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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1941 Volume 59, Number 03 (March 1941) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 59, Number 03 (March 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/252
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. March. THEM ETOPE 1941 Price 25 Cents majqjoizzfimcD
!'
1" Pho.00'" ' . . ) )
the Sadi e$ Vatutinaf Some of whose interesting songs are i m the catalog of The John Church Co.
DOROTHY GAYNOR BLAKE
Other outstanding composers represented in The John Church Co. Catalog include Ethelbert Nevin (Mighty Lak' a Rose), Charles Gilbert Spross (Will o’ the Wisp), Oley Speaks (In Maytime ), C. B. Hawley (Sweetest Flower That Blows), Carl Hahn (The Green Cathedral), and many others. Catalogs giving thematic portions of successful John Church Co. song publications cheerfully sent on request.
LOUISE SNODGRASS Enchantment Claims Its Own. High (F-c3-flat .60 Star Wishes. High (E-a) .50 Low (c-sharp-F-sharp) .50 ROSADA LAWRANCE Star Wishes. Achal by the Sea. High (d-sharp-a) LILY STRICKLAND Roses. High (d-g) .50 Achal by the Sea. Low (a-sharp-E) Gathered Gathered Roses. Low (a-D) .50 CORINNE MOORE LAWSON Jes' Lonesome (Cat. No. 30682) Med. (d-F-sharp) .60 KATHERINE BARRY When You Are in My Heart. High (d-g The. ^o**^*^, Heart. Med. (c-F) ANICE TERHUNE The Flower (o-D) When You Are in My Lo. Shadow Fingers. High (d-g) .40 When You Are in My Heart. Low (a-D) (Cat. No. 30699) Low (c-E-flot) Jeunesse (Youth) CATHERINE McFARLAND GWEN THOMPSON MARION EUGENIE BAUER Black-Faced Fairies. High (E-flat-g-flat) .60 (d-E) All the World Is Sunshine (Cat. No. 30582) Med. Light (Cat. No. 30585) Med. (c-sharp-F-sharp) REVA MARIE TONNELE H. A. BEACH MRS. H. The Elf and the Dormouse. High ( E-g ) .50 . MANA-ZUCCA High (F-a) - _. The Singer. , lr .60 (F-a). Life (Cat. No* 30012) High (F-F) CASSARD TOOGOOD Hills. High I Love CORA Song in the ...... 60 Love Life (Cat. No. 30013) Low (d-D) Haunt of the Witches. High (c-g) .50 GAYNOR BLAKE I DOROTHY High (d-flat-a-flat) .50 Witches. Low (a-E) ( E-flat-a-flat) Secret (Cat. No. 30617) Haunt of the .50 The Evening of Life. High My HELEN BROWN Nichavo! (Nothing Matters!) FLORENCE TURNER-MALEY MARY (G-a) .60 (Cat. No. 30052) High a Butterfly. High (c-F) .60 Ro,e Dr.om'd Sh " If I Were ° Med. (d-F). Matters!) ^0,07 ) Nichavo! (Nothing Swift the Hours. High (d-g) .50 (F-g), .60 (Cat. No. 30053) Med. ) BURT Swift the Hours. Low ( b-flat-E-flat .50 VIRGINIA \ . i a , Med.M , (d-flat-t. E tlatjai Matters!) Sweet Honey Love (A Lullaby) Nichavo! (Nothing GRACE TWYMAN (Cat. No. 30054) Low (d-E) .60 CASE Shlip of a Girl’. High (F-g) .60 ANNA _ . . .. , A Little r p aWism) the Mornin' Our America A Song of The Top o' STALLO TYLER (Cat. No. 30773) High (d-g). ... (Cat. No. 30023) High (F-F) .50 LILLIAN Sun Song. High (E-flat-g) .60 TERESA DEL RIEGO The Top o' the Mornin' World Med. (E-flat-E-flat) .50 ALICE VAIDEN The Greatest Wish in the (Cat. No. 30024) opt. c) (E-g-sharp) .40 (Cat. No. 30424) High (c-F, The Top o' the Mornin' Ballade of Colleens. High No. 30025) Low (c-C) .50 Ballade of Colleens. Low (c-E) .40 The Greatest Wish in the World (Cat. (Cat. No. 30425) Med. (b-fiat-E-flat) FRANCES MARTIN MATHILDE VON OESTEREN The Greatest Wish in the World Only a Little Way Your Dark Eyes. High (c-g) .60 Low (a-D) (E-flat-E-flat) .50 (Cat. No. 30426) (Cat. No. 30733) Med. Your Dark Eyes. Low (a-E) .60 ROSE EVERSOLE CATHERINE PANNILL MEAD HARRIET WARE High (G-gJ.... Med. (d-F) .50 God's Promises. A Little Dutch Garden (Cat. No. 30606) Boat Song (Cat. No. 30419) High (d-g) .60 Low ( E-flat-E-flat) God's Promises. RAYMOND Boat Song (Cat. No. 30420) Med. (c-F) .60 FORSTER BLANCHE DOROTHY . (c-a) .50 .60 , The Laughter of Love. High Boat Song (Cat. No. 30421) Low (a-D) the World for You. High (c-a) I Searched (b-flat-g) RICHTER Hindu Slumber Song for You. Low ADA . Searched the World t „ , r „ „ | ( .50 Heaven (Cat. No. 30719) Med. c-E-flat .60 (Cat. No. 30083) High (c-a-flat) . FAY FOSTER Pancake Hindu Slumber Song (Cat. No. 30084) Low (a-F) . .50 The Voyager. Med. (a-l-J MARY TURNER SALTER Mammy's Song (Cat. No. 30516) High . .60 GARDNER Mother Moon (Cat. No. 30358) High (c-F) .50 (E-flat-g). GRACE Mammy's Song (Cat. No. 30517) Low (c-E) Low ( a-flat-D-flat) .50 At Sunset. Med. (d-F) Mother Moon (Cat. No. 30359) FLORENCE GOLSON We Two. High (c-g-sharp) ELINOR REMICK WARREN Broken Wing Low (a-E-sharp) Little The Bird with a . We Two. Slippers of the Rain. High (E-g) (Cat. No. 30600) Med. (E-flat-F) Rest. High (E-g) Rest. Low (d-flat-E-flat) DOROTHY HILL Gown The Lilac Cotton ... . ir r l \ (E-F-sharp) . (Cat. No. 30275) Med. HILL MABEL WOOD .50 Bing. High E-flat-g) Captain .50 (c-fc) Die olin Captain Bing. Low ( Lurch ROSALIE HOUSMAN CQ . Tidals. Med. ( b-E ) THEODORE JESSIE MAE JEWITT PRESS ER (FE-flat-a-tlat]flat a flat) CO., Distributors Lovo and You. High ( I Need Your Love and You. Low (c-h) .60 1712 I Need Your CHESTNUT STRE ET, MARGARET RUTHVEN LANG PHILADELPHIA, .50 PA. Lydia. High (d-g) W S MUSIC LOVERS! pur with Ms fam©us 3 -volume LISTENER'S LIBRARYss
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For All 3 Volumes, BIOGRAPHY Complete. Boxed 01 dictionary Y/\\/VVVVVVVVV\/WVVVVVVVVVV\AA!VVVVVVVVVVVVVVVVVVVVVVVVVVVWVVVVVVVV Biographical Dictionary @©EE!§ TAYLOR'S of Musicians s> MUSICI/W concert 8 500 entries — lives, dates, accomplishments of every major and minor guide composer, musician, performer; with key to pronunciation in 16 languages. OPERA @151 GREAT WEm$ GUIDE
145 MARCH, 1941 . . m
m- TTI mm © 5 tmajaiiBBSma | y Published Monthly By Theodore Presser Co., Philadelphia, pa. y EDITORIAL AND ADVISORY STAFF DR. JAMES FRANCIS COOKE, Editor I y Guy McCoy and Helen MacVichic, Assistant Editors William M. Felton, Music Editor Robert Brainc Dr Henry- S. Fry Blanche Lemmon Peter Hugh Reed P,c,r0 cl .KarlW Gehrkens . Dr. Guy Maicr William D. rP, f° t-, Reveili Dr. Nicholas Douty Elizabeth Gesi I N. Clifford Page Henry S. Sawyer George C. Krldc Dr. Rob Roy Peery 1 Founded 1883 by Theodore Presser I
(Contents for 'fYjarcli, / 94 / VOLUME LIX, No. 3 PRICE 25 CENTS WORLD OF MUSIC EDITORIAL IIow Do They Do It ? YOUTH AND MUSIC Country Music Goes to Town MUSIC AND CULTURE • . .Blanche Lemmon 148 Jazz—the Music of Exile. Why “Al” Smith Likes Music’ - . .Sidney Harrison 150 The Battle of Music .t Rose Ucylbut I-’amous 151 Composers Rally to ASCAT* 152
of •' •' • : • : : : : : Rudolf Ser'kin 155 MUSIC IN THE HOME Ish-li-Opi 101 The Record Parade for Mm-.-i, Movie Music of Hiih Merit Pet The Elude Music £r II »ah Reed 15G Lover's Bookshelf0K ' Classics on the sl clf a -V<"'
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THE TOWN IIALL CLUB of New York City has inaugurated an unique series of musical evenings, like the Continental HERE. THERE AND EVERYWHERE IN evenings of hausmusik, to provide mu- THE MUSICAL WORLD EDWIN McArthur, young American sicians with an opportunity of hearing conductor, has been engaged by the each other perform new works, and of Metropolitan Opera Association to direct in discussing and criticizing these composi- MRS. GRACE WIDNEY MABEE, Chair- YALE UNIVERSITY will establish a sum- three Wagnerian performances New tions. The audience is grouped around man of Motion Picture Music for the mer music school on the estate of Mrs. York and one in Boston. For three sea- tables in informal fashion, to encourage National Federation of Music Clubs, has Carl Stoeckel in Norfolk, Connecticut, to sons Mr. McArthur has conducted Wag- ready discussion. The first program of named a committee of more than two be called the Norfolk Music School of nerian performances for the Chicago the series featured the Coolidge Quartet hundred authorities throughout the Yale University. Bruce Simonds, pianist Opera Company, and has directed several playing William Schuman’s "Quartet No. country who will join members of the and chairman of the Department of Wagnerian operas for the San Francisco 3” as the modern work and Haydn’S Federation in reviewing the films under Music of Yale, will direct the new project, Opera Company. “Quartet, Opus 76, No. 1” as the classic consideration for the organization’s which opens for a six weeks’ course on composition. awards to outstanding music makers in June 23rd. OTTO KLEMPERER resigned as con- films in Hollywood Bowl on June twenty- ductor of the New York City Symphony Orchestra, during a series of concerts in WALTER DAMROSCH first. Among the prominent musicians GUIOMAR NOVAES, participating in the project are: Dr. Carnegie Hall, New York City. John conducted the new ver- the well known Brazilian Ganz, Dr. Hanson, Miss Barnett, the assistant conductor, took sion of his opera, "Cy- Rudolph Howard pianist, featured a group of Jersey State over the baton for the remaining con- rano de Bergerac” at its Mabel Bray New Teach- of six Brazilian folk- certs. performances by the ers College, D. M. Swarthout of the Uni- songs and compositions versity New York Philharmonic- of Kansas, Albert Elkus of the by her fellow country- University A NATIONAL PADEREWSKI TESTI- Symphony Society in of California, and many other men, Octavio Pinto and eminent authorities MONIAL was held in various cities Carnegie Hall on Feb- in the music world. Villa-Lobos, in her only throughout the country during the week ruary 20th and 21st. New York program at of February 15th to 22nd, in commemora- Thomas L. Thomas, DIMITRI SHOSTAKOVICH, whose Sixth Town Hall, on February tion of the fiftieth anniversary of the singer and winner of Symphony was given its premiere Amer- before going on a country-wide Welsh-American 22nd, heroic and beloved pianist's American Metropolitan Opera Auditions in ican performance by the Philadelphia tour. the concert debut. All funds raised were contributed and Agnes Davis, who has appeared Orchestra under Stokowski in Philadel- 1937, to the relief of war victims. The com- with the Philadelphia Orchestra, phia, last November, has just completed VARIATIONS often ERNST TOCII’S BIG BEN mittee for the nationwide celebration in- Ezio Pinza and Jarmila Novotna a Seventh Symphony which is dedicated replaced were included in the programs of the Los cluded Dr. Walter Damrosch, John Bar- roles of Cyrano and Roxane. Dr. to Lenin. Philharmonic Orchestra in a in the Angeles birolli, Howard Barlow, Olin Downes, was elected president of the Damrosch pair of concerts on January 23rd and Professor John Erskine, Eugene Goos- Academy of Arts and Letters in LEOPOLD STOKOWSKI is reassembling Barbirolli conducting. American 24th, with John sens, Josef Hofmann, Edward Johnson, succeed Dr. Nicholas Murray his All-American Youth Orchestra in Los January, to Mr. Toch is a resident of Los Angeles Ernest Hutcheson, Serge Koussevitzky, Angeles, and is holding auditions for Butler. and a member of the music faculty of Eugene Ormandy, Bruno Walter and new members in order to give other young Southern California. the University of Deems Taylor. Mrs. Ernest Schelling was musicians an opportunity to join the or- the UNIVERSITY OF GEORGIA’S Music chairman of the executive committee. ganization for its trans-continental tour Department gave its fourth annual Mu- CLARENCE LUCAS in London sends the in May and June. Mr. Stokowski is also Festival for the music teachers and following bit of history: "The old Guild- sic training eighty-five musicians at Fort TIIE PHILADELPHIA musicians of the state, on January 30th hall of London, built before America was MacArthur, California, to develop more OPERA COMPANY, of and 3lst, at which the Roth String Quar- discovered, and mentioned by Shakes- “typically American music” for perform- which Sylvan Levin is were the featured artists. peare, was blown to bits on the last tet ance by music director and con- Army Bands. Sunday night in December, 1940, by a ductor, gave a memora- PH. GLEN IIAYDON, head of the De- German bomb. It was not a concert hall ble first performance in partment of Music at the University DR. CARLO A. SPERATI, and was in no way connected with mu- English of Debussy’s North Carolina, succeeds Warren D. veteran band director at sic. Yet music lovers throughout the of "Pelleas and Melisande” as president of the Music Teach- Luther College, Decorah, world will be surprised to learn that the Allen SSyi.van at the Academy of Mu- ’ National Association. Dr. Haydon is Iowa, and often called last public appearance of Chopin as a Levin er S sic in Philadelphia author of “Evolution of the Six- "the Dean of American pianist was made in this old Guildhall. on tne January 28th. This group of and a translation of Jeppesen’s Bandmasters,” with Mrs. In November, 1848, the City of London young Four" American singers, under Mr. Levin’s “Kontrapunkt”, and his compositions in- Sperati, was guest of gave a banquet to raise funds for desti- able direction, gave such a sensitive reading lude “The Druid’s Weed” ballet for sym- honor at a banquet on tute Poles. Chopin, who was in London of this difficult opera that New York phony orchestra, the “Mass for Unac- January 10th in the col- at the time to escape the revolution of critics have suggested that the entire companied Choir” and the incidental lege gymnasium, com- 1848 in Paris, gave his services to help production be repeated later in New York music to “Lysistrata.” memorating his eightieth birthday which his fellow countrymen. According to the City. Maurice Maeterlinck, author of the occurred on December twenty-ninth. reports, the little piano teacher from drama, and his wife attended the per- WERNER JANSSEN is conductor of the Born in Oslo, Norway, of an Italian Paris made no impression amid the clat- formance, the first of the work that he “basic” orchestra, launched by the father and a Danish mother, Dr. Sperati ter of the dishes and the buzz of con- w had seen “all the way through.” ” Angeles Junior Chamber of Com- was given an early training in music by versation. Chopin returned to Paris but which offers his father prominent too feeble ever play again in prce Music Foundation, who was a band was to masses.” The group of director and cathedral organist in Oslo. public.” SAUL GOODMAN, tympanist of the New •miusic to the players is all-American After following the sea for a time, he York Philharmonic-Symphony Orel? ~ j- thirty-six to forty Kaufman, a lead- entered Luther College, and in 1905 he THE CLEVELAND ORCHESTRA, under tra, has worked out a set of kett!2drr:ns n personnel, and Louis violinist, is concert master. was engaged as head of the school’s mu- the direction of Artur Rodzinski, in its weighing only seventy-five pounds, by ! American sic department and instructor duralumin for steel Among those supporting the organiza- in Bible. concert at Carnegie Hall, February 5th, substituting wherev^* his sixty-piece band represented possible. Mr. Goodman’s invention are: Elizabeth Sprague Coolidge, In 1914, featured important works by an English was Roy Norwegian-American culture at the cele- and an American composer: William the result of three month’s experimenta- Arnold Schoenberg, Deems Taylor, Feri Roth, Dr. bration of Norway's independence at the Walton’s “Violin Concerto”, with Heifetz tion, after finding it impossible to im- Harris, Italo Montemezzi, Gabrilo- Oslo Fair, at which time he was Knighted as soloist, and Walter Piston’s Suite from port the best kettledrums from abroad. Frnst Toch, Madame Ossip Charles Ives. by King Haakon VII. the ballet, “The Incredible Flutist.” ( Continued on Page 216) witsch, Edgar Varese and MARCH, 1941 147 Youth and Music the Jefferson County “Music Annual.” For in that are recorded all the outstanding musical happenings and accomplishments of the year. Of necessity the return trip to Louisville found the young singers on the train on Sunday morn- Country Music Goes to Town ing. Too bad, too, it had seemed when the trip was planned, for Jefferson County boys and girls love Sunday School and hate to miss it. Some- thing ought to be done about this. And, again, something was done. Surprised trainmen on that Xemmon Sunday morning heard sacred songs welling from youthful throats; saw lesson leaflets in every hand and a teacher-chaperone in each coach conducting a Sunday School lesson. The land- OU RADIO LISTENERS will remember the rise after the blackest night. Small faces beamed; scape went whizzing by, the wheels clackety- call for help that was broadcast over the young hearts did a tarantelle! They would sing clacked an obbligato to their song; once in a Yentire nation in January, 1937. The waters Edgar Stillman-Kelley’s “Alice in Wonderland” while an engine whistle sounded far ahead; of the Ohio, the Allegheny and the Mississippi for the Federation, after all! And have a trip to while, inside each snug coach, was held a dupli- Rivers had risen to unprecedented heights and Indianapolis besides! cation of Sunday School class at home. havoc had resulted in Kentucky, West Virginia The next long trip that has been tentatively And Still More Traveling and Ohio. Hundreds of thousands of persons in scheduled is one to Los Angeles next June, to sing these states were homeless; death and destitu- Of course traveling holds an element of con- in the Massed Junior Chorus of the National Fed- tion were rampant. A dozen government and tagion; one good trip, like one good turn, seems eration of Music Clubs. Just how to get that much private agencies worked day and night to allevi- somehow to deserve another. Having been ex- money is a very hard problem for even Jefferson Countians ate suffering and want. posed to the delights of mass traveling, questions to solve. It takes a lot of nickels and suffered particu- began to take shape in youthful minds. Wouldn’t dimes and quarters Jefferson County, Kentucky, to span three-fourths of the continent larly severe damage; at Louisville flood waters it be grand to take more trips together? If other and then to get back again! Their eighty-one feet. people could raise money, why not they? Large senior supervisor, reached their highest point, over as National Junior Choral Chair- and girls saw furniture, sums are hard to get, but how about nickels and man, calls attention to Jefferson County boys the fact that she is plan- all manner of dimes and quarters? Country bred, they dis- ning a coast to pianos, clothing, bicycles, pets, coast broadcast for this month homes swept away in cussed ways and means familiar to them, such as (March) during prized possessions as well as which the Jefferson County hundred rural choristers selling eggs and vegetables and, at Christmas time, Chorus will sing the torrent. And four the song selected for the Massed destruction of a long-cherished cards and seals and wrapping paper and candy. Junior Chorus. saw, too, the All Juniors everywhere are urged plan: sing at the biennial meeting of the Na- Gradually the proceeds from their sales made to listeh and to m to sing around their "mikes” Music Clubs which was to further trips possible: short ones, long ones, de- thus making tional Federation of it a great "national rehearsal ’ have been held in Louisville. lightful and worth while ones. Most memorable, To give an idea of further activities that probably, was the journey taken in the spring been have It was easy enough for the National Federation of enjoyed by Jefferson County's hundred singers went to youngmusi- to change its meeting place; Indianapolis was 1939 when one Washing- 6 1 W it6mS take" fr°“ for girls and boys to ton and to Baltimore; in the latter place to sing u. i”f glad to act as its host. But r-iZTT f the laSt the National Junior Federation Chorus, ° tW0 mci- have this disappointment added to the desolation with dentahv^ the Z US1° ” Annual itself is one of the wretchedness that surrounded while the former was visited for the thrill of tour- activu es fo, and misery and T PrePare d by thrill high school stu- at all. If ever they needed to ing our capital city. And what a it was to dents with 1 them was not easy the help of their teachers. history-making Washington gorgeously decked They write sing it was now; if ever music should comfort see this yearly log, secure an abundance of proper time. Two out in her fresh spring green. There was much to advertis- and hearten this seemed the a many photogla hic and ingest. P Plates and they Jefferson County music supervisors decided that view and examine and read And all of print the°™ multigra Ph 1" one of done. it so wonderful. highnign the it must do so. Something must be schoolsschools. ThenThe" these« are next day there was the fun attractively bound civic minded publisher in Louisville concurred In Baltimore of Pa A brOChUre that 18 a meeting people from all over the country, the joy beoe kaaPsake to in this opinion. And something was done. He treasur”dtreasuied. TheseTte paragraphs by with other choral groups, the satisfac- no means rover promptly helped to raise funds to transport the of singing 0mPllShmentS Usted Here ' Indianapolis and back again. tion of spontaneous applause. was a bit of ^ ar"ly young people to s» of their own that would go into of was like sun- history-making ( News of this happy turn events Continued on Page 204) Editorial
J4 HE ART OF TELLING how to do a thing and the Stephen Foster whose tunes will be known ages after our actual practice of doing it are two very different distinguished British savant’s works are forgotten. No one T things. The Etude naturally has a profound regard will ever be able to explain how Rimsky-Korsakoff, with and respect for the theorists and the writers of books upon very little formal theoretical training, became one of the theory who strive to make clear to the student what may be most able of all modern harmonists and orchestral experts. done effectively and what had better be avoided. These books When he started out to write a harmony he was often at a of artistic boundaries are fine for talented students, but loss to classify his own musical creations. when genius appears it promptly hurdles all of the limita- In the excellent recent volume, “Wagner and Die Meister- tions and does what it feels that it ought to do. Then genius singer,” Robert M. Rayner, an able English author, very sits down and watches the theorists try to explain and clas- deftly tells how Wagner achieved his musical results, al- sify what has been accomplished. though he had the scantiest kind In the old days parallel fifths of musical training. “Wagner made some startling innovations in harmony, but no were looked upon as a kind of great composer was less self-con- musical penal offense from which scious about such matters. His no self-respecting musician could academic training was limited to recover. The jurists were Haupt- six months’ lessons from a violin- mann, Richter, and others; and ist at Leipzig—lessons which dis- sore was the fate of the student gusted him by their lack of who was caught committing paral- relationship to all that he felt lel fifths. Well, fifths are just as about music. He would always venal as they ever were in cer- have been a most incompetent tain positions. If they are not trainer of candidates for musical watched in choral passages, the degrees. He learnt to compose by effect may be very thin and some- composing, just as the best cricket- times very disagreeable. But what ers learn to bat ‘in the middle’ if the composer wants a thin and and not at the nets. He had music disagreeable effect ? The answer is in him, and he had to find a way to use parallel fifths. Cleverly in- out for it. The ability to get down troduced as Puccini used them, on paper what he heard in his they can be extremely musical imagination beautiful and most appropriate. had to be acquired by a long series of Recently we discussed with intense efforts, the an American musical genius, but in end he mastered it completely (or whose writings have attracted as completely as any composer ever international attention, sev- does, for none can ex- eral passages from his works. He was wholly at a loss to press all that he can think and feel). One circumstance explain what the chords were and that conduced to the unorthodoxy of his how he had arrived at technique was that them, although he has studied theory extensively. “I put this musical imagination did not run along the lines laid them down because they seemed so beautiful,” he stated. “If down by earlier composers. There is evidence that in his I had tried to work them out I younger days he studied the as would a problem in algebra, scores of Bach and Beethoven I would never have written that passage.” Debussy and with an almost furious intensity, but his own musical na Ravel, both of whom studied theory very exhaustively, im- ture was so unlike theirs, being distinctly theatrical that mediately started out to explore new musical fields with they had little direct influence on his practice as a musiciai** their ears as their principal couriers in the mysteries of the And much as he had to say about theories of art and the si art. nificance of his dramas, he scarcely uttered a word about the We knew a very gifted and able gentleman who had ac- novel elements in his music-making. He seems to have taken quired every imaginable musical degree in leading 'British it all as a matter of course. As Ernest Newman says in his institutions of learning. He wrote many books on musical Life, ‘His musical vocabulary and his technical devices were theory which have been widely used. Once he approached for him not calculated ponderable things to be detached your editor with a lengthy musical composition which he from the general body of his art-work and dissected and desired to publish. It was as sterile of any possible human commented on admiringly for their own sake, but merely beauty as a junk yard. Everything he had put down had the natural, inevitable flowering of his unconscious musico- been said scores of times in far better fashion. Of imagina- poetic being.’ The classification and nomenclature of chords tion he had none. Yet everything he wrote was legally right never interested him in the least; and one result of this is by established canons of the art. As a real musician, how- that theorists who try to analyse his harmony get tangled in ever, he was distinctly fourth rate compared with gentle inconsistencies. The same pundit ( Continued on Page 196) 1941 149 MARCH, j Music and Culture Jazz-the Music of Exile An English Opinion which credits the Jewish race as well as the Negro race with American jazz ddy. Sidneynet Sdiramdon The following is reprinted from “Music for the Mul- titude” by Sidney Harrison, copyright 1940, by permis- sion the of publishers, the MacMillan Company. The author, a well known English pianist, teacher and radio broadcaster, takes the stand that the American Jew is to be credited equally with the Negro for jazz Of course, it w well known that a very large number of the great rhythm hits, starting with Berlin’s Alexander’s Rag-Time Band", have been written by Jewish com posers, and not by Negroes. In some instances these V e h SUPeri° r technic acq uired in Europe andaZ min the ’hebest, °AAmerican schools, have brought with LOUIS ARMSTRONG mUenCe °» ^ricTl^l narrative and more rhythmical. The Negro “spir- ituals” evolved from them. HE MINUET took to its deathbed when in- Conditions That Influence era the dustrialism was born. In the new * to find After the Civil War, emancipation sent many the outer world a place ] Twaltz reigned as chief of the dances. From Negroes to the industrial towns of the northern Ohetto sun During the Great War the waltz declined in States. The freed slaves found that authority. Greatly altered, it continues to live, but rated t0 kinder their champions, the northern fac- f countrie humbly. The fox- trot and its relatives are the Unaccustomed to work tory-owners, offered very low the land , present reigning family. V1 the Sea began to seem to them, ' and for 101 dance music began in America. wages. It withheldwithh m byJ The new style conditions, that persecution Irom contribution under industrial o The fact that it is Chiefly a Negro cupymg places 0 f the sunny south was not so bad authority tl to music should be a warning to those critics Jews gravitated to those after all, for exiles readily forget occ’upi who think that music changes only for artistic tions that required the happier memories of few initial po it chang- all but sessions, reasons. Here we have a clear case of for most of them social their homeland. Homesickness for terribly we ing for historical and geographical and poor. Dixie became a song-theme. reasons. European Gradually Negroes found them- Music and Technically, jazz is derived from Religion harmonies selves in the world of entertain- Music is nothing African in its is such an music. There ment. And they gave ideas to white occups rhythm is not African—as The Jews had long or melodies. Even its blacked been a mi may per- entertainers who their people, since written—though some African element their religion req performance. faces with burnt cork and called them to haps be preserved in the style of sing, (it is also, per nor themselves Negro Minstrels. These the only the music is neither European religion that lequlri The mood of very popular minstrels were a followers to be African. It is American-Negro. able to read nothing couple of generations ago. prayers.) The American Negroes have retained Traditions o£ All the world responds to the art HARRISON musk Their language is English, poetry date of African culture. back to the Bibk slaves they learned of exiles—to the music of Chopin, their religion Christian. As In nineteenth-century mythology. It was the poems of Heine, the psalms of the Jews cap- Euron Christian hymns and Biblical un-American tive in Babylon. For almost every individual feels only when they sang that some the hymns. The himself to be an exile from some land, far, quality crept into the rhythm of far is an easy away where he would be understood. - banjo accompanied their singing. It —>s,“ss America, a country sr a cheap one, and very suited to of exiles, swiftly became a instrument, In America many Jews plantation Negroes homeland for the children of European followedecl th„ rhythmical playing. The parents. cupations. But these sar were working- But two races retained others in , evolved songs for themselves. Some their sense of exile. They adaptln a new country , S themsel made tasks easier, as sea weie the Negioes whom the adapted songs—songs that Americans regarded was Selves to Others were as a sepai ate newest in it or wh shanties make rope-hauling easier. folk, and the Jews, with whom to4 WhaT exile very up to re B M I Replies to The Etude Editorial “The Bill of Musical Rights” The Battle (5) ECAUSE the current “battle of music” be- destruction to important sections of the industry tween ASCAP and the broadcasting in- and end the American system of broadcasting as B dustry is of such importance to all music it is now known. lovers, it is essential that the public be advised ASCAP does controversy (1) not represent the best interests IJ1HE between ASCAP and of the real issues involved. of American BMI music and American composers, but has attracted national attention The editorial, “The Bill of Musical Rights”, in is operated for the benefit and secured first of a small clique of page notice in papers the Etude tends to create popular song writers. everywhere. December issue of The In the 26 years of its exist- It likewise involves European a number of false impressions. To understand ence ASCAP has only musical admitted 1166 composers of interests. Meanwhile, the United the origin of the controversy, the following fun- all the many thousands States who have been or are en- Government has taken a stand in damental facts must be considered: gaged in writing music. All the matter, admissions are subject which is not presented in the For two decades ASCAP has been an all- to arbitrary whims of ASCAP’s following self-perpetuating columns. As nothing in the field powerful monopoly, controlling, according to the Board of Directors who reject of music has any applicant they attracted such far-spread at- sworn testimony of an official, “95% of all popu- wish. Among the many prominent tention in composers who the past fifty years. The Etude lar copyrighted music.” ASCAP’s misuse of its are not members of ASCAP are e s that George Antheil its readers will appreciate our extreme power has been so Nicolai Berezowski, giving so Aaron Cop- much space to this subject in flagrant that the United States land, Henry Dixon order that they Cowell, Ber- may be fully informed. Government has brought suit nard Herrmann, n the December Charles T. issue of The Etude ap- against the Society as a mo- Griffes, Charles Martin peared an editorial, Loef- “The Bill of Musical the fler, *S nopoly in violation of Gian-Carlo Menotti, 5 ' ’ n wh> c Wal- h the situation was re- Sherman Anti-Trust Law. In ter Piston, Ernest Schelling connection with the suit a and Virgil Thomson. Justice(2) of the Supreme Court An insight into ASCAP’s at- condemned ASCAP as “a price titude toward American music fixing combination that ac- is found in the Society’s treat- tually wields the power of life ment of Aaron Copland, the and death over every business distinguished composer -con- dependent upon copyrighted ductor, and the American Com- ship, ita Uy imited membe1 ' compositions exist- posers Alliance excessive music for headed by Mr. fe\fand°hind blanketJ. exclude the use nf « licenses that ence.”(3) More recently the Fed- Copland. For years Mr. Cop- AacAP policy of musl <=. and the eral Department of Justice land sought to arouse ASCAP’s AScX. ™S£ sider the °f refusta to con- interest musteo? f5 issued subpoenas to ASCAP to in “serious” American aiv hl?t* ® . ASCAP stifles staW‘shed writers place its records at the dis- music. But, all in vain! ASCAP and restrict musical talent 6 devel°Pment of (4) flatly refused in America posal of a Federal Grand Jury, even to discuss of L, 01 the large that ' Because prior to action against ASCAP. ASCAP'S CHIEF MUSICAL the question, and barred Mr. fees that ASCAP*. ?* eras, grills nforces upon tav- all-powerful ANTAGONIST Copland from membership, and the like thZ Being an de- U ai"is Aaron Copland, born in Brooklyn, New have been forced of musicians monopoly, ASCAP has been spite his notable contributions out of »nrt byJ York, in 1900, and educated both here that claims it organization able to dictate to all music to contemporary music. “operates^ th and abroad, is a gifted pianist, com- music,” he best Typical of the interests of users whatever fees it wished poser, writer, and lecturer whose icono- Then on December 1st, attit throughout the f countIess Unions clastic ideas have attracted much at- ASCAP, in a panicky, country i, without any form of negotia- eleventh of the e lecent tention. President of statement tion or arbitration. Thus it has hour splurge of admissions the Mil™ , tion of Musicians ee tate Ass°™~ for two decades arbitrarily synthetically designed to re- who t d ”T f / ASCAP we could ** Were not Ior fixed prices on the “You-pay-our-price-or-stop- fute charges of being a “closed corporation”, de- put thnnsn, / work in Milwaukee.” Musicians to using-music-basis.” cided to admit Mr. Copland. This last minute ASCAP has refused to license its music on a gesture of ASCAP immediately brought forth the unjust as Stributi°n is as following telegram, which indeed speaks for ^^method'oTSen “per-program” or “per-use” basis as all music many 1921, users f lUSlc of music have - Slnce users desire. Instead it forced users to pay ex- American composers who have been discriminated paid »q£?£S But, of this amount, ASCAP °^ $46,500,000. orbitant fees for hundreds of thousands of com- against by ASCAP: h^ composers only one-third paid its positions they could never use. I TELEGRAPHED YOU LAST NIGHT THAT I WOULD went m UNDER NO CIRCUMSTANCES ACCEPT MEMBERSHIP IN to Broadway The rest in- puMshm Hon It is ASCAP and not the broadcasting ASCAP IN THE SITUATION WHICH EXISTS AT THE picture companies 11 motion PRESENT TIME. NEVERTHELESS I FIND IN VARIOUS and to meet dustry that is responsible for the withdrawal of OF ASrSPS ~ TODAY’S PAPERS AN ANNOUNCEMENT THAT I dous overhead expenses tremen HAVE which to ml? ASCAP music after December 31, 1940. Broad- BEEN ELECTED A MEMBER OF ASCAP. I REPUDIATE THIS to $1,376,000-21% amounted MEMBERSHIP AND I CHARGE THAT YOUR ANNOUNCE- of the total casters want to continue to use ASCAP music, Even gr “s MENT WAS DESIGNED TO OBSCURE THE REAL ATTITUDE the royalties that ASCAI? and are always willing to pay just and equitable OF ASCAP TOWARDS THE SERIOUS MUSICIANS AND THE composers flnallv „ SERIOUS MUSIC OF AMERICA. THE AMERICAN COM- were divided unjustly. willing to be In isclp^tn fees for it. They are not, however, POSERS ALLIANCE WHICH I HEAD HAS TRIED IN VAIN royalties a composer OVER TO OBTAIN receives do not deoenn forced perpetuate the ASCAP monopoly by FOR TWO YEARS FROM YOU OR YOUR to ORGANIZATION A GENUINE CONSIDERATION OF THE the actual popularity of his music having music they never use, NEEDS AND PROBLEMS OF COMPOSERS OF but rath“ to pay huge fees for SERIOUS upon his “classification” which against news MUSIC. NEITHER YOU NOR THE ASCAP COMMITTEE in turn is deter and have these music fees levied WHICH IS NOMINALLY SUPPOSED TO BE CONSIDERING mined by his reputation and friendship broadcasts, serials, athletic events and other pro- THIS PROBLEM HAS BEEN INTERESTED ENOUGH EVEN with TO RESPOND TO OUR TELEGRAMS NO LESS TO ARRANGE ASCAP’s self-perpetuating Board grams that do not use a note of music. AN APPOINTMENT FOR DISCUSSION. THIS LATEST Thus of Dhectos ATTEMPT TO ISOLATE the Directors arbitrarily broadcasters have paid ASCAP ME FROM THE COMPOSERS T dictate whet Since 1923 REPRESENT MUST BE BORN OF A amount DESPERATION WHICH each composer receives, $26,000,000 for the rental of its music—54% of I HOPE GIVES PROMISE OF A CHANGE IN THE regardlesT^f , GOVERN whether 1 ING POLICIES OF ASCAP. I LOOK his music • the Society’s total income. In 1923 broadcasters’ FORWARD TO SUCH is rarely yplayedayea mM* A CHANGE AND TO THE RECOGNITION BY ASCAP THAT demand. 01 >s In great fees amounted to 2% of the gross income. In 1939 SERIOUS AMERICAN MUSIC SHOULD HAVEITSpT^Cp IN OUR CULTURE. MEANWHILE Just — of the total rev- I DEMAND THATVAn how ASCAP these fees were $4,142,000 65% RETRACT AT ONCE IN EVERY PAPER TN pays its APPEARED THAT found in WU1 be enue. ASCAP’s 1941 contracts demand $9,000,000— STATEMENT THAT T H^ the following figures ELEOTJO TO ASCAP MEMBERSHIP 1 933 fees. Acceptance AND year ASCAP —the onl an increase of 100% over present ATELY A LIST op has ever dared , V S&’SSSJ to div lge of such exorbitant demands would bring economic mation on its royalty any infor ' (Signed) distrihutm AARON COPLAND with i6.o5o c 152 ™ $°0. Trwhile a ASCAP’S Reply to Its Critics of Music By Qene Buck President of the American Society of Composers, Authors and Publishers T IS with the greatest reluctance that our (2) Radio comment under this heading is en- Society, organized over a quarter of a century tirely irrelevant to the issues. ASCAP has never I Herbert and a group of his con- been able to dictate to all music users whatever Etude readers are asked to re- ago by Victor viewed. negotiation temporaries, as a voluntary, unincorporated, non- fees it wished without any form of read this editorial. The organization known association of composers, authors ar.' pub- or arbitration. On the contrary, in every instance as "Broadcast Music. Inc." took exception profit works, enters into a discussion and with the broadcasting industry we have al- and The Etude, desiring to be en- lishers of musical to this negotiated great length, and compromised of present issues as between the broadcasting- ways at tirely fair to all sides, gladly prints this the and ourselves, upon a basis of finding it very substantially regarding fees to be paid by reply, including a statement by Mr. Aaron networks to dissipate a smokescreen of irrelevant users. Copland. To this there is appended a letter necessary issues injected by the broadcasters. (3) Until this day the broadcasting industry from Gene Buck. President of ASCAP, and immaterial it means by a is utterly absurd for the radio interests to has never defined for ASCAP what BMI. This is fol- It so answering the claims of basis for licensing challenge by indirection and implication the con- “per program” or “per(4) use” lowed by statements from foremost Amer- copyrighted music. of the editorial by Dr. James Francis Cooke the public performance of ican composers relating to ASCAP. Etude tents Bill of National Association of Broadcasters, net- in the December Etude, entitled “The The readers cannot fail to be impressed by the Rights”, that we hesi- work controlled and domi- that this controversy emphasizes the Musical fact nated, knows perfectly well to join the issue on those significance of music in the daily life of all tate grounds. Their comment that it would bankrupt the citizens of our country. They are invited to directly nor indirectly vast majority of small inde- read all sides as presented. neither(1) pendent stations to carry in any part refutes or dis- out proves any statement made in such a licensing plan. Dr. Cooke’s editorial which is It is simply not under- standable the in fact an altogether accurate why broadcast- and impartial statement of the ers here repetitiously complain position of our Society in the of or criticize the “ASCAP mo- present controversy. nopoly” when repeatedly they assert that the music in luckier member with no performances was paid Let us, therefore, dispose of of the ASCAP’s repertoire will not be $200. Another composer with 45,663 performances the fallacious comments missed by the public when received only $563, while a favored member with broadcasters: broad- barred from the air. As to only 248 performances collected $3,417. One writer In one breath the what broadcasters have re- had 45,242 performances—more than the com- casters refer to ASCAP as an and ceived from the sale of “time bined number of performances (43,028) of 7 “all powerful monopoly” on the air” to advertisers, and favored composers. The 7 favored members, how- in the next the President of of what they have paid to ASCAP, ever, collected $46,000, while the composer whose the National Association state- THE CHAMPION OF here are the facts. In addition music was more popular than all of their songs Broadcasters makes the "JUSTICE FOR GENIUS" to the fact that at once the received the insignificant sum of $200. Additional ment over his signature in the Gene Buck, American song writer, upon noted with great that favoritism current issue of “AIR LAW RE- public dis- evidence plays an important part whose shoulders has fallen the brunt of 404) in reference to pleasure the removal of its fa- in the distribution of royalty payments is found VIEW” (p. the battle for ASCAP to secure a just re- all music by vorite music, ASCAP presents in the fact that the members of ASCAP’s self- the boycott of turn for composers. composers, from their these startling figures. perpetuating Board of Directors received iy2 ASCAP times more per performance than did ASCAP’s air waves after January first, more Broadcasters’ Payments to Per- members at large. that “the public will not suffer and it is Receipts ASCAP centage Music lovers need have no fears that this con- than likely that no one will notice the difference character quality programs on and 1931 $ 72.000,000 $ 939,430.10 1.30 troversy provoked by ASCAP will in any way in the and of 1941.” 1932 (Est.) 61,900,000 906,541.97 1.46 lower program standards. Actually, the exact op- after January 1, broad- 1933 57,000,000 1,500,481.39 2.63 posite is true. Broadcasters will still be playing as It seems difficult to understand why the powerful 1934 72,887,169 2,058,392.93 2.82 before almost all the great music of the masters casters charge ASCAP with being an “all other 1935 87,523,848 2,680,406.46 3.06 from Palestrina to Sibelius, as the bulk of monopoly” on the one hand and on the nothing 1936 107,550,886 3,239.181.50 3.01 ASCAP’s catalog consists of “hit songs”, and in- frankly state that the monopoly means public is con- 1937 141,000,000 3,878,751.94 2.75 in new arrangements especially designed for as far as the broadcasters or the deed 1938 143,500,000 3,845,206.34 2.67 broadcasting. Up to the present time, radio sta- cerned. in connection with 1939 171,000,000 4.142,024.44 2.42 tions have had to use arrangements made 20 to It is entirely untrue that are ill-suited use. Anti-Trust suit brought by the Department 50 years ago which for radio the f the TOTAL $914,361,903 $23,190,417.07 2.53 The new BMI arrangements of classical and o Justice against the Society at the behest of Supreme Court com- standard selections incorporate the latest ad- broadcasters a Justice of the quote. The comment (5 and 6) It is entirely untrue that admission vances of radio music, and are orchestrated to mented in the language they Justice Black of the to membership in ASCAP is “subject to arbitrary eliminate “thin” passages in the score and to in question was made by with adverse action whims of ASCAP’s self-perpetuating Board of Di- out maximum orchestral effects. Supreme Court in connection bring rectors who reject any applicant they wish.” Any the music that ASCAP will prohibit taken by that court upon an anti- ASCAP statute To replace Articles Florida, and it composer qualified under ASCAP’s of radio use, broadcasters have coordinated enacted by Judge Black’s state of from Association, which in twenty-five years haven’t every classifica- is equally untrue that the Department of Justice through BMI a vast reservoir of been changed, is entitled to membership and is every type of program, and to “issued subpoenas to ASCAP to place its records tion of music, for cannot, in justice to users this great at the disposal of a Federal Grand Jury.” It is, always elected. ASCAP the taste of every listener. Much of suit however, true that the Department of Justice, of music or to composers whose works have been has hitherto been restricted from radio use; music accepted by the public, elect to membership com- by the 450 BMI stations in inspired by the broadcasters, threatened to issue now it will be played works are not, to a reasonable ex- Included in the BMI such subpoenas whereupon ASCAP voluntarily posers whose ii parts of the country. performed, and therefore must a from 8 placed all of its records at the disposal of the tent, publicly to reservoir are 250,000 selections controlled some extent exercise ( Continued on Page 206) catalogs. government. well known non-ASCAP MARCH, 1941 . MRS. H. H. A. BEACH organization accomplishing ‘Justice for Genius’ as effi- ciently, as fairly, as honestly, as effectively as ASCAP “It seems to me that the does. What the church is to religion, necessity for ASCAP, and its ASCAP is to American composition. work on behalf of the claims of Famous Composers “In my own personal life, my returns composers to the full enjoyment from ASCAP enable me to finance the publication of works by gifted of their rights and copyrights, composers whose works otherwise might go unpub- is as great now as when the to lished.” Society was founded. My confi- Hally ASCAP dence in its integrity, efficiency and good faith toward those it © FERDE GROFE represents has never faltered “If there was no ASCAP it since I became a member. Per- veritable flood of letters Out of a would be necessary to organize sonally only reason to be grateful for its attitude I have from composers of the highest rank in one for the protection not only work and its efforts in furthering my in- toward my America, which have poured in upon of the established composer, but terests.” The Etude, all expressing in the most particularly for the young musi- enthusiastic terms their confidence in cian who otherwise might have no real ASCAP and their appreciation of its outlet for his works or return for CARRIE JACOBS BOND achievements, The Etude has selected his endeavors. Ameri- of can music might easily “Having been a publisher the following few short extracts. This become for many years a Sahara if young musicians my own music could easily be filled with entire issue had to I fully understand the situation close up shop because letters from American musicians great ardent they had no opportunity and know better than a ASCAP. to win their bread and butter. of note in praise of Ill conclusion • many people what the radio took I wish to say that I have the fullest confidence in away from me when it first be- the administration of the Society, and I believe in its gan its work. I am very grateful efficiency and integrity whole-heartedly.” to the ASCAP for the oppor- tunity of receiving royalties, and of course I received as much te richer, and great geniuses like Leonardo da Vinci, from as my Bond (Mrs. the ASCAP Bach, Mozart, Beethoven, Schubert, Millet, VanGogh, Henry Hadley) seems to have been the thing that Shop made, but that others would have been protected and been “We who have so greatly bene- as other and many that is what they said. As far was due me; fited i able to give all their time, energies and genius to hu- by ASCAP are eager to been concerned, ASCAP has been the people have manity, to their work, instead of spending the greater register our protests against the greatest helper to hundreds that I know of. People who part of their miserable lives struggling for survival. vilification and falsities issued been members of ASCAP have been as- have never “ASCAP must survive and be protected if true artists by the opposing faction. kindly , sisted by it. It has been a most glorious and have to be protected—and survive, in U. S. A." “My husband, Henry Hadley, musicians. I think it is one charitable thing for all was one of en- should be carried ASCAP’s most thing that should be remembered and thusiastic the adherents, and I may out. I have heard a great deal of comment toward john alden carpenter with propriety say that in his that before long they will see that “I am glad to take this oppor- radio and I am sure B and fatal not been for „ ,H Alness, had it it has been a mistake.” tunity of expressing my convic- ascap ttat °d - tion that the future of American m “ ' music, as far as it concerns the ERNEST BLOCH composer and his reasonable well w. C. member of progress and being, is de- HANDY “Before being a “Since was pendent on the principles which statements ale being ASCAP (till 1929, 1 think) I made have been adopted and put into that members of ASCAP despairing over the ‘material are effect by ASCAP. dissatisfied with the admin- situation’ which confronted me istration "In other words, if ASCAP did of the Society's with regard to the performance affairs exist, another and the method of as well not ASCAP would its distribi.1 of my works, in U. S. A. turn of Binvented to prevent the inevitable return royalties, I, a to be as in Europe. What I received have composer Days’ of the past when the American member, wish to from abroad through my pub- of the ‘Jungle refute such standing and without protection statements by saying much composer was without that if it lishers—and my music was were not for vital interests.” ASCAP and its performed at that time, all over for his pro- tection of my works and Europe amounted to practically its will- — mgness at all times to in a give sound nothing. (I have given you the ridiculous figures, CHASINS advice and ABRAM counsel, I shouldd bbp Roveredo Ticino, Switzerland, around 1931- that ldlable to can All letter from “Fourteen years ago, I made ASCAP means to mp T on. the royalties, 32.) My music was really ‘pirated.’ Where but in my t0ld 011 this page application to join my fellow ‘Autobiography tobe^ an hard working artist, went, I do not yet millan UbliShed by " justly due to a composers in ASCAP. I was im- Company, the reade?\vnm The Mac Since then, transformed from that my 1Ue was mediately welcomed. the tmetime 1I^her™ for several years—1916-1929, 1930. I had ASCAP.” became a “This lasted my personal and professional member of lessons, leading, all the time to toil and toil, giving experiences within the organiza- creative work to be able to exist. neglecting my — tion leave me to believe un- received, this very year “Now, as a mere sample—I equivocally in the honesty, Britain, (1940) collected by ASCAP, merely in Great , and idealism of the vv^uuul deduction of efficiency, question for an amount of royalties (after ASCAP is 1938, organization; therefore there is com ar s one taxes, and so on) higher than any A°f protection the high English room for constructive criticism fiomfrom exploitation. received from any of my other pub- Without this single amount organization, and such suggestions or criti- orgamzation within the the composer woul^ lishers (here or abroad) have always been met with careful considera- be literally ever cisms helpless, as “Without ASCAP, I do not know how I could amply was tion.” proven by his status be- go on, live and create. fore the formation in a more imper- of the so- “But please, let me say more, and ciety.” spent in Europe (1930- PERCY GRAINGER sonal way. During the years I “In the English speaking traveling much, conducting my works in Prance, dem- 1938) , many people, alas, who ocracies we lack these national in Italy, in England, I met for their help in stipends to composers, but instead of being grateful to America our country and attacked her in ASCAP takes their place, en- “ the last war, hated The idea of protecting the an egoistic, materialistic, uncultured land. abling the American composer interests all ways, as of creative artists by had in my pocket the By-Laws of ASCAP. to concentrate on his duty to But I always uniting them behind a common such attacks—and then music and to mankind, remained silent during since front is so “I most fundamentally right these By-Laws, which are one of the ASCAP assures the composer of that I read them it could not fail I know of. It worked like Justice for Genius’ of recog- splendid ‘human’ documents —a proper nition; and, America than all our secondly, the lead more friends for return on the performances of maeic It made “ <* *>» Society could see the real spirit of what is the composer’s existing have never diplomats They finished, forgotten that and they all felt, immediately, that available compositions. they have been best u S A . dealing S past, not only for nounr with ASCAP in the -pcnumis a paginal roie human ad there been an .. flawlessly It well values ai activities, our world would the composer's as with * all creative 'good iairy.' I cannot dollars and music, but for imagine ai cents — 1 Continued on Page 1M 206 — SECRETARIAL STUDENT masters the Music and Culture typewriter by familiarizing himself with A the mechanical technic of his instrument and acquiring speed; he is then able to type any document he is given. Many piano students seem to think their instrument can be mastered in Strength the same way: one need only acquire a fluent of Fingers, technic, they say, and then one can play any- thing. This, I believe, is a profound mistake. Al- though the piano requires muscular or mechan- ical skill, it is not a mechanical instrument. Hence it should be approached in a different Strength of Thought frame of mind. The mere striking of keys, no matter how fluently, is not piano playing. Why do we strike the keys at all? Not for the A Conference with sake of the notes alone; not to perfect a lesson or please a teacher. We strike keys in order to re- create the thought of the composer, symbolized by notes. Thus, from his earliest and simplest pieces on, the student should form the habit of seeking the musical thought behind the notes, Internationally Distinguished Pianist and using his fingers to bring this thought to life. Finger technic is useful only as it enables a per- former to deliver the message of the composer. Secured Expressly for The Etude by STEPHEN WEST For that reason, I do not believe there is a single, fixed piano technic, indiscriminately applicable to any and every composition. Each piece stands as a unique and finite work of art, complete in first. There is a vast difference between sure, ing more, is disastrous. The player then becomes itself and requiring its own technical approach. strong fingers that can also relax, and fingers breathlessly conscious of his scanty equipment Each composer requires his own technical style. that have acquired nothing but relaxation. and immediately transmits that feeling to his If you could imagine Bach and Mozart writing Although there is no single, fixed, pre-tailored hearers. There must always be a reserve fund exactly the same sequence of notes, the sensitive piano technic, there is a fixed way of drilling (of power, of speed, of everything required) over pianist would play those for strength, fluency, and and above the needs of the moment. same notes differently, control. That is the These technical problems represent not the to whether he according time honored system of goal but the mere beginning of piano study! A interpreting Bach or was scales. There is no de- person may have fluent fingers and still be un- Problems which Mozart. tour around them! Scales, able to play well the simplest Invention of Bach purely technical we call thirds, sixths, octaves, and —because musical thought, is always more im- pressure, sustained (finger arpeggios form the best portant than fingered fluency. Although I am a forte, leggiero, and so on) indeed, the only—basis for pianist, the piano has always been less interest- actually grow out of the finger surety. None of ing to me than music. Along with his finger mental or interpretive these exercises, however, facility, the student must develop his ear, his values of the passage in should be practiced me- mind, his taste, his sense of style, to bring life which they occur. Thus, I chanically. They should be to the meaning behind the printed notes. believe we should reverse practiced slowly and then Once his fingers are sufficiently strong and usual approach to with speed crescendo our ; and fluent to obey his will, the student may sub- study. Instead of develop- then decrescendo; stacca- ordinate their care to the building of musical technic as such, ing a and to, legato, leggiero. The ideas. What is he trying to say in any given trying to then apply it mechanical playing of work? To find out, he must read it for its musical first to Bach and then to scales (or of anything meaning, arriving by himself at his interpretive would do bet- Brahms, we else) is harmful. Each conclusions. They may be wrong; still there is ter to develop a Bach time a scale is played, value in having thought them out for himself. technic from a careful there should be a definite Where ideas exist they can be improved; only study of Bach’s works, ad- purpose behind it (the a lack of ideas is truly hopeless! Once his inter- our finger justing work to passage of the thumb, pretive plan is formed, the student tries to make the demands of his clean speed, the building his performance conform as closely as possible thought and style. A of a crescendo, and so to his mental ideal. It requires the closest effort Brahms technic should forth) and the most alert and , care to duplicate a mental picture in fin- develop directly from a sort of self-critical aware- gered performance. Even then, one’s playing study of Brahms, and so ness, to note how well that never quite approaches the ideal standard. Hence, on through the full list purpose is fulfilled. every performer should try to hear and criticize of composers. Such alert practicing in- his own playing. The ear is the best teacher. tends Modern preference RUDOLF SERKIN creases day-to-day finger The greatest master in the world can have only toward an ever-increased development into the nec- imperfect results with a pupil who cannot keep insistence upon relaxation in playing, and relaxa- essary reserve of strength, without which musical a critical check upon himself. tion is surely an excellent thing. But it is not interpretation rests upon a poor foundation. Con- There are no “tricks” about learning to play. the first step in learning to play. The first sider, for instance, the final thirty-seven measures The simple, old devices are still the best, and essential is finger strength. This has been advo- of Beethoven’s “Sonata, Op. 57 in F-minor” (Appas- each student must experience them for himself. Bach, and it still cated since the time of holds sionata) . It must be taken very swiftly and forte Always practice slowly. Always pay strictest at- first learn to strengthen true. The student must as well. This combines the two problems of vol- tention to accuracy. Every mark the composer strike the keys freely, his 'fingers. Let him ume and speed. The student who thinks first of has put upon the page is necessary to the musical fear of stiffness. fully, even heavily, without volume may find that the force required for a form of the piece as a whole. A forte indication pressure into Let him get the feel of sheer satisfying forte tends to slow up speed. The stu- is as important as the note it marks; to neglect place, let him learn dent who thinks first his hands. Then, in second of speed may find that the it is equal to omitting the note. If the com- The hand that has necessary fleetness tends to staccato, the adjustment of relaxation. subdue his forte. poser wants a it must be a real stac- never touched the keys in any but a soft, relaxed Neither may happen. Hence, the student must cato, as short as possible; if he wants a legato, way remains weak. Let me make it clear that I build up a reserve fund of more volume and more it must be a real legato. Each sixty- fourth note am by no means rejecting the advantages of speed than he actually needs for the movement. must be accurately counted and accounted for. able to play just (Continued relaxed playing. But finger strength must come To be what one needs, and noth- And the composer never on Page 196) MARCH, 1941 155 — ? Music in the Home ciated for many years, this set has definite his- torical interest. But as sheer music, the record- ing is not so impressive, for the symphony is a decidedly uneven one. Mahler was not a young man when he wrote it, and he was aware that The Record Parade for March his days were numbered. The first movement seems to us the best part of the work, even though it is needlessly protracted, but others contend that the final adagio is the best part of the score. There is strong evidence of decadent romanticism in this music, and one feels, after hearing the K Pet,,- JlugL Pj entire work, that the late Lawrence Gilman was f quite right when he said that Mahler’s dreams were greater than his realizations. Walter does all he can to make this music appealing, and the recorders have given ferent from Koussevitzky’s dramatically excellent cooperation. ICTOR’S DECISION TO bring out an album Slavic Bizet’s “Symphony No. 1, in C which own compositions played and Ormandy’s sonorous and incisive readings. major”, of Rachmaninoff’s Walter Goehr and the Stokowski indulges in mannered London Philharmonic Or- Vby the composer was a wise one; for there phrasings and chestra play in Victor excessive emotionalism; and the effect through- Set M-721, although written have been many mechanical improvements since in his seventeenth year, is, nonetheless, worthy. of his works. Under out is studied rather than spontaneous. last the pianist recorded some lmature in Weingartner’s fine musicianship is some respects, but it is a the heading of Eleven Piano Pieces, Victor issues accountable htlylf ’ colorful score that is cheerful alive. piano recital on discs (set for the genial and colorful reading by the Or- and its first Rachmaninoff mw a e eCl es chestre de La Societe des Concerts du 0f Mozarfc and Rossini, but we No. Conserva- . M-722), which includes: Melodie in E. Op. 3, fl rl ^f J tUlt4 l°ed ’. them since Moment toire, Paris, of Bach’s “Suite No. 3 in D major” ,... u > the younger com : 3; Humoresque, Op. 10, No. 5 (disc 2123) ; nn 0 !f a d finite end in view. per- Op. 23, famous for the Air on the G String, so often f. Goehr’s Musical, Op. 16, No. 2; Prelude in G-flat, form n e ba£ the by violinists (Columbia Set M-428). requisite verve and sparkle, No. 10 (disc 2124) Preludes, Op. 32, Nos. 2, 6, and played It is Smpf^ L ; ° Verture “ in that celebrated Air that Weingartner gives t0 The Bartered Bride” is 7 (disc 2125) Etudes, Op. 33, Nos. 2 and 7 (disc us a work ; reqmreS (disc b0th Precision and vivacity, 2126) Daisies, Op. 38; and Oriental Sketch o d i „ ; m U tlCe - Barbirolli the pieces were composed be- - conducting 2127). Most of these New York pilllbalmonicil vary in value. The "Symphony Orchestra tween 1892 and 1911, and they (Columhin tv - 1B003 D >. Provides Preludes are Russian in character; some of the tat no? h ? the vivacity flniti0n tor a convincing perform- other pieces are slightly derivative—as, for ex- ance L?? reCordi ng is far ample, the attractive Moment Musicale, which re- BMtaon,? too thin re calls Chopin. Rachmaninoff’s piano music nat- ance ot an jSu * eiIective perform- °r ?U ?by Res igh urally shows a keen insight into piano technic, a transcrintimi P i (re-spe-ge>, 5f a WOrk ori and particular group of numbers should be the gin ally for lutes by this 16th ™mposer gratifying both to the performer and the listener. (Victor disc ' Giovanni Besardo 17558) 6 New " Students of these compositions will find the re- monic-Symphonv drehe'? York phimal IS better in cordings invaluable; and the composer’s many this latter disc recorded and thl Stn?nBS will welcome them for his fine playing ity have more sonor- admirers and warmth The . as well as for the music’s appeal. The recording charm, carefree is comparable to the best of its kind issued by Victor. A Touch of Spain (foi-er-man) the Since Emanuel Feuermann , recordin violoncellist, has been featured in recent years de PaUa'^s'colorf? and?™ B of Manuel “Don Quixote”, and Gardens 6 “Nlghts in the in performances of Strauss’ of Spain" partiru??'' since Eugene Ormandy is widely known as a sympathetic SmCe 14 is given perfonnanee’h Ll Strauss’ music, it is logical that pianist, cette Descaves, a specialist in and the Paris ! Co? atory Victor should unite the two in a recording of this conducted by Eugene Bis? Orchestra. Music in the Home another way of proclaiming hemispheric unity! Movie Music of High Merit Paramount has recently signed B. G. DeSylva to produce pictures starring Bing Crosby and Bob Hope. Mr. DeSylva has adopted the picture title, “There’s Magic in Music”, as his personal Rj. 2),onaiJJ Wlartin motto; and, in view of the fact that his ten- dollar-a-week salary as an eighteen-year-old shipping clerk zoomed into a $30,000 annual HILE THE MOTION PICTURE INDUSTRY dear itself to dance devotees. The newest dance song royalty income before he was twenty-one, is cudgeling its collective wits over busi- trends, it would seem, are largely of South such adoption hardly seems ill-considered. Wness worries involving block releases, American inspiration. Ballroom dancing has Born in New York City, DeSylva was taken to dduble features, European markets, and the followed the lead of professional exhibition Los Angeles at the age of two. His father, highly intriguing question of What The Public teams through the intricacies of the rhumba Aloysius Joseph DeSylva, was an actor, appear- Really Wants (enough to pay for seven nights a and the conga. Now the newer steps of the ing under the stage name of Hal de Forest in it right love stories are claiming attention, week) , goes on producing samba and the dance support of Annette Kellerman and in many and musicals. There may be discussion and scenes in which Miss Miranda appears serve as W. A. Brady plays. His mother was the daughter doubt as to the entertainment value of current- expert instruction. of George E. Gard, United States Marshal at Los problem films involving political figures and To dance to undiluted Latin-American music Angeles, who captured the notorious California refugees, or four-hour encounters with the train robbers, Sontag and emergencies of the Civil War; but everybody Evans. Young DeSylva at- is sure that everybody likes a good tune. Which tended public school and high is good psychology. Twentieth-Century Fox of- school, became a life guard fers a number of very good tunes in its forth- and later a shipping clerk. coming Technicolor release of South American While clerking, he wrote a background, “That Night in Rio”, starring Car- successful play for his high men Miranda, Alice Faye, and Don Ameche. The school. One of the professors popular song-writing team of Mack Gordon of the University of Southern and Harry Warren are creating five new hit California saw it and urged tunes, which lend themselves to the dancing its young author to continue scenes of the film, as well as to song. Carmen his studies. He entered the Miranda (the “Brazilian Bombshell” of stage and U.S.C., stayed there a year, radio) sings and dances the samba to the strains and began picking out tunes of Chica, Chica, Boom, Chic, the very name of on a ukulele. Then he found which elicits a second glance. an opening in a country club How does a tunesmith become inspired by orchestra, playing ukulele and such an arrangement of sounds and titles? singing his own songs. A1 Mack Gordon tells you. Jolson heard young DeSylva’s Warren, “Harry who upholds the musical end ’N Everything and liked it. of the partnership, had the rough idea of a fine Immediately, the unknown South American tune. We went over it on the young composer made the star together, piano and I hummed it to fix the a business proposition: if rhythm. I would have liked to take it home Jolson would sing the song, he with me, to get to work on the lyrics, but noth- could have a half interest in ing had been written down. Thus, to get the it! Jolson took DeSylva to New rhythm straight in my mind, I hit on a group York with him, and used the of meaningless syllables which fitted the music song in “Sinbad.” That was in exactly. The syllables I used were ‘Chica, Chica, 1918. Six months later, De- Boom, Chic.’ Warren looked up and asked me to Sylva received his first royalty sing it over again. I did. check from ’N Everything it “‘You’ve got the title!’” said Warren. ‘“Let’s came to $16,000. His next ” CARMEN MIRANDA call the song, Chica, Chica, Boom, Chic!’ smash-hit was I’ll Say She The Brazilian tornado in "That Night in Rio" who has “Which is exactly what we did, and it just fits Does. That same year, created a furore with her interpretations of Brazilian Songs. he the jungle chant mood that we want!” wrote “La La Lucille” with In order to find suitable atmosphere for the George Gershwin, who was songs, Gordon and Warren rented a cottage on requires considerable skill. The secret appears to then a young rehearsal pianist in a publishing Monterey Bay, in Northern California, where be rhythmic control rather than mere foot-work. house. DeSylva has written lyrics and music, they could work in quiet. Since Miss Miranda Miss Miranda demonstrates Brazil’s native alone and in collaboration with others, for five sings chiefly in Portuguese, the song lyrics for samba, which is a modification of the ma-chee- hundred songs, fifty of them smash-hits. He has this film have taken a bi-lingual turn. And, so chee. It is danced to a rather fast six-eight written the lyrics for over a dozen successful that there should be no “boner” complaints from rhythm. Unlike the rhumba, the movement is operettas, has produced pictures for Shirley audience members who know Portuguese better mainly in the upper body and consists of a Temple, Danielle Darrieux, and Ginger Rogers, than the film’s producers, Gilbert Souto, Bra- circular, swinging motion while the feet do a and collaborated on the current Broadway suc- zilian newspaperman, was engaged to re-write simple polka step: 1-2-3, and 1-2-3, turning as cesses, “DuBarry Was a Lady”, “Louisiana Pur- to the best the lyrics according Brazilian aca- one advances, after the manner of the waltz. chase”, and “Panama Hattie.” Mr. DeSylva is now demic standards. Thus, the Spanish-titled A brief survey of recent song and dance trends at work on his new Paramount assignment, put- Buenas Noches will appear as Boa Noite (both shows them to have progressed through a ting finishing touches to a film that has a timely mean “Good Night”) . Carmen Miranda also national as well as a rhythmic cycle—the waltz title, whether you think in terms of military sings Vyi, Yi, Yi, Yi, which, we are informed, from Vienna; the Apache tunes from Paris; defense or of March winds: “Caught In The means “I Love You Very Much.” After setting- the Lambeth Walk from London; the Charleston Draft”, with Bob Hope and Dorothy Lamour. down that title, it seems anti-climactic to have and other jazz forms from the American South- This is but one of nine musical productions, to add that Miss Miranda sings the song in land. Possibly the South American trend is just all “shooting” simultaneously at the various English. In exchange for which, Don Ameche studios. At Metro-Goldwyn-Mayer, Robert Z. will perform the novelty hit, They Met in Rio, in Leonard is completing Pandro S. Berman’s pro- Portuguese. We hope this is all quite clear. duction of “The Ziegfeld Girl”, co-starring James It is believed that, along with its plot, words, Stewart, Judy Garland, and Hedy Lamarr, and will en- and music values, “That Night in Rio” following the tradition ( Continued on Page 198) MARCH, 1941 157 $ “ Music in the Home Multum in Opera The Sometimes a very unpretentious volume be- Etude comes one of the best books upon its subject. “Opera” by Edward J. Dent is issued in the popu- lar paper-bound series of Penguin Books, Ltd. It resembles an English operatic Baedecker. The Music Lover’s Bookshelf cover bears a design of Mephistopheles holding a sword and seems to depict the devil about to com- mit hari-kari—a very welcome gesture in these horrendous days. Any book here reviewed may In some seventy-five thousand words, the genial be secured from and scholarly Dr. Dent has covered the main facts THE ETUDE MUSIC MAGAZINE at the of operatic history and covered it in a way to price given plus postage. leave little more desired. At the same time he has not invaded the field of the textbook nor has he merely catalogued the tiresome plots' of opera. While reading the work, particularly the lengthy sections devoted to German opera, which he dis- cusses with typical British equanimity and com- IfflereclitL a cl placency, while London and his own precious man Cambridge, where he has been professor of music since 1926, have been hideously bombed, we could opera was the boon to the tired business man not help being thrilled with admiration for the music are opera, because there was rmt- vph, dramas rather than comic no 1’ re author’s ideals, sportsmanship, humor, artistic in- “ oved fr°m this kind of drama- place where he could get to sleep more quickly turrir ThS tegrity and above all, unruffled calm. It reminds y' °me of the llbretti have about than in a grand opera house. After a heavy busi- as us of a gentleman placidly having his five o’clock ” Pl0t to ' them as a telephone ness day followed by a full course dinner of dLXry. tea while riding on the back of a runaway must escargots, caviar and faisandeau a VAlsace, to- elephant. Hats off to you, Dr. Dent, and your St farcical champagne rose, the dim situations we have gether with a bottle of eveLseeif have™!?6 bright and delightful book, produced in England’s been aceom anied operatic the warm coziness, the soft music and the music of P by orare in ceternum.” lights, mt qU BraVity black hour. “Laborare est - They remiad this re- plush fauteuil make slumber irresistible. “ewer of !. There have been between twenty-five to thirty y UP °n Dante ' Dr. Dent makes the following quotation from the lnferno " s famous line in thousand operas written and performed. Only a hf? chalked upon the quaint remarks of Dr. Charles Burney (1726- to a lS uT the entrance °pera House: 1814) making it clear that the point of view of ogni l'umorp “Lasciate Ch ’ “‘rate.” many people in England is the same to-day. humor (“Abandon all i v? who V y who entei here.”) Dr “Music is a Manufacture in Italy, that feeds Dent of the 6 ' ta and enriches a large portion of the people; and £™GaS t?" mercantile country persuaded not it is no more disgraceful to a to chew up the'scenervH^ "“Ml other produc- aby neVer heard to import it, than wine, tea, or any of a similar Grane at1 'thethe MetropolitanH°f New tion of remote parts of the world. . . . York This wj t Z in 3' 1 °ld “The vocal Music of Italy can only be heard in who had been White naS ' refurtShedXr’Jh01 the to its own language and by flowing occasion with a perfection when sung Wwhitete aarfifidCla , . and Mada TemiPa the language ' * its own natives, who give both a r^atm gestu 8gr^P edd the Ttall: Music their true accents and expressions. There startled Grane aud the walked o? l wishing to hear Italian 8 the tail in the is as much reason for surprised prima donna's hlSf performed in this genuine manner, as for Animals in Music opera are alwavs a Harwm prefer an original pic- relief, °US ComlC the lovers of painting to as were the three eiephant ? A eI" ture of Raphael to a copy.” ‘can open air performance “ “ appre- “of “ Recognizing At the start, Dr. Dent wisely states his the opening notes of the . d definition: “Mch ' ciation of Dr. Samuel Johnson’s their usual symbol, ttey ™° A scene from Stravinsky's successful ballet "Petruschka" stated “Opera, an exotic and irrational entertainment.” r-*,'« ““ « in opera. In There is no accounting for taste *i=i few, a very few, of these, are part of the present- — Germany for instance, among the leading operas «»».. day repertoire. We doubt whether there has ever hundred ssszszssts?fl 1 mus‘cal war given in 1937-1938, there were nineteen with Ethiopia one of the li ? been in any other field such enormous effort and and twenty-six performances of opera written by small results. Dr. Dent approaches such relatively German composers, while there were three thou- his work with a fine perspective, a rich and ex- sand two hundred and one performances by com- perienced mind and a very deft but shrewd posers of other nations, particularly those of Italy traTed method of appraising the work of past masters. and France, despite the efforts to promote Teu- d0“. a delightfully bovine with definite care the social and po- Rhine maided He limns above all others. striking debate and a various countries which tonic art between a penguin Brunhilde litical conditions in the Dent, and It is pleasant to note that Dr. whose a pelican ¥oio, that we are called forth the special kind of operatic expres- certain we have European knowledge of the drama is very extensive and seen m actual life in some German sion produced. He walks around the opera house authoritative, devotes much space to the diffi- You are sure to be charmed continent and picks out at will the influences in with this capti- culties of the theater in reconciling itself physi- vating little volume.0 Venice, Paris, London, Vienna, Milan, Florence, with the extravagant imaginative demands “Opera” Munich, Naples or Bayreuth which fer- cally Berlin, librettists and the composers. The great in each section. His of the By: Edward J. Dent tilized’ the operatic growth problem of the operatic composer has always Pages: 192 (bound the incomparable Wagner is done in paper) chapter upon securing an appropriate Addison or a been that of and ade- Price: 25 with the literary fluency of an quate book. The operatic librettist’s task was Publishers: although at no place, in this easy-to-read Penguin Books, Ltd. Steele, usually a simple one. When he struck any indication of any effort at fine com- book, is there any in his plot he will to plex obstacle conveniently resorted it is a book that you want writing. In fact, necromancy for his Dens ex machina. s 0F ,VN fin^hed it And this to Many of Th V Accompanist read again, once you have The really great accompanist is not a, critic so 1biase that he 1 a! comment comes from a companist at all. The 0 master „ having slept throug P^ t write 5 claims a record of great songs, or great known opera, ^including^ ^ pieces fmT^ the first act of every t ‘ P blitz-opera Elekt BOOKS ” 6 time in Richard Strauss’ *f, , whL L°knomt d °ve' that gland as thLacL had a friend who insisted the The writer thin line of melody tcZTZVp™ 158 — . Music in the Home is a young songstress well known to Columbia network listeners through her previous appear- Classics on the Air ances on the Hit Parade and other shows. Jack Leonard was formerly Tommy Dorsey’s soloist. And London born Lyn Murray, who is a coast- to-coast favorite over the airways as an orches- tral director, earned his reputation in radio in ddij. ^dl^red csCindday. Iddorg-a the past few years. The most popular of all American radio com- mentators in England has been Raymond Gram Swing (heard usually Monday through Friday at HE TURN OF THE YEAR brought the an- ing from Carnegie Hall in New York, are 10:00 P.M., EST, over the Mutual network). nouncement of one of the most important with the orchestra. On March ninth, the program England’s admiration of Swing caused him eminent vio- T musical programs in the history of Mutual’s is an all-Mozart one, featuring the recently to drop his Thursday broadcast in New York station WOR. This was the series of linist, Nathan Milstein. The selections include order that he might write a thousand word concerto programs, which has been heard since the “Symphony in A major”, K. 201; “Three “American Commentary” for the London Sunday January 5th each Sunday evening from 7:00 to Pieces” for violin and orchestra; and the Sere- Express. Since the hectic days of July, 1939, instruments, K. 361. 7:30 P. M., EST, featuring Joseph Szigeti, the nade in B-flat, for wind Swing has been broadcasting almost every day Three violinist, and an orchestra under the direction March sixteenth is devoted also to Mozart. without missing a single program up until the presentation of Alfred Wallenstein. The Szigeti broadcasts soloists are scheduled for —Duso- middle of December. Around Christmas time he have been devoted to outstanding works, written lina Giannini, soprano, Roman Totenberg, vio- took his first real vacation since the war start- for violin and orchestra, and have been one of linist, and William Primrose, violist. This broad- ed—only to spend most of it in bed, nursing his the highlights of the Sunday radio programs cast will open with the lovely Serenata notturna, first illness since he started broadcasting daily. popular “Sin- returning to work, Swing to since their advent. This is the first time that K. 239, and will be followed by the On was heard say ruefully: “It Szigeti has ever been heard regularly on the air fonia Concertante”, K. 364, for violin, viola and seems that I have to be broadcast- ing to stay healthy.” While ill in this country. His fame as a violinist extends orchestra, a group of arias for soprano and he was at his Connecticut farmhouse, around the world, and his recordings are sold orchestra, and the “Symphony in D major”, K. Swing amused himself by writing a trio among other musical in every country where phonograph discs are 297. On March twenty-third Yves Tinayre, bari- compo- sitions; for he is a composer as well obtainable. Critics generally concede that he is tone, will be heard in arias by Monteverdi, Gom- as a news commentator. Although among the four greatest violinists of the pres- bert, and Dufay. The balance of the program he likes to protest that his ent. His artistry is usually classified as fastidious, will consist of the Over- compositions are really although one adjective hardly does him full jus- ture to Abu Hassan, nothing, “just for family tice. We understand that the Szigeti concerts Weber; Symphonietta, consumption,” this is not are due to continue through March. We sincere- Roger Sessions; and Sere- entirely true, for several of ly hope that arrangements will be made there- nade, Tschaikowsky. On his works have recently March thirtieth, after to present him in another series—perhaps the pro- been presented in concert. in recitals of sonatas or other chamber works, gram will be devoted to an If, one of these days, you orchestral version of hear a piece of if not in repetition of concertos he previously has music played with the orchestra. Bach’s “Art of the Fugue.” written by a man named Regarding the Szigeti concerts Mr. Wallenstein Swing, the chances are it In Lighter Mood has stated: “To the best of my knowledge this will be one of Raymond Swing’s composi- is one of the first times—if not the first—that “Your Hit Parade” Gram an American radio station has itself presented (heard Saturdays from tions. The Swing family one of the truly great musicians of our day in a 9:00 to 9:45 P.M., EST— often gives trio recitals at Swing is series of concerts of really important music Columbia network) , home; a pianist, the music he himself wants to play.” which features Mark his son, a freshman at Szigeti first played in this country fifteen years Warnow and his orches- Harvard, is a violoncellist, ago at a concert of the Philadelphia Orchestra tra, soloists Barry Wood and his daughter is a under the direction of Leopold Stokowski. Since and Bea Wain, and a violinist. that time, he has become a perennial concert chorus, recently joined The Ford Sunday Eve- favorite all over the States. the bandwagon of visit- ning Hour continues to Speaking of Alfred Wallenstein, it was good ing military centers where present distinguished to hear his broadcasts with the NBC Symphony young America is being soloists and conductors Orchestra in January during Mr. Toscanini’s ab- trained in the art of de- in varied programs guar- sence. He substantiated once again that he is fense. Fifteen minutes of anteed to reach the wid- not JOSEPH SZIGETI only one of the foremost American conductors, the broadcast are given est popular audience. At but also one whose name is rightfully synony- over weekly to entertain- the time of going to print mous with good, unhackneyed music. ment picked up in different camps. Three of the four out of five of the concert ensembles for March This month the NBC Symphony Orchestra is camps that will occupy a third of the show’s time are announced. On the second, Lawrence Tibbett, under the direction of the distinguished Czech in the March broadcasts are announced; these will the American baritone, is scheduled, with Eugene conductor, Georg Szell, for the broadcasts of the be Fort Hamilton, Brooklyn, New York (March Ormandy conducting the orchestra. On the six- fifteenth and the 1st) Norfolk, Virginia, Naval Air Station (March teenth, Grace Moore, the American soprano, is an- first, eighth, twenty-second. ; twenty-ninth, Toscanini is scheduled to 8th) and Camp Upton, Yaphank, New York nounced with Reginald Stewart, the Canadian On the ; the twenty-third return. (March 15th) conductor-pianist. On Guiomar is to During this month the New Friends of Music, Two of radio’s popular song stylists, Fredda Novaes, the Brazilian pianist, play, with Leonard, are Ormandy again conducting; and on heard Sundays from 6:05 to 7:00 P. M., EST Gibson and Jack featured soloists Mr. the will feature some particu- with Lyn Murray and his orchestra on a new pro- thirtieth Richard Crooks, the American tenor, is (NBC-Blue network) , by its chamber orch- gram called “The Composer’s Corner”, Sundays to be heard, with Mr. Ormandy again wielding larly interesting programs Fritz Stiedry. Broad- 2:35 to 3:00 P.M., EST Columbia network. The the baton. estra under the direction of — York on the composers are, of course, all of the popular genre. One is almost certain to hear some unusual casting from Town Hall in New will present Miss Gibson, frequently called “the Gibson girl”, composition when tuning into the programs of second, the New Friends program William Horn, Frank Black and his String Symphony (usually the Kolisch String Quartet and in D minor, heard Sundays at 2 P.M., EST (NBC-Blue net- tenor. The selections are: “Quartet Schubert songs; work) . Black has a flair for routing out unfa- Op. 7”, Schoenberg; a group of 161 RADIO miliar and seldom heard works for string or- and the “Quartet in G major, Op. , chestra. He has been (Continued on Page 204) Schubert. The next four concerts, emanat- 159 MARCH, 1941 — — — — — ; ;‘ Music and Study tion of well arranged favorites from Chabrier, Enesco, De Falla, Rand, Smet- ana, Saint-Saens and others.) 3. Here are some suggestions for solos: Sousa Petit Minuet; Federer Valse Ro- The Teacher’s Round Table mantique; Loth In Thoughtful Mood; Rubinstein—Berceuse Triste; Beethoven- Hodson — Valsette; Saxon — Powdered Lady; Spry—Moment Dialogue Deems Starting Lessons Conducted Monthly Taylor—Moonlight Scene from “A Kiss Since the pocketbook is, of necessity, in Xanadu”; Groton Amourette; Franz- an item in music education, and there is Maier—Dedication and wealth in most average towns, Woodland Roses very little (both what age should you begin a child’s short and on the same sheet) piano lessons? What about children five Franz-Maier My Songs and Like Sun- six years who are interested? to beams on the Sea (both short, contrasted, —B. D., New Jersey. yj/]aier on the same sheet, and highly recom- You’re asking me! If the pocketbook mended) . is such an important consideration (does 4. any one doubt it?), why not get parents Noted Pianist She Hopes to be a Teacher accustomed to shelling out for music les- and Music Educator sons early as possible? If you let them as P r °blem: I have a young' ho is wait too long, goodness knows what may deeP1 y interested in all Correspondents with this ,, , Dcpart- of music and art. happen! There is much more chance of went arc ren nested to limit and I believe f-rlters U1 0t grow ‘Afferent continuing lessons over a long period if to One Hundred and Fifty tr Music and Culture Art and Life in Indian Music As told to L. Wielich ^3:Jl - ti - Opi Ish-ti-Opi is the Indian name of Wesley L. Robertson ivho has made a sensational suc- cess as a concert singer. His name is familiar to thousands “on the air.” He has appeared at Hyde Park before the King and Queen of England when they were the guests of the President. He was born in Oklahoma of a Choctaw Indian mother and an English father. He received his general education at the Universities of California, Hew Mexico, and Oklahoma. From the latter institution he received two degrees. His vocal studies were conducted in Oklahoma City, Neio York City and with Andres de Segurola in Los Angeles. He made his New York debut in Town Hall in 1939 . Editor’s Note. O THE AMERICAN INDIAN, “art” and “life” The Song of the Arrow mean exactly the same thing. While art in T the white man’s sense of the word is often relegated to the field of entertainment or the arena of commercial endeavor, art is the Indian’s perience. To imagine that primitive Indian cere- expression of living. To the red man of to-day, monies and festivals were in any sense paganistic who experiences occasional rejuvenations of an- is to misunderstand their inherent character. cient customs, music becomes necessary in the prompted its composition. In the primitive period The sacred rite was no less practical than the maintenance of a daily routine, as it was to the of its history, Indian music was always used for secular. Indeed, any keen cleavage between the red man of a vanished day. If, therefore, we give specific purposes, as an accompaniment to rites two was non-existent. the term “art” (including or to bring about a clear- The painstaking student would further be sur- music) its Indian interpre- cut result. It was also com- prised at the precision called for in these choruses tation, we conclude that the munal, except in special and dances. Every note, every step and gesture terms “art” and “life” are cases, such as the lover’s had its own time value, measured to the fraction synonymous, since true art wooing song, when the in- of a second and so punctiliously observed that a in the teaching of our an- dividual stood out sharply stranger, trained in the same music, could take cient wise men meant the from his fellows for the part in the performance without missing half manifestation of life. time being. It not only mir- a beat. The only variation might be one of gen- Students who are at- rored the people’s rituals; eral pace, of the whole piece moving at a faster tracted to Indian music, it explained their way of or a slower tempo. Strictness in following the either as performers or as living and gave point to melody was possible because of the Indian’s in- potential composers, must their various enterprises. nate sense of pitch. No one ever sang out of keep this fact in mind if The hunting dance and tune, nor did the chanters need help from a they would penetrate be- its accompaniment furnish pitch pipe or leader in beginning on the right neath the surface and bring an adequate illustration. note. Simultaneously with the initial beat of a out some of the exquisite Hunting was not a sportive drum, the opening notes of the chant came per- treasures that await the pastime; the Indian hunted fectly in key from the singers’ throats. Equipped pale-faced man’s discovery. because he needed animal with a beater, each singer joined a circle around It is probable that no other meat and skins and the a great drum and beat time as he chanted. kind of music demands so feathers of birds. By patient Although the men with the best voices were thorough an adjustment on experimentation he had naturally chosen for actual performances, all the the disciple’s part. A pian- learned that he bettered members of a tribe were familiar with all the his chances of success by that if occurred in the ist, for example, can play songs, so a gap singers’ a Beethoven sonata intel- imitating bird notes and by ranks it could easily be filled by someone capable ligently without knowing catering to the inquisitive- of taking the absentee’s place. Women were heard anything of the circum- ness of animals with mo- only in lullabies, appealing in song to the Great WESLEY L. on stances under which it was ROBERTSON notonous thrumming a Spirit to watch over their children and to return (Ish-ti-Opi) - written. He could even be tom tom, thus enticing them safely from the land of dreams. within ignorant of Beethoven’s them range of his Such, briefly, was the communal nature of personal history and give an impressive per- arrows. Animal movements seen in this way and Indian music. The outstanding and romantic bird calls learned by this method were then formance of the work. in- exception was the love song used by the young of In- corporated into choral chants and dances which brave to the maiden who personified But an artist cannot interpret a piece woo his legend which became accurate narratives of the hunting ex- heart’s desire. Under the compelling impulse dian music unless he knows the of 161 MARCH, 1941 Music and Culture ready to show us if he is able to bring them out A New Dress Every Day melodically while adding the arpeggios. Some could not be satisfied with the children will be able to do this; others will need his emotion he l^iva stereotyped repetition of an historic poem or 8, the benefit of the previously mentioned bit of melody; he must employ a new lyrical piece to useful psychology. Even the smallest child under- stands express his sentiment. If he lacked poetical and USIC TEACHERS sometimes will not ad- the difference between the terms “speak” musical inventiveness, he was permitted to enlist mit it, but clothes help make the success- and “whisper.” Once he understands that the melody must the services of the tribe’s song maker, to whom M ful teacher of children. be made to “speak” and the arpeg- he would confide his aspirations and who, after You women teachers of young people will find gios to “whisper”, he is then ready really to sympathetically studying the suitor’s tempera- it worth while to arrange your wardrobe so as emphasize the melody and “whisper” the accom- ment, would weave a song applicable to no other not to wear the same costume at any two lessons paniment properly, making of this little piece a person. Having memorized- the serenade made a pupil may take in succession. If you have five true lullaby. To avoid confusion, he may sing expressly for him, the brave sang it outside the costumes, you should wear Number 1 on Mon- “speak, whis- per; speak, whis-per”, and so on, tepee of his beloved, continuing his plaint until day of one week, and on Tuesday of the next as indicated. she either rejected his suit or emerged to walk week, and so forth. Thus the Monday pupils will with him through the village as a public an- see that particular dress only every sixth week. nouncement of their betrothal. Apropos of the Color, likewise, is a vital point to consider. Teaching Tone Quality brave’s serenade, it is significant to recall that Youngsters do not care for black unless it is re- romantic music. very gay, bright sensuality never crept into this lieved by something a scarf, a liif oCeonora Sill Siliton Such was the spiritual, practical and emotional colorful necklace or bracelet. The adult students primitive art of the Indian, appreciate quality and style even in dark basis on which the will HE RECOGNITION BY THE EAR of the the northern Eski- not the young children. from the southern Mayan to material, but quality of tone, produced on the piano, mo, was created; and when the student realizes You, who conduct classes, will have less T should be regarded by the teacher with the were, he will readily see that in holding your pupils’ attention if you same what the conditions trouble degree of importance as that of the recog- of the customs, traditions, phi- wear your brightest dresses for such groups. nition a knowledge of pitch or the intervals of the scale; and losophy and morals of the people is essential to These ideas are facts—not theories, and have so should form an intrinsic part of that period an authoritative interpretation of their music. been tried and proven over a period of many of the lesson hour which is devoted to ear A scientific or technical analysis would, at the years. training. moment, carry us too far afield. It is enough to There are many ways in which the teaching of say that the type of music under consideration tone may be How tD Make accomplished. A simple practice belonged to a period of American history which wi i young children will be to choose at random remains the peculiar possession of a self-con- any sound which may be in time third periods of the Melody “Speak” process at the tained race. The second and le OI hour: the shriek ol a whistle, the dealing with pale-faced imitations rfimhf f \ Indian music, a 11 *1 Stella Wlihon-JSolne, ’ the SOng ° f a bird the rillg- or adaptations of Indian themes and rhythms Bf inrTnf “ade epH* > toned bell. With the atten- and on the other with the Hnn . ; pupil's on the one hand, teaching young pupils to bring out the n these In ' he may be a^ed which infiltration of Anglo-Saxon influence into Indian ories S» nl melody, where it may be interwoven with arpeg- P mB ‘° h ‘ S ear ' and not. compositions, would call for separate articles in A ih which are accompaniment, many fine TC ' a me Indian gios or chords as ;°dy or exercise with which he themselves. One may say, however, that is fam 11 i» teachers recommend having the child to pick out y be played; pentatonic scale as its first with a stiff, music ha.d the five- tone play them apart from WhT to the melody notes and to uch; and then with relaxed, foundation and that it is susceptible to modern thus getting the melody “into the ear”, C S~takmg provided the com- the rest, care in each case treatment and elaboration that no nhv? 1 n so that they are enabled to emphasize it while poser’s ear is sufficiently sensitive, and that he pan filling in the accompaniment. This is, we know, a^/S t^STSSZ the fine intervals found in " does not confuse quite necessary in enabling the child to catch American Indian music with those often prevail- the musical meaning of the piece. ing in Oriental themes. wh,ch sound is Even so, there are some types of young pupils mellow to the ear^ Now comes the question of the student’s tech- and °w" who can do this quite satisfactorily and yet be nical preparation for the interpretation of Indian The child with properly once . , emphasize the melody a sensitive ear umii , ,, “open” tone unable to songs. In the main, Indians used an the of difficult to decide accompaniment is included in work between the t °l “covered” tones which to-day the should T in contrast to the the tune. Once settled again not expect a prac- the hand that carries suTersensUiv^L are taught in many studios. Being intensely often this case. Some very to the complete task, the situation becomes musical chile resorted to falsetto notes when pany tical, Indians also where the teacher may apply with their ejct a a jumble. Here is opposhethtT'am-aving the music rose abruptly from a lower key to or r b a n the psychology of comparing the new un- ne h“ 0nly demanded a dramatic expansion degl eee \o witness Ure higher one and the long known or familiar things VhTc^th produc- familiar with of the singer’s range. But differences in take for example fune in onTheladffi 7“™ of a child’s experience. Let us tolSnAif student who is After tion are not serious barriers. The of Robert Schumann’s the practical ^ the first two phrases demonstrations™ 'pieastag well grounded in bel canto, who has acquired a u a " Cradle Song, Op. 124, No. 6. M ma legato and knows how to phrase a Bach pupi. rd f- ; smooth Sr hikt:rrakr^e jettison his knowledge listen for the f aria intelligently, need not quality 0 f sound For the sake as weuTf its when he studies an Indian song. *° teaCh him legitimately introduce Te of verisimilitude, he may a musTcamusical to™t°ne on the piano. This that would be out will be cor- an occasional tremulous note related with the varied touches on or simplify his the kevs of place in an European art song, made possible by muscular control The falsetto; but he is no mmil task by a sparing use of will learn the variety of tones resulting technic than he from more compelled to remake his these touches, and so will begin his other folk appreciation would be for the interpretation of any of tonal intensity. to reform his personal music. Nor is he called on There will be the light tone brought only to forth by “art" and “life”, but finger attitude toward staccato; the powerful tone of sees life and ai the up-arm deepen and broaden it until he touch; the lovely con- singing tone created bv but not until then, can he means as one. Then, of the weight of relaxed playing authentic and effective muscies con . fidently undertake the centrated the richest upon the tips of the performance of music which is one of Angers to our na- Teaching the recognition of contributions the Indian has made have the quality of Here we the case of melody notes en- tone is a y far more • extended effort tho,-, i tional culture. „ .. twined with arpeggio effects, and melody notes the all up by repeating intervals between I can best sum it tones, Perhaps that must be held over the entire triplet, at that. finest 1 1 wrote for “Yunini’s Story of the Trail elements of musical eym.o a poem I This little number holds much of simple and en- co-author with Ada Barry.' opened to the pupil's of Tears”, as ticing beauty, if well played. Once consciousness Page 194) the melody consciousness andd that‘ ( Continued on will be notes are played apart from the embedded ~ accompaniment of one of appreciatIon and as well the basic principles interpreted as possible, the child o, T * London. is duction The Mitre Press, 0 , a full, r?ch, re^n^ound.^ ^ 162 — Music and Study The Groundwork of Vocal Art A Conference with Sfidaleth Sellunia i m of the Curtis Institute nf Music Secured Expressly for The Etude by Myles Fellowes Although Madame Schumann is known chiefly in America as one of the world’s most distinguished lieder singers, her European career has been climaxed with notable achievements both in concert and opera. For tivo decades active at Salzburg Elisabeth Schumann in "Der Rosenkavalier." and the Vienna Staatsoper, she has been honored by the governments of Austria, France, Denmark, Rumania, and he Greece materials that build vocal art for her eminent contribution to the musical fall into two equally important categories. life of our day . Editor’s Note. T First, the young singer must possess musical talent. He should early reveal not only a good voice, but a sense of music. In second place, he must have expert instruction to bring his gifts theii full to measure of independent expression. Constructive Imitation Helps It must be remembered, however, that instruc- It is a great advantage when a teacher is able tion alone can do no more than develop the to sing for his pupils. I know there is divided material at hand. No teacher can put a lovelier opinion, however, on this point; some experts timbre into a pupil’s throat, or give the pupil feel that “model singing” encourages thoughtless greater talent. It is well for the young singer to imitation. One certainly must agree that realize that the things he learns from the out- thoughtless imitation is baneful in effect; but are simply side the tools of his art; the soil ELISABETH SCHUMANN intelligent application can readily avoid that they cultivate must lie within himself. Up to a danger, at the same time that it provides the point, certain technic can be learned by anyone; sort of help that can come only through example. but the quality that makes an artist is never always be lifted in singing; and staccato work I have found it expedient first to explain the matter of technic a alone. is one of the best means of acquiring this posi- problem under consideration, making the pupil On the purely technical side of singing, I be- tion. as fully aware of its implications as mere aca- that breath lieve and support are of first im- In practicing the trill, it is better to sing from demic discussion can make him. Next, to They illu- portance. open the throat, help one to the higher tone down (not from the lower note strate the problem for him vocally, asking him acquire relaxation. Like all muscular exercises, up) . This method tends to keep the trill from to correlate the previous explanation with its be learned, they can and the first vocal lessons slipping down. This is scarcely evident in prac- active demonstration. I then ask him to sing be devoted exclusively should to them. The actual ticing, which should be done slowly; but when the same thing; not in imitation of me, but in of how to breathe details must be left to the the trill is ultimately taken in rapid tempo, its order to put his new knowledge into practice teacher, since no individual two singers approach upward direction is helpful in keeping it ringing, and to compare his result with that of a more the the subject in exactly same way. Yet the soaring, “in place.” Selma Kurz, famous colora- experienced singer. Lastly, he is asked to tell individual approaches must be worked out to tura of the Vienna Opera, had one of the most what he did and to describe his sensations as he breath must be full the same end: the and deep, exquisite trills imaginable—true, fluent, soar- did it. It is only after this complete process of the strong support must come from abdominal ing, and of unending duration. Indeed, her trill explanation, illustration, personal activity, and re- muscles, and the emission of breath as tone must was so famous that it was called the “Kurz capitulation that the pupil has sufficient grasp of be regulated to the needs of the phrase. trill”—which provided a joke, because kurz, in the subject to carry it over into independent work. vocal range, All singers, regardless of their German, means short, and the “Kurz trill” was There is a vast difference between thoughtless should devote careful practice to the trill and remarkable for its great length! imitation of a person, and a studied reconstruc- the staccato. These technics are extremely help- tion of more expert accomplishment. Such re- ful hi building vocal surety. The trill makes the construction can best be furnished by object voice, light and fluent; staccato singing develops lessons; and the teacher who can give them, with flexibility in the arching of the soft palate. To VOICE technical surety and an agreeable voice, has an effect better resonance, the soft palate must advantage over the one ( Continued on Page 194) MARCH, 1941 163 n Music and Study ascending, and decrease it discreetly descending; dress, “A New Temple of Music”, delivered by Dr. and by all means make the thumbs play smoothly James Francis Cooke, President of the Presser and in proper dynamic proportions, just as the Foundation. Improving All the Scales weaker fingers must play with enough effort to The Atlanta Philharmonic Orchestra opened balance the tone in general. Then the scope may the services with a performance of Dr. Cooke’s be extended as far as desired. The next step is “Grand Processional at Avignon.” By _y4udtin l£oy B(cefer to put them together in various combinations. They may be played in contrary movement, The diatonic scales (scales whose adjacent de- which is excellent drill for using similar fingers grees progress from one letter to the next avail- simultaneously, but of course on different tones. Musical GamES - - - 5 - 8 • I 2 3 4 6-7 Some brilliant passages of great pieces are scales C-D-EF-G-A-BC in the scale of the able letter as moving in opposite directions. They may then be are found on all white keys on the By major Mode) put together one octave apart, in parallel motion, £Lu 2>u yje Notice that between the third and pianoforte. then two or three octaves apart, finally combin- fourth degrees, E to F, it is a half step and like- A new version of an old game, which really ing contrary and parallel movements in all is a the seventh and eighth degrees, B practical means of “getting at wise between tempi, rhythms and volumes of tonal coloring. It folks acquainted” to parties, it is a half step, while between C to D, D recitals and choir socials is the following. to C, will be good practice to try two notes against to and A to B are respectively, Prepare several slips of paper, the E, F to G, G A three; three notes against four and so forth. Also each bearing This example, the key of C major, name of one musical composition whole steps. play them in various intervals, as in thirds or from the list be- on the keyboard, but it is low. These are pinned to the is easily remembered sixths. backs of the players as a scale which uses all who then approach other not so easily executed In cases where you ascend easily with both guests with the ques- because, in playing the latter, the tion, “Who Am I?” The black keys, hands, but spoil it returning, it would be well to guests whistle or hum the positions are more comfortable, due to the tune. When the player has hand reverse the order for practice, by descending first, guessed the right tune, the fingers. the slip is removed smaller expanse between carefully, and then rushing up and back again. and pinned on the front of the properly fingered, can be person, who is then All the major scales, Scales are the ladders to success. entitled to another slip. The always one guessing found in any good instruction book. One the most slips wins the prize. should listen, however, for the whole and half steps so that the major scale pattern becomes Musical Geography firmly fixed in the ear, in the mind, on the key- TIie New PressEr Hall at Ch0ir S0Cia1, musical the hands. Then it will be possible geography is sug- board and in ePstPrt* tf Pare many, that the necessary slips of paper, each to forget the mistaken idea of so AgnES Scott College bea/H 0^tvf na ne of a flats is of great diffi- musical composition which music in many sharps or fpTtnrp* t J featuies a locality, and proceed culty. Some of the most difficult of all music is On November thirtieth last year, the new Pres- as directed above. scored by such great composers as Schumann, ser Hall at Agnes Scott College, at Decatur, ble D°Wn ShaCk in Athl Schubert and other musical giants in C major or Georgia, was opened with appropriate ceremonies. Killarne“ <™ A minor, the white-keyed scales. The other dia- Decatur is a suburb of the great Southern me- Tipperary Natural Minors, Atlanta. This made possible the co- tonic scales are the Original or tropolis, Springtime in the University and the Georgia Rockies 1-2345678 operation of Emery Where the River this order: A-BC-D-EF-G-A, both Shannon Flows standing in Carry Me Back ascending and descending. A dash indicates a to Old Virginnv In a Little Spanish half step, and the plus sign, Town whole step, a slur, a In Old Madrid an augmented step, which, in the case of the On the Banks ot the Melodic Minor, ascending, between the sixth and Wabash Flow Gently Sweet Afton seventh degrees, is a step and a half, technically The Blue Danube Waltz termed an augmented second. The melodic minor On the Beach at minor. Here it is: Waikiki descends just like the original Rio Rita s 1- 2 3 4 5 6 + 7 A-BC-D-EF G-sharp A, while de- When It’s Appleblossom ascending, Time in Norm* iy^ 8 7 6 5 4 3 2 1 From the Land of The the Sky Blue w! “ scending thus, A-G-natural-FE-D-CB-A. By the Waters of Minnetonka original minor is never used except in rare in- Roses of Picardy stances, when the composer perhaps desires to Bluebells of Scotland create the effect of ancient church chants. It is Song of the Volga Georgia Boatmen minor scales, PRESSER HALL at Decatur, Little Grey well, however, to know the original Home In the West in case it is necessary to play them at any time. Technical Institute in the formation of a Uni- The melodic minor is used sparingly, while the ^ for Music, in which the musical lusical Garden extensively. versity Center harmonic minor is used very partici- activities of the three institutions may Instead of Musical Geogranhv We are now on friendly terms with the orig- game„ pate. based on compositions may be scale systems, bearing inal and melodic minor diatonic exterior of red meS °f The handsome building, with an flowers, and played in the but we must form a profoundly intimate friend- same way brick and sandstone, cost $285,000. It contains ship the very extensively used harmonic with cubic feet. The Gaines Memorial Chapel, Moonlight and Roses - - - 8 820,612 1 - 2 3 4 5 6+7 the dedication services were held, seats Only a Rose minor scale. Here it is: A-B C-D-E F-G-sharp A in which order. These people. The building also contains a smaller I Dream of Lilac Time and it ascends and descends in this 900 Auditorium, seating 300 persons. The Sweet Little Buttercup are the commonly used diatonic scales, but others MacLean named in honor of the late To a Wild Rose may be mentioned—the Hungarian scale, the entire building is composers Theodore Presser, musician, educator, and pub- Narcissus whole tone scale and in some cases, scale. In lisher. Tiptoe Through the Tulips build a characteristically individual scales are fre- This building is the tenth in the series of music Only a Rose other instances, parts of different buildings in colleges in various parts of the coun- Forget-me-not quently used in combinations. chromatic scale, try to which the Presser Foundation has made Amaryllis The other class o f scale Is the O-sharp D D-sharp substantial grants. This department of the Foun- My Wild Irish Rose made up ot all half steps, as C explains itself. dation work has been indefinitely discontinued Sweet Violets E F F-sharp, and so on, which scales are in order to meet the large current demands of The Flowers that Now, having touched upon how our Bloom in the Snrin* suggestions for the Foundation’s Relief Department. Flower Song (Lange) constructed, a few remarks and of them will The dedication ceremonies were conducted by In the Time improving the actual performance of Roses able Dr. J. R. McCain, President the of Agnes Mighty Lak’ a rose be included. . even playing, Scott College. Dr. John L. Haney, Chairman of Roses First, make the scales perfectly of Picardy hand alone, al the Department of Music Buildings of the Presser To but one octave, and with each a Water Lily and striving Foundation, gave an address upon “Let us have ways listening for the progressions Rose of No Man’s Land Increase the tone Music.” This was followed by the dedicatory always for good quality of tone. ad- Spirit Flower 164 THE ETUDE . Music and Study elaborate paraphrases on hymn tunes are likewise Variety in Organ Offertories suitable. The hymn arrangements by Van Den- man Thompson are most attractive. Deep River and other spirituals are, in turn, variations of the hymn type. Some melodic gems have dramatic sections By CcLarcl Pla.nL which meet the substantial requirements of this variety. The last section of The Rosary is dra- matic as is the middle section of the Venetian Love Song from “A Day in Venice.” HE ORGAN is pleasant tation OFFERTORY a sub- of the other in true orchestral or vocal V. Tone Poems. A delicate tone poem gives ject for investigation. style. It has unique church Accompaniment chords are added to either striking contrast to the other music of the serv- T properties and possibilities. And since it need hand and occasionally to both hands, making the ice. Kaleidoscopic shifting of pastel colors, as in not be so strictly ecclesiastical as the other mu- piece complete. Traumerei by Strauss, creates a delightful atmos- sical numbers of service, offertory Romance the the may in F by Rubinstein, arranged by phere. Black Swans at Fontainebleau by J. F. appeal to the audience in a more ingratiating Flagler under the title of Duetto, is a good ex- Cooke is an enchanting tone poem readily way. Here is an organist’s opportunity to please ample of this style. Calm as the Night by Bohm- adapted to organ. The R. S. Stoughton tone in the man the pew by playing such old estab- Gaul also has a splendid counter melody. The first poems also contain unusual melodies and exotic lished favorites as Wiegenlied, Viennese Refrain, part of the Berceuse from “Jocelyn” is pure coun- harmonies. To a Lone Flower by Roxana Paridon Salut d’Amour (Elgar) Souvenir, Narcissus, and terpoint for , two manuals, while the last section and Pensee D’Amour by Ward-Stephens are tone Londonderry Air. is in style I. Specimens of all types so far dis- poems which should be in every organist’s reper- In general the style of the offertory should be cussed are found in At Evening by Dudley Buck. toire. The classic To a Wild Rose by MacDowell poetic, song-like, utilizing the softer and warmer Beautiful double stopping is found in Nocturne may be placed in this category; and also in this strings, mellow flutes, and delicate reeds (vox in A by Rob Roy Peery, coupled with an effective group may be placed Solace by Pease. humana) . This includes qualities of lightness, and pleasing left hand counter melody in the With so many different types of appropriate grace, and sentiment not found in the rest of the second theme. music from which to choose, the organist can musical service. Certain hymns like My Jesus, I Love Thee and give infinite variety to his offertories. The offertory is restful in character and should Jesus, Lover of My Soul (Holbrook arrangement) feature pure melody in as many different forms have obvious counter melodies in the soprano and as good taste will permit. Musical forms from tenor parts. which to choose are legion: the idyl, chanson, How Much Do You Know pastorale, nocturne, romance, berceuse, canzo- netta, song without words, serenade, and so on. About the Organ? These can be classified in at least five categories, giving the organist much variety. An outline fol- By 71JL Q. JUU lows, with many well known numbers used as illustrations: QUESTIONS I. The Single Note Melody Line. This style is the most general type of offertory and most appeal- 1. In what early instrument is the germ of the ing, as a rule. Examples of the long flowing organ found? ( legato ) melody line are Lullaby by Iljinsky, 2. Why were pipes first placed in a box or wind Forest Flowers by De Leone, Under the Leaves by chest? Thome and Days of Sunshine by Kronke. 3. After they were placed in a box, how were Frequently, the chords in the accompaniment the pipes blown? are syncopated as in Retrospection by Parke V. 4. What was the Hydraulic Organ? By whom Hogan. Sometimes these chords are arpeggiated, was it invented? When did he live? Where? creating pleasing effects. In the Bach-Gounod 5. What class of men were the first organ Ave Maria and in the Evening Star from Wag- builders? Why? ner’s “Tannhauser”, the arpeggiated accompani- 6. What were positive organs? ment is rather like the harp. In Echoes of Spring PIETRO A. YON 7. What were portatives? it is by Friml descriptively rippling. In this class Composer, teacher, recitalist who ranks as the father 8. What were regals? may be placed also The Sioan by Saint-Saens. of the paid-admission organ recital in New York City. 9. When was the keyboard adopted? or II. Duet Double Note Style. This style very 10. What organ was the first to contain a key- resembles violin, much double stopping on the IV. The Choral Type. There are times when an board? How many keys did it have? since both parts of the duet are played on one organist becomes satiated with sweet, tender, 11. Who invented the organ pedals? and thus tone quality. The manual have the same melody lines and craves more substantial music 12. From what date did all important organs style pleasing intervals of duet enhances the like a Bach Choral-Prelude. A chorale, hymn, or begin to be built with a pedal keyboard? and sixths as in Andantino by Lemare. thirds something heavier such as a prelude gives needed 13. What organ was first heard in America? Adoration by Cummings is an organ number relief. suggestions Prelude in Two are the short A When? Where? From where did it come? illustrating this effect. In many pieces the familiar Consolation admirably by Chopin and by Men- 14. It has been said that there was no “art” in duet occurs only in certain themes. In Hu- the delssohn. Other familiar “Songs Without Words” early organ playing. How do you account by Dvorak, the first theme is a single Confidence, moresque by Mendelssohn are: Hope, Morning for this? melody line, and the second theme is in Song, and Faith (Number 48). The Prayer from note 15. Who is commonly known as the Father of notes. Schubert’s Serenade combines styles “Hansel and Gretel” is an ideal offertory of the double Organists? When and where did he live? II, first one and then the other throughout choral type. L’Angelus by Gounod and Shepherd I and 16. Who is called the Father of True Organ piece. Also in the Barcarolle from the “Tales Girl’s Sunday by Ole Bull are other usable num- the Playing? When and where did he live? Hoffman” both styles are in evidence. The Ro- bers. of 17. Works by what master are the oldest organ A by Lieurance makes use of the duet The occasional playing of a hymn for the mance in offer- compositions known? tory affords welcome variety to the audience. A style. . . . A single note melody line accompanied by hymn like In the Garden played in its simplicity Meditation ANSWERS double notes in the bass features the is most effective. The judicious use of chimes in by Maude Campbell-Jansen. appropriate hymns is also pleasing, and more 1. In the Pan’s Pipes (Syrinx of the ancient the organ asserts III. Counter Melody. Here Greeks) Because of its or- itself as king of instruments. 2. As the number of pipes increased, the mov- duet can be chestral possibilities, a contrasting ing of the head backward and forward to used on played on two manuals. The registration ORGAN play them became difficult. instrumen- one manual may counterbalance the 3. The player blew through a tube and the MARCH . 1941 165 Music and Study Should Beginners Use the Damper Pedal? pipes not intended to sound were closed •cinceJ O,aylor leather by the fingers. As the pipes became larger numerous, the fingers and and more The answer to this question is, “Yes,” with tempted. Also, in legato passages, the pedal breath of the player proved insufficient limitations, and strong emphasis; but with under should not be depended upon as a sole, or princi- operate them; so a slide or tongue of to careful guidance. pal, means of connection. The best possible fin- was placed beneath the opening of wood Is there any good reason why children should ger legato should first be secured, after which pipe and perforated so as to shut off pedal on first the be debarred from using the grade the pedal should do its part. or admit wind to the pipe as it was drawn Surely difficulty cannot rightfully be pieces? It is a simple matter to explain that the special back or forth. assigned as an objection, since the simple melodic office of the damper pedal is to prolong the tone. 4. The “Old Water Organ.” It was invented by and harmonic structure of the first grade compo- Attention may then be called to the hammers, the Ctesibus who lived in Alexandria, Egypt, sition offers no scope or invitation for compli- dampers, the grouping of the three or two wire about 180 B. C. cated pedal work. strings against which the dampers rest, the tones 5. Monks, because in its infancy, the organ was Children take pride in the ability to use the produced by the stroke of the hammers against a church instrument exclusively. pedal, and keen delight in the privilege; and if it the strings, the prolonging of tones, caused by 6. Positives were “built-in” organs, or organs is not included as a definite assignment by the the lifting of the dampers from the strings by so large they could not be moved; Cathe- teacher, many will experiment with it in their means of foot pressure against the pedal, and organs. own crude, untrained and slipshod fashion. finally, dral the release of the pedal, which imme- to be acquaintance with certain 7. Portatives were organs small enough Thorough early diately stops the tone. carried; “home” organs. essentials, such as notes, touch, time, and finger- £ JLUJLIUWinK tJAUCip'- 8. Regals were folding organs, which could be ing, should be required before the pedal is at- from First Daffodil of Spring, by Ada Richter, folded like a Bible and carried about in indicates the pressure of the pedal after the the hands; organ of strolling players. melody tone —a vastly important part of pedal 9. In the eleventh century. usage From such an example it is easy to point 10. The Organ in the Cathedral at Magdeburg, out the need for changing the pedal with har- Germany, which had sixteen keys. monic changes. 11. Albert Van Os (1120). 12. From 1475. 13. The “Brattle” Organ, at the Brattle Street Baptist Church, Boston. It was imported from England by Mr. Thomas Brattle. 14. The keys were too large. In the early organs it was practically impossible for a player to span more than a fifth. ,”E Passages consisting of scale 15. Francesco Landino 0325-1390), of Florence, runs th» S m y ' W“h g00d effect . be omitted Italy. ^together ot us H sparmS^ with prompt attack 16. Girolamo Frescobaldi (1583-1644), of Ferrara, and release TnH Italy. 17. Konrad Paumann, a blind German organist who lived from 1410-1477. AN OPEN AIR RECITAL IN ENGLAND Bombs rained from the skies and many homes A New Electric Carillon ruins came this tended passages, were demolished. Out of the -gardless^L^S changed little town in North West England. The cost of carillons varies with their type. piano in a What can one say of the spirit of a people who It that a real carillon of the type is estimated actually seem to enjoy a performance under such which demands a whole belfry full of bells of thrilling circumstances? A Back-Acting, Upside all sizes costs $65,000, and weighs many tons. Down The new and modern electric, amplified carillon Canon made of tubular bells and operated from an Here is a musical curing tv Drill submitted A Many-Purpased by Frank J. Cusenza. Retrograde it ^Reverb- Canon < Canon Reote et Retro1 0) ’ Thatinai is, it can be J£y. _Annette lfH\. oCinqetlach played barkwnrHc. „ , 1S ° upside down. Such things have no" artait Sl snificance, but To develop a good hand position, legato play- comnoserscomposeis of otheroHipv daysrio ? (notably Havdn) had black keys, instantaneous recognition great fun in turning ing on the out these musical pUes of accidentals, and smooth execution of the two eighth notes and a quarter note group rhythm pattern, this phrase from N. Louise Wright’s Shadoio Dance may be used to very good ad- vantage. Transposed into the different keys, it may be- come a valuable part of the daily practice. may be organ type keyboard or automatically, Manufac- secured for as low as $2650. The Sundt Do You Know? electrical methods taring Co. claims that through accuracy 1/5000 That Baltimore is perhaps America’s best or- it has secured an average tuning of a tone or ganized community for the purveyance of mu- of 1% The average carillon is 1/20 sounds dis- nicipal music, with a Municipal Director of Music more out of tune, making many electric and a yearly- appropriation of seventy-two cordant. Above is a picture of the new thou- sand dollars for expenses? carillon. 166 tuv rrnnJl , — Music and Study BONHAM BROTHERS' GREATER SAN DIEGO BAND One of the very remarkable bands of our country is a boys’ band—the Bonham Brothers’ Greater San Diego Band. Among “Nearly Every Boy Is Musical” the great many interesting facts about this organization, the most salient is that it is not a school group, not community-spon- sored; it is a private band, one might say a personal band. <~J~. (}3onlinam Two brothers, blessed with a love for music y a love for boys, and possessed with a vision, organized this band, built it up, and provided for it solely out of their business earnings. The ideas and ideals which form the driv- ing forces for this fine band are related here- in, along with something of the history and nature of the organization. To the editor this story gives another glimpse into the future of musical America.—Editor’s Note. he BONHAM BROTHERS, Harley L. Bon- ham and B. W. Bonham, were born in the Tstate of Nebraska. They were typical Amer- ican boys, brought up in a wholesome family Bonham, Sponsor i. W. Bonham, Sponsor atmosphere, and one of the important phases Harley t. their of their educational training was participa- tion in boys’ bands. The love for music which been trained in our and we note that to-day the Bonham Brothers’ was awakened in them, the joys and advantages thousand boys who have profound brother and I had realized the ad- Greater San Diego Band numbers one hundred of this work were to have and lasting- bands. My musical training in our lives, and forty-four boys in its membership, in the influence in their lives. vantages of a good of social activity Senior Band, many others in preparation. Upon reaching maturity the brothers moved to not merely from the standpoint with from that of disciplining Mr. Bonham goes on to say: San Diego, California, in the year 1926, and or entertainment, but the mind. We feel that the char- “When we first came to San Diego in 1926 and established an undertaking business which they and quickening the acter traits nurtured and brought out in us began to gather boys together for the first of carried on in such a way as to bring them musical participation have our bands, discovered that it was not diffi- and support of their community. But through this early we respect willing means of con- been of practical value in our business lives.” cult to find boys who were and even they had much to offer—a tangible well-being. Mr. Bonham tells us more of this activity anxious to learn to play an instrument. We wel- tributing to community character and comed 'all comers’, and the astonishing thing They organized a boys’ band in their first year Mr. Harley in retrospect is that less than five per cent of our . But let San Diego, and soon . . at enrollees have been dropped through inability Bonham tell us in his own words: BAND and ORCHESTRA to master an instrument and find a proper place least, that has D. Revel I i “Nearly every boy is musical—at Edited by William over a in the work of the band. been our experience in our contacts with 167 MARCH. 1941 At the close of the lesson the teacher detained Music and Study A Conductor’s Hearing her. “Wait a minute, Phyllis,” she said. “I have an inspiration! How would you like to catch arrangements from the first to pro- “We made Trixie every night before dinner and bring him certain band equipment, ourselves—includ- vide in to me? I would be very glad to give you les- drums (snare, bass, and It is told of the great conductor Theodore ing double B-flat basses, sons in exchange.” tympani) glockenspiels and the place in which Thomas that, after years and years of conduct- , Now Trixie was a beautiful Persian cat whom to practice and rehearse, the chairs, stands, and ing, his hearing had been developed to such an all the children, who came for music lessons, necessary music. The average boy joining the acute degree that he could listen to one group simply adored. On the other hand Trixie simply must furnish his own uniform and his own of instruments and make himself completely band adored staying out nights, pretending he was an instrument, but little else in the way of equip- tone-deaf to the rest. owl and blinking at you just out of reach on the ment. With everything in the symphony playing forte loquat tree; or a jaguar, crouching for a nimble “We have two bands in the making about half and the great organ rolling out vast waves of spring just as you would put down a hand to the time, and one constant Senior Band. Let us sound, he could detect a false note and the mu- clutch at him. Even a bit of cheese, or a whiff say that our Director has decided to start a band sician who made it. of catnip was no lure when the was shin- of June, just after the boys have knew the individuality of every instrument moon in the month He ing; Enrollees and the music teacher would be disconsolate. left school for their summer vacation. in his orchestra and the slightest idiosyncracies Phyllis had often captured Trixie on her way are accepted, who as a rule are boys of ten or of his players. One of the leading violoncello through the garden and brought in the great eleven years of age. By the following Christmas, players once had his instrument repaired be- armful of protesting fur to listen to her lesson, they are usually able to perform a half-dozen tween rehearsals, and the repairer changed the so she looked up happily and said: do it.” musical pieces in reasonably acceptable manner. position of the sound post. At the rehearsal Mr. “I’ll “All right,” her teacher your They may remain in the band for a period of Thomas, who knew nothing about this, regarded told her, “tell mother that we have You half to five years. Of the total player with more than his usual attention. made the arrangement. from four and a the live only around the corner; it wonderful spent in the band, the average boy spends After the first number, he inquired: “Is that a will be period for me, and you and one half years in the Senior Band. instrument you have there, Mr. Unger?” will really be earning your own about two new music lessons.” “We have had the pleasure of seeing our boys The conductor’s infallible ear had detected The plan has worked perfectly, go on immediately to high school bands and the slight change in the familiar sound. everybody satis- fied, except Trixie, who tops orchestras, for they have reached that level at still longs for tree and jungles! the close of their period with our band, and we have watched many of them thereafter partici- instrumental pating in college and university Singing the Rhythm organizations.” out in 1926, they When the brothers started S. personally conducted and taught the boys them- W. 3. years the group had expanded All teachers selves, but in two know that rhythm is the heart- that a full-time con- beat of music; so greatly and successfully they know, too, that while many Mr. Jules F. Jacques, was students possess ductor and instructor, an innate sense of rhythm, all of the work were Un St engaged, and the responsibilities UdentS need the incentive concentra- tin «, f to full-time secretary to Mr. Jacques dcC such that a ,° mpanies some method of keeping records and cards and to chlldren was employed to keep have tesponded happily to associated with the the numerous details ethod '' attend to which the writer inaug- running of any enterprise. mated fea the proper ° f sch001 music likewise brothers have good reason to be flnds her t Skt The Bonham ade easier by this rhythmic work they are doing, and their faith routine sinc -t“, proud of the “ evelops in Students better re- oualhv’nf I a boys, musically and otherwise, has been in 4hem t0 beC°me deemed by the splendid lives they have led since. “assistant” tochers having belonged to the As a tangible sign of “ d group, Mr. Bonham tells us; runnLVi^s, Senior “When the boys graduate from the Ex. I regular diploma, and these Band, they receive a J • J~ have ] J J. mean much to them, as the bands wnlk.walk, diplomas ruiming, slow!,-, more For slnwly, very slowly. had a flue history of success in competitions. the Children remember scale instance, at the International Convention of fingering as received the Lions’ Club of California, the band - for march- highest award for performance and J J ] J ] J ing ability.” eager pride in their organi- The band boys take at the same time singing of the scale tones zation. While there are over two hundred In accenting the first beat either playing in the senior of thiee-tourthree four them on the average THE CAPTIVE IS HERBERT CLARKE rhythm, the words least three band or in training, they attend at with the and attendance has been excep- The famous conductor-cornetist, for years soloist classes a week, the permanent director of the Long incentive to Sousa Band and later J boys have every re- J J tionally good. The Beach (California) Municipal Band, conducted a their attendance. Corps" and strong, light - |y be prompt and faithful in hearsal of the "Rainbow Drum Majorette of numbers of to the conductor. But ranking above the details this is what happened are sung to each measure. is the spirit of the Staccato legato boys, ages, classes, methods, and measures, tie, rest and which motivate the whole—the sum of the ideals hold are sung: They Bonham brothers and their charges. Method of Earning 0 Ingenious manifested a faith in the ability character, and we 7 j J r~n common endeavor to build Her Music Lessons jj * * snap, snap, snaps play smooth-ly, (in, rest , hoU unity of spirit ia develop- ^Tna tand there is a By (fora 1AJ. ffaihhis Triplet groups may be sung impulse. 14 ’ ment of the cooperative * L Ex. 5 the boy e onlv social school, in which . but to do Phyllis was quite broken hearted when her with his fellow members, to compete mother told her, at the end of her first year of s~t~i and this attribute is one rin so fairlvand honestly— one enables music lessons, that she would have to stop, since trip -let, two trip into later life, which -let which he carries could not afford to others in a world that they continue. him to get along with complex day by day. With downcast eyes and drooping countenance seems be growing more to must each Phyllis told her teacher what her mother boys enter our band they had any device that “When the proves beneficial (Continued on Page 203) said. fosters sign the following concentration is worth a trial 168 THE ETUDE Music and Siudy The Violin and Its Masters K, florae Bee WaJuJf 1737 age of USIC IS WELL SAID to be the speech of born in 1644 and died in at the ninety-three. He is supposed to have made two angels. It differs from all the arts save thousand instruments. He also made a large M poetry, for they make use of materials violas, violoncellos, and basses, be- which can be handled. The architect’s dream is number of the sides lutes, guitars and mandolins. His best vio- embodied in tier after tier of hewn stone; marble lins excel all others in nobility and fullness of sculptor’s vision is made a solid thing in in tone and in beauty and durability. His perfect or bronze; that of the painter is worked out model has been copied by most violin makers to pigments. But the musician has only tones with but the present day; even the cheap fiddles we see which to deal. The poet works with words, in shop windows are copies of the Stradivari even his product differs from that of the musical model. The superiority of the Cremona violins composer, for when he has clothed his thoughts his was not fully appreciated before the 19th cen- in the most beautiful words he can choose, if judge by the low prices of the 18th poem can be enjoyed by anyone who is able to tury, we century when a London dealer appreciate it without the in- was not able to dispose of his tervention of another person. Strads at the insignificant The composer’s work, on the price of four pounds apiece. other hand, can be enjoyed Now the best sometimes bring of composition. His harmonies and modulations only as the symbols which he no less than ten thousand dol- are in good taste; pathos, expression, and vi- has set down on paper are lars. vacity are main characteristics of his translated into sounds. the music. It is a singular fact that He was looked upon, by his contemporaries and “Music,” someone has said, “is Stradivari and the other great followers, as the father of true violin playing. the fourth need of man; food, makers who perfected the Giuseppe Tartini (1692-1770), the greatest violin clothing, shelter—then music.” violin should not have de- virtuoso before Paganini, was not only one of And who can better supply the voted their genius to the per- the most remarkable violinists who ever lived this fourth need of man than fection of the bow, which is but also a distinguished composer and writer on a violinist? Not just anyone just as important as the in- musical accoustical effects. He had a great com- who plays the violin, but a strument itself. For without of the fingerboard and bow, and true artist who can produce mand overcame the perfect bow the highest all difficulties of execution with apparent ease. beautiful and passionate tones, technic, beauty of tone, and had a fine tone, perfect intonation in double “laughing tears”, who can ex- He musical expression can not be stops, and his trills and double trills were fin- press the gayest or most attained. It was reserved for ished and brilliant. His most prominent pupils melancholy mood. It is often Francois Tourte (1747 to 1835) were Nardini, Bini, Graun, Ferrari, and Man- said that the voice of a violin to perfect the bow. Before fredi. As a composer he surpassed Corelli. Tar- is so greatly admired because Tourte’s time the modern ef- tini’s most famous work is the sonata called the its tones offer the nearest ap- Giovanni Battista Viotti. “the father violin playing. of staccato were quite “Devil’s Trill”, which holds a place among the proach to the human voice; of modern fects and the dynamic famous violin pieces in the modern reper- but the tones of a violin in impossible, most crescendo, and diminuendo tory. His published compositions total a great the hands of a master are infinitely more beau- effects of piano, forte, Tourte’s impiove- number. tiful than the human voice. There is a mellow- were very limited. Francois after 1775. Niccolo Paganini (1782-1840), the most noted ness, a softness, a richness, a liquidity, a glossy ments in the bow were made prior to this of violin virtuosos, exercised a world-wide influ- clearness and a warmth peculiar to the violin, Notwithstanding the imperfect bow arisen in Italy and ence which has lasted to the present day. He all of which are far from anything that the date, famous violinists had art of violin play- was a genius of the violin. The story of the human throat can accomplish. Very few of the Germany, who advanced the prepared the brilliant public career of this extraordinary greatest singers could ever produce such notes ing to a considerable extent, and man Paganini, and forms one of the most fascinating chapters in the as we hear from a luscious Stradivari, a sweet way for great violinists like Viotti, availed them- history of music. soon as he began to play, Amati, or a rich Maggini under the bow of a others of the 19th century, who As were thus able the audience spellbound. He possessed in the master violinist. selves of the perfected bow, and was height. highest degree originality and character. Though Age improves the violin, and the longer it to carry virtuosity to a great his tone was not powerful, its singing quality lives the sweeter and richer and lovelier its tone Earliest Violin Works thrilling. “He becomes. This delicate little instrument defies was intensely expressive and made for solo violin a great use of sliding his fingers along the time and disaster and is, therefore, almost super- The earliest known composition published in 1620. A strings, sometimes producing a most beautiful, human. Romance clings around old violins, just is a Romanesca by Marini, composition was laughable effect.” He the scent in an old Chinese rose jar. There is marked improvement in violin at other times a most was like and Uccel- and sometimes something very thrilling in the fact that the shown in the works of Farina, Merula, fond of tricks and surprises made the 16th cen- of an expiring cat.” has a charmed life; nothing can hurt it lini, written before the middle of sounds “like the mewlings violin Paganini’s into a thousand bits, tury. first distinguished master of the cham- The main technical features of play- very much. If it is smashed The (1657 to 1716), who ing were an unfailing intonation, a lightning- clever repairer can put all the pieces together ber sonata was Vitali a bow, is little the worse originated the violin concerto, accompanied by like rapidity of the fingers and the and a again; and the instrument three hundred years string orchestra. But the most eminent violin command of double-stops, harmonics, and for the shock. The violin is musical instrument that master of the 17th century was Arcangelo Corelli double-harmonics hardly equaled by anyone be- old, and it is the only that time. (1653 to 1713). He improved the technic of the fore or since his time. He also produced most has remained unchanged during instrument and gave a classical style to the art peculiar effects, which for a long time puzzled violin in The Master Maker all violinists, by tuning his different ways. He produced his staccato by striking the Everybody has heard of Stradivari, the great- violently on the string and letting it spring and his violins to-day bow est of all violin makers; VIOLIN made frequent use of pizzicato Antonio Stradivari upwards. He also are as valuable as jewels. by Robert Continued on Page 200) He was passages for the left i came from an old Cremonese family. 169 MARCH.. 1941 ? . , Music and Study Concertos for Piano Alone Q. 1. Will you please give me the name Wfiaf Grade Questions of some and concertos for piano alone if there are any? 1. grade 2. Q. Please tell me what these How long would you say it should Reverie, take pieces are: Op. 34, by Hoffman; to learn the Prelude in C minor by "Woodland Sketches”, by MacDowell; Chopin? Gondolicra, Nevin; The Jugglers, ls by by tt Prc,ll(lc do you play the first or tne l Moskowski; and Waltz in C-sliarp minor, twelve measures with a loud by Chopin. crescendo Answers and get softer as you finish 2. I have taken five years on the piano. UI &nd GnCl wlth a very soft Shall I start on the sixth grade or keep chord?^j H on with grade five until I have mas- tered it? -A. 1. “Concerto” is a name given to an 3. Do you know of a way to prevent instrumental a dent in the thumb, caused by prac- A Music Information Service composition for a solo in- strument ticing clarinet? accompanied by an orchestra; 4. What price is the "Langenus however, Meth- there are a tew concertos for od for Clarinet, Part 1”?—Miss B. B. Piano alone, as, tor example, “Grand Conducted By Concert-Solo" A. 1. These pieces are all about the or “Concerto Pathetigue", y niszt; also, same grade—between grades three and "Sonate Op. 14”, by Schu- mann was originally four. The Waltz may be a little more diffi- published as a “Con- certo sans cult than that. To a Wild Rose, from the Orchestra." 2 It ' wouW depend “Woodland Sketches”, would be about , upon the talent of n, ln J grade two. mdUal and upon the amount of W d»?lv f . y Ptactice. This 2. Master each grade as you go along. j(j h„ composition should If 0 ade two you do not you will soon be mired. ' bu ‘ a person with talent ,!f 3. Wrap something soft around the learn the flrsAear to pIay “ thumb -rest, preferably a piece of sponge Professor of School Music, . rubber. You probably will not be bothered dply number ot The Etude U much with this after you have played Dberlin College find a Master Lesson on this nw°Ce more. U°W 6Xpression ^ No question will be answered in THE ETUDE Me given 4. The list price is three dollars. unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. Heading Orchestral Scores Is Meant by Open Q. I would like to know how one goes symphonies and follow them while the Hand"? about studying or reading an orchestral radio or phonograph plays the music. orAIy a^o^urth measure, page seven, score. To what extent do such conduc- Attend orchestra concerts and follow the tors as Stokowski and Koussevitzky Malotte. by Albert Hay played. what u - study their scores before conducting score while the music is being “°e"« y eXPreS them? Are there any books you could Gradually the orchestral score will mean o R“S. suggest on score reading?—R. A. J. more and more to you, and you will final- 16 11131 “me I have heard ly come to the point where you can either oAthS'evnve” A. To read an orchestral score is one means Probably Mr. Malotte look at a score and hear the music, or that the°S' of the most difficult of all human tasks, While play Sh0Uld be 3pread condense all the parts in the score into tag thS”^ and learning to read a score as an orches- mg a When play- simple harmony at the piano. But in the gliisnvrt tra conductor does will take years of are used “ “cys *11 course of your study you wUl find your- £2 study. In the first place, one must be a Playing °ne “ When into harmony and counter- a white fine self looking kev^i- Some musician, and this in itself takes a because of the interval of the augmented Players keep rhi « ^ando. point, orchestral instruments and orches- 615 lifetime of work. In the second place, one sixth (A-flat—F-sharp) others prefer Spread wMe tration, form or design—and all sorts of c ose?“I ngers '' must know the orchestral instruments, 3. Yes. The B-flat is correctly Pianists, als °. some other fascinating things. called an when th 0 n the effects they produce, whether or not appoggiatura. edged, n keys are sharP an orchestral play this ? their parts You ask to what extent tv?“ are transposed, the use of the 4. No. The third beat is 1«, even the palm side °^ 9hssando with conductor studies his score before con- though of tlf Music and Study My Country’s Music —Tis of Thee! NURED THROUGH MANY Czerny Made Time for Many Activities I YEARS to the fact that work is wholesome and socially profit- El} ffkomas The next witness is one by no able, I am not without prejudice means unknown to you, Carl de- toward the shorter work day Czerny (char'-ne) , citizen of Vienna, signed to provide more time for intensively busy in his lifetime and translations, particularly French, English and doing nothing in particular. I have, therefore, a wholesome influence upon countless thousands German. Among all these books then are, na- lofty appreciation for the spirit of initiative and of fingers and thumbs for well over a century. turally, texts, sources, references volumes that effort that made possible the exploits recorded — In making an appraisement of his activities, one gathers in the process of what he may be here. They inspire me to talk about leisure time it would seem that no one could possibly charge producing.” and a definite objective for the use of it—and him with having leisure hours. Or of squander- “Well,” I said, somewhat dumbfounded, “it not to our own glory alone. ing any portion of the twenty-four hours that he would seem to me that you could have found an Our country as a whole will never be musical, drew, per day, from the bank of Time. I stated almost continuous occupation merely in copying until every music teacher makes it a part of her in a preceding paragraph that any one of us these works, much less creating them.” business to work with her community in the same (including private music teachers) could, if he “My friend,” he replied, “you make the mistake intense and responsible spirit that inspires her would, find a time margin for planting the seed of many others. All my composition I have done work with the individual pupil. One must adopt of community music in the country round about after six o’clock. My time is occupied in His one’s environment and “be a mother” to it. Being us. This would boost our standing permanently Majesty’s service.” (Cui was Minister of Military to first place. convinced that the difficulty lies in finding time I am introducing Czerny not as a Fortification.) “I travel. I work hard. Music is type of community music prophet. I introduce to do it, let us recount some instances of how my avocation. One can do far more than seems him to extremely musically busy men of distinction have found show how an busy person will possible, if one will organize even a little time find the time to do astonishing things. time to do something else than the every day—for a little time every day is a great thing he is exclusively Specifically, I assume that America will ulti- supposed to do. Czerny deal of time in a year. And I have done my work, mately become the leading musical nation, was particularly a man of this type. as I told you, already a great many years.” neither by the influence alone of great composers Let us review rapidly. He began his career this is Exhibit A in the matter of mak- or of great conductors, nor by the more favor- Reader, under his father’s tutelage and later became leisure time pay a dividend. And, to be frank able terms for radio purchases. But by a com- ing a pupil of Beethoven. Even when in his teens he the matter, let me acknowledge that in bination of all of these plus the quiet, persistent, about was eagerly sought out as a teacher and he had, hoping to drive home the idea yet constructive and intelligent work of private this article I am of course, some promising pupils. Franz Liszt was have so much leisure time that music teachers whose individual territory is rela- that you, too, one of them. Dohler was another. Leschetizky afford to dedicate it first to our national tively small and Which, therefore, may be in- you can another. And an outstanding one was a young well-being; second, to still more profes- tensively cultivated. A teacher who goes forth to musical girl of eight, Ninette von Belleville. Do you training or, in the third place, to both do missionary work, not in China nor in India, sional realize, reader, that this busy teacher’s works ran for either will serve as handmaid to the other. to a thousand that a single but in the adjacent streets, is bound to become and many opus con- move to another locale, much farther sists of group a notable contributor to musical America. We now a of many numbers? European the former European map—Oberam- publishers his for Two things, primarily, will constitute her stock south on clamored at door manuscripts. in trade: first, the necessary time involved in the mergau. He sat up nights, trying to meet the demand. with Anton Lang, following effort. Second, the definite things to be done In conversation And remember—he taught all day. “Passion Play”, I ventured quietly and persistently, year after year. a performance of the Well, what about his leisure time? What did townspeople to express my astonishment that the he do with it? A brief reply to this question Music an Avocation to Cui could prepare themselves every tenth year for should be most satisfactory. Apart from his I suggested that, while teaching and One Monday morning I was in what was then so superb a performance. composition, he succeeded in the of the play in its ensemble was following pursuits: St. Petersburg, riding in a droshky to a house in the effectiveness that fact alone but 1. He learned the Fontanka where lived the Russian composer, great, the wonder was not to speak fluently seven lan- individual’s contribution to the ensemble. guages. (Try one to appreciate this.) Cesar Cui (kwe) . I rang the bell. Light footsteps in the the statement: “But this is 2. He made an analytical study of the in two-four time approached the door. I an- Lang began with science is for nounced myself. The door closed, not over-gently. not a tenth year festival for us.^though it of politics. years there are five hundred 3. He wrote a book for young ladies on the In a moment other footsteps approached, not so the public. In ten art every one of these Sun- of pianoforte playing; an autobiography lightly, and in three-four tempo, which rather and twenty Sundays. On and and perform puzzled me. The door opened a second time, and days, we come together to prepare a history of music. repertoire, old and 4. fortune disposed there stood His Excellency in uniform, with sword the dramas of the standard He amassed a and of it in benefits accrue. To been scabbard hanging loosely from its belt and tap- new. By doing this, many a manner that has described as while. Then it ping the floor as he stepped. Hence the third beat. begin with, it is in itself worth “princely.” of ten We held a long conference; most of the day, keeps us in practice. Again, in the course 5. He still found time to care for his cherished children grow into their teens; older cats, much as Dvorak watched over his in fact. After a time he said: “Come with me. years, little children into manhood and womanhood; and the pigeons. I will show you something.” our active group. We concerns this magazine As a matter of fact, he showed me several elderly members pass from The next exhibit and these young people, teach them stage its editor. Because of his wide experience with things. The first was a recently completed oil watch them to be at home in the leading men of affairs, he has done an especially painting of the Countess, his wife. From the technic, accustom Against action of a play. It is from them that we must good turn for American music in many signifi- salon we passed into a small workroom. other three sides draw new members for the cast each decennial cant ways, one of which is pertinent here. I refer one wall stood a desk; while the bookcases. The year. These Sundays are at once a great oppor- to articles concerning the musical activities of of the room were lined with tunity and a great privilege. They keep the business men. These men—among whom composer waved his hand from left to right to Mr. stream of our effort flowing forward.” Charles M. Schwab was a type—are amateurs in include everything before us and remarked: ‘Mes Here again is a case of enrichment for the use the true sense of that word. And the fact ouvrages” fmy works). that surprised. Then he of what otherwise might be leisure; a time dedi- such men can find, during the one hundred and I was guilty of appearing cated to a long-reaching purpose. Everyone can sixty-eight hours of one week, a little time for explained: “Here are bound sketches of all kinds, of works. determine upon attaining a goal more or less dis- music—and not alone for their individual pleas- manuscripts, first essays at all sorts tant; and then try to move a little nearer to it ure but as a contribution to family and to friends Before us are my published works in Russian. At in foreign each day. —shows that leisure ( Continued on Page 207.) the right many of my productions 171 MARCH, 1941 v 2 ' ' Music and Study The "Father of Music" other media. It includes numerous Preludes and WORD BACH, in German, denotes a Fugues, Bach’s Fantasie Suites, Partitas. Toccatas, Fantasias, k. Beethoven’s historic utterance, “His Inventions, Capriccios, to say nothing of the e should be Ocean,” epitomizes Bach’s “Italian Concerto”, the “Musical Offering”, “The essential importance as the very fountainhead of the Fugue”, “The Well-tempered Clavi- modern music. He has also been called the chord”, consisting of forty-eight Preludes and "Father of Music”, because he created works of Fugues in C minor in all keys, and fourteen Concerti for such prodigious originality, such variety of form one to four claviers with strings. and style that they inspired all succeeding great masters. It is no exaggeration to state that Bach’s A MASTER L E S S O N works anticipated the logical evolution of composi- under ion as exemplified by Haydn, Mozart, Beethoven, consideration was com- period ot Bach ' from Schubert, Schumann, Brahms, Chopin, Debussy, Iran tF s career— 14 ls within Liszt, Wagner, Strauss and Stravinsky—all of o' the powers of any wl°ii tr Udent them, so to speak, lineal descendants of the im- wh0 has mastered the ™»f/“de s and Pugues ” and the “Two-part mortal Cantor of St. Thomas Church of Leipzig. InvennF „ superficial glance reveals that eonan™ , The Perfect Musician tanc IS assi ned then i?^“ t S to each hand. What, 6 Vl°US family is unique in that its impor- His greatest importance, of course, to posterity than that each hand be The Bach studied anF . lies in his works written in many different Pra separately before combin- tance to the history of music covers nearly two styles tag tht ?wo? hundred years. The family was so numerous and and forms, vocal and instrumental, secular and epara^on so highly gifted musically that many musicians sacred. He was one of those masters who cannot should go beyond a mere metrlcan 86 be surpassed, because, as Riemann puts it: “ !‘ teral Procedure. of arbitrarily adopted the name Bach, to indicate —in Bach’s oo^r ’ Such use them the musical feeling and art of an ny for technical that they were musicians. Johann Sebastian was entire is a erofarar l purposes only,” the father of twenty children, some of whom epoch are, so to speak, embodied.” He marks the 5 ! °fty S°Ul and Spirit which imperatively ’calls forfQ1 achieved distinction. So, for example, culmination of the polyphonic, contrapuntal musical and pianistic excel- great we lence All ti-m encounter names as: Karl Philipp Eman- style, and at the same time he is one of the charm dynamic such - uel, Wilhelm Friedemann, Johann Christian and most imposing figures of the newer homophonic dence * mUSt be in in this as well clans held style. as in thetF T Johann Gottfried Bernhard. The Bach great master. muslc of any other family reunions, coming from various parts of The bulk and content of his works are incredi- d n Germany, at which the programs were exclusively ble. Eighty-seven years after his death the pub- patetico 0n ®mow-Maesio Tnotab‘y patheticI f devoted to and presented by authentic Bachs. lishing concern of Peters began a complete ’ 20114:11113 the clue to the dominant mood w edition which was followed, in 1851, with a fuller, ' However Johann Sebastian Bach’s versatility was truly . it er- roneous to plav the would be amazing. He was preeminently an organist. In critical edition by the Bach Gesellschaft. By 1899, mP ltl0n a11 energetic, tempestuou? through in addition, he was a master of the harpsichord and this monumental work embraced no less than °a Strenuous Even so comparatively manner, the clavichord. As a master of these Forkel says: forty-six volumes! But even this is not all, since start " sent contrast and * Ple0e must pre of his day.” many works are now known to have been lost. varieturf “Bach was the envy of the virtuosi mood - Thus, find opportunity for relaxnfF we ing lyricism enity and charm ' Works Now Played on the in Measures Vf' Measures *° 13 Inclusive and Piano 25 to 31 inclusive Three stringed and keyed in- struments—forerunners of our present-day piano were — at embellishments Pleaents a Humber of Bach’s disposal. They were the which are vogue, or which n ° longer ln clavicembalo, or briefly cembalo, are but Among these are the evidence ’ but more frequently known as mordents thl* dents and the yerted m the harpsichord, the clavier or classical trlu^ J’ f' clearly indicate the he footnotes clavichord and the Hammer- precise ,, T the embellishments. execution of all of clavier or Fortepiano. The latter was decidedly immature, even Suggested Textual in Bach’s later years. We recall Changes In older to emphasize that our modern piano was greater a, grandeur than b th alld the original text born in about 1709, that Bach it‘ ls su that the following changes SSested died in 1750 and that many im- ho repetition of part two. provements in mechanism and ^fasurt extension in range had to be effected before it became the eloquent medium of musical expression that it is now. At Beethoven’s birth, in 1770, the keyboard had a range of barely five octaves, to say nothing of improvements in tone quality and quantity. So that, while Bach’s compositions for harpsi- chord, clavichord and Hammer- clavier sounded quite differently and the final Measure 40. on those instruments, our pres- ent-day piano is nevertheless Ex. better adapted for fuller and more impressive projection. A detailed, complete catalog of Bach’s works for the above instruments would lead us too far afield, even though they Portrait of J. S. Bach. This is now represent but a small A Rare Contemporary oil in the portion of Museum of Erfurt. State his entire creative output in 172 THE ETUDE CLASSIC AND CONTEMPORARY SELECTIONS Edited by Sidney Silber IN C MINOR . FANTASXE 173 MARCH 1941 THE ETUDE MARCH Mil 175 THE ETUDE SPRING MORNING STANFORD KING Grade 3. ' ’ ' ‘ International Copyright secure* Copyright MCMXL by Oliver Ditsoil Company 0ARUH 19H A WISTFUL MEDITATION Grade 5 ROMANZA i| j | m J, J |-— WrOWf— y_tj Wt!r : JLJ -W A 7 — — VOCAL AND INSTRUMENTAL COMPOSITIONS THE LITTLE RED LARK Copyright MG'MXV by Oliver Ditson Company MARCH 19it 188 SONGS OF JOY Francis Borne An Easter song depicting the story of the Resurrection in three correlated episodes. WILLIAM HODSON 185 MARCH 1941 TOP O’ THE MORNIN’ SECONDO Grade 3. ETHEL GLENN HIER 5 186 TOP O’ THE MORNIN’ PRIMO Grade 3. ETHEL GLENN HIER MARCH 1911 187 Sw. 8' and 4' with Reeds MORNING SONG Gt. 8' and 4' coup, to Sw. With Hammond Organ Registration Ch. 8' and 4' coup, to Sw. 00 7S22 210 @ REIFF I Ped.l6'and 8' coup, to Sw. and Gt. H 00 1777 400 STANLEY T. RIGAUDON HENRY PURCELL (1658-1695) British Copyright secured 1938 Presser Co. Copyright by Theodore 189 march im* DELIGHTFUL PIECES FOR YOUNG PLAYERS #. Grade, THE ROBINS SONG SIDNEY FORREST Moderato m.m. J = , 58 Copyright secured THE ETUDE MERRY WARBLER MY SCOOTER ADA RICHTER International Copyright secured Copyright MCMXL by Oliver Ditson Company 191 MARCH 1941 TECHNIC OF THE MONTH See lesson by Dr. Guy Maier for this study on opposite pag-e. A HAND STACCATO STUDY Grade 4. Allegro J = 144-160 3 the STUDS ; ) The Technic of the Month Conducted by mcuer Czerny, Opus 335, No. 14 note (hand stac- Do you recognize this study? Look strokes. Yet the first also contains a slight finger stroke, sharply; play a little of it slowly. Sounds cato) the last two notes (finger familiar, doesn’t it? Yes, it is last month’s and of course invisible help chord etude disguised by Czerny himself staccato receive almost forearm. into a hand staccato study. from the rotating practiced throwing How can we best describe the touch If the study is by toward the first called staccato? Someone has aptly termed the hand too violently of triplet (rotating toward the it a “whipping” process. I know no better note each and endurance definition; the perfect pianistic stac- fifth finger)., evenness will suffer. Therefore, I advise thinking cato is just like cracking a whip, or snap- of each triplet rotatively toward the sec- ping a Turkish towel at someone ( a mean first with a deliberate pause, trick!) in the shower room. How differ- ond note—at ent this is from the “whack” and thus: “snatch” staccato so often used by poor Ex. I pianists! Except for rare, special effects the keys must never be whacked from above by hard, fingers, wrists or stiff Then as a straight triplet with a pause arms; and it is futile to develop that (rest) afterward, thus: snatch or “grab" staccato, in which hands are yanked violently away from the keys. In true staccato the finger (1) prepares by touching the key top; then (2) flashes or whips at it with finger, hand or arm; then (3) comes to rest again on the key triplet as a kind of loop top after a slight rebound. Think of the thrown toward the second The rebound occurs thus: as the finger with the hand is whipped onto the key, all pressure is note, thus: released the instant key bottom is Ex.fi reached, spring to SETTING FOR THE BALDWIN BY W & J SLOANE, FIFTH AVE„ NEW YORK which permits the key C bounce back the unresisting finger. This rebound applies to any kind of finger articulation, since the act of finger ap- proach always requires a quick flash, fol- G The Boston Symphony lowed by instantaneous release. (The re- Orchestra now uses the Practice also in groups of two triplets lease and rebound are of course invisible IBalbtBin in its Concerts with rests afterward—slowly, forte, fast, when legato is employed.) And above all also in groups of four triplets with do not forget movement piano craftsmen Lave that all finger fourths are Generations of Baldwin rests. Right hand thirds and is aided by a slightly rotating forearm. Measure introduced in Measure 9; and in dedicated tlieir experience and stall to In playing any species of staccato, the begin in the left hand, thus to 17 they also closer the fingers and hand remain tlie creation of a piano wlncL will satisfy the weaker side of the hand val- the keys, the staccato. Indeed, giving better the Don’t you dare smuggle percus- uable training. tlie exacting demands of tlie great artists. the best sounding, most efficient anywhere! in a single legato tone sion is that which starts with the fingers more important, to tLe 4-5 fingering for the left hand And, wliicli is already in contact the key top. At That with is an excellent thirds, Measures 17-22, wlncL will clotLe tLe first, however, in slow practice it is ad- creation of a piano for left hand stretch. Can you visable to air as developer flash the finger in the Measures 23-24 melodies of tlie less accomplisLed play tl.e arpeggios in simple it whips the keys, and also to exaggerate SERGE KOUSSF.VITZKY, looking at the keyboard? Try it! the “bounce” (rebound) afterward. without internationally distinguished pianist in a wealtli of colorful tone. Czerny himself calls this study, “Light Staccato in actual playing is seldom conductor says: "Tke Bald- free hand.” Note that he Talents are encouraged and developed — “pure.” fore- staccato with win Piano for tke orcliestra Finger staccato uses slight loose “Light staccato with as well as for own is arm rotation staccato does not say: my use cLerislied amLitions to help it; hand carelessly fond Lopes and as the translator has perfection.—a truly orches- employs finger articulation to give it ac- wrist” That term “loose wrist” is tral tone, round, full of mag- realised in tlie ownersLip of tke curacy; rendered it. fully forearm staccato needs full arm should nificent resonance and color. misleading and inaccurate, and to help its accented impulses. I consider it a great work of Baldwin.— ToJay's Great Piano. be used. The hand articulates For example, in the present hand- never musical art and look forward wrist only as a result of staccato study, predomi- freely at the to many years of happy the hand whip forearm which gives freely rotating association witk tke superb nates only in the first note of each trip- the the “rope” it wants. Baldwin.” let, and is followed by two finger-sfaccato it all Ollier prominent members of tke Boston Symphony fSaldituin Orchestra wko now use tke Baldwin are: Jes.is Maria whoso has skill in this art is of a Sanroma, Pianist; Charles PIANOS “1 music . always loved ter; and things, Burgin, Concertinas good fitted for all temperament . Arthur Fiedler, Conductor ought to have skill in PIANO CO music in schools. A schoolmaster of tke “Pop” concerts. THE BALDWIN him; neither should we ordain CINCINNATI music, or I would not regard unless they have been well exer- young men as preachers . Also Built by Baldwin ACROSONIC • HAMILTON and HOWARD PIANOS cised in music.” , —Martin Luther 193 MARCH. 1941 ° T On the whole, I am inclined What About the Consonants? to lack of respect and a fundamental believe that an artistically worthy lack of musical sensitivity. Music interpretation of the works of Bach must be sung quite as it is written. ^Jlerlert WJendedt sdustln and the art-song (or Lied) requires Otherwise, the composer would not the richer fund of sensitivity, mu- have OWELS ARE SO IMPORTANT By saying “do not leave these ex- written it in that particular sicianship, and style. This is not due in voice culture that we are in- ercises” until way. And the composer needs col- you become proficient, - no entirelv ^n ThVfCt tw ™ 0 ¥dined to harp upon them to we do not mean to imply laboration. If a passage seems too that you this sort lacks the hlaWv v^h, °a difficult, the neglect of the consonants, which, will master an exercise in one prac- either leave it alone until dramatic support of operatic scenery ’ your though by no means so necessary tice session, nor to y individual technical equipment omit vowel prac- costumes full to is ready for it, or actual cultivation of the voice, tice for the time. Five or ten min- f®’ discipline yourself ^ into become very important when the utes to a given mastering its problems. The in- exercise will be sicianship demanded by Bach So' student attempts artistic song. For, enough. Having terpreter must adapt himself the practiced much for za rt (in his operas to no as well as in h wishes of the matter how beautiful the voice is nimble consonants, try a song and songs) composer. , and Schubert requires some ~ q ’ SOme tep.hmr*niivtechnically, pfFpnt.ivp cir»oir>o- ic c*ii ’ As to actual effective singing is stilli note the improvement of your die- how, a purer, practice methods, more sensitive pene- the singer impossible if it minces the words, tion. must never relax his work tration on the part of the takes inter- on the fundamental its consonants awkwardly, or preter. And, vocal and tech- in the last analysis, it nical with conscious effort, and, in gen- exercises. On the other hand, is the inborn musical awareness of eral, evidences he should not overdo faulty diction. Words The Groundwork of the singer that them. The vocal affords him a key to student should are composed of both consonants the spend about half an thoughts and intentions of the hour a and vowels. Artistic use of both is Vocal Art day on scales, vocalises, and composer. other necessary to good enunciation. technical studies. (.Continued from Page 163) Reflect, a (Except in moment, on what it e case Let us study the English alphabet. of the coloratura soprano, who proceeds by verbal explanations mean to enter into the full musical whose Say it aloud. Eliminate the vowels, f voice requires meaning of extra driU in alone. Bach or Schubert. If we runs, skips, a, e, i, o, and u, and speak the re- and such r ® ad a book written matters. The maining The voice is a delicate instrument, in that long- fluency required letters on as good tone as distant by the other voices and should never be forced. All in- age, the accepted meaning of is gained possible. Speak them again, noticing through normal work at - struction, the words is clear to us; fHof «u « all learning, all practicing and if it ®° al tT S are bre !£’ ’ staccato notes, and so * ^ not, a dictionary helps should be done with that in mind, make it so Sbe aS than Zf a i WV, fA they must be their m?™'7 - Advancement must be reckoned in But there is no dictionary of tonal flexibilityflpvvn J “ wT is different from eolora- * meaning. of the pupil’s needs. No set How then, are we sure of Ue tonguetnn JJ and lips nCy - ) AIter in the utterance of enatiatmg to the core such a Period of “method” can be given since no two P of what those techmcai£rw , work, each letter. It will be found that four the beginner should pupils experience the same difficul- composers actually had in mind? letters, a While G, J, K, and Q, are formed Tradition helps ’ betore resuming ties. For example, a wise teacher us, of course. In mZtl* ° toward the back part of the mouth; n S °ngs or arias Europe, it was sometimes - No voice does not prescribe the vowel on possible to Thnoirt h6 ten, C, D, H, L, N, R, S, T, X, and Z, more than an hour to which exercises are to be sung. In- t* nd a teacher who had studied with an hm,r T are formed by using the tip of the a half at one g stead, he allows the student a teacher who had gotten his tradi- Bnf «me. fnrn -If® °I Hi® to begin lme °ne g“ he forwaic art of the tion directly from a pupil spends at prac- . ? _ L ? work on those vowels which are of Mozart. tice is rfe mouth; and seven, B, F, M, P, V, W, S° ™Portant easiest to him progressing ^ u t that is always something of manneiA as the , to the a 'T and Y, cannot be formed without the h ne rarity. Apart from kS - And the others when he feels more secure. If accepted tradition wise approach use of the lips. h toto° studtT Remember these is vitally y maintains a pupil finds it easy and natural to ^which a important part an awaron points of articulation in the utter- 0t the diff erence be- sing AH, and difficult of vocal study—the singer has little tween the ance to sing EE, ™ltlvatinn of words. tangible to depend upon, outside S tools and the let him take his time on AH. Do not his tas™ son art ’ ’ at ime The b Q n a ' t0 a own native fund of musical reath you force him to master EE until he is sensi- draw he sc , diatonic TV: f. _ i leS y°U slng major scale within easy ’ the trills surer of his vocal emission. There tivity. It is this gift which compels you practice compass. 6 lmportant Now, sing some arpeggios, . certainly is no merit in forcing him, instinctively, to recoil from any -but using difficulties. All omv a? & means the letters and trying to make slurring and scooping of tones to an end. vowel and consonant sounds must in The end itselff them musical. Proceed to word ex- S °f °ne thlng ultimately be explored, of course, and singing the works of Bach; which only: a devot ercises e“an? of which we give an example sends him to that master with 111 the discipline' of study must be main- an construction of ^ in the Key of F major. Transpose the the mus'S^ t"aTned?but ‘Without pressure, attitude of chaste, almost religious exercise to suit your voice. Do not respect; which enables him to sense leave the practice of words formed Care in the High Range the correct approach of style to each by these letters until your enuncia- Art, Life in This applies even more to the mat- of the other great masters. Indian Music tion is seemingly effortless. ( good and ter Although this intuitive insight Continued, of range . Upper tones must nev„ into from Page 162) be forced or pushed; neither must musical significance is a ‘special and 1 qU °yah - Cherokaa they be unduly stressed. Touch the rare gift, anyone can serve the inten- Som of high notes lightly, at the beginning tion of the composer by the methods I am man of Go get Joo King, Kind Greene Ju - ketto wisdom of study, and then come away from of study to which he accustoms him- M PiritS make me keeber <* the Now sing C, D, H, L, N, R, S, T, X, them. High range singing may be self. Quite simply, he should strive woMs to sing only and and Z, one at a time, to scales and increased month by month, but al- exactly what is The words, O forest children arpeggios until you get the feel of ways carefully. Greatest care, too, printed on the page before him—yet I take into my keeping. sing an teacher them in articulation. Then must be given to the development of y can testify to the appar- I colour them with beauty, to the one sug- the middle ent difficulty of this. Oddly tunes and exercises register. Whether the enough, I polish them with action,’ gested above, using syllables and voice be a coloratura soprano or a most students need to have their at- These words. beginning with these letters. basso profundo, the extremities of tention especially drawn to matters These words ancient words of make sense its range like the exact time of wisdom No matter whether they are best approached value notes, I weave into my wampum Concentrate on the charac- through a cultivation of the middle the rests, the fermata, and so forth, or not. 1 1111 Weave ’ and Yet it is all clearly printed ’/ fashion teristics of these letters in articu- register. Indeed, the middle voice there, as TheyThe' aie sombered evident with ”nnv lation and do not worry about sense- may be considered as the gateway to them as to their teachers, These 0*’ wise words of “J"" syllables. to the other ranges. The singer who schools himself m, amusing ' less wording or to In ‘ts woof and P m lip consonants, The young singer, wishes read music exactly as it is pattern Finally take the who to printed ri 068 a Silken W, and Y, through know whether he “ought to special- has already made a notable step runner B F M P, V, ItAC Tsls the sinew ize” along the highroad of of thp exercises. You are practicing in concert or operatic work, can progress, It similar is the thread Wpum ' not be find no better counselor than his There is also the matter Of truth for dexterity of the lips. Do of a fun- That * and beaut damental holds, in one 5’’ use them. Sing scales and own aptitude. It is always the nat- respect for art. If a pas- afraid to The deeds and the letters; then in- ural gift which must decide the sage is difficult for you, do not actions- arpeggios with say- P with the dif- future sphere of activity. Some peo- “I can’t possibly sing this so 0 vent words beginning slowlv This d tUe leave this pie have a more dramatic bent; No one can breathe that toe ’ ferent letters and do not way; i mu i‘ ad“?Truth "d with others, a greater fund of sensitivity; take it more quickly!” practice until your lips work Such taliimr a ”d there is am*le sc0?e for both ‘ of liberties freedom and ease. *th music indicates a Wi“ 11 «a lh m love ^ m andtisdom the etude — 1 1 0 I 8 A ip6i 'irjnvw S6l •aojOA jo auo4 pajnjino ojoui b ui UJB3I PUB 41 do4s 'aABq noA esaopA uooq vB3ds 04 ji •jep ssDq oqj ui uoqjJM Smyaads Aubui os uj S4sixa ippAY 3ubm4 oadi| p|noqs aiojOJOig 'pa*Doipu| sdm odioa 4j IBSbu 4Bqa aABq qoaads pnsn .moA saoa &asou JOU 04 oig 40 o 6 udj 040U pnpD 041 'jop ssoq AqaoJJoaui q3noJq4 yuads AitBn4iqnq noA oa Z 40 pDOjsui jap 0|qoJ4 ui U344IJM jnoA U| •4BIlBpads SDM '..DUjijO UIOJ4 J044eq Vi, °I J0MSUD 344 uujn|OD S144 uj b ainsuoo '4insaj Abiu auo4 ibsbu b £ 0|duiDX3 'anssi AJDnjqs-j 344 40 aB0jq4 poo3 dub aaJJ aq l°u XBUI sa3BS!iB d ibsbu aq4 pabii IBSBU noA NOiiDanaoD - 3AB noA JI o^J IB5B3 H 'I -sSuiqj aqj aaJU4 jo auo jo 4insaJ aq Abui Supup pssu .moA 4aq4 sjsaSSns ja4?ai 4noA -v •jqSj.i ip Suop J7 ' A— iojjuoo '380)1 i/Hiio.n/i 83110 433 hjaa noA pub saAjau aAppuas JnoA d/oii osdold Hm /no 311100 / JnoA aonp o.ioqn 0 oio/oq 04 A\oq U.IH3I pub AiqB4Jojuioo aojoA /in ‘O WMlI f[ ) o 3/pp/j/i 3)/l / H' SuiSujs poo8 0.1/ II ‘8.(311/0 -o.id noA Moqs 04 jaqoB34 , 0 .if 8/ 30 U fo 33)18)13/(1 01// 04 Moq V ' ' poo3 0 iliit/8 b 4BOAq4 pus asou .moA a.mo 04 .10400P oof j .,/03 Hm do/ooop / oh/i p/nooi /nq ‘.i Sujqqos jaq40UV.. o.i odo un outoojq o/ i/u/ai /ou op b puia ,,'japinoqs aq4 uo i-u- lido uo 7 o.'/l)/ sj .104494 JnoA 4Bq4 iib 48 paj 4oa °P 8110883/ 00/0.1 33I//0.1 p/llOOl J •uiaq4 PIOAB p/nooi }>iq onui/uoo 0 / 01a jy /1 s/uoond Hm pun no£ -uiaq4 0101 oiu pus aiB Aaq4. 4BqM 400 png 4smu so/ outnd 3H0/ I * / //o/ osnou] // ‘joj ‘syui-'P i/8/oi pun 0110 / 08 ))ii podorou 04 oiSjagu aJB aAA ‘41 4nd noA sb /o /.Hi o/ 1 / n pjaJBO aq uoj/unof pun spooj ujE4Jao uj aSinpuj 04 4°u 0301/ I 11/3/01 l>"0 utn / 0 pa.mo 3upuig [esej^; 4smu sn jo nv •saupipaui pub 4aiP Aq aq ubo Aouapgap ppjXq4 P^b it44PTOBA3AO ‘ a d3B •44 op 04 aicp aq 4on m*. Aidui|S noi •jBOjqj hoj Sujs 04 A.14 pu isn 3Diaj aaziwaii ms qaBuro4S Sujnsua aq4 Sajanp jnoA azaanbs 40U op pus Ijuapgap uajjo sjb sn oj 9ju^ ‘S.ilaqjm 3d4 aai| siqj ui SuiqjXuB jnoqe aidds uaa.t3 aSaBi ‘aoiti b 4ua jo saopA UBopauiV qoiqAY ui 'sapiABo ibsbu pub jno£ naqAA ‘s4JBaq sb gnj sb pagn4S sj ipoq pnaq adJ J° as°qJ AiJBinopJBd ‘saouBuosaj aqj syaHdvyooH,Lr| tiBopauiy 04 JBap os saanujp SuiAjSsJiuBqx Aopiua 04 sAb/ap Ajx 'SJ34Spaj 40U14SIP ou Aj UB oguja4 asoq4 jo auo J34JB 3uts 04 4 W -uiaq4 uj paJOAYSus Apsajp si uopsanb aq4 ajoja.iaqi aBBW AT/ aAagaq 40U op noA ji ’osib aapA jnoA 4aq4 aas ihay noA ‘suopsanb .iaq40 injnoj apqAY aq4 S403B8 qoBuro4s puB4Sjapun syaAvyoNg^d^j pus ma4sAs snomn jnoA 04 sjaAYSUB Aui noA ji aq4 jo uoj44puoo iBuuouqB ub asjnoo jo S •rao44oq aq4 04 d04 aq4 uiojj A4ipnb arap aiuos ayB4 pinoM ou •ajno a4aidmoo b joj auo4 nj aSusqo aiqBpaJddB puB jaAaos sjsouSbiP 4oajjoo aq4 -I04JV q400Uis 41 ‘apBui naaq ssq -4BqAY syBajq ou ‘apos b si Supup jo 4' a aduI00 ® •siq4 appap ubo J04oop ao -,l15 4« ^ jo 4insaJ aqx 'apos oqj jo anoj AJaAa Jabo T^sbu Abay siq4 Aq uopBuguBxa q3nojoq4 « Agio ‘A4 suopxodojd SutAjba ui jspa pgioqs ‘pBaq uopoajui apos 4saa ui oq4 pub sasnuis aq4 nj pus asou aq4 jo sappBO pub sauoq aqj jo (a) sajnnjut A\aj « J34J« 4BO-iq4 -Sns SuiSujs jo •uo os puB qjnorn 'xuAJBqd aqj jo (q) ‘jsaqo ssauasjBoq jnoA Aiujbjjoo 2 aajqj aqj ajos dub^ B > : saouBuosaj 4Bq4 4^3084 'UJB3I aq4 jo ( 4^aJ3 Jaq40 Aubui pub Bippqs , sa^nqpjJB s|q sjaqoB34 'C -M 4snui Ja3uis b Suiq4 4SJg am sj •4psaJ sjq4 aonpoid 04 pua4 4q3iui «! «a «° 4q3gs UB jo IOJ4UOO ‘hu 11x51 anx qomAY qjJB4Bo pssu b aABq noA ji osp * 3 E I|cquj|>| ‘ONITH NVHIUON -paaaons 04 qsjAY noA ji 'III 0BB |M0 "ll H 016 pajupd aABq aay sv ’aSaBqo noA aiaqAY apajq jo Usbj b siiossaq 4no puix 8812. JajsaaAV auoi|,i • UB s.taq40 i 4snui noA 4BqAY si siq4 P adB noA J op 04 u.iBat aJns si aiaq4 ji iuoponpoid jo IBUOSJ3J 40,5 'B4B[nO]l-”!cl ||I1J 0J siq4 IOJ4UO0 aq 04 no.C .«oi|S .lsjnoo ubyi ja44aq ssauaAi4puas-jadns oay4 U4IM saopA aippiui pun .tBpo) aiHAY ‘-"Q'l 4 ^41isnb spomaxu 4uajajJIP .{pigs .mioii snouinj s.Suhm ubuuom 'SJo.ua iE0iuiq4AqJ 04 PUB noA aidoad aiuos 13AY01 moA aonpoJd 04 3uiAj 4 ajy Z V^X auniJoj pus auiBj oi Xo.u jiioa paABp so suns 4UESBaidun jo jo aunj jo 4no AiJBau Suipunos sauo4 IP ‘uio44oq 'saspu Apn 04 •ayiP sauo4 04 ‘sajpgsgu poisnui 04 aoioA siq ui ipajq ou aABq ppoqs q4IAY 04 d04 uiojj aAgisuas jpsuiiq spug ‘ajn4BU iBOisnur b jnoA aAios uopbuuoj oHbsiiio’EZ ailan^SBqeM'N EOZ ‘•03'guos|uaa ’S'l joua4 aUX 'UiaiqoJd hiay Ajbas 'T 'V •Soiojea ooij 'iciJoimu |on»m.n SNOISVOOO - paiaopua uaaq SBq oqAY uosjad PUB I3AYOA 33JJ 'ASB3 S33BjnOOU3 ojo|,luic>o -ojoii*4jaao poonpoad aim ns UOd 4UBUOSUOO B4oia B.uoHim>0 '»u|emmi dunjiqanoa _ „ ‘jjoga anpun 4noq4iM SuiqjBajq vun [ uoiqAY PUB SB))349dQ ‘SaipsaiOQ |B31sn[(J ' 7 'W §• W 13 "" 1 ipplM ‘ApnouojqouAs sjojBuosaj •»>/ / 1 mv-m sauoBaj «2nipco^ iBJjtnM «s2uog 8|in»Anf 1 ’;1S 0 I Ml J t ^ jn»nit >'! aopA jo uoponpojd 4Bqx g lUJifif qoiqM HQS||M3g si oajo.i llui /iut/SttiK fo 8.JJWMJW am TP sasn '<>! ( >l' „-ayouh f II {>< O.HI't I >l no 8U]01/0 III tin 18 0 / p.W / a ajnqoojq 81 8 i’ll / «."// 4uapn4S I Ba°A :pqM„ -III0I/8 Jilt no thnqqos .131/10111) }8)if pmoqs m o/vi.i. 0/ o/> I " ,l - Aui 4B aouBp puB „3upuis PUB 3ui Uiat noil HiquqoJ ,1 * 8/111 >il» TTBius dU •q4IBaq JnoA AgBpadsa ‘ja3uoJ4S ayojS 3jji3 IPAL yool noA ji 113001/ noA s« pui: pooa jay OOIOA jnoA J3PI0 ayojS ‘Hu/qvod* H/idjouoo aq4 Supinp >3 301 vino i/8 a3uBJ jnox -sq4UOin aybj 4sbi iv/Ooq I ua44IJM idoad 3unoA joj auuia anx pool/ 83 (,p WOJ/,11 'auip 0 fo 00/03 31// 'S SJ3AYSUB Aubui aq4 PB3J asiiaix J r ay J /IIOiUOOD/d fo )/OO I /811/Z noA pub 3unoA Ajba bjb nox auaid* 1 aABq ‘33)03 i/li/H H m 111 /ou /nq ooioci -q4noui / 01/Al 8-31III/ niPP/ui Hm III d 03 0 3.101/ 7 IV -z °°5 S3S *'T 3n3uo’ - ; jo yoBq aq4 0/11} — q4 ojui yoog iPD3X/ 31// jpsjnoA joj aas pub jojjiui b U4 JI 31// H.I303 0/ 3/q/880d // 8/ l q3nojq4 o3 jsnui 4nq ‘^noiu H/nonh /831/0 asou aq4 3831/1 33018110 0/ \/tin0U3 pUl}/ Oq 1)0/1 qSnojqj anssi ubo jib jo uiunpo 3ui ! 81101/80)11) X-'UOll II03/U3.I38 30)13/ D UIO ' f) q4 youq p/nOA PI') J pui: ‘qjnoui: aq4 JO L •jsjKjp JUO-^ l,: a»»uids Avau sup Au[d aos jo 314411 3«q^ os pa, UB ca 4Bjqp aq4 3JOIM aauo I ID P °IPPFIV[ ‘P H •jsqun:ij3 auoj, jjaStiOQ pa;03jJ3(l Apuaaaj aip jo 3|juS apiAY .up Aq soueuossj pu« auinjOA js4E3j3 u3a;3 si qaiijAV auoj jo .wop pajoiujsqoun ue ssonpojd uotpausuoo spis snonuguoo ‘a\3u y’ -uStssp oiniid ut ajdpuud Avau Aj ( -aaijua un saipoquia ‘q^S ppoj/q anautd§ J3zt!|jnAV aqj^ tjpwwpr AinDa SV1DH3IM 'Ha SMDixsaatl 33i° - Strength of Fingers, a.o a xjcc unuveu sunaua, leu him try to imagine how a string quartet Strength of Thought would play it, and play as though he were one (.Continued from Page 155) of such a group. The performers in a quartet must needs collaboration by way of alter- subordinate themselves to group dis- ing tempi and marks of expression! cipline. Up to a certain point, the Taking liberties with a text is both routine of team work requires accu- ei> the easiest and the gravest error a rate and honest playing a- P- student can make. (or, in other yt off words, it rules out inaccurate and Sometimes such errors are made dishonest playing) . If one of the four in all innocence. In my student days, slowed up at the same moment that I learned Beethoven’s “Sonatas” from another played faster; if the third BAKERS BIOGRAPHICAL an inaccurate edition (and editions slipped m a forte while the fourth become inaccurate when learned played piano (all masters take those same regardless of the interpretive printed indications) liberties , you may imag- DICTIOIAIY of MUSICIANS against which students are ine what the musical form of the warned) . In the “Waldstein Sonata”, group would be. The a slowing-up of tempo was pianist, for the indicated most part, ^leivfij for lacks this discipline of Jn a t^euiied Addition the second theme of the first group playing. He can movement. Following upon the very perform his The perfect gift for the music rapid ratUre alone sel- lover, musician, tempo of the opening - and but theme rin™ flpdsF and student. this indicated rallentando a chance for ensemble produced , a considerable 6 be nee hs the “effect.” So it of pvo discipline It is invaluable as a source of authoritative was P playin marked, and so I learned s; his work would be information concerning the music world in it. When vastly Improved I saw other editions without by it If he can flnd general, composers, instrumentalists, vocal- this ral- lentando, I 1 was’ surprised and dis- ' 50 mUCh thG ists, etc. for libraries, radio stations — and teteCSuV’ If pleased. And, later, when I he cannot, how- schools. examined ever nl Can the original text exercise his and saw that bv ninvii ingenuity PRICE, $6.00 Beethoven g eaCh himself had said nothing comnosh exercise and each S though of a rallentando at this point, I three other was P?ave?s we"re ! deeply grieved. Still, I dePending for tried it cooperaHn - upon him Beethoven’s way—and found that Strict exactness. gSCHIM^ he The , was right. d It is infinitely better not 8er ‘° the pian ° student is that to slow up the tempo in any of Playing, merely way with his fingers The second theme is 8 ’ BecauR. se asserted witli gers rennii-Q those fin- calmer expression and a more sink- Practice^he ^sciPline and ing tone; but the form is completely i^aptTto f°r8et in the last that - spoiled when the anaiysi? ththey tempo itself is in secondary are of but any P 1106 OLIVER BITCON CHORUSES way varied. To-day, when I hear thought The musical they ' the rallentando, are f FOR COMMENCEMENT AND OTHER I am even more dis- recreating entrusted with pleased than I was when alwaysy comes SPRING FESTIVALS I first heard this reason ;T first. For it omitted. Even if you ’ do not “agree” thought, 4 3 powers of with the composer, of’concenwf follow him al- need "tiation, of control TWO-PART (S.A.) Easy SOPRANO, ALTO and BASS Quite „ cm. ways. You will discover that mU Xo. Cat. Xo. he knew ?o h£ hands lengthening as 14.766 Irish Folksong—Meeting of the 14,587 Callcott—To All You Ladies Now what he wanted to say. Hf And you will tnll ‘ ever Waters SO. 10 at Land $0.10 with his play a 14,805 Pretense find he is heart . Saar— 10 14,129 ColeridgerTaylor—Viking Song.. .10 always right. mly~ hiS 14.767 Scottish Folksong Faithfu’ fingered trill yet — 14,636 English Air—Gossip Joan 10 There has been considerable wmVbu^b Johnnie 10 14,065 Lowe—Cadets on Parade 12 dis- unless his 1 a poor thinS 13,542 Wooler—O Music 10 13.767 Targett—Forest Dance 10 cussion as to tone. The followers mind is 13,669 Wooler Summer Is Coming 10 4,210 Veazie Morning invitation 10 of and 6 “ Shape — — style and meaning!" Sir James Jeans hold that there is TWO-PART (S.A.) Medium WOMEN'S CHORUSES (S.S.A.) no such thing as a personal tone, 14,218 Humperdinck—Prayer from there is only piano "Haensel and Gretel” 10 14.887 Berwald—My Daffodils 15 a key to be struck’ Kieserling Birdland Symphony. .15 14.888 Berwald Stars with Little How 13,523 — — and all persons striking it in Do They 14.101 Lemare Dream-Boat Passes By. .10 Golden .15 the Do If? — Sandals ' ( continued 13,152 Pike—Medley from the South... .15 14,064 Delibes—Butterfly! Butterfly!.. .15 same way produce the same tone. from Page 13,798 Veazie—Morning Invitation 10 14.834 English Air—Gossip Joan 15 14]j 14.768 English Air—Peterkin Spray 15 In this view, “tone” is simply force diffl 14,859 Fisher—Make My Heart a Place culty . TWO-PART (S.A.) Advanced of pressure. I do not agree with counting^fQ,. of ac Where Angels Sing 15 this. ‘t 12,498 Custancf*—Nursery Rhyme Suite .15 14,896 Gibb—Mammy's Lullaby 10 I believe that a personal tone exists, 14.076 Saint-Saens—The Swan 10 13,899 Gretchaninoff—Slumber Song ... .10 13,814 Strauss—Greeting to Spring 12 13.715 Huerter— Pirate Dreams 15 and that it is such an- eminently 14,890 Miles Scythe Song 15 lyses — personal thing that it is Chord in th e last 13,867 Rachmaninoff Through the hard to the second T THREE-PART (T.B.B.) Easy — f Silent Night 15 discuss it in a helpful tersinger °ie Meis~ (Suitable for Boys) 11,804 way. The only (in Reichardt—In the Time of Roses. .10 which th°116 10 13,261 Strauss hint I can offer might C sharp 14,895 Gibb—Lone Star Ranger —Greeting to Spring 16 for the perfection equally well be* 14,894 Gibb Southern Lullaby 10 — of a fine, singing tone is passing-note) Aromatic 14,720 Irish Air—Galway Piper 15 not to exert as the WOMEN'S CHORUSES (S.S.A.A.) of sixln too much pressure. The structure of a chord of the 6”1011 34,508 Debussy Starry Night thirteSt?"rceenth FOUR-PART (T.T.B.B.) Easy — 15 the piano is tonic!” on the 14,751 Edwards—Lady Moon 10 such that a tone is re- for Boys) (Suitable 14.7 71 Gretchaninoff—The Lark 15 leased as soon as the hammer of its Nevertheless, no 14,764 Folksong—The Cuckoo. . .10 14.769 Gretchaninoff—A Summer Night. .15 student „ n English key touches this editorial ° "ads 14,717 Sibelius—God’s Treasures the strings. Hence, too should imagi^ (Finlandia) 10 th MIXED VOICES (S. A. T. B.) much pressure is not needed, ’ can safely eschew and studying theory® 14,152 Delibes Butterfly! Butterfly! tends (T.T.B.B.) Advanced — .. .15 to harden tone rather But if he wants FOUR-PART ' than to do 14.835 English Air—Gossip Joan 15 anything Boys) to make it (Suitable for 14,820 Fisher—Make My Heart a Place more lyric. There worth while in original Where Sing are composition 14.865 Branscombe—Chantey (Set Him Angels is cases, of course, 14,099 Lemare—Dream-Boat Passes .15 notably in he must study in the Bilboes) By. Brahms music himself Silence .20 12,125 Pestalozza Ciribiribin where and 14.866 Galbraith—Out of the — 12 much pressure is then High- 12,538 Pike Medley from the South required- make 14,757 Gibb— Rise! Lowland and — 16 but interminable 15 13,461 Targett Forest Dance m tllese instances expert landmen — io the pressure ments. The most governed is that theory These Numbe. May Be Had for Examination by interpretive does Copies of Any of needs rather is to turn light into than by the demands a very dark of tone pi0ro~ room and prevent the duction as such. p studej nig time, wast « stumbling THEODORE The student can around at1 the DITSOM CO. • PRESSER make his wm-ir start. Harmony OLIVER CO. more accurate k work »nd . ST., PHILADELPHIA, PA. and hence ! 1712 CHESTNUT Distributors mm * Ut Point work are ful if he cultivates always profit m a Ht”e t ; Pbcperly imagination. ri^ applied to If he is studying^ ’ ”M K’zssnjt*' the etude , ., ever, as a vehicle to exploit the sen- The Record ParadE sitive and expressive tonal gifts of Mow You Cm Keep Youb Valued Gregor Piatigorsky. And certainly for March this highly talented artist makes the ( Continued from Page 156) music as appealing as anyone could. Phonograph Recordings Like Mew Fob Years “Suite” from his “Foster Gallery” He is ably supported by the Chicago Orchestra in the excellent (Victor Set M-727) . The work is given Symphony a rousing performance by Fiedler and recording (Columbia Set X-182). the Boston “Pops” Orchestra. This is Those who feel that Bachaus’ tech- no conventionally arranged group of nically proficient performances of are lacking in Foster tunes; instead, it is an ingeni- Brahms’ piano pieces ous and sophisticated score, imag- tonal warmth will find Egon Petri’s inatively put together. Gould feels recent album of the “Three Rhapso- that music should be entertaining, dies for Piano” more expressive (Co- . As in much of and it is with this thought in mind lumbia Set X-183) there is in that he wrote the present work, at Brahms’ piano music, turgid writing, but the instigation of Fritz Reiner, for the these works some Pittsburgh Symphony. Petri makes these sections as in- could. He is There can be no doubt that the teresting as any pianist Budapest String Quartet excel in admirably recorded. give a their performances of Beethoven, as Luboshutz and Nemenoff polished performance vPBy the simple replacement of the present their recording of his “Quartet No. brilliant and major”, for playing arm on your electrical phonograph with 14 in C-sharp minor, Op. 131” will of Mozart’s “Sonata in D ** Astatic's new Low Pressure Crystal Pickup, you j w two pianos (Victor Set M-724) . Of the rl* prove (Columbia Set M-429). No can keep your prized symphonic, operatic or wf versions of this work, other recorded version of this work several recorded highly popular recorded music LIKE NEW for reveals the incomparable virtuosity theirs is the best. years, and at the same time you can enjoy truer, provides a charm- more beautiful tone reproduction. LOW, one-ounce of playing to be found in the Buda- Guiomar Novaes century recital on Columbia pickup pressure (one-third that of conventional pest set. This quartet is one of Bee- ing 18th See your Radio or Music model pickups in ordinary use) reduces wear on records Dealer or write direct for superb Disc 17229-D. Her playing is a thoven’s greatest works. Of to a negligible minimum, eliminates surface noise descriptive literature. clarity and phrasing. The selec- strength, rugged fervor, and eloquent in and does away with distortion. Permanent, built-in are La Tendre Nanette, by beauty, it conveys a world of emo- tions sapphire jewel point makes needle buying and Couperin; L’Hirondelle, by Daquin; changing no longer necessary. Astatic Low Pres- tions. It is a great mistake to believe “Sonatas in G minor and G ma- sure Crystal Pickups are low in cost and wired that this quartet is inaccessible, al- and Longo No. 333 (mislabelled 8) for easy installation. though it may seem so on first hear- jor”, No. 487, by Scarlatti. ing, for its rewards, once we have ac- and customed ourselves to its rarified at- And Shorter Works mosphere, are multiple. ASTATIC MICROPHONE LABORATORY, INC. The Dijon Cathedral Choir sings a More readily understood is the 831 MARKET STREET YOUNGSTOWN. OHIO 2” moving and impressive Benedictus “Quartet in G major, Op. 30, No. a “Mass” by Orlande Lassus; of Johan Nepomuk Hummel, played from and on the reverse of the record Gus- by the Coolidge Quartet (Victor Set R Bret, organist, plays “Two Little PIANO TUNING aJKo TAUGHT M-723). Hummel, an outstanding pi- tave ^“ Choral Preludes” based on “Ancient BViREC0HD'“tis va/ Bb# POLYDOR-SERIES to pianists and other musicians ano virtuoso in his time (1778-1837) records— never before sold at these low prices. Sur- School officially approved by Steinway & (Victor disc 13498) Kimball Themes” by Bach faces superior to domestic records. Finest artists and Sons, W. \V. Co., Baldwin Co., etc. was a pupil of Mozart and a friend baritone orchestras in outstanding classics. 10" records only Write for information Yves Tinayre, the French Or. William Braid White. Principal of Beethoven. His chamber music, al- 75o. Send today for new, FREE catalogue containing specializes in the singing of hundreds of selections. Exclusive with though lacking the originality and vi- who School of Pianoforte Technology music predating Mozart, is heard in The GRAMOPHONE SHOP, Dept.E 5149 AGATITE AVE.. CHICAGO tality of his two famous contempo- 18 East 48th Street, New York recital of “Sacred and Secular raries, was nonetheless admired in a Music from the 12th to the 17th Cen- his day; and the present work is still (Columbia Set M-431) . Tinayre’s performed There tury” from time to time. his material, artistry is as unusual as is a delicacy and grace to the writing which he collects and arranges him- here, particularly in the second and from old manuscripts; for he does third movements, which merit the self few singers do—he fixes his quartet’s performance on records. It what attention upon the music is tech- listener’s engagingly performed by the his rather than upon the quality of nically proficient Coolidge ensemble. impres- voice. Rarely beautiful and particular: one Unfamiliar Beethoven sive are two works in Motet by the Italian composer, Gio- Beethoven’s “Adagio, Variations, a Paolo Colonna (ko-lon-na) and Rondo, Op. 121a”, based on a vanni the other a Church Cantata by theme from a popular song by Wenzel and Albert. Mueller, Ich bin der Schneider Ka- Heinrich Kerstin Thorborg, singing two lul- kadu, (Victor Set M-729) is a trio The Virgin’s Slumber Song which the composer wrote late in labies and A Swedish Lullaby life for the himself (Reger) performance of her best on (Lundvik), is heard at and his friends. This is a relatively Disc 2133. Irene Jessner, sing- unfamiliar work that one does not Victor a Slumber Song from “May hear played too often in public; hence ing Night” (Rimsky-Korsakoff) and It is there is room for a good recording of Midnight from “Pique Dame” this unhackneyed Three Dan- Near to score. shows her versatility (Tschaikowsky) , ish musicians unite in the above re- (Victor Disc 17559), although she is cording to give finely balanced per- a her first less impressive here than in formance which will unquestionably operatic recordings. And Jussi Bjoer- please many listeners. (yoo-si byar-ling) gives a good Saint-Saens’ “Concerto No. 1 in A ling of himself in the two tenor minor” for violoncello and orchestra account arias, Ah Si, Ben Mio and Di Quella is not a work of great musical conse- Pira from “111 Trovatore” (Victor Disc quence, although it is effective dis- play music. It serves admirably, how- 2136). 197 MARCH, 1941 The Violoncello Have YOU Tried Our . . . The violoncello is really a “little pecially voice students, should know Simplified scription violone”; violone being the old Sib Service Ital- something about tone ian word for color. The double bass, the English violoncello is difficult to play, unless term of which is bass viol. In . . . for busy hrifty) recent one has (omd music lovers! strong hands with long fin- years this bass viol has fallen in the gers and flexible wrists. opinion of some, probably because An easy and charming concerto of the slap stick way of playing it for the instrument ° As service used by was written by an added and conveni ence to its many readers, THE ETUDE, many modern dance or- by Mendelssohn, who is arrangement with foremost publi hers, is authorized to accept subscrip- chestras. One noted for his bass viol, of which we graceful tions for leading magazines. In just o le order to THE ETUDE, therefore, you style. have heard, was kept for years can subscribe or re-subscribe to AL . of your favorite magazines. And, in a in barn, by a farmer. addition, you can save up to $1.75 b talcing advantage of the special corn- Later it was bination offers listed below. Special rices on any combination of magazines found very badly damaged; | but, after not listed cheerfully supplied on re quest. Here is Simplified being Subscription repaired, it is now used in an Movie Music of High Merit Service at a saving! Send YOUR ore er today! orchestra. ( Continued from Page “Viol” is the term used in 157) Subscriptions may b new or renewal and Tl the fif- J| teenth century for the u ber of recent flIm 11 magazines may be set t to different addresses. IT predecessors Plays that of the hf,tLhusied ?i. violin, the viola, the violon- themselves with the peculiar THE ETUDE cello Ul Music Magazine $2.50) Both THE ETUDE Music Magazine. $2.50\ and other similar instruments. sarrounc!ing the THE MUSICIAN 3.00 WOMAN’S HOME Both lire and 1 ££ ) work« f QQ COMPANION 1.00 V There were violino piccolo, he Iate Regular price $5.50 * $3 25 viola Plorenz Ziegfeld of Savo 50c d’amore, viola “Fnilfoff t Reyului Film $3.30/ Dave 2„i da gamba, violoncello mc ' At RePublic THE ETUDE Music Magazine. $2.50 Both studios, ) piccolo, Boh r V L00K THE ETUDE Music Magazine. .$2.50 Both and so on. The viola by (brother $4.25 ) da to Bing) and AMERICAN HOME 1.00 C gamba, which for Judv f. 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It Magazine. $2.50 1 Both offers an excel- METRONOME Magazine 2.00 1 THE ETUDE Music Magazine , $2.50 Both ) lent QQ PATHFINDER I.00L example in tone for the vocal Regular price * £3 QQ .$4.50 Save 50c student. Teachers Regular price $3.50* Save 50c now give tone T U Music Magazine. $2.50) Both cu > sun, Ln5c5 . .££ studies to children. All BOYS’ LIFE 1.50 students, you SOP , THE ETUDE Music Magazine $2.50 ) Both es- ’ 1e (. $3 JJQ program at Wasn t on tli CHILDREN’S ACTIVITIES . 3.00 C all.” Regular price $4.00 ' Save 50c <£4 gQ THE ETUDE Music Magazine .$2.50 ) Both AMERICAN BOY 1.00 THE ETUDE Music Magazine. .$2.50 ) Both 1 £3 QQ OUTDOOR LIFE 1.50 C Practical Regular price $3.50* Save 50c £3 £Q THE ETUDE Music Magazine. $2.50 Both Piano Teuehint) AMERICAN ) GIRL I.50L THE ETUDE Music Magazino $2.50 ) Both £3 £5 COLLIER’S C (Weekly) 2.00 fan use ™e f°H°’ Regular price $4.00* Save 75c $4 25 materials these 60 ff"ashaJt Y honal drill. 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Just the thing for that ETUDE Magazine .$2.50 ) Both hard- THE GRADE TEACHER 2.50 L $4 IJQ THE ETUDE Music Magazine $2. 50Y ... to-get-interested young man. Regular price $5.00* Save 50c RED BOOK 2.50> $5.25 Price, 75 cents Save 75c THE ETUDE Music Magazine $2.50) Both Regular price $6.00/ MUSICAL COURIER 3.00 L <£4 25 Both THE ETUDE Music Magazine . 52.50 ) Regular price $5.50* Savo SI. 25 READERS DIGEST 3.001 $5.25 THE ADULT APPROACH THE ETUDE Music Magazine $2.50) Rogular price $5.50* Save 25c TO THE PIANO AMERICAN MAGAZINE 2.50/ All tures tas Q nc ^ Pedagogically to be cut nm t WOMAN’S HOME l ?5 THE ETUDE Music Magazino 52.50Y sound, the material used -” 1 * CHILDREN’S ACTIVITIES 3.00 1 * COMPANION I.00( in this book is quite musical, . — l Save 75c PARENTS’ MAGAZINE.. 2.00> $5.75 and the Regular prico $6.00; ground covered is most extensive. Regular price $7.50/ Save $1.75 In- (This Club to One Address Only) cludes some harmony training, Price, anc} a $1.00 fine selection of classic Extra and popular Canadian and Foreign Posta ge and Import Duty melodies. S»»d for FREE Price, $1.00 Cotologt of DiWs Educational Works and Music Send Your Order to: Subscription Service PubMc , FIRST CLASSICS AND The Etude Mu sic Magazine FOUNDATION HARMONY A second-year book to follow „,, Oliver Theodore Presser Co. f Publishers P Ditson Songs and Famous Pictures * Co withn °Un THEODORE beginners at the piano. y 9 PRESSER 1712 CHESTNUT STREE7 . PHILADELPHIA,, PA. CO Price. $1.00 Distributors 1712 chestnut st„ phi1A . i 198 1 , T Organ and Choir Questions _AmwereJ 1$ HENRY S. FRY, Mus. Doc. Ex-Dean of the Pennsylvania Chapter of the A. G. O. No questions will be answered in THE ETUDE unless accompanied by the full pub- name and address of the inquirer. Only initials, or pseudonym given, will be can express no opinions lished. Naturally, in fairness to all friends and advertisers, we as lo the relative qualities of various instruments. "ABSOLUTELY ACCURATE" notes. chnrclt has the folio ic- their high notes first, others the lower "GREAT CONVENIENCE" Q The oman in our If the huskiness is a "development"—not hav- ing stops: brail—Open Diapason S’,JIued Super, Swell Ini- ing been present at all times—It might be a "EXACT TEMPO" Violin 8'. Trumpet S’, Great Swell Stopped sign of changing voice. For literature on the N,in swell Sub. unit Tremolo; — "INVALUABLE AID" (Jamba S’, Vox subject you might read “Voice Culture for Diapason S'. Flute d'Amour . Tremolo, Swell Super; Pedal Children" by Bates; "The Essentials of Choir "ACCURATE TIME KEEPING" Humana S', Vox Hints on Swell Unison, Great Unison. Boy Training" by Hall; "Practical —Bourdon’ 1C,', and "STIMULATES INTEREST" Diapason and the Trumpet are prac- the Training of Choir Boys” by Stubbs The Open Sing” by because llicp arc so load. V hut "Quires and Places Where They Seo your dealer for full information and tical! g useless do you suyyrst for eongrcgaUonal Nicholson. 6 day trial offer, or write direct lo combination choir of fifteen voices f For a sinuing? For a Q. Why do some hymns hare an "Amen” it is not desirable to solo* Alt ho wth ice know while others do not? In hymn playing is it much, without it the organ mfg. co. use hie tremolo too correct to play the last phrase of a hymn be- FRED. GRETSCH our organ cam sounds lifeless. The tremolo on fore the congregation sings the last verse— Musical Instrument Makers Since 1883 this to be cxp< cted? The marked vibration. Is that is, when the organist wishes to omit a N. Y. limited. The Bo urdon « «» f 60 BROADWAY, BROOKLYN, ^ petlul Violin Questions _y}nMverccl hj ROBERT BRAINE iy <-• No questions will be answered in s nt published. initials, r pseudonym given. • and address of the inquirer. Only bordering on the popular, jazz or swing order. Beginning al Twenty-one favorite of Any selection which is an especial G. T. C.—Having ’started the study of the appropriate so the bride or groom would be violin at the age of twenty-one, and having long as it is good music. only the first position, used, completed the study of kinds of combinations may be chance of your All I fear that there is not much alone, or with the violin, possible, organ or piano becoming a first rate violinist. It is very elaborate weddings, progress string quartet, or at - - however, for you to make enough KIMBALL a large or small orchestra. By to afford yourself and your friends much re- pleasure. To become an expert violinist, bal- a in War Time absolutely new produc- chamber construction, the quires five or six hours dally practice, for Musical Instrument Making An be war in Europe has greatly period of eight or ten years. If you would q g_ j3, The World’s Largest anced, even tension scale, and manufacture of violins, tion by the playing pieces of moderate interfered' with the satisfied with basses, strings, it would violoncellos, double Piano Factory representing the the exclusive Kimball patented difficulty, well and good, but I fear violas, which were attempt violin solos and wind instruments, all of be somewhat hopeless to all last word in fine piano build- . . . manufactured in Europe, and exported to direct hammer blow action of great difficulty. these countries in the world. The makers of ing. The Kimball Consolette obtain- KIMBALL CONSOLETTES goods have been handicapped in the The Wrong Department .. their manufacture, possesses a resonance, tonal entirely of materials used in are available in many designs J. D.— work for Tub Etude is ing the My no had difficulty also in exporting with the Violin Department, and I have and have beauty and touch long regarded of these manufac- . . . three sizes all standard department. You finished articles. Many ... connection with the vocal shops bombed, and of attainment in department for sug- turers have had their as impossible might write to the latter ruined beyond repair. 88 notes . . . and moderately employment. many fine instruments modest dimen- gestions in obtaining ill wind a piano of such old saying goes, it is "an Ts the makers priced. See and play the new which blows nobody any good, so the sions. These have been secured Heredity and Talent . United States heredity, 1+„ these goods, operating in the Kimball Consolette at your E. M. S. 1.—Just to what extent of by the horrors through the perfected develop- subject of co - and other countries untouched influences musical talent is a their efforts to make nearest Kimball dealer. aut or - of war, have redoubled ment of the Kimball tone siderable controversy among musical and supplies; could be c te various musical instruments ties. Innumerable instances with remarkable suc- grandchildren o and, it must be said, where the children and World War. Japan stepped marked mus cess. During the CO. musical parents evinced made large quantities W. W. KIMBALL also otner into the breach, and talent from their earliest years, as well as ESTABLISHED 1857 violins, violas, and so on, Chicago cases of children of musical parents of previously Kimball Hall musical accessories, which had showed little or no talent. Germany, France. Italy, and heredity layf been made in My own opinion is that P countries. The same thing is s j other European very large part indeed, as regards the pa® B known happening in the present war. A well parents to chil r "Foreign Henning Violin on of musical talent from in the musical trade says: history gives ex- authority DEEP - MELLOW - SOULFUL Careful study of musical present, ' temporarily impos- ta supplies are, at For a limited time you can pur- amples of the passing down of musical then reac sible to procure.” chase this high-grade violin, with through many generations. It the dualities of the finest, at a price a " a peak, and in some instances ceases far lower than ever asked for sueh an instrument; made possible by gether. of an extremely A Marriage 1 **//« very rapid, brilliant our many years of experience in o 'uiyni 't is a musician untalented one, H** G —A violin making. Satisfaction guar- to a decidedly its name from growth of mus dance, 'which is said to get brings a culmination of the which is written on tnc "tarantula" or "wolf” spider, talent. A great deal has been the habitat in multiplicity oi extremely poisonous, and has its subject, but there is still a any person was inherited your tropical countries. When opinion. 2.—You probably was taken by his there is no bitten by this spider, he New and old violins talent from your grandfather, but ring gvaceru to the market place, where a and accessories at a way of proving the fact. 3.—It is a friends arm around him. and he was encour- surprisingly low price. gesture to hold the violin under the right was formed o join in a wild, frenzied dance which Expcrtrepairingourspcciaity. during a long interlude by the piano aged to y| This dance caused a ' CORP-. 503 Fifth Ave., New York short inter- were executing. E. J. & J. VIRZI orchestra. During an extremely thev exhilaration, and remain in nrofuse perspiration, and lude by the piano, the violin can blood to a to sena the circulation of the playing position. 4. are invited increased HIPSHER, —You degree. So great was the excite- EDWARD ELLSWORTH questions the answers help- remarkable FRANCIS DRAKE BALLARD A.R.A.M. more if you find system of the person who had MUS. DOC., ment in the Collector & Dealer in Associate Editor The Etude ful. the spider, that he was able Twenty Tears been bitten by Instruction by Correspondence poison, and his life was Rare Old Violins & Bows to throw off the Harmony, Counterpoint, Musical Form, Music for Weddings Consultant and purchasing agent for teachers, inde- „ The result was that many composers Composition T. U. L.— violinist is frequently saved pendent buyers. Connections with foremost collectors & The young which were suitable for the wild, Musical and Literary Manuscripts Criticised music for a wed- wrote dances appraisers in New York I ity. Address: asked or engaged to furnish rhythm required, so that the and Prepared for Publication a considers bi frenzied 14 Poplar St., Douglaston, Long Island Written ding, and this often leads to became a recognized dance form. Club Papers forms a ‘wel- tarantella Sind for "Old Violin Market Survey,’’ Increase in his income, which tarantellas are comparatively 249 Madison Ave., Marion, Ohio i Some of these digest of all U.8.A. offerings. 50e come addition to the fund he is laying by musicians but many are very difficult, extremely his musical education. Many young easy, numbers. for brilliant, and effective for concert lack experience in arranging programs have written subjec Most of’ the great composers weddings, so, a few paragraphs on the tarantellas, especially Italian, French, Hun- Twenty-One may be of interest. are garian and Polish composers. For a large church wedding, there required- IN MELODY LAND MELODIOUS SOLOS usually four divisions in the music or instrumental First, a program of vocal Not an instruction book, but supplementary of Positive Worth music while the guests are assembling; sec- soft music ond, the Processional; third, very to the method in use. performed, By ROBERT W. GIBB while the ceremony is being fourth, the Recessional. 2—Little Indfan ; 8—to tho Lake Amour, by CONTENTS: Playing; on the Open Strings: 1—A Wee Bit: Now for the selections Raltit d’ Introducing the First Finger. G ~Kamdiops 4—Drummer Girl; 5—Soldier Boy. • by iO^Merry-Go-RoundRound 11—11 I tL’ Elgar; Licbrstraum by Liszt; Pastorale, 8-Lullaby; 9-Roaring Lion. Introducing the Second Finger : he would do Ohwtterbox Matthews. Selections of this kind Cloister: 12—Fireflies. Introducing the Third Finger: 18— -v IS Airivai ofot thetne Prhi5!*L rmce as- 17 — (Founded on Scale of D Major) , . guests are • Folk Dance ; ‘ The Princess very well to play while the Box ] G — (hounded on Stale of A Major) Major); 20—Gavotte ; sembling. of others 19--The Peacock (Founded on Scale of G There are hundreds is a drill on the subject al hand, although, bridal 21—March, “Our Class.” Each piece, if judiciously selected equally effective. Second, while the ” it is a "really truly violin solo. altar, the to the pupil . party is walking up the aisle to the private—is facilitated by grouping of titles Wagner, Practical application to any system of teaching—class or Wedding March from "Lohengrin,” by Where the lesson introduces thi. second finger, Third, under headings in the table of contents. For example: Processional. is in the key of D major, assign is always played and 12 : if the study as the the selection should lie made from numbers 10, 11, the is used, it the scope of the average pianist to encourage during ceremony, if music number 17. The piano parts have been kept well within should be very (with muted strings). in the home. soft some performance Call vie Thine Own, a Wild Rose, or alone (without cover), 30c; To PRICES: Violin & Piano (bound separately), SI: Violin Book similar selection would be appropriate. Pinnn Book alone (with cover), 75c. Fourth, for the Recessional, as the br'cla- Mendelssohn s St., Boston, Mass. party are leaving the church, WALTER JACOBS, INC. 120 Boylston Wedding March from "Lohengrin,” by Wagner. pro- Any other selections could be used, not vided they are suitable in style and MARCH, 1941 a — ; ! 1 Compositions in Which Gems of A Musical Circus American Indian Music JOilC Meogcin I HAVE been a subscriber to your maga- The first one that ever I saw zine for years. I am a piano teacher and Was long, long Have find a great deal ago in a Zoo Been Transcribed of fine material and in- spiration in 1 * he Etude,**» Ix notice . thatmat youvou Piann ti ut Elcn ,lcint and print unusual programs of t' Chorus. Jessie Harmonized by interest. May\Tnv IT L send you one Gavnor^^ which my pupils from five and a half years to ten years gave recently which was, I Part Two Thurlow Lieurance believe, one of the most en- joyable programs I have ever seen. We e have arrived called at the Tent, it “A Modernistic Musical Circus” TiIhe rr,Balloon Man is crying his wares; A bright, intelligent boy of Let fifteen us follow the rabble L dressed in a comical inside, costume of white and lere the show sure will banish all cares red, acted as a clown and as announcer THURLOW LIEURANCE was born at Oskaloosa, Iowa, March The young performers Piano 21, 1878. He served as were all dressed in Solo, The Balloon Chief Musician of the 22nd Kansas Infantry during the Spanish-American Man, War and after- white, with caps and sashes h- wards studied at the Cincinnati College of Music and with Herman Bellstedt. At great of bright K. Kroeger physical sacrifice orange crepe paper, he has recorded hundreds of aboriginal melodies, many of which are in which gave a festive the Smithsonian Institution and other museums. His harmonized transcriptions of these atmosphere. Indian See “1 he melodies reveal fine musicianship and have brought him world-wide acclaim. Dancing Pony,” boys Dr. Lieurance’s numerous original compositions PROGRAM 5 ’ such as “Romance in A”, “Felice'’ (Waltz As graceful as can bong). The Angelus”, and othJers place him high in be : the ranks of American composers. The circus has come to town. llere , 1 = ", ? cIumsy ‘‘Bear Skates," Folks are running up and HClow ! on down. comical is he Let’s go 1 an INDIAN SONGS T Dm,ci Chorus, When the "f> p°"i’, Rob Roy Circus Comes to Town pefry°’ BY THE WATERS OF MINNE- MY LARK, MY LOVE (Range E— Sidney Forrest TONKA B ‘'" r (A Sioux Love Song) F-sharp) ^ ' 35 ™ - L a,ta' M High Voice (Original Concert Edition) Piano Solo, The Circus, Spaulding ^Preston Violin or Flute ad lib. ( Range MY SILVER THROATED FAWN Musical Reading, E— Music Original l/\, F-sharp) 60 (Sioux Love Song) (Range c—F).. .40 Musical Circs, Frances Up high G Risser in the air Low Voice (Original Concert Edition) NEENAH (Spirit Maiden), Flute or. how you dance on the Violin or Flute ad lib. (Range d-flat Violin ad lib. (Range d-ilat — g-flat) .60 -E-flat) Here conies Ut 60 O’ER THE INDIAN CRADLE the Parade, Walker” brave >"> "°‘ Orchestral (Range E The Ostrich, the ‘ u Acc. to Low Key (G-flat) . . .50 — Merry Clown, "to"theT And Pelicans DUt H igh Voice (Recital Edition— Easier RUE (Pueblo Love promenade y b t ,,'°'V 1 h°‘ Piano Accompaniment) High Voice Violin Flute d ‘ >’ heart (Range F—g) .60 — Obbl. To entertain the town. heats so and m (Range E g) .. L Low Voice (Recital Edition Easier — Let’s T ill — go you’re safe - Piano Accompaniment) (Ranged Low Voice Violin or Flute Obbl. d’n«-„ a —E) .60 — past sam and all danger (Range c— E-flat) BY WEEPING WATERS (Range Piano Duet, Here Comes the Parade d-flat— SAD MOON OF FALLING LEAF D) .50 M. L. Preston P,a, S High Voice (Range c g) DYING MOON — TiBh ' FLOWER (c—E) ... .40 Piano Solo, The Ostrich. Engelmann M L°Pr^ Walker, FROM Low Voice (Range b-flat—F) m GHOST DANCE CANYON Piano Solo, The Merry Clozon, Lily High Voice SA-MA-WEE-NO (Little Sweetheart) Strick- (Range . g-sharp—F-sharp) .50 land ( Menominee Love Song) Violin Obbl. The Low Voice Li«>e (Range b—a) 50 Medium Voice (Range F—F) Piano Solo, The Pelicans’ Wn\;i Dancers” Promenade enJ™ GHOST PIPES High Voice (Range THE SPIRIT OF WANNA William Baines le y gaiety scatter g) 50 High Voice (Range F—F) t n sunshine or Low Voice (b—E) 50 Voice (Range d rain. Low —D) The animals all have HER BLANKET arrived. (From the Navajo) WASTE WALA KA KELO (I Love (Range d-sharp With the gay little Cockatoos; —C) .35 You So) Medium or Low Voice Piano Solo, The Monkey and Pony dance The 7V.„° r • , (Range d—D) .: C. L- L,ttle Dancers, With the curious Rebe THE WEAVER (The Blanket—Her Kangaroos. Let’s JNDiAN SPRING BIRD (Ski-bi-bi- Rosary) Medium or Low Voice go b-flat la) High Voice (Range E—a) (Range —E) Medium High Voice (Range d g) WILD BIRD Duet, March of the Animals. Engelmann — High Voice—Flute Obbl. (Range d Song, The Monkey, Elsie Gene Medium Voice (Range c—F) g) Piano Solo, The Prancing Pony, Pntsur/tSrSp^^-ly Low Voice (Range b—E) Low Voice (Range b—E) 40 Ella Keetsel P ' a LOVE SONG (From the Red Willow "° SO Kangaroo, ‘°' Pueblos) (Range c—D) Piano Solo, The L. Gray Johnson e The b b la C k above represents only a partial list of the Indian Songs which Dr. Lieurance has a ’ S n° See the great Lion so big, Gro tesqu y' w con« “ft transcribed and harmonized. e th to dance, And the prickly old Porcupine k i With a jolly wee Dog and B a Pig No S - Carl circus couki H«ra To bring up the end of the hi U line. Without comP Iete PIANO SOLO NUMBERS BASED ON INDIAN THEMES Let’s “The Ti go 1 ‘hink n' an; AMERICAN INDIAN that all wn? RHAPSODY BY THE WEEPING WATERS (Gr. His Place 3e;ree (P. W. is in Orem) on Themes Suggested 4) Piano Solo, The Lion, Engelmann the VaT by Thurlow Lieurance (For Concert FROM AN INDIAN VILLAGE (Gr. Song, The Porcupine, Pia”° Duet Pianists or Advanced Students Gr. Elsie Gene ‘ — 7) . .40 -Wen Pe„ 8 ) : dleton GHOST DANCE—Transcription by Duet, The Little Laughing Dog, Original BY THE WATERS OF MINNE- Isidor Philipp (Gr. 5%) 50 Part Three TONKA—Transcription (Gr. 5) .... INDIAN FLUTE CALL AND LOVE Next conies the old Donkey so queer, SONG (Gr. 4) 35 "’ Concert Edition (Gr. 6-7) With his jiggety style C TO A GHOST FLOWER (Sa-ma- of a trot; ^clo^r frolicking Simplified (Piano Pupil’s Ed.—Gr. 3).. wee-110) (Gr. 4) 25 I’d just love to ride him, my dear. T T E t0 da"Ce Would you join in the frolic, or not? ^he" as he frowns; stke’' Ch' Let’s all take a ride '™rks with VIOLIN AND PIANO NUMBERS ON INDIAN THEMES ids And with “Dance of the \r - MINNE- I SIOUX INDIAN FANTASIE Wild , BY THE WATERS OF 60 show ' Ian 60 Piano The is complete.complete the TONKA Solo, Donkey Trot, Frank GHOST PIPES (Cello ad lib.) Ar- Kroeger ~ ' ' 70 ~ ~ ~ ~ Piano Solo, ranged by Fred Cardin ^ ^ _ Frolic of the Now look at the Camels so calm, Oom,s.n Johnson \v. A . As they quietly come on their • way Piano Solo, And though The Tiacr P„n each one carries his Q drum Piano Solo, ’ Original Directors are invited to send It ’ The Snake Chorus Theodore Presseh Qo. was never intended to play. ChCl Arrangements Original °™«n"s I Valle. for a list of the Choral 1712 CHESTNUT STREET Pian Numbers by Thurlow T,' e Camd P^ythmBaiid, of Indian r™'"' William Dance of lhe Lieurance. PHILADELPHIA. PENNA. SaSl°’ ^ Of the Elephant now we will sing- Des a wonderful animal, too: ' other teachers. ° assi stance to 202 the etude America V Smartest JPiario fashion. Nearly Every Hoy Is Musical [ ( Continued from Page 168) visualize CLAUDE DEBUSSY: pledge, and learn it by heart: business sense. One can from their accomplishment the type member of of thing that is to prevail in the reams I, the undersigned, SPsENpONSOj^E can look WU, of 2 Bonham Brothers’ Greater San America of to-morrow. We P|ANDS into the future, and see business men Diegow Band, do hereby„ pledge my-„ By Maurice Dumesnil sponsoring and fostering musical self to abstain from the use of pro- among their employees fane language and all habits that organizations $ whose lives are di- make the best of manhood, and the children 245 (the has preserved his do not “He author) rectly affected. To-day business men I pledge to be honest in all my master in a life story which can not industry have opened their dealings and in all of my thoughts, and all ol biog- the social benefits to be de- fail to make this book the “must” always telling the truth without eyes to rived from wholesome happy homes raphy of Debussy. ... A fascinating fear. busi- to keep my body and lives; and improvement of life story, so natural and simple that I pledge myself morally and spiritually ness itself is a result. The sponsor- ob- physically, one feels that admission has been ship of musical organizations by pri- clean to forgive those that hurt tained to Debussy’s home circle. . . . vate business is more than charity; me to help and protect the weak, both it is an act of good business manage- This writer desires to congratulate the young and old; to love my par- ment. Let Mr. Bonham state the M. Dumesnil and the musical world ents my home, my neighbors and f Learn more about -these to be loyal to all case in his words: pianos that appeal to upon the production of this memorable my country—and “It’s just good sense to invest in Children — about their .” lftese attractive book The Etude Music Magazine. 1 compact size, — myself to work trombones rather than in prison bars I further pledge I case design, beauty and for misguided youth. As business Just published, S2.50 At all booksellers lor better grades in my school, to volume of tone, and re- I honestly feel j Sunday School by men, my brother and 3 sponsive touch. Write support my J INC. that there is no way that we can in- for free booklets. IVES WASHBURN, regular attendance, to be polite vest some of the surplus earnings for New York and courteous at all times, and to CULBRANSEH CO. only in my our country so that it may yield strive for harmony, not practical profits in human also in my organiza- more Music Teachers: write for special proposition planing but | | deport- assets, dollar for dollar, than in this turn oyby'goodguuu behaviouro and non music. me now well-proven field of realiz- "Money spent in music education Allthis I sincerely pledge, character and upon instruments is never a bur- ina that I must build my den to the tax-payer. He receives in bv training myself in good habits, a better citizen." return much more in the benefits to To Master, this New 1941 P-A thus oecomubecomingy ?] individuals who otherwise might l Major Improvements • Just touch a key and blow normally. to his social bur- " such benu- wide associa- have contributed r, and Mr Bonham has had C r the com- den. My brother will agree with me If'MsS, Cln riirJts. Trum- tion with the people of pets. and other P-A instru- parents from all sides that we have never met the ments. Fully Ruarnnteed. munity and has heard TO PLAY your success assured, bee of one of our boys who would not write work and pur- larprcst manufacturer your music dealer or thefte leareactions to the 9 World’s an- direct for beautiful endorse with highest praise and in nounces sensational improvement in Band FREE BOOK band Instruments. New patented VOCABELL terms. effects. Easier to play. '. No obligation. Easy bands strongest terms the direct benefits revolutionizes tone ^““Parents tell us that the You’ll develop talent fast with these new LAST Sfr** ™ their sons have derived from this Conns. Choice of world’s greatest artists. good effect upon dealer or write today for FREE ) DAYS? PAN-AMERICAN hnve a great and See your BOOK and home trial, easy payment -3 P-A Bldg., Elkhart, Ind. Participation type of musical experience Their their sons individually. offer. Please mention instrument. personalities and endorsement, and the cheerful course ’ C. G. CONN. Ltd., 313 CONN BLDG. develop their Elkhart, Indiana Orchestra l^nstrumenls of the lives of our boys have proven Rebuilt Batri & improves them by way of general compensation enough for the invest- ^Inline Put a boy in a uniform D tnb straightens out, his ment we make.” ^^” A CO Pa- his spine g\ ^s° ''phfladein"ma. ed In conclusion, we cannot help but Snulders go back, and he ceases to which means wish continued success and well- i nrh His carriage, health being for this extraordinary organi- PIANO! tn him in life, and his Be Your Own SWING nation. whole is pure in motive, tree Homi enormously im- The Learn to play real Swing Piano. Send for aaocordinglv ofTer. relationships Study Folder. TEACHLRS: write for business too, that he be- is alive with the human Chicago proved. He realizes, CHRISTENSEN STUDIOS, 52 Kimball Hall. can hope to enlarge upon in MUSIC' organization. He that we longs to a respected “Somebody” and that the American scene that is to be. As feels that he is does will have Mr. Bonham so adequately expresses Teacher the things that he on him but on it: Learn at Home their effect not simply 4. “Our band is a civic organization; group; therefore, he tries to make his - is • les to his fellows. it is never used commercially. It child i his conduct a credit ideals of music confined to boys; we do not inter- Instead nr liresonic exercises. “The beautiful Wlien you finish one of these increase your much to him, and he fere with the musicians’ union; and delightfully easy lessons you ve come to mean added a new "ploce’^to your INCOME! under we avoid any kind of friction. We support them, to musli Easily —Substantially —Pleasantly works to —no ''numbers" nr trick all fiMl.illll) stmlr — little time to consider all expense worth while, that many or our — Take Subscriptions for stand them. He has MAGAZINE anti-social things money well spent. S™ a pie. u e shows V THE ETUDE MUSIC slothful, It yourself and hear It. i„ think^n of t« d'o it Then v.m do a ;,,fT,iAv,nn “THo Tirnvlrl no o real pleees particulars — influence The world as a whole needs right few short months you will he Playim? and en- — Write Jor so often have deep PA. which tertaining your friends. 1712 CHESTNUT ST. PHILADELPHIA, important, im- now more joy, more happiness, more Sample boys of this very Free Print and Picture tbrouch tlwIMi. these youri-elf how quietly you wtUleiirn 8ehool homo and often ‘critical age. brightness; and music brings See for nrezsionable" 0 n l lives credit. course—but in things into the of the boys and auppticd'ivhcii'iico'le'I'. casii or will be’ boys—of ht ruiiieiin' Rnvs 1823 Brunswick BldO.^ N. Y. C. with bands, their parents. Sometimes when the u. S. School of Music. our entire experience streets Brunswick Bldg., N. Y. : ali'.hc laic sonR years and over band marches down the on Iju.'s.s'cliool of Music, 1823 C. ’lay easy covering nineteen at sight. It is music study, particularly in the E Its I eyes of par- 1 I am Interested In new, cuaran- boys, we have never parade, look into the send your tree = r fifteen hundred E instrument checked below', I’leaso il- JAZZ post card today Music at to Learn Home . = . .Mail the coupon ents along the curb ... I can fairly = lustratod booklet. "How our boys, either present Sample. had one of = amt the free l’rlnt and Pleturo = Saxophone Trombone get into serious hear them say: E Piano Studio. Ave. or past member, E Violin Mandolin o Dent. E, 2228 Rosedalo Ukulele burden to his ‘“There goes our boy! Isn't he E Guitar Clarinet or become a s Trumpet Other Ins about your trouble Accordion e send mn freo Information something to be proud of? 20 -lesson in Piano jazz. community.” “'Isn’t he safe while doing that? Numo The philosophy which guides the are Brothers is a combination Isn’t he happy—as happy as we Address Bonham ” beneficence and good to-day?’ City State of paternal 203 MARCH, 1941 . . JUILLIARD SCHOOL OF MUSIC==== u-nu Classics on the Air kJUJLl&O C111U lVXUOlU UJL Ernest Hutcheson, President the Sea.” Categories of sailor songs, ( Continued from Page 159) shanties and fo’castle songs will be presented in the doing this for nine years; his String program of the JUILLIARD SUMMER SCHOOL eighteenth, Symphony programs have been and in that of the George A. Wedge, Director on twenty-fifth the airways since 1932. the selections will be a A new popular traditional British Navy and a July 7 to August 15, 1941 musical feature that Handel Hornpipe, the to seems to be attracting attention is Overture The Flying Accredited music courses leading to diplomas, teacher’s the Columbia network broadcast Dutchman”, by Wagner, and Gliere’s certificate, and Bachelor of Science and Master of Science called “Matinee at Meadowbrook” Russian Sailor’s Dance. These programs degrees. Instrumental and vocal instruction for beginning (Saturdays—4:00 to 5:00 P.M., EST) are heard on Tues- day mornings and advanced students, repertoire classes, methods and The program, which originates at the at 9:15, EST. Hr. materials, public school music, theory, composition, and popular resort at Cedar Grove, New Damrosch will conduct four musicology. programs in Department for high school students. Jersey, gives listeners a full hour of the NBC Music Appre- ciation lively tunes played by the best or- Hour in March (Fridays from Catalog on request o 3 P.M., chestras of the country. Each broad- EST). The first broad- cast, cast has an audience of fifteen hun- March 7th (Series A and B, 120 Claremont Avenue Room 122 New York, N. Y. dred to two thousand young respectiveiy, “Orchestral Instruments folks. and I! I Naturally, Voices” — a show like this conflicts and “Music as an Ex- pressive with the Metropolitan Opera broad- Medium”) deals with “The casts at this time ™an Voice ” of year, and it may and “The Song.” prano, well be that its popularity will alto, tenor, and WHERE STUDY? in- a bass solos, SHALL GO TO crease later on, since a wartet the opera l make up the first broadcasts have been 'of particular Program, sec- onrt while the interest this year and ll nS one cannot 4' itS atten “™a to Folk conceive of a listener Songs iJ Songs tuning into - and : Private Teachers (Western) DR. FRANCIS L. YORK the Part-Song. these and then Th/hrAidcast Advance Piono Interpretation ancf the Theory work transferring over to of March (Series a C and ,? 14th required for the degrees of Mus. Bach., Mus. Mas., a what purportedly is a jiving show. Ph. in music. ^oUvely, “The Musical ROSE OUGH and D. a Form." o' J MUSICAL ART d DETROIT INSTITUTE OF M Llves and of the - VOICE Works Detroit, Mich. a Great n '’ " Sers - Former Assistant to Lazar S. Samoiloff Enlightening Figures ) is d ™ded be " tw»n th°?° in Hollywood dlscussi0n 11 Reopened Her of the first two Voice Studios at (Eastern) The National Broadcasting " 1931 Private Teachers Com- moyemin't —8TH AVENUE ; a” OAKLAND, CALIFORNIA d e Playing of the Telephone Glencourt 6115 pany announced at the close of ‘bird !* 1940 and f that a substantial increase in na- Beethoven’s movements of BARBARA BLATHERWICK “Sv^v,®yrb EDNA GUNNAR PETERSON \ tional coverage was brought Ph°ny No. 2 in D ; - Coloratura Soprano - Opera about major” Recital N and a ^ * by the addition of forty schaikowsky pro- Concert Pianist—Artist Teacher Teacher of Voice x new affiliat- gram On tot the * 21s x 229 So. Harvard Blvd. Los Angeles, Calif. The Italian Bel Canto, founded on ed stations during the year, ‘ ‘Series Vand " bringing n FE. 2597 principles of Manuel Garcia ?he°pro“ f " total affiliates features, 121 Madison Ave. New York Murray Hill 6-6963 the of the Red and sic for rirnm first, mu- Blue networks to two cymbals and, sec- hundred and ond, , LAZAR S. SAMOILOFF music™? tb™ twenty stations. In dance - 28th J addition, forty- (Series March KATE S. CHITTENDEN c and x Voice teacher of famous singers one associated stations first tUrns its attentions Repertory Appreciation increased to “The i From rudiments to professional engagements Pianoforte — — N , their ability to serve their Suite ” £our Beginners accepted. Special teachers' courses THE WYOMING, 853 7th AVE., « respective excerpts with ^ from “in,™ NEW YORK - communities through the erection tor’s ln Alden Car en " “ 6IC So. Van Ness Ave., Los Angeles, Cal. of “Adventure. - P new transmitters, directional anten- and, seeond perambulator” naes, and increased power S Modern facilities. . European ELIZABETH SIMPSON ALBERTO JONAS S Composers”' Celebrated Spanish Piano Virtuoso M Looking back over the year, excer from NBC Stravinsky’s “tp- pts Author of "Basic Pianoforte Technique" Teacher of many famous pianists \ " pointed out that there had 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-2084 been a ", Iea cher Teachers. Coach of Young Artists. On Tuesdays and Wednesdays in Philadelphia, as widely increased emphasis fupils Prepared for Concert Work. Class Courses " on every A Director of Piano Department in the Combs College Technique, Pianistic Interpretation, Normal phase of musical art during i of Music, 1925 Chestnut St. the year Methods for Piano Teachers. 1940, and also a well balanced sched- n 609 Sutter St., San Francisco; * 2833 Webster St., Berkeley, (Frank) (Ernesto) ule of musical broadcasts designed Cal. a CounkAfciTGoes LcFORGE-BERUMEN STUDIOS to appeal to music lovers of every ; kind. also claimed Voice—Piano * NBC that “music tD J Private Teachers (Mid-Wesf) Town : rank LaForge teacher of Lawrence Tibbett since 1922 * history” was made with the fr , M month (Continued 1100 Park Ave., Corner 89th St., New York from™ Pad Atwater 9-7470 long tour of South American music °e HS) EVANGELINE Tel. "On ! LEHMAN, Mus. Doc. centers by Toscanini and the NBC members twenty-five COMPOSER ond VOCAL COACH Symphony Orchestra. of the ; EDITH SYRENE LISTER : x Dr. Lehman has coached Elementary n County some of the most famous n Chorus singers AUTHENTIC VOICE PRODUCTION The Columbia Broadcasting Sys- wHiT° a of the Paris Grand Opera. Terms on to Berea travel 405 Carnegie Hall, New York City on b bus x application. tem, turning Thursday Y statistical in its year- the t0, 1^2 m Convention appear Elmhurst Ave., (Highland Park), Detroit, Mich. Endorsed by Dr. Floyd S. Muckey end report, gave us progra on J M some interesting- m ofnf Lecturer Voice Production, Post-Graduate tacky Federation he Ken ~ Medical School, New York City figures on its musical of m® activities of “The Clubs '" Wednesday: Troup Music Studio, Lancaster, Pa. the year. Min Creek ARNOLD SCHULTZ H There were 1,320 broadcasts Dn,m d Thursday: 309 Presser Bldg., Philadelphia, Pa. a Corps welcomed Bu6le Teacher of Piano of serious music, totaling five 8anh , a hun- clf to Author the revolutionary treatise on city on his the a of dred and thirty arrival at Re, piano technique hours of air time. a on December “ Fleld "The Riddle of the Pianists' Fjngers" RICHARD McCLANAHAN J Of these, 20 a more than 1,200 were sus- and fh ey published by the University of Chicago Press Representative TOBIAS MATTHAY a corned alsowa l- a taining programs Jane ILL. Private lessons, class lessons in Fundamentals H (four hundred Withers x 622 FINE ARTS BLDG. CHICAGO, and ^ herh for teachers wsit to recent Lecture-demonstrations a seventy-five hours) and one Louisville ” 806 Steinway Bldg., New York City M hundred and fifteen commercials X RAYMOND ALLYN SMITH, Pli.B., A.A.G.O., (fifty-five hours) Dean FRANTZ PROSCHOWSKI Central Y.M.C.A. College Since Helen reCti°n of Music music has always McBride ^ School of Vocal Teacher « been an will be h degrees. Coeduca- * integral the Ileai’d over H Complete courses leading to ;200 W. 57th St., New York part of community Columbia accredited. Day or Evening. Low tuition. Tel: COLumbus 5-2136 oraanT M tional. Fully zation, Columbia's through 1 System Illinois American Station ^ * Kimball Hall, 306 S. Wabash Ave., Chicago, w , WHA? of the Air, in 0 morning on Saturday its -Wellsp"^" at n- 3n CSTAf„ Music,” ’ EDWARD E. TREUMANN turns its This is the May 14th - A. WOOD J attention iu u third’ 3 RUSSELL 4th rch C Concert Pianist—Artist-Teacher a and ilth) to that the SeCUtive year “Negro ”l, chorus , of Voice | by Emil Sauer, Moritz Moszkowski °i? a Teacher Recommended Von x °rk h a Hofmonn. Songs" and “Work W give been lnvited to School of Music and Josef a Rhythm, a program J ov , Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. m e a Y.M.C.A. College Marches." In its and network.” c °ast to coast Central Pel. 5-4357 New n broadcasts Columbus York City 18th March «Summer Master Class—June to Sept.—Apply now. x and 25th, ^^KlmboH ^Hall “WelW° \ Music" C ^ deals respectively County ° ( Jefferstm h^ldTheh thirdh u 1 Music 204 ^on«TO:ro „™^r2 n ) — The Pimd Accordion The Study of Argentine Tango Rhythms HARMONY Pietro 2>eiro Means Opportunity As Told tn ElVera Collins A practical knowledge of Harmony—the Grammar of Music—will im- measurably widen your musical horizon. It will open up many new and USIC, SINCE ITS BEGINNING, practice to develop its strength be- bigger opportunities to you a higher standing and recognition, and has always been influenced by cause some tango rhythms call for greatly increased financial returns from your work. playing of the chord M the trend of historical events. the accented Musical authorities and representative musical publications emphasize bass buttons. The echo of the current world af- buttons to precede the the necessity of a knowledge of Harmony in an adequate musical education. button fairs has reached the musical fields In such instances the chord quickly and with a {Qualify lor Higher Positions ana Music of this country and, while we still must be struck force and then be If feel that you have gone as far as your present musical cling to the works of the masters of certain degree of you training second will take you if you are ambitious to make further progress, enjoy greater weak ; the old world, at the same time we released immediately. A the effect of recognition, and increasing financial returns, then you owe it to yourself find ourselves in a receptive mood finger can easily spoil to find out what this great Musical Organization has to offer you. for new types of music and new the rhythm. who have neglected the mas- rhythms. One of these is the Ar- Those Send 5®a° Illustrated Sample Lessons the right hand gentine tango, whose scintillating tery of triplets with perfect them before beginning rhythm is now being appreciated should UNIVERSITY EXTENSION CONSERVATORY tangos, because they are fre- more than ever before. to play Dept. A-Z37 1525 East 53rd Street, Chicago, Illinois used in the melodic line. A This is indeed fortunate for stu- quently UNIVERSITY EXTENSION CONSERVATORY error in playing triplets is 53rd Street Dept. A-237 Chicago, Illinois dents of the accordion for no other common 1525 E. divide the time between the three Plense send me catalog, illustrated lessons, and full information regarding course I have instrument can so aptly interpret to marked below equally but not to fill the full this spirited rhythm in its bass ac- notes Piano, Teacher's Normal Coursi Harmony Violin time alloted for the group. For in- Piano, Student’s Course Cornet—Trumpet Guitar companiment while the pattern of Public School Music—Beginner’ Advanced Cornet Mandolin eighth notes is the right stance, a triplet in Public School Music—Advanced Saxophone melodic line is woven by the Advanced Composition Choral Conducting Piano Accordion as though it were in six- hand. often played Ear Training & Sight Singing Clarinet Reed Organ notes and the balance of the History of Music J Dance Band Arranging Skillful rendition of complicated teenth count a rest. This may not be notice- tango rhythms tells a story of its with some bass accompaniments own. player has able Street It proves that the a tango but it certainly is with not neglected the vital phases of ac- State. note in the melodic City , pul- rhythm. Each cordion study. If the rhythm is the has its place in relation to sating and the accents distinct, we line bass rhythm. know that the player has acquired a ACME Example 1 shows an excerpt from good left hand technic which com- JUST OUT! Logatti’s Argentine tango Irresistible. SUPER A prises not only dexterity of the in- has created of triplets in the greatest It shows a group the 1941 dividual fingers but skill in the sensation in ACCORDION played against a tango accordion the bel- right hand manipulation and control of meas- history. in the bass. These few Sole Agents MUSIC CATALOG lows. has given rhythm We also know that he practice time as for New York ures merit special and attention study of the time Philadelphia: OF to the combination of the right and left value if any the PIETRO DEIRO of notes for we doubt to the ACCORDION is intricate. Referring 200 other complica- hand HEAD- M ARRANGE- rhythms present the the bass, when a first measure in QUARTERS AND 150 FOLIOS. tions of tangos, and boleros. 46 Greenwich MENTS rhumbas follows a rest and is tied difficult bass note Avo-.N.Y.C. SENT FOR 5c POSTAGE Many accordionists can play bass and chord, 1237 W. Girard ADDRESS DEPT. E the following A vo„ rhythms right hand but to Phila., with their always a tendency to accent Pa. music for there is O. PAGANI & BRO. become confused when the of the first the single bass at the end 289 Bleecker St., New York,N. Y. the left hand is complicated. accent count instead of placing full We urge students to learn a group on the chord which begins the sec- of tangos with various rhythms and ond beat. include them in their repertoire. The PIANO TEACHERS! Make more money teaching swing piano. Complete to Tcmperametcr makes it practice be required . 4 The easy. which will Ex.l * 3 a information sent you free. Write today. The , piano business is destined to be better master bene- CHRISTENSEN STUDIOS, 31 Kimball Hall, Chicago them will be found than ever with the advent of the small ;> upright. Secure yourself now by ficial and will reflect in their playing )) learn- AAnswering Etude Adver- ing this paying profession. This—our of all other 40th year teaching by mail. music. 3 jr Write p-f iw r*> today for Free Booklet. Due to the fact that the entire tisements always pays Bryant School, 56 B. B. Augusta, Michigan character of the tango depends upon nd delights the reader. |n 11 : : I distinct accents to produce the pul- that sation for rhythms, we suggest accordion Orchestras feature the If you live further the bellows closed a be opened and and often let SGHOOLS-COLLEGES in the playing of tangos than convenient moderate distance only. The musical solo while the other in- long it play the traveling distance SCHOOL phrases in tangos are never very Then OF struments fill in the rhythm. from any of our so fully bellows are not CONVERSE COLLEGE MUSIC extended interludes, Ernst Bacon, Doan, Bpurtanuburg, . again, it is used to fill in two branches this necessary and only handicap a player and as such passages are usually a will interest you. in his effort to bring out frequent COLLEGE, DEPARTMENT OF of thirds, we suggest that MUSlr marked succession has compiled two con- Galesburg, 111. accents. spend some practice KNOX James MacC. Weddell, Chairman accordionists cise and easily under- Catalogue sent free upon roquest' The next point is the strict observ- acquiring the smooth play- stood correspondence courses that will of slurs time in ance all marks indicating bring into your very home his popular ing of thirds. The scales in all keys and phrasing for the right hand. The system of instruction. Write today for provide practice material. SHENANDOAH melodic theme of the tango loses its full information. with this Courses lending to Other musical examples DEIRO ACCORDION HEADQUARTERS Mus„ Mus. Ed. beauty if these are neglected. PIETRO the B. and B. degrees. Rates article show excerpts from my com- reasonable. In the heart of the Shenandoah The second finger of the left hand Valley, Dayton, Virginia. (iContinued on Page 208) will probably require some extra 205 MARCH, 1941 , thousand, but the public no longer wants in some of the profits reaped by others “ Famous Composers 'Why,' you say, ‘the station, or the them, save on the radio.’ It will be a while using the results of his work. This club, or the theater will hunt me up, tragedy if so much of our best music will was a principle which, until ASCAP notify me that it Rally to AS CAP no longer be heard on the radio. Again came into being is performing my piece, in 1913, was neither un- and ask gratitude me how much I want for the (.Continued from Page 154) deep and appreciation.” derstood, recognized nor established; but right to play it.’ it is a principle to which I think every “You fair-minded person, don’t believe that, and neither ANNE PAUL NEVIN whether he is a GUSTAV KLEMM do I. If you want to musician or not, would willingly collect, you will have, (Mrs. Ethelbert Nevin) sub- first, to find “I have been a scribe.” out who is playing it and “I know that the where, composer-member then demand payment, and, ASCAP has been of ninety of ASCAP since 1929 times out of a hundred, threaten inestimable value to CHARLES GILBERT o bring and in all of my suit before you can get any- the musical world, SPROSS transactions the or- multiPly that radio station, and has always ight club, ganization has won “For years I have and movie house by three or given honest and been a composer h red my fullest confi- > and y°u will have a rough efficient service. member of ASCAP r; dence.” chance you, as an individual, Moreover, I feel it and have watched of enforcing has been of the your rights. the development That is where greatest service in ASCAP comes in. What FRITZ and operation of h°r KREISLER and comP°sers have been ut- enabling the musi- the organization in wi,, f, “The ASCAP has dnable to do, cian to receive a hnJ as individuals, we become all of its main de- 6 n able indispens- to do by j°inin forces, fair and adequate reward for his work.” tails. It has been ASCAp t ff able to composers G PS tracIc °f our performances guided with pru- in fnvt ^ and authors in eight states > collects per- MRS. JOHN PHILIP SOUSA dence, judgment and formin^f our America. It is the mission and very adverse official 1. A great many people have comment, that we wonder at their radios. A radio is a superb fam- temerity even to touch this issue. ily investment. You know how to However, ASCAP quite cheerfully present the value of its cultural acknowledges that it does not dis- offerings as against its scream- AMERICAN tribute its royalties to members en- ing banalities. Do that. No one tirely upon a basis of the number of will condemn you for the effort. performances their works respective- 2. Many have phonographs. This CONSERVATORY ly have. If it did so, standard com- machine has a wonderful char- posers would receive relatively little, acteristic: it will repeat again and popular composers overwhelm- and again anything upon which ingly you wish to concentrate, with- MUSIC much. And, just to make the point clear, out complaint. Even a teacher CHICAGO 55th SEASON ASCAP does, for the encouragement has not its patience. of serious policy un- 3. Most human beings can sing or music, pursue a Accredited courses in piano, vocal, violin, organ and all other branches of der which the composers thereof almost sing. Organize them. Di- Music and Dramatic Art leading to participate much more generously in rect a small chorus, first in fa- DEGREE—BACHELOR OF MUSIC our distributions than would be the miliar songs, later more ambi- DEGREE—MASTER OF MUSIC case if repartition was made upon tious works. It can be done so interestingly that the rest of the the basis of the number of perform- Under Authority State of Illinois ances. For example, as to the number populace will draw nigh to of performances, Irving Berlin prob- listen. Unsurpassed faculty of artist instructors, many of national and international reputation. ably has 1000 performances of his You see, I trust, that you are be- apostle of universal en- works to every one performance of a coming an Thorough preparation for concert, radio, opera and teaching posi- work by Howard Hanson. Yet, Irv- richment. Now your task is to talk tions. .Weekly recitals, lectures, school of opera, training in students? the house- symphony orchestra, bureau for securing positions. ing Berlin by no means receives a it, write it, shout it from house- proportionate share in ASCAP’s dis- tops. But do not use the same tributions. top all the time. pianos within SUMMER MASTER SCHOOL In 1938 the networks, as such, col- 4. There are many miles of you, lected 44 million dollars for air time a circuit of a few Three Summer Sessions—May 15 to June 25, out of tune. sold to advertisers. Of this 44 mil- dumb and silent and June 26 to August 7 and August 8 to September 18 least one lion dollars they distributed 12 mil- You can say unto at arise! Come Special Summer Courses in Public School Music, School of Acting, Chil- lion only to 235 stations which took of them: “Lazarus, plenty of stunts dren’s Musical Training (Robyn System), Class Piano Method (Oxford) the network broadcasts. Approxi- with me ! I have mately half of this was allocated to for you to do.” Member of the National Association of Schools of Music in music lessons 23 stations in which the networks 5. An investment ought to attract Send for free catalog. Address John R. Ilattstaedt, President had an interest, and the other half for little Mary attention as the pur- to some 212 stations. as much armchair, or a The dollars not dis- chase of a new AMERICAN CONSERVATORY OF MUSIC 32 million Wash- tributed affiliated lithograph of George by the networks to 575 Kimball Hall, Chicago, 111. crossing the Delaware. stations, did not pay one single cent ington Mary’s lessons a to composers and authors who created You can make and not merely the music which made the whole op- family interest matter of routine. The average eration possible. It is from that par- a would do at least that. flORTH PARK COLLEGE ticular type of radio revenue which salesman mention of public school ASCAP, in behalf of its members, I make no E. Clifford most admirably handled. Toren, now seeks to receive some payment music, now 50th efforts, such Director for the men and women who wrote Nor other organization Year the local band and so the music, in the “public interest, as the choir, be permitted me, on Trains students for active musical careers in convenience and necessity.” on. But if it their chosen field. Progressive faculty. Conserv- occasion, to tell about the atory occupies own building. Piano, voice, another violin, cello, reed and brass be able to instruments, church home orchestra, I shall and choral music, theory, music education and “testimonies” expression. Fall semester begins September 16. My Country's Music— offer “instances” and Write interest. A nation’s E. CLIFFORD TOREN, Dir. of compelling 3201 Foster Avenue, Chicago, Illinois. Tis of Thee! home, wherever music is born in the ( Continued Page 171) ultimately; and it from it may spread thrive up and down our vil- time is a quite common inheritance. must are to be found in Etude advertising Now concerning recommen- lage streets. Excellent merchandising opportunities columns these another query that one dations for community activity on There is meets when making these the part of the private teacher, one always recommendations. And a natural and question always is propounded permissible query it is: How shall one begin?” I do not entirely know. “Where do I come in?” But this is true: right before with People who make contact us there are resources about which in significant undertakings it is reasonable to ask, “What can others give this testimony; Lincoln COME TO SHERWOOD THIS SUMMER! I do with conditions always these people and are invariably confessed it! They as a means of music making?” Then Summer work be- with something besides Join the ambitious music students one begins. whole year concerned gins June 23. Private And often a immediate self-interests. and teachers who are planning now is spent com- their own and class instruction in all instruments, in fumbling with a re- for their summer study at Sher- proceed as if they, too, had theory, voice, public school music. Cer- munity’s potentials. meanwhile They wood! Here you will receive the But Joshua: tificates, degrees awarded. ceived the admonition to diplomas, one achieves measure of success best professional training at low all-expense a off thy foot, Write for catalog and Loose the shoe pom time enjoy a which increases in proportion to cost, and at the same estimate. where thou standest is holy one’s effort. does one fov there delightful vacation in this cool, How and when we are, in ground. For right where lakeside metropolis. 412 S. Michigan Avenue, Chicago, 111. make that it may be effort? Well, is the one done after Cui’s our own neighborhood, six P. M. as was Institutional Member of the National Association of Schools of Music place on earth where most custom; or, Lang’s and only as was Anton to our fty-two of us can help contribute times a year; or, in the manner country a community, cultural in its of Czerny, as a side issue MUSIC SCHOOL when musical expression and accomplish- odd minutes occur. For ex- rejoice! ample : ment. Try it—and 207 march. 1941 = 1867 — 74th Anniversary Year — 1941 Argentine Tango Rhythms CHICAGO MUSICAL COLLEGE C Continued from Page 205) Member of the North Central Association of Colleges and Secondary Schools position Tango in C, taken from the used .. RUDOLPH GANZ. President “Master rhythms presents Method." There are four in- ,r u 2 u tles when practiced alone dividual rhythms which will behe foundfmmd MASTER bubutf may lequire extra study when SUMMER SCHOOL interesting, 2A, 2B, 2C and 2D. combined with the DEPARTMENT OF MUSIC EDUCATION E*.2. melodic line. After the tango rhythm been First Six Weeks has Session— Second Session—Five Weeks mastered June 23 to August 2 August 4 to September 6 and all the technical diffi- culties overcome, Select Guest and Resident Music Education Faculty offers complete curricula in Music Educa- there is still an elu- tion leading to the Degrees Bachelor of Music Education and Master of Music Education. Other sive quality which must be captured nationally known master teachers will join the Summer School Faculty offering several complete and curricula leading to the Degrees Bachelor of Music and Master of Music. for want of a better name we shall call it Karl Conducting “style.” Tango rhythms W. Gehrkens, High School Methods and must Mary Strawn Vernon, Music Education Methods be felt inwardly before they Hans H. Rosenwald, Musicology, Radio can be Helen Curtis, Class Piano Methods projected. Merely having the Eleanor H. Burgess, Dalcroze Eurythmics Normal Classes time correct Is Leroy Wetzel, Light Opera Performance in Schools not enough. To help Lois Dyson, Class Violin Methods in acquiring this certain style we Lauretta M. O'Brien, Choral Speaking suggest Oscar W. Anderson, Band Clinic that accordionists listen to Arthur. Knopinski, Robert Summerhill, Archie E. Slusser, Some Of the Franklin Borger, Carmine Schiavone and excellent recordings of Arthur Argentine Layfield, Orchestra and Band Instruments and other tangos by well known orchestras. Write for the new illustrated Summer catalogue describing complete courses Interesting ar- Se entS 0f in. Music Education and every branch of applied music and theory. tanB° rhythms arc alsoilsn often« heard on the air and some CHICAGO MUSICAL COLLEGE featu ™“„ " them exclusively, R. A. Elmquist, Business Manager w, a 1 lmitators to a certain ex- 64 EAST VAN BUREN STREET CHICAGO, ILLINOIS tent,tpnt whether we do it consciously or ’ and lf ... we listen to fine music attentively we M7TO/MT INSTITUTE OF can learn a great deal. UEilKtJll musical art Bsmopolitan SCHOOL DR. FRANCIS L. YORK. Chairman OF SHIRLEY GANDELL, M.A., Oxlord 6110 DR. EDWARD B. MANVILLE, President answer question University, England. President. about „ courses C Member of the National Association of Music Schools. 37th year. Accredited. Offers dl ° n pla ying. Letter Founded 1897. All branches of Music and Dramatic Art. in all branches of Music. Certificates, should Desirable board- h» uL School of Sacred Music. Faculty of 70 artists. Accredited diplomas and degrees. * 8 3 addressed I ii; to him ini care o Teachers’ Certificates, Diplomas and Degrees. ing accommodations. Located in tlown- ^ TheThp Ptt H. B. musical center. the one MANVILLE. Business Manager Avc.. Chicago. most commonly I, 30G S. Wabash ““ 52 Putnam, Detroit. Mleh. PhUafe. Si MILLIKIN CONSERVATORY OF MUSIC LAWRENCE COLLEGE DECATUR, ILLINOIS CONSERVATORY OF MUSIC Accordion Offers thoro training in music. Courses leading to Questions Bachelor of Music Degree. Diploma and Certifi- APPLET0N, WISCONSIN Answered cate in Piano. Voice, Violin, Organ, Public School Carl J. Waterman, Dean Music Methods and Music Kindergarten Methods Pi Pietro Courses in piano, voice, violin, ’cello, organ, theory, 2>«Vo Bulletin sent free upon request public school music and choir directing leading to W. ST. CLARE MINTURN, Director Bachelor and Master degrees. Q. I am an accordion player and have quite a hard time in — —— JUILLIARD SCHOOL OF MUSIC'—————— studying trouble ni er and has — l — vSttf rhythm and harmony. Can you please th?^ 114 S ' iPE ERNEST HUTCHESON, President suggest a book which you think backaiJtth^e^r will accents n execut help me with these or attacks two ' musical astic ® ng an enthi problems?—W.P. admirer of MUSICAL ART y0ur articles, INSTITUTE OF t knowing tha t A. Dean A. “Modern Rhythms” utstantl GEORGE WEDGE, by Alfred accordionist of the^imen e ? ' 1 d’Auberge will help you with your few Words fvnm am sui Individual vocal and instrumental instruction. Classes in Theory, Com- first problem while “Accordion Har- position, and all branches of music education. out mony” by Pietro Deiro will help with rtroversy. p j our c degrees in instru- Courses leading to diploma and B. S. and M. S. the second. If you are studying with- music departments. mental, singing, and public school out the help of a teacher you will find “Key to Accordion Harmony” Catalog on request. th useful as it gives all the and the right th Avenue, York answers to bellows ™ 2 u Room 122, 120 Claremont New ing ass section problems in “Accordion Harmony.” upon the left A re found the to be both kne< Q. In the meetings that we fre- graceful by most ladles E about THE ETUDE and ask them to give quently hold with our accordion staff s Tell your Music Loving Friends however, to mak P a -T their subscriptions. you the privilege of sending in we have open discussions. One of the cause of subscriptions you send the difference Ask jor Catalog of Rewards for topics upon which we have some con- ta ^tlt! m g d ‘ viduaIs Chestnut Street Philadelphia, Pa. flicting opinions, and alsS THE ETUDE 1712 is the correct way ofnf thet°b mi beca difference in the for a lady to hold her accordion size of larti accordions compared while sitting. Some believe to their that it As your stah wife seems to should be held inside the right have7f , SPECIAL NOTICES & ANNOUNCEMENTS thigh position which und 1 with the knees apart. is most e However I for mforta her and, best £° MUSIC TEACHERS: Do you want more am of the opinion that a lady should o“all NOTICES pupils? Have you time to teach twenty her to progress enab SPECIAL | new students? Write Music Teachers En- hold it with her knees together so wei^? | and ly would e ta SALES Music and Dancing School rollment Guild, Box 2048, Charleston, W. Va. the instrument resting on not recommend for Northwestern Detioit her lan th . successfully serving change it. Eba ' ; responsible party My wife, who is an Congratulatin lor 17 years. Dispose to VOIT CAN TUNE your own piano. My advanced ac S t0 For information Chas. Clever, book "Tuning the Piano" tells how. $2 what she her at sacrifice. cordion artist, holds her has already a 17628 Dahser Ave., Detroit, Mich. Postpaid. With set of necessary tools, instrument and C°mpllsl $4.50 Postpaid. J. C. Sullivan, 6S Grant St., best wishes for Afu uturet^ progre announcements I | Secrets of Europe’s PLAY PIANO JAZZ like dance and “/h you grow older nr-’ \ sinGER! radio players. Quick mail course. Informa- sing ( teachers in "Singing Made EasyP fasl,wn. greatest Oham- tion free. Ersltine Studio, Dept. B, 2228 Time is precious. *»'*>'»» merely Details for stamp. Eastern Studio. One n Rosedale Ave., Oakland, Gal if. that is good. Zf ,We a is the bersburg, Fenna. —Schumann. hundred lives to Ie'urn everything OBERLIN Composer Dionisio Aguado, Guitarist and €©MS1K¥AT@M¥ @F MUSI® ~J(ricl A DIVISION OF OBERLIN COLLEGE 5^ Qeorge C. Graduates are prominent in the musical world HIS DEPARTMENT, from time most celebrated artists of his period, also he became acquainted as concert artists, music teachers and super- to time, has presented short and here countryman, the guitar vir- T biographies of men who, through with his visors in public and private schools, directors Ferdinand Sor. In time these their genius and undivided devotion tuoso, of conservatories, deans of college music de- artists became intimate friends; to their chosen instrument, the gui- two partments. Sor composed a duet for two gui- tar, have brought it to the attention and for Aguado and himself, entitled of the musical public, and, who, by tars Thorough instruction in all branches of music deux Amis. their ability have great- Les as composers, ... 46 specialist teachers . . . excellent equip- ly enriched original literature the Two Different Styles ment (over 200 practice rooms, 23 modern f6r the instrument. We have dis- of the same nationality organs, including two large recital instruments) cussed the careers of several guitar- Although period, Aguado and and of the same . . . inspiring concerts by world-famous mu- ists of the classic era—Ferdinand materially in their style differed . . student Sor, Mauro Giuliani and those who Sor sicians and organizations . weekly of playing the guitar. In Aguado’s came later, such as J. K. Mertz and recitals ... for these reasons Oberlin Con- youth most guitarists were sti angers Francisco Tarrega; also the contem- talented and ambitious stu- music composed for other instru- servatory attracts porary artists, William Foden, J. to and confined themselves main- dents from 39 states and 6 foreign countries. Martinez Oyanguren, Luigi Mozzani ments music written especially Music, Bachelor of School and ly to playing Degrees; Bachelor of Andres Segovia. was to play guitar. Their object Bachelor of Arts, with major in When we read of their early strug- for Music, and order to dazzle and followed rapid passages in College, on the same campus, gles and disappointments, with music. Oberlin astonish the public. A theme later by successes and triumphs, we makes possible excellent combination courses. numerous variations to be played at cannot help but admire them for speed was the order of the their industry in be- breakneck For catalog address persistence and however, had an in- fail to day Aguado, half of the guitar; nor can we a better stinctive leaning towards derive carry on the H. SHAW. Director, Box 530. OBERLIN. OHIO inspiration to as soon as he was FRANK inaugurated. type of music and, work which they so ably resources, his ex- these early left to his own We must remember that musicianship began quisite taste and pioneers at the beginning of the and show in his performances nineteenth century had to depend to compositions. It is a curious mostly resources and, original on their own of all the great of (Qusir fact that he alone gbp QhbrlattbJnfitiiuiP aside from receiving some rudimen- long flngei guitarists played with tary obscure teach- Music Degree, Artist Diploma instruction from resulted in a rather nasal Confers Bachelor of Music. Degree, Master of It was nails which ers, were entirely self-taught. which, however, was Faculty of Nationally Known Musicians to sounding tone, up to them to create new technic, In ad- Director, 3411 Euclid Avenue, Cleveland, Ohio and of beautiful quality. BERYL RUBINSTEIN, invent effects and to clear new artistic possessed extraordinal y for the dition he write original compositions in many of his velocity, as shown guitar; all of which may be enjoyed compositions and Established 1857 etudes and other by the present day guitar student. attracted concerts invariably Among pioneers Dio- his other CONSERVATORY these early audiences. Sor on the vir- large nisio Aguado, the Spanish guitar full round BALTIMORE, MD. hand was known for his PEABODY tuoso and composer, occupies an with OTTO ORTMANN, Director powerful tone, produced enviable Madrid, and position. Born in the fingers; and while and Most Noted Music Schools in America. he the tips Of One of the Oldest April 8th, 1784, son of a notary, be ranked among both artists must showed a strong predeliction for doubt about greatest, there is no music quite His elemen- the early in life. method of playing being the tary studies the guitar Sor’s COKER BALDWIN-WALLACE in music and two. better of the Thorough Conservatory courses leading to A.B. degree OF MUSIC were a col- school music. CONSERVATORY received from a monk at with the inven- in piano, voice, violin, o gan. public is credited courses in Liberal OHIO (suburb of Cleveland) lege Aguado Touchers' certificates. Also, degree BEREA, in Madrid and later he studied a Sciences. Library science, physical educa- so-called “Tripodion’ Arts and Affiliated with a first class Liberal Arts College. of the secretarial science courses. Beautiful campus, with renowned tion tion. Four and five year courses leading to degrees. Faculty Manuel Garcia, the which he attractive buildings. Dramatics, Gym, pool. stand, on of Artist Teachers. Send for catalogue or info:r- three-legged Wri'e fo-' catalog. Endowed. Session:, $450tiov, ..i. e singer, who accomplished This ~ ‘ " tlon to: was also an while playing. Sylvester Gre i, President, Box M, Hartsville. S. C. rested his guitar C. ALBERT RIEMENSCHNEIDER, Doan. Berea. Ohio guitarist. In 1803 we find him living in either a sit- enabled him to play in the village Fuenlabrada, where and he of a standing position; he devoted perfection ting or himself to the that, since in this man- Etude Advertisers Open also claimed Make THE ETUDE Your Marketing Place. the of his technic. There, too, he devel- was kept away ner the instrument Doors to Real Opportunities oped his system of fingering and performer, the from the body of the harmonic effects which were later in- increased, volume of tone was greatly corporated in his “Method”, pub- time there was while at the same lished in 1825. A second Madrid in for both hands in exe- croueqe more freedom attheattm edition of his valuable book was pub- ri difficult passages. WHEATON, ILLINOIS * i r cuting l (f isSSS lished in Paris 1827 and a third in con- in The writer well remembers a Madrid in 1843. Paris, at this time Town -SSSSfi* given several years ago in Summer School the Europe, cert National Association of musical center of western Italian gui- Conservatory of Music is a member of the York, by the The and women. Hall New of Music and includes on its faculty outstanding men now proved attracted Schools of a a magnet that Taraffo, who utilized for effective work and rapid progress because tarist, Pasquale Unusual opportunities Aguado, in the inspiring setting and religious cultural influences. Educa- and he arrived there behind a strong personnel, ; device. Standing etc. Attractive opportunities for added a similar tion Courses, Applied Music, Theory early part of remained in Speech, Philosophy, and Science from Liberal Arts 1825. He which he rested his gui- subjects in Language, Paris pedestal on Interesting bulletin free. Write today. until 1838, giving concerts, pro- curriculum. played quite a lengthy Wheaton, Illinois teaching made tar he Enock C. Dyrness, Director, Box EM-31, Wheaton College, and composing. He 210) Address: ( Continued on Page many friends in the city among the MARCH, i 94l — f borrowed from the anti-romantic again, the astonishing fact remains ceding chorus. As he went on, his im- Jazz—the Music of Debussy. Melodies were now more in that such performances were some- provisations grew hotter, his style accordance with the requirements of times recorded and found worthy to became more until Exile and more simple— saxophone and trumpet technique. be issued to the world. These are the at the end there was nothing but the ( Continued from Page 150) Rhythms were made subtler by the records beloved of hot-music enthu- endless repetition of one fragment for microphone makes siasts. They entertainments industry. America was microphone, a are essays in spontane- of melody—or even a single note in- well past her wildwest frontier days, it unnecessary for a singer to produce ous orchestration. They have never sistently sounded and executed with whisper written and, better than many other coun- a large voice. He can and been out as a score. Some of cataclysmic intonations.” easygoing rhythms of them are almost tries, could afford to provide herself croon in the beyond the resources An academic musician may well the speaking voice. Orchestrations of ordinary notation, for with recreations. the melodic wonder whether this achievement became more and more scientific rhythm is often Shortly before the Great War, the exceedingly flexible. compares with Bach’s improvisation less academic. There were now Above the severe yet never world became acquainted with a new and mechan- of complete fugues. public so many varieties of trumpet tone ical basic rhythm there is style of dance-song, and the at times a It is only fair to say, however, that copies of “Alexander’s trumpet near the “mike”, away from vague nibato, at times a strictly bought enough ac- Mr. Armstrong and his rivals have establish Irving the mike, playing through half a counted-for syncopation. There Ragtime Band” to is opened the eyes of “straight” players career on a firm basis. Rag- dozen different kinds of mute, or into also at times an unholy din. Berlin’s and “classical” composers to hitherto time provided a crudely syncopated a bowler hat. There was “sweet” tone, But there is no denying that there undreamed-of possibilities in trumpet melody over an “oom-pah” bass. and trombone technique, and that the sent the nations When War the habit of recording improvisations feverishly in search of distraction, does sometimes capture fleeting ideas this kind of music began to be re- that the slow pen of a composer garded as almost a necessity. But, as would vainly attempt to commit to yet, the sentimental ballad and the paper. musical-comedy waltz and the music- hall ditty continued to flourish. It was after the War, during such Dionisio a dancing craze as the adolescents of Aguado, to-day can hardly believe existed, Guitarist that American-Jewish-Negro Rag- and Composer time evolved into Jazz, into either (Continued, from Page 209) “sweet” or “hot” dance-music, and gram of fairly difficult compositions, now into “Swing.” and it was evident that this hollow Gramophones and the radio gave Pedestal was responsible for an in- it universal appeal. Gone were the Volume of tone. Ferdinand days when aristocrats danced one Svl . J ldently had a good opinion of kind of dance and “the folk” an- th Z JjJPCKlion” as he composed Fan- other. Gone were the middle-class / n „• Op. 59, to be played gaieties of the waltz, the polka, or 6 g ltar held in position by this the lancers. King and scullion danced rim,; ^ this Fan iasie, Sor says: to the hit of the moment, and, if Win!' Ut the exc ellent invention of ttwv toc both to toe same inv f.° 1 Wild wave-length, to a performance that haVe the dared t0 > mPose on was impartially dispensed to both of ar so great that of them. , a task as ng it re- . produce the effects Feelings duired A Mirror of Public by the nature of this new Jazz the public It imagine faithfully mirrored mat is difficult to feelings. When American musical the guitar could produce at the same of comedies first began to oust the time the different qualities tone, of and English, the Viennese, and the the treble, of the bass, strenuously gay narrnonical » French, the style was Kilty. Kitty. Kitty . . . required , n;ce Kitty!" complement the post- exe —the War mood. During P'ooe of this character in the war continued strident and ™tion taste boom it of which great clearness, frivolous. The saxophone was found hd the on the i and "dirty” tone, are power of singing to be an easy instrument to play and and “hot” tone, passages of remarks, trument like symphonic tone or some 6 are required,” it made a great deal of sound. The none ol them of them brilliant' ‘Wality— 1 y a* other instruments, by using a variety military tone. of them simple ert» some anJ OnginalOriginal Works Calculated orchestration was chal- fashion PoignaP01Snantnt „ of mutes, bowler hats and so forth, that is not Tt in a . improvised kind. Some the I d 8uado cultured ra were able to produce grotesque noises. lengedICll&ow by an r sentimental Possible was a well “L,.Weet?” bv nlan players in America, > eo»P evidence. of the best Negro An attempt ‘ Players”players. as his many pubhsneupublished The in , drummer was much ' to k?u J. uSiy “ring tloti nnns; nrevioue cult, were . devotees of their accus- this , g somethingsometu;.._ . inriino.„ndicate Soon the gay, confident mood dis- quality ln t„ , - have P? cb (particularly in the late 1920’s> llte " menti‘ % te tioned sipated itself. The boom began to tomed dance-music res„H° a-dance’. his “Method n0w hours” to ’ ults ln eV eternal. A to assemble “after practise “Swing.” ed Very is seem less likely to be commercialai Popular and aCne^ in “jam sessions.” On these meded J maudlin, self-pitying quality began their art eXtensively by fcoun- only the merest skeleton An in gul»fj mood. occasions, Armstrong ’ e to be in evidence—the “blue” '-Im„ . 6 and South An eS was agreed trtes voW* of an arrangement on be * ThenTh fSval The erotic element was coloured by .A Quotation ^ there are seve o ndos tune was played. from Hu of 0 0 an inferiority complex. The new lyrics fore a sie’s standard „. 8Ues excellent ..rrviree were no longer frivolous, no longer 0.11 IS**'' * ’ •OO was played simply; then each self-congratulatory. They discussed chorus Pears - — t0v-w „i ““nuets, wa...waltzes apd turn, on the spur of the mo- <(T anap i n of unwanted, the man in numsLouis L. . include"™'^' x!’ u; the woes the ArmstrongArmst in Op. 1 to Op. a solo variation • performed on 8 wouldwoWoi; ' the forgotten, the regretful ment, oni thetne same tw uld m nyy more.mo1 spurned, 'mproviseimprovise 6 - improvising theme“home r l~ uad°, n do the others an accom- for full , TOffiOUrl 11. lovers of the world. When the slump it, hour. tetJ! : —, TfIt wasmicj c a competition in tWenty fe SiS early thirties deepened into paniment. rovTbftenh^ choruses 't a eTur/t0 of the ® 0 ! strong8 deS r t0 inventiveness and brilliance. The 5 Would be n a f°r there New i ess quit . native something like a catastrophe, as lan rt j v , « Paris Orleans style was even more reckless, ayed or tlon- moment of social abasement closed ifke sang Madrid ’ his de** was a ? ™a Zh° Wher6wh T116 "V*dJ * can Everybody improvised at once. Even “ Cai 8 in expressed in the title: “Buddy, world;’ tears «ad outVjL* 1849. one allows for the fact that Would f the ' Stylistically, this when the cheeks wf* roll hI Ferdino, ^ m Agu"a you spare a Dime?” 1 Sor and ‘on®o *g sig- harmonic basis was more or less lagina hia D rs blue music was the result of a exhaustih,‘ f «on seer^ io lvT d f led be c° the f0 fixed, and that a certain number °r eac ln- nsidered of the of h of . . y- nificant blend. The harmonies had new s' new cu' the o„ gulta nla formulae were exploited over and over more rUs he P mSh Sch °o1 of examples were tnosethose h P beautif °i ing whi vf ij-ned most sophisticated he had ?“ bful *?lCh some years later 10 produced than - a f ° l tss t the ,. culmination with the advent 210 pre _ the illustrious Francisco Tarrega. for colored children, the pupils sing Country Music Goes or play instruments with zeal and with spirit and joy. They are part of to Town a great coordinated whole—Jefferson EASTMAN SCHOOL OF MUSIC ( Continued from Page 204) County music activities—and they love every minute that is devoted to Festival on Thursday afternoon, April of music. 13th, in the Little Mission Building. Seeking the reason for this zeal The program was arranged at this University of Rochester and this enthusiasm and this spirit The time complimentary to the Kentucky that pervades Jefferson County rural Negro Education Association. The Howard JIanson, Director school music, one finds it in a word program consisted of the county ele- Raymond Wilson, Assistant Director that has been occupying the spot- mentary chorus, a county orchestra, light a good deal lately because of Eastman School broadcasts of “Mile- RCA Victor has released eleven compo- piano groups, and drum and bugle great value to groups of people. stones in the History of Music” sitions by American Composers record- corps.” its is unity. The superintendent, Mr. heard over NBC Network each ed by the Eastman-Rochester Orches- ‘‘The ‘Singing again a It Tour’ was supervisors, Miss Orville Stivers; the Saturday 12:00-12:30 P.M. E.S.T. tra, Dr. Howard Hanson, Conductor. Christmas feature in Louisville. Helen McBride and Mrs. Margaret Stores, office buildings, hotels, insti- Kammerer; the teachers—who them- Eastman School Publications by members of the faculty include: tutions, hospitals and the homes of selves study choral and instrumental shut-ins were visited by the groups “Answers to Some Vocal Questions,” T. Austin-Ball; conducting with the supervisors in who sang carols to spread cheer. of Organ Playing,” Harold Gleason; order to improve their own methods; “Method Christmas week would not be com- peo- the school board; the business “Examples of Counterpoint,” Gustave Soderlund; plete without this enthusiastically ple who advertise in the annual , “Handbook of Conducting,” Karl Van Iloesen; received part of the program.” in the county’s various communi- To the yearly event the all “Modern Method for Double Bass,” Nelson Watson; preeminent work in harmony, united en- ties seem to “Chorale Collections,” Elvera Wonderlieli. “Music Annual” devoted so many purpose: to enrich can- by one common thusiastic paragraphs that we of Jefferson and to broaden the lives For further information address: not reproduce all of them here. We with County’s rural school children can tell only that the girls and boys and with par- ARTHUR H. LARSON, Secretary-Registrar fine training in music look forward to it as to Christmas, county, ticipation in neighborhood, Eastman School of Music and consider it their sovereign state and national affairs. Rochester, New York achievement; it is the Jefferson County Music Festival. This event represents weeks of devoted labor, Likes “Al” Smith JU1LLIARD SCHOOL OF MUSIC- 1 1 and it is the year's triumph as well Why Ernest Hutcheson, President as its valediction. All pupils who Music learn the music have the required Continued from Page 151) Courses for Piano Teachers joy of being Festival performers and ( tasks with fresh to be given by can and do appear in Drum Corps, went back to their Music did moie Melody Flute or Tonette Groups, as hope and courage. off their trou- BERNICE FROST well as ensembles. take their minds in many choral than enter- give them an hours at the Especially delighted are pupils who hi ps and always does more than have reached the sixth grade in tainment. It JUILLIARD SUMMER SCHOOL a balm to the spirit, school, for this means that for the tint It brings of energy to the George A. Wedge, Director first time they may sing in the Fes- ftfreshenfng person is enough inter- tival Chorus a massive group com- brain. If a July 7th to August 15th, 1941 — listen at ail—and posed of sixth, sev- ested in music to fifteen hundred that far 120 Claremont Avenue New York City enth that most of us go and eighth graders. i imagine come away from his Like the Ohio River, the Festival he fs sure to and surer than when has several times overflowed its con- listening richer it. Weeks’ Summer Session fines. In its early years a large hall he approached College of Fine Arts Six else, I enjoy musm everybody beginning July 7, 1941 . . . Courses in afforded sufficient space for its per- •Like about it in a Syracuse University formers then at- never did anything and its audience; I listen.” Bachelor of Music ICOLOGYs HARMONY way, but I like to TVnreec • tendance grew until a much larger personal . Master of Music P as wholesome an ing to degree of Bachelor of Music auditorium selected. Wtoch is about Piano, Piano Teacher Training, Voice, was of necessity 1 art as the average )Lof MUSIC PIMPLE When that cope with approach to the Violin, Organ, Cello, Harp, Composition, ^ could no longer even i Pine St. needs. To enjoy music, Public School Music the increasing Jefferson layman la., Pa. I UNIVERSITY listeners, knowledge about it All the advantages of a large University. Special County far factual dormitory, with 35 practice pianos for women S without Armory was chosen. Thus soul, * of a musical music students, 5 pipe organs this, the the coun- the hallmark largest building in that folk music THREE FREE COURSES ty, such soil SUMMER SESSION-july 7 to Aug. 15 manages audience of it is from Trinity Principle Pedagogy to house an analysis, the For bulletin address (Perfect) ten sprung, in the last Musicianship (Elementary and Advanced) thousand who come to has Dean H. L. persons of a nation begins BUTLER Piano Playing (New and Different) hear musical strength 3 interesting music enthusiasti- Room 5, College of Fine Arts j-r ( not "do re mi” i to listem people who love < not numbers cally the Syracuse, N. Y. i Mr sung and played by two thou- with not intervals music as part of the ( sand youthful performers. Who include Even EFFA ELLIS PERFIELD pattern of living. 2-4859 accepted # SAcramonto Figuratively as well as literally, disclaims Governor Smith 103 E. 86th St. ( Park Avo) ., New York City Jefferson school musi- though County rural about music,” his exam- cians year ‘doing much “go to town” the school an encouraging one Theatre » r par- should be ffiOiene WANTED: A REPRESENTATIVE pund. Even is no Acting, To, fc* when there may feel that the facts 3 Schools—DRAMA, DANCE OPERA—For ticular to to those who TRAIN CHILDREN'S VOICES event scheduled, no trip itself Excellent Remuneration first and the music TIIkIi Grade Work— the these mu‘st°come LOUISE WEIGESTER, 160 W. 73rd St.. New York offing, the young people in to do about All one really needs hamlets as more later look, upon music to it and love it. than music is to listen an interesting school subject, Music Lovers to earn LIBERAL COMMISSIONS more even sub- martial securing subscriptions for THE ETUDE. Part or than a fascinating it as we may, a ject To important "Explain them music is as a man into the front full time. No Cost or Obligation. Write tor com- as strain will urge fresh air and food details Address: and sunshine battle sooner than an argu- plete TODAY! and shelter From rank of and recreation. a fine anthem excite his Grade One the ment. and to Grade Twelve to more certainly than a logi- THE ETUDE MUSIC MAGAZINE devotion Fill FA. 8V6 schools S 1712 CHESTNUT ST., LA . large high ' f‘ fortv^hh white cal discourse .” e Bracle schools for _Tuckerman childrenchimT schools and its ten grade MARCH 211 I 94l w What’s the matter, Jimmy’ Your ^hat face is so gloomy I afternoon he called the meet- thought the sun i,, must have ® ”ght after school— gone under a cloud." he being the Jimmy did president -and not respond to Miss explained the plan. Faith s question with enthusiastic support with his usual sunnv f aS he members, 0peneiS his mu®io lesson many of whom book 3ble t buy their Darpn’^'T .° gi(ts for “Well, Miss Faith, I'm ' A committee was appointed, Up a tree totn , i You know next whom every week is my mother's member reported his birthday, and I paients favorite just don't see how then compositions; I m going to buy he committee her a present. Since „ . went to work to Dads been r sick it has been hard Ual organized. Soon they keep to dLcnve f things going, with h6y had t0 the groceries rite ° many favo- and my music Z °r lessons and all ° ne recita1 so at the but next ’ I certainly meeF1 lg would like to givee ^ Was decided to make something." h neiher it a m l a the h£ e select 3n idea '” consoled eTlZ7thosethf \whose mothers w"L T Miss or fnt-hpve' Faith, who was always rS blrthd good at ideas tag ays occurred dur- Do you think any thattn at period. of the other boys Jldie -Jan and girls W. Jo, have the same ” of problem' 1 the first birthday “Yes, I think 'Continued several have,” j on next Through the African jungle pro- immv page) a stow tnem in ships. Later, trains will told her, “because I know cession Bob w t of men travels Indian file. carry them to factories. There they to give his father Their something garments are a dingy white, will finally be shaped into piano keys can’t buy anything, and I but their faces bet th^ and their bare legs upon which to play your piece. are plenty in the ’club The are black, who woniri Musical ixif the long line were -remapsPerhaps you were applaudedappiauueu whenwnen unelike touo give their Postman Game folks someth’sompi nin *photographed, Hell* cavil is S — what each man yuuyoudu gave vouryour wenwell oreoaredprepared numoernumber when birthdaysbirthrlnvc come ”.. holding around "; on his shoulder might be on a recital nroerram and von mav In snite of T: .. P a program and you may spite of himself, Jimmy’s ^« m Penned face mistaken for the sawed-off limb of have thought rather grudgingly, began to brighten. Miss Faith smiled a tree. But it is, in fact, a load of "Well, it ought to be a success after and that smile of hers elephant’s was con- tusks that these natives all the hard work I put into it.” But tagious; she was not only are his music transporting through the forest, did you stop to think of all the other teacher but a regular pal besidesd These tusks will in time reach a sea people whowxiw alsoaiou had toiled toIP make nere s -ymy planPlan aand your performance a success, or even we’ll work It out S together. You d a possibility? I know that music means a lot to vofU It required the labor of many, boys and girls and to your parent many hands and the products of so let’s plan a birthday cone t many countries to produce this one sponsored by the club. Each membe great instrument upon which you will find out his mother’s are learning to create music. father’s favorite piece and will Dpr- Did you ever think of this before? form it at the concert “tly lec as his gift the size ® ‘angles ex- of appreciation ‘ 0 ?h port where will to his parents he Piano, white keys o£ sailors be ready to sort4 at lealt of a birthday valentine, key card Multiply and Add or some ' and several PI r°r each thing.” card draw °n each the staff ? Bymjj Gracevr-uot Eaton Clark ‘Oh,kjxi, that’sunctbs some ideaidea!” and Clef ? ? Ash Another ? ? ? exclaim 60 one note ThM’ signature. BRAINS plus INDUSTRY makes Jimmy. “I’ve often and Cards are 10. The Orchestra heard Mom the notes letters,’ PERSEVERANCE; she would rather addl hear me plav postman must hT 'esses. The 1- Is the English horn a brass or a PERSEVERANCE plus COURAGE anyone else, and I’ve often heard h er wood wind instrument? makes a STEP AHEAD; say what her favorite piece is * 2. How is the violoncello tuned? A STEP AHEAD plus PRACTICE but I forget just now. Let’s call 3. Which instruments in the or- a fine PIANIST; meeting of the makes Club and get start ^ chestra use reeds in the mouth- A fine PIANIST plus HUMILITY as soon as we can,” Jimmy sueepetssested piece? makes an ARTIST. eagerly. 4. Which instruments comprise the deavors to place them on“ tt. brass section? sponding the con'e- keys of th eJ 5. counselor Plano. Which instrument gives the "A” sets a tim ,. The for tuning the orchestra? soore. After each "'1 keeps are deliveTththe 6. Name a composition that fea- collected and slmm n lettei's before 3 in the tures a solo for the French horn. the next Dos tm hat 7. Each may Name a composition that fea- player draw - has a Hap.fr>y kirth-day dear par-ents, \Ms tures a solo for the English horn. greet joe. to -dag, 'And Postman, and 4 being we at the f 8. Name a composition that fea- “ “ tures a trumpet solo “off-stage.” => ‘S,™ high 9. On the staff used by the viola, some where is middle C? What is the note playable Ia er lowest cards correspond^ / ®’ omlt the on the bass? ng t0 ordinary double and lowest the highest taring you. our gift octaves ( Answers on next page) 0 f S adding these°later Pian °' become when 'tvf haV6 more advanced Y : Class A, fourteen to Enigma The Junior Etude will sixteen years of age; award three worth while JiHitnr Etude By Richard Judson ThE Birthday Concert Class B, eleven to prizes each month for the fourteen; Class C, first is in BAG but is not in most interesting and My (Continued) under eleven years. original stories or essays SACK; Cental prize win- filled Names of STAPLE, but is not in concert found the recital hall on a given subject, and My second's in ners, and their con- to capacity with eager parents; those for correct answers to TACK; tributions, will appear on this page in a to all boys and in daughters were taking puzzles. Contest is open My third is in RIDE but is not whose sons or whether future issue of The Etude. The thirty sixteen years of age, part in the program sat up front. girls under hon- WALK; not. Contestants next best contributors will be given a Junior Club member or PAINT but is not in Back stage Jimmy was keeping order orable mention. My fourth is in grouped according to age as follows: and rehearsing his speech of wel- are CHALK; SUBJECT FOR THIS MONTH but is not in come. Soon he stepped forward and, My fifth is in HANDS made n FEET; after locating his own mother, ? president sight reading or memorizing My sixth’s in POTATO but is not in his welcoming speech, as “Which is more fun, those who were Philadelphia, Pa, BEAT; of the club. Then all Junior Etu.lc Office, 1712 Chestnut Street, 1 nWrd at the All entries must be will appear in the June issue. seventh’s in RIVER but is not in on the program came forward, made ,^^ 22nd. Winners My lustily: - LAKE; a bow together and sang - CONTEST RULES eighth is in GIVE and also in " to You.” Then, in over one hundred and fifty words. My Happy Birthday „ , must .-ontaiii not „ in 1. Contributions „ annear in upper left corner and your address player, class (A, B. TAKE; turn, announced each 2. Name, age and > j nlore than one sheet of paper, be Jimmy of your paper. j f > the upper right corner is ANIMAL, but not com- sheet. My ninth in the name and composer of the sure to do this on each and do not use a .vnewrilertypewriter. mentioned Write on one side of paper only found in BIRD; position selected, and also 3 anyone copy your wor or A! -“I have conte9t an(1 submit not more than music He are requested to My whole—a composer whose for whom it was being played. 5. Clubs or schools entries (two march, 7 94/ THE COVER FOR THIS MONTH—“Music to about grade Brings Joy To All The World”—Yes, in 1/A. Some numbers are arranged from countries blessed with peace and in coun- songs, others on themes extracted from tries in the throes of war, music serves sonatas and symphonies and, of course, to brighten lives. This is the theme of besides abridged and simplified portions the cover this month, and besides the of some master pieces of piano compositions, earth’s sphere being utilized to indicate there are clever easy-to-play the universality of music there are in- presentations of some very attractive operatic cluded in the musical ring about the melodies. When it earth portraits of individuals represent- is realized that this novel book has been ing the various ages and the various brought together after an ex- haustive walks of life to each of whom music review of what might be the est to brings joy. There is childhood represented present from such composers as Beethoven, by the little boy and the little girl, and Handel, Bach, Mozart, Haydn, Schubert, then going around the circle we see the Mendelssohn, Chopin, Schu- mann, Brahms, mechanic or working man, the business Wagner, and Verdi, it is easy to man, the professional man, the lady of realize what a glorious book this is for established age and dignity, the fanner, teachers to place in the hands of their and the young lady. These photographs young piano pupils. Do not are from the studio of H. Armstrong depend upon seeing this book OHered Roberts of Philadelphia. The art work another month in advance of pub- lication is by Miss Verna Shaffer of Philadelphia. because it is well along in the Physical preparation that will soon bring it forth a EASTER MUSIC—-This is a friendly re- completed book and, naturally, 0n aS minder to choirmasters who as yet have 11 ls Published the advance of not m.hi° . chosen their Easter music, that it ofIer wiU be withdrawn. The would music, of course, are borne by the cus- uuic ricssci 2adya 01 be well to take immediate steps to mciCUl set “ Publication offer only holds tomer, but these in all instances are forth your needs ° obtain suitable selec- and ask that a selection rderS Placed ta advance of nominal. of materials (the type pubheatmn,nubwf and tions to fulfill all of which you the advance offer is that The Theodore Presser Co. carries a will describe) be sent er church music respon- to you “On Ap- ay °rder now a single huge stock of Easter music and many proval” so that you may convfm4n40 CentS? sibilities for the Eas- examine these lf payment is made with choirmasters from Alaska to the Gulf materials and out of the/irrt and ter season. There are the lot of worthy aS soon as is ., the book of Mexico have proven by their con- selections sent to you published 'nit three different ways choose wisely and will be delivered postpaid. tinued loyal patronage that they find well and get tilings under that can be suggested way early to Presser’s helpful mail order service con- insure the success of NC for taking the first those programs NS R,PTI ”S °F FAV°B ' venient and economical. Prove this for which your music WE lfS'N r step—any one of these students and ™F„’ r ptbaito nby Kohl- music maim tj- Clarence yourself in acting now to secure your groups will present before lano may be used individ- the public this transcriptions of familiar Easter music. Spring. hymns / ually or in a first step two of them or B been oomSfu/rt P0Ptoar and the all three of them may be combined. Tm nd as Waher ^ arrangements such One suggestion c %?tieri is that the choirmaster Sweet made of Websters' just pen = tuancevan ce til lication a note to the Theodore Presser of Offer* *1 Bye is somewhat amazing, Of course si Co. stating that he would like to have Ch aiIangements MARCH 1941 to the Sund o are useful sent to him “On Approval” a selection of 1 1 iat, and Church pian- Easter anthems and/or Easter solos a?wT^to rthe h Thls elaboration home Player. the books in this list are in preparation h5 lnS WR tmfcSi fcVam tMggn. Ml of for Its doubttess found origin, in th T In asking for such a selection or selec- publication. The low Advance Ofler Cash Prices ap- Delivery meeting * 'Ctife tions of ply only to orders placed NOW. (postpaid) when^th^ anything in the way of Easter to P'anist WRS expeC will be made when the books are published. Paragraphs lmpr0V is anthems, Easter solos, Easter duets, Eas- e ta*? v ra describing each publication follow on these idin6 instrumental pages. Preliminaries ,£*? . ter cantatas, etc., it well to or would be flU' ’ of the Uls to the Prosraro give some clue as to the ability of the meeting Child's Own Book— Foster Tapper .10 L.C Sic, Weill choir Children's Song, and the soloists for whom the music Tapper .10 Child's Own Book—Nevin by tllis continuing demand, is «* we . desired, perhaps naming some numbers Masters Duet Book— Piano. Beer .35 My Piano B . ol an/m-n Classic f°r early publication the choir of Favorite Hymns a volum/ n^tof has used to indicate the type Concert Transcriptions Once-Upon-a-Time Stories c .40 of »h °ntamin favor- Piano Kohlmann Masters Easy i™* Great ite B some twenty of music desired. Piano Caller, hymn, . and Mueller 2.00 Games and Dances. -Stecher solo 1Uantly alTanged for pian° Another suggestion is that the choir- Robins by ci/r n°e Kohlmann, who needs master write, no intrnd, . naming Easter numbers ion sUC ' which cessfm to our readers as a he has selected from Easter mu- cnn?POSer »- RE- and arranger. Titles sic advertisements in this or last month’s MUSIC FOR SPRING CONCERTS, ONCE-UPON-A-TIME elude STORIES w Uke I** issue of The Etude or from Easter cata- COMMENCEMENTS — Music for great music F Vs;Su “ Shepherd CITALS, masters ° "IT n nf°Z’ 11 well as Mv Soul •’ Christ* logs in his possession from previous Spring concerts and recitals as “'* by Grace w v Soldiers- l Onward, Rlirabd, “„ , years, requesting of later close-of-the-season feature book when to Tell Hour °< Prni/er; I V* and that one each for the finished ‘th e tf pupils’ and n °Ty: Lai*’ these numbers be sent Approval” such as commencements, will have “6 Day is The Promised “On programs in it pictures market nZ so that special class demonstrations, etc., stones, Cove “ the West there may be the privilege of recitals, and melodic TheJZS : W of music pub- ex 0 men Tb examining them and returning any or all takes in a great variety cerpts from the arrangement^ ti°n just a few. that recognized6d for full Every need, however, from great - J 66 in bet«e» credit. lications. master composers, third and dlfflculty for the youngest of juvenile and these w/"Ulth grade, A third suggestion is that a postal re- required features are Pianino piano soloists, members of a tain cer-l’ teacllers quest be sent at once to the Theodore performers, to make this unusual interested in in juve- a book bemt^ ^ band, or participants a that will c may place sin® Presser Co. for catalogs of Easter an- rhythm be truly fascine/ °pies in oHi orders for operetta to the most discriminating ai ce of at thems, cantatas, solos, duets, services, and nile special cash ? Publication of college choirs, mature solo- organ selections, and as soon as the demands Due to of 40 cen ts, postpa^ orchestras can be sup- convJ'u then ists and bands or °f res sal choirmaster has these in hand he this booif trictions, the plied from the large stocks of music of fee, ba >' may make out an “On Approval” order mo,. aPd to the U. S publishers maintained by the Theo- K^seZ “ naming those numbers on which he all n Co. like for dore Presser these great ' would to have a single copy composers Mon 1 0 and th"“ of ” 0 people usually are responsible for session* 00K . h Ada examination with return privileges. Busy themselves instead Com / v Richter—? / and busy people, of of seem? »®Ws 0f these programs young ' and the childh°°“ There is no better way for a choir- pianist like ®e to the when i°ys of always seem to need “the last torn/ younBsters su«» the right course, something “ml Work , have finished master to be sure of picking of a music gods in as but it is never fair to one’s o Sua“ kinder' liberal examination minute”, appreciated earten y given in a music than to use the as real will nia„/ , nor to the performers under indiv ,T« te privileges Theodore Presser standing very human, als rdeal //ruction book it is offered by the who just I? who wer? time tn that one’s direction to let decisions as to man 6t Co. It is, course, understood beings oth have tbem that ® - of grew fro/cMa^ er hu- come im- know to be used on these programs go ‘ t0 seasonable such as Easter music numbers ood and had °°d to a book the stage possess/® numbers their man- that f„ -. of until “the last minute.” If you are one life ”ve™yday jt selections when sent "On Approval” will just the samp and fame step upward? Use“ indicates a defln music who is to be responsible for one of these There 16 n be examined immediately and any are else s° manv musical education. “On programs, today it is your opportunity selections ately r»,-« t that is to be returned from such given m ?? three must be ‘‘retraction books some real self discipline if you just used? Approval” shipments will be sent back for with °r continuing a . piano make yourself find time to get out paper, y0lme promptly. a kindergartp// who has been Approval” pen and ink, address a note to the Theo- Transportation costs on “On bc desired k leaves something Advertise bm n°° / 8*vas to 15 b0°k Kidg just 'sue? by Mrs. 214 t° atenal as may be us® interlacee c„/ f smoothly the strands CLASSIC MASTERS DLET BOOK, tor the but each fully exemplifies some special musical education as the pupil moves now in preparation are these two new in elementary piano in- the booklets one on Ethelbert Nevin and Piano, by Leopold J. Beer—There is uni- technical point from the kindergarten book into — ' versal appeal in the unusual, providing struction. They are attractively titled, average larger instruction book. The at- one on Stephen Foster. A single copy of be the unusual is in good taste. In music adding to the pupil’s interest aroused by tractive material Mrs. Richter here gives either or both of these may now as in any other activity, a their charming melodies and intriguing provides step-by-step progress in a ordered in advance of publication at nice in the Music Mastery cash price, 10 cents each post- great part of the appeal is in rhythms. Published number of the basic principles of piano the special the freshness of the ideas or Series. Price, 60 cents. playing. Little teaching pieces with paid. materials involved, and stu- melody and character are utilized, and MAGAZINE COMBINATIONS WITH THE DANCES, For Exercise and dent musicians, especially,, pianists will find particular de- GAMES AND ETUDE—Standard magazines appealing young stimulation of Recreation, by Willium A. Stechcr and Grov- experience a light in noting the titles given to these to almost every reading taste are offered this publication interest when they are work- pieces their musical activities er W. Mueller—When at a substantial reduction in combination tying up is press it will be a much ing on something that with the important holidays throughout comes off the with The Etude Music Magazine. Note and up-to-date version of a ‘‘new.” the year. A very useful miniature dic- improved our advertisement on another page. volume. A new and better edition The compositions included in this col- tionary of musical terms is incorporated popular Here’s an opportunity to save on your well known and highly respected lection are sure to prove to be more than in this book. of this magazine purchases. When renewing- have charge of satisfactory in this regard, and that they cash price book for persons who The Etude, and if you are already a sub- The advance of publication musically worth- recreational activities in schools, camps, are in good taste and at which teachers register an order scriber to another publication and desire may is unquestionable. These mini- playgrounds, etc., is certain to be wel- while also for a single copy of this book is 25 cents, to make the saving, simply send your from the unusual sue- ature masterpieces, little known works postpaid. corned, judging order and the new subscription will be great composers such as Mozart, Han- cess of the original edition. The Theodore of your old one. Merely specify and added to MU- recognizing the merit of this del, Rameau, Scarlatti, Couperin, CHILD’S OWN BOOK OF GREAT Presser Co , that the order is a renewal. were “discovered” in Vienna SICIANS—FOSTER mid NEVIN Booklets, by original version, also recognized the fact Kuhnau, eminent musician, Leopold J. Beer, CHANGES OF ADDRESS—Where addresses Thomas Tapper—Today, as never before, that certain additional features would by the has made these special arrangements are changed, do not notify the Post Office even the very youngest children are be- make the book even more valuable, and who pianists who are capable of playing but send prompt notice, giving both old coming acquainted via recently therefore work was begun on a for publishing third and fourth grade music. and new addresses for magazines, di- radio, recordings and con- new edition after securing the Each number is in one of the various rectly to the publisher. We should have certs with the beautiful rights. out- ancient dance forms and, as the title at least four weeks advance notice of a melodies of com- The new Games and Dances is an American duet, the field. Be- indicates, each is arranged for piano change. Wrappers are addressed early posers. musical cry standing contribution to The interest. that copies this one book is thus assuring a maximum of so may reach subscribers as of our country today is tween the covers of Furthermore, Mr. Beer has been careful nearly on the first of the month as pos- contained a veritable library of mate- “Music for Americans by part used with children or to give the Secondo player a real sible. Americans.” Orchestral rial that may be each and not one of the uninteresting fill-in and with adults. All possible aspects of REWARDS FOR SECURING ETUDE SUB- choral conductors of the available are taken into considera- parts found in so many rarely fail to include in their programs type of activity SCRIPTIONS—The following is a list of space, equipment, cli- duet albums. music by Stephen Foster; his Beautiful tion—age groups, rewards selected from our Premium in- No teacher will regret taking advantage the Light etc. Other features are the Catalog showing articles of merchandise Drearier and Jeaiiie with mate, of publication offer on necessary music, record lists, of the advance Brown Hair are prominent on current clusion of given absolutely free for securing sub- ample illustra- this volume. A single copy may still be of Ethelbert complete descriptions, and scriptions to The Etude Music Magazine programs. The same is true obtained for the special cash price of 35 not familiar tive diagrams. accompanied, of course, by the full price Nevin. Scarcely a child is cents, postpaid. list: Games; Contests; of a year: with his Rosary, Mighty Lak’ a Rose The Contents $2.50 Dances, and Other Rhyth- an has been carefully selected by us and we know that any article you may select The World Df Music will please you. ( Continued from Page 147) Send post card for complete catalog. DR. KARL GEIRINGER, Austrian mu- ELIZABETH COULSON, who retired sicologist, and curator of the archives of WARNING AGAINST SWINDLERS—It is from the staff of the Peabody Conserva- the Society of the Friends of Music in necessary to again warn our musical tory of Music in 1939, after forty-five Vienna until 1938, has been engaged by friends to assure themselves of the re- years as a member of the faculty, died the music department of Hamilton sponsibility of strangers soliciting maga- Col- January 10th at the Orange Memorial lege, Clinton, New York, as visiting pro- zine subscriptions. Every day brings its Hospital in Orange, New Jersey. Before fessor. quota of complaints where subscriptions attending Peabody as a student, Miss have been placed, especially at reduced Coulson had © THE NATIONAL COMMITTEE been a pupil of Ernest prices, and no copies have been received. of the Hutcheson and Emmanuel Wad. She League of Composers is developing plans Almost invariably, investigation by The taught piano and until YOU HAVE NEVER SEEN for a Composers’ Theater piano pedagogy Etude proves that the music lover has intended to her retirement. A BETTER ETUDE follow been victimized by an unscrupulous in- the musical trend in the modern American theater as a form of dividual. Pay no money to any man or A Few Unusual Features Coming native ENGLAND’S con- opera. According to MUSIC PUBLISHERS in Douglas Moore, Pro- woman unless you are convinced of his April tinue to bring out of fessor of Music at Columbia new works in spite or her honesty. Pay no money before University, the war. Jacob “Plans are being developed Weinberg’s transcrip- carefully reading any contract or receipt to invite tions for two musicians to submit pianos of Scriabin’s “Fan- offered you. Accept no ordinary receipt outlines of proposed tasy” and stage works of Rachmaninoff themes called station- and then to award a com- which may be purchased in any Rachmaniana” re- mission for the most oustanding. were among recent ery store. We employ no travelling agents. Pro- leases there. duction at first Our direct representatives invariably live will be through the channels by which in the town in which they obtain their the Little Theater THE movement was developed, and ROBIN HOOD DELL season for subscriptions and use our official order a number 41 in of colleges, Philadelphia has once again been blank which we will always honor. Help conservatories and small drama groups have guaranteed by the enterprising and us to protect you. already been lined up as courageous mu- possible production centers Board of Directors; and for sic iovers works requiring small orchestras” throughout the United States The will indeed committee also elected four of be grateful for another series its number o as members of a these great outdoor by th.e Letters to THE ETUDE national executive concerts board: Composers Men of the Elliott Carter of Bal Philadelphia Orchestra, tunore, Henry wnich radio vi" Cowell and Darius Milhaud listeners are always pri “You Pays Your Money, and of San Francisco and leged to hear. Walter Piston of You Tahes Your Choice Cambridge, Massachusetts. f To Tub Eti;i*b : An itnm on Piifro 070 of the October. 1940. FINNISH CONDUCTORS, vocal • issue of The Etcue. “Do You Know?” I beg strumental artists are to cull your nttentiou for your information FALL awaiting the I SAW MUSICAL VIENNA 0uT and that of others. come ol plans by the Ccompctilion The melody to national America. lineal successor to von government our hymn, Dr. Robert Stoiz. mittee on cultural was composed by a Danish minister, Heinrich Suppe, Strauss, Millocker. Genes, and relations with Rus~ Harris, to be sung Christian, the Sev- Viennese operetta composer, sia for an on King Lehar, as a exchange of Finnish enth's birthday and was published in the city writer of fifty-three famous movie settings, md A Deanna Soviet visiting artists, NE THOUSAND aware of Tlausborg's weekly paper, the twenty-sev- including "Spring Parade” for since them f ,? DOLLAR enth of January, 1790. Tin* Prussians stole Dui bin, composer of thirty-eight operettas, halls of London, Paris amateur musical play adjudge and . the Three-Quarter other ho melody and Dr. Ualthnsser Gerhard of including "Two Hearts in am cities are Work of the by the Na- Hamburg in the German he. a pure Aryan, exiled now closed. 1793 introduced it ns Time”, tells why M^ic in tiWTKTheatre b> in Helsinki ,u_ . Conference offered national hymn. Ilril Dir itn Llet/ca Krans. and himself when the Nazis entered Vienna continues to flourish is with o mc < n as such it was used in Berlin in 1801. From 1938. It is a stirring story. most thirty ~ s°eiety of Composers, Au thousand th ni ? i? , there England it, later, the United music loving a d rest got and gees Tfu' Pub lishers (ASCAP). Any States. LAND OF from Viipuri flock dent' ? „ T THE MUSIC OF THE ing ceagerly f th Cleveland, ^ to pursue other Ohio. "(rod Hurt- „ ~ Hit • King, the English national WHAT REALLY IS MODERN tions in which they £°Upa hymn, using are Demon the same melody as the American MUSIC? terested. y in " national hymn, America. It is probable that These gentlemen successful con- have it was a hymn written in honor of the royal Eugene Goossens, eminently tributed very ancestry, who valuable house of Stuart, but there is no way of prov- ductor. of English-Belgian serv^ ““T V I merely ' not UNISTS ’ ing one of the successors of Theodore to the firm ,°, national coc this contention. The first definite knowl- is now of Steinwav , tiveat i edge Ysaye, and Leopold Sto- & CE of it is that it was a Jacobite hymn of Thomas, Eugene but to musical S°ns, ’ an organization de Cincrn ati life in Ti to about 1745 in praise of George II. It was first kowski as conductor of the pronw T 8 ' 6tt opinion upon "Modern Reidemeister is Mr - conditions publicly sung on Sept. 28, 1745, at both Orchestra, gives his an extract engaged anions he is one who has in^ Covent Garden and Drury Lane Theatres on Composers”, of whom ample of application teaohlng the violin, ha the wide attention. to business /*' organize,, n defeat of John Cope's army Preston- attracted ' ' at mg his entire 5 dur- y Maurtce“aU Ce pans. The musical arrangement for Covent life sneot villevi»o. " LoriauxL°Iiau* Garden COMPOSE Hall tein Oklahowe,, Charles and TO he way ma ' was made by Burney, LEARNING never took a ? as The Plan is a” that for real m Its aim Drury Bane bv Thomas Arne. It ap- Grof6, whose compositions have Irion, who ™“™' 1S to Ferde is Mr - I* an red in now going L accredit teache: the ‘Gentleman's Magazine’ in Oct. , brought him great renown, has taught 0 VO combat ni 74;i, self to the eB ‘ } although it had already been published the Juilhard Summer important tlmate teachln rl ' orchestration at work At g P in the Tit,•Haunt a mitsietta' about 1712. Recent for a of ,b Present for two years. He was asked tional Defense “ - ’ n investigations suc- School Housing Na ° dues n°>' fees t by A. M. Mnginty have practical, frank statement upon how to go Proiect charged ceeded in tracing Catholic anti- civic and °ther the piece to a about learning to compose, and this is the charitable phon of the seventh or eighth century, which organSin, unusual ' ls administrator “ an found in ‘Tlte. Book of Hoars’ and also His « us a Gregorian usualis’. brilliant E chant in the • Liber CLAIMS ITS RIGHT Hungarian thee bl AS RO 'Pe'-as-tro) of about used for THE VIOLA ptast 'atlng h, c **l T the same date. The tune is Mero. Mr. Sturcke V?YolaYn7„7‘nda entl1 a German national hymn, and has also been For years string instrument players have plans to ,1, . anniversary a ' certmaster ^ adopted nations. requested an able article upon the vioia. congratulations to ' Aeatn by at least tjventy other three . the P1 greatest living able m New York Here it is, from one of the zenith of their ™ at monic-symnhonPh William Primrose, careers ‘he y °rchestra £ viola players, soloist . aPP with tGe concerto organizationorganization inii Number HOW DO THEY LEARN TO ACT JOHN PATTEN bvk, ivtMiask A Two-Piano MARSHAI I f for °vsky. Mr. Pias' IN OPERA? Under the , dean of the Boston an after Dm,e’r?, d the reading a re Is acting in opera different from acting in of < work f?.^ for Young Performers Music, died at 11< 11 : nary theater? What is there to his ?° «e a Moscow the ord homl S‘n ^ was So Z newspa] V V V learn? Leopold Sachse, who his directed January 17th. Bostob He „as 7i on giya 8800 ‘hat c the acting at the Metropolitan Opera, gives of age. xt t Ite he Since 1902, years C™1 very interesting information upon this Mr. American Kinder Concerto Professor MarelLIlT perforn subject. of Music at 88 been Haydn Boston It By Joseph and founded its Unive A '' MUSIC IN WAR-TORN CREECE college of SI, «ity Eas'" E,,I<;AN MUSIC CEN' Arranged by LOUISE ROBYN For a time he was in 19 F y " Esther Jonsson. American born pupil of organist^ 2S City, second Street, Nei Church St a v, cents Sidney Silber in Lincoln, Nebraska, of and for the John's Price. 75 h Setting "OOhunercial organizi Pianos) Sigismond Stojowski, of Nadia Boulanger was dean of Urch onf (Two Copies Necessary for Two Sauer the New Em,-, . and in Paris, and of Emil in Vienna Of and ana of all concert the American Cha P (three years), toured as a pianist Guild of o Pter Americ sires an : for seven years. She wus playing 1925 to . music, in Europe 1929, He was f>'°» the foil ° in Salonika. Greece, when the guns were ?he Wm OLIVER D1TSON CO. sical composers S information : booming on distant hills. Her story is Instruction for of Theodore Presser Co.. Distributors Arm™), “Mu- absorbing in every word. "Syllabus United Published works Philadelphia, Pa. of History nasm States 1712 Chestnut Street, o^uZi^ ^’. : labus of Music 8113 " time, instnlm Pf'Ice, perfc AppreciatSy. sn- m tatio, Uon. t date of c S“ ?f oompany f^blfsher ri 216 addand° n or publication date. 1 L $ Ideas for Pupils Recitals — JACK AND THE BEANSTALK O Just as the success of many a party is due to a central theme carried out in the decorations, games, refreshments, etc., so a central theme in a piano recital will add color and heighten the in- A Story By ADA RICHTER with Music for the Piano terest of both listener and participant. The books described below each suggest a theme, and con- Little piano solos, about grade tain material, around which novel pupils’ recitals can be built. Or combinations may be made, as for two, are used to illustrate the instance in the development of a nature theme, selections from the entire “Around the Year Some have texts which story. with Music” scries (“Spring,” “Summer,” "Autumn” and “Winter”) may be may be sung. In the light of used. “Among the successful modern procedures Birds” and “Music of the Flowers” also offer pieces for a “Birds and Flowers” combination. The with young piano beginners, possibilities for costuming and decorating are obvious. this book has much to recom- it mend it. For class groups atten- that necessary IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII1IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM provides lll!ll!llllljl!il!ll|lllllll!llllllll!llllil!!ll!llllllll!lll!ll!l!ll: tion-getting and interest-hold- ing quality, and for private as furnishes well as class pupils it FROM MANY LANDS that very helpful carry-over wins from the lesson that AROUND THE YEAR WITH MUSIC A Musical Sketch By MILDRED ADAIR parent interest and coopera- Here is fine material for use in an "International Recital." Those tion. Series of Piano Solo taking part A can be dressed as Indians, Norwegians, little folk from Japan and Price, 60 cents Albums for Pupils in so forth. All will have a grand time, some playing, some singing, and some dancing the 14 numbers in this sketch. The music 3 Grades 2 and is all simple to play or sing, yet is effective. THE BIRDS AMONG Each Price, 50 cents Piano Price, 50 cents An Album of Characteristic Bird Pieces for the Here, of our fe at rt d indeed, is Nature's own music, the calls I^ IN THE CANDY composers off music; SHOP songsters." J n this book you will learn how Spring have music 1 By MILDRED ADAIR endeavored to introduce and use 'bird l? . „ Pricei 50 cents compositions in this col- Positions. of bird ca ' ls The 16 The story and the dozen examples This delightful little musical sketch takes fi lection arc bright, melodious about 20 minutes to present fascinating, but even more interesting are the 2 and provides opportunity “1 inin- titles and for 9 or more pupils to participate There bird will find many numbers all with titles. Pupils in their second year of study is a third grade piano solo, a second characteristics associated with grade piano duet a musical Wresting numbers to play in this book. recitation, a little dance and a short closing Spring. The pieces range from chorus for all to sing in unison. An interesting recital novelty. Price, 50 cents grade 2 up to about grade 3 Vi- With this material the teacher may work ud a "Spring Pupils' of from the contents may BIRDS ALL THE SEA ALBUM Recital.” Or. a selection numbers OF FEATHERS cenfs used in combination with selections taken from the "Sum- For the Price< 50 be A Musical Sketch for Piano mer,” "Autumn" and "Winter" volumes, in a "Recital of and vanring Young Musicians There are so awe one in the vast expanses the Seasons." many things to and those moods of the mighty ocean. And those who travel it Summer By MILDRED ADAIR whose always have b P sustenance is derived from it. most turesque pirates o> piano numbers pertaining to Sum- Here is characters, from the explorers and . This compilation covers the material for a complete and and mooos a a of "Sunbeams and Roses," interesting fishermen and jolly sailors of today. These scenes mer: pieces with the brightness program to be presented bv first, fourth grade Butterflies, ” with the dreamy second, People are the subjects of the excellent second, third and with the gayness of "Dancing and third grade piano puoils. Its Tryst." Here arc 15 very good musical P'eces that make up the contents of this album. sentiment of a "Summer numbers include vocal solos, piano third grade pieces for a "Summer Recital for second and solos and ensembles, a musical reading, a pupils. solo dance and a group dance, a violin MUSIC OF THE FLOWERS solo, all with piano accompaniment, plus Autumn a toy symphony number. 75 centS It can be seen por Price ' fhe Piano colorful piano music. There arc 14 that with such a variety of numbers to This is a collection of present the teacher can work ‘ f one has found its inspiration in Autumn many pupils The licatt r ° piano solos and where fragrance and beauty, the color and d * ^” into the program. ti o^many breathes of Autumn blossoms, another at- The costuming is easily natures been the !" s P.^ a *‘ " leaves another gorgeous gift to mankind, has e scenes, while arranged. a half pieces therehere ^tra^av tempts to convey the colorfulness of Autumn composer. For this album of a dozen and a such subjects as Autumn evenings or Hallowe en Price, 60 cents been selected flovver eces • others take some of the most charming P‘ span of third posed. favorites with pano In general, these pieces run the "Flower Recitals" always have been mysticism. Popds third P abilities. and this album gives the teacher second and g grade ‘or such purposes. Winter THE MELTING POT includes such num- A Collection of Piano Solo Arrangements This album of medium grade piano p eces -of Folk Songs by Greenwa Id Ice Carnival and Characteristic Melodies CINDERELLA bers as "Chimes at Christmas" from All Nations—Comoiled "Sleigh Ride by Preston and A by Grey. "Skating" by Noelck. by Wm. M. Felton Story with characteristic of the Winter Music for Piano many others equally attractive and The patriotic young American of today is taught in school to be By proud of his country ADA RICHTER s ability to assimilate people of all races and creeds in a loyal, united This un usual nation. There is a fascination for young book, which is based folk in learning about the habits and customs of the people of fam,1| ar talc of Cinderella. other lands mav Here is a book of 33 piano pieces, about ma grades 2!/2 or 3. based on *? °y OSes. Detailed folksongs and dances of 20 different nationalities, including all of utiKhl 0T tecital programs the races. A most interesting and H> e ENSEMBLE PIECES colorful piano pupils' costume st°ry are outlined. It EASY PIANO recital is ( can be arranged with these pieces. ally suita a Si ble as a book for One Piano—Six Hands aC Cr lo rcad and Price, 75 cents Play for a ?h-u D Price £ V. child. For piano classes. — Title and Composer ex 0 f®llent supplementary ... . i, $0.25 material ; w bich "extra work an d the music can be used for . , AROUND illustratin'" for busy » THE MAYPOLE * acc°mpanying piece may be colored tag s.'rMdSi.'MSi; work" tu each second Po =d.-M L P^ton^ s of about S *h. torV is illustrated with piano solos g l',7com. Bdbrq 2 A May Day Festival 6gradec ' f SunsH,ne-Ma_thdde; 5orae of them may be sung. 30409 Dancing i" ^e are with words which L Gypsy Children Mari P d 3075) Dance of the By WILLIAM BAINES Price, 60 cents This is essentially One Piano—Eight Hands a publication to be of assistance to those who want to stace nLAQi Fairies—Geo. L. Spaulding.^ Springtime festival. For this purpose UNDER BIG TOP Airv J it THE Ad ° f gives complete 1 n * S instructions for C,rcus 26485 Song of the P 8 danr.. P ' .'.'.V.V.'.V.'.'.V I'/, ece * 60 cents ,T“ ft te re r together with 8 May Pole for the Piano Price, At the n C e e dance tunes for 25328 ^^i Lilian‘Vand evere I 'A piano accompanying r j of the A | n dances r{ me The parade, ^ V Gaynor 2 thc'animiTf A rican doesn’t get a thrill at the circus? We. Folk-Jessie L. also gives some historical notes on for the 30598 of the the share 1 lc acrobats, the funny clowns— all come in & May Pole and some general of inA directions prcc,a pieces for this bo the tlon - In gathering together the Four Hands with regard to dances and costuming comn;f, , »° Two Pianos— For <««*« ci,iidr“- p'““ a real gala occasion, string orchestra HwjnSrvt'*' ' will parts supply students can play. These characteristic numbers for the musical accompaniments th 26488 Tomro'. Nr. OjnjJ; may be ° P leasant keyboard and provide Serenade Jessie L teacher pastime at the Guitar ' ' Cr with*w,,h 30599 2'A material A. Terhune for a very novel recital. 30502 Bridal Song— Price, 60 cents Eight Hands Two Pianos— lilllllllllllllilllllllllllllllllllllH PIANO FUN FRIENDS WITH FAMILY AND examine any of these publications, If you would like to we shall be Dorothy $1.25 New Drum-M. with full return privileges, a single copy Hughe, Price, llm Tommy's glad to send to you, 0 f each of those you wish to see. While the books give ideas for a continuity l U games and Hands siunts* Volun,e there are more than 100 pages of Pianos—Twelve additional numbers for violin and voice, as well as piano, w it‘8 «i Two can of lano thing * C' n accompaniment, are "just the if performers arc available. A selection d-of-the «e,? that Op..10, No. I. Art. course, be introduced of such n It can be Polktr-Wdldtaul.l. used pu iIs ' parties and informal gatherings. Betid Bocco. following theme of your choice, will be cheerfully for chHH? P The 28 8536 pieces, the sent 0 ' groups. attractive a >! ages as well as for adult No. 2 ... 3 on request. oiin,?" abil y Bpchmonn. Op. 10. of the ’ p,cces presented are well within the playing 8535 L« Sylph"” avengeaverapp volume. pianist and alone are worth the price of the *» mum, __ IIIHIIIIIIIIIIIIIIIIIIIIIIIIII Everything in Music Theodore Presser Co. Publications STREET, PHILADELPHIA, PA. World’s 1712 CHESTNUT Largest Stock ] . NOW is the time to trade in your"©id radio fora 1941 PHILCO Right now is the best time for you to replace prices you pay today, v^/ your old radio and begin to enjoy the new ^4^ the greatest radio values * delights of a 1941 Philco Radio or “Beam of hilc° histor y ! Amazing new Portable Light” Radio-Phonograph. 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