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

4-1-1946 Volume 64, Number 04 (April 1946) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 64, Number 04 (April 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/196

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PIETRO MASCAGNI LAURITZ MELCHIOR, sensational Wag- nerian tenor of the Metropolitan Opera Company, recently celebrated his twen- tieth anniversary with the organization. To commemorate the occasion a gala concert was arranged, in which a num- ber of his colleagues joined Mr. Melchior in singing excerpts from three of the Wagner operas. Following the concert there was a back-stage ceremony, in which all departments of the Metropol- itan, from the board of directors to the stage hands, joined in paying tribute to the distinguished tenor.

AN INTERNATIONAL music festival will take place in Prague, Czechoslovakia, from May 11 to 31, in commemoration of the fiftieth birthday of the Czech Phil- harmonic Orchestra. Leonard Bernstein, composer, conductor; Samuel Barber, composer; and Eugene List, pianist, will attend, representing the U.S. cured free upon request to the National THE RESTORED Co- and Inter-American Music Week Com- lonial city of Williams- BERNARD ROGERS’ mittee, 315 Fourth Avenue, New York 10. burg, Virginia, is to have opera, “The Warrior,” a resumption of the fa- with libretto by Norman IIAROLD SHAPERO, of Newton Center, mous eighteenth century Corwin, has won the THE BALTIMORE SYMPHONY ORCIIES- Massachusetts, is the winner of the sec- concerts in the Palace prizes amounting to TRA, the first municipal symphony or- ond annual George Gershwin Memorial of the Royal Governors, $1,500 in the Alice M. chestra in the United States, observed its Contest sponsored by B’nai B’rith Victory which were such a de- Ditson Fund Contest thirtieth birthday on February 10, with Lodge of New York City. The award of lightful feature of the sponsored in collabora- a gala concert. Baltimoreans who were one thousand dollars was given to Mr. educational program of fouikl * tion with Columbia Uni- Bernard members of the first night audience on Shapero for his Serenade in D for string that city before the war. versity for a new short Rogers February 11, 1916, were guests of the orchestra. The winner, who is twenty-five As in previous concerts the featured opera by an American Baltimore Symphony Association. A fea- years old, in 1941 received the Prix de artist will be Ralph Kirkpatrick, harpsi- composer and an American librettist. Un- ture of the program was the world pre- Rome of the American Academy. chordist, who will be assisted by Alex- der the terms of the contest, the Metro- could not have been obtained miere of “A Peace Overture,” by Gustav ander Schneider, violinist; Daniel Said- Company caliber politan Opera Association holds a year’s The National Broadcasting Strube, who was the first conductor of THE NATIONAL ASSOCIATION for enberg, violoncellist; and Jennie Tourel, option on the first performance of the the orchestra. American Composers and Conductors ob- mezzo-soprano. The concerts will run in any other way.” work. appreciates the honor conferred upon served in February its fourteenth anni- from May 13 to May 18. of contemporary ELLABELLE DAVIS, American Negro THE TWELFTH ANNUAL National Folk versary, with a program of ONE OF EXTRAORDINARY out- . . . the will held in the Music Hall, music representative of some the lead- THE its UNIVERSITY OF THE AIR of Digest, NBC owes a soprano, will make her grand opera debut Festival be To Magazine ing American composers. Among those croppings of World War II is the appear- this summer, when she sings the title Cleveland Public Auditorium, May 21 to whose works were on the program were ance of “The Tone Crier,” a musical implying a role of “Aida” with the Opera Nacional 25, inclusive. The event this year will be citation’s incisive words gratitude for recognizing the Ernest Bloch, Theodore Chanler, Virgil paper published in English in Vienna, debt of in Mexico City. Miss Davis, who will be part of Cleveland’s Sesquicentennial cele- Thomson, and Philip James. Austria. It is a six page sheet of the the first of her race to be starred by the bration and will be sponsored jointly by for continuing a high stand- Uni- The format of “PM,” giving news of the mu- challenge aims and accomplishments oi the Opera Nacional, was invited to take a Western Reserve University and OPERA GUILD sical activities of American soldiers in leading part in Mexico City’s gala opera Sesquicentennial Commission. THE METROPOLITAN conducting poll to find out Austria who have the privilege of engag- ard of program excellence: the Air. And NBC shares season as a result of her spectacular suc- has been a versity of popular with radio ing in musical activities during part of cess last summer in concert appearances THE TWENTY-THIRD annual observ- which operas are most votes already have their time. Reports of concerts, opera, in that city. ance of Music Week this year will have listeners and 20,000 liberal education scores of national and tours glee clubs, " Trail blazer of this honor with as its keynote, “Emphasize the Need for been tabulated for two lists of operas. On of and the activities of THE COVENT GARDEN OPERA HOUSE Music in the Post-war World.” It will be the first list, “Aida,” “Carmen,” and G.I. boys make very interesting reading. regardless their organizations — with in London, which was used as a dance celebrated from May 5 to 12, as Music "Tristan and Isolde” headed the group, Evidently the men overseas, who have for the masses , of international hall during the war, reopened on Feb- Week always begins the first Sunday in and on the second list, “Haensel and been interested in music, have made it ruary with series of programs letter suggestions has Gretel,” “Der Rosenkavalier,” and “Boris a point to take advantage of this great economic level, scholastic status or hundreds of world leaders who have 18, a by May. The 1946 of the Sadler’s Wells Ballet Company. Ac- been issued, and copies of it may be se- Godunoff” were the most popular. cultural opportunity. cording to latest reports, the first opera . . . educational place of residence participated in presenting season since the start of the war is sched- uled to begin in April, when the French OL CLoir J, nuiSi Opera Company, composed of leading op- ompetitionS " This pioneering college of the programs to the American people. c DR. KARL RIEDEL, for the last twenty- eratic artists of France, will give a five four years a conductor at the Metropol- to six-week season. Plans under the di- THE SEVENTH SUCCESSIVE Edgar A CASH AWARD of one thousand dol- itan Opera House in New York, died in tens thousands, ether has brought of rection of Boosey and Co. are under way, Stillman Kelley Junior Scholarship Audi- lars is the prize announced by the E. that city on February 2. University of the Air— currently offers The NBC also, for the organization of a new Eng- tions of the National Federation of Music Robert Schmitz School of Piano, San will this year open entrants Francisco, in connection with the creation SIR HUGH ALLEN, professor of music and co-ordinated four entertaining and instructive courses: lish opera company which will have its Clubs be to via the airwaves these at Oxford University, president permanent home in the opera house. from the Eastern Region. State auditions of The Debussy Prize for Pianists, do- and of are being conducted during April and nated by Mrs. William Pflugfelder of the Royal College of Organists, died in university course in citi- May, with the final audition taking place Garden City, Long Island, New York. booklets, a GEORGE SZELL, the Oxford, England, on February 20, at the The Story of Music. . Thursdays during June. Details may be secured from The award will be made in September, eminent Czech conduc- age of seventy-six. Miss Etelka Evans, Chairman, Cincinnati 1946, to the contestant showing the high- history, music, litera- tor, been engaged to zenship, world The World’s Great Novels Fridays has Conservatory of Music, Cincinnati, Ohio. est musical attainments in the presenta- RUDOLF KAREL, composer, professor at direct the Cleveland Or- tion of a required program of piano the Prague Conservatoire, arid member chestra, beginning with enter All ture, home economics ... To most of Home Is What You Make It Saturdays COMPOSERS are invited to a com- compositions by Claude Debussy. de- of the Czechoslovak Academy of Arts and the new season in Oc- petition for a new anthem to be added tails may be secured by addressing The Science, died on March 6, 1945. tober. He succeeds Erich to the Chapel Choir Series. The contest Secretary, The Debussy Prize for Pianists, this education college Our Foreign Policy Saturdays its students, of Leinsdorf, who has been is sponsored by the Chapel Choir Con- 3508 Clay Street, San Francisco 18, Cali- ARTHUR TUBBS, for almost forty years ductors’ Guild of Capital University, the orchestra’s conduc- fornia. dramatic and music critic of The Phila- Columbus, Ohio, and full details’ may be tor for the past three George delphia Evening Bulletin, died January secured by writing to Mrs. Boyd Henry, THE SCHOOL OF MUSIC of De Paul 28, in Philadelphia, at the age of seventy- years. Mr. Szell, prior to Secretary of the Guild, 545 East Allen University, Chicago, announces an Inter- eight. his coming to this country in 1939, di- Street, Lancaster, Ohio. American Chopin Contest, the finals of rected opera in Berlin and Prague. He which will be held in Chicago in May, JEANETTE THURBER, distinguished pa- has been conducting at the Metropolitan THE COLUMBIA UNIVERSITY BAND 1946. The contest is to select the out- tron of music in a past generation, died Opera House in New York, in addition offers a first prize of one hundred dollars standing Chopin pianist of the hemisphere Hational Broadcasting ompany in Bronxville, New York, on January 2, to the winning composer of original to making numerous appearances as an and entries are invited from the United composition for full symphonic band. The at the age of ninety-four. guest conductor of major orchestras. It States, Mexico, Central America, and contest closes November 1, 1946; and full South America. The first prize is one is likely that he will not be called upon C. AUSTIN MILES, or details may be secured by writing to Har- thousand dollars. Details may be secured author composer duties to relinquish entirely his with the wood Simmons, 601 Journalism Building, of around 3,000 hymns and gospel songs, America’s No. 1 Network A Service of Radio by writing to De Paul University, 64 Metropolitan. Columbia University, York N. Y. East died in Philadelphia 10. Corporation of America New 27, Lake Street, Chicago 1, Ulionis. on March

APRIL, 1946 "FORWARD MARCH WITH MUSIC” 181 ” -

ERALLY thousands Editorial m*. M of young musicians E located all over the Q p Association. All the time, IT world have written to The n however, he was working Rutautfe. Piano' $iMicatuwl Etude from time to time, b nrram 0 1 ^J~indin<£ the I'^icjhl jP^face with the idea of becoming I asking advice as to their a virtuoso. Early death CHOPIN FOR THE YOUNG (ESiWIQ careers. This has present- prevented Ernest Ash Contains a splendid selection of widely used Chopin ed us with a very serious EACH IN HIS OWN GOOD TIME masterpieces including the famous POLONAISE in Ad, PUBLISHED MONTHLY collec- from realizing his ambi- arranged by Leopold W. Rovenger. An excellent Co., Philadelphia i, pa. responsibility, as we have Chopin's compositions suitable for both young By Theodore Presser million stars are in the sky; tion of A tion. Nevertheless, he was and adult students in the early grades. Annotated to give Pnce 75 cents been most anxious A million planets plunge and die; throughout. and advisory staff very happy in his work as EDITORIAL practical, useful, and in- A million million men are sped; TSCHAIKOWSKY FOR THE YOUNG JAMES FRANCIS COOKE, Editor a teacher, for which he DR. spiring counsel when pos- A million million wait ahead. M. McKray, Assistant Editors A select compilation of the best known and most pop- Guy McCoy and Ethel Each plays his part and has his day— was eminently fitted. ular Tschaikowsky favorites styled in easy to play yet Roy Peery, Editor, Music Section sible, but we have always Leopold W. Dr Rob artistically attractive arrangements, by What ho! the World’s all right, 1 say. Mr. Morris E. Leeds, Rovenger. Suitable for recital and concert purposes, Ha.old Berkte, DgNj^U, D~, realized that since it is not prove equally pop- Ruth Evans Buhman jMfKg. each of these famous melodies will George C. Krick Peter Hugh Reed highly respected and re- audience alike. Price 75 cents Pietro Deiro DrJHenxy S. Fry more 'The World’s All Right.” Stanza ular with performer and William D. Revelli feasible to know 3 vered Quaker industrial- than a few of the particu- From "Rhymes of a Rolling Stone," LITTLE CLASSICS by Leopold W. Rovenger BY THEODORE PRESSER by Robert Service. Reprinted by permis- arrangements. - FOUNDED 1883 sion of Dodd, Mead & Company, Inc. ist, President of the Board A collection of standard classics presented in easy attractive lars of cases that have MACABRE St Saens, LULLABY Brahms, MINUET, Beethoven. Confarnf DANSE Schubert, and many others. of Education of Philadel- pictoraif Scarlett! UNFINISHED SYMPHONY, been stated to us by cor- book to any standard method for the progre^mg^mmst. UnparaHelecFas a companion respondence, we may err phia and Chairman of the SACRED REFLECTIONS (Contents ^or 1946 at times in our judgment. Board of Leeds and North- by Leopold W . Rovenger From the vast number rup Company, a large in- A choice compilation of forty-one of the world’s most Carefully edited, beloved religious and sacred selections. LXIV, No. IV PRICE 25 CENTS of letters we have re- dustry engaged in the fingered and phrased for Piano Solo, these arrange- VOLUME ments are playable by students of limited technical of scientific performer ceived, one conclusion has manufacture ability, yet appeal to the more advanced THE WORLD OF MUSIC 181 because of their inherent beauty and worthy character. precision instruments, in Price 75 cents been derived. Life happi- CLASSICAL MINIATURES EDITORIAL ness depends very largely an address before the Ro- Finding the Right Place ••••••••••• by Leopold W. Rovenger tary Club of Philadelphia, The Little Touch of God’s Finger Launtz Melchior 185 upon doing the work for concert and light Includes a fine variety of favorite Contemporary English Composers play ar- Three said : “In the long view, classical compositions presented in easy to 186 which one, by natural Tippett, Benjamin Britten) . .Edward Sackville-West for the young piano student. Contains (William Walton, Michael rangements Schweisheimer 187 AMARYLLIS, Ghys, GAVOTTE IN B MINOR. Bach, Pietro Mascagni—A Tragic Figure? Dr. Waldemar gifts, training, and incli- efficiency will last only INVITATION TO THE DANCE, Weber, MARCHE Know Your Instrument! Egon Petri 189 SLAVE, Tschaikowsky, SPRING SONG, Mendelssohn, nation, is best fitted. Am- where there prevails that SONG OF INDIA, Rimsky-Korsakow, and others. Price 50 cents MUSIC IN THE HOME bition, ideals, and hard satisfaction which comes Radio Programs for Enjoyment and Education Alfred Lindsay Morgan 190 have car- from fair play and just The Etude Music Lover’s Bookshelf B. Meredith Cadman 191 work, however, ried many, who apparent- treatment. Plato illumi- 'P MUSIC AND STUDY ly have had insuperable nated that subject by say- £hic'ago u! ill: The Teacher’s Round Table Dr. Guy Maier 192 Servants of the Ideal*. Dr. James L. Mursell 193 limitations, to fine careers. ing that in a just society, The Negro Spiritual J. Mitchell Pilcher 194 Emphasizing Overtones in Voice Study Lilian Aldrich Thayer 195 Right here we could give ‘Each man shall receive Avoid Monotony in the Choir Loft H. C. Hamilton 197 you a list of scores of emi- the equivalent of what he BERNICE “Thar’s Gold in Them Thar’ Grades!” Walter Olsen and Julia C. Shirck 198 Piano The Organization of Ensemble in the College Curriculum George Wain 199 nent men in all callings produces, and shall per- Well, I Do Declare! (Section IV) 200 The Violinist’s Forum Harold Berkley 201 who have had obstacles JOHANNES BRAHMS CARL BOHM form the function for which Questions and Answers . Dr. Karl W. Gehrkens 202 and yet have surmounted he is best fitted. A just Books FROST Claude Debussy as a Music Critic Maurice Dumesnil 203 What the Audience Should Give to an Artist Mme. Mana-Zucca 204 them by determination, industry, and inherent gifts. Without man is a man in just the right place, doing his best and giving MUSIC the gifts, however, others who have “worked their heads off” the full equivalent of what he receives.’ FOR CLASS OR INDIVIDUAL INSTRUCTION Classic and Contemporary Selections in some musical field have failed dismally. These same failures “Placing people in an organization so that they shall do the Tippy Walter O'Donnell 205 in Dancing with the Daffodils Clarence Kohlmann 206 might have been very happy and successful music workers work for which by talent, training, and interest they are best BEGINNING AT THE PIANO Nocturne Fr. Chopin. Op. No. 1 37; 208 some other musical endeavor. It is one of the hardest things in fitted is an obviously right and efficient thing to do, but it re- Preparatory Book of thirty-two pieces to play and sing 60 Johnny-Jump-Up Dance Marion R. Black 210 I Love Life (From “Twelve Famous Songs”) the world to make one’s vanity behave and to adapt one’s self quires much managerial effort and is a time consuming process. Mana-Zucca, Op. 83—Trans, by the composer 211 AT THE PIANO -BOOKS I, II, III, IV well, rather than to pout about Swaying Flowers... Cedric W. Lemont 213 to the things which he can do Moreover, right o’ /anization is not static ; people should be Succeeding books to follow “Beginning At The Piano”. Children Reverie du Soir (From “Chapel Musings”) cruel Fate had not determined Ernest the things one might have done if continually encou >ged to widen their interests and expand or older beginners will find this course captivating and superior H. Sheppard—Arr. by William Priestley 214 Vocal and Instrumental Compositions their skills, in to any system of piano instruction. Technic through music is otherwise. and that should result appropriately enlarged Hallelujah (Organ) (From “At the Console”) maintained. Carefully chosen pieces in all books Each 1.00. Ambitious young friends, with only the most meager prepara- responsibilities. On the other hand, great care be taken G. F. Handel—Arr. by William Felton 215 must Lilacs (Violin & Piano) Carl Wilhelm Kern, Op. 232, No. 1 216 tion, write in to us; “I am sixteen (seventeen, eighteen or nine- that responsibility shall not be beyond capacity. The results may TWO PLAYERS AT THE PIANO Hail! Glorious Mom (Sacred Song—low voice) Adam Geibel 218 teen) years of age. I am in school (college, business) and have be truly tragic for the individual if he is given duties that are A preparatory Duet book. Teachers will find “first duets” pre- Delightful Pieces for Young Players Signs of Spring (Piano Duet) sented in a new and attractive manner. The musical and pianistic Daniel Rowe 220 only one hour a day to practice. How long will it take me to be- beyond his ability, and are usually veiy unsatisfactory to those April Blossoms Milo Stevens 222 importance of the pieces chosen increases the pupil’s aural sensi- Jolly Woodpecker Lewis Brown 222 come a virtuoso pianist?” What can one tell them? The chances with whom he is associated. But in spite of its difficulties and the bility, rhythmic response and sight reading ability .85 Bluebells are Ringing Louise E. Stairs 223 do not look promising, yet anything can happen. Once, years ago, impossibility of its full attainment, that happy condition in which THE JUNIOR ETUDE. .Elizabeth A. Gest 236 when we were actively engaged in teaching piano, a genial old everyone gives the service for which he is best fitted is abundant- COPIES SENT FOR YOUR EXAMINATION that calling was that of making MISCELLANEOUS gentleman, who explained his ly worth striving for, because to have work which interests Sustaining the Pupil’s Interest Ruby Bassett 184 copper pots and boilers, brought his son to us with the admission one, is worth doing, and challenges but does not exceed one’s The Paper Shortage—Our Joint Problem 134 MISS BERNICE FROST will teach at the Juilliard Summer School Before There Was a Copyright Dr. Anneliese Landau 184 that despite much effort he had failed to make the boy a good cop- capacity, is certainly one of the major durable satisfactions of Pink Slips, Prizes, and Perfection July 1 - August 9. Her courses are: Teaching Younger Children, Teaching Virginia Tupper 188 Voice Questions Answered per hammerer. The boy, alas, insisted upon being a piaftist. De- life.” Beginners, Second and Third Grade Teaching, The Early Advanced. Dr. Nicholas Douty 227 Older Organ and Choir Questions Answered Dr. Henry S. Fry 229 spite his calloused hands he played fairly well. He was persuaded In other words, happiness in any kind of work in Seminar for Piano Teachers, Repertoire Class, and Modern Teaching Violin Questions is doing that Grades, Answered Harold Berkley 231 Repertoire. that he at first would have to make a living and that therefore it for which one is best fitted. This thought has wide implications Entered PLAN NOW TO ATTEND THESE COURSES as second-class matter January 16, 1884 at the P. O. at Phila. Pa under was desirable to prepare himself for the career of a teacher, while which must affect the order of tomorrow’s the Act of March 3. 1879. Copyright, 1946, by Theodore Presser Co., for society. Much of the U. S. A. and Great Britain. studying to be a virtuoso. He worked with incessant zeal and labor trouble of today lies in THE the failure to recognize, and prop- after a time built up a fair repertory, including several concertos. erly reward individuals for the quantity and quality of work $2.50 a year in U. S. A. and Possessions: also in Costa Rica, Cuba, Dominican Republic, Guatemala, Haiti. Mexico, -Nicaragua, He became a very successful teacher and pianist, serving for performed, rather than insistence upon equal BOSTON MUSIC COMPANY j'L.WJ, N Panama, Republic of Hon- an wage scale for auras, Salvador, Spam and all South American countries except the Guianas *2.75 a year in Canada and some years as President of the New York City Music Teachers large groups of individuals STREET ^ BOSTON 16, MASS. Newfoundland. $3.50 a year in all other countries composed of persons whose ability, 116 BOYLSTON Single - i. copy. Price 25 cents. J APRIL, 1946 183 182 "FORWARD MARCH WITH MUSIC THE ETUDE - — ! —

Music and Culture Before There Was a Copyright Lauriti Melchior, who ranks among the greatest heroic tenors Music and Culture of all time, began his vocal career as a baritone. Born in Den- Antultcle oLandau mark, he studied in Copenhagen and supplemented formal THE PAPER SHORTAGE lu Sbr. lessons by developing a process of self-correction, based on talent, and effort are no more alike than their thumb listening to all the singing he could, and judging what to do prints. and what not to do. His flexible baritone, of great range, OUR JOINT PROBLEM ENGLAND the printing and sell- N ELIZABETHAN promised possibilities as a tenor, but he developed these If you find that you have a small talent, rejoice in a royal monopoly. Due to an ing of music was possibilities slowly and without forcing. He made his operatic it and develop it to the best of your ability. not Do sword, then this monopoly was bestowed on If "the pen is mightier than the I amusing incident debut in Denmark, soon earning calls to the world's greatest mourn over your lack of genius. It is far, far better to organist of the Chapel paper is the partner of the pen and is equally William Byrd, composer and music centers. For the past decade, Mr. Melchior has ranked be a first class Waldteufel, Offenbach, or Carl Bohm The Little Touch of God’s Finger important. Royal. His appointment to the Chapel Royal had forced as one of the chief supports of the "Wagnerian wing" of the than a tenth class Beethoven, Wagner, or Brahms. his home in Lincoln and to move to Metropolitan Opera. In the following conference, he outlines of the combined military and him to give up Do what you can do and do it with all your heart and When the leaders start all over again for readers of The Etude his views on the most important prob- triumphantly to the London, and there he had to as a all your might. You may be greatly astonished with naval forces put their pens lems of the young singer. —Editor s Note. teacher. Somewhat annoyed he handed in a A Conference with the results. John Philip Sousa once told that peace treaties, we all joyfully shouted, "Well, its music us in his frankly, and most of our petition to the Queen listing advantages and youth he aspired to write grand operas, but that in all over now. Peace is here disadvantages of his new position. his busy Navy routine this proved impossible. Time troubles are ended!" does appreciate the honor of his appointment, went by and he wrote marches. They are the finest But what happened with paper? The demands He cjCcuiritz elcnior on the other hand, he lost his home, an excellently marches of their type ever composed and he had no of war brought about the greatest paper famine but position as an organist in Lincoln, and a great Internationally end of joy in writing them. They made him one of the in history. Not since the Egyptians turned the paid Renowned Tenor private music students. He thinks Elizabeth \ HERE ARE two problems confronting the best known and most played of all American com- papyrus reeds along the Nile into writing sur- many compensate him for his losses not only with I young American singer today. One has to do posers. faces has such a condition been known. ought to A with perfecting himself for a career in art, and but with money . . . Edvard Grieg wrote no symphonies, but who is there honours SECURED EXPRESSLY FOR THE ETUDE BY GUNNAR ASKLU1SD The warring nations cut down giant forests to the other, with maintaining the art for which his who produced more original Elizabeth agrees with him: he is right. However, she and moving works in his make wrapping materials for war supplies and for the debts of a victorious war. studies fit him. To begin at the beginning, the am- field? Chopin wrote no grand operas, but who, in all has to make up She to provide for the interminable orders, question- bitious vocal student can find one of the finest ‘schools’ music, has equalled his infinite melodic is an economical housewife to the State’s household. genius? Robert naires, plans, records. This consumed untold and ready and waiting for him if he will teach himself there being no such thing as a good teacher—only pitifully inadequate seasons, is the Franz wrote no sonatas or concertos, She cannot give him any money, but a chance to make earning power of but he did write tons of paper. . to listen awarely to the work of established singers. intelligent pupils the singers sufficient to insure them the security three hundred and fifty incomparable songs and some: she bestows on Byrd the monopoly of printing of When restrictions were lifted, publishers of ed- It is impossible to overstress the value of learning by “Once the young singer has learned how to man- establishing themselves in a good home thereby achieved immortality. These masters found and selling music for twenty-one consecutive years. and bringing ucational works having to do with the future of observation. When I was a young student, I had some age his breath—how to produce the proper vibrations up a family. Nowhere is there the opportunity happiness and life triumph because they discovered It seems, however, that in those days the demand of de- our children, found that there was not nearly of my best lessons when I sat under the stage of the in his human music-box—he must stand on his own veloping young and inexperienced singers into the type of musical activity for which they were best for music was not a great one, or—was Byrd not a accom- enough paper to go around, and what paper Royal at Copenhagen, with blind sister, feet. Your teacher can show you what to do and how plished artists. fitted. businessman? Because a few years later he appeals Opera my there was proved far inferior to pre-war stand- simply listening to what went on, on the boards over- to do it; he can check up on you to make certain you “The urgent need today is If, on the other hand, you are blessed with towering again to Elizabeth: he cannot make a living with this for vested authority to ards. Hundreds and hundreds of essential editions head. I learned what to do—and what not to do—by are doing the right thing. But he cannot make you lend both its influence and its support to genius, there is nothing you can do to suppress it, for monopoly and he is deep in debts. Elizabeth tries to developing of text books and music, upon which teachers hearing effects, analyzing them, and later applying the sing well! To do that, an as T. H. Huxley has expressed it: “Genius, as an ex- make up by presenting him a twenty-five year rental Amercian musical depend for a livelihood, were delayed in publi- results of my analyses. That is very fine, you say, but you must use your head art, to furthering plosive power, beats gunpowder hollow.” Genius is of lands. Nevertheless Byrd kept also his monopoly of in- cation. Magazines were regrettably compelled how can you tell what to imitate and what to avoid? as well as your voice always unconscious of itself. It does not bother to ac- printing and selling music, so, after all, he was a bet- ternational art, and to temporarily to use paper of a very inferior quality. Doesn’t that presuppose a certain amount of knowl- and your body. You count why or how it does things. It acts automatically ter businessman than it seemed he was. putting music on a We regret that the paper in this issue is not up edge to begin with? And so we come to the most must be alert to all and irresistibly toward a divinely ordained end. In Mozart’s days music publishing was a wide spread basis of year-around to standard. important thing of all! A young singer needs but little that you do; more, you business, unlimited by any royal monopoly, and un- earnings so that young actual knowledge of art (and this is important) must be alert to all Many magazines are still months behind in burdened by any scruple as far as fairness was con- —if if musicians can live and delivering subscriptions. Some have he has upon him that little touch of God’s finger that belongs to art. deliberately cerned. Everyone was permitted to copy and to publish found families. Does it declined to accept which makes the artist and sets him apart from the And, if you are one new subscriptions. Many have everything without being obliged to pay the composer. seem strange to speak been compelled to raise subscription rates. Nat- rank and file of good citizens who are not artists. And of the fortunate ones One day the young Haydn discovered one of his of the financial inse- urally, this has to confusion, that little touch of God’s finger is the first requisite that have the little Sustaining the Pupil's Interest led improper billing, sonatas in the window of a well-known Viennese pub- curity of artists, who bottlenecks, and other mistakes for which the for a career in art. Voice is not enough; even an ardent touch of God’s finger, lishing house. He had written this sonata for his stu- are generally supposed love of isn’t enough. Artistic potentiality is you will not fail . . . publishers have only the deepest regrets. dents and could not music a to walk on silken car- lu. make out how it had made its IQubu l&assett God-given, inborn gift, and only those who possess it vocally. With peace have come also conversion head- entrance into the publishing house. He never received pets and dine on night- should devote their lives to music. There are, alas, aches, a general shortage of materials of all a dime for it, though he needed the money badly, but Maintaining Art ingales’ tongues? Let far too young people attempt professional kinds, hysteria of strikes, and other delays. the fact his many who a me show you O BE SUCCESSFUL in teaching music, as in that work was printed and displayed Standards the status career without this gift—and, again alas, there are far of the any subject, the main thing is to keep the stu- But the long suffering and good-natured Amer- meant more to him than all the money of the world. young singer Mozart tried too many teachers who fail to warn them. I deplore “Whether you fail, or who has T dent interested. As long as you maintain pupil’s ican public, looking back upon the tragedies and to protect himself by having the or- passed the chestral the laxity which still permits anyone at all to set up succeed, in matters that tests interest, you keep the pupil. hardships of the men at the front, has realized parts of his piano-concerti printed and by of vocal, inter- keeping for himself as a vocal teacher, without establishing fitness to per- have no relation to vo- pretative, My experience in teaching piano has been that many how providentially it has been protected and the piano solo-part. By doing so and scholar- he succeeded form that high office. I am sure that all worthy teach- cal emission is anoth- ly fluency pupils become disinterested over some trivial matter, spared. It therefore has minimized the incon- in remaining the only performer of his successfully own concerti. ers will agree with me when I say that something- er story. And now we enough perhaps a piece or study they fail to master. You veniences to which it has been put and laugh- to be admitted should be done to protect young voices from charlatans. approach our second seldom lose feels is If a publisher ordered to the a student when he he really accom- ingly has accepted most of these as it would the a composition, he did not pay Metropolitan. problem, the maintain- plishing something. very much for it, because The young ants in the blackberry pie at a picnic. he did not obtain the copy- The Entire Body In Singing artist is en- pieces, right, but merely the ing of art. We in Amer- gaged Many often the simplest of them, will con- Every right of the first publication. for no more than member of the staff of THE ETUDE and “The vocal career, then, begins with ica find ourselves in a tain some passage, sometimes just one line, more diffi- That is why the old the most care- twenty weeks, at its publishers is working unceasingly to correct Haydn sold his compositions to a sal- several ful examination of qualities. One must have a voice, peculiar position today. cult than the remainder of the number. This presents these nuisances. As soon as new mills and new publishing houses simultaneously. It happened ary now fixed by the once that the and one must have a gift. Study as such is valueless In war-ravaged Eu- a powerful obstacle to one of small technic and ex- machinery can be put into operation, and ample second edition came out prior to the Union at $100 a week. rope, music is all perience. This one thing may cause a pupil to publication of the without them. Supposing this natural equipment to but is become labor is available, our supply of paper and print- original. “It is your fault”—Haydn He sure of nothing discouraged and he will not be anxious his answered the be adequate, vocal study should center on one thing dead. The responsibil- when lesson ing will gradually redintegrate. complaming publisher—“nobody can more than a yearly in- only adapting the body to the emission of ity for the art of to- time comes. Naturally, the best way to avoid this is to argue with me when 1 try to make — good tone. come of about $2000 present more money. I am Our main objective is to bring you the poorly The vocal act, of course, is made by the vocal cords morrow rests upon us. select pieces and studies carefully graded and within paid for my compositions, and I believe, which is considered a fine editions, the I my- same same fine paper in the self but that alone doesn’t produce singing! The entire What are we doing the pupil’s grasp, but should you use something in have more right to make money rather low figure in same quantity and quality. with my com- of these barriers positions body enters into singing, just as the body of a violin about it? What are we which one occurs, I have found a way than other business people.” The consequence industrial life. If the that lessens the difficulty to a great extent. In meeting the problems of the greatly in- o this argument was is needed to cause sound to result from the action of going to do? How are that the publisher began to look young artist falls iff, I recently used a piece that had just one line creased market for educational music and sup- for his own fingers on strings. The technic of singing consists in we to preserve the which protection. When Haydn offered him a or needs a rest, or must seemed out of range for the pupil to it plies, under present conditions, some of new composition adapting the muscles, the diaphragm, the chest, the standards and tradi- whom was our he entered into a formal contract with make further studies, given. Upon first presenting the piece to him, I friends have suffered unavoidably Haydn. This throat, the mouth, the chambers of resonance in the tions that make art did not from irritat- was done oy the publishing house “Ar- or finds himself in any start at the beginning, but we began with the difficult ing mistakes on our part. These, of traria” in head—the entire body—to production of tone. Ob- possible? The outlook course, are Vienna, one year before Mozart’s death. circumstances which line, explaining to him that this was the worst part fractional, compared to the large volume of busi- This contract is generally viously, it is impossible to tell a vast group of readers is not exactly encour- regarded as the first step to LAURITZ MELCHIOR might prevent his tak- and if he could master it he would like ness transacted, but nevertheless, a musical exactly what to do about all this, because aging. We read the the rest of the we want our copyright. no two ing other engagements number and be able to play it with ease. practiced valued patrons to know that a mistake human bodies function in the same way. I can’t tell names of the great We or a dis- elsewhere, he finds over and over this one line at his lesson until appointment or any seeming neglect is far more you the specific things that you must artists who come to us he re- do to make your himself in distressing a bad fix! called the notes and played it perfectly. The next week to us than to them. tones sound forth as good singing but I can tell you from abroad, and we say, ‘O, how splendid now Amer- The — — highest fee paid by the Metropolitan at present ’ he returned cheerfully: having conquered the one pas- one thing: the basis of all singing techniques is the ica is the music center of the world ! But beyond that, We can report day by day improvement in the New Keys To Practice is $880 a performance—with no more than twenty sage, he was ready to work out the rest of the selection publishing and printing control of the breath. And by breath control I mean we do nothing! If the established artists of today were performances industries, and nothing guaranteed. Only an artist of world- smile. was elated with a He when he found he could is being left undone to restore the more than correct diaphragmatic breathing; I include all suddenly to retire or to go elsewhere, what pro- wide acclaim can historically $u(ie Vdaiion command such a sum, and to such play the number with such ease and he loves this quick, prompt, accurate, in the term the control of the breath after it has been vision would we have for continuing their traditions? an artist courteous, cordial Presser it turns out to be less than it sounds, since particular piece, whereas if he had always had to service, to which our taken—its budgeting, its resonance, its position in the Let me outline briefly the present situation of Ameri- his patrons have been accus- expenses (professional as well as personal) are stumble through that difficult line, he would given VI have tomed for over sixty years, and which despite resonance chambers so that it is not too far forward can opera. proportionately high. The result is that nobody is paid up and the one line would have conquered him. or not too far back, the occasional war and post-war interruptions, even Don’t strive management of the mouth “We have one great opera company, the Metropoli- enough to assure peace of for accuracy first, after a period away mind, everybody is forced I have tried this plan enough to say that it is usually now brings us hundreds and palate. It is here that the guidance of a good tan. It functions for no more than about twenty to of letters of enthusiastic from the piano. Be content weeks worry and hurry for engagements, It has worked for just to get through things everybody finds successful. me, saving much labor praise. teacher is essential. But the best teacher in the world in the year. The other opera companies we have, in himself thinking for a while—with some mistakes and with about money, and the perfection and discouragement for my pupils and nervous tension weak fin- cannot perfect the task other cities, gers. Practice alone. Always, the student are smaller duplicates of the Metropolitan, of art is crowded into second for perfection only when you are already place. We have glorious for myself. must be alert to the singing results he produces. For recruiting Metropolitan artists for a smaller number voices in m practice. this country; we have splendid opportunities this reason, I suppose, we have the little epigram about of weeks. In none of these companies, in none of these for educating our young ( Continued on Page 184 "FORWARD MARCH WITH MUSIC” 188) THE ETUDE APRIL. 1946 "FORWARD MARCH WITH MUSIC” 185 a ' , — —.

OME TIME before the first World War I at- Music and Culture Music and Culture tended one of the small opera houses in Rome S to see a performance of Mascagni’s “Iris.” I remember that evening well and recall that the per- formance took place not in the big opera house, the Teatro Costanzi, but in one of the small and extremely popular opera houses in which the average citizen could get good music for little money. Good music— that meant in the first line a tenor with a fulminant Composers : Three English • ’ • Contemporary high C. . I think the name of the theater was Teatro Quirino, near Fontana Trevi. There was always a somewhat tense atmosphere in any of those theaters; there were good singers, a fine conductor, a small but technically excellent orchestra, and the air was filled with the If dddivard SachvitL Wed arguments of the passionately participating Italians whose divided loyalties would more often than not end in violent cheers and cat-calls, in tears and delirium Well-Known British Author, Journalist, and just as they might at an American football game. Music Critic. His Publications Include “Piano Quintet,” “The Ruin," “Sun in Capricorn." Enters Mascagni All of a sudden all the lights were turned up—the hall became completely silent—and led by the digni- taries of the opera house the composer of “Iris” took his seat in the first row. After a short interruption the A PART from Dr. Ralph Vaughan Williams— the his most successful works are, I think, single in aim. performance was resumed and at the end of the act ZA Mr. Gladstone of modern British music— and The effect, in either case, is -* -a. highly eloquent. Walton is an enthusiastic ovation was given to the master who Sir Arnold Bax, whose work is as far behind always an exciting composer; his music never gives one accepted it with dignified humility. That was no iso- the times as that of Strauss, and must appear to al- mild pleasure; though in no other way does he seem lated instance, but it was typical of the popularity most any foreigner in the light of an impressive eccen- un-English in the emotional make-up of his music. which Mascagni enjoyed in Italian music and art tricity, there are three English composers who today Melancholy, seem energetic, witty, and ruthless, it has none circles. Whenever he would enter a theater—as specta- to stand high above any others: William Wal- of the good nature which is a peculiarity tor or as conductor the entire audience would rise ton, Michael of some of — PIETRO MASCAGNI Tippett, and Benjamin Britten. Since the best English art. spontaneously just as if the King, or later, as if the they do not stand together, they must be considered theater. in isolation: “Duce” had entered the and—so as not to be invidious—I will take Some Early Works Mascagni has frequently been called tragic them in order of a or age. The influence of the English model school survives enigmatic figure. It is tragic indeed—even unique in William Walton belongs to a type of artist rare in the Piano Quartet, no doubt among composers: the best of Walton’s musical history—that a composer reaches the highest the perfectionist. In love with all early works. The energy is already present here, and point of fame and applause with his very first work— ietro Tragic Fj that is Mascagni— most difficult, A he aims high—or low. In either the gift of sinewy melody. But case he has scored after this “Les Six,” and that no lasting success was achieved with any bulls’ eyes, but since he is tor- and above all Stravinsky, came to alter Walton’s later operatic work, though the composer himself tried, mented by the fear of falling, even for a at- moment, be- titude to harmony and the low his standard, distribution of rhythmic again and again, his best to overcome the clearly felt his rate of production has been, and emphasis. These features appear first, and at their indifference of the public. is likely to remain, slow. This slowness, this extreme most obvious, in the witty Fagade Suites, However, care, has brought a late maturity. and in the Mascagni did not consider himself a tragic At every stage in Overture, ly. <^ZV. lAJa/clemar ^chweidk ieimer Portsmouth Point; these are the works figure other than possibly dining the last decade of his development, Walton has resifted every of — element in a complete, if still rather his style, small and superficial master. his long life; he was convinced of his cultural mission, rejecting what has failed to serve its pur- The perfectionist is already pose. plainly at work, and if I of his musical genius. He was no man affecting genius, For Walton the masterpiece is not merely the were asked to justify this description goal, it is the sine of Walton I but he felt himself on the same level with Wagner, qua non of his existence as a com- could not do better than point to a tiny poser. piece in the British Information (Jenico and he resented deeply any comparison with Leonca- lar studies at the Conservatory, so he decided to leave Italy alone more than fourteen thousand times. Fagade category, but of later date: He is not an intellectual composer: the orchestral BENJAMIN BRITTEN vallo, whose “Pagliacci” was the unalterable twin of Milan, and with a traveling opera company he worked “Cavalleria” gives the opera goers and music listen- on the one band miniature entitled Siesta, which combines wit the routine opera night with “Cavalleria.” his imagination is lyrical, on the other dramatic; and He had his way through the small Italian towns and villages ers of our time the same thrill and the same happiness melancholy in a musical texture as subtle and sometimes the two combine, coaxing in all nothing but shameful contempt for that man who was and to early marriage. through its beautiful melodies as it did to its admirers as in the Symphony, but as that of a Chopin the splendor of his absorbing, Mazurka. impassioned, far bathing in the shining rays of the patronage of the If flung melody. more than half a century ago. There is a sardonic word Walton had been content to capitalize the mu- The German emperor, Wilhelm II, and whom he never The Big Opportunity of Gounod about Richard Wagner’s operas: “I agree sic of the Facade second composer, in order of period, he would never have risen age, is of a ver considered his equal. above the different kind from William Then came the big opportunity, and Mascagni who certainly there are delightful moments in Wagner’s level of, say, Georges Auric. Luckily, Walton. Michael Tippet the whose Mascagni was never discouraged by failure. All he was just twenty-six years of age, had both the luck operas, but awful quarters of (II secret violence of work is of inverse importance an hour” y a des a temperament which is the to its size, is abov main- all a said was: “It is a pity I did write ‘Cavalleria’ first. I to catch the right moment and the genius to synthetize delicieux moments, mais des quarts spring of his music musician of powerful and ingenious fichus d’heure) drove him right away from the intellect. O was crowned before I became ‘King.’ ” 1 eXtr tl0n He had no passion into a form which moved the hearts of music This surely cannot be said of that short but inspired smartness ’ he 11111163 and facility of the Diaghileff world an uncompromising mu into the ST ™ w doubt that, in his later years, he became king in the lovers all over the world. The whole story of “Caval- music drama, r for each second of it is instilled cool, serene, yet SOna fc Wlth a stron with nostalgic style of the Viola ? e Preference for counter Concerto. noi^^r ^ realm of music. leria” actually sounds like a fairy tale, like a made-up tension. It was a return to romanticism, elt 1S a considerable scholar, a declaration of faith fn deeply verse in the in TEthe polyphonic style Hollywood movie story. By chance the young conductor sublimity of deep feeling which of the sixteenth century; hi The Tragedy of Poverty was of crucial music of the fourth-rate itinerant opera company heard of "Verdi's Successor" importance to art has something of Hindemith, at the time. With this concerto Wal- perhaps more o Mascagni, eighty-one Busoni. Compared When years of age, died on a competition by the music publishing house of Son- With this one first night Mascagni became a world ton achieved European stature. with Walton and The Symphony and Benjamin Britter August second, 1945, in the poverty and misery 1 of zogno at Milan, for a one act opera. The winner was figure; he was the acknowledged leader of Italian Belshazzar’s Feast haS ’ perhaps increased his reputation, - more chance of provin, partly fTeimnaT^fl war-stricken Rome, he had lost all of his earthly pos- to be produced in Rome, free of expense to the com- music and was acclaimed as Verdi’s through the sadistic power they °n th6 fUture successor. The displayed, but more of British music sessions. His money gone, he had been permitted genuinely 65 a by poser. Italian King- made him a Chevalier of the Order of through the sad beauty of the slow Style of which he seems Ukel' move- to bl i the occupation authorities to live with his wife in a In eight hectic ment of the l ’ days and nights Mascagni wrote the Crown of Italy. Sibelius in later years acclaimed symphony, one of the composer’s Brltten S is 100 persona1 highest ' small hotel. He wept when he recalled that, at one nights. Simanneredd to b® succes “Cavalleria Rusticana,” that passion filled tale of love, Mascagni “a splendid composer, the musical embodi- sfully imitated; it offers, to sneak n f , s, time, ninety-six opera houses all over the world, were jealousy, in front Since no footho:id, and murder of a Sicilian church on ment of passion.” True, Verdi did not recognize imme- then Walton has not looked back, no breach, no salient to anybody but the war wkhmiV simultaneously performing “Cavalleria Rusticana.” Easter Sunday. Mascagni talked things has held his highest ke * by St° over with his diately the value of “Cavalleria.” When Boito was gifts in suspense. Intransigent as m - °n the othei Actually hand,Znd lis ™an he had been forgotten, not his “Cavalleria,” friends Targioni and Manasei, but he was so eager to playing “Cavalleria” to Verdi, ever, he has refused to take encyclopedia of imitable features. the old maestro impa- a middle course. The un- all but his later works—and particularly forgotten was begin immediately with the composition that they had tiently interrupted Boito with fortunate Scapino showed how unsuited the disdainful words: he was to the A Deeply the fact of his still being alive. Whoever mentioned his oeuvre de circonstance, Original Composer to send him each newly finished scene of the libretto “Enough, dear friend, enough! I have already under- and the Violin Concerto living By this I intend name as that of a composer, was stared at with by mail while he was working on those he had already stood.” five though its opemng is no denigration; on the But years later Verdi praised the Music as fine and contrary, : haunting as the best consider unbelieving eyes—just as though he had said: “I of the Viola Tippett a deeply original had in hand. of “Guglielmo Ratcliff.” Concerto, is ultimately unsatisfactory composer; but hi: be- lunch today with Meyerbeer.” The opera won the prize in March, 1890. the pub- cause the original, intimate consists, to some extent, in a At Mascagni was Director of the Liceo Rossini of Pesaro inspiration proved in- rediscover} To give short sketch a of biographical facts: Mas- lisher’s request Mascagni journeyed from Sicily to position liked compatible with Walton’s desire inventions. He has it in him to —a he very much. His tour of the United to provide the soloist fL Tvf R become cagni was in 1863 in the with t e theoretician of a new bom Tuscanian seaport town Rome, on money borrowed from a friend. Two months States in 1903 was opportunities for virtuoso display. English school; but as badly managed, a disappointment The result is an a of Livorno (Leghorn), and the untidy, rather composer he will always be inhabitants of that later “Cavalleria” was produced at the Teatro Co- to composer, orchestra, singers, vulgar work, rendered the more than that, because the and public. more uneasy town never failed to claim the composer as one of their stanzi by a disposition y Sma11 body of his work in Rome, and the vigor and volcano-like force “Cavalleria” was the first realistic, to sit down in the middle of the “ bears sufficient wit- common-life mu- move- greatest sons. His father was a merits. ness to an imagination baker who had no un- of the opera, its spontaneity and sincerity, carried sic drama; it of unusual depth and energy started the Verismo—a form of short A Piano derstanding for the boy’s musical ambition, but his away the public of the first night. It What now? As an Sonata, a Concerto for was a phenomenal opera that wanted to show human passions in the unwilling slave of the films, Wal- Double String Or- kindhearted uncle ton chestra; t w° String Stefano took care of his early mu- success, never equaled by any other opera in history. true has shown how brilliantly he Quartets; a cantata, (vero) light of everyday life, not in the over- can “deliver thp food’s sical education. A Leghorn nobleman, Baron de Italian goods.” But Plan° Lar- The music lovers made an uproar such as that idealistic shine of heroic even the excellent : a Fantasia for opera. A long series of operas, music for “Henry V” Piano and darel who had heard one of his showed none Orchestra l “ compositions, offered famous opera house had never seen before. Over night including fourteen of this composer’s ™' ChiId at least, was produced by Mas- most valuable quali- °f 0ur Time.” to subsidize Mascagni’s further education ties. At present SichaeTinneftMichael Tippett hasT Tbeen, and sent Mascagni was an Italian celebrity, and in a few days cagni who felt deeply he is at work on a String and remains, as slow and the obligation which went with British Information Bervico Quartet— anxious a him to the Conservatory at Milan. There he became “Cavalleria” started its triumphal procession necessary discipline which, we worker as William Walton. over the combining his name with that of Verdi. Few people must hope and believe Moreover his one of the famous quartette of whom Puccini WILLIAM WALTON will restore music has neither the was also opera theaters of the world—a procession which still outside of Italy to us the composer of the brilliant surface of will have had an opportunity of hav- Viola Concerto nor Walton’s a member. The young musician did not like the regu- continues. Since 1890 the the absolute naturalness, opera has been performed in ing heard all or of ( Continued on Page most them—and none of those 186 "FORWARD MARCH 196) WITH MUSIC” APRIL. 1946 "FORW'ARD MARCH WITH MUSIC” the etude 187 offices, where the very lack of space makes than helpful experiments. little it Music and Culture to rank as anything more prepare adequately for stage impossible to motions Even if for rehearsal and study, Dr. Egon Petri hod never chosen to pursue his eminent Music and Culture We need adequate facilities need resources to in and stage gestures. We assure ade- career as virtuoso and teacher, he would still furnish material for of rubbing off corners for the all-important task ‘we’ I do not oui quate rehearsals! By mean the Metro- an absorbing article on music. Born into a family of distinguished operas lasting actual practice on a stage. We need security for had success. Quite a few of Mascagni’s that organization has musicians, Dr. Petri was literally presented with a tradition opera that can politan—although all these later operas have reached the American stage. young performers. We need the kind of that others needs—but the nation. If America is to develop spend years trying to acquire (if ever they do ac- After admission-fees which every- its quire “Cavalleria” Mascagni wrote “L’Amico Fritz” be offered to the public at performers, it). His father, a citizen of The Netherlands, was a cele- gifted young singers, and composers as which was based on a novel of Erckmann-Chatrian. body can pay. We need proper tools for good crafts- brated violinist who studied with Joachim and removed to artists, it must give thought to the situation in which Then came in quick succession “I Rantzau,” the gloomy manship. Even at the Metropolitan, the stage sets are Germany to become concertmaster of various well-known or- touch of God’s finger, is they find themselves. The which chestras, including those of the Dresden "Guglielmo Ratcliff,” “Silvano,” a failure from the in a sorry state of debility and disrepair; and there Royal Opera and least a minimum of conducted in is art, deserves at man’s care!” the Leipzig Gewandhaus. His mother's singing earned the praise Enow Your Instrument! beginning, and “Zanetto.” There was “Iris,” a three-act no rehearsal stage at all. Rehearsals are of Liszt. The family's visitors included Brahms, Clara Schumann, opera on a Japanese theme and produced twice (1906 Grieg, Tchaikovsky, Nikisch, Mahler, Paderewski, and the young and 1928) at the Metropolitan Opera House in New Busoni ( with whom, in later years, the young Egon was destined York, with the famous Inno del Sole (.Hyznn to the to study). Thus, the boy's earliest memories of home were in- Conference with . A Sun) “Le Maschere” was produced simultaneously in timately associated with great makers of great music. seven of the chief opera theaters of Italy, this fact Dr. Petri has often been approached for "personal Prizes and Perfection recollections" being in itself a record, but the opera was a total Pink Slips, of Brahms. "It is easy for me to give them," he responds. "To fiasco. “II Piccolo Marat'’ (Rome 1921) was called a me—I was perhaps five at the time—Brahms was just another £*aon f-^etri “democratic 'Uncle,' with a long beard, a jolly manner, and the delightful opera” probably because its content de- Virginia l]upper habit of giving me candy." It was at the candy-giving scribed scenes of the French Revolution in a rather period of Internationally Renowned Pianist and Teacher his life that Dr. Petri first came into contact with stormy manner. At the age of seventy, he composed the world's estimate of greatness. Brahms handed him a piece of marzipan; “Nerone” which had a loud external success, engineered HEN I WENT to school, we children were receives ten for her mark; this has made for good the child carried it joyously toward his mouth, but his father by his Fascist friends, but sinking down quickly like incited to study by weekly certificates. The attendance in bad weather; whereas before, rainy stopped him. That particular bit of candy was not to be eaten; SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT a straw-fire. white certificates were given for average work, afternoons meant that the teacher had much leisure it was to be treasured for time to come, because Brahms had Mascagni wrote very little important music other W bestowed if. The little pondered that. Egon the pink certificates were honor, and glory. time on her hands. over than opera although The proud he was always flirting with the At five, Dr. Petri began the study of the violin, first with his served as professor of piano af the Manchester Royal College Petri would ask of every musical pupil who had the greatest number of pink certificates Some days as many as three prizes are given to the celebrity who visited her home idea of writing a mother symphony—“when my inspiration and then under his father, and two years later, the piano, of Music, the Basle Conservatory, the Berlin Hochschule, Mills that he leave with her a coin, of any denomination, and his received a prize. good pupils, so it is necessary to find prizes that are gives out.” He may have remembered that his continuing both up to the present time. At about that period, College, and at Cornell University where he is now established autograph. Later, she had the first All private coin flattened, cleared on one teachers find the missed lessons their cheap. Children are easily pleased; and the Ten Cent discussion took composition, long before “Cavalleria” was a Symphony a place as to the boy's general education. as Pianist in Residence. side, and engraved with a replica of the autograph of the cross and trial. Sickness is a good reason for absence; stores have a great variety of pins, books, puzzles, Mme. Schumann strongly in C minor. advised against sending him to the One further bit of Dr. Petri's personal recollections must be coin's donor. The coins were then mounted on a chain, and the however, many lessons are lost for trivial reasons, and games, and so forth. Gymnasium to pursue classical studies, on the theory that so reported, even at the risk of delaying his counsels on piano collection grew well Mascagni actually was not more interested in poli- to over a hundred items, each "signed" it is these really markedly which ruin the teacher’s day and are For better prizes at recitals when the teacher gifted a child would have no need for Latin, Greek, playing . A few years ago, an edition of Tchaikovsky's journals with the autograph of Liszt, Grieg, tics than any other Italian. He was made artificially would Brahms, Clara Schumann, a financial loss. matter and science. Brahms took the opposite view. "Let the learn was in preparation , and the editor found therein an item which a prominent spectacle No how many rules, under- honor the winner of the highest marks, musical pins, boy and so on. Naturally, the coins reflected the great one's sense of Fascist Italy, though he never whit standings, lectures he can," said Brahms; "one can never tell when it he could not understand. It read: "Remember to send coin to of splendor; and so forth, the pocket nerve is little busts of composers and pictures make splendid Liszt presented a gold coin—Brahms, a copperl seems to have invited these particular honors. In 1926, very sensitive, will prove useful." Brahms' counsel prevailed, and the lad Mme. Petri." Why a coin? The editor wrote to Dr. Petri, who In the following he was and the parent has a rooted objection prizes. These may be secured through the publishers conference, Dr. Petri outlines for The Etude read- appointed Maestro Toscanini’s successor as was given a thorough general education, the immediately recalled an unusual custom to paying for lessons not possession of which of his mother's. Mme. ers, some of his views on an approach to keyboard security. director of Italy’s most famous received. The public is some- of The Etude. opera house. Milan’s times he has never regretted. In Dr. Petri's own words, knowing things very slow to appreciate the teacher’s viewpoint. Scales La Scala. Though this was probably a political ap- and studies are generally neglected; to en- has never harmed him! Any argument about money means that, pointment, his conductorship was widely acclaimed, save in excep- courage the child in practicing these, they receive At eleven, he became involved in an interesting exchange system. tional cases, the teacher usually comes out the loser. grades, Teresa Carreho sent her son and he was considered second only to Toscanini as A, B, or C. A more explicit marking is very to study the violin with Dr. Petri's If the disputed fee is paid, conductor of Italian the pupil soon goes to an- difficult because some pupils are mother and accepted little Egon as a piano pupil of her own. OMPLETE music-making is opera. Even in his later years he so much more tal- a sort of heaven, is not available, however, the next best thing is other teacher. If to never she does not get her just What he chiefly recalls of Mme. Carreho's teaching is that she tired of wielding the baton. _ pay, she ented than others. What is poor for a child properly approached through three outer cir- study He liked to conduct feels smart is from an edition that has been as little tampered injured, and her disposition counseled him to hold his hands at the keyboard, "as if there his own operas, and he suffers. good for the slow, and struggling cles. First there is the music itself, had plenty of opportunity to pupil. C the printed with as possible. Thus, for Bach, I recommend first, Thinking of were a glass of water set on top of them, do that, this very real problem I decided which must not be but he was very much against conducting to try Today’s children have so many interests to pull them notes, to be brought to life through sound. In second the publications of the Bach Gesellschaft; the pink certificates and spilled." After a period of study with other teachers, he began in second “Cavalleria,” which he simply am gratified to find that it away from music, place, there is the instrument could not endure any that the teacher who wants progress his professional career at the upon which the sounds place, the fine edition of Donald Tovey. For Beethoven, works. Pupils like them, and they age of eighteen, as second longer. Even during the eighth are used in school must be on her toes to keep of the music are made. And in third place, decade of his life, he too for them interested. violinist in his father's quartet, and, at the same time, a sort of there is the the Ur-text, or the Tovey edition. I do not recommend continued marks. They like prizes; even a small to conduct wherever he was called upon, prize is Boys make excellent pupils, and they are unprofessional career as unpaid substitute to whatever person who draws forth the sounds from the instru- the von Biilow edition a goal to work for. just as member —unless the student is more en- until the breakdown of keen for prizes of the Dresden Opera Orchestra ment. Now, it seems to Fascist Italy and finally his as girls. For some reason though, in happened to want a free eve- me that far too much stress is grossed with von Biilow than with Beethoven. The own death imposed silence on the ning. Here he sat in the row behind his father, among the laid upon the person and the composer of the emotional values of the best picture of the composer’s intention is mirrored in immortal Intermezzo. violinists, and followed Hans Richter's advice that he learn music, and too little upon the instrument as such. And the clearest copy of what he wrote. So much for the other instruments (chiefly French horn and organ). At twenty, in speaking of the instrument, I mean, not its mechan- music. he attended Ferrucio Busoni's master class at Weimar, played ical structure, but the way it functions properties “As for the instrument the violin to Busoni s piano, and developed an enthusiasm for — (in this case, the piano), which the performer should understand if he is almost Busoni that finally senf him to the piano for his career. to no one seems to give it a thought! Ask even an Dr. Petri began his pianistic draw the best results from it. excellent activities in Holland', and laid pupil just how a forte is achieved and, after The Little Touch of the foundations of a reputation that “As concerns the printed music, the best God’s Finger was soon to earn him source of a moment of bewildered thought, he will probably tell calls from Germany, England, Switzerland, forming the conceptions that will Poland, Russia, and shape its ultimate you that he achieves it through the release of body the United States, ( Continued both as virtuoso and teacher. Dr. Petri has performance is, quite simply, the from Page 185) composer himself. weight or arm weight. He thinks in terms of what he PUPIL’S WEEKLY CERTIFICATE The teacher’s task be- should do; not in terms of what the piano should be people in the gins when his pupil enters done to. Now, the interesting thing elementary steps of art appreciation. But Pupil. is that, by under- once they the room with a new standing what should have learned to appreciate art and to use be done to the piano, one can their voices ‘piece’ under his arm. If greatly clarify what then? Nowhere do they find the one’s playing. ‘Touch’ or ‘tone’ is rooted chance the work has been for secure, unhurried artistic development. first lesson WEATHER ‘re- in the action of the piano (which the playing hand Either they are TOTAL vised’ or ‘edited,’ the causes to forced into premature display, or they act!). It is so rooted, whether one knows it accept less artistic ATTENDANCE teacher encounters the la- or not. The but very well paid engagements in difference is that, by knowing, one can radio, in clubs, Fair bor of clearing help in the movies. Ra i n away the oneself toward a better making of music. “The situation ‘edited’ obstructions is surely a serious one. With a Euro- that pean development stand between the Producing the Piano impossible today, and with no op- TECHNIC com- Tone portunity for poser and the pupil. any development here, it is not too Why “A forte tone, then, should not first be thought of in much to say that are ‘editors’ (I call terms our artistic standards have a life- SECOND LESSON them of ‘arm weight,’ but in terms of imparting great expectancy no longer than tha't of the present group ‘Add-itors’!) so fearful speed to putting down the key (a pianola produces of mature artists. ATTENDANCE of leaving students fortes When today's ‘great ones’ are no alone without any arms). Thus, arm positions (or longer able to perform, Fair with the our art will depend on the Rain composer? The gyrations) have nothing to do with forte tone. All that newest conservatory graduates! most sensible thing, needs of to be done is to send the key down fast. If the “Something must TECHNIC course, is is be done about it, and I have no to allow anyone key put down too slowly, the hammer doesn’t touch hesitation whatever in inviting who is capable playing the string, the music-loving public of and no tone results. (Try it sometime and to cooperate in doing it. at all, to play exactly see for Congressmen and senators, and yourself!) When the key is put down at the state and municipal officials, TOTAL precisely what slowest community groups and the com- speed to produce tone at all, a pianissimo re- clubs, national federations poser and organizations should wished played. If he sults—quite regardless of ‘touch’ effects. be made aware that there is a post-war problem in indicated his wishes, leave In learning to know one’s instrument, Week Ending one discovers art. Our need is, not for conservatories and instruction, Date them as he marked them! that the key performs Teacher. two separate actions— (1) it but for opportunities for developing the If he did not, there is throws talent we the hammer against the string to make tone; already have. We need, perhaps, a federal doubtless an opening for and Ministry (2) it pushes up the damper to allow the tone to of Education and Culture that would put controversy but <*n ‘edi- vibrate, the things — thus determining its duration. Thus, the per- of the spirit on an equal footing with commerce tor’ is hardly the one to cussive act and (Number 1) which makes tone, is in the transportation. We need, not one opera house settle it. The happiest nature with of a staccato—it takes only a fraction of a sec- a brief season, but many opera houses thing is with ten-month The pupil must to work from the ond. Once you have sent the key be perfect in attendance for down into its bed, seasons. Certainly, experiments of this kind have been eight most classes boys unedited Ur-text, and I you have consecutive lessons, if but are in the minority no further control over the tone; the tone made notably the City Center five minutes late, she has — in New York—but they We all, whether six rejoice to observe an ever- has been made and nothing °Ver again next time t0 work or sixty, work for a goal The can change it. What you are too few and their seasons are too brief for for the re- growing interest, them ward. If it is raining, helped in this are able to control is its duration, or the pupil who appears on *“? me in having better attencJ - prolongation. For time anceance, ^Ffbeftand better country, in securing Ur- that reason, lessons. May it all those poetic-looking manipulations 188 help others also. DR. EGON PETRI of texts. Where the Ur-text arms and fingers after the "FORWARD MARCH WITH MUSIC” ( Continued on Page 235) * THE ETUDE APRIL, 1946 "forward MARCH WITH MUSIC” 189 ” ”

a soloist against a that usually exploits body of other in the in for Children Music Home Music in the Home instruments. To describe the concerto as a composition Modern Text Music instrument with orchestra, says for a solo Mr. Chase “New Music Horizons” (Fourth Book) . By McCon- it goes, but it is a little is correct as far as bit like athy, Morgan, Mursell, Bartholomew, Bray, Miessner, saying that a house is a building with four walls and and Birge. Illustrated by Jules Gotlieb. Pages, 188. a roof. “We still know nothing about its actual design Price, $.96. Publishers, Silver Burdett Company. structure, nor about the relation of one or unit to When seven of the outstanding school music experts Radio another.” Some folks are content to accept a house Programs for of America put their heads together to make the best The Etude abode for living and hardly take into consid- as an possible book they can imagine for children, it would it was made nor the usefulness eration how of its seem that there was little more to say. However, as structure. In like manner, some music design or lovers fine as this fourth book in the New Horizon Series is, are content to accept a musical composition and Enjoyment and Education not it could not be half as good without the highly color- regarding its structure feel any curiosity or form. ful and delightful illustrations of Jules Gotlieb, which Music Lover’s Bookshelf about these things Knowing something does so much, cannot fail to thrill the imagination of any school one’s enjoyment of a however, to enhance work that child who is fortunate enough to start his musical life we feel music lovers should seek out information. And in school with their charming influence. Depend upon the radio listener glean what better way can informa- it, nothing has been added to this collection without tion than by such programs as we are discussing? advantage of the pedagogical approval of the splendid the Concerto broadcast in December, three Any book here In aspects board of experts who compiled it. The child who has reviewed may of concerto writing were discussed. These were the old this musical leaven added to his musical life cannot be secured from THE ETUDE MUSIC concerto grosso form, in which a group of solo instru- fail to find very lively and stimulating experience. a MAGAZINE at the HE TRUE music lover, as we see it, is one who ments were pitted against a larger background, the The one hundred and forty-eight tunes included repre- price given plus is humble as well as adventurous in spirit; he is postage. concertante type of composition in which more than sent such a Varied list of classifications as Desert T not content to turn on his radio day after day one soloist was featured, and the soloist concerto. The Lands; Foreign Language Songs; Highlands; Islands; and trust to luck to hear some music that will appeal. musical illustrations for that broadcast were genuine Jungles; Lowlands; Our Neighbors, North and South; He wants not only to hear the best in music but also treats—a movement from a Vivaldi “Concerto Grosso,” Teeming Orient; Forces; Land; Plants; Sky; Water; to know something about music, and he usually sup- a movement from a Mozart “Sinfonie Concertante, Colonial Life; Greece and Rome; The Middle Ages; plements his listening with some good reading. A lot and a movement from the Fourth Piano Concerto by Primitive People; Doing Things; Living Things; Mak- of information about music and its composers is heard Beethoven. ing Things; At Home; Good Citizens; Health and over the airways yearly, but it is only in those pro- Well remembered is the program of February 21 Safety; My Country! Tis of Thee; My Neighbors and Itf (J3. Id/ieredith Cdadtman grams planned to educate the listener, as well as to dealing with the Psalm, which, as Mr. Chase points Neighborhood; Religion; Nature, Things; Birthday, entertain him, that one gets the type of information out, has been the closest, perhaps, of any musical form Christmas; Columbus Day; Hallowe’en; New Year; which definitely enhances the listener’s interests and to the masses of people throughout the ages. From the Valentine; Washington’s Birthday; Other Holidays; develops his faculties of appreciation. “The Story of early days of the synagogue and the Christian church Fanciful Beings; Fun and Humor; Folk Lore. The Music,” a feature of the NBC University of the Air in its various phases, which must command the serious which Mr. Denby describes: “It was a style of pro- (heard it has held a strong position. The artists for that eve- progressive educative impulse of the book is obvious, Thursdays over the NBC network—11 :30 to 12 attention of connoisseurs of the dance. Some of the duction and also a way of dancing. Diaghilieff had midnight) ning were Winifred Smith (soprano), the chorus, and becomes an asset in American education. and “Gateways to Music,” the Tuesday and photographs seem like dream pictures, others like based the first on the animation of Parisian intel- broadcast an orchestra, under the expert direction of Dr. of the American School of the Air (Colum- Frank nightmares after an overdose of Lobster Thermidor and lectual sensuality and the second on the animation of bia network Black. Two a cappella works opened the —5:00 to 5:30 P.M.) are programs which program, The Dance in Modern Photography Mumm’s Extra Dry. All, however, have caught the Russian-born choreographers, dancers and teachers provide the inquiring Palestrina’s beautiful and moving Exaltabo music lover with the type of in- Te, Domine motion of the modern art of dance, as it has rarely who had found a in “Ballet—104 Photographs by Alexey Brodovitch.” home France.” The pictures are formation about music and Le Jeune’s expressive setting of 134. which is bound to increase his Psalm Two been seen before by the camera eye. all in austere black and white, but nevertheless in- Text by Edwin Denby. Pages (8% x 11 inches) 142. enjoyment. There are some folks parts of Handel’s Anthem IV, the Introduction for who remain shy of The ballets photographed are “Les Cent Baisers,” timate the chromatic vividness of the ballet itself. programs orchestra and Price, $10.00. Publishers, J. J. Augustin, Incorporated. which are educationally planned. But the O Sing Unto the Lord, for chorus and “La Concurrence,” “Symphonie Fantastique,” “Le Lac wise music soloist with lover will not pass up these because he sees orchestra, completed the broadcast. This curiously graphic collection of modernistic pho- des Cygnes,” “Le Tricorne,” “La Boutique Fantasque,” Education” Turning Singing Art with a capital E in connection with them; to Columbia’s “Gateway of Music” program tographic prints, some blurred, distorted, too black, “Les Sylphides,” “Les Noces,” “Septieme Symphonie,” it is our contention that “Entertainment” plans for April, we find the first “The with a cap- broadcast—April 2— too light, spectral, faded looking, give at the same “Choreartium,” and "Cotillon.” The book is a kind of Human Voice.” By Franklin D. Lawson, M.D. ital E should be applied is to feature the to these programs also. So Band and Chorus of the United States time a kind of behind the scenes picture of the ballet strange afterglow of the Diaghilieff Ballets Russes Pages, 94. Price, $2.50. Publishers, Harper & Brothers. successful School has been the “Gateways to Music” series in of Music. On April 9, the title of the broadcast past years, It is very rare when one encounters a physician and and so many adults have written in that is “Saludos Americanos”; this program, of course, will they wished surgeon of high repute who has had a real career as the time was different from the early be one of Latin-American music and will presumably morning one employed come from a concert and operatic artist. Franklin D. Lawson, M.D., in the past, that the Columbia IAN PEERCE Argentina since it is announced to be con- Broadcasting ducted was formerly tenor soloist with the Dresden Philhar- System has changed the time this year by the Argentine composer Terig Tucci, music to late afternoon. director monic, a leading tenor at the Metropolitan Opera, and This was definitely with adult lis- of the Columbia Broadcasting System's Latin- soloist at St. Bartholomew’s (one of the musical holy teners as well as children in mind. musical forms, American network. The Easter for it is equally at home in all com- Season will be cele- Behind the NBC University brated of holies in New York), and has been tenor soloist of the Air musical pany. . . . in the program of series The Three Blind, Mice is an example of a April 16. Among the com- is the idea with famous orchestras here and abroad. It is rarer to serve both the listener circular canon. .” positions scheduled to who desires to . . This illustration serves very be heard is a lovely old Finnish enlarge his knowledge well; still when such a singer-doctor writes a book in such of the subject and the casual everyone knows how a group carol, dating from 1582, called The would get together and World Itself Keeps simple and understandable listener who may tune in to a program at sing Three Easter Day. The terms that any singing any time Blind Mice—or, if they do not, they should. broadcast of April 23 is a request pro- during student can read it with profit insured. is the series. This year these And, in gram, since it is The book programs are de- this case, we recommend turning to Mr. the final program of “Gateways of voted Chase’s filled with “things to do” and if to form in music. Form is of course notes. If Music” for the the student is suf- the pattern you have heard the fugues of Bach from time year. of composition ficiently attentive and persistent, fine vocal results in which the composer casts his ideas. to time on various The booklet of the radio programs and are really curi- American School of the Air is It is quite should ensue. There are copious as important to him as a dress ous about this especially designed illustrations of dia- pattern is form of music, Mr. Chase will to serve the young people. It does to a housewife elucidate phragms, “tummys,” pharynxes, who creates her own costumes. m a way which t 1ave the larynxes, palates, Since will help you enjoy the more sub- J Permanency of value to be found in the broadcasts are by and large f° T uvulas, without which no self-respecting book upon entertainment of the mo- sequent performances of such favorite NBC University booklet nor the adult ment, works. Looking appeal. It covers voice could apt to be forgotten in time, the need for over Mr. Chase’s the five weekly be complete, and there are notation ex- a more booklet which deals with almost every programs of the American School of permanent record of such programs as these aspect of music, the Air: The amples aplenty, all well chosen. The great merits of has re- we feel certain that it will serve Story of America” (Mondays) sulted in both the , “Gate- the book will be recognized the NBC University and the interests of all ways to Music” instantly by experienced CBS Amer- true music lovers in a most gratifying (Tuesdays), “March of Science” ican School of the voice trainers. Furthermore, there Air printing booklets that way. Mr. chase is (Wednesdays), is no poppycock or are of not dull or dry, and he does not “This Living World” (Thursdays), and considerable value to the chicanery, such as has sometimes listener as well as the teacher. make you think of a teacher lecturing Tales from Far and been seen in the about a Near” (Fridays) . Its value These booklets subject. to the works of less may be procured by any interested These are the facts, parent whose child experienced and capable “authorities.” the simple facts, we feel he says has found any of these subjects listener to either program at the nominal and he provides o considerable A glossary of musical terms and record blanks such price of them simply and concisely. interest will lie in the recommended twenty-five cents a as those used by Dr. copy. During April, the planned programs reading given at the end Lawson in recording his personal Tlie fount of the NBC Uni- of each subject section. If a of knowledge in these booklets versity’s “Story of parent desires repertoire as well as his public performances are in- is by no Music” are announced as Overtures to stimulate and provoke further in- means dry reading; it is just the sort (Part II) terest cluded in the appendix. of thing that the (April 4), the Suite (Part III) in a child in a given subject (April 11 ) that parent will do true music lover wants to supplement the well to his listening Symphonic Poem (Part II) (April urge the child to procure some pleasure. The information 18), and the of the books appertains to the programs Concerto (Part III) (April recommended from his 25) . Since the musical local library, or better Critical Biographical Appraisals of the two series mainly, but part still if in some cases it serves of these programs is planned h an aff0rd them ’ buy only a few weeks prior them for his own library “Men and Women the listener much farther. Of particular to ™f a11„ Who Make Music.” By David Ewen. value is the broadcasting, we cannot give the interested ° tbe notable broadcasts this reader . past season, none Pages, NBC University of the Air booklet the type stands 244. Price, $2.75. Publishers, The Readers’ with its recom- of information he ought to have. out in memory more treasurably mended series of books Fowever than Tos- Press. and the record lists. we feel justified canini s Golden in looking back on a couple of Anniversary of Puccini’s ” It might be well to earlier “La Boheme take up one aspect of form broadcasts—one in broadcasts Violinists, pianists, as particular in December in which of February 3 and singers, violoncellists, conductors we find it in the NBC University 10, Toscanini booklet. The first the form discussed and demonstrated divided the opera—giving of the present day are written up in was the Con two of the four acts in each engaging fashion form discussed is the canon. Now let us certo. This quote from universally beloved musical form eVent in this new volume, which also has value as a refer- the notes, so lucidly written is one of air was by Gilbert Chase; he says, heralded by the press jS ence book. Mr. Ewen and the musical listening has recently been serving in the in part: “Canon and fugue share the doubtful public honor Never before Army, but that has not prevented him from spending of being popularly regarded as the most had such an ideal severe and bahTnce ^n an \ performa his spare time in producing more books. There are forbidding types of music. Actually, the ™e on the air been canon should noted and e THE APOTHEOSIS OF THE BALLET twenty-six of the best known teran Maestro gave a performance artists described in this rather be looked upon as the most democratic which" J , Reproduced of r ltS by permission from “Ballet”—104 photographs by Alexey Brodovitch, work, and at the end there is a series of twenty-six rhythmic exuberance and its rScOnX e^ , f°, with text by Edwin Denby, S y eloquent treatment published by J. J. Augustin, Incorporated. excellent portraits of these masters. 190 ( Continued on Page 196) "FORW'ARD MARCH WITH APRIL MUSIC , 1946 "FORWARD MARCH WITH MUSIC the etude 191 . ”

VERY TEACHER, no matter how humble or Music and Study Music and Study obscure, belongs to a shining brotherhood that E reaches far back through the centuries. The / elders of that brotherhood are those who have under- Harmony and Theory stood most widely and profoundly what teaching means, and who have themselves exemplified its mean- Can you suggest a Harmony text book Table ing most splendidly and completely. Every teacher Senior High School Round Junior and for use in The Teacher’s needs an awareness of his kinship with these great courses, and also a general Theory book for South Carolina. spirits. It brings him both humility and pride. It sheds Servants of the Ideal young people? —S. B., play a light on his daily path. And it is a standing reminder There are so many goood ones to choose octave technic may without repeti- of what he always needs to recall—that although his from that I hesitate to make specific rec- tion) omit this measure: by work may often seem humdrum and trivial, it can ommendations. Modina Scoville’s “Key- Conducted have, if he understands it aright, a spiritual signifi- Ten Great Educators board Harmony” and Ralph Gomer Jones’ cance which is the stuff of immortality. “Theory of Music” have been used with Our great companions in the art of teaching did not conspicuous success in high school courses. all see eye to eye. Regarding many things they were The latter oilers an attractive presenta- at variance, partly because they were children of dif- tion of the fundamentals of music, no- circumstances. But this hardlj ^ameS WurJi also ferent ages and matters. X tation, harmony, and form, and an Mus. Doc. For there essential agreement in the doctrines exposition of the instruments of the or- was an proclaimed, in the work they did, in the Professor, Teachers’ College Columbia University chestra. As for elementary Harmony they influence ... Pianist Instead, play a brief modulatory bar Noted they exerted still exert; and from this texts, I consider any worth their and the teacher don’t directly back to the triumphant leading in daily tasks salt which make fluent, practical the thick of his can draw strength and do not and Music Educator the A-flat theme, thus: return of The Etude is pleased to present herewith the first of a series keyboard harmony their chief objec- inspiration and instruction. They saw teaching as far of two articles. In the first article Dr. Mursell more than the setting of tasks or the giving of lessons, discusses the ten foremost educational influences in history, and in the second article he devotes his ma- tive. . . . Scoville’s book does just this. . . foremost You might also examine Rohner and though many of them did these very things, even as terial to the ten musical educational forces. These articles are purely an expression of personal upon wide experience Howerton’s “Fundamentals of Music you and I. They saw it as the moulding of human life opinion based and long study. —Editor’s Note. Theory.” and the shaping of human character. On this, far more contend that he ought to train himself to than on any tricks, or methods, or techniques, they his visual Goals be much more independent of knew that its success must always turn. Such is the sense in playing the instrument. Your lesson that comes to us from kinship with them. They What do you think of establishing goals is wise in trying to force you to teacher were servants of the ideal. This is why their work lives wonder that this man’s writings, when they were re- child grow and develop as a child, the youth as a youth. for students to work towards—a definite keep your eyes moving exclusively on the on, and always will. This is the torch receive from amount of work to be accomplished, with we discovered after mouldering unknown for a thousand Do not force upon the young the stereotypes of an some sort of recognition, a prize or music as you play; but, of course, it goes them, to be carried forward in our hands. From among cer- Correspondents with this Depart- or, if you don’t mind changing to 4/4 years in monastic scriptoria, seemed like a beacon- adult society, which stifle what is best in human life. tificate at the end of the year? Could you ment are requested to limit Letters without saying that you will occasionally this company of our greatest brethren I shall meter for one measure, the following is here light of revelation. And the conception, wrought in Help the child always to be himself. Do not impede suggest outlines? D. B., to Hundred and Fifty Words. any — Ohio. One glance at the keyboard. But if you or perhaps a more definitive transition: consider ten. the crucible of his own experience, of an education in him. Then he will grow up, not so much a citizen as your students do succeed in reading new I. I have long thought that the only prac- Socrates. He left no writings. He founded no virtue and wisdom to fit men for their tasks and a man. Such is the essential doctrine which Rousseau tical plan any progressive piano teacher short pieces without once looking down school. only taught lived. He —and Yet among all the duties, endures imperishably. proclaimed two centuries ago, and which is louder in tolerate would to set such yearly you have made gratifying progress not could be — brotherhood no name save one stands higher, no influ- IV. Abelard. When students by the tens of thou- our ears today than it ever was before. goals themselves as well as their only in reading but in keyboard orienta- for stu- ence has been more enduring. His was the ultimate sands flocked to Paris over the bog-like, robber- VII. Pestalozzi. The father of modern education. For dents. How can progress be measured toward honors, high honors or special- tion and control. simplicity of greatness. His supreme very teaching was haunted roads of eleventh centurv Europe to sit at the the first five decades of his life, this man was a strug- other than by establishing definite ob- high honors to be awarded at the June Playing without looking brings more only unpretentious conversation, under the plane trees 'feet of Peter Abelard, it was not because he was a gler in the revolutionary welter of the waning eigh- jectives to be attained by the season’s Commencement exercises. security to the player than any other of Athens, beside the sea, through quiet night hours clever classroom hand, or an entertaining lecturer. It teenth and the dawning nineteenth centuries. In these end? Yet, how many teachers are in- Note especially the inclusion of the single item in pianistic approach; it de- in some hospitable home. Yet the very essence of the was because he had a word of power, for which men’s years the old European order collapsed, and every im- telligent enough or willing to take hours, Commencement (or graduation) festivi- velops concentration, accuracy, ease, con- Now play to the end; and you have an matter was in it, and he himself once clarified every- spirits hungered. In the face of the massive ramparts aginable proposal socialism, anarchism, ties in the outline. Such events held at — communism, even days of time and thought in Sep- fidence, intensified listening, objectivity effective, “stream-lined” version of a thing in one pregnant, dazzling question. "Whom can of medieval dogmatism he dared to raise the banner pure individualism, atheism, deism, naturalism—had its tember to prepare explicit goal schedules specified intervals of study are important all of these, as Round Tablers well — magnificent composition. I teach,” he asked, “except my friends?” of reason. Faith could not be accepted on sheer au- adherents. Pestalozzi for different milestones marking the completion of stood a solution. for each pupil to reach by June? Those know, indispensable qualities to a pianist, But don’t forget, if your student is And what did teach these friends he of his? Above thority, since authority itself was not unanimous. So Social betterment must be brought about by universal who do this are one hundred per cent Early, Elementary and Intermediate difficult attainment. but of capable of playing the entire composition all, faith in reason, and courage to abide it, as the by men must have the courage to reason their way to it. popular education. The common people must be edu- sold sustained grades of advancement. . . . They offer on the stimulation and technically well and can effectively pro- ultimate rule of human life. He did not disdain fa- It was an idea of living and enduring force. Its prophet cated. Yes, but how? When he was fifty-two, enthusiasm produced both in the student the special public recognition of progress he Chopin's Polonaise in A-Flat ject its message, insist that the piece be miliar homespun topics—the work of the potter, the was persecuted, blighted, condemned. thronged all But men “turned schoolmaster” to find the answer, and his and themselves. The pupil is pleased and which young persons crave. . . . The performed without the omission of a carpenter, the cobbler. But whatever the immediate to him. Twenty cardinals and fifty bishops were num- discoveries have become our household flattered to be let in the presentation of a diploma, attractive pin, Several of my gifted adolescent students words. The on one-year single note. subject of discourse, he was always showing his want very much to learn Chopin’s Polonaise in friends bered among his disciples. His name rings down the mind must start with the immediate and concrete, plan for him which is clearly and con- or embossed certificate lends the neces- and A-flat major. I have been holding off assigning what it means to penetrate through shams, and con- ages, as an exemplification to all sary eclat to such occasions, which are who teach that a be led towards the abstract and remote. The spirit of cisely typed and pasted on the inside it to them, for it seems too long, and too much Half Hour Lesson fusions, and conventions, right down to truth itself, teacher’s greatness lies in the greatness and courage of of course formal dress-up recitals. of A the classroom must be the spirit of love. Revolutionary cover of his note book. . . . “Gee! do you an "endurance” test for any but a pianist and to take truth as the guide of life, once clearly his life with lots of technic and experience. Would it vision of and truth. notions in his day. Perhaps revolutionary still! think that I can do all that, go ahead so Is it possible to give a comprehensive, worth be permissible to teach a somewhat shortened seen. This he taught them, not only by words, but by V. Petrarch. Hardly a word directly concerning edu- VIII. far, learn all while lesson in one half hour? If so. will you Horace Mann. Father of our modern American and those hard pieces? . . . of Blind Flying version the Polonaise? I do not mean a sim- please outline acts of the highest and calmest courage. So at the last cation, .” such a lesson?—A. B., New York yet he scattered the seeds of a bounteous har- educational system. He transposed a liberal public- Wow! . . plified arrangement, but one which would per- he went to death because he scorned to offer his judges vest for I study with an excellent teacher who haps omit the section begins I teachers ever since, and the reaping still goes spiritedness and an ardent desire to serve his fellows The outline given below is necessarily which with Mea- dunno’ what you mean! . . The . paltering insists on "not even peeking” at the hands sure 49, and also that long “runny” sixteenth the plea which would certainly have saved on. He was a supreme prophet of that great renewing into sketchy suggestive, is offered kind of instruction give what has become the most constructive educa- and and when using music at the piano. My we depends on own note section, which comes after the famous him, or to make any appeal save that of reason. in which the human spirit overtopped the barriers and tional only to start the teacher off on his pupils and other the grade, age, sex, intellectual capacity, program the world has ever seen. When he was own teachers' often glance at bass octave part. But how to do this, is my II. Plato. The aristocrat, the dreamer, the subtle shattered the confining conceptions of the Middle thirty-nine plan: their hands—and they are good pianists, problem. If you do not consider such a version musicality, temperament, background, he dismayed his friends by giving up a too! Do you insist on this not looking or reasoner, the artist in words. Men must be educated, Ages. Man’s proper destiny is not so to fit him- to be in bad taste, could you help me plan a amount of practice, present and ulti- much promising career in law and politics to be the first do you let your students “peek” once in playable he declared, to do their duty in an ideal common- for one for my youngsters? self for another world, as to make his life in this world incumbent of the new office of state One Year Music Plan Bill Jones a while?—E. N., Illinois. mate objectives of the student, and a secretary of edu- —W. L., Massachusetts wealth, a house not made with hands, which later beautiful few other considerations. and good. Such was the great idea which pos- cation in Massachusetts. When, after he had taken the Between September 15 and June ... A good 15, A good piano teacher tries not to be- No one but a hopeless old ages interpreted as the very City of God. Plato faced sessed him. It finds utterance in his sonnets, mossback teacher is always able to pack which job, the hostile legislature voted him only $1500 for he will: come fanatical enough about any single point of would hesitate to devise a “cut” version a world of doubt, disintegration, creeping despair, far helped transform the Tuscan dialect into a national his concentrated help in a- half hour to make salary and all the expenses of his office, his re- 1. Learn and play the following ten technical approach or interpretation. Yet of the Polonaise for occasional smaller than our own, but not unlike it. His rejoinder tongue, because in them was a vision of life, perform- the lesson amply “worth while”; but to poignantly joinder was: “Well, I will have my revenge. I will do pieces by memory in recital or at the I am sure that many Round Tablers ance by to that world was that the essence of the teacher’s young students who are eager give a and perfectly expressed. This yision of a life both them far more than fifteen hundred dollars studio. titles “comprehensive” piano lesson to worth of (Give of ten pieces, com- often regard their Table Chairman (who, to learn it task is the creation of a new and better order in young but who cannot quite sustain anyone excepting beautiful and good he found, too, in the antique clas- good.” He saw clearly that democracy posers and keys.) a very young beginner and well-being me?) not only as fanatical but even its physical demands minds and hearts; that the teacher’s inspiration must sical writings. and encompass its takes at least forty-five minutes or more. He never tired of proclaiming both it and were possible only on a basis of universal popular 2. Play all the pieces in the following maniacal edu- at times. Well, perhaps they emotional requirements. But be a vision of and a faith in a commonwealth to which them. And wherever his influence you must I have always been opposed to the thirty reached, new schools cation, and for this ideal he fought a good fight against Recreation (or Fun) Book. He may are right! However, like all teachers who not permit anyone to study such a each may contribute according to his powers, and in sprang up to teach this precious literature com- minute lesson for I have found it in- with its calumny and hatred. Appropriations for common use his notes for these. (Give titles of try to stimulate and incite young people which all position without first promising to work adequate may live together in happier union. vibrant message. Pedants and grammarians have done schools doubled, books composers.) and unsatisfactory. teachers’ wages increased by more and to work enthusiastically, I dramatize the at the entire piece, struggling III. Cicero. Orator, statesman, fighter against dic- to conquer Here is an outline of a specimen their far from negligible best to debase the classical than half, the school term extended 3. Perform the following technic without points I trying to half by a month, com- am “put across.” I paint every measure of its tough tatorship. Worthy human education, he taught, is pages, striv- hour lesson I gave recently to curriculum. But its origin among us was in this man’s pensation for supervision errors. (Specify tone exercises, “blind vivid pictures, jolt a second made mandatory, fifty new word the student ing hard to realize its education for participation and leadership the af- emotional content. grader, a boy, ten years old: in thrilled awareness of the creative ethic it contains. high schools established, flying” requirements, “flip skips,” sharply First, a America’s first normal school with arresting similes, or mimic Only afterward may you allow the fairs of the republic. Eloquence was the means for VI. Rousseau. cuts. “Blind Flying” Exercise and a sight play- The fountainhead of many streams of founded—all this during his term chords, scales with metronome speeds, in shocking (but always friendly) cari- of office. But more In fact, I myself have occasionally played ing achieving and exercising leadership, but statesmanship thought and action which fertilize exercise both from .the “Children’s modern life—in- than this, he laid the foundation of the vast structure arpeggios, etudes by memory or with cature. In other words I believe in the the Polonaise in a shortened was the essential end. The statesman-orator must version at Technic Book” (Maier-Liggett) be cluding the making of the Constitution of the United we inherit, and in our notes, and so forth.) “insulin” treatment to obtain swift, . ... To own endeavours his work still military camps or hospitals where trained above all in virtue. For what is the orator but for begin the lesson with one or the States! A personality full of contradictions, yet of tre- lives. 4. Write out and learn for oral quiz (or permanent results. Sometimes this can be other of some reason.—inadequate instrument, re- “the good man skilled in speaking?” Beyond this, he mendous these is always a relaxing, concentrating dynamism. His invective against artificiality IX. Confucius. Through a playing) the following theory (or Har- overdone. Perhaps in trying to persuade stricted hundred and twenty gen- time, limited attention span it must steep himself in the best that men have thought and false — process. . sophistication swept like a flame . . Similar through erations, incredible mony) lessons. (Give specific pages in students and teachers to acquire the exercises were then billions of lives were shaped by was necessary to curtail it. and said—in philosophy, in history, in poetry, in drama. the rococco society assigned for the next lesson. of his day. Back to nature, and this man’s thought, books or subjects to be mastered.) habit of not looking at their hands, . . . Then incredible billions of learners were I As you suggest the student No narrow utilitarian training his! “. may play we had a fortissimo He must be . . away from false conventions, for nature is God’s gift, taught according All technic, etudes, memorized pieces, may have exaggerated or over-drama- through Diminished Seventh to his revered, faithfully preserved Measure 48, going directly from armed at all points with the whole panoply of knowl- and therefore good! Let all Chord drill, followed by the scale of parents, all teachers, all prescription. Astounding, recreation books studied, and theory (or tized. . . . Excuse it, please! . . . E- unequalled achievement! And there to the chords edge”, . . and left hand so that whatever occurs life . octaves flat major, three in human . . who have a hand in the rearing and shaping of the the writing I octaves, hands separate- secret? It lay in his doctrine, not asserted harmony) done over and above Naturally, don’t mean that a pianist of the E major section. ought to have been examined, but At the end of ly: once slowly heard of, read, dis- young, key everything they do to a faith in man’s assumed the prescribed one-year plan will count should never look at his hands, but only and softly, once in as beyond all need to be claimed, that edu- this section (which students with cussed, handled, and managed by the orator.” What essential nature, limited ( and its essential goodness. Let the Continjied on Page 225) cation has to do chiefly, (.Continued on Page 226) 192 "FORWARD MARCH WITH MUSIC" APRIL, 1946 "FORWARD MARCH WITH THE ETUDE MUSIC 193 ” :

Music and Study MAGINE you are listening to a great orchestra, a Music and Study cathedral organ, a luscious voice. What is it that I gives the sonorous beauty which thrills the listener? Is it not the over-vibration or resonance which lends color and volume to the otherwise soulless instrument? And what is this glory of sound “resonance”? Analyze the word and you have it. Sound-over or overtone. Then, why not think of tone in terms of waves or vibration? This first discovery becomes a revelation. Emphasizing Overtones Let us realize for ourselves the fascinating process of breath humming, rather than voice humming, which for lack of a better term, I shall call “impersonal humming.” Identical with all pure vibration and cre- in Voice Study ated by the same process it cannot be detected from that of any other instrument. Breathe deeply and feel the slight pressure of breath at the base of the lungs, which creates audible vibration. Then note how these < breath waves, directed high, blend with the pedal note of the instrument. It seems involuntary, in a sense, hij cjCilian ^dfdricL Zdlnayer and goes to prove the beauty of effortless sound. These waves grow in color as the student directs them high above the eyes, thus contacting nature’s vibrant cen- The well-known American composer, Dr. Joseph W . Clokey, Dean of Fine Arts at Miami University, ters, creating the pure overtone. Liken the feeling to Oxford, Ohio, found the following article among the papers of Lilian Aldrich Thayer, who died eight that of blowing through a flute and note how the tone years ago. Miss Thayer taught singing in Cincinnati and Oxford for many years, with pronounced success. increases in clarity, as one continues to pipe the sound. The material presented is part of a booklet on singing, upon which Miss Thayer was the There is still no voice, only waves of sound. You will engaged at WILLIAM GRANT STILL DOROTHY MAYNOR MARIAN ANDERSON ROLAND HAYES aid the process by bracing the sides firmly, since the time of her death. As in all such approaches to vocal study, Miss Thayer employs the imagination “guard” of the tone is an absolute essential to correct in the focus of /one and uses physiological terms somewhat at variance with their common employment. FOUR OUTSTANDING NEGRO MUSICIANS WHO HAVE CONTRIBUTED TO THE DEVELOPMENT OF THE SPIRITUAL singing. —Editor's Note. An Important Discovery Just here I wish to emphasize a discovery in “place- ceremonies of it would be im- lip mold, the that grew out these exotic displays. One ment,” a, fundamental which accomplishes at a bound personally (without personal voice) sensation that of blowing through a flute. This of these was the Dance of the Bamboula, based on the that which in the usual voice technique requires years possible to distinguish one voice from another. establishes placement for the entire exercise. As primitive dances of the African diaphragmatic humming is the lip mold “o” alternates The Negro Spiritual jungle, to the rhythmic of practice to acquire; that is, that sound waves, as As already stated, the with the “e” for each half beat of bones on a cask, and the frenzied chanting of above explained, reach much higher than enunciated directed above the eyes. Since there is no articulation step, the pitch is raised by increased diaphragmatic pressure; the women. tone, and, therefore, realize “placement” through in- of the personal voice, the lip mold serves to accentuate the placement thereby remaining unchanged. of It And from New Orleans, so the tradition goes, these humming. The next step is to test the free- this placement. To mold the “o” is akin to the sense is imperative to note that if the initial tone Is Lively voluntary A Leaven m the American Way of Life dances and songs went to Charleston, and to the cot- dom by defined “lip mold,” using the “o” and “e” blowing a feather, with lips pursed as if one were correctly focused on the first note of the exercise, the tonfields and the steamboat landings, of the Sunny exclusively for the first few lessons. Note carefully the whistling. The “e” is the shape of the flute or German placement is never changed. The same applies to the South, where they were improvised with their innate distinction between molding and enunciating vowels. “e”, identical with the German umlaut, the French descending scale; that is, the diaphragmatic compres- sense sion lowers of rhythm, with a religious theme and motif? The “a” is used only after the perfect tone focus is diaeresis of the English diphthong. It must be clear that each step. The placement does not drop Whatever its origin, it is' safe to say that the Spir- established, for the obvious reason that the “o” and “e” the change of lip mold does not affect the high place- with pitch but continues unaltered. itual is a transmutation of songs the Negro heard in concentrate the waves, whereas the "a” would dissi- ment of the impersonal humming. The single overtones WitcUt PiLLr Interval of Fourths k 3 his association with the white race. Based on Scottish pate them. are- practiced alternately between A below middle C and This exercise English folk songs, of which many Southern states Third, correct “placement” is not affected by pitch and A above. but serves to amplify the principle, through possess a vast treasure, this folk music for a long time or enunciation. Remember the rule, high placement on broader intervals. T IS twilight and had been generally Ex. 1 a dark-robed procession of Negro The neglected. In that respect the low tones. Never change it, or as Oscar Saenger would Negro meets the buffets and woes life, Ex. 3 students is filing of just arrangements into the Chapel of the of these native songs, by artists like put it (indicating the forehead), “Never leave the “Singing that way—with song Uprooted from the I Windows at African veldt, Burleigh, Dett, Tuskegee Institute, Alabama. The rich in White, and Johnson, must be regarded spot.” The overtone, once established, it is possible to its Voodoo folklore and dance ritual, Negro Tuskegee Choir of one hundred as a real contribution to in voices, directed by slaves in ante-bellum America American folklore. A result- raise or lower the pitch through breach alone, which William L. Dawson, adapted the religion ing influence is already in the choir stall. The of the thought by certain critics in the South to time completely eliminates “register” and extends Old Testament to their immediate needs. Old Chapel is filled to overflowing. be rather scant, is to be found Semitones The largest touring Testament heroes like Joseph in the operatic field. “range.” chorus in America, and David were real Gershwin’s after making its debut at the “Porgy and Bess” and Dvorak’s If it be true that the human voice is a wind instru- Placement unaltered by pitch open- and alive to them. The old Hebrew prophets New World ing of Radio City, in seemed Symphony are definitely New York, followed by a grand to come to colored by this tyoe of folk ment, it should be used as such, through an under- Ex. 2 life as the Negro relieved his spirit with European concert tour, is home again. music. The conductor the expression of an experience standing of how to direct the sound waves. If one raises his like, “A Great Camp baton, and an expectant Unknown composers with is audience hears an Meeting in the Promised Land.” a poetic language sense, thinks in terms of sound vibration, instantly he Through the study of the above exercises the stu- old familiar Spiritual, set the its Negro forefathers simple Bible stories, along with the freed from the limitations imposed by the articulated dent will once While the wrath of Jehovah on his high and mighty experiences soon prove for himself the importance of the sang in the cottonfields and on the of the Negro in the New plantations of the throne became a striking and World, to this new kind of personal tone or undervoice. Like every scientific “guarded” tone or positive “brace.” Just to the degree Sunny South. visualized terror to the music. Based upon the manifold principle, this is simple Reson- Negro, in the face of the white and varied rhythm too when understood. that the breath is braced will the tone waves be free. The choir begins ruler’s tyranny, a rich inherited with a lament, melodious and outlet from their African ancestors, ance (sound over or overtone) is the desired result. for worship and ecstasy sprang from the Spiritual The guarded tone is imperative. To guard the tone is heartfelt: the mys- registered in tical concepts the nerves and muscles of the Shall the student strive to acquire it through imitation to brace of the New Testament. Jesus the Bleed- Negro’s the sides immediately following the inhalation Nobody knows de trouble I’ve seen, body. The musical intelligence ing Lamb retook his place as of the soul seemed to or through an intelligent application of the principle? thus insuring purity and control of tone. Nobody the Savior, and bore all beget knows but Jesus. all over again the mores and analyzed your ability to create suffering, wiping all tears away. With a psychic mysteries Have you ever own A hush has come over that student fervor equal- of the Congo. assemblage, elo- ling that of the Apostles, overtones through breath humming? I use the term Rule for Placement quent with the Negro accepted his lot spiritual meaning and religious The Negro sang these songs fervor, as despite the overseer’s ,, in the corn furrow, breath advisedly to distinguish impersonal from voice Mastery of the overtone the soprano lash. And Heaven became a and reveals the “e” of pure vi- voices carry the melody, singing me cottonfield, down by the softly miraculous escape from all riverside at baptizing humming. Let me explain what is meant by impersonal bration. This is unlike the and plaintively, and earthly suffering, as Ne- Ciosmg “e” of pronunciation. Listen blend with the higher register of groes poured his eyes, he projected his self-abasement humming. First determine how you breathe. As you forth their very spirits in and intentiy for this over "e” and distinguish it, the sopranos and baritones, the visionary suffering in for it is accompanied by the organ- chant: quavering tunes, as he sang inhale slowly with chest high and fixed, notice that from his the test of correct placement. If the “e” is not per- like a.tos and basses. The vocal ensemble neart began with I looked over Jordan, the sides expand just like a bellows filled with air. ceptible, a tearful note, what did I see placement is incorrect. Just here, let it be but now there is a measure It’s me, it’s of triumph Coming for to carry me, O Lord, Brace the sides with the hands and as you hold the understood arising out of the me home? that this vibrant “e” is very much more pain and longing of this thrilling Standin’ in de need A band of angels, coming after me, of prayer, breath compress the diaphragm at the base of this perceptible in a naturally resonant melody, as the singers conclude: and then modulating, voice than one Coming for to changing to soft flowing turns column of air, concentrating the breath waves over the r carry me home. w hich is colorless. The overtone “e” is created Nobody knows de trouble I’ve with the plaint of above seen, a linnet, and a touching balance eyes. the eyes through Glory Hallelujah! between awe and correct focus of the sound waves. The Origin of Spiritual intimacy in the lines, enunciated In religious folk songs, “e” is below the eyes and identifies tone millions of the Negro race While Negro De God dat lived in Moses’ time Singles have poured spirituals are admittedly religious with undervoice, thus destroying pure resonance. Once out their pain and suffering in worship. songs Is jus’ de same today. first sung in slavery days, You will prove through this diaphragmatic hum- perceived, the That is what the their real origin is still a principle will prove most valuable, will Spiritual is—anguish sublimated, ming that subject of doubt and debate. There you are creating waves of tone, which are serve to color the tone, expressed in the melody of a glorified are some author- William and will answer every shade hymn tune. The ities who Grant Still not distinguishable from the vibration of any instru- trace the origin of the Spiritual of emotion. masses of Negroes first sang these songs in to the No discussion slavery. Bamboula or Voodoo of the Spiritual as American ment. You are simply applying the principle of air Focus low As bondsmen, their souls became dances of Congo Square, New music tone high and reinforce high tone deep, free—caught up in Orleans. V lef be C°mplete pressure, creating vibration of In Louisiana, slaves had Without a word a bout' as does the pumping with braced sides. If the “golden chariot” of sacred chants. no freedom of move- n ’™ the first tone is correct the place- The lilt and ment until WiXWilliamm Grant Still. He the organ, the of the piano, of the flute the coming of the Americans, has faithfully captured the pedal the stops Place the first tone above the eyes through round ment is not changed. the rhythm gave them wings that carried who recog- musical The successive notes of the scale them from nized the idiom of his people or the bowing of the violin. Note first there is no per- value of recreation in keeping and dressed it up in are raised and lowered in slavery to triumph, from suffering to glory. Troubles the Negrog straight symphony. pitch, through diaphragmatic contented with his lot. When we cone to the sonal tone or distinguishable voice. The student simply reinforcement once too bitter to comprehend, now swing upward Spiritual alone. The impersonal “o” is intensified and all° regarded by directs the diaphragmatic waves, which unobstructed the wail of souls Wed to gather for dancin «*tous students into the open tone, on the ascending scale; in anguish becomes a shouting Hal- aAanTNT? ^ as ^rly as annn importantZJT\ reach higher diminished alarge °Pen aspect of ( Continued than the enunciated voice. The principle on lelujah. space at RamPart and Orleans on Page tiA) descending scale and easily resolved into the im- I ea of VOICE Streets, m New C n rle the wind instrument is scientifically applicable to Orleans, known based nS co!I po eI' personal tone as one ’, and Pianist, of the Congo Square. The of hi s best-known compo^mons „ ! tonic. The best results in even L Bambo’‘ ,a heard and saw at one of - on what he your own voice. Were a large chorus humming thus im- 194 these e°“tted^??ays placement are realized from running this scale of nine "FORWARD MARCH WITH MUSIC APRIL. 1946 "FORWARD MARCH WITH MUSIC” the etude 195 65— 4 —I —

luminations), of the romantic images with each recurrence. of notes, four times followed by freedom _ and night (Serenade). on one breath, alternat- the fifth. The closed hum is art in itself. evening Beautiful enunciation is an Music and Study ing the “o” and “e”; that is, the entire humming three steps, opening the fourth Britten never allows his music acquired a dear, distinct to be- scale with “o” and the same with “e.” tone with placement over “ah” lip Until there is even for a few high of the text, come dull, bars at a time: effortless pronunciation Increase the volume of tone on ascending mold, reinforcing the fifth or highest and is no padding, no marking incomplete. What is there time, in scale; diminish descending scale. the art of singing is on tone with diaphragmatic power. essen- the latest series of astonishing works'. fascinating to the ear, more If Keep clearly in mind the important more inclined to place, the interpretation, than a I am Serenade for distinction between the enunciated “ah,” tial to artistic in what- tenor, solo horn, and string orchestra Ex. beautiful enunciation of words which is flesh tone or undervoice, and the at the top of the list it is because tongue they may be uttered? that overtone vibration released with a wide ever seems nearly faultless, correct and yet work despite the Monotony in the Choir Loft be Avoid open mouth. Know that the inability to Articulation can Perhaps great emotional range which it covers lose the charm of intonation. open the mouth on “ah” is proof positive British composer since American, with his other- No the death of that the overtone is back. The latter the middlewest educational Handel has written for the voice with front wise intelligent grasp of so Continue by semitones to the scale be- must be and contact the breath variety, richness, misses the sonorous great a and flexibility ginning on G above Middle-C. pressure. If this is felt, the diaphragmatic methods, often tongues or even as Britten has here and in the Michel- First. Hum the successive steps through- support means complete relaxation of beauty of the European southern and east- angelo Sonnet. out.* chin muscles and there is no effort the local color of the clean pronunciation of This young composer’s most recent Second. Hum four of the five steps. On whatsoever (other than vitally guarded ern accent. Clear, beautiful work, the opera “Peter Grimes,” breath) positive consonants is a prerequisite to has the fifth step open the tone over “o” and , compression of the dia- sung but pro- placed his fame beyond question. “e” through positive diaphragmatic com- phragm, and high focus of overtone. intonation. These are not The contrary are astonishing success of its production pression; descend softly on the same Once these three conditions are mastered, nounced. Vowels on the at shapes must be de- Sadler's Wells was largely due, I think, the melody the Tonic is breath, resolving the tone into the im- the student is free to control the tone* sung. These vowel E ARE ALL familiar with what is termed was as follows: Tonic, eight times; number of beats, closely related chords, but in The fact to the sheer intensity of its dramatic it continually personal hum. both as to color and volume, exactly as a fined and pure throughout. monotonous tonality: when a too oft recur- sixteen. Super -Tonic, eleven times; number of beats, not the lowest note. Neither do we hear “phonetics ’ power, for this grim, sinister opera It is essential to understand clearly the pianist controls his touch and tone color that foreign peoples stress has ring Tonic affects the ear unpleasantly. Pro- sixteen. Sub-Dominant, thrice; one beat each time. in the Bass, and the Alto does not fall on it at all. of the qualities reinforcement by the intelligent use of so much more than Americans accounts none which audiences W of the “open tone.” Never the pedal. gram makers do well to sense this very real Leading Note, once; duration one beat. opinion that foreign usually require in the theater-spectacle, think of tone as “o,” “e,” “ah,” which for the concensus of danger, for few things conduce more quickly to weari- This search for, and the locating of a too obtrusive Ex.3 Ex.? pure tone production. love interest, and so on. Yet it was a restricts the sound waves. The student songs facilitate real ness and boredom. And today, more than ever in the tone suggested that in all probability other cases should school himself to think of tones This comparison or seeming limitation popular success. Listeners of all kinds it =3= past, people desire change, and grow impatient of too existed; and on a subsequent occasion another tune in terms of vibration. in our English enunciation is wholly un- were spellbound, for three whole hours, up to w much sameness. Even the musically uneducated be- proved most distressing because of a too assertive the pure by the unflagging brilliance of Three conditions are requisite to free, necessary were we to stress this vari- come conscious of any one sound heard so often that Tonic. As in the case of Hamburg the overused note open tone; In the above exercise, use “e” on the vowel sound with freer lip movement. ous and masterly score, the fascinating it degenerates into a tonal assault; banishing for the escaped immediate detection. But I was hot on the first note to place the tone. Reinforce One of the subtleties of speech is illus- originality of the vocal writing, the rich- 1 High placement (through correct time all pleasure, and begetting auditory discomfort. trail, and as before, checked up on every note; this the second note over trated the fact that one cannot use ness of the melodic and rhythmic humming) “a,” which vowel by in- But the matter does not concern the Tonic alone. time on a melody embracing an octave. My ear singled is retained throughout the measure. the same pronunciation in speaking as vention. Britten is a native of 2 Braced sides Re- Suffolk, Other degrees of the scale can, by over-employment, out the Tonic to be the offender; yet while the key- 3 peat each measure eight times, diminish- in singing. Pronunciation that would be and into this tragic story of Positive diaphragmatic reinforce- a lonely] weary the ear; and an interesting field of research note occurred a dozen times, the Dominant appeared 4*^ ing gradually into a pianissimo, through faultless in speaking, in singing would be half-mad fisherman he has ment packed many here awaits the Tonal Investigator. Not only in pro- in seventeen measures. The Super-Tonic had been deepening the compression, rather than grotesque and unnatural. The art of dic- years’ knowledge of that Remember to open tone over the “o” not strange, sea gram making, but as regards certain notes in the used six times; Mediant, eleven; Sub-Dominant, once; lessening it. This serves to release the tion is to have such complete mastery girt landscape and its tough inhabitants. through it. If the placement is correct, harmonies and melodies themselves, we need to be Super-Dominant, eleven; Leading Note, once. Yet the sound waves, which increase in color and that .it seems both natural and effortless. There is evidently no limit to the mouth opens freely, as the tone is what we watchful. Especially is this true of hymn tunes, where Tonic had been unpleasantly assertive. Why? Further may expect of the composer released. This must be positive, direct. of the Sere- the same melody is called upon to do duty for a num- investigation revealed an overabundance of the key- nade, and of “Peter Grimes”; Repeat the arpeggio exercise pianis- yet, if I were ber of stanzas. The discrepancy of one short unchanged note in two of the accompanying parts—Bass and We might reasonably suppose that in the case of a asked to give a compendious example simo. both “o” and “e." Here, it is most of melody being a vehicle for each stanza—stanzas often Alto. The tune is here presented entire. Notice the celebrated composer, his instinct and sense of fitness his intrinsic personality, important to note that a soft diaphrag- I would point in remarkable contrast with one another—cannot pass preponderance of E-flat. would guard him against any error of judgment, such matic tone is to the little Ceremony of Carols—a, neither shallow, thin, nor Three Contemporary English Composers work unnoticed by the musically perceptive. Tempo and as an over-used note. But even famous writers are half curiously medieval in the Ex.2 tone. On the contrary the pianissimo touching in- dynamics may be changed to fit passing moods as not always immune. Next time you hear Schubert’s nocence of is the whole tone vibration softened, and its vision. It is one of Ben- expressed in the hymn, but with only partial success. sometimes three (.Continued JJ Ave Maria listen attentively. Two, it requires fine from Page 186) jamin Britten’s most control of breath. The original pieces and Monk’s composition Eventide, is certainly a beautiful r H stanzas are used, and, generally speaking, the beauty quality, if scientifically it contains almost produced, is very all his distinctive hymn tune, and from the standpoint of association of the music warrants a repetition. But with all respect beautiful, especially the soft “e” overtone, the beautiful accessibility of Britten’s. If tings qualities in miniature. of Negro spirituals, is remarkably and sentiment has ever been wedded to Abide with me. to Schubert, the Tonic is a little over-used, twenty which is most successfully created dramatic, it is with the drama of the by successful because of the musicianly dis- Originally this hymn had many stanzas; we have it times, to be exact. To be sure, the composer’s varied deep pressure, while the sense of blow- platonic dialogue, not that of the opera cretion which etches sentimentality from now in more abridged form, and frequent omissions harmony and skill in modulation does, to a large ex- ing the tone over “o” brings out a flute house; if lyrical—and his melodies are as the background. are made in public service. Six to eight verses cer- tent, offset monotonous tonality. Nevertheless, by the quality. This is even more perceptible subtle and appealing as those of Gibbons Benjamin Britten, the youngest of these Radio Programs for tainly make a hymn too lengthy for any one melody time the entire melody has been presented thrice, the through the “e” mold. The student will or Boyd—it is with the poetry of imme- three composers, is in present achieve- of sixteen measures. But in a good sacred song set- ear cannot help but register a slight protest. We have follow accurately the above instructions diate feeling. ment the most considerable. Indeed I Enjoyment and Education ting such as that by Liddle or Shelley, where the music heard the Tonic sixty times. for “o” and “e” through the arpeggios. This music never leans romantically have little hesitation in giving it as my is varied cleverly, consistently, and beautifully, every True, the Tonic occurs here about midway in the Starting from A below middle C through over its creator’s past; the myriad shapes opinion that he is the most significant ( Continued from Page 190) stanza affords fresh interest. melody, as in the case of the last mentioned hymn to the E above, the “o” and “e” are used. of nostalgia are quite foreign to it. Har- figure among the younger composers of Some time ago at a certain church where I was tune. But in Ave Maria we have a leisurely tempo, “Ah” is introduced above the monically it is not immediately easy to middle reg- any country today. Unlike Walton playing, and of the long beloved melodies of the com- the preacher announced a certain hymn— which inevitably brings the oft recurring Tonic into ister for the reason that “o” and “e” grasp—except perhaps in the Concerto Tippett, Britten is a rapid 'and profuse poser. Those broadcasts forget now what it was—but we used the tune Hamburg. greater prominence. concentrate vibration above the eyes, for Strings and the Piano Sonata. Some worker. marked a mile- This does not mean that he is in stone in the life of the conductor; it whereas the “ah” tends to dissipate it people find Tippett’s harmony crabbed, the for Ex. t least superficial, but rather that the Care in Registration until his processes was he who conducted the first perform- the placement is established. of thought (especially in the maturing process, completed some three ance As solo, Ave Maria can be most accept- Second String Quartet and “Boyhood’s of “La Boheme” in Turin, Italy, C\ an organ years ago, has resulted in an Ex. extraordi- fifty years before, able—but monotonous tonality must be avoided—that End”) obscure; but this feeling is, I am nary technical on February 1, 1896. ability coupled with a Someone Tper keynote be treated with the utmost discretion. convinced, simply the result of an made the remark as we left the must in- wealth of invention far exceeding f that of studio If recollection is correct, there eight stanzas, With the organ’s “set” tones, of a more continuously ability to free the mind from the shackles any after the last broadcast that the my were of his contemporaries. - Guided by a level or other instruments, of classical and romantic procedure. singers were all on their toes, and lis- and we sang every one. Hamburg is sixteen measures o 7 sound than voice the per- It is sure instinct for form, he has now writ- teners in length, its former can, all to easily, give monotonous presenta- these which Michael Tippett is concerned on the radio stated to us they and range takes in but five notes—from a ten with conspicuous success almost every were of E to B-flat. It and tion. Then too, as the voicing and regulating of pipes to break; he strives, too, in the fascinat- kind the same opinion. There is no is a beautiful tune—of its kind— of music: concerto, orchestra, The monotony can, however, to a large extent be cham- question exceedingly simple. it with too is by no means perfect in many organs, it will often ing complication of his rythmic texture, ber ensemble, that Maestro Toscanini inspires But does not improve choral, solo voice opera avoided if the hymn be sung in unison either in to release music from the tyranny an artist, or a much repetition. Long before the concluding stanza — happen that some often used note may be a trifle of the The secret of group, that works with Britten’s music—the him, whole or in part—and if the organist will refrain from bar-line and its concomitant, the drum magical but in the studio one was happily had been sung I became conscious of auditory dis- louder than its neighbors. In the present case, should quality of its beauty— crotchet. is partly conscious comfort; something be too often. playing those oft recurring E-flats in the Alto. The this be the keynote, the organist, under such condi- Beginning due to the that the singers were relaxed seemed to repeating with the following: excellence of his very But theoretical brilliance harmony, and giving At the first opportunity I began to analyze the melody, harmony throughout is of a ordinary type, built tions, will act wisely to transpose the entire selection, and a clever which is limpid, their best without any visible easy on the ear, yet in- almost entirely on Tonic, Dominant, and Sub-Domi- heart are not enough in themselves to effort. The surprise hoping to locate the trouble. if he would have his playing received and remembered Ex. teresting in itself and always of the evening was explain the the logical the nant. By unison singing the ear hears the Tonic as a pleasure. unequivocal effort which Tip- outcome of Musetta, a student singer, Anne Mc- with tfc the melodic line; partly pett’s oratorio, “A Child Of to Knight, Interesting Discoveries melody note alone, so far as the voices are concerned, Performers should be especially watchful of such Our Time;” the charm of the whom Toscanini had auditioned melodies themselves and thereby affords a certain relief. But, let it be re- has had on large audiences in Britain. which for the part. Miss The search revealed some interesting facts; the things; if any one tone occurs more than usual, a up to are usually of the vocal McKnight, with whom Founded on the kind (even we most important peated—the organist will do well to keep his thumb little story of Herschel Grynz- when unassociated are acquainted, learned the part espe- being the discovery of an overworked restraint in its treatment is to be recommended. with the voice) off those perpetually repeated E-flats in the Alto. span, the young Polish Jew who shot the so and cially for the Mediant, for A occurred no less than sixteen times Vocalists, unfortunately, seem rarely to think of this; have the power to implant broadcast. Her musical in- German attache, von Rath, in Paris themselves telligence an average of once in every measure. the eight A rather remarkable feature regarding the Tonic is any note which not directly m our minds. and rich voice served well a Sing “shows the voice” must be featured These advantages that in the following, although the number of times long before the war, this oratorio is a go character that stanzas, and the Mediant is heard one hundred and often with results painful to the listener. hand in hand with a very in the opera house is too work of powerful strong sense twenty-eight heard is twenty-two, we are not unpleasantly conscious beauty and pathos. It th® V1* often sung by times. But the survey was not yet com- Next time anything seems to grow tiresome in too ua1 ' objective, a second-rate singer. One picturesque quali- plete; of it. The harmonies here, -too, are built largely on “ah” opens on the fourth step instead of puts the case for the sacrificed young of t sincerely tabulation next being made of the duration short a period, do a little searching; es of his subject— hopes that the rumor rife at some unsuspected today; coming from whether it be the counting, the composer’s heart contrasted horror the time of the broadcast and then adding together the number of offender may be located. Problems are not to be and serenity of that the per- it goes to ours. Even the daring device death formance beats for each A. During sixteen evaded; their of (Sinfoma da Requiepi would be recorded later will measures, this note wmmmmm existence invites our mettle, patience * ) , the Humming is intensified by covering the fore- puncturing the work, intransigence received ' in the manner of e realized. twenty-six beats. Multiply that by eight, and | and resource. it dealing head with hand, which serves to concentrate y beaUty We can imagine no more And is through successful mchelan . the chorales in a Bach cantata, selo Son- you have sound waves above the eyes. with set- netf)nets), , enduringly a Mediant two hundred and eight counts in ORGAN with such things the.the spectaclei of worth-while memento of the that one rises from the common- living (Les Il- great conductor. length. Of the remaining four melody notes, the rating place to the status of true artistry. 196 'FORWARD MARCH WITH MUSIC” THE ETUDE APRIL. 1946 "FORWARD MARCH WITH MUSIC.” 197 .

THE MOST encouraging signs of cultural Music and Study Music and Study NE OF development at the present time is the grow- O ing prevalence of interest in chamber music. Taking as a basis the fact that young America is turning out ever increasing numbers of players and singers from its schools, it seems logical to expect that ensemble performance will reach a “high” of quantity Organization of Ensembles and excellence in the future far above our most liberal expectations. To what extent this utopia in chamber music is reached depends upon two factors: first, are the benefits which accrue from its performance great enough to warrant wide participation? And, second, “small-group” College Curriculum will the guidance given the movement the through our educational system broaden to the extent of placing ensembles in the curriculum for credit? In answer to the first, the “benefits,” we have every reason to be optimistic. There is no kind of music which gives more happiness to the performer in eor<£i is seldom either written h presentation. Chamber music or performed for the purpose of technical display, and it is almost never a financially profitable venture for much of the great music written for such combinations, For the remaining practice-time requirement of the either composer or performers. This means, of course, as well as some valuable sight-reading experience. course, the players meet by themselves for a third re- that it is a medium of expression for the person to They had to learn to listen to more parts than their hearsal plus individual practice to iron out the tech- TROMBONE CLASS, FREMONT JUNIOR HIGH SCHOOL, FREMONT, NEBRASKA whom music is more than an occupation. It is more own—in other words, they had to hear the music as nical difficulties of each part. Equally as valuable as than a means to an end; it is an end in itself. well as attend to their own technical problems, which the division of a class is the combining of two classes I was interested in reading some time ago how the is a fundamental benefit derived from ensemble for the study of a Beethoven octet or perhaps for a performance of chamber music is regarded by one of playing of all kinds, whether it is woodwind or string. multiple clarinet quartet or multiple woodwind quintet our* recognized Cleveland music critics in his news- With an influx of using two or more paper item which announced an ensemble recital by more and better play- players on a part. “Thar’s Gold in Them Thar Grades!” two eminent artists of the piano and violin. “It is a ers on the winds and This procedure en- red-letter day in music when two first-line virtuosi strings, new courses ables the ensemble to share the spotlight and combine their individual gifts have been organized study works which for the greater glory of ensemble. Both of these artists to meet the need. At otherwise they might have long been interested in ensemble playing, which the present time all have to pass by. that, “I don’t know a thing about music because I is, incidentally, a mark of superior musicianship and wind and string ma- Of interest might didn’t have a chance.” To this common ly Walter Olden and ^alia C. Sliirch complaint the intelligence.” jors are required to be the fact that this natural retort could be: “You have your opportunity Benefits of corresponding magnitude apply to the have two years of credit although ac- to prevent such a thing happening to your child. Please listener as well as to the performer. Ensemble music small ensemble work, cepted toward grad- don’t let your decision be influenced by a compara- seems to fall most readily within the comprehension and all students who uation in the Conser- tively few dollars.” With all the high-pressure adver- of the music lover. There is enough variety of texture are in the instru- vatory, is not counted OST TEACHERS of instrumental music in high procedure may smack of super-salesmanship to some, tising of the times crowding us school would welcome to buy things, such to excite interest without distracting it; we can hear mental school music by the College of a yearly influx of play- but after all, it is the truth, and any resultant pangs mild -admonishment seems in place and definitely what every voice is saying and so follow its part both Arts Sciences to- ers having from three to five to course are required to and M years’ experience. of conscience we as music educators may have can be the point. in the dialog and in its bearing on the general plot. Many of us do our major recruiting for have one year. This ward the A.B. degree. the training salved with the thought that most of our beginners Complete coverage is a serious responsibility. Many persons feel that no other form of music can This is due to the organizations from the junior high personnel, sup- when so The training is in addi- sold on clarinet, become interested in the teacher should plemented with feel this responsibility to the point delight our senses with such exquisite beauty of sound tion, of course, to usual conservative a scattered few from the grade schools. instrument to the point The seventh, eighth, or display so clearly to our intelligence the intricacies participation in the policy existing in and ninth grades supply many they forget all about their potentially fine players, and adventures of its design. To illustrate this we larger groups, the most Liberal Arts but the question arises as to dreams of saxophone vir- whether there are have only to tliink of an able performance of the band and the or- Colleges. The credit enough of these beginners and fur- tuosity. It is the opinion ther, do these late beginners have clarinet quintets of Mozart and Brahms, Beethoven’s chestra. does count toward adequate experience of the writers that it is entitling String Quartets, his Serenade Op. 25 for Flute, Violin, the Music Bachelor’s them to admission in the senior instrumental best to leave the develop- An ensemble course organizations? To accomplish and Viola, and the like. offered by each degree and Music complete coverage of the ment of percussion to the is student body free Education Bachelor’s from the competitive influences of junior high school. This member of the string early teen-age interests, A Growing Movement degree, as intimated an efficient carefully-planned opinion reflects no trifling and wind depart- system of instrumental classes in the grade schools consideration for percus- With no thought of belittlement or disparagement to ments, some classes earlier. Using our provides these years of experience and eventually sends sion; to the contrary, the the statelier forms of music, players love the intimacy of which meet two Conservatory stu- a steady stream of candidates to the junior high train- fact is emphasized that of the chamber group. periods and require dents as a working ing groups and in sequence to the senior high organ- maturity and accumu- There can be no doubt that ensemble training in our four hours of outside basis for the forma- izations. lated knowledge of music educational system has been slow in being recognized in practice each week tion of our ensemble When thinking about grade school pupils, we have to through the medium of the high school and college curricula. Bands, orches- for two hours credit, classes, we experi- decide just whom we are going to try to teach. Should piano or voice is a pre- tras, and choruses very often meet in school time, while other sections ence little difficulty it be the fourth, fifth, and sixth, or just the fifth and requisite to the study of especially during recent years; but not so with small meet two periods and in attracting the stu- sixth grades? Physically, most fourth graders are not the battery. ensembles. Instead they meet after school, or at noon, require one-half hour dents from the Col- ready for a wind instrument, there being no half-size or in the evening or at any time other than school of daily practice for lege of Arts and Sci- clarinets, flutes, A Serious and French horns, but fourth grade time. Perhaps this is as it should be while the move- one hour of credit. ences through their pupils can study small-size Responsibility strings. With the six-three- ment is in its initial stage. Through the very evident Each class is lim- love for ensemble three system of public school grade classification prev- For the last word in values to the individual performers in ensembles, how- ited to a minimum playing. alent in this country, it may be practical UNIVERSITY QUINTET to assume practical talent tests, ever, the movement is certain gradually to make its of six players and OF MICHIGAN WOOD It may also be of that for over-all best results, the fifth nothing and sixth is as conclusive own place in the school curriculum on school time and frequently a division Barbara Litchfield (Flute) Mary Laughlin (ClarinetJ: Doris Reed interest to know that grades provide the best juncture to introduce as (Oboe); Sylvia Dutcher (Bassoon); Horn) brass an attempt at playing for school credit. within the class is Ann Choate (French students majoring in and reeds. The fourth grade may be used as some William D. Revelli is Coach. a work- kind of instrument. Just as in the case of the high school, the college made to fit the in- piano are not re- shop for string instruction. Perhaps we teachers have program of ensemble training is very much in its in- strumentation of quired to have en- We music educators know very well that from ten the wrong point fancy. There of view are ensembles, to be sure, in many Amer- suitable available literature. In this case the teacher semble, but that nearly all of them study at least one beginners, nine will express a preference for cornet, when we try to ican colleges compro- and universities, but as yet, for the most may hear each division of the group only part of the year in an ensemble class, playing string trios, string saxophone, or drums. Our problem in this respect is mise the parental expense FREMONT part, they are not on a credit basis. On the other hand, time within the two meeting periods. For JUNIOR HIGHHIPH SCHOOL.vuao, example, and wind quintets and sextets, and the like before they two-fold: we must consider the choice, aptitude, and necessitated in the FREMONT. NEBRASKA there are pur- a few schools in which a worthy and far- this semester during the three o’clock hour on Tues- graduate. At the present time, there are enrolled in physique of the individual, and at the same time, aS an nS the rUment - reaching program is in force, particularly in We shouId be confident that the east- days and Fridays, my ensemble class may be made up Oberlin’s ensemble classes many students who do not ultimate instrumentation of the high school groups thef£ childhoodl^ i adventure!; he cannot ern in instrumental overlook any means with which to music schools. With a view to presenting a few of a flute trio and a woodwind quartet. During each receive credit, but they are so must be kept in mind. music is well rpnrh interested in ensemble We know that we can often worth an investment. What every lndiv>dual constructive facts music teacher is in the elementary schools. No about a school with which I am of these days I would hear one group for half the performance that they elect it without credit. shift a boy has not fa- nnp ic The who started playing cornet to one of re are familiar, I hope I of the comPensation of instrumental may be pardoned if I use my own period in my studio, while the other is rehearsing in carry-over of added experience into the or- the other brasses. A grade school stud v th° f^ band and saxophone aspirant th cacher institution, Oberlin College, for an illustration. - It is his duty to acquaint as a nearby room. The shift of rooms in the middle of chestra through the talents of string may be persuaded to study clarinet manv these and wind if he is told that y 8 de 5011001V The first ensemble class in the children as possible with instru- Oberlin Conservatory the period means a loss of but two or three minutes. players enables us to have finer large groups than wc a dance band saxophonist ment a i should play clarinet pro- m 0- was organized Let ^ ioT once be admit over twenty years ago. This class and could otherwise hope ficiently, and many leading radio that at h™* Practical and to have. saxophonists got BAND, 1™55 ve those following for a ORCHESTRA a11 have witnessed the phenomenal number of years were in effect Public performance furnishes the strongest incentive their start studying clarinet. His choice of develo p J clarinet of a child mostly for the benefit of the piano student, because of can be further induced who at first seemed to be mu- to the players for doing really fine work. There is by convincing him that it is and EX™*° SSlble, the small CHORUS P ' Suctl musical may number of string players. The string parts always a temptation very easy to change from clarinet to saxophone, stimulatp incomprehensibles on the part of the students to but Edited by Willi of sonatas and trios were played usually by faculty am D. Revelli on the Part of the teacher to pass on to new music before the old number is thor- it doesn’t work as easily the other way around. This Sore thf members. BAND and ORCHESTRA 1510 potentiali There was little opportunity for rehearsing. ties of large group Edited by Willi a m 0 . Revelli oughly mastered, unless they know they are to play of uninhfbited^ a uninhibited youngsters Nevertheless, the students gained familiarity with 198 (Continued on Page 232) before a critical audience. It (Continued on Page 230) "FORWARD MARCH WITH MUSIC” APRIL. 1946 THE ETUDE "FORWARD MARCH WITH MUSIC” 199 3 !

Music and Study A Bowing Problem Music and Study

"In my student days I was always told must be drawn absolutely that the bow from the G to the A, without sounding straight, at an exact right angle to the the intermediate string, calls for a well- strings. I never had reason to doubt the truth of this until I began to notice that controlled and lightly-balanced bow arm. some of the finest artists, especially Mr. The Violinist’s Forum And that, in turn, calls for some careful not bow quite straight. . . . Milstein, do and consistent practice. The shoulder They seem to bow in a sort of narrow "fig- joint, joint, ure 8.” ... Is there any advantage in doing the wrist and the joints of this? Is it a new idea in bowing, or is it a Conducted by the fingers must work in perfect coordi- peculiarity of these artists? . . personal nation if the motion is to be made suc- —Mrs. V. L., Pennsylvania cessfully. This coordination is most easily gained through the study of one or two Rules are made to be broken—but only preparatory exercises. by those who can work with complete First, I recommend that you work on ease and freedom within them. One of the Whole Bow Martele, for no other the fundamental rules of violin playing single exercise so quickly develops co- is that the bow must be drawn parallel Prominent Teacher ordination of the entire right arm. This to the bridge, and it is a rule that must bowing was described in detail in the De- be strictly adhered to by every student and Conductor cember 1943, and January 1944 issues of until he has acquired a complete and The Etude. Practice in the manner de- flexible control of his bow. When he has scribed there, a study such as the seventh attained this, however, he is fully justi- of Kreutzer, the eleventh of Mazas, or fied in breaking the rule in the interests If the passage is fairly rapid, the finger the third of my “Twelve Studies in Mod- of an improved tone production. For can stop the two notes at once. This em Bowing.” Continue to practice it daily there is no doubt that “figure 8” bowing would be the best way of playing a pas- until you can take the whole length of —that is an apt description of yours, by sage like the following: the bow rapidly, with a pronounced She knows her notes! Mary Martin Crater, grad- the way—does give better tonal results, ac- Well! Well! Well! Here is a llute orchestra composed of young ladies of Jullunder, uate of three universities, training a Sousaphone cent at the beginning of each note. After if it is properly applied. Ext India. two or three weeks will player at Southern University. Let us examine the principle behind you find that your coordination has improved tremendously. this infraction of a seemingly iron-clad Then, eliminating the rule. If a Down bow is so drawn that the accent, sustain each note and try to connect part of the bow-hair which is approach- it to the next note without any break. ing the string is slightly nearer the In fact, this is the only way such a figure In each exercise there is bridge than that part which is at the an important, can be cleanly played at a fast tempo. point you moment in contact with the string, the must observe: that during each Well, I Do Declare! If the third finger is lifted after the D stroke the arm must be preparing itself result will firmer, more clinging be a No question will be answered in THE ETUDE and replaced on the G, the C natural or for the next. This bow-stroke. The same thing is true of unless accompanied by the jull name sounds complicated, and address oj the inquirer. Only initials, the open A string will almost certainly but actually it is quite simple. Take, for the Up stroke. The two sketches which pseudonym given, will published. or be sound. If the passage could be played example, an follow—for which I am indebted to a Up bow on the E string fol- Musical Instruments Throughout the World more slowly, the G could be taken with lowed by a talented and versatile pupil—will illus- Down bow on the D. During the second finger and the remaining trate the principle far better than many the Up stroke, the elbow should be ris- notes played in the second position. words of explanation. ing so that at the end of the stroke the In melodic passages, most violinists at the angle shown in the sketch. You arm is in position to play on the lower nowadays try to play a broken fifth by string, all will immediately feel that the bow is and you have to do to effect the Section IV using different fingers for the two notes, clinging to and almost cleaving the crossing is to roll the forearm a little moving one or two positions up or string, and that the tone quality has down. in the elbow joint and bend the fingers The following measure, taken from the taken on vibrancy and intensity. slightly. The same motions take place, Allegro of Fiocco, is a good example of This angled bowing is most effective in in reverse, when you play a Down bow This is the fourth of a series appearing in The Etude passages involving long, slow bow-strokes. on a lower string followed by an Up bow and continuing for six months—Editor's Note. It is rarely appropriate when less than on a high string. half the bow is used, unless the bow is When you feel that you have gained a fair moving very slowly indeed. And it is en- degree of control over the whole bow tirely out of place if the bow must move strokes, you should work on similar ex- Photos—From Three Lions with even moderate rapidity—the result ercises in each half of the bow. The same would be an immediate deterioration The last five notes could, of course, be principles govern the shorter strokes, but the amount of The shell game in Samoa. Musical conch horns of the tone quality. taken in the second position, but the motion in the arm is rela- can make a real rumpus. The change in the angle of the stroke necessity for getting a full, vibrant tone tively less. is made, of course, at the moment the on the F-sharp makes the third position The course of practice I have outlined will bow is changing from Up to Down, or a better choice. However, if the measure here do a great deal more than en- from Down to Up, and it requires a sup- had been written as follows, it would be able you to cross strings smoothly; it ple and sensitive movement of the hand better played in the second position: will directly benefit your entire bowing and arm. For this reason, it should be technique and tone production. attempted only by those players, young Ex. or old, whose tone production is smooth and flexible and Whose bowing technique Fingers and Wrist has been thoroughly developed. A broken fifth can also be played on "For the last two years I have read your articles in The Etude with Problem Crossing Strings the same string, by making either a the keenest in- The of terest and I feel that I have learnt shift or an extension. example: very For much from them. Your book on bowing One of my chief difficulties at present is technique, too, has helped me to under- Ex. 4 the smooth changing from one string to stand many things that I never knew be- another where the same finger is used for fore. ... I have tried to use your sugges- both notes, such as changing from “C” on tions in my own teaching, and I must say The angle between the bow and the the G string to “G” on the D string, all in the results have been . very good. . . But I strings has been slightly exaggerated in the first position. Another one which both- have one problem that bothers me. Most of order that the ers me is the smooth changing from, we my pupils can do the wrist and finger mo- direction of the bow- Broken fifths are always a bit of a will say, “E” on the D string to “G” on the tion very well, but some of them get into stroke may be perfectly clear. Actually, E string, eliminating the A string entirely. nuisance to violinists, but in almost every the habit of using their fingers a lot and the deviation from the right angle is I shall greatly appreciate any instruction case one of the above ways of playing their wrists not at all. I know this is not only a little more than just you may give which will assist me in ac- right, but don’t quite know perceptible. them will be found practical. It is an- what to do quiring about it. . But this the ability to make these changes . . What would you advise? little deviation makes a con- other matter when fifth in a smooth and proper manner. a has to be Miss F., siderable difference S. New Jersey to the steadiness and —A. C. A., California played as a double-stop. Then all we can intensity of the tone. As an experiment, do is to plant the finger strongly on the This habit of using hqar the fingers too what happens if you take an Up or Every violinist will realize your prob- two strings pray —and that the strings much and the wrist not enough is by no Down bow at the angle contrary to that lem, for it is by no means an easy matter are in tune means uncommon. You need not be un- shown in the drawing. If the tone does to change smoothly from one string to The second part of your letter brings duly concerned about it, for it can easily ims Roumanian not actually break, it will gentleman is playing the pipes certainly have the next with the same finger. But there up a point of bowing technique, and a be corrected. This Javanese virtuoso plays on a two-stringed "The harp that ° a Usually it appears in a once through Congo’s hills the soul named after the nymph Syrinx who, in a negligible, unhappy-sounding quality. are means by the difficulty of music sorea, P* which can be very important point it is. To change student who instrument of ebony and ivory. Primitive African harp escaping from has difficulty in learning to in the Belgian Congo. the god Pan, turned into a bundle Now try drawing the bow approximately overcome. smoothly from the D string to the E, or ( Continued on of reeds. Page 230) 200 "FORWARD MARCH WITH MUSIC” APRIL, 1946 "FORWARD THE ETUDE MARCH WITH MUSIC” 201 — .

some musician friend to play chords f Music and you ana to distinguish Music and Study Study between th* major ones and the minor 6 ones. Liste carefully to all the music that comes over the radio or that you hear else trying to determine where, by its sound whether it is major or minor. C an I Become a Composer or You will find that most and Answers probably of it is major Arranger? Questions but every once in a while there Claude Debussy will be one that is definitely minor. If you Q. In the April 1945 Etude you had an wil , follow these suggestions article "So you want to be a musician,” carefully for and in it you dealt few months, you will find with the question, Conducted by that by the “Shall I follow the performing or the end of such a period you will be able teaching field?" But what about other to As a Music Critic tell minor from major, either musicians? I myself like the subject of by the way harmony better than I do teaching or per- the music looks on paper or by the way forming. X also studying am advanced it sounds when it strikes your ear. composition. I 2)oc. I feel that have the ability UJ. Cjelu'Leniy nu to compose or arrange, but I don’t know how to use my knowledge. Could you help me?—A. C. M. Trills by ^VFJcuirice ^l^umeAnii1umeArui A. It was Mr. Revelli wrote Professor Emeritus who the Q. I would like to know what the expres- Concert Pianist, Conductor, article to which you refer, but since our sion, "Trills without afterbeat,” means and Author Oberlin College in viewpoints are similar, and since you the measure of Anitra’s Tanz as published in the "Grieg Album.” R. F. have asked me the question I will try — T. Music Editor, Webster's New to answer. A. Trills are often classified as “per- IKE MANY other great composers, Claude Debussy whose appreciation meant so much to him, and later You are entirely correct in asserting International Dictionary fect” or “imperfect,” a perfect trill being had to suffer from the attacks of incompetent on when he became the regular critic of the “Gil Bias” that there are other musical fields be- one that closes with a turn ; an imperfect I» critics. Although his music was well received he found in his hands a safety valve for the expression sides teaching and performing. But they trill closing without a turn. This does by newspapers in which prominent musicians such as of his feelings toward the stupidity or the ignominy are much more limited, and only a com- not mean that a “perfect” trill is in any Paul Dukas or Alfred Bruneau were temporarily or of certain conditions, as well as a weapon which might paratively few people are able to make a .sense better than an imperfect one, any permanently in charge of the reviews, there were other avert attacks and eventually help him to retaliate. He living in them. If you wish to become a more than a perfect fifth is better than cases when his extreme sensitiveness was profoundly would have complete freedom and could review con- composer, I advise you to prepare your- an imperfect fifth. These Is it Major or Minor ? are simply hurt. He would not have resented a criticism coming certs, opera, or write any kind of technical articles self also to be a teacher or a music critic names, and there are probably as many from one whom he respected artistically and when that would suit his fancy. But not wanting to be taken or a performer, because very few com- Q. On page 604 of the Oct. 1944 issue of trills that close without a turn as with Ernest Chausson, for instance, expressed himself with for one of those “inflated pontiffs” whose lucubrations posers are able to make a living through The Etude is printed Beethoven’s Bagatelle one. In the case of the trill in Anitra’s reserve concerning his string quartet, he strove to made him exhaust all his profane expletives, composing music alone. in G minor, Op. 119. When I looked at the it was in On the other Dance it seems key signature I thought it was B-flat ma- more appropriate to analyze it in order to determine whatever deficiency a light spirit that he assumed his duties and called hand, what is called “arranging” is A FAMOUS CARICATURE OF CLAUDE DEBUSSY a jor instead of G minor. I always have dif- have just a straight trill without the could be detected in his own style and form. But he his first contributions “Entretiens avec Monsieur BY LINDLOFF much more definite “job,” and if you are ficulty in this regard. Is there some way “afterbeat.” If you will look in your mu- felt indignant when verdicts were handed down by an excellent musician, if you are expert that by looking at the key signature I can sic dictionary under trill (or shake) you amateur critics, doctors without patients, architects in harmony, counterpoint, and form; and tell at a glance if I am playing in a major or minor key? I would be so grateful for will probably find additional information without houses to build, lawyers without cases to plead; if you know the orchestral instruments this help. L. F. P. of greatness in German — that may be of interest to you. in short, all those who invade the field for the sake and are able to arrange a piano piece or music. Did not Prince A. I do not find the particular piece of gaining free admission to concerts and theaters. a song for orchestra so that it sounds as Ludwig Ferdinand of Ba- you mention in my October Etude What hurt him beyond words was the authority with though it had been written for orchestra but Grace Notes in a Liszt Rhapsody varia, this amiable ama- I believe I can help you with which those nitwits judged things they did not under- in the first place, then you will probably your prob- teur fiddler who loved to lem. Each signature stands for two Q. (1) How do stand; so when one day he received a visit from the be able to get a job as arranger—possibly keys, you play the grace notes join the violin section of Edgewood one major, the in the six measures beginning with Mea- secretary of the "Revue Blanche” asking to join in New York with one of the music Avenue, New Haven 11, Conn. other minor. Thus, the him the opera pub- sure 35 of Liszt's Second Hungarian Rhap- occasionally, lishing As to music study for signature two flats may mean that their staff, he was delighted. Of course this monthly firms, but more probably in yourself, I ad- the sody? say once that “Wagner vise you to attend some college or key is B-flat major or that it is magazine did not have the importance of a daily Hollywood. uni- G minor. (2) Is the dotted eighth note rest in the was the first and greatest versity that has a strong music Likewise the signature two bass of this measure a mistake? newspaper, but it was read among an intellectual elite depart- sharps may How do composer of all time” you play the grace ment. It is possible in such a school to stand for either D major or B minor; notes in the left hand? • Debussy felt most indig- major in one flat, —Mrs. F. W. H. Music Study in the South music but at the same time to for F major or D minor; one nant: minor in some subject such as English, sharp, for G major or E minor; and Ex.l “Certainly Q. Would you kindly Ludwig Fer- inform me of any Speech, History, or Mathematics. As a so on. There are two ways to tell musical competitions whether dinand is much more in my locality which minor a will you should choose some subject given composition is major or minor: be held in 1946? In former years I re- a prince than a music member in which you are interested and in (1) by the way it looks; state contests, but I haven't heard which (2) by the way scholar. What about anything concerning these, in latter you have already made it sounds. If years. some preparation. there are two flats in the Bach? I have, in my class, a high school student schools Would he be, by Many now expect the music signature and if the first and last chords who I believe is very good in piano, and I chance, just a man who should teacher to take charge of one or more in the composition are like to have her participate in a B-flat-D-F, and had twenty children? And musical classes in other subjects, if the competition. and although composition seems to be built I have Beethoven? With his per- another question for you, Dr. the preparation for teaching is around the more tonic of B-flat, then it is Gehrkens. I studied manent temper, piano for about six difficult, there is often probably bad did years considerable gain in B-flat major; and if in while in high school. I have always addi- he by any means become in breadth of view and world tion to its (1) The grace notes are placed on the been deeply interested in music, and this under- looks, the piece sounds major, deaf purposely so he could summer, after finishing high school in standing. The greatest trouble is that the then you may last quarter of the count. Here is Meas- be certain that the key is August, began teaching private necessity bore his contemporaries music in of preparing to teach another B-flat. But if the ure 35 written as you would play it. two of the schools near home. first and last chords my I am subject is apt to cut with his last string quar- planning down the time avail- are G-B-flat-D, if to attend college this fall. I there are some F able for music study, tets? As for Mozart let us should like to major in music, but at the and this matter is same time, prepare so important not even speak of him: myself so that I could, that it must be watched raised seventh in the if necessary, teach harmonic mino academic subjects. with eagle eye. Therefore, I advise scale he was a little imp who you, ) , and if the entire Should I attend a regular college, or a con- piece, seems ti first, to choose a college wrote ‘Don Giovanni’ in servatory? And do you think in which music have a “minor sound’’— I might be then it is h order able to get a scholarship to some has a large place in the curriculum so G minor. to aggravate Ger- conserva- DEBUSSY'S MONUMENT IN PARIS tory? Although I am considered an excel- that you may make many. Heavens, here is adequate preparation "But,” you say, “how lent pianist here, I have never played in can I teU abou in musicianship; and, second, to arrange the sound the real glory of Ger- any other town. And too, there aren’t so whether it is major or Croche,” “Interviews with Mr. your own plan of study mi- Quarter-Note” (here I many; he is so great that only very few names many conservatories here in the South, so as to include nor?” to which I can be are reply, “By experience modify the notation value as I find that in English there? I should like those in the North, some music in each of your four compared with his.” but college my dear.’ Play the chord of course I should prefer one B-flat-D-F a “quarter note” sounds more gracious and euphonic In near Ala- years. If you can arrange to go to college Now (2) My edition not have this 1903 Debussy went to London, sent by the “Gil bama. What are some add some extra B-flats does good ones in the for five and F's ii than an eighth) Bias” to report about South, years—or even six—that will both bass dotted eighth note rest. It is put in to the performance of the “Ring” mainly? and treble. This is the way i at Thank you for answering simplify things very much, for in five or major show that the the left Covent Garden. He reacted as follows: these for me chord sounds. Now play grace notes in for I value six years the chore Debussy on Wagner “It is difficult , your opinion very highly in- you would be able to prepare hand come the to imagine the condition in which G-B-flat-D, adding extra on the last quarter of deed. I always enjoy your page in The G’s and D’: But Claude was never viciously revengeful and if yourself as a musician and at the same count. This, other we even a robust brain finds itself after listening to the Etude. Enclosed find and sustaining the entire I think, answers your a self-addressed, chord with look at the lengthy list time take a sufficient number of the of his articles we find very four performances. One’s stamped envelope for reply. J. courses damper pedal. question also. own personality is engulfed, — J. F. This is the way in other fields so as to a minoi few instances when his judgments could be called one is but one insure breadth of chord sounds. Now additional leit-motiv whirling around A. Most music contests were aban- contrast F-A-C with either sharp or unkind. Instead, view and ability to teach another sub- he often used his in the quadrille danced by all the others. doned for in the same way; * * Oh . . . how the duration and that is prob- ject. and a n r column to outline his personal opinions about great unbearable with E-G-B. By way those be-helmeted and fur-clad people ably why you have heard nothing of ' variety about For information concerning pS "When sov- composers and their works, and now that he himself become when the accredited C-E-G (adding C’s Handel was told by his fourth installment is reached! Just competitions in your own state. However, colleges and G’s as advised has become one of the prominent in the South, I advise you to V ereign that the performance of the names in the Hall imagine: none of them ever the National Federation n<1 C0 traSt U With appears on the stage of Music Clubs write to the secretary of the C-E-flat-G Messiah’ of Fame it is interesting to see how he reacted to cer- National Th°eThe first chordh ^ had afforded him pleasure, the without the accompaniment of those pesky leit-motivs. competition is being continued and in- is major, the Association of Schools of Music, second i« composer did tain masterpieces, styles, or tendencies. They even Mr. minor; and if replied, ‘Your majesty, I often sing them themselves, which makes formation concerning it may be secured you will listen to DEBUSSY'S BIRTHPLACE First Burnet C. Tuthill, Southwestern College, them not intend pleas- let us turn to Richard Wagner. One ought never me think of the writing Miss attentively and repeatedly to amuse or to afford Debussy gentle insanity of a man presenting by to Ruth M. Ferry, 24 Memphis, Tennessee. you will grad- ure; ” was born over Shis dyeing establishment on the to forget that Debussy lived at a time when wrongly ually come I meant to make the world better.’ his visiting card and at the same time singing his name! to feel the difference Get Rue du Pain (Street oi Bread) in Paris. enough Wagner was considered as the very measure —Karl Merz. The ‘Ring’ has something (.Continued on Page 228) 202 " FORWARD MARCH WHTH MUSIC” APRIL, 1946 "FORWARD THE ETUDE MARCH WITH MUSIC” 203 ' m ^ m . —

ittusic and Study TIPPY This fanciful composition as named by the composer for his pet black kitten, who insisted upon jumping- on the keyboard and chasing- after his masters fingers. Tippy was named because he had a white-tipped tail. Conceived in a spirit of fun, the piece must be played like a little scherzo. Grade 4. the Audience Should Give to an Artist What WALTER O’DONNELL

through. Once, we find him singing to a vast audience pouring rain in a bull ring in Mexico From a Conference with in the City; yet the artist is told to guard his health as his greatest jewel. Audiences pay top prices for their seats and they to hear the 1/yjanu-^ucca feel that they are entitled artist at his best They think, “I don’t care how well he sings in the bath- hear him in the concert Prominent American Composer and Pianist room. I have to hall.” Leopold responsible for the Stokowski is aphorism, “Music is painted upon a canvas of silence.” Without that re- spectful silence the artist can do little. The higher the degree of silence, the finer the possibilities of per- formance. People with coughs, asthma, and SECURED EXPRESSLY FOR THE ETUDE BY JAY MEDIA the seven Ped. simile year itch should keep away from concert halls. Noth- give them the right to destroy ing can what others 5 A have paid high prices to hear. The moment noise 3 3 en- '' t O ters a concert program, the chain of interest is rup- 4 i ? 1 teacher and Mme. Mana-Zucca, composer, pianist, and soprano, was born in New York City, where her ' ],; f tured, and it may take some time to restore it. was This l: 1 • • mxz mentor was the famous Alexander Lambert. She also studied with Herman Spielter. In London she _ . m 0 1®" —7‘ m 0- 9 • * 9 is a crime against the composer, the n* artist, and ‘ a a pupil of Max Yogrich, while in Berlin her teachers were Godowsky and Busoni. She studied singing the J -Z "Pfl Concerto auditors who come to the concert hall with the in London and Paris. She appeared in New York as an infant prodigy, playing a Beethoven desire Lf — J-S*-- w best. with the New York Symphony Orchestra. She also sang the soprano role in the London performance of to hear the in thousand More than this, I the "Count of Luxemburg" and later appeared comic opera. She has to her credit over one have another suggestion to make f compositions, including orchestral works, a highly commended Sonata for Violin and Piano, and many It to American audiences. takes some time for an audi- » .1PL Again. £ • »- # extremely successful songs, notably the world favorite, I Love Life. Her latest song is Time and Time ence to settle down after it M. arrives. Would it not be a m t f —'Editor's Note. B — very good idea to state that the auditors are requested J 1 £ S ' =f -i to be _ • T f=4 seated at least 3= J =± L five ±= minutes . before n* HE PROGRESS of democracy in the world is He knows that his the time for the con- nowhere better shown than in the altered atti- audience is, after all, cert to commence? T tude of people of all countries toward music. his instrument. It is Mr. Paderewski was of Aristocracy, except where it has been an aristocracy like a huge organ. He very sensitive to this brains and achievement, always has been founded upon must play upon the and frequently de- bluff. Even the dictators, from Nero to Hitler, have sense of musical tone layed his entrance little clowns been bluffs, many of them more than in color, the human un- until he was assured founded upon the assumption of power. As positions derstanding, and the that his opening notes long as music was the servant of aristocracy there was musical soul of the would not be marred a very frail bond between the musician and the patron, vast instrument. by any kind of ex- except in rare instances, such as those of the Esterhazy traneous sounds. family in Hungary, and Frederick the Great in Prussia. The Critical The auditors who With the changing decades, the patrons of music Audience sit in the first ten have become the members of the public. We need not Fortunately, the rows of seats have a go back further than the Victorian era to find that radio artist (if he great responsibility. musicians, in many cases, were separated from their wants it that way) They are within the audiences by a silken cord. Those aristocrats who were appears and sings in eye-grasp of the per- musicians treated the players with consideration, but complete isolation. former, and the move- others regarded them as menials, and did not hesitate He is in a soundproof ment of programs, 3 2 to offend them by insufferable rudeness. room where every im- squirming, rustling, 1 i. aginable care Ls taken The Artist-Audience Bond and whispered com- that nothing • mars ments which might Now the whole situation is changed and the mu- his interpretation, readily be deferred to sician feels that his genius entitles him to every con- even in the slightest m a later time, should ^3 sideration and courtesy. Good performances cannot degree. Many artists, be avoided. The basis be expected unless there is a bond between the per- however, feel that of all good manners 1 former and the auditor. This is imperative. Those who they cannot be at their is consideration for « do not understand this had better keep away from the best, singing to Johns the sensibilities, the opera house and the concert hall. The diamond en- Manville soundproof \& feelings, and the in- T crusted dowager in her opera box, who mars a 'per- walls, and conse- terests of others. This i formance of her neighbors as well as that of the artist, quently the radio w i is the foundation of chooses a very expensive location in which to display companies now fre- all the rules of eti- her bad manners. quently broadcast in quette. Artists are Many of the greatest singers and the most famous halls and theaters, cogni- •A virtuosi have been my friends for years and I have with large audiences particularly heard the subject of audiences discussed repeatedly. present. zant of a well man- A su- Artists such as John Charles Thomas, Igor Gorin, Josef The responsibility nered audience, perior audience is Hofmann, Jose Iturbi, Jascha Heifetz, Mischa Elman, of the artist is always Merrill, likely to hear a su- Robert Rosa Ponselle, and others have con- great. He knows that • MME. MANA-ZUCCA m have tinually discussed their audiences with me. If an artist audiences are unre- perior concert. I Wm m un- were performing for one individual, he could appraise lentingly critical. An in mind a very artist must be good at his worst Fine person’s musical sensitivity derstanding ffiend. I am certain that I at my best that or his receptivity, as he is seldom at his best. One very am great singer told when I and in an. intimate recital expect more or less definite am playing for her. I wish that she might be me that only once in his life did he feel that he was in in every audience of results. What is the situation when an artist must ap- perfect voice, and on to which I play. I would be sure that night he had no engage- one pear before an audience of two thousand people or,' superior auditor, at least. 9i ment. The strain of travel, the incessant change of Frozen and the i case of a great radio artist hypercritical hear as in the such as John living surroundings, food, and climate audiences rarely iml are very taxing best Charles Thomas, before millions of invisible listeners, even to the an artist has to offer. Don’t hesitate to show your f strongest artists. Anyone who has read reach through his art approbation. Applause all whom he must and personality the remarkably naive letters of is the currency demanded by Enrico Caruso to his public by way of his voice, as they cannot see him in person. wife has some performers. Lethargy upon the part of a group idea of what the great tenor went in the audience is 233) Copyright contagious. ( Continued on Page 1945 by Theodore Presser Co. British Copyright secured 204 "FORWARD MARCH WITH MUSIC' APRIL 1946 THE ETUDE 205 l.h. above r h. above r.h.

i A A l\ DANCING WITH THE DAFFODILS This is one of the late Clarence Kohlmann’s brightest numbers. It should be performed with a crisp nt/iccufo and with strict attention paid to well-marked accents It makes a very good study in double notes. Grade 4. Allegretto scherzando ma non troppo (J - 152) CLARENCE KOHLMANN

APRIL 1946 207 Wss — — E • — —

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- 7 m i j r f 'Mi jj> j P-Lj FT r W 0- Christ the Lord is ris-en, is ris-en, is ris - en to reign for aye. /O a tempo !t E §1 % 1 iiPjR dim. C\ H t t 1 £ ' y y I v i Hz. m 5 • I j E r -0 deem- er, a As peace-ful-ly He slept. ad - ness 6 Last & — Up - on the cross He bore Not^ star"" rail. . r7\ rTN {L mid- night nea\ n 6 hZ-Tns^ens, TheTh light of earth has ^ 7 7 3T j F t&L Z!A ris - en to reign for aye. z® /7n 3=±: *1 5 izF- |li rit. B rail * * V /TV 3=|b ft ¥ ¥ E Copyright MCMIII by Geibeland Lehman — Copyright 1931 by Theodore F 218 Presser Co. 8 8 8 8 THE ETUDE APRIL 1946 219 SIGNS OF SPRING SIGNS OF SPRING

Copyright 1927 by Theodore Presser Co. 220 British Copyright secured THE ETUDE APRIL 1946 22/ BellsIs ringing- r. k. =3t: £ m a £ m 3 P D.C. m *•• t t: *

1 1 3 2 secured Copyright 1944 by Theodore Presser Co. British Copyright APRIL 1946 223 — ^ , — —

The Teacher's Round Table -A Beautiful Number The Green Cathedral (iContinued from Page 192) Verses by GORDON JOHNSTONE Music by CARL HAHN

threes and fours, once Beer; Twenty Piano Duet Transcriptions “squash” groups of High Voice—Range d to g in of Favorite Hymns, Kohlmann; The combining the squashes Catalog No. 30050 Price, 60{! THE GREEN CATHEDRAL Hampton Book of Two-Piano Music- twenty pieces; Harold Flammer Duet Med. Voice—Range c to F Book, E; All-American Duet Album, E; I know a green cathedral, 1 Miniatures (six pieces) Haubiel; Com- Catalog No. 30682 Price, 60«! V T i' ^ ’ Besfl shadow’d forest J> J | panion Studies to the twenty-five Studies, The A shrine, ] b-flat to E-flat Opus Burgmueller-Ridderhof ; Love ul Me Low Voice Range Where leaves in love join 100, 1 — if simple, rapid “broken ^ev/e: Success ;m!1 in hasias Price, 60jf rhvthm, once Waltzes. Set Two, Brahms-Maier; Album ,f Catalog No. 30051 hands above . ind Then the pupil . ..j v.rF patterns. . . . of Nine Piano Duos, Mrs. Crosby Adams. And arch your prayer and squash” lUENCE •C’SSM (with his eyes) the 2. Early Grades—X recommend the long mine; stood up and followed list of Kosakoff ’s good, easy arrangements fast] Solo I was assigning him c,a\ Piano Within its cool depths of a new piece :ac*' n sacred. music of short familiar Bach Minuets and Pre- P'“- co)mb’ Arr. by Bruce Carleton Whenever X stopped course The priestly cedar sighs, I played it. . . . ludes, Beethoven’s Bagatelle, Eccossaise, ,\odY as tn»» (Grade 3]/ )....Pr., 40 ft 5 v vrllh me Catalog No. 30859 2 And the fir and pine lift was required to point to the Fur Elise and Sonatina in G and many n *' pagee suddenly he r^Sf!A»Aa'°r ° the P»9 * ^ech<"®^ecV'<"° \ VArUr. \£ piaT>°rtl2 arms If he other pieces of Handel, Haydn, Schu- \euee divine beginning of the next measure e*perr mann, Grieg, Clementi, Gurlitt, and ingng nil Unto the pure blue skies. pounce on the note, I humorously didn’t others. . June Weybright’s simple, at- Choral Arrangements hope you know . . uave him the “bird” (I tractive versions of Turkey -in-the- Straw, le Chorus or Quartet of Mixed Voices In my dear green SimP ^dPtogt£^,Sl cathedral means!). ... Just a game, Shepherd's Hey, and her own Tumble- Pr„ 15jt what that (S.A.T.B.) Cat. No. 35073 There is a flower'd seat Town Cake Walk, and Tumble-Down to painlessly instill an important Chorus of Treble Vcs., Two-Part (S.A.) And choir loft is branch-ed you see, Waterfall. Also Chinatown, Rogers; ’ Pr.. principle which he needed Catalog No. 35399 12Couperin- THE Distributors hour clicked. ... All too short and hope- man; The Little oTco-W JOHN CHURCH CO. 1712 Chestnut Gest; Rondo from Sonata Pathetique, _ oai.ai — y St., Philadelphia 1, Pa. lessly insufficient! In another fifteen 0* ‘ ;{ementajT t°“ bj® E elemenl^„ Widerdet i^^U”difficuU |.- Beethoven-Haigh; Polonaise in A Flat, dY d " W only have given him RD lhe6 ®e ^ s ° ^5 Studies-^;, minutes I could not (duet) Chopin-Guenther; Minuet and GBA^G* ^Jered*^g| e\en^ toch °7 mas m°remote^ 10 a comprehensive lesson, but we could Gavotte, Saint Saens; Liebestraum, Liszt- Aalerial a . has « P » tpegg siudies Serge Koussevitsky—Boston Symphony Thrace Guenther; Minuet, Bosscherini-Gest; gI have some music fun together. . . . After t° **£? d ^heorv-s^ minor, Rachmaninoff- culture -gSS^ £ and Prelude in C-sharp Baldwin . . . what a trio in the musical ^f all, that’s what music is for, isn’t it? . . . Classic® u^' ,.„rions. Hesselberg; Five Variations, “The Teach- 'L°\eeping„r L of America! Half hour lessons? . . . Phooey! the Pupil,” Haydn-Maier for duet ding er and Ve° i;seV®Xslcall£^£«i^^ JOHN M. WILLIAMS or two pianos. Be sure to examine some of Grieg pieces—Peer Gynt Suite, Master of orchestral technique, Kousse- for the many Two Piano Music Early Grades Dance No. 2. March Butterfly, Norwegian vitsky is an international figure. He has built Could you recommend some two. piano, four of the Dwarfs, and so on in two-piano finest orches- hand music for the easy and “moderately dif- versions; and Ottilie Sutro’s arrangement his organization into one of the GRADE-BY-GRADE numerous Chopin, Mendelssohn and ficult” grades? . . . Many of my students are of tras of the world. And because he stands interested in ensemble music, and I have a Nevin items. large class which meets one night every two 4. Dances and “Popular” Music—Victor today with the all-time geniuses of musician- weeks to play duets and two piano music for Herbert Favorites, Campbell-Watson; 60 WRITING LESSONS Herbert-Kovacs; ship, his unreserved preference for Baldwin PIANO criticism and fun.—L. B., Pennsylvania Italian Street Song, March of the Toys, Herbert-Truxell; Be- is praise indeed. in MUSICAL THEORY I wonder how many Hound Tablers gin the Beguine, Cole Porter; Purple have inaugurated such a bi-weekly or Heather, Worth; Nola, Arndt; Dark Eyes, Koussevitsky finds in the Baldwin "A great In Two Parts Compiled Juba by EDGAR MOY even monthly “Ensemble Fun”, Stone; Jungle Drums, Lecuona; PART COURSE class in Albeniz-Gest; work of musical art ... a truly orchestral ONE—The book provides begin- Dance, Dett; Tango in D, PART TWO Amplifies the basic facts especially for their adolescent ar.d adult ners with Tarantelle, The Fish-Wives of Procida, knowledge of rudiments. of written music carrying the student tone, round, full and of magnificent reso- An pupils. (I infer that you have two pianos Raff; Tambourin, Gossec-Gest; Dancing introduction to through Staves, Clefs, Notes and Eighth Notes, Double Sharps Poldini-Gest; Country Gardens, nance and color!... For the orchestra, as well in your studio or home : an instructor is Doll, Rests, Time Signatures, and Flats, Syncopation, Chromatic and Blake; Scher- Leger Lines, Saar; Irish Dance, D. G. use, the Baldwin is PERFEC- Diatonic Semitones, only half a teacher who does not own Span, Gehring; as for my own Sharps, Flats, Naturals, Accidentals, Minor and Har- 2ino, Simmons; Spic and monic and use two pianos.) Nash. You, too, as a teacher, and your Major Key Signatures Scales, and Intervals. An excel- * Tarantella, Grace Helen TION.” and the Major PROPER It Sea-Gardens, Cooke- lent introduction to the study of Har- TEACHING SEQUENCE is difficult, sometimes impossible, to 5. Miscellaneous— the Scales. Burleigh-Anson; pupils as well, can .find in the Baldwin mony. arrange convenient practice times and Hesselberg; Coasting, VERY FIRST Poi- PIANO BOOK Andante, Chaminade-Adams ; The perfect medium for stimulation and accom- ... .75 places for pupil-teams; but how about Price Each Part 35c Pupil’s musical vocabulary and playing Fountain, Bax; The Pottery Wheel experiences are limited to Middle C soned plishment. —tour notes up and four notes down. you playing the missing piano part for Sea Chantey, Turner; Narcissus and ELEMENTARY and PIANO COMPOSITIONS THE HAPPY HOUR BOOK each student at regular putting Rosary, Nevin-Hull-Howe; Gondo- , " lessons, The 00 Baldwin and Baldwin-built pianos are in- by Outstanding MUSICAL QUIZ S,Cal v°ca*?ulary. Plays' liera, Reinecke; Prelude, Pietsch; March Educators and ' reads "notes on "the ' entire your teams fraud stafl together only at the class E^d altho playingr . Pierne-Riegger; To CARPENTERS "I by Maxwell Powers s confined to five-finger position. of the Lead Soldiers, creasingly available to teachers and pupils as FIRST GRADE PIANO BOOK periods? Such a plan takes less time and Deep , 00 a Wild Rose, MacDowell-Sequeira; SO HIGH 1 By June energy the ideal vehicle for encouragement and suc- Nine Original, 6 maj r ' for all Novel Piano Composi- ° SCa eS ’ '° ' concerned, and will offer Simmons. n C ' dominant and sub-dominant River, IN TIME Weybrighf chords ^rfeach^key | tions for Piano Students of Elementary you the much needed compulsion to prac- cess. Your Baldwin dealer has set one aside PICTURES J ADVANCED FIRST GRADE BOOK Nine numbers from the Nut-Cracker and Intermediate Grades. An excellent , 00 tice, play THE 3 ,h and “illustrate” for the pupils. are pub- it ENCHANTED SLIPPER -y ‘ Suite, Tschaikowsky-Hesselberg so you can hear and play any time you B v stimulant to the student's imagination. ^ ^ V"d ~~"d SECOND GRrDE A long list is here CINDERELLA AT BOOK. ^ appended. Those . . . THE ^ pianos. BALL Isabel separately for two 1 The Quiz, or lished like. Let him tell you when and how you can WHIRLING Game Element, is intro- THIRD GRADE marked “E” AND TWIRLING Van BOOK o0 are in the easy or early Debussy, four composi- duced before each composition, the The Petite Suite, THE FOURTH GRADE , grade own a Baldwin. BUSY LITTLE CLOCK (with lyrics). BOOK category, about grade two, while Norf questions anticipating "• n0 the best of his early works the various tech- fifth •• tions—among Price grade book .'I.!!!.'!!"!!!!!"!”' most of the others are of the Interme- 30c Each nical phases brought up in each piece. ,oo —can be had in the original duet version AH contain carefully chosen selections diate grades (three COWBOY by Hazel Gives the student each preceded and four! . . . . Duets Bus- Cobb 30 c an excellent chance andanaZyttca/ by explanatory or in a two-piano arrangement by to text with practice su^estions and for one-piano, (with lyrics) brush up on his technical knowledge procedure four hands are specified; prefer the original even for the ser. I much MOONLIGHT by Hazel Cobb in a most entertaining manner. two piano, four-hand compositions 3Sc WRITE FOR COPIES playing on the two instruments. (A Pedal Study) "ON EXAMINATION" are usually unlabelled. . . . Don’t forget to use some of those ef- Price 60c that And don’t fail duets sound richer, freer, better and fective, easy two-piano arrangements of when they Pattatin are played on two pianos. Kreisler favorites. long BOSTON Well, that ought to hold us for a THE BALDWIN PIANO COMPANY MUSIC COMPANY twT PlaS° Part t0 Tuneful Tasks time! S0^'B f°rd, CINCINNATI 2, OHIO 116 BOYLSTON STREET <~z> Pa,^P jr? E; Seeond Piai This material may be procured through BOSTON 1 MASS. fifteen Two-Part Invention 6, tSm? I? The Etude. Makers of BALDWIN. ACR0S0NIC, HAMILTON and HOWARD Pianos acn-Vene; * Classic Masters’ Duet Book the publishers of 224 "FORWARD MARCH WITH MUSIC" APRIL, WITH MUSIC” THE ETUDE 1946 "FORWARD MARCH 223 — — —

— I/O me men a-nu. The Negro Spiritual heritage and present day achievements. lllllllllliiiiiiaiB Indeed, Negro choirs and singers, by to a wide Voice Questions (.Continued from Page 194) making the Spiritual familiar audience, have enriched our national ethoven true folk music, we must take cognizance heritage. come of this Southern Negro who has brought We the people, at long last, have ahms Music—the Spir- the new race and its music to the front to realize that Negro _JniwereJ DR. NICHOLAS DOUTY pages, through the medium of his own itual in particular—is indeed a lively tury Edition compositions. leaven in the American way of life. Listening to Magnavox from the relaxed Although a relatively young man, Wil- Many people think the three Says a recent letter, "Century is to B's are liam Grant Still achieved world-wide comfort of your favorite chair is a never- three best. It is Song sic schools, many singing teachers of inter- be congratulated for reminding every recognition also the the logical Mendelssohn’s On Wing. of for himself and American national reputation, four or five symphony or- thing to select your favorites tell me the best edition of source of pleasure, a new and teacher that there is great music avail- music—a fame such as few Negro com- in Cen- O Could you chestras, several marvelous opera companies, ending able in the posers Servants of the Ideal tury Edition. They are complete, and is the home of some of the most magni- early grades." We think that in the history of folk music have au- experience in musical enjoy- ficent singing artists in existence Why do you wonderful an examination of these numbers at your lived to experience. When he began thentic and beautifully printed h (Continued from Page 193) —and, tsa . SS, not make the acquaintance of some of these composing best ? —Mrs.XJ £TTG. c. M. radio- dealer will bring enthusiastic agreement he attracted public atten- of course, priced at 15^ a copy. do you consider musicians and ask their opinion and their help? ment. In the new Magnavox from you. tion through the medium of his orches- as old as Mendelssohn’s charming It would not be quite tactful for the Editor of things, but with duty and A A song is so faithfully tral not with small Heine's lovely verses, Auf Voice Questions in a magazine like The Etude, phonograph all music works, which soon numbered him BACH setting of Heinrich live. The Chinese language of necessity exist to recommend one singing teacher in city among the the way men nueaeln des Gesanges. must a 3607 March, important personalities of 3378 Air for the G-String, C-4 monu- reproduced that you enjoy the trueness Anna Magdalena, 0-2 Bach lacked an alphabet. But Chinese education editions. Heine, whose beautiful where there are so many competent and well the in G, -3 in many 3709 Minuet #1, Anna Magdalena, G-2... Bach Younger American School. His major 3417 Arioso a few years ago by the trained ones. We wish you every success in it Confucius. The “five ment was destroyed 3710 Minuet #2, Anna Magdalena, G-2... works, had one, given by 3488 Fugue No. 5, D-6 remarkable clarity of tone of the Bach intensely racial, brought him to fVrmans solely because he had been bom a your search, which should not prove difficult, and 3608 Musette, Anna Magdalena, 0-2 Bach relationships”—of sovereign and subject, 2400 Gavotte in B Minor, -3 the attention of the brought a new fluidity and melodious- in spite of your rather pessimistic question. 3711 Ecossaise, Eb-2 Beethoven outside world. 3257 Prelude in C, -3 Jew living, parent and child, husband and wife, verse. No translation can pos- living performance. Truly a lasting investment in gracious 413 Sonatine #29, G-2 Beethoven His music, strongly melodic, throbs 3558 Toccata and Fugue in D Minor, -6 ness’to German brother, friend and friend the original and we advise you to She Starts With a Rough Tone 414 Sonatine #30, F-2 Beethoven with emotion brother and 3418 Two Part Invention No. 8, F-4 hly equal family. and depicts the soul of a original tongue if you possibly Magnavox is one of the better things in life that you can give your 3235 The Doll's Lament, G-2.. Franck every Chinese child as s ng it in the Which Gradually Disappears race in the throes were taught to and beauty of tone. 1971 Gavotte, C-2.. Gossec of a heroic struggle BEETHOVEN can with great smoothness teach the ABC’s. "Is there one good ten Q. Sometimes when I start singing I cannot 2264 Song of the Fatherland, for freedom we cannot do this, hunt through the or Eb-2 Grieg and uplift. For Still weaves If you get a clear tone. The pitch is true, but there is 1313 Bagatelle in D, Op. 33, No. -4 until you find the 2257 Watchman's Song, E-3 Grieg the word which may serve as a rule for the 6, twelve available editions Spiritual into distinctly American in a sort of vibration in my throat which sounds 628 Gypsy Rondo, G-3 3328 Bagatelle Eb, Op. 33, No. I, -3 appeals most to your tempera- Haydn practice of life?” a pupil asks the mas- translation that ice. music, -6 - i 1 4 1 m .taui. Vfnina IT C £3 II £3 to me like a skate going over rough It is 3712 Oxen Minuet, C-2 Haydn and breathes new life into the 1186 Moonlight Sonata, C#m, ter. “Yes,” replies Confucius. “Is not *e- 375 Rondo, Op. No. I, C-3 not nervousness because it happens when I am 1177 Venetian Boat Song, primitive rhythm and the exotic charm 51, I?. 3345 Rondo, Op. No. G-3 practicing alone and it is not old age because I- No. 6, Gm-3 Mendelssohn of his African ciprocity such a word? What you do not 51. 2, 3713 Menuetto and plantation heritage. 3494 Six Variations, thirty-four years age. The tones are & Air, F-Bb-2 . only Mozart "Nel Cor . G-3 Degree am of 3714 earlier want done to yourself do not do to Obtain a Bachelor of Music Tarantella, Dm-2 .Prokofieff The African form was chiefly for 398 Sonata, Op. 49, No. I, Gm-3 How to properly placed, and clearing my throat does 3639 Tambourin, This, oral content, permeating baritone, and Em-3 Rameau the dance, while the others.” 400 Sonata, Op. 49, No. 2, G-3 I am twenty years of age, a not help. After I sing a while it clears away. 3715 later American Q Little Waltzes from Op. 9A, 2-3. .Schubert vitality 1341 Sonata Pathetique, Cm-S for a Bachelor of Music Degree Music is my work so I must find the cause and counterpart, in everything, was the of the Con- I plan to study 3716 First Loss, Em-2 Schumann the deft hand of Still, is concert or opera. Will you fucian doctrine, and the reason for the in voice and enter remedy it. It is annoying when I sing in public. 268 The Happy Farmer, F-2 Schumann projected almost exclusively book in folk song BRAHMS please recommend some songs or a of Are there any lozenges that will clear the 3717 Sicilienne, Am-2 ochumann and music with vast and lasting influence of the scheme help me start towards a rep- your reply. New World setting and 2447 Hungarian songs that would throat? Thank you for 2450 Soldiers' March, G-2 Schumann Dance No. I, Gm-S-6 entrance to tone quality. of education he projected. ertoire sufficiently difficult for —Mrs. D. M. F. 2356 Wild Horseman, Am-2 Schumann 2395 Hungarian Dance No. 3, F-4-S “R - C * E ‘ 2451 Toy Soldiers’ X. I bring this roster to a close with 2203 Hungarian Dance No. F#m-S school. March, 0-2 .. .Tschaikowsky Critics abroad referred to his well- 5, A. It sounds as if you had a slight nasal ca- 3718 Sweet Dreams, C-2 3249 Hungarian Dance No. 6, 06-6 to .Tschaikowsky known Afro-American the name of one who, like him I spoke A. Your question would be much easier tarrh. When your voice is at rest some of the 896 W.altz, Symphony as “the 3336 Hungarian Dance No. F-4 Op. 39, No. 8, Eb-3. . .Tschaikowsky 7, v about yourself of first, left us no writings, founded no answer if you had told us more excess mucus collects about the vocal chords most characteristically indigenous music 3491 Intermezzo, Op. 119, No. 3, C-5 than the mere facts that you are twenty, that interfering with their free vibration, especially school who only taught and lived. 2448 Waltzes, I, -5 Ask to have come from this country.” — He 2, 8, 15, Op. 39. that desire to your dealer for Century music. If he cannot And in you have a baritone voice, you at the start of your singing. As soon as the laid master rules, supply you, send his other major down two that men degree of Bachelor of Music and then pressure of the breath removes the mucus, the your order direct to us. Our composition, Darker Ask your earn the should love dealer for Century music. If he can- would have wel- complete catalog listing America Still their God and love their fel- to enter concert or opera. We voice clears, the production becomes easier and over 3700 numbers is , gives the listener the im- not supply you, send your order direct to us. concerning your range, FREE on request. lows. A simple lesson, yet hard for hu- comed more details the tone quality more brilliant. Lozenges are pression that, while others in this field Our complete catalog listing over 3700 num- the size and quality of your voice, your per- only palliatives, they may help temporarily are man hearts to learn. But it has been un- experimenting with tonalities and bers is FREE on request. sonal appearance and how far you have ad- (and they sometimes do) but they cannot cure forgettable. Again and again CENTURY MUSIC PUBLISHING CO. sonorities, his chief interest as a com- men have vanced in general education and musicianship. you. It is the business of your throat doctor to returned to it, with an instinct none of these details have been vouchsafed do that. 254 West 40th Street New York 18, N. Y. poser is to “give expression to the gamut dim and CENTURY MUSIC PUBLISHING CO. As in the dark but we wistful yet insistent, that is to us we are somewhat of his experiences in tones.” here the 254 West 40th Street New York 18, N. Y. will do the best we can. A Thin, Tight Voice. How to Cure II These resolution of all conflicts, the answer to 2. experiences are recognized as It is usual to commence the study of singing all confusions. Q. My daughter has just completed her first those of a race, and under his treatment He who taught that lesson with exercises designated to “place the voice,” year at a good music school where she is ma- they by word and deed was known to develop its sureness of production, its quality become a pilgrimage of Negro music, His SHE WEARS MITTENS joring in organ; but she must have voice too. HERE’S PROOF contemporaries the and range; and to explain the formation of THAT which follows a long and as master teacher. Her voice is not outstanding but it is not bad historic trail TO PRACTICE vowels and consonants. When this has been And all through the long ages since. either. She has had only the one year’s training “on the Glory Road,” from slavery to He fairly well accomplished (and the time it at college. She sings in tune and her tones are freedom. has been reverenced as the supreme takes varies greatly with the individual), one I true but she has a feeling of tightness that CAN IMPROVE YOUR teacher, proceeds with vocalises and the simpler of the and the supreme exemplar for throat collections makes her tones sound thin and her all Early Italian songs. There are many — who teach. His name is Jesus Christ. aches so that she can hardly sing. She would The Ronald Colmans listen to Magnavox in their Beverly Hills home Photography: Paul Hesse Artists of the People of these songs published by various music pub- 3, These, then, are the like to overcome this fault as she is afraid if servants of the lishers. An experienced singing teacher will she continues to practice with the throat aching ideal, the elder brothers of all who teach. have no trouble in selecting songs of this type The Spiritual sprang from the life as it does, she might lose her voice altogether. They were great because suitable to your voice and your development. problems they saw the has told her teacher, who says that it is and spiritual perplexity of a As you improve, oratorio or operatic songs may She work of teaching as part and parcel of all right and that it is only her imagination. race. The Negro’s social problems and be added. There are also many fine collections I have been an opera a wider whole, and Can you give any suggestions as to what she and economic burdens, the because they em- of the most famous French and German songs. concert singer and voice emotional and re- should do to overcome it? When she was twelve, bodied what they saw in thought, and The publishers of The Etude will be glad to teacher for 40 years—have ligious reactions to everyday life, are years ago, she had had a sinus condition alike suggest opera song col- seven taught hundreds — and I word, and deed. For them the suitable oratorio and interwoven into the Spiritual. And today specific for which she was operated. Could this haw guarantee to teach you! lesson, lections. There is enough material here to keep the specific plan, the specific pro- any effect upon her voice?—Mrs R. E. D. we find Negro choirs and artists promot- you quite busy for four or five years, and to Combining the wonders of radio science, F.M. and automatic record gram was not an end, but a means for these numbers your singing teacher will as- Learn to Sing—at Home! ing interracial and international goodwill. A. Tightness and stiffness of the interior and the achievement of suredly add others according to his taste and built to Shortly ^efore the impact a greater goal—the exterior muscles of the throat, tongue, and jaw changing with the best in furniture craftsmanship, Magnavox is My "Letter-Lessons” and phonograph rec- of World to your increasing ability. admire exceed- furtherance of a better and a nobler We is not a sensation alone. It is an actual and ords of my own voice guide you every step War II, many of them gave national way ingly, and the very ambitious program you have often a visual fact. These muscles are often so grace your home over the years. Look for of the way. Voice culture, breath control, of life. It is by such faith and vision international broadcasts, sponsored that outlined for yourself and we wish you every tone sounds thin and shrill diction, timbre, explained and demonstrated by every teacher can rigidly held that the so make his work endure. success in the world. aches. Sometimes it occurs you know what to do and how to do it' prominent American societies. They and the throat really Magnavox in America’s fine stores. You’ll Just like having me at your side. Not literally, the singer does not know how to toured Europe in the interests of Peace, of course! But many students enduri because similar handicaps by spending the hour a We Are Asked Again to Recommend a during both inspiration and expiration. of models starting at under the patronage practice breathe find a wide choice of the Department TRAIN pianos woefully out of provides the power 15 Minutes , condition. Singing Teacher Breath is the motor which a Day of State. A shallow touch, sluggish note; runs the voice. Unless both these actions action or discordant Q. It is difficult that $214.50. (The Regency Symphony shown is If you can talk, you can learn to are a problem for an inexperi- sing! Your My Lord Delivered ruinous to proper technic, and shackling to progress are clearly understood and efficiently performed voice can be trained in 15 minutes Daniel, they sang enced person to select a thoroughly capable of fasci- It in the is commonsen-e and economy to arrange foi there can be little ease and comfort Magnavox. Hear nating practice daily. Your speaking voice to European audiences, in 1934. Later, singing teacher. There are so many these days approximately $385.) See also made pleasing, regular, professional tuning service. production of tone. resonant, convincing in many of them but few of them are really good, and many of tone. Invaluable to bankers, gave their energies to the Results GUARANTEED! Above the larynx all the actions con- businessmen, W Consult your phone book for an American Society them are interested in the money rather than — it—compare it with other radio-phonographs. ®tre n 8*hen the vocal salesmen, preachers, public speakers, as well war effort, or their services to the Yf* SSiS?*wth . organs— cerned with tone, vowel, and consonant pro- armed ™ smgmg lessons—but by sound, sci- Harmony Doctor or write to: in the voice. I shall therefore appreciate your as to those who want to sing. —tuutr-i entifically correct silent and vocal exercises. must be free, delicate and uncon- forces, for the liberation of mankind. n Ute arantee sending me the duction, Once you hear it you won’t be satisfied until As With results y complete satisfaction name of a trustworthy teacher w^or ,te f* vT?“° ,ce your daughter’s speaking Book ' strained. Perhaps OD. under I .°I FREE. Sent to no who is liberators, they had a part in 7V Ayears„ old unless signed AMERICAN SOCIETY well informed on the human voice and the pro- DtiirceTu«.ar . by parent. shrill. If so, change it. Or PERFECT VOICE STUDIOS, Studio is voice is thin and Write for Free Brochure 5584, Kimball Hall BFBg., Chicago Piano Tuner Technicians, Inc. who located in New York or its vicinity. you own one . . . The Magnavox Company, gressive surge of mankind, artists 4 n attempt to make of the 5931 perhaps it may be that in an Read what my method has done Warwick Ave. Chicago 34, 111. —L. K. for others people in the broadest sense. the enunciation of the words especially clear what it will do for you. See Fort Wayne 4, Indiana. how inexpensive A. We appreciate highly she presses too hard with the my lessons are, and how valuable. Keenly aware of the social changes the compliment you and distinct, Make pay us in throat, lips, and jaw and your voice an asset to carry your asking us to recommend to you a tongue, stiffens the — message taking place throughout the world today, well of song and story pleasingly, convincingly. 50% DISCOUNT FREE informed singing teacher in New York "Makes faces.” Freedom is the main thing here Write today for interesting exponents of the Spiritual are Sample Record or its vicinity.” daughter must be made to under- brochure and see buoyantly Piano New York is the greatest mu- and your easily you can learn Teachers—we can offer you a 50% discount sical teacher cannot how to sing at home! hopeful of better days to revealing center in America and perhaps in the stand it unequivocally. If her come. Pro- on your how you can be taught singing teaching material. No strings world of today. to her she should look tagonists of attached. and It contains many famous mu- explain these things the Four Freedoms, they You must speaking by famous teachers through FREEMANTEL VOICE INSTITUTE state that you are a teacher. about for one who can. represent the world we know, the Amer- Educational Records. that an operation for Studio 4E—Steinway Hall PIANO It is quite unlikely ican of today. And in TEACHERS, DEPT. 5E Write years ago would in- 113 W. 57th St.. New York 79, N. Y. their life and work for record Sent absolutely free ™ trea“se on diaphragmatic sinusitis performed seven • breathinf • Jtadio 14 Pershing Ave. rnntrni is Cl Cl Cl V 3C Sym/wf Otta/tAy m If there M . North East. Penna. ses - Basic fundamentals quality of her tone now. they bring a wholesome counterbalance ?J T of Bel Cant fluence the ELP^uctioii . Use while "vr* i vocalizing. $1.00. any doubt in your mind, consult the surgeon RADIO PHONOGRAPH • VOICE Box ^nc€ 0-MS 91 S. Oil HOU AYE1IE • HIM 5 CALIF. 596ETD, Brookl yn 1, New Yor J 226 'FORWARD who performed the operation. MARCH WITH MUSIC" " THE ETUDE APRIL, 1946 "FORWARD MARCH WITH MUSIC 22 7 — ” I !

heavily outside,” or when he asked, “Why Claude Dubussy As a did Bach feel compelled to make com- posing a daily duty? It was all right when to YOU he had ideas, but when he Let this happen 714/ new styling! Music Critic didn’t he started anything, on and not being ad- mirable he become unbearable;” and he Continued, from Page 203) glorious [hano tone ( complained about “those pages without a date with the joy, those measures that pass by S. FRY, Make of a fairy play for children. While on unmerci- _AnMvered ly HENRY Mus. Dqc. fully, with always the same little Hamtnond Organ and learn one hand there is nothing laughable in rascal of a subject followed by Its the fact that dragons sing, birds impart counter- that you can l>lay heautijul a horse, two subject.” But these were mere boutades wise counsel, and a bear, music right at the start on not to be taken seriously. — — also two black rams (I had Let us rather ravens, and is contemplat- also to have a list ten consider the following: n The Board oi our Church of or fifteen of the best this wonderjul instrument almost forgotten them) insinuate them- of our choir from organists living today. Would also appreciate ing changing the arrangement the Once called layout with organ information as to the the greatest selves charmingly into the action, on Debussy Bach “the su- ''Unt facing, circular seating name of all layout of choir divided, side fac- organist of the last hundred years. Can you other hand this mixture of wild human- preme ruler of music, whose kindness in front, to a extreme back of choir as per tell me whether Virgil Fox has made any re- inhumanity creates con- allows us to discover new ing with organ at ity and divine doctrinal wis- opinion from a cordings? If so, what are they and whom did sketch enclosed. This is my siderable confusion. But the preceding dom left to us as an unselfish service I see so many objec- he record for?—( S. Sgt. E.G.A. J.) to musical standpoint only. dramatic criticism, which music.” Repeatedly Claude inability to see singers which sounds like a emphasized tions such as A. Organists have ability in different di- very much, reduction in volume I am but little qualified to formulate. It the greatness of Bach, “the original pro- interests me rections, and obviously we cannot name any members of the choir have to face heart to tell you phet of all music.” generally— in these columns as being the best. Virgil Fox is much closer to my “Don’t you know,” he in order to watch away from congregation has made recordings for the Victor Company, of the glowing musical beauties of the said, “that no one has ever 1 may be all wrong m proclaimed director (organist). on the organ at Girard College, where Harry moments of boredom the freedom of M. D. M. ‘Ring.’ After some fantasy in the art of form this opinion.— C. Banks, Jr., Mus. Bac. is organist. The Vic- in which one doesn’t know any more and phrase, better than Bach? I shows the organ rather tor Company can advise you as to the re- repeat A If your sketch drama?’ agree with you that leases of the records. what to think: ‘Is it music? Is it my conviction that it is against the spirit than the console only, we organ will be reduced in there come passages of such undescrib- of Music to try to keep it enclosed the volume of the with- singers facing away Q. I learned from and have used in teach- the new position. The able beauty that all criticism vanishes. in narrow and traditional formulas. unusual in the ing, Stainer’s organ book. Do you recommend Mu- from the congregation is not I will not readers with a de- sic i a 4a nrtt alnforrc that for beginners in organ study, or is there annoy my consists of tones and rhythms. All something more modern? I learned to locate scription of these beauties, and perhaps the rest is idle talk thought up by the white pedal keys by first locating the these would not suit their own individual anaemic brains with the blessing of studying organ for nearly a black keys. Is this still correct?—R. F. A. Q I have been taste. However, there are enough of them teachers who themselves write opportunity more prac- mostly year and need an for A. We recommend “The Organ” Stainer, to satisfy the most diversified require- ephemeral music. told that it is possible to get In Bach one finds this tice. I have been for beginners, and the locating of the white silent ments. In conclusion: one does not crit- ‘musical pedal-board to fit beneath a piano for arabesque,’ or better said, this a pedal keys through the black ones, though we From articles in The Etude I gather icize such a significant work as the ‘Ring.’ ‘principle of the practice. suggest that familiarity with the pedal board, ornament’ which is at possible to get a two manual and it is also enabling the student to locate the pedals with- The architecture of this creation loses the root of all styles. Vittoria practice. Will you please and Or- pedal reed organ for out using too much time, is advisable. itself into the Infinite. Its fantastic pro- where I might secure lando di Lasso used this divine arab- send me names of places portions second-hand instrument. On account of very disarm a conservative desire to esque; they found its original a Q. I have a small folding organ of the * See these original designs conception would al§o appreciate informa- appraise them and for that reason per- in the limited funds I type manufactured by the which was by Alfons Bach, noted stylist. Gregorian Chant, then reinforced silent pedal board.—C. B. L. tion about the issued to me as part of the Chaplain’s outfit. Hear the tonal haps one feels that the structure might its soft improvements mellowness with powerful up- to are sending you information about I find I cannot play it, and I want find a Jesse by Dr. William Braid White, collapse if one removed from it a single holding A. We FREJVCH & Sons supports. Bach once more took pedal-board available. book of instructions which will guide me in eminent used reed organs and piano authority. Ask little stone.” up the learning to do so. I wrote to the manufacturers arabesque and made it still more We also suggest that you notify organ firms of your dealer or write for Free they suggested that I write to you. lanos Debussy’s admiration for “Parsifal” fluent, more flexible. your needs, as they may have taken the kind and Booklet No. Thus Beauty moves —Chaplain. 12-C. was unbounded: of instrument you wish, in trade, and may DIVISION OF SELMER, SALES OFFICE-ELKHART, among a display of constantly renewed INDIANA PLANT-NEW CASTLE, INDIANA “ have pedal-boards on hand. the ‘Parsifal’ is the ultimate A. Since inquiry as to the contents of masterwork fantasy. This remains a subject of won- organ you mention indicates that it has 8’ and of a genius before which one must deep- der even in purchased a used two manual never really a beginner was within your reach. So easy our modern times.” And De- Q. We recently 4' sets of reeds, we suggest that you be sure You’re ly bow. Here organ. Our church auditorium is small, Wagner has tried to be less bussy concludes: “Bach alone came near reed both knee swells are open for full power of had used a piano. I am using “The to play that even the youngsters LEARN "SWING" dictatorial towards music, and conse- the Great Truth.” and we the instrument. You might augment the ef- with the Hammond Organ. MUSIC Organ” by Stainer for study. However it will Quick course to players of all instruments—make your quently fectiveness of the instrument by playing the ‘ the own arrangements of hot” breaks, choruses, obbligatos, music ‘breathes’ more freely. In his proficient with embellishments, column Debussy often deplored be some time before I will be it at once! At your figurations, blue notes, whole tones, etc. chords as follows instead of as written: Your first touch, the first simple take to MODERN Never did Wagner reach greater purity the playing the pedals. Will you suggest DANCE ARRANGING the fact that the Opera indulged so much of Duets, trios, quartettes and ensembles—special choruses and beauty than in the some simple Preludes adaptable to this size in- ‘ uiru menial Prelude to the in repeated have the almost mnoAniaii . —modulating to other fingertips you CO_ dl Ion beys—suspensions—anticipations performances of such old- P. chord you try, brings beautiful Qllick results - Practice effort — strument? Specifications enclosed.— W. S. Sin!^Li ff i“L i organ points—color effects— swingy backgrounds Third Act and in the whole b famous Pianists, teachers scene of the fashioned war R ? and Write today. horses as “Les Huguenots,” students. No obligation. adaptable ELMER B. FUCHS Good Friday Enchantment. All musicians “Le Prophete,” A. Since pipe organ music will be music. limitless range of colorful, Broad well Studios, and others, instead Dept. 66-D Covina, California 335 East 19th St. Brooklyn 26, N. Y. of to the organ you specify (registration adapt- will be indebted to Wagner for having producing works of historic significance able) we suggest that you choose from the fol- make proposed such an eloquent demonstra- such Here is the instrument that sustained tones that as Jean-Philippe Rameau’s "Castor lowing list: “The Organ Player,” Orem; “Organ tion of the uselessness of technical for- et Pollux,” Repertoire,” Orem; “The Chapel Organist,” or the hitherto unheard “Boris coaxing, no hard-to- even the simplest music rich mulas. ‘Parsifal’ is a genial disavowal Peery; “At The Console,” Felton; “Organist’s needs no Robert Whitford Break Sheets for Piano Godounow.” of the ‘Ring’.” Offering,” Orem; “Reed Organ Player” (Dit- You will notice that by playing chords as sug- Revealing the greatest jazz patterns yet. SWING MADE^EASY Rameau . . . son); "Landon’s Reed Organ Method; “Classic is se- and satisfying. that is the genuine gested, the effect of lower bass notes acquire technique. Send 25tf for sample copy. World’s easiest When one system teaches Beginners or Advanced to recalls Debussy’s youthful French and Modem Gems for Reed or Pipe Organ,” play like Radio- tradition. Rameau is cured. PIANISTS Record Artists ! I>eam runs, breaks, blues, almost a tricks, enthusiasm for “Tannhauser,” any of which may be secured from the Pub- so basses, negro effects, chimes, Boogie Woogie. Intros which young one’ Quickly you’ll realize that Moderately priced and Send for your free copy of our catalog of ultra-mod- ends modernistic, —for has he not awaited a ern piano futuristic, weird styles, off-color, riding- caused him to lishers of The Etude. Q. I am a high school boy, sixteen years of publications. State if you are a teacher melody, jam -hot- blue sever his friendship with long choruses, etc. HUNDREDS of effects. overdue recognition for a century? age and have recently taken an interest in that it fits ROBERT WHITFORD PUBLICATIONS Send for Free Booklet No. 5 and low prices. Gounod, one realizes that Debussy’s fight it’s the perfect instrument for compactly designed •8 North Perry Square Rameau re-creates the Q. I have a small one-manual reed organ, learning to play the pipe organ. I have never Dept. 5E Erie, Penna., U.S.A. TEACHERS— Use new loose-leaf system. elegance and the ' Writel was not against Wagner “Publishers of Exclusive Modern Piano 9 himself: it was atmosphere which I use for church purposes. Will you tell had lessons any kind. Is it necessary to learn Material SLONE SCHOOL. 2001 Forbes St., Pittsburgh of Watteau.” of square. Oper- 19. Pa. Claude was family, too . . . offer- into a four-foot directed against Wagner’s French imita- me where I can get some reeds for it, as the piano before attempting the pipe organ? the whole much gratified when soon after the tors and against pub- some in the instrument are broken and others If so, how many years must a person have? Wagner’s influence on lication electric by Durand of Rameau’s complete have poor tone.—M. V. A. What do you suggest that I do?—L. S. ing a lifetime of music far more ated from an ordinary French music. With reason, he thought woiks in 1908, “Hippolyte et Arycie” that their was A. We suggest forwarding the reeds to the While it is not necessary to “learn” the subservience to these Ger- presented A. you ever dreamed outlet; never needs tuning. at the Opera with great suc- firm whose name we are sending you by mail, piano before attempting the organ it is highly beautiful than manic ideals prevented the national cess. including the reeds one octave below those advisable. We suggest that you take piano les- school from developing along its own you send so that the firm may have the right sons until you have fluent finger technique. Francois Organ is the instrument characteristic Couperin also elicited high pitch The Hammond lines, and he compared the to treat and tune your present reeds. If for any reason you cannot forego strictly praise from Debussy’s dealer’s now. French music after pen. Speaking of You might correspond with them previous to organ work while preparing for it on the of today. Hear it at your Bizet’s death to “a this DISTINCTIVE poet among harpsichordists,” sending them the reeds, and in your com- piano, we suggest that you take piano lessons write for complete PIANO SELECTIONS MAIL THIS pretty widow who finds no one he Send coupon or COUPON strong said: munications impress on them the importance with organ lessons at the same time, though BY enough of nearest dealer. to guide her, so she throws her- of matching the old reeds with any new ones recommend thorough piano preparation information and name AMERICA'S OUTSTANDING The sweet we COMPOSERS McKinley publishers, self into the melancholy of his music they may find necessary to use. taking up study of the organ. j inc. arms of a foreigner and is previous to 425 seems like an echo So. Wabash Ave., Chicago 5, 111. crushed to death.” This of those marvellous ARTHUR OLAF | is why Debussy ANDERSEN landscapes Q. I would like to know whom you con- not played the pipe organ for sev- felt such sympathy in which the figures painted Q. I have CHARLES WAKEFIELD CADMAN Send at once the FREE Thematic catalog toward the art of sider to be the world’s greatest organist, and find myself organist of a j by Watteau’s eral years, and now containing excerpts from each of 26 Gounod, who brush move gracefully. Cou- ROSSETTER COLE j the wrote cultured music of which seats three hundred people. Our selections in your library. un- perin church I teaches HAMMOND us a enclosed list. What HENRY COWELL mistakable Gallic character, who had grace which the organ is new with stops on French music stops for use for play- HENRY PURMORT EAMES studied Palestrina and Bach, has forgotten. It has ‘esprit’ is the best selection of and who R. . . . Why is ing the hymns?—E. J. RUDOLPH GANZ never failed to praise it that seemingly we no PIANO TRICKS! Mozart to I Namei- the sky ORGAN longer dare Every issue of the hymns we sug- HARVEY GAUL above all when he spoke to have ‘esprit?’ Is it for our bi-monthly Break Studies A. For “playing over” of with young mu- brings 1946 • ear of not you clever arrangements for building gest that you play on the Swell organ, with © MAXWELL POWERS sicians. Was not being considered big enough? extra Gounod, indeed, an au- choruses of 8 popular songs on the cur- prepared for use in congrega- The rent the Great organ thentic true nature of hit parade.” Enables you to fill in new Medium French composer, one who French music is clar- singing, as follows: Swell organ: Sali- and advanced grade piano ma- Address— never modern-style breaks, novel figures, boogie- tional allowed the ity, elegance, Dulciana and Flute d’Amour Hammond Instrument Co., 2929 N. Western Ave., Chicago 18 terial for teachers, professionals and stu- Wagnerian tide to submerge simple and natural de- woogie effects and tricky embellishments. cional, Gedeckt, stops to balance. Great organ (in denfs. Ideal for technical his inspiration? clamation. Above with pedal Without obligation, send full details about the Hammond Organ to: development, all, the French music INVALUABLE TO PIANISTS, Diapason, Dulciana, Ge- preparation) : Open concert, recital and recreation. Retail price Debussy also felt unlimited wants to bring City- -State- admiration pleasure. French music? TEACHERS AND STUDENTS! deckt, Salicional, Flute, and Octave. For con- Nome—— from 30 to 60

teach it to such lucky youngsters is hand position and intonation he through the change of bow in full-length A Strad Copy accurate can begin to vibrate. This can be anywhere bows. Later, when they must F., Minnesota.—The label in your vio- begin to L M. from three to twelve months after he has says that the instrument was made by develop agility, they should work on the lin begun to play. The vibrato is essential to Friedrich August Glass and that it is a copy of specialized exercises in the lower natural melodic expression, and the sooner third Stradivarius violin made in Cremona in 1737. a a student learns it the sooner it will become of the bow. fact that it claims to be a Strad copy does The part of his natural equipment. (3) There is points add to its value, for the violins of F. A. There are two which should be not no set rule for the order in which the various Glass are not well liked by violinists and are kept in mind in the teaching of the positions should be taught. The best way worth at most a hundred and fifty dollars. Wrist-and-Finger Motion. (1) Although to learn them is through the practice of scales. (4) For studies in the positions, there a fairly wide swing of the hand and fin- Violinist’s Playing Position Concerning the are none better than the “New School of consideration at first be necessary first gers may in order California. I must confess that Cello Playing” by Percy Such. The first book . the,he Mrs. J. T., TONE is flexibility an authoritative reason deals only with the first position, but the # to develop and control, the I cannot give you make the right of the piano, second, third, and fourth books take up the „„ w*w ho motion should be reduced to a minimum why violinists stand to Kay craftsmen wing of the instrument different positions in studies of increasing of participates instead of in the when the arm in the stroke. difficulty. musicians as nearly all singers do. It is one of the very (5) I do not know of any con- cellos for exaggerated is or,is. Any movement quite out few traditions I have accepted unquestion- certos in the first position for the cello, but singers are more there are many shorter pieces. I would suggest best. of place if the hand is relaxed and flex- ingly! Of course, most who merit the on the accompanist than the that you obtain the “Six Easy Pieces” by ible. (2) There must never be any "flick” dependent majority of violinists are, and it is generally Schmidt, “Old Masters for Young Players” of the hand or fingers at the change DURABILITY is assured with of more necessary for an accompanist to watch by Moffat and Such, and “Old Master • Melodies” Moffat stroke. If the arm is carrying the bow a singer than it is for him to watch a by and Rapp. The pub- singers, lishers of The Etude will glad to send Kay’s famous “crackproof” along slowly, the little movement of the violinist. And there have been a few be top-notchers, who did not stand in the you catalogs giving the names of many other wrist and fingers must be made just as and "warpproof” curve of the piano. When a violinist stands pieces in the first position. construction. slowly. If it is made with a “flick,” there there, nearly everyone has a slight sense ® Kay gives you will be an unpleasant accent at the end of artificiality. The visual effect is even A Factory-Made Imitation the finest cellos of the note. worse when a duet sonata is being played and IS AN IMPORTANT PART OF THE SPEECH AND MUSIC TRAINING Mrs. D. F., Pennsylvania. The name “Ros- money OF the violinist is using his music. Perhaps can boy. I appreciated your letter and sini” stamped on the back of a violin would Koy am very some tradition -conscious reader of these indicate that the instrument is in all like- glad my ideas have helped you. I hope columns can give a definite answer to this quality at your lihood a factory-made German or Bohemian dealer's you will continue to find question. If so, I should be glad to hear now! them equally fiddle worth at the very most seventy-five from him. helpful. dollars, but more probably not worth more JONES than twenty-five. Violins the BOB with COLLEGE stamped Glaesel a Repairer name “Paganini,” “Rossini,” “Ole Bull,” or A. E. B., Kansas. So far as I can find out, the names of other famous violinists or The Organization of En- Hermann Glaesel of New York made very few composers practically always fall into this violins. He was chiefly active as a repairer category. Graduate and undergraduate courses in the Voice — Piano Violin Pipe — — and restorer. The few violins known to be field of radio cover sembles in the College microphone tech- Organ — Speech — Art — Offered his work are soundly made and have a On the Use of Rosin nique, very fair quality of tone. There are not script writing, program building, without additional A. C., North Dakota. I think it probable cost above regu- enough of them on the market to create a Curriculum that you are using an inferior grade of etc. Students at standard of value. The worth of each in- lar academic tuition to students en- rosin, or else that you use too much and (Continued from Page 199) strument would have to be estimated on its rolled in the your bow needs rehairing. I can think of intrinsic value as a sound box. If the own no other reason why the rosin should become tone of one particular violin was especially is my belief that the greatest good to the sticky on the hair. (2) Gasoline can be used good, it would be worth more than an to clean the hairs of a bow, but it is rather player comes in putting on the finishing equally well-made instrument that did not a slow and messy job. You would do better touches to his preparation. The fine have so good a tone. to have your bow rehaired every four or points of ensemble really present them- six months. And don’t use a cheap rosin. ACADEMY selves in this highest stage of practice Only an Appraisal Will Tell Buy a good brand and use it sparingly. BUSINESS COLLEGE preparatory to public performance. Ober- L. L. C., Illinois. As I have had occasion to remark very many times in these columns, Solicited lin’s chief outlet for performance is the Information gain practical experience in LIBERAL ARTS COLLEGE there is only one way a person can de- actual Conservatory’s G. W. B., Illinois. The violins of Ralph weekly Student Recitals. termine the authenticity (or otherwise) and daily broadcasts from the college GRADUATE SCHOOL OF FINE ARTS Coss are not well known in New York, and Civic, social, and school functions also the value of a violin, and that is to take studios. I have not been able to obtain any informa- GRADUATE SCHOOL or send it to a reputable dealer, pay his fee, jWeafiureb bp GTimeof OF RELIGION play their part as incentives. tion regarding them. Perhaps some of our and get his appraisal. As you live near The ensemble library is furnished by readers can send in some information. If so, Chicago, I suggest that you take it to Wm. honorable §!s>erbtce the institution, I shall be glad to print it. flea- Root! although each teacher Lewis & Son, 207 South Wabash Avenue. J has a certain number of favorite com- But I must warn you that the odds against your violin Violoncello Cracks "THE APPRECIATION William c£c4&(b&- atulSon positions which he frequently uses. The being genuine are astronomical. UCATI0NAL ' Chicago III. INTERDENOMINATIONAL. AND CHRISTIAN, BOB JONES COLLEGE H. W. P., New Hampshire. The cracks in 207 South Wabash Ave.— 4, £?.?5. time of scheduling is arranged to fit the OF RARE VIOLINS" I " ‘' Violoncello Vibrato your cello are undoubtedly caused by the Have the proud distinction of over seventy years AP >GY F°R ™E OLD TIME REUG,OF, AND THE convenience By Francis Drake Ballard ABSOLUTE of the teacher, but with the cold, dry winter air of your State. If you in the musical instrument business AUTOORITY OFTHE BIBLE Miss P. M., Illinois. The vibrato on the added thought it out doors you should wrap Many Fine Illustrations. Over 100 Pages SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. of using afternoon hours cello is not produced have to take with quite the same of Information and Inspiration. Limited on REQUEST it in a thick flannel cloth before putting CATALOGS and LITERATURE when the minimum of curriculum con- motion as it is on the violin. The intervals DeLuxe Edition, Artistically Clothbound. it in its carrying bag. But really you should Recently Published—Already a Classic flicts are encountered. My own ensemble on the cello being wider, the motion of the $3.00 Post Paid. Order direct from'. hand have a hard, triple-ply wooden case for it. An Ideal Gift to a musical Friend classes must also be wider; therefore the arm For detailed information write: meet, for example, on Monday To deal with the cracks that already exsist, must participate more than it does on the FRANCIS DRAKE BALLARD and Thursday should take or send it to a first-class at two o’clock and on violin. On the upper strings, and particularly you Collector and Dealer “?|oto jRanp H>trabs?” Tuesday in the higher repairer. He would open the cello and close DR. and Friday at three o’clock. positions, the vibrato can be TROY, PENNSYLVANIA “&ur Heritage from tfje #Ia*ter” BOB JONES JR. BOB JONES COLLEGE made from the cracks with studs on the inside. Mere Other meetings are the elbow joint: but on the lower Send for List of Available Rare Violins. arranged for as may reglueing is of no use in your climate. By Ernest N. Doring strings the upper arm should take part in be necessary and feasible. handsome of pages recording Cleveland, Tennessee uie motion. The important point to remember A book 380 In closing, Viola Strings with his- I wish to emphasize that is that the hand must move to and fro Gauge of existing instruments their stories and parallel torical background, containing over 100 illus- if any given college or university music to the strings: a twisting, sideways Mrs. J. L. G., Texas. It is almost impos- JOHN MARKERT & CO. 135 W. 45TH ST., YORK 19. N. Y. trations of genuine specimens of Stradivari’s movement produces a quasi-vibrato that is sible to give accurate string gauges that NEW department is to realize its aims, it must VIOLINS merely carried on by the fingers. decidedly violas. Nearly every in- OLD & NEW work. Have The idea, you see, is to play unpleasant. (2) At what stage in will apply to all Expert Repairing. Catalog Violinist's down the create an environment can a Send for The Forum him take where music pupil's advancement has its own little peculiarities, PRICE PER COPY $20 up a pencil, holding it as if it importance of the fingers. the vibrato should strument prosper where * n* ro( PUBLISHERS OF “VIOLINS and VIOLINISTS" were a bow, swing — it can be heard and stud- *uced depends entirely on the in- such as thickness of wood and height of and his hand . back- As soon as the pupil 5? America's only journal devoted to the violin can move the pen- ied and loved. dividual pupil. As soon as arching, which have to be taken into con- But the college student of he has a solid Specimen .25^ for $2.50 (.Continued from Page 201) wards and forwards from the wrist joint cil to and Copy — 12 issues fro with a smoothly coordi- today sideration when it is being strung. However, without is busy. He has many irons in the using his fingers at all. The pen- nated Wrist-and-Finger as a general rough rule one can say that Motion, let hint: fire, and if the cil, small ensemble is to func- strings should be about naturally, will not move in a straight try it with his the A, D, and G bow on the violin. The old tion as * u iiim muvblUT 1T1 LIOIV straighten his fingers he or his line, it should, the players must be the average gauge used on a violin. The WM. S. HAYNES COMPANY PLAY BY SIGHT bend and ; but this is temporarily unimportant. CARO MOUS habit may tend to reassert itself; ENHARMON,C chord INDEX— If play composition with- if so given credit for ?7o* . string should be about as thick as the old, PIANISTS. you cannot a their work, just as play- ' n on C teacher has subconsciously exaggerated When the wrist is working flexibly and TAorM am °*mgly scientific design Flutes of Distinction out constant practice, you need special instruction you must guide his hand for a few min , ROL FAM gut D of the violin. If the viola ers and singers in large 'v« U enharmonic scale index—: unwound to eliminate this handicap. The best Pianists and the importance of the Finger Motion at easily, let ensemble groups , ? ? the pupil introduce the ei , strings should be Accompanists secret of Finger utes. With your left in9eniou * separation of key is a large one, the are Sight Readers. The hand hold his arm receive rAD^i e^. !!l signatu credit for membership in bands, CAROL FAMOUS encourage STERLING SILVER - GOLD - PLATINUM Sight Reading is revealed in “THE ART OF the expense of the Wrist Motion. Motion, explaining to him that this is lightly TRUMPET-RANGE INDEX $1 .C somewhat thinner, in order to but firmly a little above the sensational — SIGHT READING”. wrist orchestras, and choruses. musical chart styled for the modern GABRIEL response. Most people have To begin with, remind the pupil that necessary only to Their resonance and Catalog on request f Improve your playing and advance more rapidly. keep the pencil—and and place your right snows all trick* fingerings hand over his sc growth to ‘C ABOVE high 'C to use on a viola, strings that $3.00- starts in the wrist and is later the gained through small ensemble °rder vour a tendency 5 Lessons complete with Music the movement bow—moving in a straight line. that you can control choices NOW from wonder why the movements of experience CAROL are too thick. And then they 108 Massachusetts Avenue, Boston 15, Mass. certainly warrants such credit. SALES CO, BoX DANFORD HALL, 1358-AC Greenleaf, Chicago 26, III. 21 Lefferts Sta„ Brooklyn 25, the instrument does not “speak” easily. 230 "FORWARD MARCH WITH MUSIC" / THE ETUDE APRIL, 1946 "FORW ARD MARCH WITH MUSIC" 231 " ” a

grade orchestras if the grade ensemble is are goals, standing and intuition to teach never ‘ not immediate culmination of more permitted to stop before it has 1 Thar’s Gold in the fact. What about embouchure, pos- school pupils than it does to guide played requires a completely through all first ture, and breath control? May not these mature students. It certainly and second Ernesto Lecuona s ele- Them Thar’ Grades” “firsts” of instrumental music be anal- different approach. Children in the endings. ogous to “an is schools are more strongly in- In contrast to their elders, SUITES FOR PIANO SOLO (Continued from Page 198) adjective a word that de- mentary youngsters brothers scribes a noun” and “two plus two equals dividualistic than their older are never bored. When teaching the mys- asking to try require infinite patience AFRO-CUBANAS anything. four”? The understanding of youngsters and sisters. They tery of a dotted quarter note followed ANDALUCIA DANZAS CUBANAS DANZAS f. The predominating pedagogic principle precludes the ultimate. To them simple and a firm, but persuasive manner. One by an eighth note, they are perfectly con- MEDIA NOCHE I, . .DE of grade school education lies in funda- tunes are symphonies. Each finger- must be exceedingly specific. Mezzoforte |. CORDOBA NO HABLES MAS I. LA CONGA new tent to repeat endlessly and in unison mentals. The roots of high school Eng- ing is an adventure. Let us stick to music means softer than forte, but mezzopiano 2. 2. DANZA NEGRA “One, two, and three.” These children 2. ANDALUZA NO PUEDO CONTIGO lish are anchored in the A B C’s of the well within than piano. Little folks are the possibility of every be- means louder chanting BAILABA are used to for results in aca- 3. ALHAMBRA 3. AH I VIENE EL CHINO 3. Y LA NEGRA first grade. An eleventh grader uncon- ginner. If the going is rough, embouchure, apt to conclude that the preceding demic classes and rather expect it in the DE LOS NANIGOS sciously credits his comprehension of position, and breathing are likely to suf- mezzos mean softer in both instances. 4. GITANERIAS 4. POR QUE TE VAS 4. DANZA band or orchestra. They enjoy uniform- higher mathematics to his success in un- fer. There is something democratic The teacher must take pains to explain about — 5. GUADALQUIVIR 5. LOLA ESTA DE FIESTA 5. DANZA LUCUMI derstanding ity “Sit forward in your chair so the multiplication table. For a whole note. That democracy is evident the difference. When doing black-board your A will touch the floor”; 6. MALAGUENA 6. EN TRES POR CUATRO 6. LA COM PARS centuries, academic subjects have been in the grade school instrumental class. work, black notes are not black—they feet “Concert rest taught with success when not playing”; “Let’s all in schools. Let us as Even the slowest thinker feels, when are white. The instructor should be care- start play- PRICE EACH SUITE $1.25—EACH COMPOSITION SEPARATELY 50^ teachers of something relatively new take playing the “big notes” that his effort ful about his note nomenclature. Every ing when the baton comes down here.” a leaf from the experience of wise con- produces results just as satisfying as that instrumental teacher in these United Even in the case of the baton beat, vention and profit thereby. We should of the most gifted. negotiating clean first He also has the States has trouble complete simplicity gets the most con- EDWARD B. MARKS MUSIC CORPORATION not lose sight of the fact that “thinking funda- space” in which to absorb the and second endings. Half the group when crete results. The unison work of mentals teach- are fundamentals, and that first teacher’s advice concerning a habitually approaching a first ending know that RCA Building Radio City N. Y. ing beginners eliminates all baton his- New York 20, things must come first. Impatience can correct embouchure, the manner in which they must negotiate a repeat, but they trionics. It is better to beat once for a easily cause us to attempt too he sits much; and holds his instrument, and he have trouble locating the beginning of let them rest. At the quently came to visit. Mr. Lambert was whole note and count aloud for the dura- attribute their success to the graders and do the expect too much is perhaps can ecutives more accu- be successfully coaxed to “Make your the repeated strain. A goodly percentage never proper time, they may appear before very insistent upon rigorous daily prac- tion. The voice is more authoritative that they as administrators rate. lower ribs move when and fact you take a breath.” of the others can’t remember whether some one else senior organizations and play their pieces, tice, making it clear to me that the conducive to attention than reliance a thing they can get A good tone, pure intonation, and played the strain once or twice. on do accomplish de- they have well or better. We can a winner to be chosen by election. The amount I would have to rhythmic Different the eye as is the case when to do equally as sensitivity are goals to be at- A Approach befuddled musical thinking can be one pins his labor. But I said to Such practice when it comes fortunate winner can be further reward- manded enormous tained, but let put that idea in us not forget that they In a certain sense, it takes more under- avoided to some extent in top bands and hopes on a baton. More than that, if the “Mr. Hofmann does not roll, setting up chairs, lo- ed with unreserved membership in the Mr. Lambert, personnel has to listen for to checking rhythmic sta- senior— 5 organization and dropping the+v, “ ™-re- practice all the time!” “Ah,” said Mr. eating misplaced music, and cornering a bility, it is less apt to produce a coarse rehearsals. Every quirement of serving an apprenticeship Lambert, “when you get to be a Hofmann little fellow who misses and raucous tone. If the ensemble plays in the junior high training organization you can let up on your practice a little!” sixth grade in the land has a boy who is too noisily, how can the beat be “heard"? following year. Hofmann had worked so hard all his life itching for a chance to handle such the directors Few would have the courage The life and strength of high school that he seemed to have memorized every- chores as these. When spotted, give this A “ to stand in front of the high school band orchestras depends upon the thing. His memory was uncanny. Once, I 5 Of child the job and mentally reserve a set bands and and admonish the players to “Make your inooming constituency. The resourceful was present at a gathering where Kreis- of senior high band corporals chevrons belly hard when you blow,” but he can teacher will look to the elementary ler played his Liebesfreud, accompanied PIANO for him when he gets to be a sophomore OPPORTUNITIES get away with it in the lower grades. In re- Gabrilowitsch. Hofmann, who never schools for recruits to satisfy the by or junior. Big business gets things done COURSE the interests of habit, he can be an op- quirement of numbers and experience. had heard the composition, went at once that way. Our business is truly big, so IN BOOK FORM portunist and use his chance when he With every effort pointing to his goal— to the piano and repeated it flawlessly. emulating the practices of successful A Complete Course • ••in has it at no expense to his dignity. be very smooth, splendidly developed, well-bal- To return to our subject, one of the the 1/Yjusic ^dieid business in this respect cannot on How to Play anced high school organization, he will nicest things an artist can receive is an Patience far amiss. Popular Songs for Only with the Beginner through the intelligent and sincere letter from soma $1022 ADVANCED COURSES OFFERED BY THE Mascots are the pride of organizations nurture these grade classes To children the violin is a violin. It is will send pupils auditor, stating the pleasure the concert the land over. A senior band and or- informative years. He not a “Fiddle” nor yet a “Gourd.” It can school training organ- has given. Artists like to have the flowers REVEALS PROFESSIONAL SECRETS UNIVERSITY EXTENSION CONSERVATORY chestra possessing a grade school mascot into junior high be an adventure on the part of policy and rou- while they are living. Easy-to-Follow Instructions the evidence a pride matched only by the izations well oriented in teacher to introduce it. When I commenced to compose I divid- Times have yon tried to play a BY THE The instrument mascot himself. Simply hand some care- tine and possessing a fundamental mu- How Many HOME STUDY METHOD popular song:, exactly as written, only to find seems to expose talent. A clarinetist fin- ed my time between composition and fully chosen solos to promising sixth sical background. it lacked the Fill-In the demonstrator em- gers B-flat on the third line and blows performance. I can hardly realize that ployed? He filled in—Yon didn’t! Not your Music has always ranked high all you were never taught to fill in among professions. There is for correct tone and intonation. over one thousand of my compositions fault at — He may or improvise. This Book is to instruct you, step singular, in never an overcrowded field for the well trained musician. not be rewarded with a satisfying result have been published. It is by Btep, the art of Filling in and Improvising. because of the physics of his instrument. these days, what may happen to a com- ACCLAIMED BY TEACHERS—“NeverBefore Artist Complete.*' You receive all the work- •Interesting positions are open in The the Audience Should Give to an position. most sung song I Love Life, a Book So every part of the field. very small cost and no embryonic violinist has the assur- What My impressive, orig- Schools and interference with your ing material to build up an Colleges are making it necessary for every ance the words of which were written by my 100 pages-- regular work, you, easily and quickly can qualify that his instrument will produce, ( Continued from Page 204) inal style of your own. Over teacher to be crammed with novel, sparkling new ideas—200 Bass equipped for his work; the Radio is calling for higher and more profitable positions in the if his musical reflexes the first finger husband, Irwin Cassel, is known to most Styles. 400 Sizzling Breaks, 105 Professional Intro- for highly specialized put training, and standardized teaching musical ductions and Endings. world. on the A-string in the correct place and for ing more than a spark to touch off the people by its rendition by great concert makes competition keen even in small communities. There is a psychological justification Compiled by famous Cav- POPULAR SONGS! the right hand pulls enthusiasm. Once, at the artists. One might think that parodies anaugh's authorities on the bow in the cor- claques. The Latin performers congeal smouldering modern piano playing. RADIO AND Are you an ambitious musician? DIPLOMA OR BACHELOR'S DEGREE rect manner. In other words, a keyed Metropolitan Opera House, as a young upon such a serious song would injure its NOT AN EAR OR COR- ORCHESTRA like ice before an unresponsive audience. RESPONDENCE TRAINING! instrument of “Mme. sale. This, however, has not been the A successful musician is most always a busy one. Because may fail the best efforts of A claque sometimes ignites a latent girl, I attended a performance COURSE, but a com- Theory, Chord Con- We help you to earn more and to prepare for bigger plete, concise, exciting Accom- of this parodies Frank Fay, struction, very fact it is almost impossible for him to go away a player, but if results are not satisfying Butterfly” in which Geraldine Farrar case, and the by revelation in business Transpos- things in the teaching field or any branch of the warmth and fires it to flames of enthu- panying, for additional piano playing. ing, Creative Im- instruction; yet he always finds time to on the violin, I burning with Alec Templeton, Bert Lahr, Jerry Colon- _ musical profession. We award the blame can be traced siasm, leading artist to success. The was the prima donna. was provising, Harmon- the Degree of the EASY for BEGINNERS broaden his experience. To such as these our Extension have izing, Ear Training Bachelor of Music. With a diploma directly to the player. uncontrolled enthusiasm and applauded na, and even Charlie McCarthy had —Our instruction starts Courses or Bachelor’s artist soon detects insincere applause. He are of greatest benefit. Degree you seated large sales and have interested people in you from scratch and 1001 NEW IDEAS can meet all competition. With violin, let us not is vociferously. In the adjoining box, progresses step by step be hasty and not fooled. The Latin claque is noth- Basses, Fill- throughout the entire Chords, in the same a man who did not ap- the original version of the song. The ers, Breaks, Modula- Digging out for yourself new ideas breath let us avoid “open next to me, was book. tions I ntroductions, the Golonna parody have had , for the betterment of your students -Fill In and Mail This string boredom.” Suppose we adults were plaud at all. I nudged his arm and said, records of A TREASURE HOUSE Arranging, Endings Coupon FOR THOSE THAT is a wearisome UNIVERSITY EXTENSION especially large sale. The song was time-taking task. CONSERVATORY, Dept. A-524 beginners at golf was wonderful. Why don’t you ap- an is 765 and we had a teacher “That PLAY — Included Oakwood Blvd., Chicago, Illinois. Manual covering 45 lessons . When you can affiliate with a school who prattled started to applaud. The even used by the boys in the Army, drill- complete Instruction on and on in a lofty ideal- What is the purpose of the plaud?” He then and explaining the entire contents of this famous I recommended by thousands of suc- a 0®’ illustrated lessons a" rapid strides in surpns- ' d information version: book and to help you make | regarding , istic vein concerning singer’s father, Syd Farrar, ing to a march I have,ave markedmafked below.helow^' the sport. On the man was the play now. cessful teachers, you be sure ing little time, no matter how well you may SHEFTE Rapid Course in “I love life Piano, Teacher’s Normal other hand, if our mentor harped the famous baseball player. given in the Cava- that their confidence justifies your Course I] Harmony Violin about THINK OF IT! These lessons Piano, Student’s Course 3 Cornet—Trumpet the proper stance day Even the greatest artists respond to So I want to live.” naugh Schools would cost you over $100, yet you can « confidence in new ideas for your Public School Guitar after day, never Modern Piano Playing? get similar instruction IN YOUR OWN HOME, and Music— Beginner's Advanced Cornet | giving us was greatly influ- I Love Life has been heard “time and learn to play with surprising skill ... at amazing I work which we make available to HI Public School Music—Advanced Voice Mandolin a chance to take a healthy applause. Paderewski low costl 3 Advanced Composition Choral Saxophone clout studying with time again,” which, by the way, is the you. Conducting at the ball, we could bored enced by it. When I was receipt of book, I Ear Training Cr become The purpose of the SHEFTE course MONEY BACK GUARANTEE—On ZI Sight Singing Clarinet Reed • Organ title of latest song and the one in you will be the judge. If you're not delighted with History of Music and perhaps take up checkers Alexander Lambert in New York, I was my ] Dance Band Arranging Banjo where is to encourage a great number of the wonderful instruction this book brings after 4 . Look back over past opinion likely to succeed to the hack. the year! What something happens at least every fifteen little more than a child. Mr. Lambert my most days’ trial, return it and get your money music lovers to play the piano . . . was created I progress have you made? ^ ame Adult or Juvenile minutes. end of the season favor which came to I Love Life. ORDER TODAY! This NEW EDITION The same goes for violin gave a concert at the complete. I tyros. to for those that desire the finest. Price $10 satisfy their longing to play the to determine Order your copy now! TODAY! Postpaid and m- I If you are ambitious to make further Street No They want to play something. Since the and I was selected to play the Chopin B There is only one way music they sured anywhere in the world. progress, enjoy greater recognition, bowing arm must be love — the simpler, more minor Concerto. The other performer was the success of a song and that is by the Ci,)' cultivated, let us and increasing financial returns, then State I avoid melodious to be opinion of the audience. If the audience CAVANAUGH PIANO SCHOOLS Are you teaching the real issue temporarily and get popular music. Music of Paderewski, but I was too young now? If so, how many pupils have you? 1 you owe it to yourself to find out , the the light of is especially attentive during the singing 475 Fifth Ave., Dept. E, New York X7.N.Y. I Do hold a Teacher’s Certificate? children going on the pizzicato. A populartype is taught in this awed by the great master. At the end this great Study I Have you studied Harmony?] what Home Musical Would procedure kissed of a song and then bursts into spontane- I you like to, earn the Degree of Bachelor of Music? such as this calls for method accurately artistically. performance he petted me and Organization has to offer you. At I maneu- and my WHAT DID CHOPIN REALLY LOOK LIKE? vering I would ous applause, there is an indescribable from the expedient to conven- me and told me that some day And BEETHOVEN.PADEREWSKI. GRIEG. FOSTER. etc.? tional something in the air that proclaims at JUST OUT!—NEW edition of “Immortal methods and back again, but in Write be a mature concert artist. Men of Music Miniatures" —from BACH to TODAY for the descriptive VICTOR brilliant the process and once that a “hit” has been born. Corn- HERBERT, 23 4"x5" youngsters have a feeling that folder Paderewski was very charming studies of world’s greatest composers by the University on the Shefte Rapid Course. eminent artist R. A. Loederer. Ideal as gift Extension a violin posers are especially annoyed by noisy, does not necessarily have to be witty. I remember he once wrote to and for framing. Paste them on your music Co very sheets Set includes nderuutor & record albums! bio- “squeaky.” “How about pokerski, to- inattentive audiences. Composing is crea- graphical sketches & exciting ’ Musical y Mr Lambert: Scrapbook Game.” ORDER 765 OAKWOOD BLVD. (DEPT. A- 5 2 6 ), Forster Music Publisher, Inc. five, and anything creative comes from CHICAGO 15, ILL. Anything that is efficient seems to run nightski with Paderewski?” 216 South the soul and deserves courtesy from those superb Gershwin, postpaid itself, grade school instrumental classes Wabash Avenue, Chicago 4, lit. For some time as a pupil I lived in Mr. study of G. hear it, see it, or read it. MASTER PRINTS CO. Dept. E being far from an exception. Many ex- Lambert’s home. Mr. Josef Hofmann fre- who new&VkisV 232 ”FORWARD MARCH WITH MUSIC THE ETUDE APRIL, 1946 "FORWARD MARCH WITH MUSIC” 233 " —

concern the player only—the piano is; Know Your Instrument! it does no preparing. One of the most the Latest important factors in acquiring a good Amonq technique is focusing your attention on Continued from Page 189) ( these four points while you are working. It means constant attention to spacing and timing, in regard to keys. And now depressed, have no effect Additions to v has been the ke to we come to the performer— YOU. Kgs***** on tone quality as such. (It is iiKEian whatever “First of all, ask yourself just what you they may have a sort of possible that Personally, psychological effect on work with, in playing piano. encouraging, or I hold the old-fashioned view that one DITSON plays with the tips of the fingers. I label great tone is the it ‘old-fashioned’ because of the * only thing that affects The things we have been hearing about the which the key is put down at the wav in upper arm, the shoulder, the weight of moment of putting it down! Send- exact (This body-shoulder-upper- COLLEGE Cataloq tone; sending the body. gives loud ing it down fast tone. These arm school of thought is itself an inter- down slowly results in soft t of esting development, indicative either of are so, remember, regardless things man’s search for perfection, or his fickle- CONSERVATORY OF MUSIC All this has been pointed ‘temperament!’ Years Matthay, but, un- ness, I really don’t know which. out very clearly by the shoul- ago—as far back as Bach’s time—people fortunately, the ‘weight from The Children s admitted quite shamelessly that it was A professional music school in an attractive overshadows it. der’ the finger-tip that did the playing. Com- “But the key must also come up again, college town. (Member of the National Technic Book be ments on Bach-’s own playing state that many technical problems may Music.) and he used only ‘the nail joint’ of his fingers Association of Schools of FOR PIANO by understanding the enormous- clarified on the keyboard! Skipping over the in- important difference in the behavior Thorough instruction for carefully selected ly centuries as rapidly as pos- By Gur Maier and are sent down and tervening of keys when they under artist teachers* sible, we find that the development of students in all branches of music when they come up! Legato and staccato Rosalie Smith Liggett the instrument brought with it new needs Special training in band and choir direction. depend largely upon the timing of the in playing and that, in meeting those movement of the keys and not at Price, $1.00 return discovered that some- for catalogue describing Oberlin’s conservatory or low finger needs, pianists Write all upon high finger action An authoritative and up-to-the-minute book of technic thing more than the finger-tips was in- equipment (200 practice fundamentals, de- (or any other kind of finger ac- courses and its superior signed for children in the late first year and the early action second year of piano wonderfully volved. Making another fast skip, we find study. It is intended for use as supplementary material to the usual instruc- tion). This, of course, is rooms, 23 modern organs, etc.). Degrees: Bachelor of tion the ‘body-weight’ school as the climax of book, and is replete with important technical work and attractive easy in playing Bach, or any tunes with emphasis on the helpful to know Master of J/u various points. The material throughout is care- reaction against the ‘nail joint’ school.) Music, Bachelor of School Music; JohnThompson fully fingered, and there are numerous music. illustrations and keyboard diagrams. polyphonal A delightful story element engages the student’s interest with Music, Master of Music Education. throughout “Now, the key comes back to place The Finger Action Analyzed modern it does this, course for the piano a normal speed of its own— Certainly, more than the finger-tip is because of the way the piano is built. Frank H. Shaw, Director, Box 546, Oberlin, Ohio. piano. The tip is at- The controlling finger can do but one of involved in playing to the other finger joints, the In tills recently published collection, Mr. three things: it can come up along with tached Six Organ Kraft “TEACHING LITTLE FINGERS presents six of the most engaging TO PLAY” Mozart finger belongs to the hand, the hand is compositions in excellent transcrip- the key; it can leave the key in a hurry A book in which the tions for the organ. The registrations are beginner is given on opportunity to “Play designed the arm, the arm is hung at a Tune” Transcriptions for the most effective tonal color- and come up faster than the key; or it guided by at the VERY FIRST LESSON. ing and, at the same time, to make the part nieces useful for large or small organs. the normal speed of the key, the shoulder, and the shoulder is Registrations for the Hammond Organ also can break are provided. plays! Price, 60 cents From Mozart The content* include: Adagio, slower its normal of the body of the person who from Quartet in F; Adagio, from Sonata No. thus delaying or making 16 for Violin and Piano; Allegro, from precisely, lies the One must even go further and say that “THE FIRST By Sonata No. 6 for Violin and Piano; Mcnurtto, return. And there, GRADE BOOK” from Symphony in O; Romanic, from ”E*ne legato ‘touches.’ the hips are involved, since they control Edwin Arthur Kraft Kleine Nachtmusik”; and the Scherzo, from ‘secret’ of staccato and "Makes haste slowly,” thus Serenade No. 7. insuring a sound foundation for future devel- speed with which the key the sitting posture, and one cannot exe- of(T)ubu opment. Price, 50«! “Just as the QbbrlattiiJnfittlut? Price, certain passages without moving $1.00 is put down determines volume of tone, cute the body sideways from the hips. Evi- Music Degree. Master of Music Degree, Artist Diploma “THE SECOND so the speed at which the key is allowed Bachelor of GRADE BOOK” doesn’t make a particle of dif- to come up determines staccato and dently, it Mua. D., Director 3411 Euclid Ave., Cleveland. O. This book is designed to BERYL RUBINSTEIN, advance the pupil musically and pianisfically. ference to the piano which part of the Twenty Classic legato. Staccato results, not from any Charter Member of the National Association of Schools of Music Price, Anthems the keys. But $1.00 special finger position, but, quite simply, human anatomy puts down FOR MIXED VOICES Here is the perfect nucleus library matter greatly to the player! Only . for a from allowing the key to come up as fast it does "THE THIRD GRADE BOOK” of outstanding anthem material, since Dr. Dash’s new collection is notable the unusual player would find it Compiled for as it can removing the finger from the most \I Continues the musical development of the by superiority of its content. Each anthem gem —by pupil from the precise point between its covers is the work of a recognized to put down the key with master it with maximum speed. Legato results convenient attained at the end of the of church music, and has had count- SSMOPOUTAN J \ Second Grade Book. James Allen Dash less performances throughout the world over any other part than his finger-tip. What- a . from holding on from delaying the number of years. While the contents lie — SCHOOL OF MUSIC Price, $1.00 lies back of it (and much does lie \ culty, they are choral treasures worthy of normal return of the key. ever SHIRLEY GANDELL. M.A., Oxford / Price, 60(i rendition by the f.nest of church choirs. back of it—see above!), it is nonethe- University, England. President. lllgg§ “THE Accredited. Offers courses FOURTH GRADE BOOK” the 42nd year. 1 \ The Pianistic Act less the finger-tip which puts down in all branches of Music. Certificates, Designed to carry Desirable board- forward both musically and pianistically. diplomas and degrees. \ “As for tone quality, harsh tone re- keys. ing accommodations. Located in down- / CONSERVATORY Price, town musical center. $1.00 “Thus, it seems to me that the fingers sults from putting down the keys with Box E, 306 S. Wabash Ave., Chicago, III. / OF MUSIC \ most important “THE FIFTH GRADE Ten easy motets FIFTEEN too much speed (not speed in touching and the hand are the BOOK” CLASSIC upon in playing. / \ In this successive keys, as in rapid passages, but points to concentrate 80th book the student becomes increasingly familiar CONSERVATORY OF MUSIC with works from IN parts are controlled by the MILLIK1N the Masters. HONOR OF THE Anthems speed in sending down the individual Since these / Price, $1.00 and into con- DECATUR, ILLINOIS SUMMER SESSION keys into their beds.) Good tone results forearm, we also must take it BLESSED SACRAMENT training in music. Courses leading to / 6 weeks term * Responses from ex- sideration. But the upper arm is merely Offers thoro sending down the keys at the Bachelor of Music Degree. Diploma and Certifi- direction of June 17 to July 27, inclusive AND BLESSED actly suitable speed, suitability depend- the crane which steers the cate in piano. Voice, Violin, Organ, Public School / \ FOR THREE-PART the fingers. Music Methods and Music Kindergarten Methods Write for summer school announcement ing upon the loudness or softness of tone the forearm, the hand, and VIRGIN / 2650 Highland Ave. Cincinnati 19, Ohio \ MARY TREBLE VOICES (S. S. A.) an enorm- Bulletin sent free upon request Send for this desired. (Arnold Schultz has published FREE Book! though by no means W. ST. CLARE, M INTURN, Director FOR TWO EQUAL VOICES Selected and Arranged “The pianistic act consists, really, of ously interesting, Please send me complimentary the conditions of playing, and without obligation. THE JOHN WITH ORGAN ACCOMPANIMENT four elements: (1) the production of the light book on THOMPSON of the Pianist’s Fin- MANUALS No. I and No. 2 embracing a catalog By R. Deane Shure tone itself (controlled at the exact mo- called “The Kiddle of "THE — By Dr. Leopold Syre again be MODERN COURSE FOR PIANO" "SUPPLEMENTARY ment of putting down the key, not after, ger.”) And finger action may This collection is marked with a novel four TECHNICAL BOOKS" and "THE STUDENT SERIES." These and interesting content. and subdivided into the behavior of the beautiful works are from the pen The numbers be- dependent upon the speed with Orchestra of tween Its rovers, Camp a presented 'Wa/umai/ub distinguished composer, whose In simple, un- because the experience wide affected adaptations, which the key fingers and the thumb, has made are of varied origin, is put down) ; (2) the him one of the most ranging NAME pr( ent from the writings of Bach, from the * day musician? in prolongation thumb articulates differently * LO, THE MASTER COMETH C Mozart, Haydn, Mendelssohn, Palestrina, of the tone (holding the Ch m ic ‘ The devotional nf tH« Verdi and Von treatment aSlmlS th e motetsw set them Weber through traditional key down fingers and requires different STREET- K wilvt -a w apart air according to the indicated Private lessons on all instruments PLUS participation in Symphony several ideal for rendition by large or ? European nations. ^ JtP^u Mr. Shure about that treat- Orchestra rehearsals and programs. (Ages : 14 to 20; Enrollment ®™a11 choirs. Genuine simplicity s arrangements are churchly time-value of the note) the cessa- —the important thing marks in ; (3) the part writing for two manner the part writing is well bal- for two or four week period. Reasonable rates. Strict supervision. voices and there anced tion never bend the thumb at the CITY are no excessive vocal ’ and the texts are marked with of the tone (letting the come ment being Register now. -STATE- TU6 demands sincere key devotional qualities. it is moved un- up at the exact moment of of the naiL joints, except when Price, 30^ the end July 15 to August 10 Price, note) hand. 60f ; and (4) the preparation of the der the A notable 10th Anniversary feature of this Christian Conference w finger action, I believe, next tone (moving the hands across the “The ‘secret’ of famous for its School of Music. Rare vacation advantages— Lake keyboard as Shore camp site, comfortable buildings, good food, all sports, keyboard, is to use the hand at the unless the fingers are already free accident and health insurance. Parents invited to adjoining 74, WILLIS ‘naturally, I MUSIC placed over naturally as possible. By Bible Conference. CO. the required keys) . Now, the 124 EAST round and swaying mean—as in the ordinary processes of EARLY REGISTRATION RECOMMENDED FOURTH STREET, CINCINNATI 2, motions we so often OHIO see Our normal motions of Write todayfor full particulars and Enrollment Blank Oliver Ditson at the keyboard have their only everyday living. Co. value an inward pull of the fin- ” MUSK ,CH- THEODORE (If they ha.ve any) in preparing for hand-use are MARANATHA ORCHESTRA CAMP „“°^r PRESSER CO., Distributors, the Continued on Page 240) t”"' PHILADELPHIA 1, PA. putting down of the key. Thus, they ( 4 "FORWARD march with music 235 THE ETUDE APRIL, 1946 "FORWARD MARCH WITH MUSIC" Uncle “I’ve never seen a ballet, Results of Original Composition Hope you’ll take me to one Junior Etude Contest John. Contest some day.” The Junior Etude will award three at- you enter on upper left corner of your will Bobby. That’s a promise. really do have “I We some good young each month for the neatest paper, and put your address on upper tractive prizes ERICAN But I hope you will always be en- composers among our Junior Etude for answers AM and read- and best stories or essays right corner of your paper. all forms of music, ers, and many teachers of today thusiastic about teach puzzles, contest is open to all boys and Write on one side of paper only. Do music through the M it be sonata, symphony, composition angle eighteen years of age. not use typewriters whether girls under and do not have any- con- Therefore some of our contestants eighteen years of one opera, oratorio, chamber music, en- Class A, fifteen to copy your work for you. CONSERVATORY tered compositions that showed training to fifteen; Class C, Essay must contain certos or ballets, because they are all age; Class B, twelve not over one hun- wonderful!” under twelve years. dred and fifty words and must be re- Church Bells. will appear Clyde Osterhaus Names of prize winners on ceived at the Junior Etude Office, 1712 ef issue of The Etude. MUSIC future Chestnut Street, Philadelphia (1) Pa., this page in a , by Quiz best contributors will re- the 22nd of April. No contest The thirty next essay ap- 60th YEAR honorable mention. pears in this month. Poetry contest ap- CHICAGO Musical Names ceive put your name, age and class in which pears below. Results in April. Accredited courses in piano, vocal, violin, organ and all other branches of 1. What was MacDowell’s first Music and Dramatic Art leading to name? OF MUSIC 2. What was Mozart’s middle Prize Winners Poetry Contest DEGREE-BACHELOR name? DEGREE-MASTER OF MUSIC Special prize winner, for full orchestra This month there is another poetry 3. What was the name of Schu- Mille (age Illi- Others, who are pupils of teachers score: Mayne Moine 13), contest, so get out your pencils and Under Authority State of Illinois Stories in Music and Dance mann’s wife, a celebrated pi- who do not teach composition, sent in com- nois. papers and put on your thinking anist? Abramson (age 17), Unsurpassed faculty of 130 artist instructors, many of national and positions which showed a great Class A, Robert caps. The poems length deal of may be any international reputation. 4. What is the name of an opera natural talent Pennsylvania. tf Paul 'Joucfyuet though not so well trained. and on any subject, but of course, it by Wagner in which there ap- Class B, Robert Rivers Harris (age must relate to music. Follow the reg- Thorough preparation for concert, radio, opera and teaching posi- Sonatina. Robert York State. pears an enchanted swan? Rivers Harris 12), New tions. Weekly recitals, lectures, school of opera, training in students’ S left ular contest rules. THEY the record store Clyde Osterhaus (age 4) , Long “Who else wrote ballets?” he asked 5. What is the name of the com- Class C, symphony orchestra, bureau for securing positions. Bobby remarked to his Uncle Last year some excellent poems again. poser of Swanee River? Island. AJohn, “I certainly were sent in and this year we look am glad you “Saint-Saens has a ‘Bacchanale’ in 6. What is the name of the com- selected the ‘Nutcracker Suite’ for his opera for still better ones. ‘Samson and Delilah;’ poser of the fairy story opera, SUMMER MASTER SCHOOL my birthday, Uncle John, ’cause Mention we Ponchielli wrote a well-known one, “Hansel Special Honorable learned and Gretel?” about it in school once, and the ‘Dance (Send answers to letters care of Junior Three Summer Sessions — May 13 to June 22, of the Hours,’ in his 7. What is the name of Beetho- Ruth Mariner; Ronald Pierolo; Vilma it’s one of my favorites. I had to have Etude) June 24 to August 3 and August 5 to September 14 opera ‘La Gioconda’; Tchaikovsky ven’s only opera? Grassi; Bob Van Alstine; Hilda Hoyer. practice for the exhibition that day wrote several School Music, School of Acting, besides the ‘Nut- 8. What is the last name of the Special Summer Courses in Public so I got in late and Mention Junior Etude: Piano Course didn’t hear what Cracker’, ‘The Sleeping Beauty’, Honorable Dear Children’s Musical Training (Robyn System), Oxford also composer whose first name is I play piano and clarinet and I like one just Miss Jones said In any case, writing a good original about it, so now you based Coyle; Regina Britt; I in th the on a fairy-tale; Stravinsky Franz Peter? David Will; Ellen Nord about as well as the other. am b9 can tell composition does not mean orchestra at school. ambition is Member the National Association of Schools of Music me.” wrote one that you will Arthur Chapman; Rose Marie Murphy; Ruth band and My of called the ‘Fire Bird’, the 9. to lead a band, but first I want to leam to ‘‘The What is the name of the well- be an outstanding composer when you Neal; Margaret Neal; Joanne Stonebaek; story of this suite is based story of play well. a beautiful bird Small; Renee May Council; catalog. Address John R. Hattstaedt , President with wings known fairy story suite by grow up, any more than writing a good Shirley June From your friend, Send for free on an old fairy tale,” began Uncle Linden; Bobby Luben; of flame, which is caught by a prince, Tchaikovsky? Jona Gogel; Jack Phyllis Page (Age 13), John, “which Gay Silverman; Carolyn Ruth Thorn- Ohio tells how a group of who then frees Serenata Nancy it and is given a 10. What is the Espagnole. F. G. Engler, Jr.; toys engage in name of Shake- burg; Mary K. McManus; AMERICAN CONSERVATORY OF MUSIC a sham battle with magic feather; Joyce; Martha V. Duval; and ‘Petroushka’, the speare’s play for Robert Eleanor Kirk; Nancy a nutcracker. The which Men- Abramson VanDyke; Helen nutcracker is story of a little puppet. The Span- Joan Cologero; Martha Jean 573 Kimball Hall, Chicago, 111. delsshon wrote music? Tate; Mary Carol Smith; Virginia Lee In- saved by a little girl named Marie ish composer De Falla wrote a ( Bruhl; David Will; Forest de- Answers on next page ) man; Rosemary who flies away with the nutcracker lightful ballet called the ‘Three Cor- C. Jones, Jr.; Arthur Chapman; Helen Nord who is transformed into a prince. nered Hat’; Ravel’s Coyle; Rose Stephens; Myra Stormer; William famous Bolero Moultrie; Elaine Thvelt; Carolyn Curtiss. They reach the court of the Sugar- E. was written for a Spanish ballet; Four-Leaf Clover plum Fairy where they are enter- Debussy wrote a ballet for children CHICAGO MUSICAL COLLEGE tained by Florence L. Curtiss by dances, the Chinese Dance, RUDOLPH GANZ, President called the ‘Box of Toys’; even Answers to Quiz No. lO Founded 1867 by Dr. F. Ziegfeld the Russian Dance, his the Arabian Afternoon of a Faun CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. has been used essay in 1, Edward; 2, Amadeus; 3, Clara Wieck; Dance, Dance school means you will be an out- Member of North Central Association and National Association of Schools of Music of The Mirlitons, as a ballet. And 4, Lohengrin: 5, Stephen Foster; 6, Humper- although the ballets standing writer BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS Dance of the Sugar when you grow up; or dink; 7, Fidelio; 8, Schubert; 9, “Nutcracker ALL Plum Fairy, and are not given very often, the music that doing well in Suite”; 10, “Midsummer Night’s Dream.” Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois the Waltz of the Flowers.” physical training of them has become extremely means you “Is popu- will become a member of an a ballet something like an lar and is often heard in concerts.” Olympic team. Elva Templin; Joan Hovey; Jane Peer; Shirley opera without Dear Junior Etude : any singing?” asked “Are Marroletti; there any American ballets, One thirteen-year-old I am only six years old and I like piano Thomas; Roverta Mierach; Donald Bobby. contestant sent my LEON ROSENBLOOM in so much; I go to Oklahoma City for my lessons. Ellen Wright; Betty Ann Mick. Uncle John? I should think there a composition scored for full orches- It is so far; we travel three hundred miles for “Very much. The dancers tell the tra, and we Member of the Artist Faculty ought to be.” feel this is beyond the ability each lesson. I practice an hour and a half Dear Junior Etude: story with their motions. of our readers every day because I want to be a concert taken piano lessons for nearly three Dancing “Oh yes, our own as far as competition is I have of the Piano Department composers have pianist. I am sending you my picture. it very much. I like the duets in is a very old art, concerned. years and like you know, Bobby. written Therefore we are giving a From your friend, like to read the Junior Etude. ballets, as well as all other The Etude and I A pupil the famous Arthur Schnabel, Mr. Thousands of special prize for Barbara Ann Mitchell (Age 6), I would like to receive letters from other of years ago the Egyp- forms of composition. Some call it LUCK, this composition. And John Alden The Oklahoma Junior Etude readers about my own age. Rosenbloom has won pianistic distinction tians had ceremonial dances But it’s opening measures of the other friend, some- Carpenter wrote three ballets, nothing but PLUCK, From your ‘Sky- prize winners Jessie L. Boorn (Age 13). through recitals in the music centers of the thing like ballets and so they did And doing things appear above. scrapers’, ‘Krazy Kat’, and the New York in India and China. United States and Europe, and through the Even the Ameri- ‘Birthday of the Over and over. Infanta’; Aaron training young artists. can Indian had serious ceremonial COURAGE and Dear Junior Etude: of Copland has given WILL, it us ‘Billy the I have studied music about a year and dances, though mink we would not call Kid’; Elliot Carter’s PERSEVERANCE and SKILL— Junior Etude gets more interesting at every lesson. I ‘Pocahontas’ is Red Cross Afgbans Etude. When them ballets, exactly. These make that is because I read the Junior Instruction from eminent Artist Teach- Since the time based on the four practice after the Indian story, to men- While the any of my friends get tired of of Lully, Leaves of hostilities have been over The Etude. Rameau, and Gluck it has tion some”. the clover. a few lessons, I suggest they take ers is available to talented students at for many your friend, been (Reprinted by request months, the wounded sol- From customary to include a ballet from October, 1935 Junior Jane Hirst (Age 14), Etude) diers are Betty Sherwood, from the beginning of their in the opera. Wagner broke away still in the hospitals and D. C. must be cared studies. Certificate, Diploma, Degree courses in Piano, Voice, from this custom but he was ad- for, for a long time to come. Afghans are Dear Junior Etude : Violin, Organ, Cello, Wind Instruments, Public vised to add one for his Paris pro- therefore still For four years I played the violin without School Music, needed. bad duction of having any lessons, not realizing what ‘Tannhauser’; then he year I had an Conducting, Theory, Composition. Dormitory accommodations at Remember, habits I was forming; then last broke away again knitted squares are opportunity to take lessons. The first lesson by putting it in moderate cost. Courses for veterans under G. I. Bill Rights. four-and-one-half made me feel very down hearted because my of the first act, inches; woolen- correct and everybody who teacher found it almost impossible to goods squares not give up the violin, she Summer Session opens June 12. For free catalog, write came late missed seeing it!” are six inches, cut me, but as I would straight, not agreed to give me another trial. Wildman, Musical “Uncle John, do the opera ballets on the bias. Ten months have elapsed and I am now on Arthur Director, 412 South Michigan Book 11, and am also working have the same story as the Knitted or woolen the last part of Avenue, Chicago Illinois. operas?” goods squares have been on solo pieces. 5, received from the found asked Bobby, always following since the last I like your articles on the violin and I wanting to a ea red in our columns, for which we in your violin Questions the formula for a send^L fif , know the answers. thanks: good violin cleaner. This makes my violin clean E1 shiny and makes me forget it only cost “Not usually,” his uncle told him; ™ er Nelson; Sharon Collins; Lamona and r- ^ Daisy twenty-five dollars...... Angermeier; Marcis Masters; “in operas the ballets are T* I enjoy good music and hope to play in tne more for Photo by a Eva S: CORPS de BALLET Jimmy Sileo S? v = Phyllis League; Evelyn Rou- Honolulu Symphony Orchestra some day. entertainment and diversion.” 2*’.™ Rouselle; Jeanette Hardy; Mrs. H. From your friend, Radio City Music Hall, • ackman; Institutional Member of National of Music New York Clara McCochrane; B. Guion; Ruth Alice Noh (Age 17), Association of Schools also several came Barbara Mitchell (See letter above) Hawaii 236 with no names. THE ETUDE APRIL, 1946 237 —— ——— — — —

THE COVER FOR THIS MONTH—Among ERTOIRE, For Piano, Compiled by FIRST GRADE STUDIES FOR CHORAL PRELUDES FOR THE ORGAN by the articles in this issue of The Etude Henry SELECTED Levine Music lovers everywhere Compiled by David Lawton—An Johann Sebastian Bach, Compiled, Revised, will be found one to which our front — have en- PIANO, joyed the compiler’s Themes selection of early grade studies and Edited by Edwin Arthur Kraft—It is cover makes an excellent supplement. from the unusual Piano Concertos; newest addition to the Music with great pleasure that we announce The portrait sketch on the front cover Great Themes from forms this of easy sup- MUSIC the Great Symphonies and Themes Series. Consisting of the forthcoming publication of Bach’s EASTMAN SCHOOL OF this issue is the work of Mrs. Charles O. from Mastery Operas. For his material for the young pian- Choral Preludes for the Organ, edited Gebauer, of Weehawken, New Jersey. the Great new book Mr. plementary Levine has selected suites, be welcomed by teachers of all by Edwin Arthur Kraft, highly success- All the W’orld knows Pietro Mascagni PUBLISHER’S NOTES overtures, and ist it will educational value of the ful organ virtuoso, teacher, and authority of as the Italian operatic composer whose tone poems of leading orchestral com- methods. The Several of these have unusually high because the num- on the works of Bach. Mr. Kraft has de- fame came about through the success of A Monthly Bulletin of Interest to all Music Lovers posers. been espe- book is for this written by famous specialists voted his most sincere efforts to the mat- only one of his operas, which is the one- cially arranged book; Air from bers were The University of Rochester children and composing for ters of fingering, pedalling, phrasing, and act opera "Cavalleria Rusticana.” Mas- "Suite No. 3 in D,” by Bach; Themes from in teaching " Sorcerer’s Apprentice" Gratifying inclusions in the list registration in this book. Howard Hanson Director cagni was born in Leghorn, December 7, The by Dukas; them. , Debussy’s Prelude to the Afternoon composers’ names are those of the 1863, and died in Rome, August 2, 1945. of a of Included in this volume are Liebster Assistant Director Themes from esteemed Kohler, Gurlitt, and Raymond Wilson, Faun; Roumanian Rhap- highly Jesu, wir sind hier; Alle Menschen mus- sody No. 1 by Enesco; Nocturne Streabbog and of the modern experts THIS IS AN IMPORTANT TIME FOR from “A sen sterben; Ich ruf’ zu dir, Herr Jesu Undergraduate and Graduate Departments EIGHTEEN HYMN TRANSCRIPTIONS for and Parlow. TEACHERS MUSIC Midsummer Night’s Dream" by Mendels- Bilbro, Bugbee, Christ; In OF —Some wag once Clarence Kohl- dulci jubilo; In dir ist Freude; orid, Piano Solo, Arranged by sohn; Theme Les Preludes single copy of this book may be or- observed that "Anyone could go to bed 1946 from by Liszt A and Herzlich thut mich verlangen, and raann—This third collection will come as now, at the Advance of Publication but that it took a real person to get up.” and Saint-Saens’ Danse Macabre, and dered others. Organists volume to Mr. will find this book SESSION a welcome companion other selections by Grieg, Cash Price, 25 cents, postpaid. Sale is SUMMER When Spring is in the air there are too ADVANCE OF PUBLICATION Rimsky-Korsa- equally valuable for church and concert Kohlmann’s phenomenally successful to the United States and its many who find it a very easy thing kow, Tschaikowsky and Smetana have limited to of Favorite purposes. Concert Transcriptions possessions. June 24—August 2, 1946 succumb to the lassitude it engenders, been cleverly transcribed. OFFERS Hymns and More Concert Transcrip- While the book is being prepared, an but the teacher who practices that self These arrangements, slightly more ad- tions of Favorite Hymns. As in the vol- OF EASY PIANO SOLOS by Louise order may be placed now for a single discipline so necessary to success finds it vanced than those of the earlier volumes, ALBUM All of the books in this list are in umes just mentioned, this album also composer’s notable success copy at the Advance of Publication Cash important at this season the fifth sixth E. Stairs—This FALL SESSION of year to preparation for publication. The border on and grades. All have will include hymn favorites in transcrip- has been due to the educational qualities Price, 50 cents postpaid. be busier than ever, with the need for low Advance Offer Cash Prices ap- been carefully fingered, phrased and tions for fourth grade pianists. These her compositions. Now, in response to 1946 June 1947 looking after current schedules of teach- ply only to orders placed NOW. edited. of September 17, — 7, are ideal for home and church uses, and need among teachers for a collection of ADVANCE OF PUBLICATION OFFER WITH- ing, attending to all the extra activi- Delivery (postpaid) will be made Receiving a copy of this new work may a when the books in many cases can be used to accompany Mrs. Stairs’ pieces, this book is being pre- DRAWN As the mechanical details—en- ties incident to planning and carrying are published. be assured by placing your order now Paragraphs describing each congregational singing, since many of the It goes without saying that a graving the plates, proof-reading, print- through the programs for at least several pub- at the Advance of Publication pared. For further information address original keys Cash Price pupils’ recitals, lication appear on these pages. have been retained. warm welcome awaits it. ing and binding—are completed of each and above all in working 40 cents, postpaid. Sale of this Eighteen Hymn Transcriptions will book, out every detail vital in- Nineteen of Louise E. Stairs’ most pop- book described in these Publisher’s Secretary-Registrar to the promotion however, is limited to the United States ARTHUR H. LARSON, Album of Easy Piano Solos Stairs .40 clude such favorites as: All Hail the of special summer music classes. Pow- ular early grade pieces will make up this Notes, copies are sent to music stores The Child Chopin and its possessions. At the Spring Childhood Days of er of Jesus’ Name; Holy, Holy, Holy; Album of Easy Piano Solos, among and mailed to those who ordered them in Eastman School of Music pupil recitals there are Famous Composers—Lottie Ellsworth Coit Crown Him with Many Crowns; Jeru- excellent opportunities for the teacher and Ruth Bampton 20 which will be the favorite Blowing Bub- advance of publication. With the publica- Choral Preludes for the Organ. salem, the Golden; Lead, Kindly Light; THE CHILD CHOPIN, Rochester, New York to get over to the pupils and to the par- . Bach-Kraft .50 Childhood Days of bles; Chipmunks; Dreamy Daisies; The tion of this note the special introductory Concertino on Familiar Tunes My Faith Looks to Thee; ents of younger pupils the fact that with Up and Ten Famous Composers, by Lottie Ellsworth Colt Jolly Cobbler; A Pony Ride; A Visit to price offer is withdrawn and copies may For Two Pianos, Four Hands Avery .35 the passing of cold weather Thousand Times Ten Thousand. and Ruth Bampton This book will con- the Farm; and Wild Flowers. Orders for be obtained from your music dealer, or and with the Eighteen Hymn Transcriptions For Piano let-down in Prior to publication, orders for single stitute a most important addition to copies are being accepted now at from the publishers, for examination. school study demands the Kohlmann .45 the single Colleges Mother Nature copies of this book Schools— summer-time offers opportunity for ac- Wins Operetta in Two may be placed at the Childhood Days of Famous Composers the special Advance of Publication Cash This month we announce a new collec- Has Your Child Acts for Children Shokunbi-Wallace complishing more in music than during .30 special Advance of Publication Cash Price series, the popular works on the youthful Price of 40 cents, postpaid. Delivery will tion of educational and recreational ma- the advantage of piano study with SCHOOL Organ Vistas 90 of 45 cents, a member of the OF the regular school season, and that the postpaid. activities of the masters. be made immediately after publication. terial that cello pupils and teachers will Peter Rabbit—A Story with Music for Piano CONVERSE COLLEGE MUSIC vacation season from music lessons ought Richter .35 The Child Chopin will preserve all the find interesting. NATIONAL GUILD Edwin Ger8Chef8kl. Dean, Spartansburg, S. C. to Ralph Federer's Piano be limited to four to six weeks Solo Album 60 MOTHER NATURE educational features which PETER RABBIT, A Story with Music for Classic and Folk Melodies , In the First at the WINS, An Operetta for have made of PIANO TEACHERS Department of Music most. Selected First Grade Studies For Piano KNOX Illinois Children, Libretto by Mae Gleaton Shnkunbi, the series so widely successful. Chief Piano, by Ada Richter—Now Comes the Position for Cello and Piano, Selected, Inc. Galesburg, Lawton .25 Thomas W. Williams, Chairman Special efforts should be made Music by Annabel S, Wallace among these will be the simplified dramatic tale of the most popular of all Arranged and Edited by Charles Krane, A goal of achievement for every student suitable COLLEGE Catalogue sent upon request. by the Six Melodious Octave Studies For Piano —Here is a ver- to his age and advancement. teacher to make summer study two-act sions of the childhood story-book heroes, to highlight presents melodies from Bach, Mozart, unusually Lindquist .25 operetta flexible enough for use great composer’s Nocturne in (NOT A CONTEST) CONSERVATORY attractive, and besides Themes from the Orchestral Repertoire with OF MU5IC guidance in the various children’s groups. It E flat; Waltz in A minor; Prelude in A; Ada Richter’s A Story with Music Series. and Brahms, together with folk songs Wad* E. Miller. Pro*. For Piano can be The Better Teachers Are Members SHENANDOAH gaining Levine .40 of accomplishments either on an simply or elaborately Theme from the “Ballade in As in Jack and the Beanstalk, Cinder- of Bohemian, French and Russian origin, Chapters in every large music center Courses leading to The World's Great Waltzes staged and cos- A flat;’’ and King .40 “ INFORMATION WRITE the B. Mus., and B. Mus. Ed. degrees. Rates instrument or in vocal rendition the tumed and can the Butterfly’’ ella, and Three Little Pigs, the narra- in easy-to-play arrangements for cellists FOR be easily regulated as to Etude. There also will be reasonable. In tbe heart of the Shenandoah pupils should be given opportunities to the number in the cast an easy duet arrangement of the Military tion is enlivened with the addition of of limited experience. These are intended IRL ALLISON, M. A. Valley, Dayton, Virginia. “ and the time of develop their FOUNDER AND PRESIDENT musicianship and musical performance. Tuneful music, clever dia- Polonaise. Directions for setting up a descriptive music and conversational text for use as an incentive to practice, or as knowledge by Box 1113 AUSTIN, TEXAS special classes for studying logue, and numerous dances land them- miniature stage with a scene from Chop- to be sung. Full page line drawings to be first recital pieces. Musically the pieces GREENSBORO COLLEGE such things as harmony, ORGAN selves well in’s counterpoint, VISTAS—This new compilation is to the capabilities of children life will be included, and there will colored portray the vivid events. For sup- are most interesting and the editing SCHOOL OF MUSIC composition, history of music, music ap- sixth in Presser’s popular cloth-bound between the ages of five and thirteen. be hints on the production of the story plementary study material, or recrea- makes them excellent for laying a good THE INSTITUTED VOCAL ART Greensboro, N. C. preciation, lives of great The musicians, etc. series for organ, which includes the out- cast comprises five solo voices, a as a musical playlet. tional playing, for recital or group play, foundation of correct fingering, bowing OF SAN FRANCISCO (Member National Association of Schools of Music) Any teacher in need of information standing chorus correcting faulty “Conservatory advantages with small college as success The Organ Player. The of twelve for unison and two-part Until this book is ready, orders for children will love this. and phrasing. The piano accompani- Specializes in background. Career minded singers atmosphere” to materials to utilize in the conduct of medium-grade melodious singing, and Previous leading contents of this a group of dancers. The single copies are being accepted at' the to publication, a single copy ments lend ample support to the solo write J. Whitcomb Nash, Director, Courses to B.M. and A.B. degree with major in music. Faculty of artist teachers. In- such special classes need only write to new book will be in unique story, found no other album, with the awakening of special Advance of Publication Cash Price may be ordered at the special Advance parts but are well within the playing 305 Grant Avenue, San Francisco, Calif. formation upon request. Mark Hoffman. Dean. the Theodore Presser Co., spring 1712 Chestnut so one may be assured of freshly arranged as its theme, tells of King Win- of 20 cents, postpaid. of Publication Cash Price of 35 cents, ability of the average pianist. Price, 75 Street, Philadelphia 1, Pa., asking material. ter’s for The varied needs of the church struggle to rule the world. The di- postpaid. cents. recommendations as to materials that organist have been the criterion rector who chooses for se- this operetta for stag- CONCERTINO ON may be used for the successful conduct lection of the twenty-eight compositions. ing will please cast and FAMILIAR TUNES for 50TH audience alike. Two YEAR Answering Etude Adver- of special summer classes. In A single Pianos, Four Hands, by Stanlry R. Avery OF advance of publication one copy of non-returnable copy may be flKiene «*. —Here is a novelty TKeaire Organ Vistas may be reserved now at for two pianos which % Star making. Students seeking professional engagements tisements always pays CONSERVATORY ordered at the spe- the bargain e<1 b Advance of y StaKe * Screen, Kamo and presented in pro- *l . will provide genuine pleasure n8 or showing: to B’way-Hollywood Talent Scouts and SIX MELODIOUS cial cash price of cents, Publication for players public.•J!iKii? T^ OCTAVE STUDIES by 90 postpaid. Cash Price of 30 cents, post- B way also Summer Stock. Spring course opening. and delights the reader. and listeners alike. SEC Y SHUBERT. 1780 BROADWAY. N. Y. Baltimore, Md. Orville A. Lindquist—This book covering paid. It is about grade the more three in difficulty and will have extensive ~~ familiar types of octave work, RALPH FEDERER’S PIANO SOLO ALBUM OF MUSIC “ REGINALD STEWART, Director use in teaching as well as on recital pro- JUILLIARD SCHOOL will be an outstanding addition to the The final selection THE — of pieces for this WORLD’S GREAT WALTZES, Arranged grams. famous Music Mastery Series of educa- new collection for Piano WILLIAM SCHUMAN, President of recreational piano mu- by Stanford King—This notable Mr. tional Avery’s . Concertino on Familiar material. The numbers included sic is completed, and the many pianists collection Summer Session includes fifteen captivating are in Tunes is in three movements. The first grades three and four difiSculty. who already have ordered this book very waltzes especially arranged for the aver- is an FREDERICK R. HUBER, Manager The study called The Xylophone Allegro Moderato, founded on the JUILLIARD SUMMER SCHOOL Player soon will be receiving their copies. age pianist. In spite of slight simplifica- childhood favorites, deals with repeated octaves. Tremolo With so many successful tion these A.B.C.; London compositions pianistic versions have Bridge; GEORGE A. WEDGE, Director Faculty of distinguished musicians octaves are introduced under lost and the Welsh folk song, All the title of available from the pen of Ralph Federer, none of the melodic and rhythmic The charm Through the Night. The famous English Tuition in all grades and branches Spinner. Practice in melodic and the final choice of contents was not of the originals an and will appeal both air, July 1 to August 1946 legato playing may be to Drink to Me Only with Thine Eyes, 9, found in the study easy one. The twelve numbers appearing musician and non-musician. Among the is the theme of the Special courses in called Solitude. The gay mood of the in the book are Across the Footlights; favorites in Andante (second Group Piano Instruction this volume are The Beauti- movement) Instruction in all branches of music and music education chromatic octave study is highly Cute as , and the gay third movement. charac- Cotton; Happy-go-lucky; Lonely ful Blue Danube and Tales from the Allegro con Brio, Practice pianos and organs available teristic of its title, Mirth. The vivacious Dancer; Night in Vienna; Vienna is an ornamentation on An Old Ro- Woods by Johann Strauss, Courses The Three Blind Mice and the fiddle Professional number called The Chase is a tone pic- mance; On a Summer’s Night; Roses at Kiss by Arditi, famous Lehar’s Gold and Silver, tune, Pop Tuition $20 to $60, according to grade and study ture in interlocking octaves; while the Twilight; Smoke Dreams; Song and goes the Weasel. Opera School. Church Music. Radio Technique. at Mid- Waldteufel’s Estudiantina. The final piece called Victory is a study night; Starlight special Advance of Publication Arrangements for in Serenade; and Struttin’ Until The World’s Great Waltzes Operetta Production. Stock Arranging. Jazz Improvisation classes now being made sonority for both hands. is Cash Price for this work (a single Along. A nice variety of tempi and style ready for sale, a single copy copy may be or- only to Circulars mailed Your order for a single copy is a customer) is 35 cents postpaid. will be achieved in the foregoing selections. dered at the special Advance Catalogue on request of Publica- A special string orchestra accepted now at the special Advance of An advance copy of this attractive vol- tion Cash Price arrangement of of 40 cents, postpaid The the Publication Cash Price, of 25 cents, post- second piano part will be available 120 Claremont York N. .Y. ume may yet be reserved at' the special sale is limited to the United Avenue Room 122S New 27, States and on rental for those Fall Term Begins September paid. cash price of 60 cents, postpaid. its possessions. desiring to play the 30th solo part with orchestral accompaniment. Advertisement 238 Advertisement THE ETUDE APRIL, 1946 239 I I

contradiction that prompted him more Claude Debussy As a often than not to place himself on the GUY MAIER side of the opposition. But his writings announces because Music Critic will always interest of their niciiie TEACHERS' WORKSHOP marked individuality and discreet sense uino old in ci THE of humor, and they will be consulted A Two-weeks Course in Pianogogy ( Continued from. Page 228) with profit by the generations to come. 1-12 • MINNEAPOLIS . . . JULY Music, Lasalle at Twelfth St. the French individual- MacPhail College of asked : where does PLcc will .Successful Secichers (Hicrij ivhere • CHICAGO JULY 15-26 ity show itself in music? of Music, 410 South Michigan Av- Sherwood School It may surprise many to hear that enue Know Your Instrument! Massenet, so often wrongly considered • NEW YORK JULY.29-AUG. 9 as a facile, superficial composer, found Juilliard School of Music, 120 Claremont Avenue Debussy. “Massenet has (iContinued from Page 235) • MARYVILLE. TENNESSEE AUG 12-23 grace before of Music,” Maryville College, Manager, George D. Howell recognized the real problem gers (as in making a fist), and an Ten morning class sessions (two weeks) and one private lesson conference or con- he wrote. “Music must be freed from any out- of fingers sultation $50.00 scientific overweight; it ought to strive, ward thrust the (as in un- Special one-week fee, five class sessions and one private consultation 35.00 very simply, to bring pleasure. A great making a fist!). These are the two most Five afternoon class session by MARGARET DEE fullness of purpose can be reached within helpful motions in playing. Most of all. Your Teaching" fee to class members 10.00 "Streamlining such boundaries. Is there not a tyrannical keep your fingers free. In most cases, JOHN M. WILLIAMS in the ‘stiff wrist’ isn’t really a stiff wrist For detailed circular, address above, or ... ^ and secret skill constantly at work 503 Alta Ave., Santa Monica, California. Guy Maier Master Classes, Massenet’s indefatigable effort to write at all, but the muscular pull of stiff in his music a history of the feminine fingers. To cure a stiff wrist, forget the soul?” Such a judgment, however, is wrist and loosen the fingers. Unless your A Revealing New Book in Two Parts natural coming from one who already in problem is structurally an abnormal one, PARAGON OF RHYTHMIC COUNTING PARAGON OF HARMONIZING the wrist will become free Presented by Trinity Principle Pedagogy his Conservatoire days reveled in the as soon as the • FIRST YEAR at the piano "YearbyYear" Part One: Clarifies all rhythms including difficult composite rhythms, syncopation, “pleasure of the ear.” fingers do. fermata and cadenza, how to use conductor’s beats and rhythmic writing for the One of Debussy’s most interesting “Acquaint yourself with what I call / LATEST REVISED AND ENLARGED EDITION rhythmic dictation. concerned the fugue as a the ‘scratching’ or ‘trigger’ motion Part Two: Clarifies diatonic, chromatic, pentatonic, and modal harmonizations. statements of already invaluable work the author has in this “new” First Year at the form of musical expression: the fingers—that is, with the forearm, To an Piano Drills, Lesson Boohlet, and Explanatory Course Send $1.00 for Rhythmic Rhythm One Booklet. “Bach’s own fugues are admirable be- wrist, and fingers held loosely and natu- Piano added much material representing new developments in piano teaching, EFFA ELLIS PERFIELD 103 East 86th St. t Parle Ave.) New York City cause they express perfectly the musical rally, approach your keys with the in- including numerous charts and other aids. Utilizing both clefs from the outset, In perfect sequence these volumes pull atmosphere of his time. It is because of ward that you use in scratching or it stands as one of the most important introductions to piano study available. in pulling trigger; proceed from the most elementary this that he reached in them such a de- a and pull with the Newly engraved and set up, this book is indeed “a worthy successor to its gree of expression and even emotion. muscles inside the hand. Remember that keyboard work of the "first year" to DILLER-QUAILE worthy self”, and students of all ages will continue to find it the ideal first book. This is no longer possible now that the no tone is actually produced from the Colorado College In it Mr. Williams’ remarkable pedagogical experience and sound reasoning are fluent and artistic playing in the musical language has changed, and that’s upper arm. School of Music clearly reflected, and a natural result is that, from the very beginning, smooth School why modern fugues are so dry and so “The action of the pedal is not so in- "fifth year." Summer progress throughout is assured Price, $1.00 where the well-known Diller-Quaile uninteresting. I accept them as a sort of volved anatomically as the action of the July 1 to August 24, 1946 gymnastic for penmanship, and nothing fingers on the keys, but since pedaling is (ORIGINAL EDITION Complete ($1,001 or In Four Parts for teaching material originated, offers — . . . AND OTHER INTEREST- more.” of the greatest importance in playing, it 13 Each IS STILL AVAILABLE, IF DESIRED courses in Piano Class Use 5c Parti— GALA SUMMER and Musicianship “Debussy wrote very little about might be well to consider it here. There HOLDING AND RESULT-PRO- MUSIC SESSION for Children and Adults, and a Brahms, but at that time the German is no fixed rule, of course, that can be master’s works were practically never offered in connection with pedal use DUCING WILLIAMS BOOKS For Teachers and Gifted Students Training Course for Teachers with heard in Paris; moreover, the tendencies which has to do with phrasing, which, for —Nationally Famous Artist-Teachers demonstration class of children. of the two musicians were so totally op- in turn, has to do with the musical and • SECOND YEAR at the piano Chorus, Composition, Piano, Viola, posed that they could not help conflict- not with the mechanical aspects of play- Violin, Violoncello, Voice. 66 EAST 80 ST, NEW YORK N. 8-1050 This Second Year at the Piano continues logically from the first book with 21, Y. BU ing violently. Once after hearing the ing. A sound general working maxim, THEODORE PRESSER CO. special emphasis the playing of pieces. It is copiously annotated throughout, violin Concerto performed by a visiting however, is this: on —Theoretical and Practical Music when the fingers go Everything in Music Publications Courses for Graduate and Under- foreign virtuoso, he wrote a few lines and down, the foot goes up. Keys and pedal and helpful suggestions as to the most beneficial study of each piece and exer- graduate Credits. qualified the work “unentertaining, go cise are offered. Preparatory exercises to the more technical numbers are STREET, P H I L A D E L P H I ,1 PA SHENANDOAH CONSERVATORY down together only in staccato chords 1712 CHESTNUT A rugged, and rocky.” that have Rocky Mountain School no pedaling before them. The included. A variety of excellent teaching pieces by various composers, repre- Languages In his student days Debussy expressed secret of pedaling is Of OF MUSIC attention to the cor- senting many styles of work, are utilized to carry the pupil along. . .Price, $1.00 himself severely about Beethoven, with rect timing of both the up and down Member National Association Schools of Complete Schedule the exception of pages like the slow movements of the pedal. "On Approval" Examination Privileges Music • Thorough instruction in all branches Academic Subjects movement of the Second Symphony and “And so, at last, we approach music! Cheerfully Extended to Teachers of music • Degrees: B. M. and B. M. Ed. Adagio the of the “Emperor” Concerto; You have an edition which gives you a • THIRD AT THE PIANO • YEAR Scholarships Available Certificate in Church Music. and as late as his mature life it was not clear, unvitiated (un'edited’) set of di- Eight-Week Bach, Mozart and When writing please state uncommon to hear him quoted as an rections of the composer’s wishes. You This book takes the student into the playing of the easier classics and lighter Contemporary Music Festival special interests. irreducible opponent of the master of have a clear understanding of the way type pieces. The work here again involves about an equal number of exercises Bonn. Debussy protested violently: “They your instrument works, of the structural and pieces along with the advantageous practice. An For Information Address For full information, address: author’s hints on the most OLDER BEGINNER’S PIANO BOOK say that I despise Beethoven, that I in- properties which Colorado College Summer School enable it to do certain interesting assortment of finger exercises covering various phases of technic, L. E. HILL. Pres. sulted him, called him ‘the deaf old man.’ things under certain stimuli, (NEW. REVISED EDITION! Colorado Springs, Colorado and which is interspersed throughout the the composers represented are: Dayton I book. Among Virginia may believe that Beethoven was too permit it to do only those things under Concone, Koelling, Chopin, Heller, etc Price, $1.00 “Teen-age” high school students as well as other more prolific and some of his sonatas or varia- only those stimuli. And mature beginners want dif- you know enough ferent and faster progressing tions are without joy. material than usually utilized for juveniles. Here is But let us take the about your fingers, hand, and forearm to Philadelphia just the book for such “older beginners.” It begins, as it naturally should, with Ninth : Conservatory Symphony the idea has prodigious enable you to give the required stimuli BALDWIN WALLACE the identification of the notes and their corresponding keys on the piano. The first beauty, the development is magnificent, to the keys CONSERVATORY OF MUSIC of Music at least expense to yourself. • pages show interesting charts and diagrams and are given over to thorough instruc- each progression is a new joy. In this FOURTH YEAR the piano The next step is, at tion in the fundamentals. BEREA, OHIO (suburb of Cleveland) 216 South 20th Street quite simply, to ‘act ac- The work, however, advances more rapidly than is cus- work of colossal proportions, not one cording’! first Maria Ezerman Drake bar If you know tomary with books for younger beginners with suggestions and explanations Affiliated with a class Liberal Arts College. what you are Mr. Williams’ Fourth Year at the Piano has been planned with special con- to the I nur and five year courses leading to degrees. Faculty Managing Director is superfluous.” about, your playing should become not point always. An important feature of the book is the group of attractive pieces and of Artist Teachers. Send for catalogue or Informa- Faculty sideration for inter- headed by Sometimes Debussy expressed technical advancement. While a number of delightful and folk songs, which have been arranged especially for the pianist tion to: himself only better, but simpler. And, finally, be in this grade. The ALBERT RIEMENSCHNEIOER, Dean, Berea, Ohio Olga Samaroff, Mus. D. esting poetically about Nature, in which he sure you know what pieces are contained in this work, it also provides excellent training in work covered in this book normally would require, for younger students, the Courses leading to Degrees you are going to found so much the matters of etc. better part of two years Price, inspiration: play.. By that I mean more than mem- dexterity, wrist action, use of the pedal, sustained chords, $1.00 “The trees The are such good friends . . orizing author again book, . the notes! I mean that no work supplies his helpful suggestions on the best use of the (ORIGINAL EDITION ($1,001 IS STILL AVAILABLE, IF DESIREDI and the sea is like a child, it and BOSTON UNIVERSITY has long, should be brought to the keyboard with- his explanations to the student on certain points are especially appropriate. Saint Mary -of -the -Woods lovely hair, and a soul; it comes and goes out a clear conception of the way it is to Price, $1.00 uc in unceasing changes; today it • COLLEGE shines sound. Don’t be too much troubled with TUNES FOR TINY TOTS Music for girls. Conservatory of Applied Music, Offering complete courses in Piano, Voice, Organ, under the sun, it smiles; tomorrow it will inspiration.’ School Music, leading to B.A. (I once heard student Theory, Public and Violin, Cello, Brass, Woodwinds, and Percussion instru- a l NEW, ILLUSTRATED EDITION I B.S. with a major in Music Education. Piano, voice, ments, Public School Music, Composition, Church be wild, vicious, threatening, then again object that a organ, harp, violin, other instruments; composition, precise counting of the Music, Musicology. Chorus, Glee Club, Orchestra, Band. grey, .” well-equipped buildings sad, weary . . rhythm harmony. Beautiful, spa- Faculty includes members of Boston Symphony. Bache- blurred her ‘inspiration’!) De- • FIFTH A most engaging preparatory book for pre-school pupils, this “happy time” music cious campus. All sports. Early registration advised. lors and Masters Degrees in all musical subjects. Dorms. YEAR at the piano Summing up, Debussy proved to be a pend, rather, book enjoys a richly deserved popularity Catalogue. Boa 16. Saint Mary-of-the-Woods, Indiana. Catalog. COLLEGE OF MUSIC. 73 Blagden St., Boston. on a thoughtful planning of the country over. Right from the begin- fair and unbiased critic. As could be In his ing there is direct association of the ex- every note, every indication, every ef- Fifth Year at the Piano, Mr. Williams concentrates largely on interpre- notes with the keys of the piano both clefs pected, he sometimes judged the com- fect, worked tation. being used. Playing progress is made by means of little melodies and exercises, Tell Your Music Loving Friends about THE ETUDE and ask them to give out in advance, and always Explicit and carefully prepared analyses of the various pieces in the positions of others without being many with entertaining texts. The author’s study suggestions are able to with complete respect to of 00k are a invaluable addi- you the privilege of sending in their subscriptions. the wishes special feature. A clear understanding of many interpretive points, tions. There are also helpful make complete abstraction of his diagrams and charts and entertaining pen and ink own the composer. Then take such well- useful in Ask for Catalog of Rewards for subscriptions you send a all piano playing, will attention to the author’s instruc- sketches illustrating the numerous pieces, which can personality. One must also remember his planned come of close be colored Price, 75c conception to your instrument— tions. Valuable 1712 Chestnut Street peculiar disposition technical material is involved in the study of this book and many ( SPECIAL SPANISH THE ETUDE Philadelphia, Pa. and the spirit of and be sure you know your EDITION—With text and music titles as instrument!” attractive pieces, largely from the later composers, are included Price, $1.00 translated by Placido de Montoliu—PRICE, 75 CENTS in U.S.A.I 240 "FORWARD MARCH WITH MUSIC" THE ETUDE

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