll WilJits, Stella Roberts; Organ: Edward performen. Write for our booklet. ican work, modern brj}liant work- core,The furnace. filled with blocks Foster mu .sic are given. larly attend the concerts. Always I Eigensehenk ; Theory: Leo Sowerby, Jolm Palmer, Jeanne Boyd, II'\\,ill but they accepted it. After the con- To encourage further development have felt-'Even if they are young. Patean-lnn r MiU(l Pa,me Mnreelli ofpurebronze, is stoked up until it Fischel'; School Music: Robert Davis. FRANI MFG. CO. certs we felt we had given them a ChQral Millie /'0111 tIle Lmcland, of carillon music in America and to New Haven, Conn. reaches3.000 degrees Fahrenheit. 53 Wollace St. something will remain.' WelL this [\)'C Professional and Teaching Errgng emen ts new kind of joy. We had opened Admirers of polyphonic, a cap- exchange useful information. the Accredlt ed Courses otrercd in Piano. Saturday brought rnv greatest re- Standing by the furnace is the Vocal, Violin. On;nn. Orchestra and - Graduates of the Conservatory have some doors of knowledge. We had pel/a Choral work will find this Epic mastercaster. who casts a test. ingot "Guild of Carillonneurs in North BlIlHI Inst.rumonts, Public School Music. been much iu demand as teachers and ward. \~hen the three boys (the Musical 't'heorv. 11 lso in concert. Opel'a, radio. ol'chestrn SAN FRANCISCO and choir work. The News l3ulletin con- enlarged their horizons." THE END disc fascinating from start to finish assoonas the buhbling mass main- America" was organized, II held its J)egrees-Oachelor or ill u>:!ic.Bachelor of CONSERVATORV OF MUSIC youngest is seven) and I agreed that taining a list of about 300 successful Sung by the etherlands Chamber first. Congress in ] 934_ with inter Music Edllcntion. Mastcl' of Music and ALBERT ELKU$-Direetor lainsthe required degree of heat. If l\Iaster of Music Education are confel'l'cd r:-:raduates holding- l'es)JOnsible positions Choir, Felix de obel conducting, mittent meetings since then. One o[ by authority of the State of Illinois and in Universities, Colleges. Con1:iel'vatories. llnchelorof Musl. Degrec~DiIJI()ll"l lbeconsistencyis right. he gives the and Public Schools will be sent upon ChUllrcn·5Cla:;sn recognized f!S a gUlll'antee of accomplish- th program features Palestrina's the greatest problems presently con I'CqUeSt. Profosslonal In~tructlon NEW RECORDS .'ignaland the sizzling metal is then ment. Day anll E,'elling Classcs famous Pop iarcellus and fronting its members is the lack of Students' Setf Hetll-The manlll{ement Tuition is l'casona\)le in keeping with the Mass channeledinto the moulds. Flames times and may be )lnid in convenient in- 3435 S~cramentoStreet Walnut 1·3496 makes e"cry en([e",'o,' to nssi>:!Lncedy (Continued from Page 18) nine short choral works wrillen in threefeet high dart from drought Ruitable music. There is no so·called students to find part-time employment. stallments. Complete pal,ticula!"s given in the Lowlands during the fifteenth "standard repertory." for music Muny find work as tenchers, accompan- catalog whieh will be mailed on request. Chorus. and the brilliance of the re- holes in the moulds; clouds of ists or pal·t-iime position>:! wOl'king for Boarding-InfOl'mationl'egarding llccon,- J udjcious engineering gives the and sixteenth centuries, Of the lat. smolheringsmoke blanket the room. suitable to a small carillon of 25 commcl'cilll house.,;. etc. modation:s can be found in the entalog-. CHRISTENSENPIANO METHOD strings a silken coat. (Columbia ML corded' sound. Angel's performance Successful throusll the years for Swlns. ter, three lire Bel' d Bnd are sungin Althoughpouring in t.he moulten hells will not adequately display the Jazz, Rastlme. Boogie. Blues. Brea.ks. key- is superior with respect to the role of Mem.ber oj (.he National Associat.ion oj Schools oj Mllsic board harmony. etc. At your dealer 'or sent 4869) Latin; four arC secular and are sung copperrequires cOlllparativelylittle resources of a 72-beJled giant. As a postpaid for $2.50. Santuzza-beautifully sung by 1\·faria Send 20t for current monthlY bulletin of in Italian. Orlando di Lasso's Matona time-in direct contra>:t to days and result. most carillonneurs make lheir For free clltu/og address John R. Hullsttlellt, Prf!sidcllt breakS and fill-In!; for hlt·sonll's, or S2 for Hugo Wolf Rccital Meneghini Callas, the singing of If Mia ora is worth Ihe pri e of the own arrangements. 12 months, MeoUon teaeher. In his recital of Wolf songs, Hans Rolando Panerai as Alfio and Anna weekspreparing the mould-still it THE AXEL CHRISTENSEN METHOD whole r ord. (Epic LC 3045) Carillon music. like that of radio 580 Kimball Hall, Chicago 4, Ill. Studio E-P,O, B01ll:421 Oiai. California Hotter, distinguished German bari- Maria Canali as Lola. and the con· is a tricky operation demanding is air-borne and intended for mass .tone, has the guidance of Gerald venience of the special Italian-Eng· .,kill. The metal must also be Crcsum; I,itls Qunr'et, Op. 8 consumption. Unlike radio. however, :Moore, who~e piano support meant lish libretto. Angel's sound is good "cooked"just right. Important as Paul Creslon' only tring quartet it is he.o:! enjoyed ollt·of-door .... On a BALOWIN·WALLACE much to Kjpnis and oiher great lie- but more diffuse than London's. An- these elements are in producing BUTlER UNIVERSITY CONSERVATORY OF MUSIC waited eighteen year for recording, warm summer night. what keener der singers of pre-"war years. Hottel' gel leaves the fourth side blank and hells of superior quality. >:till an· BEREA. OHIO huburb of Cleveland) but the ta len ted American composer delight than listening to the hells JORDAN COLLEGE OF JlIUSIC wisely selected a program adapted doesn't charge for it; London fills otherfactor is never forgotten. In Allinated with a ftut clal8 Liberal Art. has found sympathetic and able in· whMe mu.<:.ic i.o: often colored by A rich tradition, a progressive philosophy, an outstanding faculty, complete accred- Collece. Four and fhe yea' courle. Ie-din!: to H eldenbariton interpretation; the fourth side with Mario del frontof the kiln stands a tiny. neon- itation. Baccalaureate degrees in Donee, Drama, Music, Music Education, Radio. to decreei. Faculty of Artllt Teacben. Send terpreters in the Hollywood SITing gentle evening breezes? Or feeling for eatllOClleor Information to; such big numbers as Prometheus, Monaco in an operatic recital. (Lon- lightedcross.Each bell is cast in the Write for catalogue and desired informotion Quartet. Thi top-notch chamber JORDAN COLLEGE OF MUSIC (Box E), 1204 North Delaware Street CECiL W. MUNK, Dlnetor, Berea, Ohie Cophtisches Lied 1 and 2, and don 990, Angel 3509) glowof its light and blessed with t.he peace and tranquility that come gTOUp has given the Creston opusa Indianapolis 2, Indiano Michelan.gelo Lieder. Vocally, the prayer. with its nightly benediction? vital reading that should place it on The new Dutch carillon, now firm· entire colleciion is excellent. Inter- Brahms: COllcerl.o No.1 in D Mirror After the cooling period is over many a program in the future. The ly embedded in American soil, will COKER COLLEGE pretatively, the quieter numbers lor Piano and OrclteslTa~ Op. 15 (oneday for smaller bells; propor- CINCINNATI CONSERVATORY OF MUSIC Small 4-yr. college for women.. Distinctive gen- disc contains also Hugo Wolfs give daily pleasure to Americans for eral cultural and pre·professlonal training In (Grenzen dcr Menschheit and Har- That London Records should bring tionatelymore for larger ones). the ,\Villi:111I $. "':I~'IOI', ph.n., Oil'ectol' nntl DcaD (If F:lculty the arts and sciences. A.B .• B.S. degrees in 14 Iiolian erenade in G Major and generations to come. As it continues professional fieldS. Member NASM. Courses In fen-spieler Lieder) are less effective. out another recording of this con- hellis thoroughly cleaned by sand- A diJtillgrtif/)ed pl'ojeJJ;ol/(/1 .rrhool oj III/lS;C ,md the allied arfI. plano, volee, organ, Violin, publle school music. Joaquin Turino' La Oracion dd to ring out its songs of faith, of love DEGREE COURSES WITH MAJORS IN PIANO, VOICE, ORCHESTRAL INSTRUMENTS, New. modern, air condltloned music bulldlng, (Angel 35057) certo a few months following the blasting and by rotating steel ORGAN, COMPOSITION, MUSIC EDUCATION. Grants-In-aid, scholarships. Basic fee for stu- Torero. n are r~orded realistical- of country. its voice will not go un- Affiliated with the Ullivcrsity of Cincinnati. Memberof the National Asseciation ef Schools of Music dents of mU5ic,approximately $925.Riding, golf. magnificent Curzon-Van Beinum ver- hrushes,After this it is weighed, tennis. lak.e, swimming. eanoelng. Intloor pool. Britten: A Sim.ple Symphony lor ly. (Capitol P-8269) heeded in achieving that world har- Catalog will !", sellt Oil req ...est Country Club facilities. Catalog. tested,and turned upside down for \V1'i1c DCllt. E, T-{j.~·hl:llI(J An~. :11111Oal;; St. Clncillm,ti In. Ohio Department M, Hartnllle. S. C. sion (LL 850) is not surprising. The Srrillg Orcheslrfl. Op. 4 easiertuning, mony pledged hy both nations. Ireland: COflcerlino Pastorale artist for the latest recorded per- Prelu(l~ mId ll1lermu~ f,om I~~ Here again skill is required. for There's nothing geographical in formance is Wilhelm Backhaus play. Opera ~DALCROZE c~~illon.tuningdemands greater pre· QUESTIONS AND ANSWERS ~ SCHOOL OF MUSIC the mating of Britten and Ireland on ing with the Vienna Philharmonic From its Ceua library Capitolis Orchestra under Karl Bohm. Both CISlonthan piano.tuning. However. Hilda M. Schusler. Direcror this interesting disc, for Benjamin assembling and relea~ing excerplSof (COl/li~llleil from Page 22) IDQt(lltbtlwlnsltt11tt nf{QUSU OnlJl authorized Dalcroze School. Com- of these new London recordings are thetuner's work is somewhat simpli. \llete music currIC\llum. Artist Teachers, Britten and John Ireland are both wide appeal. The operatic preludes Bac.helor of Music, Moster of Music, Boc.helor of Science in Education (B.S. in Ed. by Cblldren and adults. In-service eredit. contemporary English composers. superior in style and sound. (Lon. fiedby the presence of certain basic ries from one edition to another. If transfer to Kent Stefe University or Western Reserve University) Day & Eve. Telephone: TRafalgar 9-0316 and intermez:z.i chosen for this disc REQUEST CATALOG E Conducting the M·G-M String Or. don 911) qualitiesdetermined in castinO'" vol- you will consult some othel' edition WARD LEWIS, Actinq Director 161 EAST 13rd ST .. NEW VORK 21 make up an orchestral programof 3411 Euc;lid Avenue • Cleveland 15. Ohio chestra. hler Solomon makes the l1m~by its size and weight; ;~ality of this concerto. say the Peters edi- .1Ic"'l>er of tile ...;,,1'''''01 Assooiatioll S~!,ools 01 M"slo quiet charm Various conductors lead "f ~yIts shape; pitch by its diameter. tion. you will find that all of these most of two light, pleasing works. Vivaldi: Four Concerli the ytnpb~ny Orche&r8 of Radio Aside from dryer acoustics than ,he.master-tuner remedies any de. notes are included in the second MILLIKIN UNIVERSITV One of this writer's richest con. Italiana in preludes to cts I and SCHOOL OF MUSIC most recording engineers prefer ;'latlOnin pitch by paper-thin shav- piano parI.. and do not appear 0.11 certhall experiences during the past ill of "La Traviata." to uAlda" an~ DECATUI. ILLINOIS these days, the disc is another exam· Ingofthe inside of the bell the staffs of lhe solo 'part at all. Thls NEW YORI( COLLEGE OF MUSIC Oll'er,thoroul:htralninc tn mudc. Counel Ind- s~ason was listening to the Virtuosi "La Cioconda." and in inlenne~ J h' ' Arved Kurtz, Director Chartered 1878 In!:to del:reesof: Baehel"r of !.Iullc. Bacheloror pIe of outstanding M-G·M technical d~.Roma play Vivaldi. Decca now ntis exacting work he uses hun. makes the second part a truer re- Music Education, Master of !tillstC,Ind Muter from "Manon LeBeaut," uCa\'alleTl~, dredsof different tuninO" forks. one duction of the orchestral score. but College and Professional Courses ..• Class and Individual of Music Education. work. (M.G·M E3074) bnngs us four Vivaldi numbers eur Instruction ... Daytinle or Evening ••• Full or Part Time. lIfemberoftheNationalA8~ocl.UonSchool!ofMu,lc Rusticana," uAdriana Lecouvr of his most difficult ;ask<:. bein THE MAGIC OF LEOPOLD AUER man with whom he had the appoim. SOME OUTSTANDING SHORT PIECES ment, and without even so much as (Continned from Page 15) -Sherwood MusicSchool- enquiring my name he began a OF THE YEAR sincere apology and a reasonable ~ound he counseled us to rotat.e the said, "1 can tell you only one thinO"- Thorough professional training for successful careers. One and t 1"0- explanation of the cause of his de- ~\'risl.'at the nut as well as at the when you begin, ascend as towards year Certificate courses prepare for private studio teaching. Bachelor BOSTON UNIVERSITY (Continued from Page 21) lay. Four times during the COurse till.He would insist on a full-circle Heaven." and Master Degrees, four and five years. Piano, voice, organ, violin, of our subsequent conversation he rotation-when we got to a place In all things Auer inculcated zood More "Serious" Music; 'cello, wind instruments, composition, public school music. Faculty College of Music From Schroeder and Gunther lists; broke off to express his recurring reo wherea change of bow was due, he taste-even in the demonstratio~l of SOllie Russians of renowned European and American artists. Many opport unit.ies Louise Dale-Ghosts and Goblins- grets at having kept us waiting, and eould begin rotating his own wrist virtuosity. He loathed show for its That musical sleuth, Leo Podolsky, for public recital, solo and group performance. Member of the All Branch•• of MUlto wild and'" ghostly Halloween doin's; upon our departure he personally own sake. He taught music and he as a reminder! National Association of Schools of Music. and Music Educ::ation has been turning up more neglected escorted us down the eleven stories 4) DevelolJingtone quality. Au~r also strove to make ladies and ETUDE-AUGUST 195~ 59 58 ETUDE-AUCL'Sr 1954 OPERA WORKSHOPS_ COLLEGE AND COMMUNITY ... (Continued from Poge 20) Your dreams COntC true for grand-like • tonal qu all ty in a 37" piano. Shehas also worke~ with the Chi- impOl:tant new devices is the hy- cagoInstitute of Design. draulic orchestra pit which rises TheZirners have staged operas at and lowers at will. GULBRANSEN Illinoissince 1948. They present But the plant equipment is not IWWutet (]~ twc types of productions. Eac}? se- the only reason for the success at mesterMr. Zirner presents an Eve- Indiana. All the directors are pro- ~'~~~~ uingof Opera" consisting of five or fessional and capable artists. Hans sixexcerptsfrom such famous operas Busch, who stages the operas, in the . 0 d li 't d t two copies per book. Pleose as "Carmen," "Don Giovanni" and past years has journeyed between Order now to. take advantage of low advance of publication prices. r ers are Iml e 0 "~[adameButterfly." This year De- Indiana and the Metropolitan Opera, h your order. Postpaid delivery be mode as each book comes off the press. . will where he a.lso has been stage di- send remittance (check or money orderI Wit hussy'srarely performed "The Prod- igalSon" is a part of the "Evening rector; this director is the son of ofOpera."Mrs. Zimer places these the late Fritz Busch, the Mozart jan PIANO SOLO excerptsin a selling of neutral conductor. The conductor at Indiana, AMERICAN HERITAGE Ernst Hoffman, also translates the CHRISTMAS IN THE SOUTH foldingpartitions, a minimum or HIGHLIGHTS OF FAMILIAR MUSIC Arranged- by Marie 1fIestcrvelt properties,and basic costumes. This operas into English. Indiana Uni- Arranged by Denes Agay Arranged by Marie West,ervelt Illustrations by Jane Flory productionhas always been success- versity employs a full time technical A collection of seventy-five of the most familiar Illustrations by Jane Flory A folk festival of songs end dances. Marie Wester- fuLIn fact, The National Con ler- director. The majority of singers velt and Jane Flory have brought together the melodies arranged by Denes Agay for am~teur A grOUIJ of Southern folk carols and Ch~i~tmas ence of Music Educators asked the are students, but a few are faculty pi/mists of limited technical ability. Also .]~eal songs and dances of many peoples W~IO have customs. This new publication follows Ill. th~ us supplementary !Daterial for studen!s. OTlgmal settled in America, and have made a vital con- Zirners 10 present the "Evening of members. Any person majoring in vein of the successful "Christmas In MeXICO. trihution to our folk culture. Grade 2·3. opera has to enroll in fencing and harmonic eoncepuone have been Iatthfullv reo Fun justice has been done to the subject in the Opera"before the 1952 conference ruined Contents tnclude r "Folk Tunes From List Price $.85 Advance of Publfcation $.65 treatment. Grade 2-3. meetingat the Philadelphia Academy dancing as part of his curriculum. Other Lands" "Dances," "Sacred- Songs," "Themes ofMusic.Also, Boris Coldovsky of All the operas are worthwhile in From Stand~rd Literature," etc. In the case of List Price $.85 Advance of Publication $.55 songs, words accompany the music. PLAY BALL the Metropolitan Opera has used themselves. There are a few perform- IIIC ··CUIllclIlllOnJfY··-OIlC of six Mluuet Console WHITE "'OH FIU:1o: ances of excerpts, but most perform- morlcls nvuilublc ill rrnditionul Of modern wood" HHOCHUItES List Price $1.25 Advance of Publication $.80 Arranged for the piano by Marie Westervelt Mrs.Zimer's set and costume de- Here is a new achievement ... in purity and brilliance of showing the new LA BOHEME Lyrics and illustrations by Jane Flory signsat the New England Coneerva- ances are full length operas. Indiana lone, power of volume, permanency of lauch in a small piano s t.yl cs, sup cricr FOLK.WA YS, U.S.A., Book II Another delightful story in song by Marie We?'er. torrofMusic. gave the stage premiere of Menotti's construct.ion fea- by Giacomo Puccini velt and Jane Flory-this time about Amertca'a -only 37" high. Yes, beneath the exciting loveliness of all by Elie Siegmeister The second kind of opera pro- "Amah I and the Night Visitors." In tures, and the fusci- Arranged for piano by Marie Westervelt national sport. Intermediate grades. ductionat the University of Lllinois this production. the set designs were new Gulbransen Minuet Consoles discover the surprising, nating story of the Contains 27 titles: all music based on American English lyrics and illustrations by Jane Flory List Price $.85 Advance of Pnhhenrion 8.55 Suoertone Scale. folk tunes. Many have words. Grade 2.2~. Each is a double bill of two complete newly created but the costumes were wonderful, new 5upertone 5cafe ... it's the exclusive miracle SJ'ECIA I.. piece is tastefully hannonize.d and has a note. ~e- The highlights of the tragic story and heartwarm- operaspresented in conjunction with imported from the television per- scale and the reason for that glorious deep-dimension tone. ina music of Puccini's La Boheme are presented TEACHER'S scribing its origin. Contents )Delude both fal!uhar ELVES AND THE SHOEMAKER the drama department. These con- formance. The opera workshop has DISCOUNT and unfamiliar melodies and therefore be he~e for the enjoyment of amateur pianists, w1l1 Name of neare::.!: llelpfu1 in broadening the pupil's knowledge of young and old. Technically not difficult, this A story wit.h music by Marie Westervelt temporaryoperas, presented annual- also given the Amcrican premiere of GULBRANSEN COMPANY our musical heritage. Each piece may be used for ,..olume will bring real joy to those who become and Jane Flory ly,are performed as a professionaJ Benjumin B,·itten's "Billy Budd"; in authorized denIer Dept. E, 2050 N. Huhy St., Melrose Park, Ill. on request. some technical purpose. familial' with it. A charming fairy tale set to music by Marie 0llerawith regular sets and cos- this production. one of the major Westervelt, with words and illustrations by Jane List Price $1.00 Advance of Publication $.65 List Price $1.00 Advance of Publication $.65 Flory. We are certain that teachers and pupils will tumessuited to llle period of the effects was a special device to create welcome this addition to our catalog. Grade 2-3. opera.i\Ir. Zimer has presented such the eerie effcct of fog at sea. COMMANO OF THE KEYBOARD List Price $.85 Advance of Publication $.65 worksas Stravinsky's "Mavra." Per· Indiana's most successful produc- A WELL-DESERVED HONOR Compiled and edited by Alfred Mirovitch PIANORAMA OF AMERICAN CLASSICS golesi's"La Serva Padron a," and tion is Wagner's "Parsifal." It has Vols. 1 and II (of six volumes) Compiled, arranged and edited by Denes Agar Menotli's"The Medium." During the been presented for the last five years Dr. Chudes Gilbert Spross, distin- The material for this series has been carefully PIANO. FOUR HANDS preparation for "The Medium," on Palm Sunday. It is a youthful, guished American composer-pianist-organ- An unmual compilation which gives a perspective selected to help foster the technical and musical ~farje Powers, who is tbe most fresh, and interesting production. ist, was honored recently when be was development of the young student. The teacher of stylistic developments during the 18th and 19th DUETS OF THE CLASSICAL PERIOD centuries. Twenty-three selections by native famousinterpreter of the Jead role, Certain necessary cuts were made, presented with a plaque by the city of will find fresh examples of 18th, 19th and 20th Edited by Douglas Townsend century musical styles-some never before printed American composers. including: Frances Hopkin- cameto the university to coach the but il 51 ill is a lengthy presentation. Poughkeepsie in recognition of his many son William Billings, Horatio Parker. Edward in this country. VOL. I covers "forearm tech- This edition presents four-hand music of the singers.The opera work at the The audience sees the first two acts l1lusical contributions to the community. Ma~Dowell, Victor Herbert and others. Bio- period of Mozart and Haydn and will be wel- nique" "timing and rhythm," "playing together," Unimsity of Illinois is interestiufl' The ceremony took place early in June etc. V'OL. II deals with "repeated notes," "thumb graphical sketches of each composer. Suitable for comed by the teacher who is in search of un- in late afternoon. then goes to sup- and fifth finaers," "finger action," etc. Inter- use as a recreational album for adults or as a hackneyed duet music. Moderate difficulty. originaland of the highest standard: per and returns for the last act; in connection with a music fest.ival staged mediate diffic~lty. VOLS. III to VI will follow. l~ollection of supplementary material for students. List Price $1.75 The workshop at Indiana Uni- this is the method the descendants as part of the centenary celebration of Intermediate grade. Poughkeepsie. The presentation was made List Price $1.50 each vol. Advance of Publication 81.30 versity,where opera is produced on of Wagner use in Germany. Because Advance of Publication $.95 each vol. List Price $1.50 Advance of Publication $.95 a larger scale, and with 0Teater re- of tbe length of many difficuJt parts. by .James F. Brehm, president of the o Chamber of Commerce. ______-C H 0 RA L SOurcesthan most workshons is one different singers are assigned parts of tl I' , T . Ie most famous in the country. for each act. For example, Act I and Dr. Sprass was born in Poughkeepsie, N. Y., in 1874., and although in 111l~group maintains smooth. pro- Act II are sung by one Parsifal, Jater years he t.oured extensively with some of the Jeading soloists of TE OEUM LAUOAMUS (Hymn of Praise) TUNES FOR TEENS by Rufu.s Wheeler and Elie Siegmeister ~sslonalperformances. Life Maga- then another singer does Act III. the day, he maintained contacts with the musjcaJ life of !Jis native cit.v by Allesandro Scarlatti revised and c(lited by John Castellini Three-part songs for girls' and boys' voices ZlJIeclaimedthat the Tndjana version In "Parsifal." many scenes need For many years he was accompanist for the Euterpe Club and serve'd' This hitherto unpublished wOJ>k has been prepal'ed for present day The combined talents of Mr. Wheeler and Mr. Siegmeisler have re- of Wagner's "Parsifal" surpassed the use of special effects and st.age as organist-director of various churches. At. present he is the organist sulted in a book of songs which are ideal for the junior hiJ!:h school performance by John Castellini, director of Queen College Choral the production at the Metropolitan tricks. The opera workshop has of the First Congregational Church of Poughkeepsie. Among the music program .. The music is drawn from the seemingly endless store· world famous stars with whom he has toured as accompanist are Society. Little need be said of this stirring music except that it is by house of American folk music. arranged simply and yet effecth'ely Opera.But the equipment is just as abandoned the bulky sets, and em- one of the acknowledged masters of the 17th and 18th centuries. within the p:actical.limits of ~irls' and boys' voices of junior high ~x\:enentas the pedormances. In ploys bJackouts to solve the difficul- Jacques Thibaud, Ysaye, Bispham, Evan Williams deLuca, Amato. (Orchestra material will be available on rental hom the publisher.) scho?l age, wl~h max~mum mmncal ~ffect resulting. Chord symbols are ~ct, it is partly to the structures ties. One of the most unusual effects Gigli, Ruffo, Cyrena van Gordon, Mary Garden,' Melba, Nordica: provl~ed for ImprOVised accompamment on any instrument available For solo voices. mixed chorus. two oboes, strings and organ. tlat Indiana owes much of its suc- is in the Grail scene. At one point Eames_ Destinn, Fremst.ad, Schumann-Heink, Hempel, Homer, Bori, for thiS purpose. cess, the Holy Grail is supposed to give Alma Gluck and Anna Case. Malty of these soJoists IIsed compositions List Price $.75 Ad'\'ancc of Publication $.50 List Price 1.00 Advance of Publication 8.65 They have two theatres-one in forth an unearthly Jjgbt. The elec- written by Dr. Spross. In addition to many songs, includinO" the world- Eas[ Hall wi ' I known Will. 0' the Wisp, Dr. Spross has written anthems. c1~oral works, ______PRIMARy GRADES tl He 1 seats l.100 persons tricians solved this by wrapping the secular quartet.s. a Sonata for violin and piano, and five cantatas. Ie other in the Audit~rium whicl; golden cup in red cellophane and (SONGS) seats4000 B I ETUDE joins with his Illany friends in extending to Dr. Spross . ' . ot 1 halls contain spa- placing a light operating on a bat- CIOUS dres . sincere congratu.lations on the occasion of this so well-deserved h sIng rooms; East Hall also tery in the cup. The light produced recognition. LET'S MAKE BELIEVE is looking for fresh material to stimulate classroom work will find s,as a large basement which has the desired effect. If more of the by Vema Meade Sllrer and Edith Dengler Epler the songs easy to teach. to play and to sing. The book contains three orage spa k opera companies had some of the groups. of songs accompanied by suggestions for activity' outdoor and h ce to eep aU the sets, Eighteen songs with action for primary grades ingenuity of Indiana University, sOhngs'lmdoor songs and Christmas-time songs. Material for ilie whole iug. T~se,:ork r?oms for set design. The work of two school teachers who know and understand the imagi- BC 00 year! ex\:II .COUStlcsand Hghting are there would be more opera goers and States by creating new traditions. long as these college opera work- native world in which children live. The primary grade teacher who List Price $1.00 eent'lllth d' , Advance of Publication $.65 Jightin' e au ItOflum a special fewer critics. With these fresh, uninhibited pro- shops flourish there wiJl be opera in lighting panel COlltrols the whole These fine opera workshops are ductions the workshops create new the United Slates. And it will be interest on the part ot audiences. As THEODORE PRESSER co. , BRYN MAWR, PENNSYLVANIA g system. One of the most doing mucb for opera i.n the United gOO" opera. THE END ETUDE-AUGUST 1954 60 ETUDE-AUGUST 1954 61 sic le~son should be the main ifications of a good teacher consis tile mU~1 ~ , t 'd ation in planning a Jesson not only in a thorough knowledge of MAKING GOOD AS A MUSIC TEACHER CoDSIer . ASTOLFO PESCIA le In the matter of having music, training in methods of ped Vocal Teacher and Coach (Cont£llued from Page 16) . scIIedU ' - • d t excused from school to take agogy for the age groups taught , (Who come to New York at the suggestion of the late GRACE MOORE) CLASSIFIED ADS P f d d sity I concluded WIth some verses stu en S'" I a music lesson during the regu ar and an enthusiasm-not only for Teacher of DOROTHY KIRSTEN, of the Metropolitan Opera Eleut!ler~ ~re~e~o:tu d~n~emo;~s e& whi~h are, published l~ere for the music in general-but an enthusiasm Naples, Italy the vast . .' u t 'and first time In any magazine: schoo!hours, these teacl~ers, .by Will conduct classes in Company, Inc., over a cell ury , • of their preoccupatiOn WIth for teaching. But added to all this reason , JULY TO OCTOBER HA£DIONY. Composition, O~'chestra- ....Olt PIANO 'l'EACHBnS O~LY-'Ve a half ago. Mr. James duPont IS " --nletimes do not trouble to the good teacher should have other Returns to New York, November 1 have R special money~s~vlng deal JUST A FRlEND mU~IC,"" tton. Musical Theory. !'l'lvate 01' Administrative Assistant in the Pub- out the student can afford to interests and should be a normal Italy Hew York Correspondence Instruction. Ma n u- worked out for :vou. wrtte ~o~.•(,uIl fi d if information about o ur new F fa lic Relations Department of the cor- The wealth of the world is in friends, F'ermo Posta Hotel Ansonia scripts revised and correc t.ed.. :tI'1!ISIC Plan." Use your letterhe}\~ or enclose I~:;Sthe school subject: In such individual with a share in the life arranged. Frank S. Butler, 32-4fo 107 a. business card if posstore. Lewis poration, and has at hand rich my boy, Naples {N. Y. Phone: TR 3-77101 1209 Broadway St., COl'ana, N. Y. cast:;,the main trouble IS that ~he and activities of his community. He Arline Music, 117 VI'. 48th Street, New Friends who are true and real. York 36. New York. sources of experience in what con- emphasisis too strong on one. thing should realize that while music is I.BAH~ PJAi\'O 'l'Ul\'IN"G-SirnpljfJed, stitutes success. Several of the ten Friends in your trouble and friends authentic instruction $4.00-I.-Iter- llA.CU::POPUI.AU S,,!F.::E'l' l'l~SJ~ ']'0 _music, Such undue emphasis un- one of the greatest blessings of man at ure free. Prof. Ross, 456 Beecher 18;)0. 1!Iii " C:llHI"g la¢. Fore S, E3151 fundamental essentials of success in your joy kind. it is only part of a well-hal WHERE SHALL I GO TO STUDY? High, Den ve r 5, Colorado. balancesthe normal life. St., JJ:lmira, No Y. which he has listed could apply to To whom you can always appeal. For the average student, the qual- anced Ii fe. THE END RICHARD LUCIUS DUNCAN PIANO 'I'UNIN(; COllltSI;: Complete the business direction of a progreso Friends who just love you for all McCLANAHAN "'IH'I'E SO'.'\'GS: 'Read "SOllgwriter;s self-i n st ruc t ion lessons. A 18.0 .te 63 62 ETUDE-AUGUST 1954 ETUDE-AUGUST 1954, WORLD OF MUSIC HOW TO SING (Continued froin Page 63) MORE FLUENTLY for twelve years conductor of the Choral Dr. H. Alexander :Matthews, prom- Art Society. He was director of the inent organist-composer of Philadelphia, (Continued from Page 17) musical clubs of the University of Penn. has retired after an active career of 54 sylvania for ten years. He was also con- years as organist, teacher and conductor ductor of the Orpheus Club of Wilming. your throat is a generator. If you sing these same phrases out in full in Philadelphia. He plans to move to ton, Delaware, for fifteen years. For a want more volume you turn up the voice, with the same breath action Madison, Conn., there to devote his time number of years he has been head 01 the and the same smoothness from tone to composition. He has been organist. generator, and if you want less theory and organ departments of the to tone. When you sing with the full choirmaster 0.£ St. Stephen's Episcopal volume, you turn it down. This cou- Clarke Conservatory of Music ill Phila, voice, sing with a firm tone. Keep Church for a number of years. He came 11'01 can only be accomplished delphia. He is a prolific composerof repeating each phrase until you hear to the U.nited States in 1900 and has through breathing exercises. organ and choral works, several of his It has been my experience with it flow fluently from tone to tone, filled a number of very important posts in Philadelphia. He was the founder and cantatas enjoying great euccese. pupils that they want to sing only and until the· phrase flows freely one lone at a time, and have not the through the tones. If two tones ap- feeling for relating the tones in a pear on the same note, don't attempt united line. as a musical phrase or to repeat each tone. but let your • • one musical idea. They show too voice flow smoothly through the time (For details, write to sponsor listed) much interest in each note, and the value. COMPETITIONS voice stops after each note. I tell Balancing the vowels and the con- them to start again. Then they will sonants is another important phase • International prize competition for an orchestral work by young com- sing a phrase as though the tones to study in correct pronunciation. If posers. Conducted by Spanish musical magazine "Hitrno." One award, plano serIes were unrelated. If they don't quite the vowels are blasted and the con- 5,000 pesetas. Closing date September 30, 1954. Details from Revista stop after each note, I can still hear sonants come through imperfectly, Musical Ilustrada Ritmo, Concurso Internaclonal de Composicion, a change in the voice quality. or not IJ.t all, the balance will be Francisco Silvela, 15, Madrid, Spain. Let's start to overcome this habit faulty and the whole effect spoiled. with a preliminary exercise, and ex- Any difference in volume or char- • Arcari Foundation Accordion composition contest. Award of $500 periment with the speaking voice. acter between vowels and consonants for an original work-a rhapsody for accordion and orchestra. Closing Hold your mouth open, and pull in words will result in something date, October ]5, 1954. Details from Arcari Foundation, 14 Merion your chin down with your right like the equivalent of Dr. Jekyll and Road, Merion, Pa. A FRESH NEW APPROACH INTRODUCING hand. St.art from the lowest tone in Mr. Hyde. Consequently, much of your voice and slide up to the highest the singer's practice has to be cen- • Capital University Chapel Choir Conductors' Cuild annual anthem tone, without a "break," making the tered on the ability to' sing words competition. Anthems suitable for average church choir. Closing sound of a siren. Whatever sound rather than on the mere pronuncia- date September 1, 1954. Details from Everett W. Mehrley, Contest THE CHILD BEGINNER TO THE WORLD OF MUSIC comes out will be the true range of tion of pleasant tones. Secretary, Mees Conservatory, Capital University, Columbus 9, Ohio. your voice. Here is a simple exercise that will help you to smooth out the line from It seems to be a mental hazard • American Guild of Organists Prize Anthem Contest. 150.00 vowel to consonant, and it should be for pupils to let the voice sweep offered by The H. W. Gray Company, Inc., for the best anthem for practiced with smoothness. The con- from their low tones to their high mixed voices. Deadline, January I, 1955. Details from The H. W. tones, and back down again to the sonant must be sung on the same Gray Company, Inc., New York 17, New York. low tones. The pupil must learn to pitch as the following vowel. let the voice go up and down with It is difficult to sing alternately Robert Pace, head of piano instruction at Teachers College, Columbia University, is a well known his own free will without closing from consonant to vowel, so do it • Musical Fund Society of Philadelphia International Composition Contest. $1000 award for a choral work for mixed voices and orchestra. and established authority in the fields of piano performance and teaching. His background as a -the throat. slowly. Then when you have mas- (1) It is an easy matter to select tered it, it will not seem hard to do. Closing date December 31, 1954. Details from Dr. F. William Sunder- concert artist and teacher of all age groups, coupled with his position of leadership in the music man, Chairman, 1025 Walnut Street, Philadelphia 7, Pa. a song from your repertoire, and teaching profession, gives him an unusually broad perspective of music and its problems in this "whisper" "ah" very softly and smoothly from the beginning to the • Friends of Harvey Caul, Inc., Eighth Annual Composition Contest. country. end of each musical phrase-in the ~J~ An award of $300 for a violin solo with piano accompaniment. A Ill_ah_' ll1_ah_ m_ Mr. Pace's undergraduate training was at the Julliard School of Music where he taught for several song. When you try it, you will find $100 award for a composition for four harps. Closing date Decem- v_all_ v_ah_ v_ that it is not as easy to do as it ber I, 1954. Details from Mrs. David V. Murdoch, Chairman, 5914 years. later he took his Masters and Doctorate degrees at Teachers College, and has been head of sounds, but it will establish in your t h.; ahL, th_ah_ th_ Wellesley Avenue, Pittsburgh 6, Pa. piano instruction since 1952. ear what you are going to sing. For z_a.h_ z_ah_ z_ this whisper, don't break the flow • Northern California Harpists' Association Annual composition con- of breath. Be sure that you take One of the most common mistakes te~t. Two awards of. $150 each for composition for harp solo or harp enough breath in the beginning to in pronouncing words is the over with one or more instruments or voices. Closing date J anuarv 15 enable you to whisper the whole use of the month, lips and tongue. 1955. Details from Yvonne La Mothe. 687 Grizzly Peak Blvd., Berk: ABOUT THE SERIES phrase on one breath. Young students seem to think that eley 8, California. Please don't think that I advocate if their lower jaw 64 ETUDE-AUGUST 1954 • UNUSUAL PHYSICAL PLANT Completely modern. buildings and equipment • UNUSUAL EDUCATIONAL ADVANTAGES A scholarly Christian faculty-Courses on the graduate ·Ievels leading to the B.A., B.S.,B.D., M.A.,M.F.A., and Ph.D. degrees. UNUSUAL OPPORTUNITIES Music, speech, and art without additional cost above regular academic tuition- Radio station WMUUand UNUSUALFILMS provide opportunities for practical expe- rience in the fields of radio and cinema. UNUSUAL EMPHASIS Bob Jones University stands without apology for the "old-time religion" and the absolute authority of the Bible. A Christian philosophy of life and a strong evangelistic emphasi prepare young people for useful Christian service and witne . ~~O:,J. BOB JONES UNIV SITY Academy and seventh and eighth grades in connection GREENVILLE, SOUTH CAROLINA