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

7-1-1940 Volume 58, Number 07 (July 1940) James Francis Cooke

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repertoire suggests the use of Summer enlarging ofthe £F\ •viert — I HOE Recent Additions mmsd(s m at qj d n fi coj to the Catalog of FAMOUS SONGS PUBLISHED MONTHLY By Theodore presser Co., Philadelphia, pa. H. E. KREHBIEL, Editor editorial and ADVISORY staff Volume Editor Price, $1.50 Each Tor ALTO DR. JAMES FRANCIS COOKE, Ditson Co. Hipsher, Associate Editor Oliver For SOPRANO outstanding writers on musical Dr. Edward Ellsworth America's • Mode by one of Contents William M. Felton. Music Editor music critic of leading metropolitan Contents subjects, for years the Guy McCoy volumes of Famous bongs Verna Arvev Or. Nicholas Doury Elizabeth Ciest journals, this collection in the four Beethoven. Good Friend, for Hullah. Three Fishers RoyPeery Went Dr. S. Fry George C. Knck Dr. Rob Jensen. publications, hew, U Robert Braine Henry Bach. Gone from Me Evermore. Murmuring Bree7es. foremost in vocal music Jesus’ Sake, Forbear. Sailing. Reed stands first and Katl W. Gehrkens Guy Maier Peter Hugh O Let Me Press Thy Cheek platform are with- Know’st Thou the Land? Pietro Deiro Know. if artists of the radio or the concert Rcvelli Henry S. Sawyer Balfe. Couldsc Thou But to Mine. any, Jensen. Spring Night. William D. Leading teachers, almost uni- Carried in Stock by copy for their voice. Voice Night. ' Becker. Springtime. out the Bohm. Silent as ° u Mc PrM5 Th* Check Kjerulf. Last Night. with their compre- versally, have adopted these volumes to Mine. THEODORE PRESSER Brodsky. To My Mother. FOUNDED 1883 BY Dealers Everywhere Beethoven. Remembrance. material classic, romantic, dramatic— Music Lassen. It Was a Dream. hensive and varied — Kjerulf. Lasi Night. 1 Joyful and Mournful. principles of good singing. In ad- Brahms. Like a Blossoming 1 the for use in inculcating the Know’st Thou Land? Liszt. The Loreley. other Lilac. Lassen. It Was a Dream. SOLO dition to the English texts, the original texts in SHEET MUSIC—PIANO Important Piano Night. Ode. I An Bohm. Silent as Loewe. The Bellringer’s the Sapphic Think of Thee. languages usually are given. The physical make-up of Enchanted Cardens Clarence Kohlmann Adjunct Daughter. Lullaby. 1 Instruction Brahms. The Little Dustman. beautifully en- Liszt. The Love books is especially noteworthy; printed from That Linketh ( Gr 3 ) Cradle Song. 1940 Ada May Piaget Caccini. Amarilli. Soul to Soul. (Contents j^or Brook A-Murmuring BOOK OF THE Massenet. Sweet Good-Night. graved plates on a fine quality paper and substantially bound Little ^ THE ENSEMBLE Chopin. The Maiden’s Wish. .301' PIANO Maiden’s Wish. . .. in heavy paper covers. Chopin. The Mossenet. Sweet Prances Terry (Gr. 2) BERNARD WACNESS Mendelssohn. On Wings of Good Night. PRICE 25 CENTS Little"*J ark Frost The Birdling. VOLUME LVIII, No. Cindy. Hollenbeck Music. Cowen. In the Chimney Corner An Orchard In Bloom— COURSE Lithuanian Song. ’ Mendelssohn. The First * The First Violet. Violet. Davis (Gr. 2) .... • • • V,’ Y 434 Y Pieces in Coenen. Lovely Spring. Suleika. Dvorak. Songs My Mother Penguin (With Words) —5ara/t Cole- (Duet and Second Piano Parts to Roff. Love Finds Out WORLD OF MUSIC. The For BASS Taught Me. the W«y. man Bragdon (Gr. 1) Book One) Dell’ Acqua. A Rural Song. Mozart. The Violet. Sandman’s Song Richard L. Bruce Fesca. Spring Song. ties. The Eyes of Spring So EDITORIAL 435 The Price, 75c (Gr. *5; Delibes. O Sea, Dreadful Sea. Purcell. Nymphs and Contents In Springtime. Azure. The Champions 2) tivT Stanford hing (Gr. *»)•••• Shepherds. Cradle Song. Spring Morning— Dvorak. Words) Songs My Mother Beethoven. Good Friend, for Jude. The Mighty Deep. Folk Songs: YOUTH AND MUSIC Swing High! Swing Low ! (With Youth. .Blanche Lemmon 43T •*••’** Taught Me. Raff. Love Finds Out the Way. Jesus’ Sake Forbear. All Through the Night Rubinstein. Thou'rt Like America's Pioneer A Cappella Choir of Louise £. Stairs (Gr. 1) Kjerulf. Last Night. unto a - —OCTAVO PUBLICATIONS— Nature’s Adoration. (Welsh). High (With Words) —Sarah Cole Folk Songs: Flower. Swinging Ries. Springfaith. Lassen. It Was a Dream. MUSIC AND CULTURE CHORUS—MIXED VOICES (S.A.T.B.) Sweet My Love. Charmante Marguerite The Dream. Paul J. Smith 438 man Bragdon (Gr. 1) fL All Through the Night Brahms. Ah! Disney Cartoons (UK. 6) oo i Most Wondrous It Must Be. (French ) The Asra. The -Music of the Walt Winter Frolic Ralph Federer (a cappella) (Welsh). Liszt. Thou’rt Like unto a ••••• Mila Trouk 430 A Come, Sleep •G . F. Broadband Chopin. Bacchanal. I t.peratic Nomads in Opera Land 15 Flower. How Can Leave Thee. The Dcwdrops Glitter. Seashore 441 (OD-15011 - The Coolun (Irish) . .Dr. Carl E. ) Rubinstein. Thou'rt Like unto It is Cultivated. . (German) Longing. The Love of Music and How 442 Cover the Sea (Egyptian How Can I Leave Thee. a Flower. Clay. Gipsy John. Loewe. W. F. Oates Dark Cloud, Archibald Douglass. Loch Lomond (Scotch). The First American Pianist 443 MUSIC PIANO DUET Deane Shure (a cappella) (German . Antrim SHEET Spiritual) . — The Lark. . .Doron K. Cornelius. What Sound Is That? Edward. Mv Love's an Arbutus Solnt-Soins. The Bell. Fate Was Their Fortune 20 Loch Lomond (Scotch). M. Isitlor Philipp 445 (One Piano—Four Hands) (OD-15022) (Irish ) In a Garden of Genius Three Ravens (English ) Scarlatti. The Violet. Dvorak. Songs My Mother Marschner. Heaven in the Vale. Scorlotti. Alexander Gretchanlnoff (a Cap- Cease My Heart from Wagness (Gr. 3) 50T The Echo— Taught Me. When Love Is Kind (Irish). Gypsy Life Bernard (S.A.T.B. divided) French. Rus- Mattei. Oh, Hear the Wild Wounding. MUSIC IN THE HOME .... pella) Fesca. In Springtime. Schubert. To Be Sung on the 440 English text (OD-14996) 25 English. Drink to Me Only Wind Blow. Franz. He Came. Singing Films Advance 0 ,, sian, and Water. Schubert. To Music. ik£. . ?r • t„h Reed 447 Litres Today (Palestinian Folk Foerster. I Love Thee. with Eyes. • • Israel Whither. Thine In Autumn. The Discs Go 'Round and 'Round • HANDS Mendelssohn. Returning. My Sweet Repose. A//red Lmdsaj/a Horcjan 448 SHEET MUSIC—TWO PIANOS, FOUR Chant) arr. by Harvey Gaul (a cappella) Impatience. Faure. Palms. Slumber Song. Concerts Over the Airways Franz. He Came. The The Young Nun. Cadman 440 —Charles English text (OD-14528) . . . .15 Meyerbeer. The Monk. Bookshelf R- Meredith Dance of the Sunbeams ( Gavotte) Yiddish and Marie. My Sweet Repose. Faith in Spring The Etude Music Lover's Fesca. Far from My Birthplace. Godard, B. Florian’s Song. Cadman arc. by J. W. Osborn Jewish Spring Song (Jewish Folksong) — Mililotti. Heart-broken Wakefield Mariner. Death and the Girl. .70T arr. Harvey Gaul (a cappella) Godard, B. Florian’s Song. Schumann. Messages. MUSIC AND STUDY _ .. (Gr. 3) by Fischer. In Cellar Cool. Gounod. The Evening. Is „ w Nessler. Who Sylvia? F nC T ' 450 15 O Sunny Beam. It Was Not So to Be. Making Sight Reading Easy m? ji (OD-15017) Goetz. Happy Day. Folk Song. All Through the Theodora J.Foth 451 Alexander Gretchanlnoff (a O The Lotusflower. Pergolese. Graben-Hoffmann. Stars with Schumann. Sunny Beam. Playing the Piano Between Four and Eight The Rhyme Night (Welsh). Nina. O Mater 452 (S.A.T.B. divided) French, Devotion. Golden Feet Are Wander- He More Knightly The Teacher’s Round Table -Um SHEET MUSIC—VIOLIN cappella) Gounod. To Spring. F'ressel. Than the 453 .15 The Woodlands ing. t Russian, and English text (OD-14997).. Franz. From Grief I Cannot All Noblest. What Is the Matter with My Voice Don Morrison (Gr. 3) Sinding. I Heard the Gull. Are Turning. William H. Buckley 455 Fairy Trumpets— Graben-Hoffmann. My Peace Is Measure. My Peace Is Gone. I Will Not Some Problems of the Choirmaster Solved -20T The Mother Sings. Grieve 457 Violin Solo ••••••• VCS., 2-PART (S.A.) Gone. For Music. Purcell. Mark H. Htndsley CHORUS—TREBLE I Attempt from Love's I«fl. Devotion. Band Pageantry Trumpets—“Don Morrison (Gr. o) Serenade. _ Faa tn 459 Fairy Sickness of the Handp ,'- (Lullaby) Rob Roy Peery Spohr. Rose Softly Blooming. to Fly. The Care , Z£ 7°., , 40T Slumber On Grieg. I Love Thee. I Love Thee. Strodello. Gehrkens 400 Violin and Piano German. The or Pity. O Savior. Questions and Answers Karl W. (OD-15018) 10 Broken Ring, Radecke. The Swallow’s Sunshine Song. 461 Taubert. My Darling Was So Mill of Song. Profit in the Piano Class . Ada Kicnter Gumbert. Ye Merry Birds. the Valley. Sullivan. The Lost Fun and Fair. Rubinstein. d'Hardelot. Chord. Prelude. Master Lesson on Prelude Opus 28, No. 3-PART (S.S.A.) Giordani. Darling, The Asra. Without Thee. Chopin’s Most Popular Short CHORUS—TREBLE VCS., d'Hardelot. Without Thee. In a March Night. My Own. Orville Lindquist 402 SHEET MUSIC—VOCAL SOLO Gold Rolls Here Beneath Me. Taubert. Cradle Song. 20, in C minor Miles Gounod. The Valley. Hoydn. Mv Mother Bids Deiro 493 The Bees—Russell Hancock Me Technical Training for the Child Accordionist • Pietro Haydn. Mv Mother Bids Me Tschaikowsky. Ah! Sad Indeed Nazareth. Saint-Saens. The Tourney of Bind (SECULAR) (OD-15006) 15 My Hair. Tschoikowtky. Ah! Sad !odeed World Artists on the Classic Guitar George C. Krick 495 Bind My Hair. My Heart. King John. The Spirit's Porker Bailey (Range d to Morning Invitation—George A. Veazie—arr. Grieg. I Love Song. My Mean. God Is Singing Thee. Philip Averell (OD-15007) .15 The Spirit's Song. Schubert. The Erl King. . . . . -50T by Wagner. Sleep, Dear With a Violet. MUSIC F-sharp) My Is Hiller. Prayer. Wagner. Sleep, Nevin Spring Is Awake—Samuel Richard Gaines Who Sylvia? My Dear Child. and Contemporary Selections Lazy Darkey Song—Gordon Balch Heise. Little Karen. Child. Hiller. Prayer. The Classic 40T (OD-15021) 15 Wanderer. . 403 Holmes. The Call of Spring. Weber. Prelude in C minor. Up. 28, No. 20 . . .Frederic Chopin (Range c to D) Himmel. Battle Prayer. Cradle Song. 403 (Old Pennsylvania Schumonn. I Will Not Adagio, from Sonata in E minor .Franz Josef Haydn On the Ragin’ Canawl Grieve. Caul CHORUS—BOYS’ VCS., 3-PART (T.T.B.) Hullah. Three Fishers Went The Two Grenadiers. Blue Hyacinths Frank Grey 400 Canal Boat Song) arr. by Harvey • • -50T Sailing. Shield. In a Hollyhock Garden Homer Grunn 407 (Range c to E-flat) Ole Uncle Moon—Chas. P. Scott—arr, by Send tor Catalog Giving Contents of The Friars of Orders Aldridge Jensen. Old Miniature William Baines 468 Orpheus With His Lute—T. A. Noble Cain (OD-15015) 15 Old Heidelberg, the Gray. Ask for Catalog Listing Contents of An 40T OPERA SONGS Splendid. Wagner. The The Billboard Klohr-Schaum 470 (Range d-flat to D-flat) Two Grenadiers. (Love, Come To You) C. M. (T.T.B. . I VCS. . MEN’S . .Bert R. Anthony 471 Serenade CHORUS— B.) Serenade. Weidt. ORATORIO Fleet as the Wind How Fair Art Thou. SONGS r arr. by Gottfried H. Federlein SOPRANO. MEZZO-SOPRANO and ALTO. TENOR. BASS Wido Blue Are Her Eyes—Wintter Watts Vocal and Instrumental Compositions to F) 50T Price, $1.50 Each Volume SOPRANO ALTO TENOR IASS Don Morrison 473 (Range c-sharp (OD-15019) 15 Fairy Trumpets (Violin and Piano) Watcher Song of Mother) Eduard The (A Bells of Novgorod (Russian Folk Price. . . .Charles Gilbert Spross 474 Church $1.50 Each Volume Blessings (Vocal) Shippen Barnes (Range d to g) 40T Stars of Love (Vocal) .Charles Fonteyn Manney 475 Song) —arr. by Boris Levenson (a cap- For By a Shady Pool (Organ) R. S. Stoughton 476 pella) (OD-15012) 15 TENOR March of the Boy Scouts (Four Hands) G. A. Grant-Schaefer 478 The Girls of Auld Lang Syne (Medley SHEET MUSIC—VOCAL SOLO With Suggestions for Tableaux) arr. by Contents Delightful Pieces for Young Players (SACRED) Harry Hale Pike 25 Arne. The Lass with the Dvorak. Songs My Mother Franz: Waltzing in the Night Chopin-Rolfc 480 — For Music. Lassen. Now Take Thy Rest—Roland Diggle .40T Triumph Song (From Third Symphony) Delicate Air. Taught Me. Marie. It Was a Dream. Scampering Squirrels James H. Rogers 480 Meyer-Helrnund. I Think P. I. Tchaikovsky—arr. by Samuel Thine Eyes So Blue and of Schuburt. Mv Sweet Repose. Chatterbox Alexander Bennett 481 Bach. Gone from Me Evermore. English. Drink to Me Only with Goelze. Happy Thee. Sweet Margarets. Richard Gaines (OD-14898) 25 O Day. lender. Who Is ..Sarah Bragdon 482 Thine Eyes. 9 Svina? A Tender Flower Coleman Beethoven. Adelaide. Gounod. The Valley. Llszf hou Purcell., I Attempt from Love's Schumonn. Blonde Is Song. Waving Palms Marguerite Nearing 482 SHEET MUSIC—ORGAN * rt Like unto ANTHEMS—MIXED VCS. (S.A.T.B.) Fanning. I’ve Something Sweet J a Sickness to Fly. Bishop. My Pretty Jane, or Gregh. Come to Thy Window. Flower. The Lotusflower. Morning Song—Stanley T. Reiff 40T to Tell You. All Praise To Thee, God, This When the Bloom Is on the The Radecke. The Sinding. | Heard the Gull. THE JUNIOR ETUDE Elizabeth Gcst 500 Plaint—John Bergen Skillman 40T My Night— Grieg. I Love Thee. Love Thai Linketh Soul Swallow s Song. Rye. Fesca. Far from My Birthplace. Stonford. Johannes Brahms—arr. by W. S. Nagle to Soul. Roff. Love Finds Out My Love’s ao Rustic Idyl—William S. Nagle 40T Bohm. Silent as Night. Hahn. With Haste My Soul the Way. Arbutus. MISCELLANEOUS (a cappella) (Alto or Baritone Solo) Foerster. I Love Thee. Loewe. The Serenade Bellringer's . .Dr. Brahms. Like a Blossoming Would Be Flying. Stonge. Favoring Breeze. Voice Questions Answered Nicholas Douty 4S5 (OD-15004) 15 Folk Songs: Daughter. Ries. Lilac. d'Hardelot. Beloved Columbia. Sullivan. Organ and Choir Questions Answered Henry S. Fry 413 Consume, O Lord, With Goodness (Choral All Through the Night Without Thee. Orpheus with His Ah! Sweet My Love. Massenet Sweet Rubinstein. Violin Questions Answered Robert Braine 489 Volume in the from the Cantata “Jesus nahm zu sich (Welsh). Heise. Little Karen. Good-Night.* Thou'rt Like unto a Lute. A New Clay. I’ll Sing Thee Songs of Open Thy The Etude Historical Musical Portrait Series 498 die Zwolfe”) S. Bach—arr. Jensen. O Let Me Blue Eyes. Flower. Ttchoikowtky. Ah! Sad Indeed J. by Robert Araby. The Coolun (Irish). Press Thy The Aeolian Harp and How to Make It Rosemond Jean Mead 440 ANALYTIC SYMPHONY SERIES B. Reed (OD-15008) Cheek to Mine. Mattei. Dear Heart. Longing. Mv Heart. 15 Cornelius. What Sound Is That? I Was Herbert Spencer Right? J. D. Cushing 440 Glorious Things of Thee Are How Can Leave Thee Murmuring Breezes. Solnt-Soens Thomos, A. Goring. O Vision Symphony No. 4 in D-minor Spoken—Rus- De Fay. Tell I Mendelssohn. A Hunter's The Tourney of 440 Her Love Her (German) Marie. Song King Entrancing The Polka Again Nathaniel L. Grace sell Hancock Miles (OD-15009) 15 So. Meyerbeer. John. Napoleon Helps Yankee Alys dc Barrett 444 By Robert Schumann Loch Lomond (Scotch). Kjerulf. Last Night. O Lovely Fisher- Toafi. Beauty's Eyes. a Town Lead, Kindly Light Herbert Sanders (Bari- maiden. Salomon. I Arise Toughest Felix Boroioski 444 from Dreams Ninon. “Their Spot.” Getting the Right Start Arranged (Piano Solo Score), Edited, and tone Solo) ( OD-15001 ) 25 of Thee. W#idf. Pivoting Principle for Broken Chords Ruth Dynes 454 With the Lord Each Task How Fair An Thou. Analyzed by Dr. Percy Goetschius Begin—Carl F. Needless Decay of Voices Edu ard Ellsworth Hipsher 454 Mueller (OD-15010) 15 SINGERS AND TEACHERS OF SINGING Scales Are Fascinating Ruth Nichols 450 (Analytic Symphony Series No. 35)

To Strengthen the Third, Fourth and Fifth Fingers . .Paul Fouquet 450 MAY HAVE EITHER OR BOTH OF THESE Price, The money Strings and Tones J. W. Ilulff 458 75c WORTH-WHILE BOOKLETS FREE— spent for these books and the time used to read them will be good investments SONGS FOR HIGH VOICE (Thematic Cat. JC-30B) to SONGS The make Entered at second-class matter January 76, 1884, at the P. 0. at Phila., Pa., under FOR LOW VOICE (Thematic Cat. JC-30C) John Church the Act of March Presser S. These books w • 3, 1879. Copyright, 1940, by Theodore Co. for U. A. show generous portions of splendid lul 1 1 c l e* m... . _ . _ CoVv songs MUSIC ARTICULATION IN SINOINO-By Henschel and Great Britain. by such composers as Geo Bernard Hamblen, Carl Hahn, PUBLICATIONS Ibis book is OLIVER DITSON CO. Chas. a flawless little gem of masterly advice on B, Hawley, Sidney Homer, A. Walter Kramer, THEODORE an important $2.50 a year in U. S. A. and Possessions, Argentina, Bolivia, Brazil, Colombia, Costa PRESSER C0._Dls,ributors_,7, phase of the vocal art Cloth Bound. $1 00 Alexander Mac Fadyen, Mana-Zucca, Ethelbert 2 Chestnut Rica, Cuba, Dominican Republic, Ecuador, El Salvador. Guatemala, Mexico, Nicaragua, Theodore Presser Co., Distributors Nevjn, St.. phila., ^lENTIFiC Oley Speaks, Chas. Gilbert Spross, and pa. * SYSTEM OF VOICE CULTURE WITHOUT Paraguay, Republic of Honduras. Spain. Peru EXERCISES^ and Uruguay. Canada and New- 1712 Chestnut Street others. By Frank I Bened.ct foundland, A different $2.75 a year. All other countries, $3.50 a year. Single copy. Price 25 cents. approach of much hdp to singers and voice teachers ffl PHILADELPHIA, PA. is to be found in this over page book. s 120 Heavy Paper Bd.. $1-00 1940 JULY, 433 ;

Editorial

The Champions

Let us take the ing. This is how they get at these estimates. HAT IS IT about the human race that makes it Cattell, an extremely able and people in- case of Dr. James McKeen bow to ikons? Why is it that millions of business man, born in Easton, is brilliant psychologist and sist upon knowing who is the champion? Who W 1860. Dr. Cattell was trained in Europe Pennsylvania, in is it we want to know who the leader? Who is the first? Why and honors do and America, and he has a string of degrees which is the biggest, which is the smallest? Why is first, Editor of many maga- crowds to that looks like the tail of a comet. the fat lady and the human skeleton draw such and large publishing under- PROFESSOR DAVID zines IN the side show? late in life HOWARD BARLOW, HERE, THERE AND EVERYWHERE STANLEY SMITH, for takings, he finally decided conductor of the Colum- Of course, we in America are rid- WORLD twenty years dean ol the to go into business for himself; so bia Broadcasting Sym- THE MUSICAL brothers, Yale University School of iculed by our European phony Orchestra, has been he established Science Service, and CHICAGOLAND MUSIC Music, has resigned from are only too willing to think of unanimously chosen to THE OHIO STATE MUSIC TEACHERS’ THE ELEVENTH who printing com- Saturday. August that post, to which Rich- The Science Press receive the Certificate of ASSOCIATION met at Dayton from June FESTIVAL will be held us as a race of “blow-hards” claim- Field, with eight thou- ard F. Donovan, assistant pany, which has had a success amaz- Merit as the “outstanding 18th to 20th. Participants in the pro- 17, in Soldiers’ Anyone children from dean, will be appointed. ing first rank in everything. native interpreter” of grams were Dr. Russell Morgan and sand men, women and ing even to his friends and states of the United Stales and Professor Smith will who has traveled, however, knows American music for the Joseph W. Clokey, speakers; Beryl Ru- thirty Dr. Cattell pub- One million people continue to conduct his admirers. In 1903 season of 1939-1940, by the binstein and Arthur Loesser, piano duo Canada participating. that this is by no means a trait con- Howard Stanley in composition. He artists; and Elizabeth Pastor, eleven have attended the ten previous events. David classes lished a list of the one thousand Barlow National Association for Smith shores. well re- has been a teacher in the fined to these We American Composers and year old pianist-composer in a program eminent people of all time. DOUGLAS MOORE, a member of the like most Conductors. Another Certificate of Merit of original compositions. school since 1903. and In 1919 succeeded member a pianist in Berlin who, musical faculty of Columbia University, This he dug out of encyclopedias, was bestowed upon Dr. Serge Kousse- the late Horatio Parker as dean. others in other countries, was striv- PAUL HINDEMITH’S new “Concerto for has been announced by President Nicho- vitzky, conductor of the Boston Sym- American and foreign, by the arbi- Violin” was heard for the first time in las Murray Butler, as the successor of •MacDOWF.IX DAY” was celebrated on ing to become the champion endur- phony Orchestra; and the Henry Hadley the num- the United States when on the program Daniel Gregory Mason as head of the 13th, at Peterborough, New Hamp- trary method of measuring Medal of the organization was given to May ance pianist of the world, and sat at of April 19th of the Boston Symphony Department of Music. Mr. Mason will shire. commemorating the composer and ber of inches of printed matter Gene Buck, president of the American the keyboard for the best part of Orchestra, with its concertmaster, Rich- continue as MacDowell Professor of the release of the "MacDowell Society of Composers, Authors and Pub- celebrating given over to each historic feature. ard Burgin, as soloist. Music. Stamp” by the United States Post Office every day playing stupid little tunes lishers. great respect for Dr. Department. exhaustion mercifully put an We have a THE SEVENTH until ANNUAL BERKSHIRE Cattell’s scientific reputation and FESTIVAL of the Boston Symphony A GUT OF *3.000 to the Minneapolis end to his competition. The Berlin ti his accomplishments; but we Orchestra will be held this year at C^otnpeti on3 Public Library has been made by Mrs. public, famed for its classical musi- great “Tanglewood,” between Stockbridge and Emil Oberhofler, widow of the founder insist that, from our years of cal events, had still enough of hoi must Lenox, Massachusetts, from August 1st and first conductor of the Minneapolis daily use of reference books, this to 18th, with Dr. Serge Koussevitzky PRIZES OF $250 AND $150 are of- auspices of the American Guild of Organ- Symphony Orchestra, the Income from polloi to make this utterly useless fallacious. Of conducting. fered by the Sigma Alpha Iota sorority ists, with the H. W. Gray Company as which will be used to purchase books of and ridiculous competition the sen- method seems very for a work for string orchestra and one its donor. Full information from Amer- music and about music. The gift is in course Dr. Cattell can say, in the BEETHOVEN AUTOGRAPH SKETCHES, for violin, viola or violoncello solo with ican Guild of Organists, sation of its time. The Berlin public 650 Fifth Avenue, memory of Emil Oberhofler, whose per- to the amount of one hundred and piano accompaniment. Entrances close New York City. words of Old Bill of World War sonal library of one thousand orchestral eagerly hoped that it might produce LISZT seventy-four pages, and probably February 1, 1941, and further informa- CHAMPION ac- if knows a better tion scores and books music was donated pianist. a fame, “Well, you quired by the Razoumovsky family, have from Mrs. Merle E. Finch, 5806 on a champion Hunting In the various fields of music, it would seem that only in North Kostner Avenue, Illinois. GRAND OPERA PRIZE: 1936. the Rossiter that been discovered in Russia. They Chicago, A Public to the Library In With that of the piano is it widely and generally admitted ’ole, go to it.” We have no particular date Performance champion is, in fact, one of the most from of an Opera in English by Band and Orchestra Collection of twelve one man stands out above all competitors as the outstand- 1803 and refer to the “Eroica Sym- an American method to suggest, but we do not THE W. W. KIMBALL PRIZE of One Composer (native or natu- widely demonstrated weaknesses of History, and that is the majestic personality phony”, “Kreutzer Sonata”, “Christus thousand items, among several not so ing figure in am Hundred Dollars for ralized) is offered by a solo vocal setting the Philadelphia most Franz Liszt. think that Dr. Cattell’s plan is ei- Olberge (Christ on the Mount of Olives) ”, Opera large, this has become one of the the human race. The man who can of a poem of the composer’s choice, is Company. Contest closes August and the 31.” valuable musical libraries in all America ther or fair. “Piano Sonata, Op. offered under the auspices of the Chicago 15, 1940; and the successful work will be write the “Lord’s Prayer” on a sound performed Singing Teachers Guild. Registrations close in the 1940-41 season. Judges: MME. EMMA CALVE', Leopold QUEEN ELIZABETH OF BELGIUM’S grain of rice always draws a crowd. We have many times been edi- October 15, and particulars from Walter Stokowski, Eugene Ormandy the supreme Carmen of and ORCHESTRA, with Charles Boudret con- Allen Stults, P. O. Box 694, Evanston, Sylvan Levin. Full information from Nobody seems to ask what the good of such an attainment torially “riled”, when examining reference books, to find the “Gay Philadelphia Nineties” and Illinois. Opera Company, 707 ducting, “won golden opinions” for a could possibly be. large space given to nincompoops, while worthy persons by many considered the Bankers Securities Building, Philadelphia concert recently given In the Salle Pleyel greatest of all in the an- A PRIZE FOR WOMEN COMPOSERS Pennsylvania. of Paris. We have just been reading in that excellent educational were scantily noticed. Even in the case of the masters, we nals of this role, is re- is offered by the Women’s Symphony journal, “School and Society”, the report of a survey made came across such a situation as this. In 1867 Sir George ported to be about to Society of Boston, for a work of sym- A MOZART FESTIVAL was presented by x , uptn phonic proportions. The field to the College, Paul R. University, designed Grove made a trip to Vienna with Sir Arthur Sullivan, at make the journey from is national; native or naturalized music department of Smith by Farnsworth of Stanford the competition closes American com- Paris to Hollywood to ful- November 1, 1940; sers the Northampton. Massachusetts, on May P° ’ by National Federation to reveal who among the great composers rank highest in which time they discovered the Schubert “Rosamunde” and full information may be had from of fill a film engagement. Music Clubs, offers prizes 26th to 28th inclusive. The first two eve- calvIs Mrs. Elizabeth for vocal solo music. it Grant, 74 Marlborough with piano the estimation of the statisticians. We would not pay any When came time to produce the great Grove’s Now eighty-one years of accompaniment, piano solo nings of varied works included the "Sym- Street, Boston, Massachusetts. two-piano age, she will bring regional costumes for composition, two violins ami phony In C major”. "Concerto in E-flat attention to this save for the fact that we have for decades Dictionary of Music and Musicians”, his enthusiasm for piano, and full orchestra. folk song programs; and an aunt, only A PRIZE Complete par- for Two Pianos”, “Quartet in F major for led OF ONE HUNDRED DOL- ticulars from received numerous letters from readers in all parts of the Schubert him to prepare a biography which now takes ninety-eight, Miss Helen Gunderson. is said to have offered to LARS for the best Anthem submitted be- School Oboe and Strings", and the “Quintet in of Music, State Universitv, world asking, is the greatest composer?” is the up fifty-six pages. The biography of Wagner, however, oc- accompany her famous fore January is Baton “Who “Who niece as chape- 1, 1941, offered under the Rouge, Louisiana. G major.” Dr. Alfred Einstein spoke on rone. “Performing Mozart”. Roy Dickinson greatest pianist?” “Who is the greatest singer?” “Who is cupies only thirty-five pages; that of Mozart, thirty-four Welch of the faculty of Princeton Uni- the greatest violinist?” always reply that there is no pages that of the idol of the MOZART’S “COSI FAN TUTTE” has been We ; English people, Felix Mendels- DEBUSSY’S versity spoke on “Mozart”, and the event “revived” at the Royal Opera of Stock- “PELLEAS AND MELISAN- way in which this question can be satisfactorily answered, sohn-Bartholdy, over sixty-four pages ; and so on. We would SALIERI’S ASHES closed with the holm, Sweden, with Fritz Busch conduct- DE” will have its first American perform- ar a performance of be transported from “Requiem” with as it is a matter of individual opinion and personal taste. not want to lose one word of the Grove-Schubert biography, ing. It had not been heard in the ance in English when given in the com- Vi on the third evening, Swedish na to his capital for one ing season of the Philadelphia birthplace, Werner Josten conducting. If you were to ask a thousand people who the greatest pia- but the inequality of the length hundred and ten years. Opera gnano, of these essays is altogether Company. Tschaikowsky’s Italy, to be pla “Eugene One- nist of the last century learn THE METROPOLITAN OPERA in a mausoleum YVETTE GILBERT. Parisian diseuse. so half was, you would probably out of proportion to the world appreciation of these masters. FUND gin” will also be in the repertoire, in indue went a sensationally American “over the top” when on May 10 the honor of the centenary of the museum to house successful on her that most of the thousand agreed that it was Ignace Jan To quote Dr. Farnsworth’s article: composer's tours Carnegie Corporation of New York made birth. music and documents of the “Gay Nineties,” has been giv- Paderewski. However, in that thousand there would be sev- “Now it must be admitted that the musicians did not fare a grant of fifty lating ing a series Schola thousand dollars, thus to his life. His cc of concerts at the raising the entire subscription positions, Cantorum of Paris. eral who would violently dissent from that opinion. very well at Cattell’s hands. The first to appear was Mozart, to $1,045,- GUGGENHEIM MUSICAL FELLOWSHIPS mostly ope 712. Of this amount $326,936 was con- once so Mr. Farnsworth’s survey is therefore only the have been granted to Earl popular, are i useful as who was 93rd (number 1 was most eminent and Hawley Robin- Antonio GIUSEPPE CRF.ATORE. of the number tributed by radio listeners. With all practically conductor ex- son, of Seattle, Washington; Marc Salieri forgotten representation of the consensus of opinion of certain expert Blitz- New York City a 1,000 least eminent) . Beethoven received number penses of the drive paid, there that he is Symphonic Orchestra, 220, Han- will be stein, of Philadelphia; , , chiefly Alvin Etler . reme D of bered as a WPA music project, be- statisticians, that standpoint it more than a million dollars towards friendly adviser has resigned and from is thought provok- del 261, Haydn 300, Rossini 326, ( Continued on the Indianapolis; and William H. Schum’an of Beethoi Page 499) purchase of the teacher of cause of differences with the manage- famous opera house. of Bronxville, New York. Schubert, and, to his madly discre ment as to jealous rival of Mozart working conditions. 434 (Continued on Page 504) JULY, 19-40 THE ETUDE 435 -

Youth and Music Editorial

analysis prove Choir of Youth statements which on the east Pioneer A Cappella write America’s with tins common fault and the Recorders meaningless or absurd. Along Pepys run-off diffusiveness which there often goes another—a music well. But these qualities are in- at least the purpose of eking out the of the famous “Diary,” is found to serve COLLEGE in Northfield, AMUEL PEPYS (1633-1703) , he A T ST. OLAF By the student body, a heritage of manuscript pages. Again the herent in of parts addicted to music. In 1668 he required number LX Minnesota, when school convenes S was a man and the n from pioneering Norwegian ancestors. is easily exhausted or discouraged by to see a performance of a play with music, with the student mind -AX in the fall, the students wonder are went calls for. As far as possible, vacation periods which the organizing of thought A sorority they title “The Virgin Martyr,” written by Massinger and Dek- effort not for what team or though chosen and a brave beginning Le used to cover the yearly tour, with the sad tale of the daughter of the irood subject may be but whether or not they ker. It dealt will be chosen, two weeks of school time is permitted. that he the choir. To be in Roman Emperor Diocletian. Pepys was so moved will be accepted for Proceeds from these tours, after expenses wrote in his quaint style: “That which did please me finished. is so great an honor that two seems com- the choir are deducted, are given to the College; the wind musique “From these faults the music student students try out for beyond anything in the whole world was to three hundred and they have in large part made pos- free. is more likely to have habits of to when the angel comes down, which is so sweet it ravished paratively She yearly, hoping, each one of them, and completeness. She more it sible the erection on the campus of the me, and indeed in a word, did wrap up my soul so that it accuracy, thoroughness, among the twenty to thirty new sing- be needs for Music Building. It is an attractive five-story all the concentrates on the topic in band. She weighs to one-half the season from just such material as he made me really sick . . . that neither then, nor easily for this one-third ers selected; Gothic structure, of gray stone, which contains of and effect of words. She has a conscience approximately sixty perfect tonal blending. “In ways which perhaps evening going home and at home, I was able to think the meaning choir’s total membership of listener does not appreciate”, he says, the office of the Director, a library, a social room, anything, but remained all night transported, so as I could against blundering and mind-wandering. She derives the loss in personnel sustained the casual singers represents thirty energy and patience to earn a “the balance of the choir varies from year to one class room, nine teachers’ studios, and not believe that ever any music hath that real command from some source each Commencement Day. in advance what the make up rooms for piano and organ practice. over the soul of man as did this upon me; and makes me projected composition through to a finish. this interest lies in the fact year. I never know The reason for such wife do course, not all music students exhibit these years been under of the choir is going to be.” For this reason he Along with the opportunity to make resolve to practice wind-musique and make my “Of that the choir has for many present a peculiar reluctance handsome gifts to its alma mater, and with the the like.” traits. Sometimes they the leadership of a distin- lugubrious minor written language; sometimes opportunity to display high artistry and to evoke What Pepys probably heard was a to express themselves in guished and inspiring director, recorder or a flute-a-bec which was little feeling for encomiums, the tours also afford choir members melody played upon a they seem to me to have very the music F. Melius Christiansen, Dr. a thoroughly enjoyable time. much fun they one of the most popular musical instruments of that day. of words and very little appreciation for what is really How who is as sensitive to choral contemporary plays, including those of Shakespeare, excellent in poetry. I injustice to those have while traveling about is interestingly told The And should do balance, timbre, precision of are filled with references to recorders and flute-a-becs. The not musically trained to say that the by a former member: most gifted attack, and to the meaning difference between these instruments and the modern flute creative writing is done by music students. Hut. gen- of music, as is a seismograph The Event of the Year is that in the recorder the air was blown into a tube while erally speaking, I believe that the relation between to earthquakes. To sing under in “Of course the choir trip is every in the flute of to-day the player blows over a hole the music and English is as close I what member expression as have indi- him at divine services on Sun- hollow tube which magnifies the vibrations caused by the cated and that the music student looks forward to. The choir sings in the most possesses a readiness days will be a musical and an player’s lips or embouchure. The tin whistle is a cheap for apt important cities in the United States; and dur- and artistic speaking and writing.” emotional experience not soon modern instrument built upon the principle of the recorder. ing the last few years the concert in New York forgotten; and to go on tour The more modern English term for such an instrument is City has been held in the Metropolitan Opera under his direction will give “piffle flute.” Recorders were usually found in sets of four— House. While touring the choir enjoys the great- An Unworthy Practice one the thrill of being part discant, alto, tenor, bass; but a band of forty recorders, a est luxury. The members are allowed a generous of an organization that has kind of flute orchestra, was not uncommon. King Henry AN ABUSE which is not merely unethical, but distinctly amount of money each seeking per- day for meals, and may illegal, is that found fame while VIII had seventy-six recorders, twenty-seven of them being of copying copyrighted music by band eat when and where they please. or through fection. Oddly enough, in what of ivory with silver and gold mountings. Some of the any mechanical method. This is a very serious this material Aside from that the manager recorders eight feet in length. matter and one which makes every is often termed were offender liable to arre-t arranges everything. They al- and conviction. world, this choir, appearing There is a well defined modern movement in England The copyright laws are extremely strict vestments of the church ways travel in private cars, stay and are made in the j; and in America to revive flutes of the recorder type. Some for the protection of the property rights of j only sacred music, “ at the very best hotels in every enthusiastic teachers even go as far as to have their young every citizen engaged in creating works for and singing publication or city they visit, and almost al- in publishing but singing it superbly, has pupils make the instruments from bamboo. these works. Without these laws, the creators to itself, to its leader, and to (Above) The fa- ways have some pleasant and and the publishers could not exist. brought acclaim mous St. Olaf interesting sight-seeing trip ar- ^ e are Olaf College; and it has toured this country aware that those who copy pieces St. Choir, com- rather than ranged for them at no cost buy individual copies, from coast to coast and border to border, besides what- Music and English Study have no thought that they are posed of Nor- stealing, lhey making two trips to Europe. wegian -Ameri- ever to the individual. In fact, have done it in most instances without am girl, cans. (Right) most of the choir idea that they are committing The choir is no place for a lazy boy or A members are SHORT TIME AGO, Dr. E. M. Gwathmey, President the sin of theft. People who Dr. perfection is not reached close-up of able to save enough out of their would not dream of robbing a for an approach to A of Converse College, Spartanburg, South Carolina, till or picking a pocket have F. Melius Chris- deliberately unaccompanied by exaction. First of all, he must food allowance to buy gifts and where, for a quarter of a century, special attention has copied page after page of a composer's tiansen, direc- work must give, as a souvenirs and small articles of without any intention of paying be a good scholar; second, he tor of the choir, been given to extensive musical cultural work, paid our him for it. This i- an abase which cannot be tolerated. minimum, ten hours a week to practice and at work on a clothing they need. In many Editorial Offices the honor of a call. During his conversa- Where offenders are camdit choral manu- they will have to stand the general rehearsal, and third he must make up cities the members have friends tion he remarked that Dr. Weldon Myers, head of his serious consequences. No par. script. of a copynghted work studies missed while he is on the choir’s annual or relatives who invite them out Department of English, has noted some remarkable re- may be copied for professional use, n e tour. Every composition is committed to memory for one or two meals; in some sults front students who had a g ent ° laSS 0r had musical training. Dr. ’ Land without the peri is at mLionmission ofo f thed publisherU/T , during part practice and no music used never selects music in advance, at least not more cities local churches or organizations honor the Myers reports: who represents the creator. To do otherwise is to general rehearsals. And to give flexibility of per- than tentatively; not until the choir is formed choir with a banquet, and so on. Then, too, most “The question occurred to me many years ago in break the law. formance and accuracy in intonation there is can he tell with certainty just what its perfectly of the members regularly eat only two meals a connection with a class in advanced composition. A rCSen t *entu «l»at creators . and pub- lishers ? continual repetition and drill, phrase by phrase. adapted repertoire needs will be. day a late substantial breakfast early, music student stood first. She had an excellent lnusic have 7 — and an vocab- it . begun to secure anything like o Furthermore, he will never coast along on mere In addition to ambition and patience under fairly light dinner. ulary; she was interested in ideas; she y J retUrn for their So the two and a half to saw a point Efforts; and this is iS lari T ability to read music or simply by virtue of a discipline, the youth who becomes a member of three dollars a day they are allowed quickly and developed her thought with unity and 6 achievements for food Amer of the good voice. Unless he can enter into the spirit the choir needs other characteristics. Basic quali- deftness. She always finished what she “aTsocietv S ut *‘o rs can be made to stretch fairly far. undertook. I ! Composers and Publishers did not (ASCAP) which' th of a composition and interpret its meaning, he fications include: “Wherever they go all sorts of attentions are know at first what her major was, and was ^ C°,W,i V *»» able to ? >><*" is not St. Olaf Lutheran Choir material. Good voice, filhTaggr’essive^ , showered upon the choir. Flowers, candy, surprised when I learned that it was music. My inex- H neyed ,n,erest mag- sought to" * which have Good ear, perienced conclusion was: She is profit from H T nificent testimonial banquets, scenic drives, visits excellent in English works 1° °f th Each Year a New Choir in spite of her music. without lettiim him ? Rhythmical perception, to places of interest such as factories, and so on. bav^the re t , ,s r due to him. Even f P °perly The choir in its present form has been in ex- Ability to sing at sight, I Since that day the same traits in music students desnite tl, t it remember a visit to a cookie factory that was the composer "hat istence since 1912, and since 1919 it has been Knowledge of rudiments have struck me again and again. Some previous actuallv re ebefu of music, delightful! Then the extravagant press notices disci- a^verl" niodest pittance the pline compared with the custom for all members of the organization Good pronunciation, all seems to have forestalled or benefits til. I and the other flattering attentions corrected certain " 0” *° make one his music who use to hand in their resignations at the end of each Educated taste, tendencies. and make mill; .1 "I' taste for a few brief weeks the delights of being “Students, college year. This is an example of their devotion Musical temperament, not thoroughly trained, reveal a perfect copyright famous! Oddly enough, the individual members tions say, laws „f a |I na. to the work of the choir and to its high stand- Experience, willingness to use words in a loose, “You nLI lt . , never take any credit to themselves. It vague way to " is never copying is merely ards. For by doing this they give Dr. Christiansen A willingness to sacrifice another form ofltclbng self-interest for the ‘we’ but ‘the choir’, or ‘Christy’, as the members the greatest possible latitude in selecting mem- general welfare of the choir. affectionately term their leader. One will hear bers for the ensuing year, a chance to balance To which might be added character and spir- ‘Christy was certainly marvelous last night’; each choir as ‘It a whole, building it afresh each ituality, if the choir member is to sing religious seemed to be a successful ( Continued on Page 436 486) JULY, 1940 THE ETUDE 437 ”

Music and Culture

Music andd Culture Cartoons Operatic Nomads in The Music of the Walt Disney Land A Conference withVllil Opera "d Dd You Want to Sing in Opera in Italy? S Here Is How They Begin 'J occupying his conscious attention. One of the p Musical Director of Walt Disney Studios means we used to embellish the fairy effect was “Snow White and Other to add half-tones, in both directions, to one of Joint Composer of “Pinocchio , By the higher, flutier tones of the Novachord (an Successful Films them in tonal clusters electric organ) , combining Cl of rather free fantasy, resolving them always in poll L SETTING of the Disney car- HE MUSICAL Secured Expressly for great care for musical is consonance, and with all its own. Our music J toons fills a niche but phrasing. p T “motion picture” music, true enough; Music Magazine W)i The Etude shape only when the that of the The score begins to take its purpose is quite different from the animation, or drawing, is far enough advanced A scene from Bellini's "Norma" given at Civitavecchia. background music of life-action films, where by ROSE HEYLBUT rows of half finished slippers standing along the to give the composers something definite to look dramatic play is calculated according to ordinary houses, drying in parts. The tailor peered at us at. The Disney Studios have developed their own human psychology. It must be comprehensible over his heavy, charcoal-laden iron on a board dealt out as theme provokers during the earliest system for assuring the closest possible syn- The author of the following article was before his shop. Broom-makers hummed softly stages of production. The number and type of chronization of action and music. We know the conducting singing classes in New York when while tying their many colored raffia into shape. featured songs are also decided in advance. speed with which the film goes through the she heard of an opportunity to join a Com- The fruit and vegetable women, squatting be- be one to symbolize affec- camera, both in taking the picture and in show- Always, there must I tween large baskets of peaches and plums, AVING ARRIVED in Milan, among those pagnia Lirica Ambulante ( Caravan Opera meas- one to sound the adventure note in a ing it. This rate is ninety feet per minute. How- tion, and dei Musi- the ured out half and whole kilos on scales held fast sought to find at the Sindacato Unit ) in Italy. Knowing that many of rhythm ( Heigh Ho! from “Snow-White”, ever, problems of animation make it Impossible march in the left hand; while garlands H cisti (Musicians’ Union) was the impre- very greatest of the singers had gotten their of onions and the and Hi! Diddle Dee Dee! from “Pinocchio”) ; to attain the exact coincidence of action and sario I had met in New York. The Sindacato is start in these companies, she decided to garlic, entwined with red and yellow flowers, three or four other musical expressions of emo- music unless this speed is broken down into in the Galleria Umberto, that gigantic arcade spend a season in one of them. Among those swung gently in the breeze across the entrance tion depend on the story material. It is impos- smaller units. For this purpose we have devel- through which Mack trucks might drive with known to Americans who have toured with to the dark, open shops. sible to say how long it takes to complete a song. oped an electric device called a click-loop, which ease. The Galleria is the daily meeting place of the Caravan Operas in their early years have We zigzagged for almost two hours shouting A “natural” may appear after only a week; it can be adjusted to any desired speed, after the singers and musicians. There, at the cafe tables been no less notables than Caruso, Martinelli up to open windows and narrow hallways, only may take months to work out a single phrase. fashion of a metronome, and which gives an protected from the sun and the rain, all musi- and our own Edward Johnson.—Editor’s Note. to learn that everything was already occupied. audible click after every twelve, fourteen, six- cal prospects are discussed. There I learned that At last we engaged three rooms four flights up teen, and so on, frames of film. Thus, the ninety these picturesque musical caravans were grow- in the home of a tailor, at five lire per night feet per minute of film can be divided into three ing fewer, owing to the growing popularity of one in the morning. Even then the audiences for each room. There were three entrance doors feet every two seconds, or six feet every four. municipal open air opera. The previous night I rarely returned to their homes but gathered in to the apartment, and three long keys were It is from these smaller units that we work, had heard Mascagni conduct, with amazing re- the local cafes to discuss the merits of the com- given to me to unlock and close them. Entranced coordinating the speed of animation with its tardation of tempi, his “Cavalleria Rusticana”, pany and its work. Lost sleep could always be and intrigued, I examined the kitchen. The exactly fitting music. If, within twenty seconds, of thirty thousand. In up at the siesta on the WALT DISNEY with some of his thousands of "Pinocchio" to an open air audience made stove occupied three quarters a character turns his head once to the left and sketches. Verona is another such open air opera space next day. This arrangement of the rear wall. It had a once to the right, we can catch each turn, at seating thirty thousand; while in Rome, at the was a hardship to the singers, large forward-jutting chim- to children, without in any way ranking as the proper second, and supply it with its own classic baths of Caracalla, the open air opera who rarely ate anything sub- ney, all painted a bright blue, juvenile. It must complement the action and at notes, synchronized exactly in terms of clicks. can accommodate forty thousand people. stantial after two in the and grated openings, under- the same time remain subordinate to it. At no After wasting much valuable time, I became afternoon and sometimes neath which burning wooden time may dialogue be disturbed, yet the score attached to the Compagnia Lirica Ambulante found themselves literally ex- sticks or glowing charcoal must be considerably more complete than that owned by Maestro Sorriente, who was repre- hausted by hunger before the provided the fire of the life-action picture. An animated cartoon necessary to sented by the impresario Minciotti. This com- performance was over. Some- cook a meal. Beyond the is an unusually closeknit unit. Music, dialogue, win- pany was tracked down at Montevarchi, where times I had to go out to get and visual effects must accomplish their goal in dow beckoned a green coun- my smart looking suitcase was left at the station “earamelli” (candies) for a comparatively short time, because the specific try of fertile fields and dis- One of Geppetto's Music Boxes in "Pinocchio" as it contrasted strangely with the sacks of them. demands of cartoon psychology call for a great tant hills. The sun shone on onions, potatoes, and bundles of every descrip- The two alberghi (hotels) an array deal of diversified action. Thus, while it ranks as The songs are the first basis of the complete of bird cages con- tion. Walking down the hot and dusty street, on the street were woe- it all concen- main taining not lighter entertainment, must be score. We like to use them as leitmotifs, to sug- only canaries but flanked by musicians on both sides, I noticed all fully shabby, dingy stone trated red meat, without leisurely saunterings gest both characters and situations also nightingales with whip- throughout the natives staring at me, probably down by-paths of interest. And, of great impor- thinking it buildings. Rooms cost nine or ping tails, and the picture. Take, for instance, the little theme a finch which strange that there should be a lady musician at- ten lire a night. They were tance, interest must be held without too much with the hoppity-hop rhythm that could not get along with the symbolizes tached to traveling insistence on love (“Pinocchio has no love in- Jiminy a orchestra. The theater was lighted with a solitary dan- rest Cricket. It is stated as the Cricket’s tune, — probably professional a modernistic building set in an Old World street gling electric bulb of terest at all) . These are some of the considera- about and appears as the inner voice of a more impor- jealousy. Having washed my and was used mostly as a moving picture house. twenty watts. The beds tions that govern the preparation of our scores. tant theme, or merely as a were hands in an odd contraption rhythmic suggestion, Together We begin musical work with the song mate- in with the club house of the Fascisti and melancholy sagging iron struc- every scene in which Jiminy is of a basin that could be tilted about to as- the Youth Center, rial, leaving the full orchestral score for much sume the center of it represented one of the tures, from which one might the stage. The star song is toward a pail below it, I then later. the story and triumphant achievements of the new regime of When characters have been sung but twice in the picture, survey the peeling plaster on went out in but it appears (in Musician-composer checking his piano score with the rough A scene from an open air performance the street, hoping established, the general style of the desired songs free Mussolini. Signor Minciotti reluctantly agreed the damp walls. The privilege variation, parallel chords, animation reel of through the in Venice of "Romeo to find and so on) in "Pinocchio" as it is run and Juliette." my way back to the is outlined to our staff. In preparing “Snow- every to my serving in the orchestra, when I explained of running cold sequence where Jiminy and the Fairy com- Moviola. water was theater. White”, for instance, our composers were trying bine their that I was an American musician who desired considered a great powers in working out Pinocchio’s convenience. These were the out effects to express Snow-White’s romantic in- destiny. The Catching the Moment to travel with the company to gain experience. “luxury” rooms, which Enthusiasm Minus development of these variations had been already pre- Glamour terest, the antics of In and of the dwarfs, long before the theme requires the preparing “Pinocchio” we also used a free empted by the elite of the Compagnia. most detailed care The A Strenuous My guide At the theater I found a waiting crowd before the actual drawings were completed. In “Pinoc- spectator beat, for localizing required Calendar must be aware of such moments as confided that private rooms were cheaper any- the box office. the theme and of its Tickets sold slowly, because every chio” the affection between father and child, and slightly altered form, special musical elaboration, treat- Rehearsals began at five P. M. and finished at way, and then but neither or for some our search began. Up and down buyer had to be shown the location the conscience symbolism of Jivniny Cricket, theme nor ment of seven-thirty. The of his seat; were variation may at any time tempi rubati that would have been con- performances started at nine- we walked the hardtetdden streets, where every rise to the point of and the man in the box office, with a pencil fused by the 494) thirty of the evening and sometimes measured < Continued on Page ended at trade is plied in the open. There were rows and drawn diagram 438 before him, had his hands full THE ETUDE JULY, 1940 439 —

Music and Culture

a brass pin, then insert a first commence with so on, placing them alternately music? One of and Culture steel peg and appreciation, and performance of Music Aeolian Harp apart, to the number of twelve. as a 1 The one-half inch motives is the love of knowledge mg must these the other end, which you commence of what is, and the —and How to Make It For Music in itself, the understanding watchful impresario, exactly opposite the brass pin Love of van- I addressed the a steel peg The vantage ground to Cheerfully with power of passing from there would be a full house. He first described, place other brass pins apprecia- saying that By l^oiemonel ^ean 71haJ at the end tage ground in the logical creation, his head. There could be no full house to the number of twelve. By this ar- High musical shook alternately, tion, and execution of art forms. the cronaca constructed suc- a before the cronaca got around. Now HIS Aeolian Harp has been rangement you have a steel peg and brass pin intelligence. Even in music attainment requires high the opinion of the natives listening number of times in the opposite each other, which is done so science of represents cessfully a always the cool and logical pursuit of the performance, not so much in the theater small rural high school and of the strings on the instru- Cultivated to the T department of a that the pressure It Is foundations are laid for the deepening of and How music, in the street. If these opinions are as outside in homes of students. „ ment will be uniform. the revelation of artistic values. on the sides o insight and favorable, the theater will be sold out box with the top, bottom, and the instrument, use twelve violin resources Make a To string Glimpses into the vistas of unexplored night; if not, the company might as one and a half inch end of each following thin wood and the ends strings, making a loop at one string, the feeling of awe, the case the intensify the admiration, well pack up and leave town. In our put over one of the brass pins. which is to be By the infinite, which is love of the away with glowing reports. The glimpse into cronaca went Wind the other ends around the opposite steel composers are persons \ pursued. Successful sold out while we had the same object theater was pegs. Tune them in unison, but do not draw them command \ a large and discriminating bill. Came a change of artists, and who have artists on the tight. To increase the current of air, a thin board the cronaca, fortunately followed * of ideas. a repetition of may be placed about two inches above the 1 tc same success. Ago Cl Music an Inner Language by the Fifty Years strings, supported at each end by two pieces of T) evening I found my- C essentially an un- Shortly before nine in the \ the love of music is wood. Place the instrument in a partly opened >. P But brightly decorated auditorium listen- people feel the sesthet- self in the the draft, open the op- 2 palyzed feeling. Countless window and, to increase slightly dissonant any- ing with astonishment to a l music without understanding posite door. COUNT GEZA ZICHY appeal in orchestra playing the opening strains of “Lucia This Month the notorious puppy MM^ng about it. It may be like di Lammermoor” by Donizetti. A handsome, NIC a blind but nevertheless IMPRESSIONS may •e, which is frequently manly-looking Lord Arthur received the first • « ll HUMAN particularly true in the Was Herbert Spencer Right? attraction deep love. This is was not so shoddy as I had Z\ have one of two aspects; ovation. The scenery contributed such a stages of the development of musical in- Thomas Tapper, who -L*- of us love music in Slier feared. The chorus, composed of about twenty 2>. CuXn.j or repulsion. All in the wealth of oracular counsel to American stu- 8., music; sts. But it is occasionally in evidence itself passably well cos- all of us hate some male voices, presented “Method of some degree; stage who may be bliss- dents, gave this sage advice on Spencer < 1829-1903 possessed one of essful singer on the Herbert » the economy of tumed. Everybody sang and acted in the old and most of us, in underlying his Study.” the richest and most accurate philosophical indifferent ignorant of the principles opera tradition, standing rather still and facing are comparatively Was Their Fort! to act nature, signifi- “Music is an art so exciting, so quick minds among the nineteenth century philoso- role the media he seeks to mold, or the public. The advent of a slender, attractive wasteful to the the system, that often, through and extravagantly justification upon the nervous phers. His “Principles of Biology”. "Principles of our lives. ^message. T^eis^much Lucia caused a general ripple of approval. She that music might play in tiny Remade The Lives of Famous mere physical inability to continue, one must "Principles of Sociology" the performer’s forgetting what little he marvel on pitch and executed her difficult Psychology”, and were indifference to music are was a work for a time and Hatred and a frequently cease music in their quoted books. His whole life and indulging in self-expression in apparent effort. The audience liked day widely life, worthy of ws part without of occupa- important realities in seek either quietude or a change spent in the fervid pursuit of scientific truth. e of abandon in which he deeply feels his her sensitive acting and her blond wig, and ac- was consideration; but our topic re- tion. It is a wrong to the physical self to work serious to convey this feeling to claimed her repeatedly. All the singers were well In his later days he wrote "Music must take rank side of musical By isage and expects intense applica- stricts us to the positive too many hours per day. Too fine arts as the which, listener. received. They were youthful, between twenty- as the highest of the — one of music. tion to study simply means that the candle response, the love more than any other, ministers to human wel- usic is a language of emotion. Through it six and thirty-two years of age, good-looking, consider first what it is that of life burns at both ends. Those who study Let us convey their and had fresh voices. fare.” Man comes into the composer and the performer instrumental music and theory should find we love in music. and From the time of Plato, great thinkers had ex- all con- emotions to the listener. It is a message world tuned to music. Back of Where Life is Music six hours per day sufficient as a general aver- enable the pressed the same thought in slightly different all musical eans of communication which that age. Students who study ardently are apt to scious awareness, back of As the action progressed I became aware words. the listener to live for moments When Spencer died, phonographic record- back of subconscious as- former and somebody behind me was softly anticipating it be intense workers, that is, they concentrate feeling, even n ings were known, but he never heard a radio is the or° the same tonal world of pleasure. Our muse all action similations and elaborations, word for word, phrase by phrase, not only arias power of thought and while em- at message. Nor could he have envisioned a world response which is jealous and seeks to exclude all intruders but also duets, recitatives and choruses. Intrigued ployed, and thirty-five or forty hours per week purely physiological with artistic appeal. the finest of all music made available in being. . .. . , , Je moment of her of attentive, careful study should be enough. function and a condition of well ^ by such complete knowledge of the opera, I a The freaks of Fate often affect the fortunes of g e t comes millions of homes, where, in Spencer’s day, peo- beneficent response ^ j a part of ^g pleasure in music it, observed Sixty hours of inattentive work is a poor in- This physiologically turned to see who possessed and a nd small in a mysterious manner. Nothing more j”'. ple could do little more than read about it. Spen- underlies all om the satisfaction in what rhythm does. The youngish peasant woman in a clean but thread- vestment. of the organism to sound in tlu cer erests the general reader who puts himself the would have been thrilled by the manner in without it we could presents a hierarchy of rhythms; bare cotton dress, her face careworn and already “To study more than one branch of music musical experience; those whom Fate has favored than i* which electrical inventions have stimulated an lace of rhythm the phrase rhythm, the sen- ^ , lined with wrinkles, as she explained the opera to at one time is an advantage, because the mind, not love music. those who have struggled and sudden! interest in music study. iumph of the movement rhythm, all moving her two children, about two and six years of age. weary with the monotony of one task, finds Like colors, sounds may be beautiful vind the way to success opened to them in an , u,.., , music. into a unified beautiful structure. The performer from '' Again the evening was a success. After the satisfactory rest in another. The ideal thing in themselves, quite apart TX J-10 TP detracts, as is to have the mind ever keen in nature or art is ca- takes this as a cue and adds or the close of the performance my musician friends and ready for A single sound the The Polka of structure, and the qualitative modulations in interpretation. But conducted me to the hotel where I could meet the labor in store for it, but this is perhaps Again appearing in endless variety in terms case may be, in his personal pable of balance, quality, flow of beautiful sounds. Harmony, that all musical listen- the stars as they sat around a table in the din- as impossible as was the quest of Ponce de tonality, dynamic value, duration, tone in psychology it is shown e rucinie tx ra* fusions become em- , in it- symmetry, contrast and response on the part ing room behind the bar, indulging in a late and Leon for perpetual youth. Yet, on the other Q and noise. It may be an object of beauty ing is action, a constructive The the object of our century old polka, that was the rage in apart from its bodied in musical form. Here listener. rhythm is primarily a pro- well deserved feast. There were immediate re- hand, it is within the power of all to guard self, in thousands of ways quite of the Thus Europe when Queen Victoria and her beloved world in affections is the artistic creation. The place of flows quests for a criticism; and they were very against undermining health through careless- utility in music. We find the tonal jection of personality. My rhythm from consort. Prince Albert, danced it in the London sounds the musician is quite analogous to the astron- friendly, offered me food, coffee and wine, and ness and lack of thought for physical welfare. which we live full of beautiful and useful what I am, and the music is the conveyor. of the 1840's, is again becoming popular in our omer’s feeling of the sublime as he looks into eagerly answered my questions. No practice and no study, should be the rule which we love. They play a large role in our All art is play, and the charm of music, the ballrooms. Why? Possibly pictures in the movies the heavens in the light of his knowledge of the In the days that followed, the artists and I when the mind is weary and begs for rest. feelings of attraction and adjustment in nature. purest form of art, lies fundamentally in the have revived the desire for this two-four nature and movement of heavenly bodies. became fast friends. There were many little in- Remember that Nature first warns, then im- merry They may be beautiful to the untutored mind fact that it furnishes a medium of self-expres- plores, then dance. Perhaps Smetana’s jolly polka in “The music be associated with words, cidents in which my help was more than wel- demands.” as well as to the intellectually and aesthetically Pure may sion or the mere joy of expression without Bartered Bride”, or gay musical meaning specific. come. It was soon learned that there was a strict Jaromir Weinberger's cultured mind, in the same way that flowers may which tend to make a ulterior purpose. It becomes a companion in soli- fugal polka in dancing, dramatic difference between singers, respectively the chorus “Schwanda" has had something beautiful to a child because they arouse It may also be associated with tude, a medium through which we can live with to seem and the stars, with the latter called do with it. Again, the success of the and other forms of action, never singers popular an immediate pleasurable feeling. Yet they are action, marching, the rest of the world. Through it we express our trite Beer but always “artists.” They kept to themselves, Barrel Polka may have done its part. material from which intensify the feeling of self-expression so beechwood. Form it the same length as the width not music but merely the raw love, our fears, our sympathy, our aspirations, apart from all others, aware that, although for The polka mazurka, an art hearing of music. of the window in which became is Primitive man responded essential to the feelings of fellowship, our which it is to be placed. The form which music made. our communion with the moment they had to sing for little money under the fingers of Chopin, is a very strongest appeal in music lies, however, box should be three or four inches deep, affectionately to the sounds of nature and was The the Divine in the spirit of freedom of action. and thus and six different thing to gather experience, destiny was prob- or seven inches from the real polka, which is life. Even before in its symbolic character. In this it excels all wide. In the top of the box, which Bohemian guided by them in his daily The main field of operation in music lies beyond ably right now preparing their seat among the acts as a sounding in origin. The Bohemians have a sounds carried mean- the other arts. As pure music, it can carry the board, make three circular dance language took form, single the sensory impressions and overt actions. It lies rich and famous artists of the world. Young as holes resembling the Polish mazurka, but it is listener, who is in the artistic and contemplative about two inches in diameter and an equal ing and gave satisfaction. Man took pleasure in in a tonal world of memory, imagination, they were, they were not so inexperienced. They known as the redowa. his dreams, ideas ideals realis- distance apart. Glue across the sounding his own vocal utterances or mechanically pro- mood, to live and thought, and pure feeling. The greatest might board, The charm have started when knowing ten operas or about two and concert polka, which arose in the sixties role in his tically through the carrying power of symbolic a half inches from each end, two duced sounds which played a large of music lies in its symbolic nature and carry- so; but today they already knew fifteen or and seventies, and of pieces of hard wood, one-quarter inch which two of the best ex- human economy and development. music. The lullaby, the chant, the oratorio, ing power in the playful mood. twenty and thick and amples are had had their chance to sing all of one-half inch high, to serve the Polka de la Reine by Raff and transport the listener in the aesthetic mood, as bridges he them. Among them were many works seldom if Now Grande Polka de Concert Sound Tapestries Separating procure from any musical instrument by our own Homer oblivious to self and surroundings, into a more the Musical Herd ever heard in America, like “Ernani”, N. Bartlett, “La Fa- maker twelve steel was for many years d’oevre or less carefree life of pegs, similar to those the chef Sounds may be woven into beautiful patterns. imagination. But who loves music? The love of music is vorita”, “Fedora”, of a of pupils’ not “Le Rondine”, “Un Ballo in pianoforte, and twelve recitals and still remains very useful small brass pins. Insert a This is music. We admire the melodic progres- Such are the objects of attraction. But what universal. Deep, warm, and poised devotion to Maschera”, “I Puritani”, (Continued on Page 484) them in the following orm for teachers who manner into the beech have to appeal to a very sions, the rhythmic patterns, the harmonic are the motives which drive man to the creation, music is comparatively (Continued on Page general audience. 496) 440 JULY, 1940 THE ETUDE —

offered Gottschalk twenty tour of Jenny Lind, expenses for a year’s thousand dollars and all father refused to con- Music and Culture engagement. Gottschalk’s arrangement, because he thought fide- such an dignity of an artist to be hawked it beneath the circus manager. There- about the country by a Pianist the States was undertaken American fore the trip through The First business manager, and without a professional in a considerable loss to First American to Appear naturally it resulted New Orleans Prodigy— Later, his tours were A the artist and his father. and others, in European Concerts managed by Strakosch, Grau, and successful from a monetary „itn the top, thus were more standpoint. How much and the ends one and a as well as an artistic Gottschalk might have benefited from Bamum’s magic showmanship still remains a question. idea that Gottschalk ex- It is the prevalent of his own com- celled only in the performance Competent judges positions This is a mistake. Ago playing of Bach, Beethoven, and Fifty Years tell us that his other classics, was not only satisfactory, but also said, "What- thrilling and inspiring. One artist ever he played he glorified with the most superb Month execution al- This quality of tone and brilliancy of were UR EARLY AMERICAN FATHERS ways at his command.” folk and were • not particularly artistic At that date the country was in its first stages music, save in very ! O little inclined to Tapper, who contributed such a artistic growth. Chicago was a swamp; St. Thomas of Only a small proportion concert rudimentary forms. wealth of oracular counsel to American stu- Louis, a small town. People went to a any artistic background in Eu- particularly to hear of them had j dents, gave this sage advice on “Method of see the man perform, not with- to they generally came not from its musical rope, for Study.” his music. The general public was in Their Fortune castle walls. And Fate Was from without the with the in but “Music is an art so exciting, so quick to act long clothes. Had Gottschalk fed them was largely the product of wealth art music upon the nervous system, that often, through best music he was capable of playing, that is, though the greatest individual Destiny Remade The Lives of Famous Musicians and position, mere physical inability to continue, one must with Bach, with Mozart, and with Beethoven, How spring from the soil. A Haydn talents did | frequently cease music work for a time and he would have been voted a bore, and would have a cook’s kitchen; but an might come from seek either quietude or a change of occupa- music "had to come from In her early years she was so poor that orchestra to play his physical self to work programs LIKE A TRAGEDY when tion. It is a wrong to the side of the eastern cities, he built his T SEEMED By and once de- an Esterhazy’s pocketbook. piano she came near starvation too many hours per day. Too intense applica- largely of his own compositions. Even then his a friend had to give up her its first two hundred end it all by leaping in front America’s) music, in the candle I arthritis in her cided to tion to study simply means that public frequently complained that his numbers practice because of back years, had a horizon of church tunes and of a train. But fate drew her of life burns at both ends. Those who study were “too heavy and classical.” left hand. She thought it meant the tunes. Better music was slow in arriv- when her smallest child looked up at folk instrumental music and theory should find confined himself end of the musical career she had lag- Beethoven, in his concerts, As ing, and soloists were correspondingly aver- her and said, “Mama, I love you.” six hours per day sufficient as a general to his own creations; Hummel, largely to his planned. But it was only the beginning. gard, vocalists being first to arrive and they a singer her appearance was against age. Students who study ardently are apt to own, as did Dussek, Kalkbrenner. Chopin, and In the interim she found she had a ~ not native but from Europe. her; and, when she confided her am- be intense workers, that is, they concentrate Jaell, is doing J Liszt, and notably Moscheles, Thalberg, and voice, began to study, and now Choral music took root in New England director to become a con- all power of thought and action while em- company well as a singer. What appeared bition to a in York and Herz. Surely, Gottschalk was in good quite and operatic interest grew New tralto he loudly laughed and said he ployed, and thirty-five or forty hours per week in playing his own compositions. to be a misfortune to her was but the New Orleans. Several cities were experiment- of attentive, careful study should be enough. great could make her a comedian but never notably Boston. But means of opening the door to wider The freaks of Fate often affect the fortunes of ing with an orchestra, once spoiled a mass Sixty hours of inattentive work is a poor in- opportunity. mysterious manner. Nothing more in- a contralto. She the “American artist” did not arrive, save in The Musical Horizon Widens and small in a vestment. in the in which she sang, because of the diffi- experimental form, in oratorio or opera, In Gottschalk’s day there were very few in If you find yourself suddenly handi- terests the general reader, who puts himself an in reading notes. That “To study more than one branch of music satisfactorily; capped, if misfortune or trouble strikes, favored, than the culty she had until the nineteenth century was one third America who could play his works place of those whom Fate has time is advantage, good reader, at one an because the mind, the it will suddenly spurred her to become a past. and William Mason was among these. During do not despair, probably be the triumph of those who have struggled and weary with the monotony of one task, finds and she did. Our Pioneer Pianist next thirty-five years their number greatly in- making of you. No one can escape what found the way to success opened to them in an alto- --nofactory rest in another. The ideal thine chil- creased and Gottschalk became a vogue. Shakespeare calls “The slings and gether inexplicable way. It must be remembered that But he main handicaps were dren, eight of them. They seemed to Perhaps due to the interest of New Orleans the French capital he came under the patronage When the time needs a man—he comes. Amer- arrows of outrageous fortune.” It is the destiny favors those who have prepared themselves to times her . come along at crucial in in opera, its musical atmosphere produced the of his aunt La Comtesse de la Grange and soon ica needed Gottschalk. With his own works he attitude we take toward them that de- grasp an opportunity when Fate opens the door career, when she was getting a real first American instrumental artist, Louis Moreau became a pet in royal and aristocratic circles. broke the ice for the European classics. Von cides our destiny. Editor’s Note. Gottschalk, who led the long procession of Amer- His teachers were Halle, Stamaty, Madelen and Biilow, Paderewski, Rosenthal, De Pachman, and Psychologists say that people react in opportunity, and just ruin her chances. ican pianists. He was the first American musical the great Berlioz, who said of his pupil, “He is others, all supplied a demand that was waiting; several ways to handicaps; they sub- Having married her first husband at prodigy, the first American artist to brave the one of the very small number who seems to have Gottschalk broke the way for them. In his one mit to them and make them alibis for failure, ments whose parts she copied. Eventually sight eighteen, she immediately lost her position and European concert platform, and the first Amer- all of the various elements which go to make thousand American recitals, he created an ap- or they use them as stepping stones to success. reading became easy and she grew to know in- he lost his. Her fourth child kept her from a ican pianist to concertize widely in his own a consummate pianist—all of the things em- petite for the best in piano music. In one season It depends on the individual. Few great musi- timately the melodic and harmonic structure of long sought engagement which would have country. bodied in him to make a very great name and he gave eighty recitals in New York; and prob- cians escaped trouble, and many succeeded, not a symphony. Music took the place of dolls to meant not only much needed money but also a central part of America imperial musical power.” In the days when the Even Chopin who first ably no other pianist has since approached this so much in spite of it, but because of it. her. She hardly knew what it was to play with coveted opportunity. When singing in opera in the “state of wilder- heard him play at the had scarcely emerged from Salle Pleyel, in April, record. Yet, so soon is the work of the trail blazer other children. London, she got a telegram saying her baby was musically appli- Making a Noble Matron ness", and that term still was 1844, ninety-six years ago, predicted that he forgotten, even in music, that a book on great But what she gained instead was one of the dying. She rushed from the theater to go to Ger- half dozen of its larger Atlan- would become a king of cable to all but a pianists. Three years artists of today and yesterday refers to him as This calls to mind Mme. Marcella Sembrich, most thorough groundings in musicianship a many, and by so doing broke her contract and Gottschalk who hewed a later, Chopin, after tic coast cities, it was hearing the American boy “Moritz” Gottschalk. one of the greatest singers of all time. As a child, singer ever had. It was of immense advantage closed her career in England. musical path through the country, bringing the play at the Salle Erard, predicted a great future Gottschalk brought to a wondering and de- Mme. Sembrich had to forego almost all play to her later on. The tragedy of many singers of Although another baby was about to be born, piano and its music to sections where art music for him. He was the first American to impress lighted though rather ignorant public, a style which normal children consider their birthright. today, with beautiful voices, is that they were rather than miss her American debut, she ap- was unknown and to places where it was almost Europe with the fact that musical art might of performance that was on a level with the best Her father, a gifted musician, needed in his work not made to study piano in their youth or to peared regardless and received an ovation. impossible to secure an instrument for his con- come out of the New World. of European artists. He could give all that Bach the parts to symphonic scores; and, since they learn the essentials of music; and it is not easy Babies—one after another—they made her keep cert—we would say “recital.” Not a and Beethoven demanded, and also the Latin were too expensive to buy, he borrowed them and to acquire this fundamental knowledge later in on. She was their main support, and every new Gottschalk was born May 8, 1829, of English Showman's Freak delicacy that Chopin required, which his Creole set Marcelline* to work at copying them. If you life. Mme. Sembrich was forced to do a tedious arrival meant another mouth to feed. She just and French lineage. At that time New Orleans Gottschalk concertized with Berlioz, and in inheritance afforded. have ever copied an entire symphony, you know task, but the experience paid big dividends could not quit. was second only to New York in its love for Spain, France and Switzerland; and he made Gottschalk took some excursions outside of the what tedious work it is. Thus, as a girl of ten, throughout her career. No one has had more heart breaking hardship opera, notably French opera, as was natural con- one or two trips to South America. These were pianistic limitations. For example, he composed Marcelline labored by the light of a candle, copy- and searing struggle than this glorious sidering New Orleans’ history. The lad was nur- followed by his American tours, beginning woman. in two operas, pieces for and various ing great symphonies for every instrument in the A Noblest Roman of Them All tured in this atmosphere. 1853. orchestra, Fate could not beat her so it made her. Sons He was then aged twenty-four. His first songs. His best work was in the bravura style orchestra. Naturally she rebelled at first, but It may be you think you have a corner His first instrument was the violin. Later he concert was in Niblo’s Garden, on were taken from her in the war, and, to top it New York City of found the salon of his period, for which his talents it did no good. Finally she became ab- trouble. If so, consider the career of Mme. all, studied the piano and played in public as a child. and was such a success that P. T. her fortune was swept away in the crash of Barnum, who especially fitted sorbed in listening At thirteen he was sent to Paris for study. In him. in imagination to the instru- Schumann-Heink. She had it all through her 1929. But she kept on singing almost had just been reaping a golden harvest from the to the last. Having gone to Rio de ( Continued on Page 490) life, crush ’Childhood diminutive, like Maggie for Margaret. enough to any but the stoutest heart. Whenever you feel that things are against you. 442 THE ETUDE JULY, 1940 443 Music and Culture

in one of the ment to teach composition largest and brought me matchless in- Town music schools in Chicago to lyre, and he made them sing with Music and Culture Helps a Yankee the good com- Napoleon America, where I have had fortune to tensity of feeling. To enumerate all those just think of Mme. Schumann-Heink. ever since. which are his chief works, it de Barrett live and work Garden of Genius positions of his fate In a Early in his career, Robert Schumann met By JiLp unexpected opportunities come page that he I believe that would be necessary to name every hand. It was in the form of an injury to his that, “Public another to every aspiring mu- some idea of the Napoleon Bonaparte contended at some time or the Study of contributed to music. To have ambition to become a virtuoso, and An Introduction to Schumann’s be the first object ofJ^ern- important thing is to be able to astonishing versatility of his genius, it is enough so instruction should sician. The he went to live with the Weicks in Leipzig, the po arrive—for after ment.” He was a very great believer in recognize them when they sometimes The Preludes of Chopin to run through the series of “Preludes”. One he could study piano in earnest. He pro- statement that emphasized the previous opportunity may appear only once. In Amer- another they exhibit the lyric, the fiery, the to suit him, of music and the gressed rapidly but not fast enough has the grea given more assistance Like with, “Music, of all the liberal arts, ica the student is now romantic, the gay, the charming, the tragic. device for holding up his fourth so he invented a and it is that to was not, for instance, est influence over the passions, than in earlier days. There By Heinrich Heine, in his Intermezzo Chopin knew while the others were engaged in playing greatest finger legislator ought to give the days any periodical like The Etude sadness of his love, he strained the which the in my young how to express the joy or the exercises. In using this device stimulating encouragement.” to make progress practical and to the whether radiant or wretched. muscles of the third finger of his right hand, an had a hard piJiff The writer knows of a teacher who musician.” himself to every one: the by careless treatment. The young r Chopin addresses injury made worse music into his community. he gave fight to introduce 3J° most simple minds as well as the most brilliant useless and finger remained practically a calendar bear- He hit upon the idea of making understand him. He lifts us out of pianistic career. But his seeming calamity Ml and subtle, all up his and the ing a portrait of “The Little Corporal , confidant the curtain on Schumann the vir- The Famous French Master, Teacher, ourselves, he becomes our friend, the only rang quotation. He gave a copy of this to foregoing all tender hearts, all bruised souls. tuoso. It was just the beginning of Schumann was and Pianist-For over thirty years Professor of of all of the town fathers, and in two years he the composer. for thrilled to have an adequate appropriation Pianoforte Playing at the Paris Conservatoire Miniature Masterpieces among the What Is a Mere Hand? music. Behind the Scenes in Radio The “Preludes” must be counted Napoleon was one of the most far seeing men most perfect of Chopin’s works. Anton Rubin- It would seem that two good hands are neces- English Version by FLORENCE LEONARD had little idea that, over one marvellous understand- sary to the pianist, but not to Count Zichy. of his time; but he There are important men in radio who are stein played them with his wisdom would Count Zichy was a Hungarian nobleman who hundred years after his death, never heard on the air; people behind the scenes ing. He placed them above all other works of the music in a Yankee to become a concert pianist. In a be effective in introducing plays a prominent role in broadcast- master. “The pearls of Chopin’s compositions,” had ambitions whose work Attention is called to the master lesson upon the Chopin Prelude in C hunting accident, however, he lost his right arm, town. activities, without whom radio could not go he called them. Truly, each of them, whether ing minor, Opus 28, No. 20, by Orville Lindquist in this issue and to the master which would have been an end to the matter, are unknown to the listener. Among short or long, breathes rare beauty, ideal per- on, yet who lesson upon the Etude in E major, Opus 10, No. 3, by Guy Maier, which will far as the average person is concerned. But position is unique, since he fection, dazzling imagination; and as a whole so these is a man whose appear in The Etude for August.—Editor’s Note Count Zichy had one good hand left, so he de- “Their Toughest Spot’’ works while others sleep. This most important they express every shade of feeling. They were cided to use it and become a left handed vir- published in and comprised twenty-four GETTING THE RIGHT START member of the large NBC family begins his un- 1839, of a novelty. The tuoso, decidedly something heralded performances when the 1:00 A M. “sign HOPIN, WHEN HE WENT to Paris in 1831, We Meet a Master pieces, each written in a different key, and so question of music offered the most difficulties. natural order, that each By Zdclix Borowili off” signal is given in the National Broadcasting intended to continue his trip, which was Later the same author describes Chopin at the grouped according to At that time very little music was available for one in the Company studios in Radio City, New York. He is C to terminate in London, where he had de- piano: “Attacked by a malady which does not piece in a major key was followed by left hand alone, so he studied composition with comes in the life of every artist that TIME Herman F. Krausser, NBC’s piano tuner, who cided to settle. He found Paris, however, so spare its victims, he betrayed his illness by the relative minor of that key. But neither the “Pre- Robert Volkmann and Liszt and himself ar- point is reached an important de- a when works with an audience that neither heeds nor unique as an art center and so hospitable, that dark circles beneath his eyes and a feverish bril- ludes” nor the “Etudes” ought to be considered piano pieces and etudes for ranged numerous A cision must be made. The Etude asked a bril- liance in his gaze, the deep red lips, his of instruction. hinders him, since it is composed of the cleaning he changed his mind and remained in the of his as works the left hand. Quite likely Count Zichy would number of foremost artists to relate the staff and the night watchmen. liant and inspiring “City of Light” which has shortened breathing. “I consider the ‘Pre- not have made the stir he did, had he kept both “toughest” spot” in which they had ever been It is Krausser ’s job nightly to retune the thirty- time and again harbored so many of the world’s He gave the impres- ludes’ remarkable,” his hands; but as a left handed virtuoso, he placed. These replies are being published in a eight pianos used each day by NBC’s many finest minds in literature and art. Imagine the sion that something said Schumann. “I won international fame. series. Dr. Felix Borowski, noted composer and artists. There are four concert grands, a baby intensely interesting spectacle that Paris pre- of his very life was confess that I had ex- Count Zichy’s experience recalls the rumor of teacher of Chicago, sends us the following illumi- grand, and over twenty-seven parlor grands sented at that time. Names that now are graven flowing away with pected something quite the recitalist who lost his right arm in the World. nating letter. among others to be taken care of, and each must in stone on buildings throughout the world were each tone and that different, something War and who is said to have paid Leopold “On looking back over be pitch perfect. All are of ebony hue, except the then living entities, actors in one of the greatest he did not wish to more like the ‘Etudes’, Godowsky ten thousand dollars to compose a my struggles in the artis- instrument used for television, which is grey in creative dramas that civilization has produced: stop it, and that we of more grandeur of concerto for left hand and for his exclusive use. tic world, I believe that color. This is because black does not televise. Victor Hugo, de Musset, de Lamartine, Heinrich had not the courage style. But they are, on the period in which I felt The Toil of Italy's Parnassus Each piano is Beranger, Alfred de Vigny, George to stop it. The fever most discouraged was one mounted on a truck with rubber Heine, de the contrary, sketches, To temper good steel it has to go through fire. wheels, so that it can easily about. Sand, Cherubini, Alkan, Berlioz, Liszt, Rossini, which was consuming like the beginnings of when, in the days of my be moved The same process is often necessary to temper Krausser works, Halevy, Meyerbeer, Malibran, Pasta, Nourrit, him laid hold on us youth, I was striving to making plenty of noise, bat dis- etudes, somewhat like the artist. fling down a challenge in turbs others. all.” Fate may win recognition as a com- no one. Sometimes he stops tuning and with Lablache, Delacroix, Delaroche, and many feathers of an eagle, the form of a crushing discouragement, just at the strength If Richelieu near Georges Mathias, poser. Many of my col- and sureness of a great artist he you had gone down the Rue falling at random. the beginning of a musical career. That is what leagues, I imagine, passed plays vibrant chords and brilliant arpeggios, but Tortoni’s famous cafe on any bright spring day, the most famous of Even in what he has Verdi. Verdi to an happened to wanted become through similar experi- this is not in preparation for an audience; it is these great personages of the past all might have Chopin’s pupils, has left unsaid one recog- opera of composer. He needed courses study not ences. just his way of checking to make certain the in- been seen, yes and Chopin might have been given another descrip- nizes the genius of available in his native city of Busseto; so he tion of “Living at that period strument will sound all right in performance. among them, well worthy to enter such an Areo- Chopin as a the master. He is, and went to Milan and applied for admission to the in England, I found that While the world sleeps, this man works to make pagus. What an atmosphere in which genius player: “Chopin the will remain, the bold- Royal Conservatory there. He was given an op- the way to recognition it possible for radio to go on the following day might flourish. pianist? In the first est, loftiest genius of portunity to appear before the director and other was barred by reason of without flaws or hitches. Besides tuning Krausser Legouve, a writer of much charm, has por- place, those fortunate our time.” faculty members, who would decide whether he the has trayed Chopin thus: indisposition of music publishers to print another nightly job: collecting the personal “A pale young man, sad, ones who have heard Liszt is not less en- was qualified. The future composer of “Aida” was music by a young man whose name was utterly belongings of the day’s performers, usually hid- elegant, with a slightly foreign accent, brown Chopin can say that thusiastic. “These questioned by this jury of three, and he played to eyes of unknown the public. The sun came out from den away in the instruments, things like com- extraordinary softness, and long chestnut never since then have little compositions,” for them some of his youthful compositions. The behind the clouds hair of despair when a London pacts, handkerchiefs, fountain pens, pencils, hair with one lock continually falling over his they heard anything he says, “modestly decision was a final “No!” publisher, who had pins, forehead. chanced to hear me play two keys and even odd coins. The first sight of him affected me, his which approached his called ‘Preludes’, After Verdi became famous, his rejection at cut of my manuscripts at a social gathering, offered music moved me deeply by its strange qualities. playing. It was like the conservatory caused considerable discussion. like precious stones, to bring out those works, which he thought I cannot describe him better than by saying that his music. And what Friends of the conservatory tried to prove that are examples of abso- would sell. They did and, indeed, sold he was a trinity of so well that charm. There was such unity virtuosity! What lute perfection, the decision of the faculty was not due to any I had no difficulty and in disposing of other works. The Origin of of person, playing and music itself, that one power! Yes indeed, inability to appreciate Verdi’s talent but to the a Great School bear all the unques- It was one thing, however, to be able to could no more separate them what appeal than one could power! But that tioned marks of point that Verdi was past twenty and the con- to music lovers, who enjoyed The Pari* Conservatoire gen- playing and hear- separate the different features in a countenance. lasted only a few Latest Portrait of M. Isidor Philipp servatory did not admit students beyond that ing piano ius.” And Heine said, or violin pieces of the lighter and The peculiar tone that he drew from the measures. age. Verdi refuted this, The honor of beginning piano And how “They however, by stating that easier kind, but quite another the Paris Conserva- are neither to reach the ears toire belongs was similar to the glance from his eyes. The exalted! How inspired! whole the examination took place in June, 1832, when probably to a Belgian rather than to The man vibrated French nor Polish nor German: they come from of the connoisseurs who put their faith delicacy in bigger a of his face—somewhat morbid was like it. he was still eighteen. Frenchman. Francois Joseph Gossec. who was — with The piano became so intensely alive that the universal land of Mozart, of Raphael, and much more serious things. That the of road was born at Vergnies, melancholy poetry of his nocturnes; and the one shivered with emotion. I repeat that the in- There is little doubt that Verdi was greatly opened to Belgium. January 17, 1734, and Goethe. Chopin’s native land is poetry.” me unexpectedly by the friendly careful finish discouraged by this rejection, help died at Passy, near of his toilette was in keeping with strument which one heard when Chopin played but not to the of Edvard Grieg, who had Paris, February 16. 1829. He Before starting for Majorca with George Sand, made the acquaint- the proud elegance of certain point of giving up. He took it as a established in 1784 the ficole compositions; he never existed except under his fingers. And the Chopin challenge ance of a Russian sonata for piano Royale du Chant, showed to his friend and editor, Camille instead. that I com- and from impressed me as might a son of Weber and a noble He would show them. Lavigna, a theatri- posed at the age this the great Conservatoire was de- message of the composer, how he made Pleyel (the famous maker of the of twenty-two, and which princess. ...” pianos which cal composer and maestro al cembalo he veloped. Gossec A characterization replete with one feel and understand it!” of the thought had merit. It was, wrote twenty-seven symphonies, were Chopin’s favorites) some “Preludes” which Ducal indeed, his cham- «.nd discernment and sympathy. Theater of La ( Continued on Page 486) pionship the first of these were five years Chopin had command of all the strings of his he had already of that music that led to my engage- published com- ( Continued on Page 488) before Haydn’s went into 444 print. JULY, 1940 445 THE ETUDE ! .

Music in the Home met Balzac Victor Hugo and Paris where Verdi opera house of Bologna, Dumas the younger; the the latter city, the Music in the Home Venice and Milan; and, in with its gas-lit flares, the Galleria de Cristoforis and the poor quarters elegance of its smart cafes, 'Round Verdi passed the most Discs Go 'Round and Naviglio, where The along the Films Advance trying moments of his life. Singing course, is But the essence of the film, of the AMONG RECENT ORCHESTRAL RECORD- Verdi’s genius and his music. Car- emergence of INGS are salient performances of Schu- Gallone, director, and Tullio Serafin (for- /\ mine bert’s “Symphony in C major” (Columbia the Metropolitan Opera) who merly conductor of von Weber’s “Euryanthe” Over- By provided set M-403) and as musical director, have a rich serves ture (Columbia disc 11179) by the Chicago Sym- tin representative score, including “popular” as and phony Orchestra, under the direction of Dr. hitherto unpublished or forgotten 'M* well as many Dr. Stock’s readings of these Frederick Stock. Verdi. Operatic scenes are shown, some U songs by distinguished by a healthy objec- are culled from works which have two works tivism and a fine feeling for phrasing and dy- never been performed in this The recording of these works, however, country. Those shown include, namics. for the hall in which is not entirely satisfactory, the first is also an “Don Carlos”, “Oberto di San is full of opti- architecturally impressive, but 1 playing has an echo that often Schumann’s “First Symphony” New the orchestra was in its own way equally as PRELIMINARY SHOWINGS in Bonifacio”, “Nabucco”,“I Lom- confidence. Inspired by his marriage admirable work and AFTER diffusion of tone. mism and version of creates a effective, as the recording by Toscanini and the and Los Angeles, a film bardi”, “Attila”, “La Traviata”, a poem on Spring by Boettger, it is aptly A York earlier recording of the Schubert symphony and Verdi is due to reach “Rigoletto”, and “II Trova- An BBC Orchestra tends to prove (Victor disc 15945) the life of Giuseppe termed the “‘Spring’ Symphony.” Koussevitzky absorb- by Bruno Walter and the London Symphony Chestnut audience in late June. It is an tore”, while a full sequence is Orchestra give a fer- Weinberger’s “Under the Spreading a national by similar reverberation, and the Boston Symphony the son of an Italian Orchestra is unmarred Tree” comes to us in another recording made by ing picture biography of given over to the finale of vent and stimulating reading of this work (Vic- s but it is not as tonally vital as the new one. That the greatest of his country “Aida.” The “Aida” scene was conductor Constant Lambert and the London Symphony grocer who became for tor set M-655), one in which the with Verdi me o- music is not confined to one man’s feeling gives a operatic composers. It is alive actually filmed at the Teatro admirable clarity of Orchestra (Victor set M-654) . Lambert for one to enjoy differ- achieves an unusual and subtitles should make it it, and that it is possible Rodzinski re- dies; arfd its English Reale dell’ Opera in Rome, instrumentation. more lyrical exposition than did entertainment for ent readings of a major work are borne out by and refreshing the cooperation its cently performance that makes for better understandable with of brings us proof —a its credit, it separate hearings of the Stock and Walter record- Sir Thomas Beecham again opera lovers. With such merits to full musical organization, con- continuity in this musically uneven and far from that he is one of the fore- production is not Amer- ings. The forthrightness and somewhat quicker (as if it were needed) is regrettable that the sisting of an orchestra of a convincing set of variations. Yet for effect, color the vexing pacing of the Stock reading contrasts with Wal- most interpreters of the music of Jan Sibelius. ican made. And that, in turn, raises hundred men and two hun- range, and recording, the performance by Rod- producers have so ter’s more songful and lyrical exposition. And He conducts the London Philharmonic Society question as to why American singing voices. zinski Cleveland Symphony Orchestra dred The set- 6” (Victor album and the opportunity of bringing sim- so it becomes a matter of personal taste which in the “Sibelius Society Set No. resolutely let go the tings of the older operas offer is the most impressive. To us Weinberger’s True, prefers. It seems which contains the tone-poem, En Saga, material to the screen. type of performance the listener M-658) , ilar biographical faithful reproductions of the “Schwanda-Polka and Fugue” is far more listen- romantic picture in which Victor a pity that the sponsors of the newer set found Op. 9; the funeral march, In Memorium, Op. 59; we have had a scenarios of their first per- able and enjoyable music than the above work. portrayed; we have had a fine film it necessary to issue it at a higher price, for the tone-poem, The Bard, Op. 64; three pieces Herbert was formances, based upon careful Of several concerto recordings issued recently, about Stephen Collins Foster; but Hollywood ap- this places an unfair focus on the Walter set. from the composer’s incidental music to “Pelleas research into the structure of “ the most impressive is the performance of Rudolf parently desires not even a bowing acquaintance Of the several versions of the Euryanthe” Over- and Melisande, Op. 46”; the Prelude to his in- the original scenes. Serkin with the Busch Chamber Players of the (meaning “shorts”) with the dramatic and ro- ture on records, that of Stock is the most vital. cidental music to “The Tempest”; and the famil- The cast Includes Fosco “Concerto in E-flat” by Mozart K. 449. The plan- mantic elements that make up the intensely Weingartner, turning his attention to Handel, iar Valse Triste. There is a brooding beauty and Beethoven, Giachetti in an excellent im- gent and somewhat melancholic qualities of this human stories of figures like Wagner, VERDI IN VENICE brings us some delightful ballet music from the a strong defiance in the music of En Saga, which Schubert. personation of Verdi, Gaby work set it apart from most of his other con- Liszt, Berlioz, Mozart or Scene Itom the film "The Life ol Giuseppe Verdi." Fosco Giachetti as composer’s opera, “Alcina” (Columbia set X-164). suggests the epic of some ancient Scandinavian The the tenor. Morlay, Germana Paolleri, and certos. It is a work that should be played ex- It is a bit difficult to understand why. Verdi and the famous singer Beniamino Gigli as This is more of the music than Mengelberg hero. Although In Memorium is a more imper- Maria Cebotari, as the three pressively rather than brilliantly, screen wants drama and romance, the struggle played some ten years ago; and, though the sonal expression than Wagner’s Siegfried Funeral to preserve its compassion loves of Verdi's life; and the reflective qualities; and Serkin, with rare artistic for personal survival, or the human overture is here omitted, the estimable playing March, it too is suggestive of the death of a master of opera. distinguished itself in the face of hard- no universally acknowledged tenor, Beniamino Gigli. It should insight, renders it in just this manner. The slow of a faith that justifies and recording of the Weingartner set makes it great hero. In fact, if we did not know it was less difficult to be the elements from which the Thus, operatic commissions were of interest to watch the vogue that this film movement here is one of Mozart’s loveliest. ships. These are preferable to the other. written in 1909, we might well believe it was they been, and the grocer’s son will enjoy, is built. Yet when they exist obtain than had and to speculate upon the chances Hindemith’s “Der Schwanendreher” drama of fiction composed recently to honor (Victor set initial struggles to find pro- of producing life and are coupled with great emerged from his more living musical biographies of M-659) is a concerto for as a part of real heroes of the Finnish war. viola and small orches- this point in the film, Verdi’s musical great The besides, something seems to creep in to duction. At and human composers. tra, based on old German folk names Bard is eerie in character, the songs. Its final production value. To this depart- development enters the action along with the lessen their sort movement, derived from a mocking song about unfolding of events, his earlier melodies sound- College Songs From the Classics of orchestral fantasy that ment, it seems possible that the human, wistful the only Sibelius could man who turned the swans in the kitchen fictional ing forth in interesting contrast to those themes have writ- qualities that lent enchantment to a A certain amount of fun always can be had upon the spit ten. Of the three miniatures (early 17th century), gives the “Mr. Chips”, let us say, would be which have built his more enduring fame. from “spotting” classical themes in distinctly character like work its name. The composer’s treatment of nearly thirty of his operas of the from “Pelleas and Melisande”, the “box office” if carried to the screen Themes from popular music. Chopin, Handel, Mozart. Tschai- just as good folk material is modern in spirit the Death of Melisande is and somewhat actual qualities of Franz Schubert. And first two periods (accompanied always by the kowsky, and even Debussy, reminiscent the as the have lent intellectual, but not entirely devoid emotional complexities involved in their com- most impressive. It is equally of emotional the addition of Schubert melodies could hardly strains to hit tunes of the moment; till the musi- warmth. In the recording (Victor surely position) complete this pictorial limning of one as moving in its own way as set M-659) detract from their appeal! The question is cal detective wonders about how it happens. One Hindemith plays the viola with Arthur Fiedler’s worth the consideration of music loving picture of the most revolutionary of all musical develop- explanation, at the music Debussy has written. least, is offered by Paramount Simfonietta. ments. Then, as fitting climax, comes the music The Prelude to The work grows on one, with re- fans—especially when they see what can be done studios. Heralding the release of the campus film, “The Tempest” of “Aida” and of the two Shakesperean is peated hearings. The performance, although an with musical biography in the Verdi film. operas, “Those Were The Days”, Paramount makes un- convincing and effective de- Life Giuseppe which are held to be the noblest of all of Verdi’s scriptive music, authentic one, leaves one with the feeling that This Italian importation, “The of varnished announcement of the fact that Bach with an ending Hindemith is in its musical works. that is particularly a better composer than he is a Verdi”, is almost documentary and Beethoven are contributing a series of col- impressive. authentic in tracing the spiritual All of violist. accuracy, and Authentic Scenes lege songs! Frank Loesser, Paramount song this music Sir Thomas emotional development of the great com- plays There is an ingratiating and happy little work and writer who has been at work on tunes for the with a sympathetic in- from the Many of the scenes were filmed in places where by Fra Antonio Soler (18th poser. Verdi’s career is reconstructed film, explains that the sight, superb vigor, and poetic century), which oc- Verdi actually lived Busseto, his production’s director, Ted time of his birth in 1813, to the triumph of his — boyhood home; sensitivity. cupies a single disc (Columbia 69842-D) that Reed, is very fond of the As in the case of , Milan, where in deepest dejection classics, plays them on greatest operas, “Aida”, “Otello”, and “Falstaff”, he walked his music lovers should not miss. It is a the piano in his spare time, and likes to have playing of the popular Fin- concerto last of which was written when the master down the wide marble stairs of the Conservatory for harpsichord the them included in landia, Beecham’s performance and organ, played by two splen- after having been denied his films wherever possible. was eighty years old. Historic interest derives admission there be- did French musicians, Ruggiero Gerlin Hence Mr. Loesser offers a number of classical of the popular Valse Triste and Noelie from the famous Wagner-Verdi controversy, as cause of “mediocre” talent; the countryside Pierront. adaptations. emerges as the most The unusual combination of instru- around St. Agatha where Verdi He points out, further, that any sensitive well as from a comprehensive view of the im- found the only ments proves most agreeable number of familiar Alma Mater songs are based and expressive version on in tonal blending. portant evolution in operatic technic developed peace his troubled heart was ever to know. The upon Beethoven’s records. The Liszt-Busoni “Spanish Rhapsody”, film also recreates the drawing-rooms music, because “it is of the played on European stages during the course of some of intel- by Egon Petri and the type that lends itself to college This Beethoven composed three Minneapolis Symphony seventy-five years. lectual Milan; the fashionable literary circles hymns.” of should serve Orchestra (Columbia (Continued on as proof of “Leonore” overtures, Page 484 1 Although Verdi was destined to bring glory the vitality of classical each in- music tended to be used to the Golden Age of Italian opera, he began in connection Inasmuch as the film with his opera his career in a period of interim. Donizetti and is based upon the famous “Fidelio”, which George Fitch stories was Meyerbeer had “said their say”, Rossini had MUSICAL FILMS of college life, which center originally called “Leonore.” their action around the Of the abandoned operatic writing, and the field boasted beginning of the century, DR. FREDERICK STOCK three overtures, the RECORDS there will be nothing in (Continued on Page 494) Conductor of the Chicago Symphony Orchestra third is the most brilliant and 446 THE ETUDE JULY, mo 447 a

Music in the Home

Music in the Home Airways The Etude Music Lover’s Bookshelf hen the cities service company Over the the con- Concerts renewed in May its contract for program that W tinuation of its concert Ross Graham, features Lucille Manners, soprano, Multitudinous Music the Dr. Frank Black, conductor and baritone, Years ago, one of the most popular books in Choir (Fridays from 8:00 to 9 00 an Cities Service Br an unparalleled America was Gaskill’s Compendium, a huge vol- PM, EDST; NBC Red Network), yfl*9 ume which set out to be a kind of universal radio history was written. For, since i , chapter in’ „ and turned out to be a Cities Service Company Assisted by John Briggs dispenser of education February 18, 1927, the I i network, and /\ fll) I kind of printed combination of a course in The writer predicts that this book will find a has been a steady feature of the radio’s oldest a “boarding school” and a “business academy.” large and interested public in the New World, now, in its fourteenth year, it is tfred Everything from bookkeeping to polite letter with its omniverous appetite for a great variety continuous series. radio writing was included. information. Behind the success of the Cities Service Severe Critic of Frank PhiladelpW^ A writer first read “Music for the Mul- of Dr. ot er ’ When the “Music for the Multitude” concerts stands the personality summer, he returned to proudly boasts that her “ piano all Miss Manners not help musical director. Dr. Black has long studies. Shortly af musician, ^was titude”, by Sidney Harrison, he could Author: Sidney Harrison Black, its to continue his musical accomplished non -professional adventurous spirit in radio, York to study ™d an and that thinking of the popular book of other days. This Pages: 383 been known for his he began commuting to New teacher and severest critic programs. her first with no disrespect to the new musical his ability to make unusual the eminent Hungarian-Ame the present day. Also is said Price: $2.50. and Raphael Joseffy, she remains the latter to said that Arnold Bennetu, who parental dlsaPP r°val o qualities compendium, but rather in admiration; as few Publisher: The Macmillan Company Someone once ican pianist. Despite owes the levelheaded Any book listed in this department Twenty-four Hours a Shortly to her mother she appeared which have included so wrote “How to Live on musical studies, Black persevered. temperamental an- books have Etude Music these set her apart from the may be secured pom The to have known Frank Black. For the of money made him that much varied information about the development, Day”, ought after Joseffy’s death, need other prima donnas. One of Magazine at the price given plus the Music for tiie Church director of the National Broad- in a musical tics of so many the structure, and the human side of music, all general music seek a position lessons was to learn to be charge mail delivery. first self-taught eighty-three slight for If you ever had been a clergyman or a choir orchestra, and it was my will compressed in three hundred and comedy conditions , she perform under all of the most that he won his ready to pages. It is a very fine book for the layman whe director, you would know that one in that field that so-called "artistic and she also claims is that of getting the right short time later insist , says, “I want to know something about music, disturbing problems first success. A name for bad temperament" is just a fancy question. Harry Gilbert, he became music director for a but I don’t want to take time to study music.” able late diners never arrived for the first act music for the service in temper. ... organist choirmaster of the Fifth Avenue phonograph corporation, and . , of an opera. and her that she had such a sensible the field of It was well for diners resolved to teach Presbyterian Church of New York City, sets out then he entered under many dis- “The fashionable late outlook, for she had to bear up consultant for radio, where he is rightly re- Wagner to respect Parisian customs. The gay to give “in small compass a handy before she attained her present of the most versa- appointments, men-about-town, members of the Jockey organists, choirmasters, ministers and all who garded one be content young position. For a long time she had to church.” Just tile musical directors who ever Club, arrived in force for the second act of the have to do with the music of the intermittent programs on a local station. appeared before a microphone, with second performance of ‘Tannhauser’ and made as one consults a dictionary or a thesaurus to period of apprenticeship she was given being equally successful in clas- After a an uproar. find the most useful word, so Mr. Gilbert’s man- spots with the National Broadcastbig sical and popular fields. morning “The third performance was postponed to a ual gives an alphabetical list of general topics then came guest appearances, during Lucille Man- Company; Sunday, when box-holders could usually be relied which presents the name of the composer and of which an executive of Cities Service hap- ners, the young one upon to stay away. But Les Jockeys forwent le explanatory abbreviations. Let us suppose, for pened to hear her voice and immediately tele- soprano of the week-end for once. They whistled; they played instance, that you are an organist and your min- the NBC artist's service for a special Cities Service phoned flageolets; they yelled. Princess Metternich ob- ister has asked you to select music appropriate audition “for the soprano who's on the air right program, has served, with patrician scorn: ‘Away with your to “Faith.” You turn to Page 52 and find twenty- now.” The result of the audition turned out to studied music free France! In Vienna, where at least there is three compositions listed. Under “Fear,” we have be a contract for the young artist's appearance since a child. At it be unthinkable prima a genuine aristocracy, would seventeen works. Under “Light” we have thirty- very early age on Friday nights as the Cities Service a for a Prince Liechtenstein or Schwarzenburg to eight compositions listed. The publishers’ names her ambition donna. ” program scream from his box for a ballet in Fidelio.’ are given in the text, but these are keyed by was to be a pri- Associated with Miss Manners on the Wagner withdrew the piece. But it inspired number to a list in the front of the book. The is Ross Graham, a young baritone born in Tulsa, ma donna, and even a short-lived musi- interest in him. There was book cannot fail to be of practical value to many all of her ener- Oklahoma. Like the soprano, he began his Black conducting the Cities project for a Theatre Wagner.” clergymen and choir leaders. (Above) Frank gies di- cal career early and at seventeen was making Service Orchestra. (Right) Ross Graham, bari- were The author, Sidney Harrison, is widely known success for sev- “Gilbert’s Manual for Choir Loft and Pulpit” of the Cities Service Concert. rected toward radio appearances. He sang with tone soloist in British musical circles as a pianist, teacher By Harry Gilbert that end. There eral years over stations in St. Louis, Des Moines, of music, and radio broadcaster. His comments Pages: 197 casting Company gets so much done in one day was, however, a Little Rock and Oklahoma City, and later won upon American music are, therefore, especially Price: $2.75 that he might well have furnished a chapter bleak period in an Atwater Kent Regional Contest. Then came interesting. It is always profitable to see how Publisher: Charles Scribner’s Sons for the book. Besides carrying out a busy sched- her life when her a period when he was employed at Hot Springs others see us. He comments that “Londoners ule at his office in NBC’s Radio City, he finds almost faded from view. This was the by the Public Utilities, a subsidiary of Cities dreams know scarcely anything of the works of Deems time to give concerts in California, Washington, time when, at sixteen, she worked as a stenog- Service. The late showman, “Roxy” (Samuel L. Taylor or Leo Sowerby or Alden Carpenter and PlANISM other cities. One year he Rothafel) and Boston, Cleveland, and rapher in a small office in New Jersey; but dur- , heard Ross sing in Hot Springs SIDNEY HARRISON cannot be persuaded to regard Ernest Bloch— A great teacher of English in an Eastern uni- made fifty-eight round trips by air to Chicago, ing this period she spent every penny she could brought him to New York, where the baritone city; race-conscious Jew of Swiss birth—as American. versity used to say in his classroom, “The au- in order to conduct broadcasts from that save for singing lessons. Her evenings—much to made his debut at the Radio City Music Hall. conduct pro- Of course such a person who reads this book is “To European audiences, American music is thor’s first consideration is his point of aspect.” and between trips he found time to the disgust of her fellow workers—were occupied He has been associated with radio ever since. really studying music; and that, of a certainty, jazz. (Latin American music is not considered.) grams from New York studios, to keep up his with musical studies and vocal exercises; and At the session of the Eleventh Institute for A new book upon the piano with a new “point full job in itself), is the author’s conspiracy. While some critics hold that real American music is, work as musical director (a she would rise early to practice before going to Education by Radio, held near the end of April of aspect” therefore, a delight to this reviewer The musically ambitious, but uninformed, has yet to appear, others aver that only snobbery and also to publish several volumes of transcrip- work. A tiny blond, she looks as though she at Ohio State University, Columbia's American who has read many books in many languages To make every reader who proceeds through this book in a prevents academic musicians from recognizing tions and original arrangements. might be fragile, but her looks are deceiving; School of the Air won three prizes for programs upon the instrument. Will Garroway’s “Pianism” did much composing leisurely manner, digesting what he reads as he that dance music—however removed from aca- minute count, Dr. Black and though the work was hard, she thrived on presented in the three series known as “New starts with an effort to make his readers, first flying. goes along, should be able to get a lot of fun demic tradition—is the most alive of contem- while it. She has a modest, pleasant manner; in fact, Horizons”, “This Living World”, and “Folk Music of all, think about the instrument, their art and in Philadelphia, of Quaker par- from this volume which attempts by means of porary music.” He was born some people mistake her quietness for timidity; of America.” In its special classification, the the reader’s relationship to both. It is the first ents. His father wanted him to enter a dairy diagrams and short cuts to make clear what Later in discussing jazz, he writes, “It was but, this she energetically assures one, is a qual- “Pursuit of Happiness” program was also given book we have ever seen which starts with memo- that the elder Black had founded, be- others secure through instruction books and after the war, during such a dancing business ity none too strong in her nature. She has a first prize for the production called “Ballad for craze as rizing, which is often a kind of caboose which cause he considered it more secure than the works on harmony. Interlarded with this is musi- the adolescents of today can hardly reached her position as one of radio’s most popu- Americans”, in which Paul Robeson, the Negro believe ex- the teacher couples on to the end of the train. music and chemistry that interested Frank. cal history, told in as palatable form as possible. isted, that American-Jewish-Negro lar soloists, by sticking to her goal through thick baritone, was featured. Ragtime He then takes up the art of reading, with many Shortly after graduation the latter was offered For instance, this is the way in which the author evolved into jazz, into either ‘sweet’ and thin. Howard Barlow, conductor of the Columbia or ‘hot’ very practical suggestions. Next he goes for the two positions—that of a chemical engineer, and tells of the difficulty Wagner had with “Tann- dance-music, and now into ‘swing’.” Broadcasting System Symphony Orchestra, was elements of chord construction and handles the that of playing the piano in a Harrisburg, Penn- hauser”, when it was first produced in Paris: unanimously voted a Certificate of Merit by the subject very well indeed for the few words and sylvania, hotel. He decided on the piano job, and “Despite ambassadors and princesses, Paris re- National Association of American Composers and notation examples which he allows himself. Not went to Harrisburg. mained obstructive. It wanted ballet. If only Conductors as the “outstanding native inter- until Chapter Four does he take up mechanics. And so began the career of the present general Wagner would write ballet for the preter” of American music of 1939-40 a second act Here we cannot see clearly music director of the NBC. After playing the the season; with him in the mat- and Serge Koussevitzky, of ‘Tannhauser,’ all would be well, since fashion- ( Continued on Page 496) ter of imitating various ( Continued on Page 496) 448 JULY, 1940 THE ETUDE 449 I —

Music and Study doing a definitely different , hands1 each ’ one halt times the area. It th, thing* four and look where he placed each finger, LIKE TO TEACH such Music and Study violinist had to YOU REALLY fluently. He is forced to ask me. he would never play 1 little children?” other teachers as are practically all of the have the patience; how do Between nfav by position, “I wouldn’t Playing the Piano The pianist unlike the Would you not players in the orchestra. you get down on their level? clarinetist, may find himself play- pupils?” flutist or the rather have older Reading line of notes but ten fines of notes average music teacher seems to have a Making Sight ing not one The action of ten individ- teach- requiring the disciplined certain distaste, which is really fear, for Therefore position playing is even children children between the ual fingers. ing very young — and Eight who would Four more important to the pianist, be a ages of three and eight. They suggest that the good sight reader, than to the violinist or other parent “wait a year or two until the child shows that the orchestral players. This means student interest or is more physically developed.” This is e? of always sitting in should form a strict habit because it seems difficult, like being especially keyboard. One success- the same place before the trained to teach in a nursery school. Actually, “Always sit so that your different ful teacher used to say: the teaching of music is very much front of the keyhole on together. belt buckle is exactly in from teaching a group of little children habit of playing as the piano.” Then form the It is neither difficult nor tiresome. It may be very much as possible without looking at the key- restful. in the dark is a good preparation some two years ago to experiment with board. Playing I began fingers as their real names (not something fictitious) and are the words I let him play anywhere—using his we great difficulty to some. Chords this. Do not say that you cannot do it. Any- the little tots. It was at first definitely an experi- WE READ MUSIC just as tne for separately: to draw them. With a little practice at home, he HY CAN’T fact, compared with You have heard they come, right and left hand newspaper, without in music. As a matter of body can, who tries hard enough. ment. I am a school teacher by profession and a book or a left, 5 4 3 2 1 and back. will be able to make them quite acceptably, even read accustom ourselves when pianist. Alec Templeton, right, 1 2 3 4 5 and back; stuttering, or, worst words to which we the amazing sightless a music teacher by avocation. Five hours every halting, stumbling, few. There child loves to have something really to at four years old. W reading in a book, they are relatively to older, upper grade children— The collapse? day are given of all, complete chords in each gets home. The position of the Perhaps you are saying, “The child has done are only about fifteen widely used all position playing. His errorless could not successfully get down on the play when he were -given a card like this plays. This Is probably in We can. If you in all. These, oi unimportant, fox at least a month, and, no playing all this time.” Yes, he has played, key, or less than two hundred performances of very rapid passages and skips primary group level. But with music it is another hand is five finger position, various combinations like Ex. I inversions, positions and depending on the size of the child’s hand, prob- the course, appear in many would be impossible if he did not have the “feel" story. The child comes as an individual, and be- notes, which somewhat compli- ably for much longer. If the teacher plays cor- the following: 13553 1; 12355431; arrangements of of where each invisible note Is. In sight reading tween the ages of four (if three seems prepos- ten year old child may have the child will imitate her to the best of 1 3 5 5 3 2 1. Also he listens to the teacher and cate things. The one needs all of his “eye-power” for the notes. terous to anyone but a mother) and eight, he rectly, words. No musi- however, stretch nor plays after her, finger combinations in different and press a vocabulary of three thousand with the keyboard, he will interested in its ability. A child cannot, and were told to go to the keyboard If one has to divide It is a vitally interested individual, cian ever has to recognize over three hundred even strike firmly certain combinations of notes, rhythms; perhaps he goes behind the piano, note while you counted four, you never become a sight reader. Better make a thor- anything. That solves the attention getting prob- down this listens tries place sight chords. if uses the adult hand position; and he should and then to find the and the sight, and reading at ough job of it at the outstart, and never, never, lem. One does not have to have much more than he would be reading at his chord The answer We knew of one student who helped not be made to try. tune the teacher played. This is a part of every perfectly. What then is in your way? never look at the keyboard. the ordinary amount of teacher patience to in- sight reading by placing the chords in a stand- lesson. Usually we make up words for the five are a great many things. First of struct someone eager to learn. is that there accurately. Keys Nearly everyone ard hymn book very rapidly and very Prepared Attack We Learn the finger combinations—about holidays, the weather all are the notes themselves. My first experiment was a boy, just turned knowledge of harmony helps immensely in and other things. read the notes on the A The next step is to teach the keys on the acquires the ability to advanced Prepared attack, by which Is meant looking four. Since then there have been a number of thou- reading chords. There are few good I cannot say too strongly that it is unwise and spaces. There are, strange to say, ahead of the fingers, beginners between four and six and a half, and piano. This must be done so thoroughly that the lines and not studied harmony. ahead, keeping the eyes notes above and sight readers who have It is im- definitely defeating to teach one staff at a time; who do not know the fingers over the all the same method. They are all child knows them exactly on demand. sands in groups, or reading and, when possible, placing the taught by that they can recognize All this leads to reading never play the it makes a child lame. He becomes probably below the staves, so proper keys, either In close or widely spaced dis- promising, and none were failures. The method practicable to use a chart; we is in phrases. When reading a book it seems that instantaneous accuracy. What note is easier simply to (since the treble is generally the taught staff) a them with tances, in advance of the moment for striking, is so simple and easy, and so alluring, that per- piano from a chart. It much it in separate words. On the contrary, Quick now! is done bass cripple. Having learned to know the clefs, this for instance? on time, and haps others may make use of it. teach the keys as they are, starting on middle C many words are being read at a time. The his- so that the tones may be played child will the child learns next to recognize middle C, without halting or hesitation, is of great impor- and working both up and down. The Ex.2 toric cases of Macaulay and others, who are said emphasis in an And So the Work Begins not remember the keys in alphabetical order by which is the only note belonging to both clefs. Q to have read a whole page at a glance, can be tance. This was given particular appeared this method, but will recognize them immedi- He draws middle C in both clefs. He finds it in paralleled by that of famous conductors. John article by the present writer, which The pre-school child, and even the primary relative position he ap- music and also the clef to which it belongs. Any Philip Sousa schooled himself to read a whole in The Etude (August, 1930) under the title of pupil, has a very short interest span; therefore ately by their when proaches keyboard. discover for him- music will serve. Then, he is taught the notes in page of score at a time. A plan frequently used “Preparedness of Attack as an Aid to- Sight my little folks come three times a week for the He may and what note is this? self that run alphabetically from A, later on. the manner in which he was taught the keys by teachers is to cut a hole out of the center of Reading.” twenty minutes. The order of days is unimpor- they alternately on each side of middle a piece of paper so that only one group or one An additional suggestion for gaining at-home- tant, although Monday, Wednesday, Friday, and For example, C is the key on the down side C: F clef measure may be exposed. Try this, and look at ness with the keyboard is that the player have Tuesday, Thursday, and Saturday are helpful, if of the two black keys. That is always a C. Let G clef 5 4 3 this measure while counting ten, then, on a sheet frequent practice in striking tones Including wide the child is playing and must practice in between the child find all the C’s, and play them. He has 2 1 2 3 4 oc- lessons. first Middle rr T3 of music paper, write down as much of that skips, as. for example, skips of two or three At the very beginning, daily lessons will already learned, probably the day when ex- measure as possible. taves, and even more extended ones, such as work equally well. amining the piano, that going to his left is down f g a b C d e f Perhaps you knew them. Ten to one you had to taking b and then d in pairs, should know them just as This of course, is a kind of mental photography skips from low bass tones to treble tones of The first lesson is generally not a music lesson and going to his right is up. This is based on perhaps two or look twice. You really even four and for which a very special technic can be invented. varying distances. Much practice in this work at all. We examine the piano: the keys, the pitch, and it may require a few days of repeti- a day. well as you know the notes on the lines Here is a device That is, an ingenious and conscientious teacher may be needful before the skips can be made pedals, the music rack, the harp—and the child tion before he remembers it. By no means, teach which has not been seen on spaces. the might take old copies of standard compositions with ease and accuracy, and without looking at stands on a chair to see the hammers make the the child that C is “do” or show him its notation market. After the pupil has learned the Reading in Groups measures, notes from F and cut out phrases, involved chords, the keyboard. sound. Then we learn the first seven letters of at this stage of learning. The little child can do on the F (bass) staff to G on the G knowledge” does or groups of (treble) staff, This simple “lines and spaces notes, and paste these upon suitable the alphabet if the child does not know them; only one thing at a time and do it well; but he and has written them himself a written in the key cards to be used as flash cards. Note Values, Time and Rhythm number very well, if all music were These might be and very likely he will not. The letters may be can do that very well if he tries. The teacher of times, as in Ex. 1, reading, of C major. The next thing about sight arranged progressively, and the time of exposure Thus far we have considered only location of taught in any order, not necessarily alphabeti- must remember that rule and be content to work Ex.l is thorough familiarity to the eye may be progressively a G A which is all important, a shortened from the notes on the printed page and on the key- cally. The teacher may make up various devices step by step. Show the child middle C, however, E keys, in both major ten seconds to one second. with all of the scales and To do this right the board. The matter of note values and time, which for helping the child to remember them. For ex- and teach him to walk away from the piano, the only way in which to get understanding teacher would have to and minor; and prepare give rhythmical design to music, can be secured ample, C may be a doughnut come back and play it, with a piece eaten as distinguished from all always knowledge is by practice, practice, practice. and adjust special note cards for each pupil. with the staff large and free, this This only through careful training. If you have a out; and E may be a fence with three poles, and other C’s. All the other notes should then be for con- impossible for one to be a good kind of individual service in all venience, he receives a set of It is literally branches repre- nervous spasm when suddenly seeing a group so on. taught relative to the cards, with each black keys and C. card sight reader without an everready, fluent knowl- sents perhaps a phase of the highest form of of bearing one of the notes he has “two against three” or “four against three”, Give the pupil a large piece of paper and a big For example, B is on the up side of the three learned edge of the scales and the arpeggios. Why? The teaching. as illustrated in Ex. there is only one that is pencil or a crayon, 2, thing to be done, and and let him draw the letters, black keys and on the down side next of C. D is answer is very simple. Sight reading depends not to work out point to Face of Card Back of Card Keyboard Orientation this problem with yourself. Get such them, name them, drilling over and on the up side of C between the two black keys. merely upon knowing the notes, that is, all of a little book as Charles W. Landon’s “Playing over again. He should know about three before Play games with the flats, but child by letting him the signatures with their sharps and Being at home on the keyboard is, of course, Two Notes Against Three” and set at work. So he goes home, and the rest may be taught at the name, play, call out or point also upon the right fingers being put on the of great importance in sight reading. to keys as he learns. The key- long as you next lesson. are bothered by rhythmic problems, You do not need to talk down to the This may take from one to several days, right notes. This is one of the main reasons for board of the piano is four and a half times as depend- syncopations, and so on. you will never become a child at all. I tried it once and studying scales and arpeggios. When a signature long as the finger board was so rebuked ing on the individual; but he should know it of the violin. True, all good sight $ reader. These problems are very much that I have never done it since. Neither does very is seen, the hand subconsciously falls into the of the keys of the piano he thoroughly, without external aid and with- are definitely and like learning to swim. One struggles with them, want to make music in the manner of fairy tales, out prompting form demanded by that signature. All the notes visibly fixed. Each key gives forth one tone. from the teacher, before going on. On and suddenly the Note: The name of the knack comes and it is amazing barnyard, or nursery rhymes. To call cat the note Is placed on the reverse side of seem easier to read. There is nothing like scales the violin finger board, for instance, C After the child knows his keys, take a large the card, there is no how exactly back of the note, so that It easy it is. or Fairy Christine or some such cannot be seen and arpeggios to give one an at-homeness on the visible marking. The player therefore nonsense is silly, sheet of paper and draw on it big staves, placing through on the face side. Quarter notes are very must play and convenient the child will know that instinctively. for use in teaching the names of notes, since they keyboard. by position. On the piano keyboard, however, Usu- correctly the G and F clefs. The child is always are clearivy the Fingering ally, and readily seen. because the child is going Next comes the matter of chords. These offer player who plays by position must cover to play the piano, fascinated by these and also quite happy to learn with Careful adherence to (.Continued on Page 483) (Continued on Page 492) 450 JULY, mo THE ETUDE 451 ! ;

Music and Study

Music and Study cough in Is the Matter that is heard as a slight PATHOLOGIES What is indication of STUDY OF the larynx, it an as an approach to voice de- overstress of the glottised attack. A velopment has utility for the Too Dark or Gloomy. Here we Table what to bright- Round reason that by learning have the opposite to extreme The Teacher’s what to occasioned by avoid the singer can know ness and a pathology adage with My Voice? seek. In any profession the excessive practice of the dark vow- consists in of holds true that “success els and the relative diminuation Monthly mistake Conducted not making the same attention to the bright vowels. Superintendent of is as strong glottis study. The Public in- twice.” The vocal chain Diffused Voice. Insufficient struction, C. A. Howard (Salem. Oregon), vibrations Study Problems as its weakest link. closure gives weakened has issued a sixty-four page booklet pre- Greek pa- edition of Bach's Two Parf Pathology (from the head so that the resisting 1 In mv Education By in the Invention, No. 2. the editor remarks that pared by the Committee of the we de- - “suffering”) enclosed edition the notes l thos, literally surfaces, as well as the air in the original State Music Teachers Association, of the notes By Oregon from sharp were written instead fine, in voice, as any departure reverberating spaces, do of the eleventh is a model set-up. Its scope, within the E flat, F, in the left hand which thor- clef begins. 1 full, complete, and cor- 2^ glot- the bass to the measure, where oughness and elasticity are truly impressive. maximum, not respond sufficiently the old setting, and may I use it - it Ul prefer turn ; ier which, to three and a halt to rect singing, take it that diffusion 2. Mv grade is about You could probably secure one of these tal tone. We learn some of Mozart s fl/lai sing- four, and I want to to the can be defined as any or to the get the entire col- bulletins by writing State Super- about, Un can refer either to breath sonatas. I am going to be learned total absence of lection. Which of these are to intendent of Education. ing which owns a tone. Indies. sounded first ?_o. N., Dutch West Pianist Noted It always gives nte a “kick” to recom- pathology. Forcing and Strain. Too strong Q something or otlier from the tar scope of the bet- Music Educator mend shall limit the the vocal 1. I have always liked the old way and We impact of breath against West to the far East. For too long, there directions. it adheres to the work in several ter (G, F-sharp) since present cords for a desired degree of vocal although has been an attitude of unwarranted snob- shall deal only initial interval of the theme, In the first place we as are the singing and is bishness on the part of Easterners The Voice student often hears such terms intensity forces whose editions of the two and toward which the ear of Busoni— with those tones does not know what heard unpleasantly by the ear of consider the best Western musical artivi tics. 1 would like mentioned in this article, hut three voice inventions I the trained teacher hears in the more to inform these persons that in many re- have a feeling that the teacher. Strain relates —prefers the E-flat, F. He, like everyone they really mean. Perhaps you sleeping per- of the singer that are sensed Have you ever observed a spects the West and Middle West are voice voice but cannot to overtensing of all else, fails to give a reason for arbitrarily there is something wrong with your generally breathe more slowly than beautiful, not pleasing to the so you are certainly son? He seems to leagues ahead of the East—not only in as not all the points the vocal mechanism. altering the original ; diagnose it. Check up conscientiously muscles of deeply, then, after and for that rea- when awake : he inhales teaching methods and standards, but also aesthetic feeling, well within your rights. given, endeavor to discover you i weakness Gargling. A gargling tone is heard breath in a here and “easy” Mozart sonatas, a noticeable pause, expels his in public school music and general appre- son likely to be improperly pro- 2. There are no Bruyn, is at the head mouth or throat and not try to imitate and to correct it. Mr. de who in the back Mozart humorously called the kind of relaxed sigh. Why ciation. It is about time to call a halt to In the second place we shall although duced. the University of Flor- which resembles the well for Be sure to inhale slowly and of the Musical Department of is a sound “C Major” (K. 545) “A Little Sonata this at night? expressions such as an Eastern composer treat only pathologies of those for a “deep ida at Gainesville, is a very experienced teacher of the known remedy for sore throat. For Beginners.” Only this one, with the gently—but don’t struggle used recently. Said he, needlessly apolo- attempt the well closed voices which invaluable to descriptive term we in E-flat Major,” (K. 282) and Correspondents with this Depart - breath” each time you exhale count “one" gizing for a set of excellent teaching pieces, voice in singing. His article may be lack of better “Sonata ; method of singing. ment are requested to limit Letters glottis or “reed” this the two movements of the “Sonata in F silently, then see how far you can count. “You know. I’m rather ashamed of them: you.—Editorial Note. may have it that the vowel in to One Hundred and Fifty Words, The other way to sing, we take it, Major” (K. 547 A) which begins thus: If the mental relaxation produced by such they' were made to sell west of the Hudson instance is too shallow. is the so-called “fluted” voice, a long, boring, rhythmical swing doesn't River.” Gritty. When the vocal cords have you in the land of Nod by the count of wherein the tone is diffused to a put West of the Hudson, indeed! Also north assisted in some pathological pro- cords are fifty you are too hardened a case for Dr. and south of it where most of this good maximum and the vocal 1. Is your practice concentrated directly some own of lim- more especially on some of the higher pitches. cess of the voice, or if they own your Maier. As for me. I’ve never gone beyond old continent is If these approximated. Thirdly, because might be considered suitable for enough? Are you permitting yourself to located. only not well Breath Insufficiency. Breath insufficiency can organic ill, the tone emanating from them sounds ten ! It even puts me off after two cups metropolitan “provincials” what is cryptic tabulation “grade.” The rest are so difficult that you spend four hours in lackadaisical knew ited space we shall offer only a desultory, gritty the edges of the of coffee or an exciting concert. being the "provinces," they heard be caused by a diffidence, nervousness, fear of sometimes or as though should wait a year or two before attempt- “fooling ’round” at your piano, when two accomplished in or cataloging of a number of pathologies foreign substances would suffer a mass heart attack! So I or fear of getting out of breath—other- cords might be afflicted with ing them. hours of intense, well directed mental effort by the ear, defining each as we proceed. breaking, composed a lovely say', away with musical snobbtsm. Let us Often the like phlegm or mucus. Frequently examination By the way, Mozart would get better results? Credit for LesSons Remedial measures divide into two large divi- wise known as “breath consciousness.” variations” movement as a all wipe off those Che -.hire cat grins of inflamed condition. “theme and 2. Are you deceiving yourself in the mat- the scriptural one suffering from this fault is heard to inhale by a physician shows an “Every year it gets harder to persuade sions. The first of these heeds finale for this “Sonata in F Major’—but superiority “huskiness”, and ter of technic—or are you making every my high school pupils to keep taking piano is, let audibly before phonation. “Harshness”, “hoarseness”, been advice to “overcome evil with good.” That for some strange reason it has never second count lessons. There are too many school activi- this towards achieving instantane- or lose the Breathy. Tone heard with the breath may be “rasping” are qualities classifiable within that the little Rondo of ties, not to speak of those after school. good singing automatically eliminate published. Note ous control of your pianistic approach? The situation seems to grow worse every Keeping Strict I ime intent, as in case of the “as- category. this sonata (second movement) is prac- erroneous processes. The second remedial method the result of the 3. you constantly in year. The high schools of our city do not Do work, both teach- I hnv«* a pupil In th* wwd grade natural last movement of give credit for work done with private to or of inadvertence. At the least this is Too Heavy. An attempt to overdo the tically the same as the on tli«* piano r«»nri* well, is to face each particularlized fault directly, pirate”, ing and practicing, for intensity without teachers. Is there anything we teachers who fairly of but every few uiea»urt** or for the sake the “Sonata in C Major,”—written can do about this?” S. slow* up and then to an indication that the vocal cords are not well strength of the inherited mechanism W. B. t Massa- it, to ascertain its cause, tenseness? That is, do you practice in the — Btojm altogether; In other words, diagnose course in F Major, and with such exquisite chusetts. of loudness or volume gives results that both the “impulse” way, often explained on this she

Music and Study the following illustration- helpful to work out

Fascinating sensational Music and Study Scales Are a wide popular appeal because of the performances, but to a large extent Ylickoii nature of its for the second Sunday to come ^anet of the con- 3. Anthems By its activities counteracted the work work, sacred or secular, for future Pageantry 4. Some new fasci- Band valiantly working to make the are cert bands so may not believe it but scaies use Some Of course public conscious of the potentialities of the band Anthems of the com- only let them be^ 5 A final review of the nating if we will medium. standing, the same o as a superior musical ing Sunday, with the choir rising, we nlav all of the scales in naturally become as and sitting, as in a regular service. day ^after day, they quite By The Versatile Band Be as the grocery Deportment is an important factor. boresome as walking to and day out It In the course of time, however, each type of drill sergeant, in seeing that the same route day m J particular as a exactly the J other, the this there is httle that band began to see the value of the members rise exactly together. At first are that kind of a person choir you be tha to think choir- is no need to concert minded organizations began requires frequent rehearsal. Where the can be done; but there JJ. Director, University of more of their marching and their performance master faces his singers, a nod is a sufficient kind of a person. Assistant particular point variation. the metronome set at 72, the scale fflarh authority on parade, and the marching minded organiza- signal. If he cannot be seen, a What about a little Aiso, with Illinois Bands, nationally known wits about and down in quar- musical defici- introduction should be definitely chosen necessary to keep your be played one octave up tions became conscious of their in the It will be may the Marching Band at manner octaves up and down in eighth on efforts to remedy them. Here, and marked on each copy of the music. When, vou to play the scales in this ter notes; two encies and made and down in triplet importance of the band the conclusion of an anthem, the organ con- notes, three octaves up then, was realized the after the final voice four octaves up and down in six- “musical individuality”, for the fine points tinues for a few measures eighth notes, HE MODERN BAND is a as a be particular to have the choir to “hold notes. The speed may increase notch by of concert performance were brought into union parts, teenth highly versatile organi- to the end. Copies of music must be it Is possible to play with the metro- with the advances in parade technic. Today the the picture” notch until T zation, bearing very held open without further movement; the stand- at 160. trend is toward maintaining a balance between nome small resemblance to the band relaxed until the signal play five octaves the ing position must not be If further variety is desired, not so concert and parade activities, which marks of years past. It was is given to be seated. and down in quints, and six octaves up and band as an excellent type of musical organiza- up long ago that the band was in sextolets. If one forms the habit of play- tion. Attack and Release down conceived as a type of musical ing the scales in the order of the Circle of Fifths There are, perhaps, still in existence prudish The same concerted action must extend to the organization considerably low beneficial to play them in chromatic order. make a display of their newly true of octave scale it is up largely of bands which singing of each number. Not alone is this The object is finally to play a four in caste, made And, of course, scales may be played in parallel found cultural standing and who look down upon each phrase, but also of each a fifth higher in each and percussion instru- the beginning of but we do so by ascending thirds, sixths, and brass on and contrary motion, in was all parade work and band pageantry as beneath syllable, which must be sung with the same vowel new attack, our stopping places occurring ments, whose function tenths, and in various rhythms. With all of these their dignity. Others are content to remain on inflection on the part of all, and must be started G, D, A, E, B, F and C. making music of a boisterous possibilities we surely must agree that “Scales are and quitted at the same instant by all singers, Now that you have ascended the scale four type for boisterous and gala general in Fascinating.” else there will be slovenliness in the octaves it will be “fun” to descend the scale outdoor occasions, and whose effect, if the words are not completely lost. the same manner. The stopping places will occur principal use was the leading on F, B, E, A, D, G, and C. of military and civic parades. Thrill of the "Mike" The to play the scales, definitely Another fascinating way Fourth Its musical repertoire Nothing will keep a choir more “on their toes” To Strengthen the Third, and one that will aid in perfecting the fingering categorized as “band music”, opportunity to sing “over the than an occasional scale one octave the first habits, is to play the Fiftli Fingers did not go far beyond the The versatile University of Michigan air”, with the imagination inflamed by an unseen and march form. The march was Band shown in two special formations. audience. and signa- take Ay f^auf ^Jouijuet its peculiar stamp When preparing for a radio performance, music outside of better class of music, but also ture, and when a band essayed into consideration the limitations of the micro- effective- following exercise will be found very bene- considered a transgressor. has lost none of its The • it phone. Neither fortissimo nor pianissimo singing this-. class was of Gil- ness for performing on those ficial in developing the strength and agility The famous bands of men like Sousa and will register well. One of the main factors for bands fifth fingers. Starting with this impression and to bright occasions when of tone. the third, fourth and more did much to dispel success in this field is ease and purity traditionally furnished right hand, hold the thumb and second finger potentially the band is a concert or- have Some of the most beautiful softer effects may the prove that together, play C-sharp with the third fin- the symphony orches- the music and the pageantry. have to be omitted, but some study of his choir lightly ganization comparable to with the following has been reluctant In fact, the variety of music from the monitor’s “box”, during a studio re- ger and proceed chromatically tra. But, in general, the public too often the band played, the development of hearsal, will show the limits beyond which he fingering: to accept it as such, and advance their the instrumentation, and the must not go. 343453434345 and so on. groups of the country did little to third of high vast technical and artistic Soloists with the group should rely entirely It will be noted that in ascending the recognition as musical organizations in improvement of bands have upon beauty and clearness of tone, and not at finger will play over the fourth and fifth and caliber. is concerned, and under of band made them far more effective for pageantry the lower level as far as music all upon power, for their effects. Too abrupt descending the fourth and fifth will play We remember a newspaper write-up a than ever before. Professional bands have con- to devote themselves to the exploitation of the changes from soft to loud, and vice versa, must the third, excepting in those portions of the scale concert of only a dozen or so years ago which fined themselves almost exclusively to concert sensational, without regard to deep and lasting be avoided. The more easily everyone sings, the where the two white keys occur, when the fin- stated that the program was made up of “Classi- performances, but the school bands, with their values and musical significance. The majority, better will be the results. gers will assume their normal position. The left cal, Jazz, and Band Music.” Surely, this must unlimited youthful vigor, have taken the lead fortunately, welcome the opportunities to de- 1. Sopranos should sing facing in a line hand will be fingered thus, starting on C-sharp: have been an admission that the band had out of door musical and marching velop the scope of the modern band, bringing parallel with the face of the microphone. 3435434343543 and so on. reached a point in versatility—but still there was in creating entertained and inspired to the public the finest of music on the concert 2. Tenors should sing in a line slanting across The remarks applying to the right hand are, the insistence that there existed a separate type spectacles that have the country. stage, and the finest of musical pageantry on the the front of the microphone. of course, applicable to the left one but in re- of music, namely, Band Music! throngs throughout the development of the field or street. It is this versatility which lends 3. Contraltos and basses may face more or JUDGES OF THE METROPOLITAN OPERA AUDITIONS verse order. Those of us who have lived and worked with Until a few years ago Left to Right, Earle Lewis, Assistant General Manager; the marching band proceeded the band so admirably to the youth of the nation, less directly into the microphone, depending Ed- Played with a variety of tempos, rhythms and bands all our lives know what great progress concert band and ward Johnson, General Manager; John Erskine; Edward somewhat adapting itself to the pulse of the people, stimu- on the resonance of the voices. accents, the right will be especially pre- has been made in the refinement of the band, separately, although their growth was Ziegler, Assistant General Manager; Maestro Wilfred Pelle- hand bands gave practically all of their lating local, state, and national spirit, and all the 4. Duets, trios, and quartets will be better bal- tier, Conductor. pared for the study of the Chopin Etude Op. 10, in the elevation of its musical standards, and in parallel. Some creation of music of the while providing diversified training in the anced, if these points are considered. No. 2; and the left hand will certainly gain in changing the popular conception of the band. attention to the new most important of the fine arts, and in the 5. If possible, always rehearse at the studio, strength and suppleness. Enterprising bands in the professional, univer- order, with little consideration for marching, additional and test results from the monitor’s room. remained in the “same old rut”, as art of working together which makes for good time, and each time thereafter add only one new sity, and public school fields, have kept the while others citizenship. A normal seating arrangement is as follows: note standard continually rising, and have been re- far as music was concerned, and specialized in 2nd Tenors 1st 1st Tenors Basses 2nd Basses sponsible for the growth in interest, in enjoy- marching maneuvers. Thus we had on one hand Now there are recognizable differences in the two phases of band activities. 2nd Contraltos Organ 1st Contralto Do You Know? ment, and in the participation in bands. Most those band organizations attempting to raise the From the musical, music, cultural standpoint the concert is, 2nd Sopranos Console 1st Soprano people like to hear a band play; but where they standard of band and on the other hand band of course, Many universities abroad do not give musical previously expected to hear them in proscribed a group of bands clinging to the old musical all important, both to band members and their But numberless. _ . experiments have shown tha degrees. The first English musical degree was settings and on limited occasions, they now are standard but bringing to a high degree of per- audiences, and while the parade band is able to the following distribution gives the most sati given by Cambridge in 1463: this was followed becoming accustomed to hearing bands on oc- fection the military features of the band in make some contribution, it is of little direct con- factory balance for programs broadcasted by tl by Oxford, 1499; Dublin. 1615. No other British casions and in settings of greater variety. No marching and formations. The latter group had sequence in comparison. From the entertainment writer’s choir: University gave degrees until 1879, a gap of two longer does the public feel that “We like band standpoint, and from the standpoint of con- 2nd Sopranos 1st Sopranos hundred and sixty- four years, when London Uni- music”; but rather, “We like to hear bands play tributing to school and community affairs, the Tenors Organ Basses versity gave the degree; which was followed by Of course it is well to learn how to descend music.” marching band has the greater appeal to 2nd Contraltos in Edinborough, 1893; the Console 1st Contraltos this manner also. Manchester. 1894; Wales, BAND and ORCHESTRA The versatility of the modern band, however, large mass of people, and because of this appeal 1894; Durham, 1897; Birmingham, Ireland, Edited by William. 0. Re veil i The sopranos may ( Continued, on Page 48f To attain velocity 1905; in scale playing it would is such that it learned to play a popularizes itself to the extent that be 1908; Sheffield, 1931. not only has its more 456 THE ETUDE JULY, mo 457 Music and Study Strings and Tones Music and Study B, 3. W. JUff Care of the Hands attention. From The serious music receives greater the concert FAR IN THE DIM PAST that we know the educational standpoint, both O about it, a hunter shot an arrow band and the parade band are of extreme im- very little balanced searching for food. The musical portance, and both are necessary for a S while out and ac- by the twang of the bow-string did program of instrumental music training tone emitted By ett his notice. The hunter was not only tivities. not escape necessary to also curious, and he found that he In the school band program it is observant but tone by plucking the string determine the proper relationship which should could reproduce the For some Later it was discovered that e exist between playing and marching. with his fingers. march- could be plucked simultane- years we have been an exponent of the more than one string J(a^ in its were pleasing ing band, and have been on the offensive ously, producing tones that to the without development. This offense has not been ear. reservation, however, for we have tried to shield Thus was born the germ of the modern violin. marching overemphasis upon were to come and go before we I four, five, or even the band from However, ages TSCHAIKOWSKY wrote his famous who are working case we approve the con- viol which served hen acquiring maneuvers. In every were privileged to hear the doubts among more hours a day, may be general violin concerto, there were servative course for marching in the the pattern for the violin, just as ages had a master technic. But they may be as contemporary violinists as to its playabil- band program. the harp preceded the viol. W out exactly those con- passed before consideration did Leopold also carrying march. A ity. Only after grave Every school band should be able to harp, in use some three thousand years tinuous repetitions of certain actions The sponsor of this work. And yet competent unless it can march Auer become the into band is not fully before Christ, is undoubtedly the first stringed ut- which so very easily develop in his sixties, plays it with the A STUDY IN HANDS. THE TOOLS OF THE MUSICIAN as play. It should march well enough to Fritz Kreisler, subse- as well instrument on which certain specific sounds were “that cramped feeling”, and Photograph by David S. Loeb mastery. Sergei Rachmaninoff still From a credit, and to fill its place with honor most ease and do itself produced by the plucking of the strings. glorious quent stiffening muscles. functions which re- transforms technical obstacles into in school and community that the Egyptians made harps of are continuously We know short time ago, Unless muscles it It should march well music. And aging Paderewski, a fore, during, or after the study period. But quire or invite its presence. discovered the improvement during a period of strain, stiffness many strings and several Beethoven sonatas being relaxed action. implant in its members all the educa- gave a performance of a be remembered that this is a gentle enough to production by the employment of sound almost immediately—at first just must of tone memorable for their youthful will follow ap- tional, disciplinary, and character-building at- that will remain almost per- Any heavy finger massage, as is sometimes boards. They were the first, too, to make use of unfor- temporary stiffening, later becoming It should march better vigor. With the exception of Paderewski’s of the question, often tributes of marching. is the reason why plied, is absolutely out pegs for tightening the strings. evidence that the manent. This, by the way, it should march superbly, sensa- tunate rheumatism, there is no than “well”— Assyrians developed supple, while the weight lifter outright harmful. Both the Hebrews and the have suffered from the the track athlete is tionally, if possible. hands of these masters developing The same can be said of the finger exercises the use of the harp and undoubtedly not only is stiff. Both are under a muscle all, however, a band is a musical or- passing of the years. stretching the fingers After the beauty athlete must relax to a certain consisting of bending and made improvements but also added to ascribe this youthful- strain; but the ganization, and its primary purpose is to play. One could be tempted to forced in all possible and instrument. Later the during his greatest efforts. The as far as they can be uppermost, and ornateness of the wizardry peculiar to the extent even The playing program must be kept ness to some mysterious the directions. This is sometimes indulged Assyrians produced the dulcimer, the strings of weight lifter cannot do so. Like an athlete, impossible should never march better on the artist, some secret formula of rejuvenation; reaching and a band great center his attention on in by musicians who believe they are which were struck by hammers. This was the to the quite young student should field than it plays on the stage. This is a prin- and all the more so when compared begin to stiffen. Of forerunner of the piano. relaxation almost as much as on the actions an age where the fingers ciple to which we hold unceasingly, and it is very common fears of students, players, and musicians will In other words, he should know course, no violent bending of the fingers bands that Then in Greece before the Christian era, an stiffening fingers and of the muscles. disturbing to have it otherwise. Those still in their twenties, that habits, and this insignificant string, stretched across a number not only which muscles to use, but also which take the place of correct finger march better than they play may make a great interfere with their playing. muscles may possesses no powers to prevent the public, but of bridges on an instrument called the “mono- than not to use. definitely impression on a musically uneducated Perhaps some artists are more fortunate stretching first care of the hand is relaxation, dreaded stiffening. A firm but gentle these bands would make almost chord,” was used to measure the intervals of a naturally flexible and Thus the in most cases others in having hands place at night scale. both during and after the practicing. Now, so backwards of the fingers is in the same impression (or even a better one) if to age. It is, nevertheless, youthful, impervious best, this is only So it is easy to see that the definition of music has been said for and against the value before retiring. But, even at its they were to cease playing altogether, except for great many of them have been suffer- much true that a safely retaining the youthful- realize, is “sound” and that sound is vibration. of relaxation, that the word is not used a contributary cause to the drums. What our bandsmen must ing under physical handicaps that would have without dangers of misunderstanding. Let it be ness of the hands. participants and leaders alike, is that it is the many ordinary musicians give up in de- Harmony Versus Discord made playing, the the supple muscles need of playing and good marching said once and for all that during As a matter of course, combination good spair., Thus the secret, if such it can be called, can not be relaxed. A by a supple skin, before that makes for the greatest effectiveness in a The science of music has definite, unchangeable inspiring, virtuoso fingers in use naturally to be complemented of the ability of artists to give be real band. laws based on our knowledge of sound. The stu- loosening of the muscles or fingers not in use complete suppleness of the hands can parade program, and which makes a performances at the age when ordinary people Moreover, relaxation musicians oppose habitual use The parade activity must appeal both to the dent should discover what really makes harmony perform ordi- is all that can be aimed at. achieved. A few can hardly move their fingers to on the artistic eye and the artistic ear. and what produces discord. will find that is not synonymous with sloppiness. When the fin- of a cream or lotion for the hands, He nary household tasks, lies in the care that they play well, there is a rule that unalterably affects sound, gers are used, they act with firmness, authority, grounds that the skin possesses sufficient natural The marching band not only should give their hands. Care, and not mysterious natu- is conditioned, without it also play the highest quality of and that what we call a pleasant sound, pro- and precision. The moment their action no oils to keep itself naturally but should ral gifts, is the point that must be stressed. appropriate to the occasion. To duced on one or strings the violin, is longer needed, they should be relaxed only as outside help. This is true only to a limited music which is more of The hands are the tools of the musician. They any be sure, the band must play marches while known as “harmony.” sound is far as possible, without interfering with the ac- extent. The oils in the skin are not at all reliable. An unpleasant must be able to carry out a number of com- marching, but they should be marches of musical defined by musicians tions of the other fingers. do not prevent the skin at times from mi- as a “discord.” plicated, strenuous actions, following instantly They merit, played artistically rather than mechan- It does not matter is If done correctly, a full hour of steady practice cracking, from dryness or stiffness, nor do when or where music the slightest bidding of the musical mind of the nute ically or for the sake of volume and rhythm written or played, or inharmonious should not result in any great fatigue so far as protection after frequent washing. A how crude or performer. And these tools are more easily dam- they offer alone. In a program designed for a football game the music of past ears, hands and fingers are concerned. Hand or fine tissue cream, before ages may sound to our aged than the average amateur musician real- the moderate amount of there may be a greater variety of music—rhythm it will be found that all depends upon finger fatigue is a danger sign, warning of faulty retiring, and rubbed gently into the hands, will music izes. When a student begins to worry about stiff- must predominate, of course, to provide the spirit some kind of a scale. finger habits. positive help to most musicians. It is too ening hands, it is usually traced directly to neg- be of which the occasion demands, but the well trained Play a number of the Some artists can go for days without prac- until the need for it becomes ap- notes from C to C on lect of this care of the hands, which the artist late to wait playing band can inject into its programs short violin without regard ticing and feel no harmful effects. However, these is better than cure. to the laws of harmony takes as a matter of course. parent. As always, prevention excerpts of semiclassic and popular numbers, and you will fortunate ones are few. Usually the daily hours produce a scale that is most un- While there are no exercises for the hands play them symphonic effects, and enhance for Protection with pleasant. Now play this F. B, are almost as necessary as the daily bread. Con- Gloves scale: C, D, E, G, A, which will give them a perpetual youthful sup- greatly the worth of the parade performance. C. It will sound pleasant and satisfying to our a number of stant work has been the rule from Joachim to It goes without saying that the hands should entirely appropriate pleness, there are, nevertheless, Even popular music may be ears, because it is built Auer, from Rubinstein to Paderewski. The grow- up according to the laws things that, put together, will help decidedly in be protected by gloves during winter or damp in the providing it is good popu- parade program, of harmony and student can much less afford to because we have heard this scale preserving them. The student would do well to ing take the weather. The question of sleeping with gloves lar music and is played in a manner befitting of C major from infancy, more' than any other pre- absolute rests which the muscles of their hands has, on the other hand, received little attention the character of the band. remember that the youth of the hands is scale. This scale is sometimes require, when founded on the vibrations of served, not developed. may even the success- from the average music maker. And yet it is one Opinions in the matter of some of the prac- the notes that compose it. From it we get the C ful relaxation fails to counteract the constant of the finest means of preserving the hands. The tices that are now becoming prevalent in march- chord— E, C, G, C. Relaxation in Practice tension. In such cases a slight rubbing of the beneficial effect of the gloves lies partly in the ing band programs are varied, often at odds, and Strange cause fingers, starting from the finger tips, will often preservation of an even, warm temperature, so always a matter of taste—for which there is no as it seems, the most common One of the first to prove very beneficial. This can be done either be- necessary to prevent the circulation of the accounting, as the old phrase goes. I am con- evidences of a musical union of stiffening hands may be traced exactly hands in England was in from slowing down. Thus musicians with cerned with the standard of school bands all 1606 when the London Musi- those very hours of practicing, scale work, and poor cians Company over the country, not with the idea of regimen- ruled that in banquets given in so on, which are supposed to impart strength circulation or low blood pressure can afford under the city, at tation into an unalterable mold, but with the least four musicians must be em- and suppleness to the fingers. It is a fact that no circumstances to rest without a proper cover- P oyed. The fine VIOLIN feeling that the school (Continued on Page 491) was three shillings four pence mere strengthening of a muscle also will tend ing of the hands. Either kid gloves or fine cotton for each Edited by Robert Braine player violating the pact. to interfere with its freedom of action. Students gloves, which must be ( Continued on Page 488) 458 THE ETUDE JULY, 1940 459 2 — —

Music and Study

Why Does the Piano Rattle ? q For the past two or three months my Study piano has been "acting up." The keys, Music and particularly In the bass, vibrate abnor- mally long and very annoyingly. These the Piano Class are similar in vibrations to the Profit Questions and prolonged Fun and created when a piece of paper Is I Read? Mund What Boohs Shall placed on the strings of a grand piano. names of O Will you please give me the This condition seems to start previous to recommend for- textbooks you would a rainy spell or damp weather. It lasts for musical history, teaching musical theory, two or three days, then disappears. Can appreciation? I be harmony, and music you tell me the cause of this?—D. 8. are more interest- lieve that newer books than those which hard to tell just what would ing and comprehensive Answers A. It is for ago. I wish to prepare I studied years cause such a condition, but I am guess- these subjects to piano pupils, teaching either one or the other of OP 11 011 - that it is and shall greatly appreciate^your ing ^ there is Information Service two things. Perhaps something book as Music mechanism of the A. I seldom recommend any A wrong with the but I am glad that the dampers the “best” one in its field, damper pedal, so do of one of strings to supply you with the name not push against the hard enough the subjects Conducted By * iuas edn- the best volumes in each of to prevent the strings from vibrating. Or born in Philadelphia, Pennsj/Z^ma music Ada Richter, under you mention. For elementary possibly the bass bridge has become un- Conservatory of Music, that cated at the Zeckwer-Hahn “Music Notation and Termi- the sounding board, thus she studied theory, glued from N. Lindsay Norden. Later for music history, Camille Zeckwer and nology” by Gehrkens; a rattling sound whenever the is a grad- making and Alfred Richter. Mrs. R\ichter “History of Music” by Theodore Finney; vibrate. In either case my with Leo Ornstein lower strings and taught school f “Harmony for Eye, Ear, a prominent normal school for harmony, advice Is that you consult a good piano uate of and by Heacox; and for her time to private teaching and Keyboard” tuner: for. even though you may be a five years. She then devoted appreciation, “Discovering Music,” juvenile teach r music good amateur mechanic, you probably the composition of materials for McKinney. These may all be obtained ^fJCinderella.Jf^< by would not be up to making repairs on so Book" (easy arrangements for the publishers of The Etude. Song all through Intricate a mechanism as Kindergarten Class Book , delicate and story with music) and the “ Note. the piano. successful . Editor's The C Clefs and Diminished Professor of School Music, have been very Seventh Chords Qherlin College is Melody? of The W here the Q. 1, In the December issue playing Bach's Chorale— „ Etude, an article by Thomas Nicolai Webster's New Q. 1. When had Musical Editor, arranged by that the child Evanoff. on the relation of the clefs to the Jr* tin blrlhl mrlnr hade, called to tell me an ex- Bauer. I would like to emphasize saying, Oh violin, four clefs were written as International Dictionary Harold come running to meet her ample; thus. the melody throughout the group* of make me go to eighth note* but cannot aeem to distin- Mother, please don’t Ex. 1 note* written in the I want to go guish the right a* the music lesson again, of finding melody printed in the preface. Please write any special book, but, rather, Thus to her the class that you the solo line which should be followed. to the party.” is easy enough so with her pupils, checking on music that —Mr*. P. R. P. Ada Richter, the private Tenor approxlmately lesson was a party and Treble Bass Alto are able to play or sing it "busy" work. on the A. 1. The melody of the Chorale does a “music lesson. In the alto clef “middle C" appears first time. Read through a lesson definitely that correctly the third line. Teachers have told me until you not start until the ninth measure (the is that the of music of this difficulty, What is more important Is on the third line of the lot appearing “middle C” can always read dotted-half note B in the bass) and the BRIGHT-EYED, PROSPEROUS me that after clef while in the example it is on are confident that you mother of this child told tenor melody does not sound the same as the the writer, “I line. Is it possible that the last to a little more difficult young lady recently said to gone the fourth correctly. Now go the class lesson the child had diagrams are mixed? There might reading one in the preface, because Bauer has teaching, and two level and do the same thing, A am getting more fun out of for a the printers. Will the piano and played have been a misprint by or twice and changed the rhythm. This four-measure right to point? each composition only once money, than ever before.’ She is you please set me right on this the making more that she knew every- the another one. By in- melody Is answered beginning with long time, and 2. The chord, C-E-flat-G-flat-A, is then going on to have found out that fourteenth only one of thousands who taught at the C dimished seventh chord of C major. difficulty of the material half note B in the bass of the thing that had been creasing the class, as well as any would you call a chord, C-sharp-E- the seven- the piano may be taught in no What gradually you will finally come to measure and continues to lesson, although she seemed to pay that a C diminished seventh very G-B-flat? Is can sight-read fairly teenth. From measure seventeen to meas- other instrument. also? The interval between the root is the point where you attention. be answered in ETCDE Interlude accustomed to raised instead of lowered as in the former material. No question will THE ure twenty-four we have an Many teachers who had been which difficult accompanied by the full name brings up the question chords the interval of tones unless are pupils at This chord. In both to the above, let me give initials, of triplets (not the Chorale). There handling a limited number of private In addition and address of the inquirer. Only asks, “Do you not think is lessened.—S. P. 1 every Mother you a few practical suggestions: 1. Ex- or pseudonym gicen. will be published. several of these interludes In triplets, from one dollar to three dollars a lesson, were A. 1. clefs are correctly explained for a little child to begin The material carefully before this is what has bothered it too taxing amine the and I think fearful that a piano class might destroy their the article to which you refer. You early.” in beginning, noting key, measure sign, you. The Chorale begins again in meas- the study of music so explanation and patronage. They failed to realize the inevitable will also find further compelling your- measure at all, if the class tempo indication, and ure twenty-four and ends at could not It is not taxing illustration in the Question and Answer ear the scarcely edited at all. Be careful, how- change that comes in all callings and self to hear with your inner thirty -two, then the triplet interlude conducted properly and the parent column of the November, 1939, issue of ever, not to overuse the pedal as so many scheme of musical is first few measures. 2. Look from here vision that a regularized tense mo- effect of the until measure forty. I think Ada Richter and her pupils caught at a not too anxious to push his child The Etude. reading ahead of pianists do. Train your ear to listen to training which stimulates the initial efforts of ahead constantly, on you will have no trouble—unless you ment in the Story-With-Music Period. are so easy 2. The diminished seventh chord on C the musical effect of your pedaling, apd ahead. The assignments where you are singing or playing and fall to see the Chorale melody beginning little folks might be the very thing to insure is correctly spelled C-—E-flat—G-flat—13- do not pedal at all in passages that and so much time is spent in going finally arriving at the point where you in the bass at measure fifty-two. their interest through many years. Looking upon double flat, though the enharmonic depend for their effect on clarity of that the normal child can- read by phrases instead of by individual business standpoint, several classes, she can make more money over the same thing, is frequently seen. C- rendition. the thing from a strictly ing spelling you give a moderate tempo and pro- work with little effort. notes. 3. Set teaching lot more fun out of her work. not help absorbing the sharp E-G-B-flat is the diminished rong ^Solalion one of the greatest losses in music and have a — ceed steadily rather than to go more \v need help at home; but construct pupils study supervisor in a large city school system re- Of course little children seventh chord of C-sharp. To difficult and Q. These examples are Measures 35 and comes from the “turnover”—the who A slowly when the music is The Tempo of a Famous minutes a day. I have „a diminished seventh chord, build a 43 from Liszt's second Hungarian Rhap- then give up a survey of the present-day pupils it need be only five or ten more rapidly when it is easy. 4. Train for one, two or three terms and cently made dominant seventh chord, then either Composition sody. revised by Joseffy. Please correct the and found that the number had children of three in my Kindergarten Class; yourself finally to see everything—tempo time in the bass clef.—C. M. H. music altogether. taking music lessons lower the upper three tones a half step, Q. 1. In Chopin’s Fantastic-Impromptu I not advocate taking them so and dynamics marks, pedal signs, finger- . Many teachers have the very strong feeling studying the piano was surprisingly low. There and, while do or raise the root a half step. at about what tempo should the Allegro almost any (unless they are very musical) , ing everything. agitato be taken? that, with the increase in classes devoted to are probably far more children studying the young Ex. 2. In the same composition, what tempo in the child of four or five is ready to begin. orchestral and band instruments, it is desirable piano than there were five years ago, but should be used for the Moderate eantabih t been developed for Of course, the teacher must get into the Music Writing and Pedaling 3. Please name several other composi- for the piano teacher to meet this competition meantime large classes have tions of about the herself. The day is long past, and Q. 1. Will you kindly give me the name same difficulty, which with piano classes. The great hue and cry is that the other instruments. “party” spirit book in which the mechanical would be suitable for piano contest. of a good fortunately so, when the teacher can sit back explained, 4. About what in the class the child is regimented, that his side of music writing is such grade of difficulty is this Making Music Lessons a "Party" as the correct placing of the stems on Impromptu f—Miss K. P. individual talents and requirements are neg- like an imperious dictator and command the notes, and so on? A. 1. In the Peters Edition the Allegro lected, personal at- The comparative value of class and private pupil to do this and that. She must work along 2. 1 should also like to know if the pedal that he does not receive the Improving Sight Reading agitato is marked M.M. I one of the hap- is to be used only where so marked in J=84. think A. I have examined two other editions tention which the teacher may give in private. teaching is illustrated by the following incident. with the pupil and make music Q. Will you please tell me how I can this is about right. piano compositions. Some pieces have so If it is too fast for of this Rhapsody and find the same ab- child’s life. Carlyle said, improve sight reading? Also, if there This is unquestionably the case with some chil- The parents of a little girl of four wanted her piest memories in the my many measures unmarked.—Mrs. S. F. R. you, a little deal ex- slower tempo would also sence of an eighth rest the second are any instruction books that on dren, normal, to have private lessons. I advised class lessons, “Music may be well said to be the speech of A. 1. You will find rules for correct be all right. particularly children far above the clusively with sight reading and ear half of the first beat the bass. Of in private instruction. angels.” Unfortunately, many a little one in the training, and where I can obtain them? notation in “Music Notation and Ter- 2. At about M.M. with very brilliant minds—the genius, let us say. but the mother preferred J=108. course it is mistake; doubt it is —L. M. a no minology,” by Gehrkens. This may be 3. Here are a But, the percentage children is so very She finally consented to my plan of a private past, who was taught by a musical martinet, few numbers that I think written that way in the original manu- of such A. Skill in reading music comes as the obtained from the publisher of The you will like: lesson week. The private left the lesson with the thought that “music is Impromptu in C-sharp script, perhaps because of the group of small that they are negligible. lesson and a class each result of much practice in reading music. Etude. minor, by Reinhold; Impromptu in A- grace notes coming before the count. If The teacher is concerned in giving piano train- lesson came first; and, since it was financially the speech of devils.” That is, you must make The reason so many pianists and singers 2. You are right in your feeling that flat, Op. 90, No. 4, by Schubert; Waltz you examine the Friska (vivace move- ing to as many receptive children as can afford advantageous to have her as a private pupil, I children like music, or you cannot yourself hope they have used the pedal is often effective in measures Op. do not read well is that 34, No. 1, in A-flat, by Chopin; Lie- ment) , you will see that, in place of this the more moderate class instruction. tried every trick in my bag to interest her in to succeed. hours in learning that are not marked. It depends largely bestraum, cost of most of their practice No. 3, by Liszt; Prelude in E bass eighth note, Liszt has a quarter With I too successful. After the class Another advantage that class teaching to play or sing, instead of taking a part on the edition, some editions being very minor, by MacDowell. many such children, class instruction may music. was not has rest. In Measures 35 and 43 there should edited, be even later, at which less private teaching is that children of the time for becoming better sight carefully including the indica- 4. This composition is more practical than individual instruc- a few days she seemed re- over the will usually listed as be an eighth rest on the second half of readers. It is not a matter of employing tions of pedaling; while others are between the fifth tion; and, if the teacher is business-like in secur- sponsive that when I had her alone, her mother continue to study music ( Continued on Page 490) and sixth grades. the first beat, in the bass. 460 THE ETUDE JULY . 19-40 461 See another page in this issue CLASSIC AND CONTEMPORARY SELECTIONS some players cannot and the main reason play for a master lesson on this piece they are thinking fortissimo is that mezzoforte I by Orville Lindquist. Music and Study Let me illustrate. C MINOR trying to pull PRELUDE IN are a Let us say you board box. You give several from the top of a pulls angry without success. Then you get at yourself and off Popular and give the board a “yank", it comes. Most it is, by no means, necessary to Chopin’s Now of course must be something of be angry, but there this the playing wide awake spirit put into of a for- years of tissimo chord. In many experience in have never seen the teaching of piano, I a pupil Short Prelude who really thought a strong chord that could not play one. Playing Near the Keys No. 20, in C Minor great mistake to think that chords A Master Lesson on “Prelude, Opus EB, It is a should be played from a foot or so above the keys; a few inches is ample distance. Most artists do their big chord work rather close to the keys. In playing this Prelude the fingers should be prepared over each chord before It is played. t If you cannot do this, practice for a while in this style: counting four for each chord, release the i'-v hands from the keys as soon as the chord is j(, struck, and, on count three, have the fingers r prepared for the next chord. 0 releasing the chord, that the Be sure, when wrists are relaxed; in fact, relaxation of the whole arm and shoulder should follow immedi- ately after any chord is struck. See that all un- REDERIC CHOPIN (B. 1810: d. 1849) wrote used fingers are kept out of the way, and avoid twenty-five preludes in all. Twenty-four of the fault, common to so many, of striking the Fthese belong to his Op. 28; and the twenty- critics have claimed left hand before the right. Very small hands fifth is marked Op. 45. Some can eliminate the right hand thumb note that these are the finest of Chopin’s compositions. they are throughout this prelude. It is surprising how This praise is too extreme, but, no doubt, pan, to little of the effect is lost by so doing. the most spontaneous—a flash in the so ADAGIO composi- said at beglning of this article, the speak. The more a composer stretches a As we the be. pedal-legato is the basis for all pedaling. tion the less spontaneous it is apt to From SONATA IN E MINOR “They of sin- Of these preludes, Frederick Niecks says, By pedal-legato is meant the connecting of pickings gle tones, or chords, legato by the use of the consist—at least, to a great extent— from the composer’s portfolios, of pieces, sketches pedal. This type of pedaling is used when a One of the remarkable metamorphoses in musical history occurred in the case of Franz Joseph Haydn. As is well known, he was the mentor of various times to be flnger-legato is impossible. It is also often used and memoranda, written at Amadeus Wolfgang Mozart. However, he was so deeply impressed with the heaven-sent genius of Mozart that Haydn in his later years was in- utilized when occasion might offer.” when a flnger-legato is possible, for the reason 20 fluenced in his own works by the style of his pupil. This precious “Adagio” from the “Sonata in E has all of the lacy of Mozart and Of the twenty-five preludes, this Op. 28, No. that a richer quality of tone is obtained when Minor” charm of its in C minor is the shortest, and, because the pedal is depressed. should be gradually “worked up” from a slow tempo to the time of the metronome marking. offer simplicity, the most played. It does not The first step in learning the pedal-legato is much in the way of interpretation, but it is one the development of a proper foot action. The of the best pieces we have for the study of chord pupil is generally told that he should “put the legato playing. It is equally good for the study of foot down after the tone is struck.” This is true; for pedaling. Since the pedal-legato is the basis but it is not good pedagogy, as the down action find a com- all pedaling, it would be hard to is not as important as the up one. Pupils, so than this position that offers more to the pupil taught, are apt to have a too vigorous down little piece of thirteen measures. movement of the foot; the action ORVILLE LINDQUIST whereas up should be the quicker of the two. The pedal A Chordal Secret Professor of Pianoforte Playing, Oberlin College. can be put down at any point after the tone of chord play- has First, let us take up the matter been made, so long as it is down in time to how ing. A lady once asked Mr. Mark Hambourg players who do not get a good top tone are apt catch the tone before the finger leaves the key. Mr. Hambourg to play a well balanced chord. not to have enough tension in the finger that is But the pedal release must be made at the exact matter. Just make * replied, “Madam, it is a simple making that tone. instant—except in superlegato—that the new exactly alike.” Now, mak- tone is each tone of the chord In measures five and nine we find that the struck. If it is the least bit late the tones ing each tone of a chord exactly alike will not is in the alto voice, will overlap melody so, concentrate on and cause a blur. If it is the least make a well balanced chord; and I am sure this tones. Notice bit early, these how much better you can there will be a gap between the tones, great pianist would be the last person to play this inner making bring out melody when you put a little a good legato impossible. Notice in the one in this manner. tension into these particular example fingers. below that in each of the three pedal- To make a beautiful chord it is necessary that first line of this Prelude ings the The is marked fortis- pedal release is on the beat, while the the soprano and bass be given a little more simo. Some piano teachers say that, pedal when play- depression is made at a different point. prominence than the two inner voices. Mother ing a fortissimo chord, there should be a quick Nature knew what she was doing when she pro- down pull at the wrist; other equally good teach- duced more sopranos and basses on this earth ers tell us that there should be a quick upward than altos and tenors. movement at this point. Artists often play big Usually in chord pieces, as in this one, the top chords without any preceptible movement either voice forms the melody. When this is so, listen up or down. The young player should experiment to see that you are getting a good top tone. with the various ways and choose that which How, you may ask, do we bring out this top seems to work best. tone? Two things are necessary: First, you must After all these outward motions ‘ are not so Ped.(l) If .- feel and desire such a tone; second, the little important as we are taught to believe. The thing Ped.<2) T.1W K > finger or whatever finger is used should not of » f f f — — most significance that takes place is within be allowed to remain relaxed, but kept firm. Ped.(3) ?->•>• .. j».. » Most and invisible. A strong chord is a quick thought! (Continued on Page 494) 462 THE JULY 1940 463

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VOCAL AND INSTRUMENTAL COMPOSITIONS FAIRY TRUMPETS Down through the glen the trumpets call DON MORRISON Bringing a host to the moonlit Wall.

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As a final word to those who would fearfully defective in regard to this. Ex. 5 Making Sight Reading become good sight readers, and who Dr. Lorin F. Wheelright, of Teacher’s have his Easy the patience and persistence to College, Columbia University, in acquire the art, it must be noted that book on the “Perceptibility and Spac- Page 450) ( Continued from sight reading calls for relaxation. ing of Music Symbols” states that Those who rush along like an old- he discovered, after long experiment, PLAY THE NOTES YOU SEE. good fingering is a forceful aid to fashioned fire horse going to a three that where the music symbols in an EVERY NOTE AND SIGN good playing and a boon to efficient PLAY alarm fire, never make good players. edition are spaced in proportion to SEE. IT IS JUST AS EASY sight reading while the use of a poor YOU When starting to study sight read- their time values, they are read at AS INVISIBLE fingering may be likened to the fol- TO PLAY THEM ing, the student should go so slowly sight and performed on the piano lowing of a rough, out of the way NOTES (MISTAKEN NOTES) that he does not feel under the with relatively fewer errors. If the road to a destined point of travel. So YOU IMAGINE. SEE ACCU- slightest strain. He should keep re- edition used does not have this, of ACCURATELY. let us not detour and thereby retard RATELY; PLAY laxed every moment he is playing course it must be imagined. This is progress, when the quickest, surest, NEVER IMPROVISE WHILE and always cultivate the habit of not easy for some, but it is not im- safest, and sanest road is open to SIGHT READING. THIS IS A reading as many measures in ad- possible. For instance, a measure us. Careless fingering is responsible, PARTICULARLY PERNICIOUS vance as his eyes can comfortably which looks like this, in large measure, for much of the HABIT. PLAY ONLY WHAT THE grasp. slipshod playing to which we are sub- Ex.4 MUSIC TELLS YOU TO PLAY, One very important factor in sight jected. WITH NO “FANCY TWISTS.” reading, as far as time is The following rule for fingering is concerned, ONLY IN THIS WAY CAN AC- is to visualize the an acceptable one to observe during notes with the CURATE SIGHT READING BE proper spacing as to their relative like the first year at the piano, and to should look this in your mind’s DEVELOPED. length. Some printed editions hold throughout all later study: Use are eye. the finger that is over the key, unless there is a good reason for not doing

so. The last part of this rule takes care of all exceptions which may oc- cur. Tempo That Tells Accent and rhythm are, of course,

3 i closely allied. “Know your tempo, OPPORTUNITIES 2 5 2 . l hold to it, and keep going" would be LLL. " " fitting slogan for sight -&* m -_V —6^ rti a the reader, : —&—- and indeed for all players. ...in the *Vf]udic ^diefd Trip “Know your tempo” is a message D.C. . of caution and counsel to the player ADVANCED COURSES OFFERED BY THE ' to recognize and accept a rate of r speed within his ability; for a rate in (bu r *4 UNIVERSITY EXTENSION CONSERVATORY N#|4^4 M%l excess of the player’s advancement Music has to find out what this great Musical Organization & will cause an unsteady, erratic always ranked high among pro- has to offer you. At a very small cost and with no Copyright 1940 by Theodore Presser Co. tempo, which means, of course, British Copyright secured poor fessions . There is never an overcrowded interference with your regular work, you can easily playing. Familiarity with the com- and quickly qualify for higher and more profitable field for the well trained musician. positions in position through repetition, however, the musical world. should enable the reader to approach DIPLOMAS OR BACHELOR’S DEGREE gradually and acceptably the re- • Interesting positions are open in every part of the field. Schools We put you in position to earn more and to prepare quired and Colleges are making it necessary for every or needed tempo. for bigger things. Quick advancement can be yours teacher to be equipped for his work; the Radio is calling While careless in the teaching field or any branch of the reading should not for highly specialized training, and standardized teaching musical profession. With a diploma or Bachelor’s be sanctioned, it is important that makes competition keen even in small communities. Degree you can meet all competition. a uniform tempo be maintained, even Are you an ambitious musician? though it be done at the expense of The alert musician today does not rely upon the haphazard RAPID ADVANCEMENT an use of books and methods, but chooses a definite occasional note, provided such method and Our simple and easy Extension method of teaching with special preparation, meets the competition. A success- notes do not materially disturb you both the beginning and higher branches of ful musician is most always a busy one. Because of this very music either the right in your own home has been gained in melody, or fundamental fact it is almost impossible for him to go away for addi- a busy experience of bass 36 years. tones, both of which big tional instruction; yet he always finds time to broaden his are Follow the example of other musicians who have inclusives experience. To such as these our Extension Courses in the practical applica- are examined our lessons available to Etude readers by of greatest benefit. tion of tempo. sending for them today. Digging out for yourself new ideas The use of the metronome, ------at rates for the betterment of your students ~Fj[l 1n tind Mail This Coupon Today ------• of speed UNIVERSITY EXTENSION regulated according to the is a wearisome time-taking task, CONSERVATORY, Dept. A-197 • 525 E. 53rd Street, Chicago, Illinois. player’s ability, even though you have knowledge of can prove most help- e Se C ' e ' eSS mP °nS ' fU " ^ informatio" regarding course I ful in stabilizing the tempo. dependable sources. When you can havi ma® kedtiTh%nXbliow affiliate with a school recommended Piano, It must be Normal Course Trumpet Cuitar understood that no at- for Teachers by thousands of successful teachers, Cornet Ear Training and tempt is Piano, Course Q made at this time to be- you may be sure that their confi- for Stu- Voice Sight Singing dents J History of Music etle, or in any dence justifies your confidence in Mandolin sense to undervalue Public School Music Choral Conducting Saxophone the new ideas for your work which Harmony B importance we I Clarinet Piano of certain other ele- Adv. Composition Accordion ments, make available to you. Violin Banjo such as tone quality, phras- Reed Organ Look back over the past year! What ing, and use of the Name pedals, the in- progress have you made? Adult or juvenile. telligent observance of Street No which may If you feel you have gone as far as e rated even Cif as superessential to your present musical training will y state. ’.V7.7.7... e development if How long have you of good playing. It take you; you are ambitious to taught Piano? How many pupils have you now? lay be make further progress, enjoy greater Do you hold added here, however, that a Teacher’s Certificate? Have you studied Harmony? o recognition, and increasing financial one quality and Would you like to earn the Degree of Bachelor of Music? phrasing can returns, then you owe it to yourself o served without great sacrifice 0 Centrated effort on our lil! , special / ldS ’ and ’ indeed > it is easy to unto thatf^ THE u NIVERSITY a fitting regard for XTENSION Con $e “I, the re- ruato tards and pauses, 9 which form such 1525 EAST 53RD STREET (DEPT 197) CHICAGO. Pait 0f Phrasin can be ILL. a ST? S, adjUnct in the siSht readerreadSs work.,

JULY, 1940 483 . . . L i h ^ N ' ? — ? — ? —

The impresario visits the chosen he Russian basso suggests town one week or two in advance discs 69841 -D) are exam- of cnauapm (Columbia loeical successor and organizes a moderate poster dis- artistry, by °r Voice Uuestiuns NO MATTER WHERE Discs Go ’Round ples of consummate and the rec before, or on the open- The of (Victor 15894) ; play. Shortly all future performances S> P m^ which Eastman-Rochester ^ leaves are put in stores well be the ing date, fly and ’Round these compositions might sowerby's youthM YOU GO orchestra ot Leo cafes, a practice kept up daily His phrasing, pedaling, and Autumn and sdnsweredrnd iverect by. Continued, from Page 447) modelled. overture, “Comes of caravan. h ( his program during the stay the tonal coloring show not only 2058) A COMPLETE Time” (Victor disc there is a local paper there which for these pieces but also Where is a virtuoso piece sympathy TYPING UNIT set M-163) , otherwise the word is DR. NICHOLAS their im- is a write-up; D0UTY musical worth. One of complete comprehension of has little real spread around without delay. While AT YOUR and highly decorated pressionistic qualities. Liszt’s brilliant the route is established No question will be answered in THE ETUDE unless accompanied by the full name material, Vines, the Spanish pianist, in in general COMMAND potpourris on nationalistic Ricardo Nomads and address of the inquirer. Only initials, or pseudonym given, will be published. Victor disc Operatic from the beginning, it is seldom ad- treatment of Span- is heard to advantage on it is an orthodox of by con- hered to. Sometimes the name the the number of The Busoni orchestra- 4467, in three short pieces Opera Land A Letter from New England of a voice is determined by ish themes. announced to the com- has been told good tones that a vocalist can produce easily, detracts temporary South American compos- next city is Q. My daughter of fifteen adds to rather than Page 440) that she has a beautiful, true contralto voice. and comfortably and upon which he can say tion (i from. the last Toaadas Cfoilenas, by Continued pany on the afternoon of wonderful from the music; and, since Peuri ers. These are She is now studying with a local teacher, who, his words distinctly. You have a at midnight after things upon all technical assur- Allende of Chile; Bailecito, by Lopez- day, sometimes we feel, does not have the background to teach range, if you can do these plays with superb “L’Elisir d’Amore , will Sonnambula”, performance. Then they her. We live near Boston and it would be the notes you mention. Your teacher be color, there is Buchardo and Milonga by Troiani, “La the last ance and expressive Cusp possible for her to go there if we knew a good able to tell you whether you should vocalize Diavolo”, “Falstaff”, little, and the performance. Argentina. “Fra ^ pack in a hurry, sleep teacher in that city. Would you give us the upon all of them. Certainly you should prac- much to admire in the both of “Turandot”, “Manon Courboin e la Comare”, there is a crowded train- names of some good voice teachers in Boston tice every day. It is not possible for me to - chamber music re- The organist Charles M. next day Among recent Fritz anc —Mrs. D. N. H. answer letters personally, or my work would on Puccini, “L’Amico lively with laugh- performance of Dvorak’s gives by far his best performance by mostly third class— never get finished. leases the both by Mascagni, A. Boston is the musical center of New 48” Saint-Saens’ Prelude Piccolo Marat”, gesticulating singers, CENTTTRY gives you the world’s best music, beau- Op. by the records to date, ing, smoking, paper, every bar in the England, and there are many excellent sing- An Ambitious Lady Who Is Not Very Tall “Sextet in A major, tifully printed on the best others. be correct, as (Victor disc 15946) as well as many and employees of the standard size, each note certified to ing teachers there. Write for catalogs of Bos- Q. I am twenty-one years old, five feet Quartet (aug- to “The Deluge” musicians more can sheet music be! Budapest String singers know the master wrote it! What one-half inch, weight one hundred and twenty- the older the ton music schools, and study them. Get is of this fa- Some of Lirica Ambulante bound There are over 3.000 compositions in Century set M-661) a The organ arrangement Compagnia three pounds. range is below Middle mented) (Victor operas. catalog, all 15c— (20c in Canada). names of private teachers from a friend; or My from G for amazing number of originally written an town, next search for music, tell your dealer what selec- the secretary of Chamber of Commerce G, to the second G above Middle C, and my “must” for all lovers of melodically miliar work, and for the next When you buy the a dynamic tion vou want and be sure to say, “In the CKNTUUY studying piano, violin, effective. Signora Rosina Sassi, waiting for of Boston. Write them for credentials. Select voice is not strong. / am music. It is one of violin and orchestra, is most sleeping quarters, next EDITION, please.” That means you will pay only ingratiating rich, dra- usually pay. And you one, either a private teacher or one connected cornet, saxophone, and accordion. I receive the two- passionate Tosca with a 15c—less than half what you works. The Bartlett and Robertson, cronaca of a distrustful popula- better music at any price. lessons on these instruments, taking Dvorak’s finest chamber repertory of the can’t buy with a conservatory and arrange that your free for long delighted au- matic voice, has a operas even THOUSANDS OF SUCCESSFUL TEACHERS use daughter shall have an audition before him. care of my teacher's music store and giving is a wholly consummate piano team, have tion that may know the ‘‘CENTURY CERTIFIED EDI- performance which she uses and recommend He will give you the needed advice. The “true lessons on all instruments to beginners. their performance of thirty-seven operas, No- TION” exclusively—because they know it is all that diences with better than do the performers. start one. Bianchi good music can be at half the price or less. Its contralto” is a rather rare voice, and we wish 1. Am I too old to singing lessons? the season. Signorina them in enrolling more pupils, and tuneful chamber work, the Milhaud’s “Scaramouche”, so every body worries, for everybody gets paid modest price aids your daughter every success in her laudable 2. Has size anything to do with it? Another sang parents greatly appreciate the saving. (disc 69835-D) is knew fifty-four operas and effort to make a career for herself. Study in 3. Will playing wind instruments help me “Quartet in E minor” by Smetana, Columbia recording daily and they live accordingly. her colorful career, Century Piano Solos, 15£ each a conservatory is often better than with a to have good breath control by the timely release. The work, deriving them all during the in a performance a Americans, who contemplate private teacher, because of better general ad- tf. Suggest a few books which will help me comes to us number, the grad. repeatedly to South (Capital letter indicates key— ) organiza- from Brazilian rhythms, is gay and which took her company, vantages offered toward musicianship and to learn to sing.—D. J. B. Curtis String Quartet—an venture of joining such a 511 Anvil Chorus (II Trov.) C—3 Verdi Orient. She remem- 3064 Clayton's Grand March, Op. 100, Eh—3..Blake experience. A. Although you are not tall, your weight Institute sophisticated. America and the of go- tion named after the Curtis should not make the mistake *3123 Country Gardens, F—3 Traditional suggests that you are strong and healthy, performance of “La Traviata” 3063 Cradle Song, Ej>—3 Brahms Some Not Very Thoughtful Questions where the Arthur Rubinstein has already been bers a funds. which are very necessary for singer. of Music in Philadelphia ing abroad without ample 1902 Dance of Hours, C—4 Ponchielll Q. I am fourteen years of age and have a Your baritone as Ger- 190 Doll's Dream, Op. 202, No. 4, C—2....0esten lack of height studied. Sme- heard to advantage in a collection with a Japanese never studied singing. I a fairly might count against you on four players originally should have Introductions from 1433 Dreaming, Meditation, F—2 .Lichncr have good di Lam- They the operatic stage; but, if you have a nice From Chopin’s “Mazurkas” (Victor set mont and another of “Lucia 1673 Dream of Shepherdess. Op. 45. G—4..Labitzky voice, ranging from G below Middle C to A this work a subtitle. of Italian manager in 2506 Edelweiss Glide, (Simp) Vanderbeck figure and a pleasant personality, it Only offers this complete tana gave a responsible G—2 above High C and sometimes C. would • UNDERWOOD Japanese tenor 1. Wollenhaupt was and so his second album mermoor” with a 1204 Etude, Op. 22. No. Ap—5 not do so in concert, church or over the air. movement M-626) , fel- typing unit. You not only get the exclusive ray Life, since each America to one or more of his 699 Farewell to the Piano. F—3 .Beethoven 1. Should my uvula be backwards or for- stars have 1. You are not too old to singing welcome. Edgardo. The male 1818 Flower Song, Simplified, F—2 Lange start . . a phase of his (Victor set M-656) is most as Italian ward,st Underwood Built-in Typing Stand . you intended to depict low workers in Italy. If an 626 Gertrude’s Dream, Waltz, Bb—3....Beethoven lessons, especially as you are a although 2. can I control my breath? trained musi- plus en- one encounters clean cut equally large repertories, 521 Golden Star Waltz, C—2 Streabbog How get the famous Champion Keyboard career. The playing of the Curtis Here again is planned, the cian, which most singers are not. opera by ear debut as a soloist 627 Gypsy Dance, Dm—3..„ Lichner 3. Am I supposed to feel a vibration TouchTuning plus the sealed Action Frame by muscu- playing, poise and elegance of style, the practice of learning 1222 Humming Bird, Waltz, F—2 Schiller 2. Your second question I have already semble is brilliant, marked ample money 1179 through my nose candidate should have Hungarian Rhapsody No. 2, Cm—7 Liszt answered. and other Underwood features. the compli- still exists. 2262 Hungarian Dance No. 5, Easy, 2..Brahms It. What can I do to reach higher tones rather than tonal and a true feeling for ex- Cin— Set in- lar momentum for a wardrobe, for her traveling 2251 Impromptu in Ab. Ab— 4 Schubert 3. The practice of wind instruments up your Underwood anywhere singer and is my range a good one?—Ij. I. these wonderful After a few seasons a young 698 Invitation to the Dance, Op. 5. but nonetheless admirable cated rhythms of per- 65-Db— Weber should strengthen your lungs and your doors or out. There are three adjustments suavity, penses, for subsidizing the 2749 Japanese Lantern, C 1..._ the and A— — Hopkins A.—1. The uvula is not a piece of wood breathing muscles. and pieces. The student will find his re- begins to get a name among 270 La Paloma, Bb—4 Yradier-Twitchell You must be careful not for height that assure you typing comfort. for its musical coordination she must be or metal which can be moved about at your depends no formance. Most of all, 272 Largo, G—3 Handel to stiffen the tongue and throat muscles See the Underwood Universal Portable set M-405) strained use of rubato a feature caravan operas. He 2467 Liebestraum (Love Dreams) G—3, Easy.Xiszt pleasure. It is composed of muscular fibres, clean-cut style (Columbia inconveniences when you blow through the cornet, or it will ready for personal 278 Lily of the Valley, Op. 14. E—4 Smith it automatically changes its shape with Built-in Typing Stand at your Dealer second set the Centro Lirico. Man- 2746 and and show in voice. disappointing is the worth emulating. The longer on Little French Doll, A, C—I .Hopkins your Completely sacrifices. The hotel and 1613 its position as one ascends and descends the ... or mail the coupon for a free trial. and even Little Rondo, C—1 Martin 4. Shakespeare, “Plain words about No. Op. 33, No. 3; agers his address and call on 3133 sing- Quartet’s performance contains Op. 24, 4; know Love Dreams (Waltz). Ab—3 Greemvald scale. Learn to leave it alone. Roth String America need 1611 ing”; Fillebrown, “Resonance”; traveling conditions of March of the Boy Scouts, C—1 Martin Douty, “What No. Op. 63, No. 1; Op. 41, him to become their guest star. It *3122 2. Read Kofler’s “Art of Breathing.” or lovely “Quartet in D major, Op. 33, 4; May Night, E—4 S. Palmgren the vocal student should know”; might help, of the not be expected. 1648 Military March, 3. His appear- No. 1. D—3 Schubert any other book that treats and explains this though there are 3” (Columbia No. 3; Op. 50, No. 1; and Op. 50, No. gives him distinction. 2519 Moonlight Sonata- many others equally good. 76, No. by Haydn (Simp) . Cm—3-Beethoven subject. Portable Typewriter Division Op. For every artist who reaches the 1176 Nocturne, will admission Op. 9. No. 2, Eh—4— Chopin Some Faults of Production ensemble was re- Admirers of operatic music ance justifies augmented 2308 Norwegian Cradle Song, 3. The so-called nasal resonance occurs UNDERWOOD ELLIOTT . This F—3 Morel set M-400) never • heights, there are many who 1024 On the Meadow, Q 1- I am a soprano, eighteen years of public feels Op. 95, No. 2, G—2. Lichner when the tones are comfortably and easily FISHER COMPANY three new find the Excerpts from Strauss’s prices. The honored by 358 Pizzicati cently reorganized with year (Sylvia), Eh—3 Delibes age, with a thin and wide quality of voice. do so and yet keep on working 854 Preludes, Op. produced. Remember that it is a sensation One Park Ave., New York re- his presence and grants him more 28. No. 7 Chopin Gould you give from “Daphne” (Victor set M-660) , a 1531 Priests’ me some exercises for forward- players, and it is quite evident March (Athalia). F—4.3Iendel s sohn merely. You do not produce it with your in out. Gradually, with age 368 Pure ing outbursts of applause. year as Snow, Op. 31, Eh—3 Lange and rounding it? Please let me know bow I can above work that cent work, both expressive and ex- frequent 2429 Robin’s Return, 2 will. It occurs. the playing in the The (Simp) G— — 3..Fisher 2. I slide, or slur, in attacking coming upon them, they slide gently 1210 Romance some notes. Ret — an Underwood Universal arias sung times artists are called upon Sans Paroles, F—3 Streabbog 4. The range of a voice, as has been so been together long hilarating. There are three Many 1312 Scales and What cun I do to correct it? the group has not Chords, 2...„ Kohler often pointed out in these columns, is deter- Portable with Built-in Typing from the stellar roles to lesser parts. 696 Teschemacher (soprano) to repeat a popular aria, twice, some- omc |erenat,e (^taendchen).Dm—6..Schubert-I.iszt 3. I have been told that practicing scales develop a smooth ensem- by Margaret re, ad mined by the number of pleasant tones which Standfor Free Trial and with enough to is (Staendchen), Dm—3 Schubert But they cannot let go. Singing 6o5 Shepherdiu L ^ will improve the flexibility of the voice. What Boy, The, .WilsoD form easily and upon which you can r . three times. All G—3 you can no obligation to buy. tell about Torsten Ralf (tenor) Then there times the dramatics Also me Liberal Term . ble and a unity of purpose. and kind of scales should I sing and at what speed all they know; it gives them food; comfortably say your words. It does not in- violinist of the is the first Columbia disc of Nino have to be repeated each time too; should they be sung? Jeno Lener, first with an Piano Duels, 15^ each clude those high notes which must be it gives them life. And life If. Give me some exercises to develop Name Louis (17191-D) containing Questa and the wildly shouting and clapping- (4 Hands) squeezed through a contracted throat, nor Lener String Quartet, and Martini , is 3079 abdominal and diaphragmatic breathing, and relish Italian Caravan Opera Company A Bunch of Daisies (Valse), C—l....Martin those very low ones which resemble the pianist, unite to give o quella per me pari sono and La public seems to their agony. 1984 Amaryllis, the Kentner, the Gave, de Louis XIII. F—3....Ghys names of some books about voice place- Address ... .. even 1826 grunts of the porker in his pen. If all the not always very glamorous Barcarolle Tales of Hoffman, F—3..0ffenbach ment. expressive perform- Donne e mobile from “Rigoletto”, in 924 Chop —M. H. an intimate and Sticks, Waltz. C— 1 De Lull! tones you mention are good ones, you do not *3124 A. 1. “ A Lengthy Season while it lasts. Country Gardens, F—3 ...Traditional — Your voice is thin and weak, prob- City State ‘Spring’ Sonata, which the tenor is heard to advan- 3078 need to extend your range. Try to make them ance of Beethoven’s Elizabeth Waltz. C—1 Martin ably because of improper breath 925 Golden ever more and more beautiful, and cultivate support and Star Waltz.""‘“i G—v»—2- StreabbogrgreaDDOK . The Richard Crooks’ record- There is rarely a complete VI 7- i Op. 24” (Columbia set M-404) tage; and stop 930 Invitation a consequent lack of resonance in the cavity to the Danoe, Op. 65. Db—5..’Weber your musicianship. 1366 Lustspiel, of le stelle from Overture, Eb—4 JKeler-Bela the chest. A lack of forwardness and recording here is highly satisfactory ings of E lucevan in the season of the caravan operas, 1640 March Mil itaire, I) —3 Schubert What Is All Around Musicianship? roundness Kernel from The Vocal Creed of 1471 Over may be the result. balance. Tosca” and Amor ti vieta from although there are more on the road s the Waves, Hex. Waltzes. G—3....Rosas Q.—1. Where can I procure a copy of your Improvement Guaranteed in its tonal realism and “La 941 Poet anil 2. If the of air Peasant, Overture. D—4 Suppo column expelled from the 3129 Shallows on 3 book “What the Vocal Student Should Know”? We build, strengthen the vocal organs in which he during the winter. Lilli Lehmann the Water, F 4 ...Xoumey lungs impinges the Edward Kilenyi, the Hungarian- “Fedora” (Victor 2063) The season be- — — upon vocal cords before ntl itith tinging letsont—but by fundamental) v Does it indicate what information a singer sound and scientifically correct tilent they are attuned to the correct pitch, sliding exercitet . . . his most sat- does by far some of the best sing- gins in September or October and • * • Piano and absolutely guarantee to improve any singing American pianist, gives Trios, 15^ each should possess in order to be called an all or speaking voice or money refunded or slurring will result. These two actions . . . Write for Instructive Ensemble Numbers wonderful voice book—sent free. Learn WHY von to date on ing he has done on discs. And lastly lasts until the end of July or Au- for Six Hands around musician? snould occur now have isfactory performance A r.oon working range of three octaves IThree performers simultaneously. Try practicing can the voice you want. No literature on one Piano) 2. is sent to anyone under 17 unless signed 3089 My range four octaves, from G an some scales staccato. by parent- is the disc of the Swedish gust. During that L t e Frl!n 0(1,1 records, in Schumann’s “Symphonic there time they roam should not he unusual for a singer whose " “ M. Greemvald High C. Should I vocalize through my entire 3071 L upon any instrument without practicing e Search) —2. .Hopkins range or would it be harmful ? A. L. definitive per- Flower Song from “Carmen” and extreme north, so that even the 3088 Bia Ba « F h « /n scales? The voice is a musical but by no means a 3097 F_1”H instrument, j’ ZninMartin A. 1. My book is issued by the publishers and scales and young Dream from “Manon” (Victor smallest towns 3094 Finpoi d» — arpeggios are of great value. A Lucra, e formance of the work. The The have their chances yet the he (Valse), c—2 Martin TRAIN Singing is easy and simple, •3070 G MnnW?J * of The Etude, who will be glad to send it Abt’s “Singing Tutor, CHILDREN’S VOICES F R 0d ( a ,tz) Vol. 2”; Marchesi’s 7e ld 3093 ‘ Hopkins in which the young tenor to hear opera quite Hummln n n- Y r pianist has an admirable forthright- 12635) , frequently. Usu- is complex B lrd Wa| tz), their order book; or Summer Demonstration Courses for process of learning it correctly 3095 c—2 Schiller to you through department. any other book which treats df Teachers ldi?S22 nts* JT (Wa,tz ^- C—2 Lichner customary clarity and ally the 3090 SrhnJ? d"i * The expression “all around musician,” velocity will have many LOUISE WEIGESTER SCHOOL ness and vigor in his playing, but he sings with his performances are given in and difficult. (Waltz), useful exercises for 3072 S nSnu'w^ C—1.. Hopkins 160 West 73rd to my mind, is clear enough so that it needs you. Start practicing rather Street ( Free Catalog) New York full the largest 3069 slowly, and grad- lacks sufficient sensitivity to do enthusiasm. motion picture house of r 'es (Reverie), G—1 Hopkins no explanation. It means a person who can ually increase the speed. aSaicni "9 Soldiers. Bb 1 lyrical sections Benedict’s “Carne- the town. During 4nL"mbers Bb——1 HopkinsHonking 4. justice to the more Recommended: the summer the so designated are play an instrument or two, who can read Any sensible book upon the I believe that teachers of singing every- not available in Canada use of the sung stages are music fluently, who knows something of voice will contain a description of the work. There is no question val of Venice” as by Lina pitched in open air arenas tion aI 0ver 3.000 compos! of breathing genera- . where arc better than they were a 0f Wo ^ in and some S0L0S - DUETS and harmony and counterpoint, and, the case exercises to develop TRIOS vinnSL N /L^P.« control of it. Kilenyi the most realistic Pagliughi (Victor disc 2061) ; Alex- or right in the P that enjoys market square, even tion ago. QUARTET

conduct the entire never ceeded to opera I Handel, "He was said of memory. In fact, he made such I of North Dakota was by pai&j from Governor Moses timn when warned appointed the choir a hit that he was penna- I Organ and Choir America’s Pioneer who told them of hearing death and stmggbng Ugestions MUSICIANS’ TYPEWRITER pulled Approaching nent conductor from then on. You I in Oslo in 1930! They were suffering, distress and the of Choir of Youth to the with may have heard name this I A Cappella and pushed by two engines up his greatest Keyboard with musical characters. available now on ac- down to compose budding genius—Arturo Toscanini. 436) Continental Divide! They were immortal (Continued, from Page have made his name sffniweredrnMverecl bgtn typewriters They thich Pick out any one of the great in I L. C. Smith Office models and Corona portable costed by autograph seekers! was an invalid the individually in music”. Chopin invariably it will concert’; but no one hailed and farewelled by Maria music, and be I were of his life. Carl to himself. The stu- greater part that he has known struggle, HENBY S. FRY, Mus. Doc. takes any credit and friends of St. Olaf > found families Weber not only was ravage morning after a concert everyone They saw former choir mem- von and hardships, and handicaps. The ques- Ex-Dean of the Pennsylvania Chapter of the A. G. O. dents! also was deformed papers and cuts out the into disease but "Would he have been great buys all the bgrs and “old grads”, and took from phthisis tion is, o J J make one feel lame. Paganini suffered P r ^ c notices. They . of messages to otherwise?” press ijee dozens 1 £beb pjng constantly questions will be answered in i l r larynx and was No THE ETUDE unless accompanied by the full t ‘prima-donnaish.’ Some of the of the inclined to quite delivered to the people back We are sometimes I address the inquirer. X 7 defiance of fate name and of Only initials, or pseudonym given, will be pub- 2 4 funny, as are the ill. And Beethoven’s 3 5 6 7 8 9 interviews are very were guests at lunch- think that difficulties are peculiar to lished. Naturally, in fairness to all friends and advertisers, we can express no opinions home! They hero‘c gures articles. among the as to the relative qualities and feature places him live. of various instruments. comments eons, receptions and other functions. probably^ the the day and age in which we senior in college, history. But this is “When I was a Greatest fun of an was seeing four of a matter of plain fact, in com- of all. As us had bobbed hair. It has at most amazing tale I many of arrested by cowboys most other ages in the I Q. I own a Hammond organ and was very Q. My volunteer choir Qf their boys parison to does a number of W E policy of the choir pleased when I noticed that registration for unaccompanied pieces, Q R T Y U I 0 P always been the for wearing ten this is a Utopia. and I used to sound Bi j lin g Sj Montana, for the Fray world's history, one organ was being included appear as a group, not Full Armored the Hammond for the tones on the piano so they could know and to sing and gallon hats without securing licenses, age, Fate can make or break organ number in each copy of The Etude. hear their In any the pitch for starting, but now I notice w e r t u i o During a song no one was a violon- learning Orientale by Cesar Cui and am at q y as individuals. till fter each had paid a dollar years ago there person I am that with some organisations no chord, is p Not a Some a person. It is for that to 1 hand or even who a loss as to how to achieve the effect of an struck. There seems to be a silence, is allowed to move a tbe “sheriff” for a license, and player at Parma, Italy, and sud- feg tQ cello decide. oriental air an oriental sound.—J. C. B. denly anything that might set orchestra — the choir starts singing. Does the direc- an eye, and j tted to the Ten Gal- opera house tor the bad been adm played in the A. In answer to your question we quote of choir have some way of giving the from the crowd is had pitch, individual out j. did that he William. M. Felton, who edits the without the audience hearing, just an j Qn Ha Association of Montana, and was so nearsighted Mr. Ham- or The Etude what is the secret ! O. S. A S D F G H J K L Therefore, when bobbed see the mond music for ; “We would sug- — discouraged. the boys learn that the arrest was to bend close to the score to Some Problems of the gest the harmonic draw bar combination of A. We do not know just what procedure I hair was still something to be com- affair de- orchestra players, 5 a boax—a prearranged notes. To most 00 1560 100 (G. T.) for the melody in the is followed under a s d f h k 1 the the circumstances you e J mented about and argued about, like of a Solved Orientale by Cui. This is an oriental reed and mention. If the j igbted in by everyone but them- this might not seem much Choirmaster conductor or some member wear nets should be accompanied by any soft string of the chorus has “absolute" girls were requested to selves hidden away in pitch it might hardship, they being ensemble combination on the Swell. At serve as ( Continued from Page 456) a help. We have heard the pitch during concerts, so as to be as incon- more, audience. given Back in N0rthfield once the pit out of sight of the Measure 11 the hands should play on the vocally, and we think we have heard a pitch- possible. This gave rise to with a combination such as 00 2564 pipe Mill spicuous as choir members read again the this particular violoncellist behind the organ Swell being used. If a chorus is absolutely Z X C V B N But to crowd together use M one girl in the St. 300 (celeste). At Measure 19, the draw sure of keeping to pitch, relation of numbers | the idea that not reports of their through life possible cbpped newspaper the thought of going console, so that as few as bar combination 00 8532 000 (flute) as a con- as to pitch might be bobbed hair. This a help, but as we are Olaf Choir had and took stock of the seri- in a score was the trasting color effect with the oriental reed not sure as to the z concerts with his nose stuck of the voices are "hidden” from method we suggest your X c V b n m 9 • ? almost always commented upon, as used at first. Measures 23 to 26 should continuing your way until you was ous part of their tour. The clippings not to be tolerated. He decided to by the other singers. discover some microphone be played on the Swell and at Measure 27 other means of securing the much to our amusement. One paper praise, praise— proper pitch. contained praise, be done with the bondage of printed that members will the oriental reed should again be used with The results are feature It will be found of more importance than the even wrote a front-page dissenting critical soft string accompaniment. At Measure 35 method of there was not a notes and began committitng his keenly Interested in their securing the pitch. Write for Further Information be more play on the Swell, returning to the oriental story stressing the fact that here Q. I am Minister voice. The trip was over and they to memory. Not content with It should 43.” of Music in a church parts choir if it is well organized. reed effect in Measure that was a group of some thirty college done what they hoped to do has started a fund for a new organ. They had that, he kept right on and learned vice-president, sec- Q. I should like to know where I may ob- will ask my advice not one had bobbed hair. have a president, on matters, anil I would girls, and lived up to the great reputation of tain information about The American Guild appreciate L. C. SMITH & CORONA TYPEWRITERS INC. every other note in the score by treasurer, librarian, gown- your advice on these questions. retary, of Organists, and a list requirements for their predecessors. And, like their of Will you kindly send me a list of builders in Mirth heart. sickness Music and mistress, social committee, joining.—R. H. a class with ! The church Syracuse New York predecessors, they took their triumph will spend The one who has tried to commit commit- A. letter between eight and ten thousand the day, the choir travels committee, and any other A of inquiry to The American dollars. What “During with true humility, giving the credit action do you consider to memory a complete orchestral condi- Guild of Organists, Room 3010 International bestt Would you rec- car, and at night the tees which may serve local ommend three in one private to “Christy” and to their alma mater, Building, Rockefeller Center, 630 Fifth Ave- manualst What type of console score may have some idea of the job gen- have their tions. Then there should be a nue, New York City, will secure you informa- would you suggest! I have heard that the boys and the girls each saying; “We’re proud and that we learned this tion tone of a - is New — PIPE ORGANS- Used coach, with it is. Our violoncellist in Committee, to which as to the Local Chapter nearest you, and unsurpassed, but that private Pullman eral Executive | they Builders of own are a part of the greater whole also as to requirements. do not give you as much for the same pipe organs for church and studio. Ef- way everything he played. If he had ficient, up-to-date I used train trips are is elected from each amount of money. Is instruments on hand at all their own porter. The one member I it better, in your judg- times, priced very St. Olaf.” Q. play the piano for our church choir, reasonably. We also rebuild and been endowed with keen eyesight, be ment to buy from a builder modernize tracker and fun. There is scarcely a minute of section of voices. This last may which consists mainly of untrained voices. who will give you tubular organs, additions of more for your stops, couplers and chimes installed. there would have been no need to Our leader money, or from one who is Yearly care filled for has had vocal training and helps ORGANS of organs. We solicit inquiries. the coach is not an “honor recognition” more the day when made with expensive! The choir loft will probably the singing in the choir , although she memorize all of this library of music. be renovated and Delosh Brothers -- Organ with music. Perhaps it is a quartet, Fate Was Their Fortune those most regular in attendance. does not stand before the choir and I have been thinking of a Experts mark 3508-1 05th Street None of the others did. raised platform. Do you think this Corona, L. I., N. Y. City perhaps a dozen people, often every- Then there may be "wheels within time. The leader insists that in a choir number is advis- * ( Continued from Page 444) able! As I play movements Having drifted to Rio de Janeiro the pianist should follow the singers. I dis- from the sym- Vrt/u£ one in the coach is singing singing male quartet, ! phonies, I would like — wheels”, such as a agree, claiming that the pianist should to include the following as violoncellist in the orchestra of set stops; French , Horn, popular songs and college songs, im- Scala, was glad to take him as a mixed quartet the time and the choir follow the pianist, ex- Clarinet, Kcraulophon t ladies’ quartet, and and Tibia. Are the an Italian opera company, he one cepting, of course, when someone stands specifications supplied by provising harmonies and arrange- student. But if Verdi had quit at his volunteer members. before the from among the the builders the best for balance ! K. Z. dc&at evening had taken his seat in the pit choir, directing it. I understand that in — the girls draw lots first real discouragement, his operas and Pianists—Send for free booklet ihow- ments. At night These, in addition to solos, duets solo accompanying the pianist follows the A. preparatory to playing As you will see by the note at the head You will find ing how you may greatly improve your light his part in singer, but technic, to determine who is to sleep where would never have seen the of members, will do not understand how this can of this department, policy proof of this in accuracy, memorizing, aight- trios by the trained the of The Etude reading | and playing the be done in . every WICKS thru mental- or opera “Aida” when word came group singing of this sort will not permit us to muscular whether two in a lower berth day. numbers. If make recommendation eo-ordination. Quick results. Practice effort — lend variety to offertory G. R. M. of ORGAN. Send that the regular conductor ill any specific instrument or type of action. famoua Pianists, teachers and one in an upper. Frequently, the was resources for illustrated students. No obligation. there is an oversupply of A. The pianist, under the circumstances At the price you mention we Phalanx Grows suggest a three booklet _Broadwell Studios. until a late The and unable to lead the performance. Dept. 5I-G. Covina, California train is not due to leave for the regular service, an occasional you name, is under the leader and should manual instrument, and that you com- The management put up a substi- carry out her wishes. municate with various hour, but the members are required In the life of almost every great minutes Even though there is builders and base = program of fifteen to twenty no your tute; but he had no sooner his conducting, the pianist should, as nearly decision on the firm you think best HARMONY BY to be on the train at eleven o’clock. man there is almost certain to be made as MAIL=il of organ and vocal music before the possible, use the tempo indicated by the equipped to meet your needs. The type of appearance than the fiery Italians A practical roll is called and the doors are at least one rude rebuff, if not a in leader at rehearsals, and if console is a matter of and thorough course of 40 lessons, at Then evening service will be welcomed by the pianist fol- preference, though the lows the choir we feel a small fraction of the cost of personal locked. The porters stay in their own series of slaps of fate, seemingly to audience hooted him off the no blame should be attached that the trend is to a return to the instruction. to the Small monthly payments. Send stand. many. pianist If the tempo of the choir is not draw-knob style. As we do not know condi- for particulars. cubbyholes, unless someone rings; test whether the candidate is worthy correct. The tions we WICKS ORGAN The organist with a mission will simplest way to do this is to cannot intelligently advise you as COMPANY Music composed to your words. have an of sitting in the councils of the Another substitute was likewise consider the choir as soloist to the desirability of • and the girls proceed to him, a and accom- a raised platform". If HIGHLAND ILLINOIS find a lifetime study awaiting pany accordingly. there are certain HARRY hilarious time. Everyone dons pa- mighty. Schubert could not afford to hooted off. What to do? Some of the Of course it might be a stops that you wish in- - — fb&p&Utne+tt C. - WOOLER, B.Mus. planned. simpler matter for cluded in 11204 players, if his work is intelligently the leader to convey to the the specification, you can so In- Harborview Drive Cleveland, Ohio jamas, slippers and robes, and visits buy manuscript paper for his com- knowing of the violoncellist’s pianist the tempo form the his or- she prefers and depend on builders being considered. It does uncanny He will continuously add to the back and forth the length of the positions. For three years he taught familiarity with scores, pro- pianist to lead the choir with that not necessarily follow that specifications gan and choir repertoire. He never ewpo. This, naturally supplied by a builder insure car. The more athletic ones, per- children of Vienna’s poorer classes posed him. The management took a Increases somewhat a satisfactory MUSIC ENGRAVING the responsibility balance of tone. Different GUILMANT ORGAN SCHOOL desperate chance. will feel that there is nothing left of the pianist. ideas on the part Piano, Band, Orchestra and Octavo work. We haps, will have a contest to see who in reading and arithmetic. He de- The young violon- of the builders, and the final expecte& t° tone regulation specialize in book work; SUMMER COURSE cello to be learned. He may even exclaim Vluy a fifteen minute also engraved titles. berth to it snatched brief player ascended the e t0 « ver and so forth, might influence the results. Write 12 can swing from one upper tested and mo- conductor’s V important church wedding. Send your mss. WEST 12th STREET, NEW YORK with St. Paul: %l„7 ™ould for estimate. another the entire length of the car. ments to write music on the walls, stand. He was only nineteen JJl V°u suggest for the prelude? Q. Our church has just purchased and there an OTTO A. C. NULSEN “Not as I had already will be quite a bit of stirring Orgatron. I am a never before had though ah t graduate of piano and P. All in all it is a delightful experi- on scraps of paper, or backs of books. conducted an or- I O. Boa 774 should choose something voice but have never played an electric 124 attained, either were already pnoutnto organ. Government Place Cincinnati, Ohio ence that one never forgets.” His eyesight was so poor that ganization of any importance. h listen to and rather Is there Schools—Colleges he The familiar.—L. E. H. any book available which would help audience was perfect. ... I press toward *?millar me to master the use the tour started on slept in his spectacles. amused at * numbers you might of pedals ! Would This year the He was sel- sight of this sld I?* con- youngster the mark of the high call- fr0m the snowing: Prelude I have to have an instructor, or can I master SCHOOL January 19 and took the choir to the dom free from digestive trouble. unknown to them. to'Toh^n $ l OF They by Wa ner them myself !—A. M. B. _ § ; Yearns, CONVERSE were also interested ing.” by Wag- COLLEGE west coast states, a trip that gave These hardships only fed his desire in seeing rl4 1 Ernst Bacon.Bacon, Dean,Dean. SpartansburgTSnurtannhum a t what p ocessio ’>, by Wagner; A. As the instrument sT Sono to the Bv ? I you name Is con- he could do, W Star’ by Wa ner Learn Piano Tuning At COLLEGE, the 1939-40 varied and to compose. so l Largo. structed in Home DEPARTMENT members new, they gave him a by Hanrtpi TjtnT“ B such a manner that pipe organ OF~MUSl2 One of the early organists of St. tne pring Son by Galesburg, El. exciting experiences. Their letters The list could be multiplied in- chance. Naturally MenaSsX °’ technic is used, we suggest that you work The James they thought he ? collectlon? J Temperameter makes it easy. The KNOX MacC. Weddell, Chairman. , “Wedding and along the same lines Catalogue Peter’s in Rome was Girolamo Fres- Funeral im, ^ as if studying the piano business is destined to be better gent free upon request home and their diaries (some of definitely. Mozart was subject to would fail, in which case dlted bV Kraft, contains organ. It - they would music suibfh?’ f is always preferable to have a good than ever with the advent of the small cobaldi, who was born in Ferrara, le for weddings CONSERVATORY which we have had the fun of read- fevers which gave him delicacy of hoot him down. known n,™H —some well instructor, if available. If not, you probably upright. Secure yourself now by learn- OF MUSIC Italy, and another ing this paying profession. This Wade E. Milter. Pree. ing) in 1587, and died in 1644. He 'Selected p«?i collection, can attain proficiency by careful study. For —our SHENANDOAH are fairly bursting with enthu- perception and glimpses of half The young Musle„ ” 40th year teaching by mail. musician calmly by < we

made the student drop the hands the keys, the be done through of Genius lightly on fingers of it sounds, much can In a Garden relaxation, and the right hand resting on Care of the Hands plenty of rest, sleep, Page 445 > The «Continued from thorough preparation. A composition Ex. 1 (Continued from Page 459) and should be studied, put away, of “ ahd spoke t times before posed, Pleyel fi Jj fj T studied again several of twenty-four. ^1J in a while, should be write a series Introductory changed once of the being placed on the repertoire over these first of the left on _ !nMcrm! fu must be amply loose fit- was enthusiastic those used. They Frequent appearances before Chopin prove student. and arranged with Ex.a ting. Sometimes mittens will how small, “Preludes” an audience, no matter two thousand francs foi ROBERT BRAINE more suitable than gloves. Hands way of to pay him U also are helpful. An excellent In 1839 Chopin Wm with a tendency to perspire would the complete series. curing the perspiration, is to prac- Fontana. better off with these. his friend said, the hand takes a especially be wrote to Thus, he answered in THE ETUDE unless accompanied by the tice an overheated room during No questions will be full name in ‘Preludes . Do you Except in cases of dry skin, care “I send you the natural position on the keyboard, a and address of the inquirer. Only initials, or pseudonym given, will be published. the days before a public perform- (Wolf was should be taken that all surplus hand and Wolf copy them.” normal attitude, without contraction, ance. For the best results, the per- composer, is removed, before a talented fifth cream or lotion dressed, Edouard Wolf, having the thumb and finger, On Selecting a Violin former should be warmly think Beeinning at Eighteen are put on. forgotten.) “I been cases of vioun S. P. I.—1. In answer to your question I the gloves is today short fingers, on the white 1. There have times have a small audience. who the two N W.— and at Give one who became excellent violinists, Would say that it is impossible for your Not all hands are equally sensitive there are no mistakes. hands should be turned students towel should be ready to wipe the that keys. The their studies at the age of violin with the Stradivarius label to be genu- A (representing the after beginning to muscle strain; but as a rule any to Probst” hardly perceptibly. were in no sense great ine, because it says also on the label, “Made hands carefully the moment perspi- copy outward, but eighteen, but they gripping should be Commencing at this age, as you in Germany,” Real Stradivarius instruments heavy lifting or prepa- Tone quality: Beauty of tone was violinists. ration appears. After such a would require a great amount were made in the town of Cremona, Italy, musician’s hands get all propose to do, avoided. A importance in his teaching. are acting on your and not in Germany. It be fair violin, of first of time and money. You may a they need at his instru- choice of violin playing nevertheless, as some of these imitation the exercise No attack which made a dry or hard own judgment in the you should do, is to go Strads. have a very good tone, although noth- ment. He need have no fears that as a profession. What permitted. He required ab- in York ing like tone was to an eminent violinist or teacher New a genuine. 2. You seem to have the they may develop into hothouse your home) and idea that there are certain solute suppleness of arms and hands. City (across the river from “makes” of violins plants, damaged by the least ex- to give you a thorough examination, which are uniformly good, and that, if you must be that of a “bone- get him The touch for violin playing. Better order one of a well known “make”, you are 1 posure. Sensible care of hands and as to your talent fO* three or four months sure to get a good one. This is fallacy. , less” hand. still, get him to give you a mT the weakening ef- N skin has none of instructions. Do not go to a mediocre Violins of a certain make vary in quality; „TtO must study the scale of of \ First one is, # Here is an easy, inexpensive fects which might have been ex- teacher, but, to a real master, one, who in a that some are better than others. No major, staccato, portamento and to judge what the matter what the maker’s name, a violin way to introduce THE ETUDE in its new pected from years of tender care. B few months, will he able If you should be selected by an expert. As you are also as legato as possible. The scales chances are for your future success. "dress.” with its many delightful new features, The precautions that a musician with good chances of suc- not an expert, the best you can do is to have real talent, to your pupils and musical friends. For only were accented In pairs, thus correct- order a violin from a reputable music nouse, takes with his hands are merely the cess, he will tell you; or he may advise you telling the dealer your 45^ we will enter a 3 months trial subscription ing the weakness of certain fingers. to give up violin playing altogether. Person- what requirements natural measures any master work- the current ally, should advise you to give up the idea are, and asking him to meet them as far and send June, July and August Practicing must never be forte. I man would take to preserve his tools of professional violin playing, although this as possible. It would be a good plan to have issues to anyone not already a regular reader. detested the abuse of opinion might be changed if I could hear you the violin sent on trial before buying it; in the finest possible condition. The Pedals: He Clip this ad if you wish or simply send us 45tf play. A teacher must have a young pupil un- for in this way you can judge if it is what great power and vitality of the hands the pedal. He made a combination of Trial subscriptions may (U. S. stamps acceptable) with each name and der his guidance for several months, before you want. Most dealers are willing to do this, be converted later into address. Don't clearly pedals. His playing, admi- abilities. 2. For one if you can give proper references. 3. As you delay! This offer is good for the of most elderly artists show the two he can get an idea of his regular subscriptions violin it usually. is best play in a dance orchestra, you say that you Summer months only and will not be the results of such care. rably legato, marvellously elastic, of to qualify as a player, with credit allowance made to enroll in a really excellent musical con- want a violin with a very loud, brilliant tone, for the originally again this year! dispense 45C Occasionally finger strengthening an ethereal delicacy, could servatory or college, where there is a first which will sound as loud as the brass section paid. or perhaps louder. The violin has a much devices are invented and placed on with the soft pedal (una corda I. class student’s orchestra, and where the teachers are of the best. There are many weaker tone than the brass and wind instru- the market; and some music teach- It Is supposed that Rubato: often such schools in the cities within a short ments, therefore there should be several THE ETUDE MUSIC MAGAZINE 1712 CHESTNUT ST., PHILA., PA. ers have developed special exercises rubato should be used in Chopin's distance from your home. violins to each brass instrument. Try to at- tend a concert by a large orchestra of from for the same purpose. Needless to Bee- works only. But Mozart and see for An Effective Solo fifty to one hundred players and say, all such devices should be ap- of this yourself how the string instruments out- thoven had already made use L. F. T.—One of the most effective and IMPORTS number the brass and wind instruments. Now It Is Here proached with the utmost caution. charming device which becomes beautiful violin solos is the Meditation from Brand new, Eng- “Thais", by Massenet. Ever since this lovely Probably you have too many brass and reed In a few isolated cases they might rubato RECORD lish POLYDOR- frightful when it is abused. In composition was heard by the public, it has instruments in your dance orchestra, which MOREAU’S PIANO COURSE rule, a violins. 4. with SERIES records—never before sold at these do good; but, as a general the right hand takes liberties with increased in popularity by leaps and bounds. thus outbalance the A bow, The outstanding simplified Pernambuco stick, costing five or six low prices. Surfaces superior to domestic rec- method of playing musician’s fingers get more than It is not excessively difficult but, to be enjoy- a good the rhythm while the left keeps will answer for your work, and for able to the full, must be played by an artist dollars, ords. Finest artists and orchestras in outstand- POPULAR MUSIC their share of strengthening work, your dance work a violin costing from fifty 10" strictly to the beat. of the first rank. ing classics. records only 75$. Send today IN FULL CHORDS without having to resort to any extra to one hundred dollars will be satisfactory. It astonishing to for new, FREE catalogue containing hundreds must have been I cannot judge your violin without seeing $ 1.00 work outs. And, even in the cases of selections. Exclusive with see Chopin, otherwise so nervous and it. If you get in touch with a really good ex- Mail Order8 to where such devices might be of help, of left-handed violinists. The bowing, of pert in one of the large music houses, he into ep t.E indifferent, transform himself course, is done with the left hand The GRAMOPHONE SH0P,D MOREAU'S STUDIO they will also invariably make the and arm. can select your bow and violin for you, also Certain changes must violin, 18 East 48th Street, New York 385 St., Bldg., an attentive teacher careful not to be made in the strings, and all fittings. Westminster Conrad Providence, R. I. chances of stiffening so much greater. which any good repairer can do. The strings - cut short the time devoted to his then A treatment of the care of the read, from the left side of the finger for Violoncello WHAT STRANGE Book I A board pupil. He began his lessons with the E. A, D. G, instead of G, D. A. E. The L. D. Me.—The “Tutor for the Cello” by hands would not be complete without sound post, POWERS Clementi normally on the right, is changed Otto Langey, will give you the information preludes and exercises of to the a mention of the habit of placing left, and the bass-bar is changed from you require, as to fingering, position, and Did The Ancients Possess? D (a work too little and used the left to the right. PIANO TUNING a?£, 0 the hands in water. known The bowing and general so on. It may be procured through the pub- TAUGHT comfortably hot was llie | ration, the comparatively cool con- the manuscript principles \ \17HERE source of knowledge to Pleyel.” Later of playing are the same, and it is to pianists and other musicians today) , and continued with the lisher of The Etude. * » Mr. Paderewski, others, states astonishing that made it possible for the ancients among cert hall will give surprisingly less Chopin said, what results can be obtained by School officially approved by Steinway “I have sold the ‘Pre- I to perform miracles? These wise men of the & “Gradus ad Parnassum” and the these Sons, W. W. Kimball Co., Baldwin that relief in left-handed players, especially those past knew the Co., etc. he finds considerable for the musician affected ludes’ Appraising Talent mysteries of life and personal trouble by to Camille Pleyel, because he who have Write for information etudes thor- had an early start. intelligence, power. This wisdom is not lost — it is with- doing this a his of Moscheles, going B. M. S—Your letter shows Dr. William Braid White, few minutes before held from Principal this annoyance. liked them.” Georges Mathias However, it the masses. It is offered freely told oughly second Label Is Meaningless and I would like to help you. performances. for the student, into the first and TO Y OU, if you have an open mind. Write As calluses appearing on the fin- the present writer would be impossible for me to judge of your School of Pianoforte Technology The that Pleyel called ,_? —The label placed in your violin for free sealed book. Address: Scribe B.V.G./ this should be necessary only in the numbers, especially, of this remark- Paganini musical ability and talent for the violin, 5149 AGATITE AVE., CHICAGO ger tips of instrumentalists should them “My Preludes.” Violin” is simply a trade mark, They were dedi- do play, giving you a 3L ROSICRUCIANS case of able work. At the same time the stu- not think the figures 1742 printed without hearing you and the morning stiffness that on the San lose A M O R C California fine ( ) \ be filed with a very emery board cated to Pleyel in the French edition, a el indicate thorough examination in general musical dent was working “Well Tem- the date. It is probably the sometimes occurs after a preceding on the knowledge. Your short fourth finger is, of to prevent thickening and resulting but in the German edition the manufacturer's number. The carved head of day of streunous practice. pered Clavichord” of Bach, composi- a non, instead course, a handicap, but there have been peeling off. The surface of the cal- “Preludes” of a scroll, does not add to are preceded by the the value violinists who succeeded, despite fingers VIOUN APPRAISING — CERTIFICA- MANO PLAYING name titions of Mozart, sonatas of Bee- of the violin. SWING luses should be entirely smooth. No of Kessler, which were shorter than normal. From what TION - EXPERT ADVICE another talented stud, , t artist Difficult Bowings For Nervous Perspiration thoven. concertos of Hummel, the you tell me, I fear it would be quite impos- E. N. DORING, 1322 Hinman Ave., Evanston, III. Harmonize tunes with nrofessional bii* and breaks steel file must be used. whose “24 * Etudes” are well known.’ 0U 8515 dow Editor—VIOLINS and VIOLINISTS—Publisher Write for FREE DF.SCIttFTlY FOIDFR “Sonata in A-flat” of Weber, and “•~T a violin student can sible for you to become an artist of the PeT^issae^o^^oO^im^l^Jn^TS^P^-iiJi^FoTeign AXEL_CHRI8TEN8EN, At Naturally, the finger nails must be secure a beautiful 752 KIMBALL HALL, CHICAGO some time or other, most musi- Who can fail to be profoundly staccato (up and down highest order, as your letter phrases it; but “Songs Without Mendels- ' a ’s a xpiccato, cians have been bothered by nervous kept filed short. Sometimes nail pol- moved by these Words” of °. in the most natural you might become a teacher or an orchestra marvellous composi- lstl way ' These are difficult other phase sohn. thiL. J °. the player, or perhaps take up some perspiration of the hands. Some ish cracks the nails, under which tions, the one work to v olln Playing, which Chopin tfmJht If which cannot be of the music profession. Play for as many players advise the use of alcohol, a circumstances it should not be used. entrusted A description of these bow- good violinists as you can, and get their his confidences in that (The ines bottle second section of this charm- dlraations f°b acquiring them, are opinions. The opinion of traveling concert of which they carry wherever Otherwise a nail polish, of course, year of passion and suffering, cont’ntnfu that ing and informative will ap- boc*: “Violin Teaching and violinists would be the best, as they would they article Violin Udy go. However, continued use of tends to assist at least in producing first ' by year of the unhappy hie EuSene Gruenberg. From have “no axe to grind,” as the saying goes. liaison pear in The month.) , honi. alcohol Etude next U can at least can be fully as damaging ex- a well groomed appearance, provided with George Sand which how tZ„ l° aa Wea of © was to last b0Wlngs are bitten, A Comfortable Chin Rest ternally as used internally. Only in- a neutral shade is chosen. ten years. Som f the greatest violinists have I appreciate your difficulty in ob- difficult had M. W.— AtM#jy frequent use will be of any benefit Once a music student has acduiring the rest will accommodate begun Before analyzing these up and down taining a chin which l1 twenty-four Do You Know? At °ne period Engravers —a benefit that is temporary, any- to take systematic care of his hands, masterpieces, wSlwsw T ln *« li^ itself to your long neck and protruding PV it will 0' be well to sum 1 VIolinist 01 the last cen- shoulder bone. You might go to some of the way. Of course, That among the rarest of “Strads” tury could 'rStfi * the best way to com- he will soon find what particular pre- up the principles d0 the stsiccato. City; they which, according ine to Then accord- large music houses in New York bat nervous are his violas, of which the master came perspiration is to get at cautions suit his particular hands, to Georges ant! 7’,/* to him in a dream, can advise you as to the addresses of leading Lithographers Mathias, formed the basis the no da he the made but a few, which now sell It could d0 it perfectly, manufacturers of chin rests. Or you might Write to us about anything root of the trouble, remove the and will reap benefits according to of Chopin’s our co™f n/ in this line teaching. P ent wislles to acquire these ask the advice of leading violin teachers, around seventy-five thousand dol- bowings +he i? ? nervousness. Although not as easy the thoroughness of his St h ‘ ng SEND FOR ITEMIZED as care. Position of the 8 he can do is to 8° *> who have probably had pupils with the PRICE LIST hands: Chopin lars Ex vioun r t each? hta ““ **** Sh°W same difficulty as yours. Also consult the how they can 488 be"' done. advertising columns of The Etude. THE ETUDE JULY, i94o 489 ^ n — , —

plays, and it is this demand that the fact any kind of teaching, is he can alreadyplay futile Band Pageantry should govern for technically, Missed lessons the use of sex appeal dition a large table (built for me in recital are not made appeared Uj in connection with four feet piano, has unless a child misses from Page 458) band appearances. and Profit in the approximately Thus more than ( continued Fun a small sum) interest in music. one has a decided In our opinion, baton twirling is eight feet long; two lesson (for illness). Then I wide and that if the teacher usually this book I feel too often overemphasized. It is with- Piano Class This extra fn give one private lesson not stray too far from benches and a blackboard. will find the in place bands should follows the outline she oi in the sphere of the drum major’s from, Page 461) worth the slight expense three class lessons. This which leads to excellence ( Continued room is well the should h» path AMERICAN considered kindergarten age, the activities to twirl his baton when he entailed for equipment, as it makes understood from the permanence. They should repre- children stop age to teach, made en- beginning and for a longer time. Most of ten difficult highest educa- is not engaged in handling the band, for less confusion and a class pupil, the term; and. when it is all times the of private both teacher and explained sent at after one or two years extra joyable ^for Citizen- and when the band itself is not en- can be easily handled. The of the clearly to parents, I have found ideals in Music and music study. The novelty has worn For older groups I use any that tional gaged in a maneuver or in playing CONSERVATORY piano need not be expensive. Any are very work, or any they fair-minded about ship- off, the child realizes that the study written for class it music which requires alert teacher will be able to find a books have popular the complete Two of Of course there will be epidemics While bands should of music is work that must be done beginner’s book (usually Part of attention good, usable upright for very little that all band of the audience. When measles and mumps, and in this we are sure us like to work Day” or "My case appeal, alone (and so few of small “Music Play for Every there are from two to a dozen twirl- e^MUSIC money. I have found that prefer that they acquire or it is better to stop the class for musicians alone) and there seems to be no in the Piano Class”, a ; First Efforts ers in front of and on all sides of classes can be taught in one room, weeks. popularity through genuine particular use for all these hours of book supple- few this little any good instruction the band, the emphasis is on them CHICAGO 55th SEASON and larger classes require very Just a word of caution. rather than through providing practice, except an occasional pupil’s First Song Book Do not re- worth more equipment in addition to the mented by “My and not on the band. It is to be un- strict pupils too much in entertainment. Naturally, we Hattstaedt, American Conserva- recital. His friends are usually wait- suitable to the pu- regard to cheap Founded in 1886 by John J. today The extra room. A small blackboard is and sheet music derstood, of course, that the drum behavior. I allow pupils expect the artistry of a Tosca- tory of Music is outstanding among institutions for music education in the doorstep for him to get enjoy sheet my to talk do not ing on pils’ progress) . Children sometimes desirable and costs but a major and the twirler are different this country. Its graduates are to be found occupying positions of honor quietly, unless of course I the football field—no more through with the ordeal of practic- as a reward for am ex- nini on few dollars. For years I used manila music, so I use that there can rightly be only one drum and responsibility in every department of music. little is ac- plaining something to would expect the antics of ing; his practice suffers; done. them; and.il than we paper tacked on the wall and a black work well major for the band, whose duty it is the concert stage. the National Association Schools of Music complished; and he, his parents, and their work is finished, they may read the gridiron on Member of of crayon. to lead the parade, to perform with band on whether his music teacher, all become dis- The Class in Action a book. I keep a number of childrens But it is possible The Faculty—One hundred and thirty Professional and Teaching Engagements The other bugbear, that class work he twirls or not. He may have as- artist teachers, many of national and in- Although the management does not couraged. In class study the practice books and magazines on hand consummate skill, to display a com- — for ternational positions, it has been most is too taxing, can be dissipated by a Even though the teacher has the sistants if necessary with a large reputation. guarantee period is not so long, his friends, or this purpose. The class is omitted bination of playing and maneuvering successful in assisting students to find little preparatory It is best equip- remunerative situations in colleges, acad- probably work. taxing finest material and the band, and they serve to help in at least some of them, are the week of Important holidays; and that does credit to the music per- Accredited Courses are offered in Piano, emies, music schools and in concert, when the lesson has not been pre- ment possible, unless she plans her maneuvering the band. Vocal, Violin, Organ, Orchestra and Band in the same class; and, when things to the pageant in But a bevy opera, radio, orchestra, lyceum and choir the week preceding any holiday each formed as well as Instruments, Public School Music, Chil- pared, and when a teacher has too work well and follows a definite pro- of twirlers, boys or girls, too often work. are carefully arranged, they will all child, of the younger groups process. A band on the field should dren's Piano Work, Class Piano, Musical many children in one class. Chil- gram, she will not be successful in only, detracts value Theory, Dramatic Art and Dancing. practicing at the same time. from the of the band Tuition is reasonable in keeping with the be receives a small gift. On Christmas be the main attraction, and not the dren are quick to sense a teacher’s teaching piano in classes. I have itself. The public recognizes times and may be paid in convenient in- ballyhoo for miscellaneous soon lack of preparation. it may be only a penny candy cane, source of Degrees—Bachelor of Music, Bachelor stallments. Complete particulars given in What Age? As soon as they found the following procedure most whether or not catalog will Such a status lowers a band is hiding its of Music Education, Master of Music which be mailed on request. realize or a valentine on Valentine Day. side shows. All age groups can be taught in that the teacher does not workable. The first lesson is spent in inadequacies behind the spectacle of and Master of Music Education are con- dignity function of ferred authority of the State of Illi- So do start a class; you will be giv- greatly the and by Students* Self Help The management classes. I suggest a know what is coming next, they take getting acquainted with the pupils, — beginners’ would the twirlers, plain and fancy. nois and recognized as a guarantee of makes every endeavor to assist needy ing children opportunity to the band; and in no way should a things into their own Dis- many an accomplishment. students to find division as follows: the Piano Kin- hands. explaining the keyboard and funda- Feature twirling, of course, may part-time employment. fine be subservient. Many find work as teachers, order and confusion are the result, study, who otherwise may not have band accom- dergarten, for children from four to mentals of music (kindergarten ex- well be a legitimate part of the band panists or part-time positions working it; Perhaps the thought which we are Dormitories—Desirable living and board- First Class, and little cr nothing is accomplished. and you will find yourself with for commercial houses, etc. six years of age; a Piano cepted) . After that the class work be- pageantry, if the band has nothing ing accommodations can be secured at pupils ever had trying to express is that we do not the Conservatory Dormitories at moder- for beginners from seven to nine; The lesson must be so well prepared gins with more than you have each pupil playing the better to offer at the moment, but ate rates. Particulars on request. Students may enroll at any time. that each child is kept busy the before. It has been Class Teaching care for our school bands to special- and a Second Beginners Piano Class, piece learned during the week. Those the twirlers should have a spot or for ages from nine to twelve. Older whole class period. Then the teacher that kept many teachers afloat dur- ize in jazz (or whatever new name not playing are urged to make critl- spots exclusively to themselves, with For free catalog address John R. Hattstaedt Pres. beginners can be divided into Junior will find that class teaching is not ing the last depression. the youngsters currently have for it) cicms, not lorgetting constructive the band furnishing music either taxing sex appeal, and Senior High Class and Adult at all. ones. and gymnastics. These Very little time is taken for from the field or from the sidelines. AMERICAN CONSERVATORY OF - limit types of entertainment are detrimen- MUSIC Piano Class. The approach in each my classes to ten pupils and corrections, this io reserved for later There is some claim that the public for all age groups under twelve tal to the band’s standing. They have 576 Kimball Hall, Chicago, III. age group would, of course, be differ- I After each pupil is heard, the new First American Pianist likes it and asks for it, therefore at ent, so a child beginning, let us have an assistant teacher. The as- their place, if not overdone, but that that lesson is assigned and explained. It sistant is an older (Continued from Page 442) place appropriate times the public’s atten- say, in the Kindergarten, could pro- pupil who is glad may be a is not with every band per- new note value, a rest, or tion may be put entirely on the ceed to the First Piano Class. After to get the experience of practice formance. As already stated the use other such fundamental. Janeiro in 1869. to conduct a musical When this twirlers, giving the band itself op- the second year the class is divided teaching. In order to get results the of popular music in our parade pro- is thoroughly understood, the festival, he was weakened by an at- teacher “busy portunity to be recognized without Diplomas, Certificates of Awards, Medals and into groups of two (semiprivate les- must work with each child grams is acceptable and at times work” is assigned. I tack of yellow fell from his ap- A professional school then take one fever. He distraction attention caused Other Requisites for Awarding Pupils sons) and some children continue for individually some time during the propriate; and there are the of pupil at a time in the other chair at the piano, in a Rio concert even times Completing Courses in Music in a university environment hour period, room, by a multitude of twirlers. as long as five years in this way, when the other chil- when it would not point out the failures of hall, and was carried to a hospital be out of place dren the week have long wanted to express THEODORE PRESSER CO. For Free Bulletins Write to depending upon the financial status must be occupied with “busy at lighter concert We Chestnut St. Phila., Pa. before and teach him the outside the city, where he died, De- programs. It should 1712-14 work.” new lesson. strictly such, of the parents or whether the child It is here that the assistant be good popular music, our opinion, offered as SCHOOL OF MUSIC (The assignments in class 'caching cember 1C, 1869. however, and prefers private lessons at this time. is of most value. She can supervise there should against the increasing prevalence 1830 Sherman Avenue must be short, or one could not While Gottschalk’s oversentimental be a definite reason for the “busy cover Evanston, Illinois Some children start with semiprivate work” which is a very its inclusion of extremely fast marching. Good the work in an hour pieces by known, in the program. necessary part period.) If my which he is best lessons instead of class lessons; and, of class training. It assistant If bands marching calls for a brisk tempo, but is experienced, I allow such as The Last Hope and The Dy- were too “highbrow” they NORTHWESTERN for the teacher does helps reenforce the r.cw her physical who not wish work and to do would fail to be not at a pace that taxes some of the teaching while I ing Poet, melted the hearts of the versatile and popu- to have large classes, I urge trying provides rest periods for the time endurance. marches sound well take her place. lar; but if they Few Otherwise, she ladies in the ’50’s and ’60’s of the become primarily jazz this it when strict concentration is UNIVERSITY method, as is always possible ij not re- hearing bands and at tempi of 150, 160 and above, and review pieces, supervising last century, they are now almost are identified with that to find two children who like to study quired. There are many books pub- the “busy type of few bands can play marches cleanly work”, and helping unknown. He did. however, write performance, then they cease together, and it has practically all lished for this purpose, those such as who need to belong at these tempi. A galop is a type of special attention. some very and very to our educational institu- nORTfi PAR)[COll the advantages of class teaching. Josephine Hovey Perry’s This is excellently made EGE “Busy of course, tions, piece used for fast playing perhaps possible only when on. clever works, such as The Banjo, and will soon lose the respect — E. Clifford Work” and “More Busy Work”; or has School two rooms. In one and support of then, we can call these fast bands CONSERVATORY Toren, What Do I Need to Start? tin teacher may invent her room each child Ojos Criollos, Pasquinade, and Bam- American civilization. own out- is taken Music “galloping” bands. It is fast only in Director 49th It individually to the boula, and pieces on a football field should be OF MUSIC ( i seems that there are two bug- line 01 work. piano other characteristic .Music, Year taught the new lesson, typical of the speed of tempo, not in speed of r bears which prevent many from using Next to the use of and after that which deserve to be more frequently music prepared for an assistant the Established 1 there is time concert, movement, for in spite of the num- 1867 \ Trains students for active musical careers the class method. These left, review heard. His “Night in the although in keeping with the in two seem- most important aid to keep class pieces symphony. their chosen field. Progressive faculty. Conserv- are heard. spirit of steps they take these bands ingly The slower pupils Tropics", of the event. It ber America’s Oldest Independent atory occupies own building. Piano, insurmountable obstacles are, teaching from being taxing a defi- are kept has virtually disappeared. should be the voice, r 1 SS 0r a best music do not get very far because their School Devoted Exclusively to \ violin, cello, reed and brass instruments, church “I have not the proper facilities”, and nite teaching few min utes Gottschalk'„ younger sister, Mrs. the band is capable of and choral music, theory, music program. For my Kin- h^' if (.i! and education and helped/ by the playing, of the Music and Allied Arts expression. ‘‘I find the assistant. Clara with due steps must be so short. One Summer School begins June 24. work too taxing.” dergarten Classes I use my own book, She will be Gottschalk Peterson, is quoted regard to variety, d thiS entertainment, first principles marching is * \ Write E. CLIFFORD One room, equipped with a piano, “Ada °. (no more th in The Etude on her and suitability. of good TOREN, Dir. Richter’s Kindergarten . an ten for April. 1906, A complete school of Music, Class or fifteennffei° 3201 Foster Avenue, Chicago, Illinois. a sufficient number of chairs and two Book.” minutes) for the recollections a normal length of step. Bands play- Each lesson is planned for a ence experi-perl of Creole music. Drum Dramatic Art and Dancing. \ card tables, gained. Majors and Majorettes ing at normal tempi sometimes take suffices for a small class. one hour period, v/ith suggestions Courses lead to degrees. for It has been Make THE ETUDE Your Marketing For six years I conducted found advisable Our short steps—so short that they ap- Place classes in teaching and “busy work.” In to have condemnation of sex appeal \ Etude Advertisers this classes meet “The pedal is the breath of the Open the Doors to Real just such a room. Stress must laid once a week, as a feature pear to be shuffling rather than Registration: be book no attempt is made to teach since this piano. of band parades may Opportunities on the seems to meet with You can make a spiritual speak \ fact that no more than five notes or time except the approval for itself, although marching. The proper length of step, September 5, 6, 7 by rote. The most of form of to it is not or six children can parents. It is also it so perfectly visible aimed reasonably brisk be taught with class period is divided into advisable to specifically at girl together with a Classes Begin: September 9 work at your if drum ma- this inward eye, that it seems as \ equipment. When more children the piano, music rs. There is tempo which gives the impression of LAWRENCE appreciation, sing you could no good reason why a Students COLLEGE constitute 1 almost hear it breathe. Special May Enter at a class, an extra room ing of songs and exercises ^°U ld be to° cannoti be snap and vitality, form the right in rhythm, tim^take much Deppe, unless chord drum major of a band / Any Time. \ CONSERVATORY OF MUSIC should be used. u n ln 6 , he wishes the rln At the present time, When the child is m °ney: a ning both and ready to go into beTdes ^ and to be very pedal boys and girls, if she combination for good marching, APPLETON, WISCONSIN I use if lessons brilliant, takes the m , i Write for catalog two rooms. Each room has a the next class, Paid for Mhfies as where the fundamen- ’ the a drum are written to sound \ Carl J. Waterman, Dean attendance Ls after the chord instead cf simul- major. In the most marches piano, and one of Course, In pl.no, rolce, them has in ad- tals of music will be analyzed ug run, the Tiolln. 'cello, oratn. theory more good taneously a public demands well at such a tempo. Again, playing 2650 Highland Ave. nubile school music sod choir attendance 01 with it. This gives it good directing leedlot to ^ teachTn^T psic, and good Cincinnati, Ohio \ Bachelor and Master degrees. 490 very ideal sound.” Deppe-Fay. taste in parade dis- ( Continued on Page 492)

JULY, i940 THE ETUDE 491 : : — :

My "original experiment”, now six and a half, played Gypsy Rondo by =«:JK£gr2 before he was six, in spite Playing the Piano Between Haydn of a broken arm, suffered at five and The Piano Accordion Four and Eight a half. He now plays it with the oc- 451) taves and can reach an octave easily, (iContinued from Page T>e ESTABLISHED 1857 «peti playing firmly and with no strain, Paul any- and by constant may be used by on, orally both 4th and 5th fingers, as he UNIVERSITY These cards seven year olds with be held facing The six and 1 CHICAGO one. Each card will tion has unusually large hands for his Training up and notebooks in which Technical for the the child, and then slipped like age. The teacher should be very FALL TERM OF back ten times. The^^fidchild THE SCHOOL the name on its write things though, that the ambitious checked by use the fin- careful, STARTS SEPTEMBER 9 desired infor- also be taught to as the child gives the must does not overstretch during the the music. They child Child Accordionist pupil should be able to gering marked on of right school is maintain a staff of 165 eminent Music mation. The a beginning year. Selection the and immensely, laughing albums, and the keys. The exercises then become you the privilege of sending in their subscriptions. Humor-esque continues learning two new notes a the first through the third grade at Band Pageantry even accordion band folios, finger calesthenics, and the teacher Ask for Catalog day, plays little notated songs or the end of a year. When the all are ready for the of Rewards for subscriptions you send Professor : “What excuse have you for first ( page 491) Continued from teachers of young should assign the number of repeti- not having your music lesson?” pieces which we make up together, book of Mathews is nearly com- children. THE ETUDE 1712 Chestnut Street Philadelphia, Pa. think also gets his first book of pleted, In reply to specific questions tions according to the need of each Student “I overslept and couldn’t and Czerny’s “The Little Pianist" should set the pace. The proper about up an excuse.” “Mathews’ Standard Graded Course.” is begun, but early training for children point individual child for finger strength. not sooner, because a tempo for playing is the proper tem- we out that the The interesting subject of tonal M1LL1K1N He is now taught to count by rote great part of it is written in the po for marching. very first essential is to ^SMOPOLITAN CONSERVATORY OF MUSIC lay a sound shading should be introduced DECATUR, ILLINOIS with the teacher, being still too in- treble clef and might, in some prov- foundation for the build- early SCHOOL chil- There is, for every band, a OF MUSIC teacher caught a small boy scribbling ing of with children, Offer, thoro training in muiic. A experienced and learning too many dren, tend to undo a positive technic. This is for they are inclined SHIRLEY GANDELL, M.A., Oxford Cour.e. leading to good bass sight ince; existence of the band Bachelor of Mu.ic on a piece of paper. It contained the* and the University, England, President. Degree. Diploma and Certifi- new things to be crammed with time reading. Pieces accomplished by to play as loudly as possible, instead te m no Voic concentrating 34th year. Accredited. Offers courses Violin ' 0r with ’, octaves may is justified if it fulfills a function on j; w, f'. IS»”. P “l>lic School words : “Blow blow draw blow draw blow in all branches of Music. Certificates, Mutic Method, and signatures and note values. Of course, usually be practice to strengthen of making the accordion imitate the Mu.ic Kindergarten Method. arranged by the teacher. in life that is the muscles diplomas and degrees. Desirable board- blow.” educational and civic ing accommodations. Located in down- Bulletin sent free upon request he walks away with the first six The little folks of the fingers. various degrees of tone as produced “What’s the meaning of all this?” he love to play scales, musical stand- Numerous technical town musical center. W. ST. CLARE MINTURN. permanent, high In Box E, S. Wabash Ave., Chicago. Director pages of Mathews, since he already especially C, F and (Continued on Page 497) 306 demanded. G. Let them make ard, and fine in dignity and charac- knows everything therein. When he bridges for their purpose; and, “That’s the music for my mouth organ,” thumbs to go under. ter. Realizing that the band does while each has its explained the boy .—London Tit-Bits. opens the first page and exclaims, Sharps and flats are merits, we believe taught in order, have a separate and individual place, that there is noth- “Why, that’s middle C!” he and the as they are met in mg better than you should method or sup- it is our call to bring every band of persistent practice of WHY QlrbrlaniiJnalitutr nf0)nBir teacher both get one of the thrills plementary books. accordion our nation to its proper status as arrangements of five fin- A sign posted on an outdoor opera the- of their lives. There is nothing more The teacher often ger exercises. choose Confers Bachelor of Music Degree, Master of Music Degree, meets individual of or- They are applicable to Artist Diploma atre perhaps the only musical type in a European city bore this legend exciting to a little child than to open oddities. One of 1 es of Faculty of Nationally Known Musicians my six year old versatile as to f accordions from 12 bass for your Accordion “Taking dogs into this theatre is pro- ganization that is so f“ a book and find that he knows some- pupils, a 0 RUBINSTEIN, who has studied bass. They or for Lessons . . . BERYL Director, 2605 Euclid Avenue, Cleveland, hibited.” about nine function as the highest type of con- may be done in Ohio thing. Therefore, all the weeks of months, has completed all of junction with other One day a very “advanced” modern opera the cert giver and one of the most worth exercises but Headquarters carry a complete careful preparation. First Grade of ever • PIETRO’S several Mathews should of all make accordions. . . . PIETRO personally was given for the first time. Afterward, and the first while and superior of the pageant be omitted. In fact, we range . . . tests and inspects every From this stage on the teacher half of Czerny, eve helps you select and he someone and that before it leaves. “A great factor in discovered that a strange hand had this in spite of givers. Many of the finest concert these exercises have instrument a young artist’s success is that wonderful will find her job quite ordinary, ex- very • Pietro has compiled several special summer courses written on the sign tiny hands. She been including quality called personality, rare as thinks Czerny bands in the country are at the same g^en sufficient impor- with extra features, PRIVATE LESSONS, genius and as richly rewarded cept that the children themselves t- Jf TEST LESSONS and LECTURE LESSONS at a “By order of the Society for the Preven- is “beautiful!” She can acc by the world. But do not let her be deceived in thinking barely reach time taking seriously their chances °rdion study. Their very minimum cost. that she tion of Cruelty to Animals.” are so much more vivid and spark- a seventh, Write now for special SUMMER COURSE booklet. can depend too on. but she can trill much that. On the other hand, if she and play for real artistry. as marching musical y leads students to believe Sent FREE upon request. has it —Musikleben. ling to teach than older ones. She that she may be thankful, it appoggiaturas very well. mat they PIETRO DEIRO ACCORDION HEADQUARTERS for will help her along where others wiU organizations. can rush through the book 1237 W. Girard Ave. Phils., Pa.. 507—32nd St.. Union City. N. J. wonder why and where, and perhaps will en 46 GREENWICH AVE., N. Y. CITY never know” Geral- 492 put it aside as completed. MAIN OFFICE: dine Farrar. THE ETUDE JULY, i940 493 \

Dream Walking? His first picture for 20th Century-Fox was but rea y Shirley Tea. sounded like sound effects, "Stowaway.” The miniature or- range o, pie’s new “Young Fhetted Instruments of the Walt not. We used a a wide The Music were utes, aim covering People” will be the twenty-third written m Sfind musical de- pro- chestra playing themes that feeling in a way on this lot for stressing t duction which Mack Disney Cartoons the diatonic scale, and exaggerations Cjiiij Waier its simu- spite tne Gordon has written the lyrics. In Continued, from Page 438) mechanical style of playing, to “Pinocchio are the ( The songs for of this expert sound of manu- (music) and opinion song writer Artists on the Classic Guitar late the slightly “off” Leigh Harline World click-loop. The basic work of Temple is one of beat of Che The under Shirley the best will the following Forum courses at factured music boxes. Washington give musical material must be already was Ned W™) “song-pluggers” in the world. and visited this country in 1938, giv- water sound of Pinocchio’s voice composed by Mr. Haril roughed in by the time this freer had score was ing several recitals. the JUILLIARD Summer School in New York City entirely sound effect. We have preparation of the be worked out. One and myself. The Severino Garcia Fortea, Madrid, a elaboration can letters asking how ske ch ' thousands of score—from the first July 22-26 of the staff plays the rough score sound so complete ^ Chopin's Short Prelude great artist and well known through Basic Technic for the Early Grades Pinocchio could be made to songs, the roughing while another watches ing out of the transcriptions for guitar of the on the piano he roamed the synchroni- (Continued from Page 462) his July 22-26 “watery”, while blue print to set Piano Teaching Material the film as it passes through a small The in of the works of Albeniz, and by some orig- ocean’s bed, calling “Father! accents, to the the exact points zation and special All three of these pedalings may camera, indicating Pinocchio s inal compositions. High Lights of Two-Piano Literature July 29-Aug. 2 calling was done in the score and or- special treatment is drafting of be used; but the second is the best, where the the recording was Luise Walker, of Vienna, has been straight voice, and arrangement—took a little July 29-Aug. 2 needed. Suppose that Jiminy raises chestral In pedaling No. 3. the pedal depres- greatest amongst the Neglected Points in Piano Technic given over to the Sound Effects De- the hailed as the frames of year. And throughout RECENT COMMUNICATIONS his hand through eight a over a sion is apt to be delayed too long, N of central Europe. This ar- partment, which put it through readers expressed guitarists Repertoire: Bach, Mozart & Beethoven July 22-26 that ges- job, our chief consideration several of our Piano film, and we want to catch entire resulting in the down pedal being career “butterfly”, a silently rotating mecha- be information re- tist began her musical when 29-Aug. 2 of music. The supply music that would I their desire for Chopin, Schumann & Brahms July ture in a startled note was to too late to catch the tone before the nism that throws a marked vibrato fifteen years of age and since then marks the place styling of the artists draw- present day guitarists of man at the camera an aural fingers leave the keys. In pedaling garding musi- into any sound. The re-recording picture and other for- has played in all the important in the film and the man at the piano ings, supplementing the Spain South America effect that no No. 1. the danger is in a too quick of Europe. Also, she gave Each course consists of five one-hour classes; fee $10.00 per course. the submerged 4. cal centers gave i. — . . o Hnu/i nff it For till* The phenomenal marks the same place in the score. eign ’countries. approximate. up and down movement of the foot. City human voice could guitar and several recitals in New York York Thus the place for the extra musi- growth of interest in the Address—Juilliard Summer School, 120 Claremont Ave., New Stromboli’s Italian speech is some- Such a quick pedal change is apt not seven years ago. cal elaboration is indicated and the music during the past decade has thing of a sound effect in that it is to shut off the heavy bass tones. As its Heinrich Albert, Munich, is the most of many young important beats are synchronized stimulated the efforts MAIER’S popular Asheville, N. C., classes, no known language at all—merely a an experiment, try this: While har- guitarist of Germany and To assure a place in GUY action. The vital there are celebrated exactly with the students; and undoubtedly 19-23) registration should be made AT ONCE. jumble of Latinesque syllables, strung Advarum ing the pedal down strike an octave prolific of original music (August music still Singing Films pos- a composer business of writing the quite a number of players who together to emphasize Stromboli’s in the bass, and then make a quick instrument. Since he retired to be done, but the sign- 446) talent and for his All inclusive class fee—Repertoire, Technic, Teaching Material, remains (Continued from Page sess exceptional musical general terribleness. up and down foot movement. It will his fame as location and its type from the concert stage, posts for its extraordinary technical efficiency, Artists Concerts—$25.00 score more modern than then be noticed that all tone is not of advanced guitar been set. the musical a master teacher have The Music Keeps Step but who have yet to win their spurs Meet Me At St. Louis, Louis, which completely shut off by this quick technic has spread beyond the con- Address Guy Maier, 411 Lenawee Drive, R. 5, Ann Arbor, Mich. The use of the click-loop, for de- with those whose — One of the tricks of cartoon music of pedal. Another common in competition tailed musical synchronization, and reigned as a hit at the time of the change fines of his own country. names have become familiar to con- is the exaggeration of normal emo- players is that of makings of the free beat, for the elaboration, St. Louis World’s Fair in 1904. The fault of Luigi Mozzani, Bologna, the most cert and radio audiences. The names tions, or effects, to match pace with action, which re- makes it possible for us to draft an film revives interest in one aspect too shallow foot celebrated Italian guitar virtuoso and Music Lovers to earn LIBERAL COMMISSIONS the unreal reality of the art medium we shall mention, are those of artists, exact musical blue print of the score, of college life of a generation ago- sults in this same failure to shut composer, has been, to a great extent, securing subscriptions for THE ETUDE. Part or well known in their itself, which permits Mickey Mouse who not only are full time. No Cost or Obligation. Write for com- before it is written. Accents, em- mandolin playing. It seems that no off tone. So. when pedaling this pre- responsible for the revival of interest to dance, Donald Duck to sing, and own localities, but also have earned plete details TODAY! Address: phases, phrase lengths, all are campus was complete without Its lude, see that the up action is very in the guitar throughout Europe. Geppetto fry fish inside whale. international reputations through i CIRCULATION DEp’t to a the AN Tl sketched in; we know just how much quota of mandolin-playing collegians, prompt and on the beat, while Terzi, of Milan, Italy, f\f world’s musical Benvenuto THE ETUDE MUSIC MAGAZINE You know it can not be true; yet it their recitals in the 1712 CHE8TNUT 8T., PHILA.. PA. we need of surprise music, water mandolin clubs, mandolin bands, and down action is rather deliberate and guitarist and composer, has given seems true, at least while you watch. centers. music, home music, or chase music, moonlight serenades. To strengthen on the half count. Keep the heel on recitals in European cities. Cartoon music must do the same, Without fear of contradiction we many and exactly where it will come. Since the authenticity of his setting, Mr. the floor and, when making the pedal Turning now to South America, we reaching subtly into effects that are shall place at the head of the list, details of action are stressed by Reed made mandolin playing a change, do not lift the sole of the for years the city of not quite true, but deliciously educated find that many music every two or three seconds, be- Andres Segovia, born and requisite for the extras’ jobs—and foot off the pedal. Buenos Aires has been a favorite SUMMER NORMAL COURSE lievable all the same. It may in in Monte- JO DAY is out a make Spain, now residing our chief problem to work found the market something less The first line of this prelude is guitarists. It boasts of this clearer to outline rendezvous for smooth, flowing, convincing, and a scene exactly video. This artist has done perhaps than overcrowded. Thirty-five years marked fortissimo, but do not play music schools devoted as it developed. several large musically worthy score without de- was more to endear the guitar to the ON hence, will it be a problem in stylistic so loud that there is no reserve left exclusively to the teaching of the After their escape from Pleasure general public than any one else; parting from the blue print before accuracy for of the a film director to find for the crescendo at the end classic guitar, and recitalists featur- us. of work Island, with all its raucous terrors, and his concert tours have taken him Many months intensive a group of of collegiate ukulele or saxo- line. In the first two measures ing this instrument are quite popular are needed to shape and polish the Pinocchio and Jiminy climb out of all over the world. During the past LOUISE ROBYN SYSTEM phone players? slight The cast of “Those each line there should be a with its inhabitants. themes in such a way that the un- the water, weary yet relieved, and Were The season he has given a number of Days” includes Bill Holden, swell toward the second count. The Well known amongst these South avoidably mechanized process of set out for Geppetto’s house, to be recitals in Porto Rico, Mexico, Cuba of “Golden Boy” do OF CHILDREN'S MUSICAL TRAINING fame, Ezra Stone. second line is marked piano, but American guitarists are: Maria Luise composition is completely concealed. welcomed home. As Pinocchio emerges and South America. Bonita Granville, play Judith Barrett, and not play so soft that you cannot Anido, Domingo Prat, Pasquale Roch, The composer who waits for “inspi- from the water, new musical mate- Julio Martinez Oyanguren, a native next line is 8 rial is introduced, to stress the relief still softer, for the Gimenez Manjon, Carlos Garcia Tol- MONDAY, JULY ration” would do well to observe the of Uruguay who is now making his At the present writing, often be- cartoon composer, charting work of escape. Soothing, fairly neutral it is thoug marked pianissimo. It is sa, Hilarion Leloup and M. Rodriguez his that the early headquarters in New York, is busily summer will see tl pianissimo, by signposts in advance, music is heard until Jiminy appears, lieved that, when playing Arenas. TO THURSDAY, JULY 18 marked yet release of engaged with concert and radio per- the newest Shirley relaxed. Noth- guitar turning out melodies that must be when his little jumping theme is Temp the fingers should be In Japan and Russia the vehicle, formances. He is also a composer of “Young People”, truth catchy hinted as an inner voice of the produced I ing could be farther from the a host of admirers; but to the MORNING AND AFTERNOON SESSIONS enough to be whistled. new 20th great merit. has Century-FOx. The time Aural theme. Then, as Jiminy takes musical ii Rudolph Ganz says that at no knowledge these countries details can make or mar the the terest Vincete Gomez, best of our in the picture lies in more at present in New UNDER THE PERSONAL DIRECTION OF styling of a cartoon. A cartoon is center of action on the way home, the han does he keep his fingers in a yet to produce a virtuoso of of a song York, has toured Europe, Northern have his writing team playing the clever by its very nature; and its theme becomes stronger. The au- that brin set condition than when the first rank. LOUISE ROBYN, Associate Director together two Africa and the Americas. While his dience knows of the best of Cho- music must pick up clever touches, where they are going; knov last two pianissimo chords The artists, whose names we have AMERICAN CONSERVATORY OF MUSIC names in the history repertoire includes many classics, he without the least stress on cleverness yet, as they approach Geppetto’s of popul pin’s Berceuse. not only are fine guitar- screen music. is considered one presented, KIMBALL HALL, CHICAGO, ILLINOIS house, the Harry motion of the greatest ex- for its own sake. Accuracy of style, first measure of Geppet- Warren is wri Remember that a quick also are well versed in musi- mg the music, ponents of the ists, but to’s Little and Mack slow Flamenco style of quickly established, is also of prime theme ( Wooden Head) is Gordon w makes for a loud tone and a are continually add- Send for a Free copy of the New, Enlarged edition furnish the guitar playing. cal theory and of heard, blending lyrics. Mr. so, importance. The old worldliness of with the relief Gordon h motion for a soft one; compositions and the Louise Robyn Graded provided the makes Carlos Montoya, ing worth while Teaching List. ADDRESS— theme. Geppetto’s words of pro- of Spanish nation- Geppetto’s life was caught by the house is empty some of Shirl when playing these soft chords, to the existing guitar Temples aMy, is known for arrangements ROBYN TEACHINC SERVICE exaggeratedly empty, greatest “hits” not his extraordinary tinkle of the music boxes. The quaint- with spider- incluri.. ceed slowly Into the keys—but. something for the young e m virtuosity in the literature, ness of webs where they could y°“'' o Flamenco style and 4714 Kenwood Ave., CHICACO, ILLINOIS the village was tonally fixed not possibly o“? with fingers. And, most students to think zEat v:Your Spinach; puttylike has been appearing American guitar by themes of set, long ago rhythms. have collected after only a few Goodnight cannot in public with days’ Love; 1 all do not forget that you about. time and straightway and Oh, rgentinita, the celebrated Spanish EDUCATIONAL WORKS BY LOUISE ROBYN The whale and fishing scenes were — the music My Goodness i you are think- n S play pianissimo unless dancer. Music Or Noise Published by OLIVER DITSON CO., Theodore Presser Co., Distributors, PHILA., PA. scored in distinctly modern tonality, becomes empty, barren, speechless the theater ^ow; SseTf°itself d ing pianissimo. Emile TECHNIC TALES—Book One 7S ROBYN-HANKS to suggest eeriness. with bewilderment. Jiminiy during his Pujol, born in Spain, is a Listening to a recent broadcast by HARMONY—Book One. .75 hops to school days this Prebit Teacher's Manual to Book One 75 ROBYN-HANKS which time If. after working at Pupil of HARMONY— Book Two .75 The Music is the window, to peer in, it got Tarrega and makes his home one of America’s “famous” banjoists, TECHNIC TALES— Book Two 75 Department greatly and a slight him no furth chord ROBYN-HANKS HARMONY—Book Three .75 Op. 28. No. 20. you find your rn Paris. Teacher's Manual fa Book Two 75 movement in He disturbed by the SNOW QUEEN SUITE 75 assisted by the Sound Effects Depart- the orchestra suggests ha'f has given recitals in the writer was quite CHORD CRAFTERS work that you THE CHILD CHRIST Piano Suite. Improved, and any TECHNIC TALES— Book Three 75 — i 00 ment. In cartoons, the music must that he is again about to European cities and his com- terrible noise which was extracted plunge in e& ROBYN ROTE CARDS 75 KINDER CONCERTO—(HAYDN) Arr. for a better understanding of P positions often seem like and fix things. u t and True, in my Two Pianos by Louise Robyn. sound effects, with- , arrangements instrument. KEYBOARD TOWN 75 ' The entire sequence sones f *«' your- stamp from his 75 i«wi » legato, you can congratulate ® as ROBYN-GURLITT 75 KINDER CONCERTO-( MOZART) out ceasing to be good music. The is good cartoon music, ?S!Ses“ nr an accomplished musician. mind’s eye I could see the nimble fin- Arr. for skipping with er d “ progress n ROBYN-HANON 75 Two Pianos by Louise Robyn music to HoUywood " self; for you have made Regino over 75 boxes, in Geppetto’s house, exaggerated ' u Sains de fairly fly speed from relief, “r f ar‘° la Maza, Spanish, gers of his left hand to of P* nas niensely i two great fundamentals raveled popu ar D:a Y extensively in Europe (Continued on Page 497) 494 ouev*s£ playing. JULY, 1^40 495 — — 5 $ — —

orchestral instrument, but to the Baby Snooks^as cf listeners writer the piano tone is so distinc- scholars as lions door neighbor’s Ex. tized the studies of such c a« next different, that it never Hooten, genuine as And tive, so sounds Training for the the Airways Ehrlich, Compton, but the piano. Technical Concerts Dver Einstein, child, or one are as like anything Who Page 448) and others. The •Human snooks Curie, , (.continued from Mme. Brice and heard a bassoon that sounded coopera- Fanny ®f listeners as ever Accordionist is presented in radiojdl0 us Child Adventure” inseparable to most like a piano, or an oboe that even Symphony the University of Chicago, ^d Edgar Berg^ from Page 493) conductor of the Boston tion with Charlie McCarthy a resembled a piano? This, however, (Continued of univer- Choose PROFESSIONAL Training also presented a Cer- and is based on research radio Orchestra, was Recently voted is a small point in a most thought to have a child many nation w de pofi o theorgan.It is well tificate of Merit for including sity scientists. in a book in which your by by orchestra, comedienne, and provoking re- five finger exercises works in his programs. Johnny Green and his radio editors nractice the American seven hundred viewer find" little with which he can- tone of gossamer Fourteen and Bn^ with a at struction are also out- middle of May, Barlow with Ray Bloch’s Swing columnists Fanny 5 ginning Many of the young people studying by teachers who In the newspaper heartily concur. His chapter grad- of weekly not and, with repetition, Sherwood have selected this 40-year standing artists ... a fact worth his fifth annual series of solo stars, opened a series lightness opened aesthetics is especially fine, powei plan your music (Columbia performance upon as build up a tone of old school because it is known far and remembering when you concerts on Sunday after- programs not so long ago nallv to summer SeT'and SwenS-Mth which he calls "Clinic”. wide for its thorough, professional in- training! 8:30 to 8:55 PM ahow^ is that and then, in like man- noons (3:00 to 4:30 PM, EDST, Co- Network—Sundays, the Good News and volume, "The air with Practicing “pianogogs” will cer- is not program of program features special to Fanny decrease it. This feat NEW TERM BEGINS SEPTEMBER 16 lumbia Network) with a EDST) . The is as real ner to as Baby Snooks tainly find much in this book to help months highlights of arrangements of current favorites but none will require many American works. The as that incorrigible easy and Accredited instruction. Courses lead to cer- conducting. of Brice them in their daily routine. Pros- satisfactorily tificates, diplomas, degrees in piano, Dormitory accommodations at moderate the “Indian Suite” well as revivals of popular tunes is to so a child can do it and the broadcast were lovable character before We submit herewith a few excerpts violin, cello, voice, organ, wind instruments, cost. Write for catalog. S. Michigan in the well the less pective teachers will find it extreme- once he has 4J0 MacDowell and the “Sec- past years, all performed She ^es the guarantee that theory, composition, public school music, Ave., Chicago, III. by Edward many of her listeners. but we of exercises which were selected as by Wil- manner. It is a breezy play, ly useful. has mastered the ond Symphony, in C major” known Green each time she perfected it, he good examples of practice material Institutional Member of the National Association of Schools of Music those part, she says, is a young designed to appeal to the “Planism” artistic accordion playing. liam Schuman. Schuman show, her expressions convey secret of to strengthen the fourth and fifth popular style. it- even Author: Will Garroway these who is on the arts fac- who like the mixed Thus her stated before, all of New Yorker reactions of Baby Snooks. As we fingers. They were taken from “The College in acts as master of Pages: 206 »7" x 9") ways to ulty of Sarah Lawrence Johnny Green her mouth turns up suggestions for different piano eyes widen and Young Virtuoso” arranged by my —I York. His symphony ceremonies and is heard at the is Price: $3.00 finger exercises are to MUSIC SCHOOL Bronxville, New corners when Snooks practice five son, Pietro Deiro, Jr. Small accor- at the Fischer introduced by Barlow two in occasional solos. crying Publisher: Carl in conjunction with was first happy, and when Snooks is be worked out dions, with less than 48 basses, should -SHERWOOD concert ago, in the same series of sum- Memorable was the last this years Without , her mouth turns down. play the bass ar.d chord accompani- , —— JUILLIARD SCHOOL OF MUSIC concerts. Its repetition was the that Toscanini and the NBC Sym- Brice mer change of personality. Miss ment; while larger accordions should of Barlow’s adopted policy of phony Orchestra gave, on May 6, ERNEST HUTCHESON, President result would be unable to lections. son-in-law, contends she play the single bass notes indicated. giving second hearings to new com- with the conductor’s real to of Music and of accordion in- this character seem The Lnve The next phase summarizing five finger exer- has advanced. Horowitz, as soloist. The make In posers whose music he Vladimir children is the develop- ART herself and to the public. struction for cises we find that they are far more INSTITUTE OF MUSICAL in these Sunday broadcasts, Italian maestro honored Brahms It Is Cultivated Barlow, been with me on How of velocity. For this purpose we A. WEDGE, Dean were re- “Baby Snooks has ment important than their name implies. GEORGE is placing an added emphasis on that evening, and listeners air for nearly (Continued from Page 441 1 the use of a metronome in of the stage and the suggest Each one is a veritable magic wand works by American composers; and, warded with superb performances Individual vocal and instrumental instruction. Classes in Theory, Com- she says. “I used her practicing these exercises. It should on and the “Con- twenty years,” providing basic material for the cre- as in the past, the music heard the “First Symphony” of music is plain work, position, and all branches of music education. ‘Ziegfeld Follies’ and on many rare. Much be set for a very slow tempo to begin from for Piano.” in the ation of countless individual exer- these programs is being drawn certo in B-flat major is climbing to- radio appearances. But until a sheer drudgery. Much and then gradually increased with Courses leading to diploma and B. S. and M. S. degrees in instru- familiar works, from and soloist were in guest cises for all phases of accordion de- the repertory of Both conductor to be attained. departments. short time ago I never realized ward a goal never each few repetitions until each of mental, singing, and public school music of novel interest, making their hearers fully velopment. lesser known works fine form, art of muric can where she came from.” Many who ply the the exercises can be played rapidly * • * and from new compositions of merit. conscious of the stature and elo- Catalog on request. Meredith Wilson leads the orches- hardly be said to love it in the long and very distinctly. The fourth and the young quence of the music performed. It Pietro Deiro will answer questions Room 122, 120 Claremont Avenue, New York Bernard Herrmann, artists who tra with the “Good News Hour,” and run. There are aspiring fifth fingers are naturally the weak- composer-conductor whose dramatic was a brilliant close to the third about accordion playing. Letters mastery of provides a background of music that devote a lifetime to the est, so many of these five finger exer- Dick”, was presented home series of concerts by the NBC should be addressed to him in care cantata, “Moby hypercritical inevitably pleases. Wilson has a flare the skills but become cises have been designed for the pur- last spring by the New York Phil- Symphony Orchestra. of The Etude, 1712 Chestnut Street, THREE FREE COURSES original arrangements, and he sour when they fall to feel the pose of strengthening them. The ar- Trinity Principle Pedagogy (Perfect! harmonic-Symphony Orchestra, has Columbia Workshop presented on for and Philadelphia, Pennsylvania. MAESTRO MARIO G. FERRARO command Musicianship (Elementary and Advanced! can be relied upon to present an un- aesthetic glow or gsdn the rangement of notes also tends to trill hold Piano Playing (New Different) returned to the Columbia network April 25 a work it had commissioned and usual number on each program. public acclaim. Many an aspiring stretch the muscles and to increase Five Weeks Summer Courses not “do re mi” another series of orchestral pro- Nicolas Nabokoff, Russian-American of SIGHT with Teachers not numbers suffers a similar defeat. It the span between the fingers. for Advanced Singers and Vocal SINGING grams called “Exploring Music.” composer, to write to Archibald Mac- amateur not intervals Artists on the Twelve private lessons and twelve class lec- is a notorious fact that many who Adult accordionists often find diffi- World EFFA ELLIS PERFIELD These programs, heard recently on Leish’s epic poem, “America Was tures covering the Anatomical-Physiological, have 103 E. 86th St. ( Park Ave) New York City 5:30 PM, EDST, composed in the profess a love of music do not culty in transposing, yet many teach- Psychological and Pedagogical understanding Mondays from 5:00 to Promises.” It was The Etude Music Lovers Classic Guitar SAeramento 2-4859 and imi- of the voice . 00 . are always worth while; for Herr- form of a cantata for bass and con- it but are mere pretenders ers of children begin this important — 35 At the lectures, questions may be asked and unconscious, and study early. Page 495) mann has the happy faculty of se- tralto soloists, male chorus and or- Bookshelf tators, conscious or They find that the five (Continued from notes taken. disavow it are finger For particulars address flRiene TKeaire ™ arranging exercises provide excellent lecting unusual works and chestra. The singers were John Per- ( Continued, that many who $ from Page 449) •3 Schools DRAMA, DANCE, For music in finger board; but speed and noise 68th St., New York City OPERA— Acting:. Teach- novel programs. cival and Pauline Pierce; Eugene merely dying with all their simplified material to be transposed. the 16 West ing, Directing. Faculty 36. STAGE, SCREEN & RADIO hearing Phone Susq. 7-8104 appearances while learning. Graduates: Una Merkel, Fred called the reader; and the instruments upon Naturally, every exercise do not produce music. After Astaire. Lee Tracy, Laurette Taylor. Peggy Shannon. Cata- A new series of programs Lowenthal was the keyboard. He them. should be log. Apply Sec’y Schubert. 66 West 85th St.. N. V. lovers of that sort, it is no “Invitation to Learning”, designed to Columbia Concert Orchestra and a says, for instance, “Violin tone can Yet the company of music memorized, and this adds another a performance universal that persons with a stimulate reading or re-reading of male chorus were under the direc- be imitated upon any note above G' is great. Music is the most example of the use to which these wonder many all turned against the famous books which are basic to tion of Howard Barlow. below ‘middle C.’ In the higher regis- avocation. This has been true of simple exercises may be put. sensitive ear are NEW ENGLAND a players of the plectrum world culture, recently replaced the Through the facilities of radio, be- ter the tones become more vital and races at all culture levels. Only Ex.l banjo. Some occasion, displayed OF “Pursuit of Happiness” broadcasts on fore the program, Mr. MacLeish was penetrating, whereas the lower tones fraction of one per cent of persons guitar have, on CONSERVATORY MUSIC of tone Wallace Goodrich, Director. Quincy Porter, Dean of the Faculty. Faculty coast-to-coast network able to give a brief talk from Wash- ‘G string’ it do so the same lack of appreciation the Columbia —are unusually sensuous who hear music or practice of eighty-four. Courses for Bachelor and Master’s Degrees. Diplomas. over- on Sundays (4:30 to 5:00 PM, EDST). ington. In the poem the author de- and resonant. Legato people, preserve quality. Such things may be Special students in all fields. Orchestral, ensemble classes. Dramatics. and staccato vocationally. We. the Illustrated 1939-40 catalog M. 310 Huntington Avenue, Boston, Mass. Concerning themselves chiefly with tails the resources of this country, are equally an ac- looked in a novice who, through effective and natural to it primarily as an avocation, an open discussion of the books and asks the question “America was this cul- youthful exuberance, tries to tone-structure. The staccato on tivity purely for pleasure and sheer libraries of the promises to whom?” The answer is, a his speed and REVISED DUNNING COURSE which were in the — violin has three distinct qualities, impress his hearers by THE CONVERSE COLLEGE tural enrichment. School of Music Fathers of the country to those who take it. “Believe unless which experienced OF MUSIC STUDY Founding also can be simulated love music tone volume; but in an Spartanburg, South Carolina on the Why then do we Mrs. Jean Warren Carrick, international Dean the who wrote the Declaration we take them for ourselves, others piano inexcusable. Players A Leading Southern Music College men pizzicato, or plucked: love it be- player they are Pre-School, Intermediate, Junior, Senior, spiccato, Among other things we An endowed professional school; nationally Constitu- will take them for the and Creative Courses accredited. of Independence and the use of others!” done with a ve instruments strung with wire Full Bachelor of Music and Master of Music degree springing or physiological of the Classes for Teachers and bouncing cause it creates a District Normal and diploma courses; B. A. Music Major in Converse eminently the poem declares . . . tion—these broadcasts are “America is bow, and played with a plectrum Advanced Students College Liberal Arts Department. Teachers of detache, or it is biu strings and national separated being in our organism; reputation; Women’s dormitories. Summer worth while. promises to take! America is For information address session; prom- bowings. should realize that a good tone can Artists’ Concerts. Moderate Tuition. For Catalogues from materials which are beautif Secretary, 940 S. E. 68th Ave., Portland, Ore. Adventure”, which ises to us to take them brutally with Address: Ernst Bacon, Dean The “Human “Octave legato in us be produced only up to a certain piano playing is objects in themselves, it carries dramatizes science’s struggle to lift love but take them. O believe this!” closely “forced” analogous to legato im- point; when the strings are octaves through the realms of creative ESTABLISHED 1857 the level of civilization, was recently There was eloquence and forceful- on the violin.” in a large and fee beyond that, especially demand. ness to the poem, and the agination. thought, actions, extended by wide popular music had He then is nothing left for goes on to tell is self auditorium, there over- the admirable dramatic effects, how the ings In limitless art forms; it CONSERVATORY First heard last summer partic- oloncell but noise. So it is up to °- the bass viol, natural impuses. the listener Columbia Broadcasting System as an ularly in the orchestra writing. The ; t Ti propelling through the flute the piccolo, player to find out just where the PEABODY BALTIMORE, MD. the language the returned performance was splendidly oboe, the such as rhythm: it is the experiment, this program alive rn his instrument OTTO ORTMANN. Director ’ the bassoon e good tone quality of ?° - th e clari- of social to the airways in February of this with Mr. Barlow as its guiding spirit. nefnet, the of emotion, a generator One of the Oldest and Most Noted Music Schools in America. trumpet, the hum ends and noise begins. For this rea- year, for thirteen weeks; One of radio’s most horn, the trom- lowship; us out of the a scheduled convincing bone, the it takes large as- tuba, 1 it is advisable to avoid and so on li ye son but so insistent was the demand for characters is Baby Snooks, heard can ^e drum of life and makes us imitated on the halls, unless an electrical weekly on the keyboard. Every satisfies o sembly “There is no such thing as an orchestra in view its extension that a decison was Maxwell House Coffee in music tvro play with the ideal: it my of composition. What- teaching amplifying unit is available. Do not have done made for an indefinite continuation. Program, “Good News of 1940” knows that coi duest ever I may heretofore, I write no longer for orchestra. What I Xe cravings for intellectual ' not play magination >- of force your instrument. Do do is compose for an ensemble instruments; it Exploring dozens of fields of re- (Thursdays from 9:00 to 9:30 P. ma be stimu- attitude to of may be large, or it max M.. ETh1 ted Vby isolation In the artistic the suggesting for the bridge; for there be very small, requiring only two or three players. search, this broadcast has drama- EDST, NBC, Red Network) that a too close to ... I don’t care if you . To mil- group tone emotions, and for self-expression of tones stiff and the resultant count out elaboration of tone colour altogether and give me a piano. suggests this or that strings are Cannot the joy of expression. 499) everything be told on the piano that needs to be ?” Igor 496 ( Continued on Page Stravinsky. THE ET0 497 -

of the public demand for the really masters and of its The Champions great apprecia- STUDY? tion of the relative importance of WHERE SHALL I GO TO from Page 435) rtri“ S «Continued their accomplishments. The thought ranking Monteverde and Musical P" of Gersh- grxixxrxxxxzixxxrxxxxxixxxxTXTTTTTXXTX Y T XXXXTTlBiilX XXXJw ;^™ win ahead of Chopin, Schumann, Historical ? A. WOOD readers desiring additional ^'TLTS, h Private TEACHERS(Western) RUSSELL j copies Etude Etude of this Elgar The “11 Tschaikowsky, and Verdi, page and piges previously publiihed are **: aadl,ional h « ” referred I*5 - An Teacher of Voice for lection of the direction* securing them in the X* seems that of “half-baked” and Cot to Pub. the list of Serial lither’* \oirt section of this issue. 3 ROSE OUGH of Music x jMpkaUicJ »T » lamentably inexperienced minds and Y.M.C.A. College alphabetically, in Feb- _Jn S» which began VOICE Chicago, III. This series, J 1234 Kimball Hall J in the issue of M y not, in our opinion, represent ruarv 1932, concluded does M Former Assistant to Lazar S. Samoiloff group includes a number Edition of the Ency- This supplementary “SThe Ninth 8 in Hollywood .4 list. *•— the appraisal of the most widely in- _ names omitted from the original £STi5 been em- Reopened Her Voice Studios at Th, had H Britannica Private Teachers [Eastern) x riopedia formed musical public in radio con- N 1931 8TH AVENUE OAKLAND, CALIFORNIA of his chier — Cattell as one h Telephone Glencourt 6115 nloved by scious America. information and could be BARBARA BLATHERWICK J of S EDNA GUNNAR PETERSON sources far safer and more representa- - Opera h purposes with A Recital - Coloratura Soprano for comparative Concert Pianist—Artist Teacher ,sed tive that of J Teacher of Voice the pres- criterion would be ob- N Eleventh Edition, M Calif. Canto, founded on the th later taining from ten or twenty represen- 229 So. Harvard Blvd. Los Angeles, The Italian Bel ^ measured the H FE. 2597 principles of Manuel Garcia M writer carefully GRamercy 5-6392 et tative publishers of the world a list East 10th St. New York Tel.: M the musi- I devoted to each of LAZAR S. SAMOILOFF Lee of their reprintings of the master- in it (i.e., those with m Voice teacher ot famous singers KATE S. CHITTENDEN appearing jj cians pieces. If this were to be done we presents Repertory Appreciation « biographies) . He From rudiments to professional engagements Piaroforte — — the largest ^ think that the list might run some- Beginners accepted. Special teachers' courses 853 7th AVE., “ M THE WYOMING, Auguit Bung.M mm mm * NEW YORK Ingebora «" TABLE 1 thing like this: 610 So. Van Ness Ave., Los Angeles, Cal. ,1 Brighton, l-ctiogr.d. Au*. Rank Bridge—B. 1 CHANGES in lfo a - Frank I-*' ' Beethoven 10. Rossini Brico—B. Cai ?.?' Comp Munich. Jimd?. : 1. Breval—B. MSnne- Antonia Eno- Feb. 26. 1879. 1913. Comp., cond.. OLIVER DANIEL l Brendel —B. Stol- Lucienne Studied in New Yo.k at vi l pianist Bupll °' , ' l, J ELIZABETH SIMPSON Karl Franz Switzerland; Dramatic Cond. violist. Studied of 1 .v 'V,« ” d. Leip- dorf, ever cond., pianist. Cond. von II «t«, or 2. Bach 11. Schumann 26, 1811 ; Berlin. First woman mein.. Joa- of Han, 9th 11th Gain Piano ber" Nov. Studied at Paris and Tt In 1906 “d‘I* Berlin. soprano. . C M Lcipi-.it: niualc. >ln. Nov. 25. 1868. Writer, Berlin Plnlh. Ore Royal Philh. tics in opera,. 1>I*"» Author of "Basic Pianoforte Technique” the zig yrs. sang to conduct Cond. , Ilanoxcr. E.B. Loss J intelligent music-makers of Cons. For many Angeles chim Qt. Dir.. R- Theater, Cattell E.B. 3. 12. "One of fhe mosf M editor, teacher. From at Guest cond., Los Many appear- placet. Wagner Brahms tur princ. dram. sop. roles Y. goc.. London. works. * rising generation."— Boston Globe. ed “Neue Zeitschrift 1892). Symph. O. Cond., N. cond. Orchl. Teacher of Teachers. Coach of Young Artists. H muB. Paris Opera (debut ances as guest Hall, New York Musik.” Was prof, of Women’s Sympn. O. 1.5 5 —3.5 4. Mozart 13. Tschaikowsky * Pupils Prepared for Concert Work. Class Courses 26 Lynde St., Boston Carnegie N In Amer. 1900-02. Mozart ... 1 Leipzig Cons. * Bldg., Providence, R. 1. hist,, 7 2.5 4.5 in Technique, Pianistic Interpretation, Normal 615 Jackson M Beethoven ... 2 5. Schubert 14. Mendelssohn Junior College Methods for Piano Teachers. Katherine Gibbs School Marot H 3 4 Handel...... 15. ^ 8 11.5 —3.5 6. Chopin Gounod Haydn .... 4 H 609 Sutter St., San Francisco; 13 X 16. M 2833 Webster St., Berkeley, Cal. ALBERTO JONAS Rossini ...... 5 7. Verdi Weber j 6 1.5 1 .5 Celebrated Spanish Piano Virtuoso M Wagner ...... 8. Handel 17. Puccini 6 9 —3.0 Teacher of many famous pianists h Weber 7 Private Teachers (Mid-West) h 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-2084 H ... 8 3 7 —4.0 9. Liszt 18. Debussy On Tuesdays and Wednesdays in Philadelphia, as H ... 9 5 10 —5.0 Director of Piano Department in the Combs College m 2.5 7.5 ...10 10 CECILE DE HORVATH of Music, 1331 S. Broad St. m 8 1.0 J Gluck ...... 11 9 (Ernesto) Schubert ... x x 6 Artists the Concert Pianiste and Teacher (Frank) # World on J M the noted virtuoso and conductor, LaFORGE-BERUMEN STUDIOS first ten in Pupil of ; In the above table are shown the ranks In Classic Guitar Ossip Gabrilowitsch Voice—Piano Venice. list along with the comparable Ind Antonio Caldara B each Noble Cain—B. Aurora the person 418 Fine Arts Bldg. Chicago, III. Frank LaForge teacher of Lawrence Tibbett since 1922 Vinton, Adolph Busch—B. 1678; d. Vienna. I»ec. the other lists. The x’s mean that m Comp., pian- ThHel Burnham—B- 1891. Sept. 25, 1896. Comp.. Choral chain Clarence Burg— Pianist. Westphalia, Aug. 8, 1736. Comp. Imperial or was given ( Continued, from Page 497) 1100 Park Ave., Corner 89th St., New York Stojowski, Ohio. Dec. 28, 1884. Studied at cond. Founder -cond. of fa- pro- In question either did not appear H ist. Pupil of Ganz. a Comp., violinist. ber-comp. at Vienna. A 9-7470 192J- At six taken on tour as Cappella Choir. Chi- tear tier, wr Tel. Atwater M Raab. and others. From Cons. Succd. Mar- mous A of operas, ora- eoo4.. very brief mention. The figures In the “Gain EPPERSON child prodigy. Studied with Cologne choral mus. of lific writer FAY pres. Oklahoma M. I. A. Hochschule. Sonata cago. Dir. of chamber al Maidrill Coo*, 5 33 and Lesehetizky. teau at Many torios. masses, and or Loss” column come from a comparison of harsh. Do not overdo the Okla. State Mus. Comm, W. Mason with R. Serkin. Chicago div. of N.B.C. piece* and churrl tone is m School of Whistling Mem- tours of America recitals arrgmts. music. RICHARD McCLANAHAN H Col I. ot Extensive choral works & columns. of Examiners. Dean, Orchl. and violin works. orig. the second and third the N Breath-control, tone placement, bird-calls. City TJmv. and Europe. tremolo of four string chords on Representative TOBIAS MATTHAY Fine Arts, Okla. H Platform etiquette Private lessons, class lessons in Fundamentals in Table 1 Cattell’s original list tenor banjo or plectrum guitar, as * Studio: 522 Fine Arts Building . 10 Thursday evenings, Oct. 12 to Dec. 14 Lf 410 South Michigan Chicago, III. which was compiled from the En- result is anything but musically 806 Steinway Bldg., New York City the Studio, 2738 Midway 5287 H M Phone: Webster Home, cyclopedia Britannica and other satisfying. It is far better to use the

sources, a second list based entirely so-called “Duo Style”, sustaining the MAE ELEANOR KIMBERLY CHARLES NAEGELE ; Coach—Accompanist— Pianist Distinguished Pianist m on the Ninth Edition, and a third note with the tremolo U top or melody H H Studio—Room 422, Fine Arts Bldg. Individual and class instruction of M list constructed from the Eleventh and playing the accompanying chords M all grades under his personal direction. 410 S. Michigan Ave. Chicago, III. Special privileges available to gifted applicants M Edition (perhaps the last of the Tel.—Wab. 7579 Home Tel.—Gra. 1547 N staccato. J THE AMERICAN CONSERVATORY OF MUSIC, more scholarly editions). This was come to another important DRAMA & DANCE H We now Street, * ARNOLD SCHULTZ 1 14 East 64th New York City done to make clear the changes in matter, much neglected by some l m Teacher of Piano attitude that plectrum and its U -j Bruna Castagna—B. Milan. MarioCastelnuovo-Tedeseo— Emmanuel had occurred between players; this is the PROSCHOWSKI . « t)Q n Hcnrvn Lincoln Case—B. Jer- H Author of the revolutionary treatise on FRANTZ Casadesus—B. Pans, ” Italy Ahualu- Robert ®. . Operatic contralto. Debut at B. Florence. -M*:. bart. H Carrillo—B. jJ Com p . , chi I*uy Julian PianisL Muuiea J. ' an ~ '' the publication or N piano technique 1875. Comp., vio- Apr. 7, 1899 in Mantua. For five years, mem. 1895. Comp., pianist. Ills 1841 of these two editions. use. For solo work on the banjo Vocal Teacher co, Mexico. Extensive dir., teacher. studied M Pianists' Fingers" N at. Paris Cons. or. "The Riddle of the City, . in Opera. Debut at works played by major h*. linist. Studied in Mexico - Director of choirs of La Scala 1894 200 W. 57th St., New York Europe and qS. aAn epr N y “It should be Cattell plectrum of Press N Leipzig. Dir., tours, . wro a Metropolitan Opera House. In 1939 debut with N \ noted that the plectrum guitar, select a * published by the University of Chicago Ghent., and Y.,lJ30.t5mo^ Y City. At 18 te Tel: COLumbus 5-2136 h 1913-15, Mex. Cons. Guest Debut in N. prolific comp, of 1936. Festival, radio, and Philh. -Symph. O. in pr. m. M A ’* and BLDG. CHICAGO, ILL. with jn., x. r • the stiff yet pliable; 622 FINE ARTS N cond. in N. Y. Operas and ist hems, songs & other wks. concert appearances. of his “Second Concerto. Ninth Encyclopedia lists medium size, rather J o., uao. ant orchl. works. Sympn. contain almost the identical names soft plectrum will cause a click A.A.G.O. a J RAYMOND ALLYN SMITH, Ph.B., EDWARD E. TREUMANN for the will eleven most eminent posi- when attacking the strings and m Dean Concert Pianist—Artist-Teacher H Central Y.M.C.A. College JJ tions (Rossini to the listener. Recommended by Emil Von Sauer, Moritz Moszkowski H being the exception). prove quite annoying M School of Music and Josef Hofmann. ^ Their agreement string do not courses leading to degrees. Coeduca- on the exact order When ready to strike a 2 Complete Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. m or Evening. Low tuition. of tional. Fully accredited. Day fel. Columbus 5-4357 New York City eminence is not large, however. with the plectrum J M begin the stroke Illinois Summer Master Class—June to Sept.—Apply now. H Kimball Hall, 306 S. Wabash Ave., Chicago, m When the two the string editions of the Ency- two or three inches above X TTT T T T T T T T I I I TTTXX T I IIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII x clopedia are compared it to the strings al- becomes but keep it close piece, even the simpler duets must be memo- obvious that Bach and Beethoven ways. The tremolo should be exe- Plenty of Pupils rized. Sained Fifth : I use report cards on which a careful strings Etude : . considerably; . . . the 'o The . . Wagner gained cuted more by rubbing , , , record is kept and at the spring recital prizes years I tried hard to build as For Quite a few are awarded to children who have had con- much as his position rather than by a piano pupils but found it rather would al- back and forth, ip a class of sistantly high averages for the year. Each time reasons : 1. I am Florens Friedrich low, lifficult for two very good B. Kendel, Jonas Chickering—B. New Ernst Samuel Chotzi noff— B. Winifred and Mozart, stroke. a child plays in public—in school, at parties, jan Chiapusso— Christie U Eng- Haydn, Weber, distinct down and up to which access is easy ; H., Apr. 5. 1798; Chiadni —B. Wittenberg. Nov. Vitebsk, Russia, urrounded by cities Java. Pianist, teacher, waiter. Ipswich, N. July 4. 1889. land. Pianist. or for any large audiences—I award extra Cel. 3D, 1756; d. Breslau. Apr. 3, Studied at stayed in town shopped Mendelssohn * Chicago and Co- d. Boston, Dec. 8, 1853. Pianist, music critic. Assist- R. A. and these suggestions, we the few people who Studied in 1827. physicist who made M. Tours of Kur child. y unsolicited small party is given at the begui- parent and college sophomores, ing down a string on the guitar, Third : A Seventh : Above all ; no matter ling of the season, one at Christmas and one how poorly were the prepared a lesson, no matter requested to list the ten there is a buzzing noise then, n June. Games are played, among them one in how annoyed I get melody. The even with good reason. I never allow a child ans of which vhich the child writes an original history who have con- frets may need adjusting, handed to the to leave my studio without a smile Mb, ? , manuscript is numbered then and a tributed it and promise to give a better lesson next most to musical advance- be done by an expert. The eacher at the piano who harmonizes time. London. should the piece and no Now I am not only holding all old Walter W. Cobbett—B. Black- Harriet Cohen—B. Samuel Winkley Cole—B. ..-yuoi uunidui ment. >lavs it. The children judge my pupils, — i > . r»PTl in Pianist. Studied with parents Meriden, H., wiii musical hut getting pupils all heath, London. July 11, 1847 ; N. Dec. 24, ne marion Cook — beautiful, the one who numbered it knows who new the time, many of 8 1: d - there production of a me* except Matthay. Debut, 1848; d. Boston, D. I Jan. 1937. and Tobias Apr. 7, ., J» n . 27. d. London, 22, ?J ilV3 r 186m * that there is no question about them from those “just as good but cheaper” '- - organist. S vrote it so Mus. patron, amateur violin- Queen's Hall, London, at 13. 1926. Chi. dir., organist, tchr! KapellmKanniS Studied reoult at all times the aim in , be 1939-31. First theaters in Stet- at which seems by tone should the prize was fairly won. teachers. ist, author. Estbld. various IT. S. tour Dir., People’s Singing Class, tin, »nd in nn^mo vhether Berlin, and Cologne. \ Berlin con- In- ^ ans recitals are held ; every performances of many and People’s : Semiannual Ethel prizes to encourage English Chi. Pnion timate of ized and direrte*! accurate as instrumentalist. Fourth — Page English piano wks. Boston. Liszt. Operas N» an indication of every chamber music activities. temporary Mus. dir., Boston U. orchl. works, Syncopated Orrh ensemble pieces’. M, cessful songs, alto tm WW, 1940 499 498 a

THE PIANO’S ANCESTORS Wagner. Friend of Animals ( Continued)

Bf nttu Q. -dtu chord years before this, and the century; 1709, I think it was.” Ancestors said Piano’s harpsichord even had pedals and was “I must remember that date,” The what have they done to leave his lodging. But, before he Pussy,’ scrap “Pussy, a very handsome looking instrument. Jeanie; “I think I’ll put it in my Richard tya gner one left, he loosened the beast from its Catherine fUecJowS you? c Then the virginals and spinets were book.” t° upon a ca f that chain, took it up stairs to his room, used for a while too, but they were “Pianos have been improved since day ’ and left fed it, gave it a bath. But the dog, what were harpsichords "I had rudely kicked Their tone has . „ +v>ic nld “Well, some on small and soon the harpsichord be- then, too, you know. not have , the side of the who had never before been washed wish we did _ like ?” asked Jeanie. helpless by improved, and their shape has “I hef tying or combed, turned came the favorite.” been J®anl ’ picked up the m- on Wagner and whimpered a big question, honey. Sit road. He times, from piano,” . “That’s country keyboards have been been changed several a new bit his thumb! “Two must we had let’s begin stroked its fur, and The wound became self; “I wish down here and at the be- animal, said Jeanie, “be- square to upright and grand, and . ther hard to manage,” as n S it infected, and for a long time the added, just the piano’s ancestry. So towards home, carrying one,” she ginning of hastened cause is too for me.” now they seem to be going back to master had to abandon his work. one much room. herself comfortable in entered the Jean i e made his arms. upright shapes again. But yo we in “Oh no, it isn’t, Jeanie; your play- the small I, dear, but as her mother he called as he “So do . the easy chair told “Minna, Minna,” of the piano today is lovely. ia ing is coming along nicely.” the tone cannot afford a new P ™ lots of interesting things, the house. “Come and bril- , indee d’. her approached “Well, any way, go on, mother.” It is sustained and velvety, and still very this one is g “There is an old, old legend,” she what I have found.” delicate, all in one instru- e tQ see “Let me see; where was I? Oh yes, liant and than the skirt swishing, Lots better °^ began, “about an Egyptian who her black Ellis. her m Minna, then came a man in Italy, named ment,” concluded Mrs. practice on,” said . a river bank and picked out to meet him. “You walked along came bustling Christofori, he took the best “I guess I’ll appreciate our old in- old, objecreu and “But it is so lse shell. The tortoise had dear,” she exclaimed, also up a torto poor, poor strument more now, mother. It may so old * features of the clavichord and the “Yes, but not sun and its shell made a kitten’s fur. “How could . CT died in the the after p added er stroking harpsichord, and as he was of an be we do not need a new one be, you know, when the Egyptian cruel!” a pleasant sound anyone be so all, I think ours does have had to ti e on inventive mind, he worked out cer- because ' “Suppose you p over It, and from this the Wagner and his stumbled And together, tain theories that resulted in the in- a lovely tone. And I guess I’ll keep harpsichord!” , the idea of the lyre, cat back to man conceived wife nursed the friendly all that torn ‘ strument he called pianoforte, mean- it dusted and take that?” aske ’ “What’s .. i which their own. , "I , t-» a very ear y instrument, on and kept it for __ , r health, ing that he had invented a way in music off the top, and keep the keys a strings were stretched. Then after occasion, Wagner was S Marching Diagram Sanos came on On another A Musical Kitten which his instrument could play both clean, too.” Henry LeTbeSre grief at the treatment Je overcome with loud and soft on the same keyboard, “I certainly would,” agreed Mrs. gave his dog. The poor Wagner himself owned a great the landlord and that was early in the eighteenth Ellis. “It deserves good treatment.” Russ, was his dog lay in its dirty kennel, day and black dog named who ie- The great mas- pinbably will n m-e -ore” given to those who play from memory and who the public. any place since our last meeting. character Samson a 10 ‘ Who wrote the have played Biblical ’ ’ P' opera “Faust”? step was meeting we have rumFifth row Cometsc Well, the next Important R—evered now throughout the world, At the close of the business ( Answers ... very light refreshments. pears. on next pacre) . , ^ errm^s our program and then 1 y y combined -h<>me suuv neglected, Fourth row Drums when some one he died in poverty and If the program is not too long we have a box widi a musical game. Horns and the hollow soundlrc 1864. . Third row VJf on January 13, From your friends, Junior Music Lovers’ Club, Minnesota Baritones ’£ » Sousaphones and ? Juniors of Toledo, Ohio, in costume playlet, Magic Music "Hansel and Gretel." Frances Gorman Risser Dear Junior Etude : By eleven years old; have taken violin if you wish, I am You can work magic, lessons for five years, play in seven positions, take out your and have been trained in orchestra work. at any time of DAY; write a poem for I can understand why the U||I|||hEM . Bj mid set on a tabic, as they The other day I tried to An°lh” and just begin front row 1 •» music' with a smile, bones are placed in the /, u'S'Jft^? Hope you like it. td emPl0ymg the instrument and I am sending it to you. solos cho “if* to PLAY. For even if From your friend, C Edward Kobish (Age 11), is thy of “ takes awar for those long slides; but I wonder Hr ™ Illinois Our pi. pro- ? .. talk uced and human touch to make it with, action, scenery and cos- Ralpjb. Wood can not speak; middle of the band?” mused ines. 2. and SING. have been received from the follow- counted them one* The words of the opera. Letters no stories can ing which space does not permit printing: • solo strings are so mute, passage Heckler Catherine Schafer ; Dorothy occurring in the finger’s Barbara ; your ; • Rymer TELL, unless Gilda Ann Rosenweig ; Gladys USUally rat they Cole her long Kymer : Angela Korn- . Gladys and im- silent Bille Jean Buck ; nnrt^’ magic touch will break the Ilfa nt Frase ; Betty Thornton ; nd giving some opportunity muth : Laura for v i ldlsplay SPELL. Jensen. - 4. “Lohengrin.” 5. Lr ‘ ®\. Samson and Delilah.” 7 w’® a ® discontinued during ns ' g - “Das Contests will be ‘ '0r Rheingold,” the JUNIOR ETUDE h th S ““ bv Wo As Usual, JUNIOR MUSIC •• "AM** will appear in the September issue. CLUB Sob?‘ATlph Xd by Verdi. 10. July and August. The next contest BEETHOVEN PEAY.NO Villa Maria Academy, Miraflores, Peru.

?uly, mo 501 — $ l — ”

have of new and interesting been arranged from works in va- POEMS FOR PETER (A Book of Rote mediate placing of orders for copies a in its in numbers in the book, rious forms by Bach, Handel, Beethoven, Songs) Texts by Lysbeth Boyd Borie, Set to this valuable supplementary work FROM MOTHER GOOSE, Set ten SONGS to outstand- Mozart, Bizet, Liszt, Homer— i0rm following are Tschaikowsky, Music by Ada Richter—Heartfelt and spon- early grade piano instruction. ^UES, Music by Sidney "Mother Goose Jwhich the THE MOON JJt bj/ among wto* clever Grieg, Chaminade, Durand; with are among WHEN Lyrics for everybody!" Beanstalk” (a special taneous is the admiration felt for the Miss Ketterer’s compositions has something So says ‘’ climb tag- “Fe-Fi-Fo- numbers for Easter, Christmas, and writer of such popular with her fellow-teach- composer of ‘ en triads), verse as is contained in the most Sidney Homer, this book of rok Wtie P with his Thanksgiving Day services. the ers, her instruction books, Adven- thirty-five songs on familiar of the Giant, two books, Poems for Peter and More and some Mother .> rthe song In advance Adventures F Jack) The of publication single copies Poems for Peter. tures in Music Land ($1.00) ; -™ jingles. A glimpse of the concerning , These two books by contents one. PePeople°P* Goose A- d threat unusualft? their re- hands, of this book may be ordered 75 cents, (75c) and 28 Miniature ther and under the at Mrs. Borie have appealed so universally in Piano Technic ; tcgeth reveals such favorites as Old King Cole, lying well types are broug* revealed . ^ce Piano Stu- House That Jack Hen effect of the hen postpaid. Orders will be filled only in the to both old and young that they already Etudes for the Third Grade traits of ^ This is the Built’ ?? the clucking spective of an aris- States used. seml ion Little Miss “The Giant and United of America and Its Pos- have taken an enviably high position in dent (75c) are frequently genteel Dumpty, Muffet, egg) , Thus, in the New Eng _ Humpty Lit- golden and Hey, Diddle f in E Minor), sessions. poetic literature. This book will contain ten short summer h ^ tle Boy Blue, and Diddle. little dialog tocratic charged (a becomes "ff splendid piece The same spontaneous will melodious pieces for piano, four hands in atmosphere^becom^ For the most part, these songs are written Harp” (a admiration land, the ® Golden TWELVE PRELUDES, From “The Well- 3 S should be felt for grades one and two. All will be safely in for medium voice. This last Mrs. Ada Richter when her an cltl in a range chord style). with galore, token Tempered Clavichord Book 1, by Johann position, except where oc- ®^ Understandings published in book form m can be used as musical settings for some of these poems the five-finger and m the Originally by favorite, as it romance liC ations is becomeLfa Sebastian Bach, Compiled by Orville A. those o Company, with apart from the appear in print under the title Poems for casionally octaves are indicated for main source The Macmillan many se- The body concern- Lindquist—The works of Johann Sebas- fully devel- the book published in the most Peter. Just as children love the poems, pupils whose hands are more ota- lections from sheet is ‘The Chase,” ignorance rise; through TjSreXo tian mQonto S Bach seem to meet so will they oped. The duets have been graded and time for music form by The John Church Com- Jack escapes from the love the melodies that give ing the ™ play °r o- nf all as excneme t of the with increased favor as them fingered most carefully, and variety has and these fascinating settings are fa- down the bean- added worth. These musical settings this the fun fin&1 pany, slides safely ver ^ and time rolls on and even will been achieved occasionally giving the possibl singers and concertgoers, S of the prove valuable as material in early by to and grading are made . miliar again. The most delight- to earth ^ able J5 of now, almost two hun- school grades as well as in the melody line to the Secondo part. pleased to be now to continuity home pre- we are offer 2 to Vk. The comedies SL is from after his day, musical to our subscribers dred years and general recreation activities. As with all Ketterer books, attractive M'and'thrining the complete book at sustained by text between tTstory is melodies from some A few of titles in and illustrative titles have been given the the low advance of publication cash the the collection are chorale or instrumental Bell in the 40 cents each, postpaid. the Beanstalk here mentioned: Only Just Me, Too Ex- pieces. Here we have The price. 'Smpies of Jack and work continually are pensive, Steeple, Dance of the Little Wooden now at the special ad- Who Do You Suppose?, Peter STUDIES FOR be ordered EIGHTEEN SHORT TECH. mav brought to light. Family Tree, and Too Salty. All are asso- Shoes, The Elephant Marches, The Little publication cash price, 25 cents, for thr Pinna, vance> cof NIG AND STYLE, by Ccirit pub- Some of the most sub- ciated with sayings and incidents com- Lead Soldier, Little Spanish Dance, The copies to be sent when —Advance subscribers may ex- lime music from the works of this mon to every-day life and therefore in- Rocking Cradle, and The Toy Sailboat. in lished. - their copies of this book a short Pre- qualmqua-iiiieu x'-'a pect immortal composer is found in the stantly understandable. sopranos, one and LOVES, A Collec- ADVANCE OF PUBLICATION OFFERS are two time a* the printing MELODIES EVERYONE ludes from "The Well-Tempered Clavi- Any who desire to obtain single copies MONTH—The Offers and pleased to an- COVER FOR THIS Publication aito” two' tenors, rapidly nearing Piece» for the Groicn-Vp WITHDRAWN—We are rHE iAidvance binding is lection of Piano compiler of this work, original of ffe chord and the of this book at the special advance of jover for this month is from an voice range is most- However, there Compiled and Arranged by nounce, in this month’s issue of The three baritones. The completion. Untie Lover, Mr. Orville A. Lindquist, has planned publication price of 50 cents, postpaid, artist, Mr. Leonard Burland, requirements “melo- Etude Music Magazine, the publication L oils. The these are n July 1940 — therefore these still is time this month to Mam M. Felton—While the teacher’s reticence to may remit and receive Missouri, painted this ly medium, to overcome now copies as soon Webster Groves, — mot. at the special loves” they are not pieces of two books that eagerly have been pasiiv should be place orders dies everyone assign “ The Well-Tempered Clavichord” as this book is printed. especially for The Etude Music cover simple, both acts taking of stud- in the ordinary collec- awaited by those who subscribed for them are The setting is price. This new set that will be found presenting the Preludes without the cleverly handling the subject the books in this list m by Magazine, All of of the summm hot valuable music. Just glance at this in advance of publication. Two of the process by publication. The low place on the grounds ies will provide tion of piano Fugues. No indiscretion or violence to THE MAGIC FEATHER OF MOTHER to the two color lithography preparation for hotel guests Chord Symphonic Skeleton Scores by Violet apply is easy; the technical list of contents: The Lost GOOSE, An Operetta Children, The Etude Music Advance Offer Cash Prices The costuming practice in partial Bach's intention is done by the compila- for Book and which the covers for Delivery to their social Taught Me Katzner were issued a few weeks ago and orders placed Now. be dressed suitable of the piano stu- (Sullivan) Songs My Mother Lyrics by Juanita Austin, Music by Henry are produced. only to should problems ; tion of a volume such as this, as Bach Magazine made when the of the gyp- Lies now the other two of the first series are (postpaid) will be position, while the costumes grades three and (Dvorak); Come Where My Love of S. Sawyer—Children familiar with the ’s first introduction dent ln himself has added to the Fugues some This is Mr. Burland Paragraphs de- colorful and books are published. cast should be legato and (Foster) The Rose of Tralee ready' for delivery. The entire series of but the town of Webster sies in the four, such as Dreaming ; Preludes, which were originally whimsical rhymes to Etude readers, each publication follow on these scribing distinctive. octaves, chords, arpeg- When I Was Seventeen (Scan- four scores may be had at your music is familiar to many ac- otherwise staccato playing, (Glover); separate pieces. and sayings of Moth- Groves, Missouri, these pages. are sixteen conceived as in Besides the overture there passages, phrasing, pedal- Folksong) Last Night (Kjer- dealers, or by sending direct to the Pub- and those engaged gios. running dinavian ; completely er Goose will be tive music workers solo.,, Each Prelude will be Including six is designed for lishers. Of course, as is usual when works it, numbers. material Dance (Sarasate) ; Valse elementary piano teaching know of At the Console—Felton... musical ing etc., and the ulf); Gypsy phrased, fingered, and pedaled in con- thrilled at the chance Tapper.. quartet, and a number right offered in advance are issued, the special lifetime Own Book—Dvorak three duets, one development of both the Dinette (Drigo) The Mill in the Forest per- particularly because during the Child's the* equal ; formity with modem requirements but of meeting her in Studies for Technic and one for men s pre-publication price offer is with- the well-known Eighteen Short of choruses, including (Eilenberg) and selections from the now of Mrs. Jesse L. Gaynor, and left hands. ; the musical text son in this interest- Style—Piano—Lemont with no changes from 2 hours. the — those active in and specialist in With voices. Time, about another feature that grand and light operas “William Tell,” In drawn. Teachers and American composer and the Beanstalk—Story But there Is originally composed by Bach. ing new operetta. JTack 25 Vocal as in Richter the publication of the with ttt music work obtain single copies for child music education, she resided Music for the Piano— After studies possess that will meet “Erminie,” ‘‘The Gondoliers,” "Romeo midst of a birth- may Goose, the will Orders In advance of publication may the talented and suc- Feather of Mother of When the Moon Rises there teacher tt examination. Webster Groves. The Magic and Sawyer 30 Score approval of the up-to-date and Juliet,” etc. price, 20 party. Mother Juvenile Operetta—Austin Plage Mana- be placed at the special cash day of Mrs. Gaynor, Mrs. be Issued, for rental only, a the student to Symphonic Skeleton Scores, by Violet cessful daughter Everyone Loves—Piano—Felton.. .40 Is their value In aiding There will be approximately 120 pages Goose pays a surprise own Melodies full directions for cents, postpaid. Gaynor Blake, who in her Piano Collec- ger's Guide containing “style- in P» of music Katzner—No. 2 Symphony No. 6 in B Dorothy My Own Hymn Book—Easy develop what is called in this volume and the pieces visit from the Moon, name as a very Richter dancing, lighting, and other isloo Minor (Tschaikowsky) No. 3 right has established her tion— costuming, teacher who really will range in difficulty from grades 3 to 5. Layman’s at and Sym- Richter 50 playing. The THE THRESHOLD OF MUSIC, A and is dismayed attractive and prac- for Peter—Rote Songs— b successful creator of Poems important details. pupil's future seeks All will from the skep- phony in D Minor (Franck) add to the Ketterer .30 ing out for the be carefully fingered, phrased to the Fascinating Language of Music, the reception she receives young Side by Side—Piano Duet Album Guide pieces and study materials for Those who found An Old-Fashioned hand, of won- library of the music lover a convenient tical Goose—Homer 40 do more than develop fingers, and edited, and the volume will be well Lawrence Abbott The author of this tical young people. By a series resident of Webster Songs from Mother delighl- by — piano beginners, is a 1.25 Charm (by the same writers) so appeals to the inif- printed she proves her means of following the concert playing, Threshold of Music, The—Abbott wrists and arms She and substantially bound. While it book, in his work as assistant to Dr. derful “transformations,” Groves, Missouri. “Well-Tem- ful will want to order now single copie. theyoung» is in results in broadcasting, or recording of these master Twelve Preludes from the Inallon and IntelUgen e of preparation single copies may be at the National Broad- identity in a manner which (Bach) —Piano—Ed. Walter Damrosch pered Clavichord” of When the Moon Rises at the advance in charge. ordered at works. Each shows the melody line from 20 Instruction she has _ the special advance of publi- knowledge of amusing situations. How frequently we en- by Lindquist whose casting Co., has intimate many PREPAREDNESS— of publication cash price of 40 cents, musical stndter- cation cash staged and the the beginning to the end of the composi- thought- Whfn the Moon Rises—Musical Comedy Lemont s tuneful and price, 40 cents, postpaid. for information on matters This work is very easily counter this word today, how .40 the craving Kohlmann postpaid. Copies of this Vocal Score will JKP® Copies will exceedingly tion, the entrance of each instrument or and of material assistance in this be delivered to advance sub- who delight in the problem of costuming is provoking it is for all lovers of liberty bc musical by thousands be forwarded as soon as they are printed Tcchn-ii- scribers Mother section being plainly indicated. Approved Short Studies fee just as soon as the book is pub- chief and The cast consists of freedom, for revered American institu- Eighteen educational programs of his simple. X lished. or by leading music organizations, such as realize v issued in the Music Orders can be accepted only from music eight children able to sing tions. Too well, perhaps, we now Stuletyle will be revel in the wealth of beautiful Goose, almost wholly to CHILD’S OWN BOOK OF GREAT MUSI- of prfp^a patrons tots for women’s clubs and symphony study affairs, crated their talents in course living in the U. S. A. and Its receiving a number of little its importance, not only in world cries. White It brought to them via the radio dance, and play CIANS DVORAK, by Thoma. Iu i>, r 8:4* groups, hymn writing. Most everyone loves to — j, be ordered Possessions. and background. The music and by leading educators in pub- but in our everyday life. isle copies may set in their homes. He realizes that many atmosphere the simplicity of the Teachers of music appreciation in the cash lic and private schools, it is likely that Music Magazine hymns because of ol cation p AT THE nor and melodious throughout, with For years The Etude fpccial advance ] CONSOLE, A Collection of Pieces of these folk have neither the time is catchy melody, together with the colorful effect grade schools and many private teachers Mother Goose these “skeleton scores” soon will be to the cautioned against the waste of sum- postpaid. lor Home and Church seriously the numerous traditional has 20 cents, , Arranged from the the opportunity to take up obtained by playing four-part harmony. of the piano regularly use The time symphony concert-goer what the libretto the folly of opening one s osiers, icith har- and music introduced. mer hours and Special Registration for the study of music composition, that words Hymns as found in the hymnal are a the booklets in this series REVMTtU. * forty-five has been to those who attend the opera. doors in the fall not fully prepared JAGk AM> THE Hmrnond and etc., must be of performance is about studio Rkbtir-1- Other Standard Organs, mony, counterpoint, fugue, bit too difficult for the beginning piano as a first textbook in the P..na- A* by Price, 35 cents each. they enter. The Pub- tfwk Uht bl illiam for the pupils when M. Felton In past beyond them. minutes. ' forever oppor- student to play, but here in this book they study of musical history. of the nev work of lishers annually afford teachers an Is mi to say In decades the knowledge of Readers are familiar with the of b* standard He also knows that some THREE FINE SUMMER NUMBERS FOR and winter are made available for the second grade The inspirational value ol to udy Austin, tunity to prepare for the fall ody appr or gan has to the en- the author of the book, Juanita elimination of beginnW undergone “how music Is made” will add ONLY 45^—While they last, we will en- the vacation period. The piano player by the octave a biographical sketch ol tjocer f ; successful operetta, season during particular changes in key symphonic and who is known for her ter a trial subscription simplification nrf way. & action, joyment of these folk in and send the cur- Offer” of Theodore Presser stretches and the of diffi- one of the great ma.'ter*. composer “Early Order P^al design, out to Old-Fashioned Charm. The June, progressions. a»t; and stop operatic programs. Therefore he set An rent July and August issues of The teachers the privilege to exam- cult chord In other words, plus the “playwork" tea- truths. a long gives - Sawyer, has Co. construction, with Publishers be- of the music, Henry S. Etude for only 45

World o£ Music When changing The CHANGES OF ADDRESS— 434) not less (Continued from Page your address, please advise us constantly advance and give both rating in Mail" four weeks "Star" "Fan than BEETHOVEN’S “MOONLIGHT SONATA” new addresses. This is important featured A old and ALL-AMERICAN ntuonn..^PROGRAMS from going astray. _ anged by Giuseppe Pettine for Man- to prevent your copies Convent arr , Biennialiial n*t the11C Twelfth ^ on„„ dolin, Hawaiian Guitar and two Spanish A never-ceasing flow of filled with We Federation of Music Clubs unsolicited letters PREMIUM WORKERS, ATTENTION!— New York Guitars, is the latest novelty announced merchandise when^e speakers are constantly adding new ZkTm to mh se- praise attests the satisfying, result-producing merits of list of attractive rewards for to our “effective in the extreme. subscriptions to The Etude. The curing Ol lVLUOiD AAA of the rewards WontL chief is list of a few Smith, following a Carleton Sprague HEINEKEN, president of subscriptions ob- Schools; DR. H. P. the offered in exchange for of the N ®w Y °^k of the music division Council of Administration of the famous tained: Dr. Ernest Cartel Public Library; and Concertgebouw of Amsterdam, is report- the com- School Piano respectively the six For Knife and Fork Set: A fine set of and Brian Hooker, ed to have given the sum of one hundred Forks with “The White Bird , stainless steel Knives and poser and librettist of fifty thousand gulden (about sixty thou- non-burn handles— THE ETUDE AND THE WORLD’S performed of Amer- genuine Marbalin one of the most often sand dollars) to establish a Pension Fund By PRESSER green or red. A very prac- GREAT HOUR THEODORE vour choice of ican operas. of the orchestra. securing for centuries for members tical gift and award. Offered for Millions, the world over, have to save BILO subscriptions. turned to music as a sanctuary THE GREGORIAN “MASS CUM Jl TWO unavoidable and THE “MESSIAH” FESTIVAL at Bethany them from the otherwise sung on May 2nd, in Saint Monica - - times was Kansas, celebrated Vol. 1 BEGINNER'S Price, pressure that accompanies Lindsborg, BOOK $1.00 “ ” Camera: This new, molded con- unbearable choir College, Bullet THE ETUDE MUSIC Cathedral, Cincinnati, Ohio, by a compact Eastman Bullet of great distress. the this year Its sixty-ninth anniversary with struction, MAGAZINE, founded by an intensely hundred fifty-six Sisters under no focusing, is easy to of six one hundred sixty-ninth performance Camera requires the late Theodore Presser, Oldegeer- the takes pic- American patriot, direction of Rev. John de Deo Vol. 2 - STUDENT’S BOOK - Price, $1.00 eye-level finder, masterpiece. Another feature load has an supports all those ideals which America of Handel’s 2 Vz on Kodak Roll Film non-political. ing O. F. M. tures x treasures, but it is distinctly was a rendering of the "St. Matthew’s Awarded for securing THREE a blessed relief at a time No. 127^ It will provide THE SPARTANBURG FESTIVAL of Con- Passion" of Bach. - - musical re-creation is more vital, Vol. 3 PLAYER’S BOOK Price, $1.00 subscriptions. when drew this before in human College (South Carolina) more needed, than ever verse TWENTYFOI R splen- thousand, SIX HUNDRED BAND Mayonnaise Dish: This footed Kfayon- history. Our August ETUDE will be a year an attendance of over five 2%" did example of this. Here are some of the in- CONCERTS in the London parks during naise Dish is 6" in diameter and for its events on April 18th to 20th. Both dish and feature articles: last year drew an attendance of two mil- high and includes a ladle. clusive. Ernest Bacon, new dean of the Awarded for BEGINNER’S BOOK chromium plated. people. ladle are School of Music, has made the innovation lion Extracts from some of the securing THREE subscriptions. of changing this movement to a local BY THEODORE PRESSER PRICE, $1 .00 THE FIFTIETH ANNIVERSARY of the many commendations— talent affair, in which the Festival Relish Dish: An attractive combination Brazilian Republic has been celebrated, and crystal glass in- Chorus of one hundred thirty-one voices overwhelming favorite with younger of chromium base a feature of the ceremonies having been An FROM NEW YORK CITY, VERY RECENTLY Diameter 8%". Awarded for secur- and the Spartanburg Symphony Orches- sert. a gala concert at the Municipal Theatre, students too big to be "babied,” "Begin- I have been teaching Presser's "Beginner’s Book” since ing TWO subscriptions. tra of thirty-nine players have leading devoted to works by Heitor Villa-Lobos, it was first published. roles. ner’s Book” stands in immense favor with Electric Alarm Clock: This “Grenadier” including a ballad. Uyrapuru i first per- FROM KENOSHA, WISCONSIN using has an easel type of for chorus and thousands of teachers who have been I have never found anything any better. It proceeds in model Electric Clock THE THIRTY-NINTH CONVENTION formance) ; ••Patria," case, finished in chrome and black, with Introduction from a the most logical order. " the American Guild of Banjoists, Mando- orchestra; and the it for years with great success. This volume satin finish dial. Size 5 V2 a two-tone linists and Guitarists will be held at Cin- suite, "Discovery of Brazil." FROM APOPKA, FLORIDA high, 4%" wide. Awarded for securing has been employed more extensively than cinnati, Ohio, from June 30th to July 3rd, One of the very best I have ever found, so easy for pupils EIGHT subscriptions. OF TOSCANINI PRO inclusive. RECORDS THE any other instructor because its simplicity to understand. GRAMS of the NBC Symphony Orches- 2-Light Candelabra: An attractive, yet makes it a veritable "first reader” in piano FROM AUBURN, NEW YORK THE ALBUQUERQUE CIVIC SYMPHONY been pre- holder. Height tra, during 1938-1939. have substantial, metal candle In a wide experience in teaching I have found these books as prize or ORCHESTRA, with Grace Thompson, sented to the New York Public Library study by which teachers achieve speedy results 6", Spread 8". Very desirable a the most satisfactory. subscrip- head of the music department of the Mrs. Vincent gift. Awarded for securing FIVE by Electus D. Litchfield. beginners. Here are rapid progress University with young FROM BRIDGEPORT, CONNECTICUT tions. of New Mexico, as conductor, Astor. Waller M. Naumburg and Mar- STUDENT’S BOOK is the only symphony orchestra In materials and procedures without sacrificing Am using your "Beginner's Book” very successfully. New Field. They were not made for sale shall BY THEODORE PRESSER PRICE, $1.00 Drop us a post card for a complete list Mexico. It is made up of students, faculty LOS ANGELES, CALIFORNIA JESSICA DRAGONETTE and can never go on the market. what is consistent with a proper foundation. FROM of rewards. There will be many articles members and townspeople; two com- I use Presser’s "Beginner's Book" and think it is very good. list which you will want and all The "Student’s just rudiments of music, the in the posers, Alfred Schminke and Wilfred Book” takes up the subject Starting with the very can be secured without any cash outlay. “THE LOVELY |ESSICA DRAGONETTE” FROM SANDUSKY, OHIO guaranteed to give Bowers; and gives four concerts in Albu- where the "Beginner’s Book" leaves off, and it wonderful first lessons of the "Beginner’s Book” The merchandise is Long a favorite “on the air,” this dis- The Choir Invisible All three volumes are wonderful books and I have had American soprano tells readers querque ( al-boo-kirk ) and one In satisfaction. tinguished Santa is, of course, into both great success with them. tranAntis- intended to supplement that excel- teach up and down from Middle C of The Etude what she knows about the Fe each season, with an American com- Ottlng to cieissitadrs of important “mental” approach to the art a if .n and publication, it <« often int- FROM CLEVELAND, OHIO lent instructor. It can progress rapidly with this MAGAZINE SWINDLERS ARE ABOUT—We of singing. position. on each program. positiblr that notirrs of the death oj be used very successfully, clefs. Young pupils 1 continually use these books and I recommend them to to beware of in the musical irorld against caution our readers people eminent however, for find them- PROTECTING YOUR PIANO INVESTMENT several any student who has completed the method and are delighted when they women. Pay no money to strangers WILLI FERRERO has conducted, ran appear in nnr columns till all teachers I know. and at crcntualitie*. We Millions and millions of dollars are in- month* after these first grade with itinerant magazine solicitors, both men Florence, Italy, the first our of piano study, up to but not includ- selves playing little pieces and easy duets FROM JASPER, ALABAMA vested in pianos in America. Often just a performance fret, however, that of the risk records unless you are willing to assume little preventable carelessness ruins part there of Krennikov’s readrrn desire to keep their ing After examining other beginner’s I still “First Symphony" the scales. This book enables the pupil to teacher before encountering any of the rests books, am partial loss. Accept common stationery of this investment. Harold T. Norris tells complete. irrespective of such delays, the of no and Pizzini’s Poeme delli Dolomiti to Presser’s. how this may be avoided. (Poem and no ter shall continue to offer these progress store receipt for money paid. Duly au- rapidly because the necessary technical divisions smaller than a quarter note. of the Dolomites). items at the earliest possible date. or note FROM NEWPORT, RHODE ISLAND thorized magazine canvassers carry the MUSIC CAN WORK MIRACLES studies on grace notes, broken interesting "Red Book”, cover- official receipt of The Etude or the com- widely known chords, arpeggios, This bright and I have had such success with Presser's "Beginner’s Book" If you have not realized this, you should A MUSICAL TRUST FUND of three hun- JOSEF A. PASTERNACK, which they work be sure to syncopation, that I should not attempt to teach without it. pany for — read the article by Edward Podolsky which dred away April hand crossing, wrist motion, etc., first grade of study up to the scales, can startling thousand dollars, provided orchestral conductor, passed ing the of it. Official contracts tells of some of the things that by the read every word in SALEM, OHIO music has done. will of the late 29th. fifty-nine Bom are interspersed FROM WEST and receipts are provided for your pro- Charles H. Ditson. “to at Chicago, aged by extremely interesting mate be used successfully in conjunction with any establish lessons at four, I started my 9 year old little girl in your "Beginner’s will insist upon a and maintain Poland, he began violin rial tection and if you “HILL BILLY” SONCS AND fellowships in which never Warsaw permits the young player's en- Course or System of piano study. Book” at the dose of school last spring and she easily proper receipt, you may save yourself THEIR SOURCE Music and to aid and encourage musi- and when graduating from the thusiasm to has gone through the book in four months. I am delighted from possible loss. The picturesque romance of these songs of cians,” has been released to Conservatory’ he could play every instru- dwindle. the Mississippi Valley has only newly come Columbia St her progress. University the harp. to light. “Hill Billy” songs, and as trustees, by ment in the orchestra excepting life to making his Be- the so the will of the Mr Presser dedicated months of his called “White Spirituals”, are teachers FROM JERSEY CITY, NEW JERSEY now at- late Mrs. Ditson ' he wanted to provide piano who added to it ginner's Book since tracting wide attention. You will enjoy an Gatti- instruction book for young Playtime Alice ROSINA CALLI, wtfe of Giulio all around .first piano It is the best method I have ever used. Instructive Summer Sidney Snook’s article in the August issue. M. Ditson Fund” from with a good the residue ranging from 6 to 10 years of age. of her private Casazza and for many years premiere PLAYER’S beginners FROM MONTREAL, CANADA Youngsters . . . estate to be BOOK experience had given him operative teaching for THE MIRACULOUS CASE OF BLIND TOM along tie Mr Presser's own music the same danseuse and ballet mistress of BY teachers of this coun- been teaching over years, lines as those of her THEODORE opportunity to see clearly the handicaps I have 30 15 years in Eng- The astounding achievements of this blind husband. April PRESSER self-thinking young Amer- Company, died PRICE, $1.00 faced as they tried to instruct the remainder here, and I cannot find FOLKS’ Negro of low mentality still Metropolitan Opera try land and anything YOUNG baffle the piano playing with not much m re than the world of music and psychology. BELA BARTOK forty- icans in the art of 9 Mrs. was feted when 30th. in Milan. Italy, at the age of piano playing technicians. Thus better for the pupil of average ability. PICTURE HISTORY OF MUSIC Eugene B. Abbott presents on the ° e> pedantic offerings of European much new and evening ™ l ^e ^ird in close of April . the series, is a superb through years of keeping in valuable material upon this unusual case. 24, the League of five. from his own experience and FROM CHICACO, ILLINOIS By James Francis Cooke Com- 0U ln other thinking teachers of this country, Mr. rS eSented a g or the instruction touch with many program of his works of progressing young see. and was inspired to fill, the need for piano Since using "Beginner's Book” I have had better results A MASTER LESSON BY CUY MAIER w‘ith f of per- Presser came to Here is a work that has a real appeal to tbe LUISA TETRAZZINI, possessor of, as well as the H',ng" ate instruction materials that would fit the age than ever before. ta those work‘ n towards youngsters of grammar school age. It reads Mr. Maier this time has taken Chopin’s haps the most brilliant voice of § the grade three level I story while relating Etude in E major. Opus 10, No. .? for in- like a delightful book 1890 s to reSems terpretation. It is about as near the easitig of the musical an actual “Golden Decades of Song— ^, P- study material arranged facts concerning the growth lesson TH in l with a famous teacher as is pos- E CARL ROSA joined « " . OPERA 1920 s" art from the earliest known music through sible in print. This is l COMPANY near the close of the ”d“. one of a long series n -Md. in detail trills, masters. Added in- of ETUDE Master Lessons, Hava'S the eras of all the great each one of choir invisible on April 28th. tW The Piano Teacher or which our readers have often told us, Opera ° n°teS a terest is aroused by over 100 “cut out” pic- is InEnSh^e^Tl^^ by her o*5 £a ' nst three, the pedal and Piano worth more than the cost of an entire earned five million dollars, the Graduate tures supplied to be pasted in places pro- other year’s subscription. h® tters neces statement. years of sary to technic. Student Wishing to vided in the book. * In the twenty Memory study Presser Co. diss and Theodore KSSa.’Lfi—* Examine a Complete AND THEN, THE I which was Board Bound Price, $1.00 MCOM PARABLE ~ dazzling career, all of — ^ stressed, MUSIC SECTION pt81 thus as- Copy of Any or All of pated by fickle fortune, she died surine HERS AND DEALERS ent 1 for Con- music PUBLIS h is u ust wm brinS a Iresh boardifc CKX* f°undation These Bools , ? J sheaf of a ^ for future PRESSER CO. of delightful} V« and ticallv penniless as padrone ptogress THEODORE interesting pieces of all tT sidering the Use of ’° 1 types of musical composition. rise to fa® Ugh0l!t Teach* 1712 Chestnut St., Philadelphia, Pa. house In Milan Her meteoric the book the Piano in Their 1712 CHESTNUT STREET bj > Pleasing pieces Presser s "School for a® the best "On occurred in 1904 at San Francisco Invited to moke Use of the * re ,o ing Work Are Concertg el*>uw of the eat. suppiemeM thus having full Amsterdam, Holland such demonstrations as only Approval'' method of ordering, PHILADELPHIA, PENNA. 504 Patti had aroused.