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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1952 Volume 70, Number 02 (February 1952) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 70, Number 02 (February 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/132
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Some High Lights of Artur Schnabel' Teaching _II."
The inging Tower of orth America II...... " .....
The Hand and the Keyboard
AItw Sdt."""
Strictly Professional
$•• " CltefJf •• "
Rural Delivery Service for Music Lessons .. c. ....
'l1le Genius of Artur Schnabel ,..,., H...•• "aII '.rd
Separate Preparation for Joint Concert." 1 L8TTeRS
T 0 THE E D ITO R
Educational Materials Articles music. Surely, there is more music 'of a serious or more emotional by JESSIE 1. GAYNOR Sir: Ever since I received the depth than you have printed lately. September issue of the ETUDE, I also would appreciate more Bach I have wanted to write my appre· and Beethoven. Mozart. etc. ciation of that superb article, "Stu- M /"s. Doris Layland • Piano Studies dents Must Help Themselves," by • Piano Duet Collections Pittsburgh. Penna . • Piano Solo Collections Vladimir Horowitz. I have read FINGER PLAYS and reread it until I know it by MINIATURE DUETS h d P p'l lilt's Time to Pay Tribute" MINIATURE MELODIES for Teac er an u I Elemental Hand and Finger Exercises heart and still find it 'interesting for the Young Pianist Fascinating little four-hand nUl~bers that sup- A half dozen games, with interesting and de- and stimulating. That article alone Sir: In this month's (November, PUBLISHED IN THREE VOLUMES ply sight-reading material far ti~y tots. San:e scriptive. verses and charming tunes. For use is worth a year's subscription to 1951) magazine, I was greatly This series gives sound teaching on. (1) an have the pupil's part in ,the Pn~a, o.thers ~n in teaching hand position and finger move- the ETUDE. Would it be possible pleased with the article "It's Time appreciation of time values and ~otah~n, (2) the Secondo. The pupil s part IS prmte~ In ments. Numerous illustrations accompany the to persuade Mr. Horowitz to con- to Pay Tribute" by Maurice Du- a clear conception on tone relatIonShIp, (3) special large-size notes; almost all of the pieces descriptions. tribute to the ETUDE more often? mesnil. How right he was when technical exercises for fingers on the tabl~, remain in the five-finger position throughout. 420-4001 6 $.60 I have been quoting this article he emphasized the big NAME. later at the piano. Words are used as rhythmic $.75 so often to my students that now aids. Alternate use of hands is suggested as 420-40005 ..... Too often we Americans place our they grin if I mention it. Couldn't an aid to equality of touch. values on things which are in MINIATURE MELODIES FOR TWO FIRST PEDAL STUDIES I have something new from that In Volume 1 pieces are extremely short; in themselves irrelevant. Prestige, These are duets for two players of equal This is probably the most frequently used of master musician? We are fortunate Volumes 2 and 3 selections reach well into Mrs. Gaynor's educational works for very which is most often a matter of grade. They will be found valuable for use that such a great musician can ex- chance, comes only after hard the second grade. as first recital material. Among them are young piano students. It gives the juvenile press his thoughts and ideals so work and sweat. Ho" ..- true of the Volume 1_420_40019 $.75 fundamentals in pedal technic and prepares AlexanderBrailowskyat the Steinway P~OTOGUPH BY AllA'AN SIEGEL four-hand arrangements of some of Mrs. Gay- well by the written word as well Volume 2_420.-40020 $.75 him for further study, as an advanced student; small town teachers who devote $.75 nor's most popular piano pieces. Grade 2. Volume 3-420-40021 does so in an understandable manner, inter- as through his instrument. Any- their lives to help make this world 420-40006 ...... $1.00 esting to the pupil. This book may be taken thing that Mr. Horowitz might a better place to live in, at the cost For your home: THIRTY RHYTHMIC PANTOMIMES up in the second grade. care to say would be of great in- of hard work and sweat. • Vocal Collections spirational value. for Home, Kindergarten, 4 2()...... 40017 _ ...... $,60 Though they rarely or never I have tried and proved his sug- the piano chosen by and Pre-Piano Classes SONGS OF THE CHILD WORLD attain prestige, nevertheless, they PUBLISHED IN THREE VOLUMES gestions and found them most are the foundation; for without Accompanying each little piece are clever The most popular collections of chi~dren's • A Piano Method helpful. It is a great joy to experi- such a foundation, the big NAME the world's great artists "match-stick" drawings which show the rhyth- songs published. Used in the ?ome, ~n the ment with different interpretations mic action for young people. Besides the A METHOD FOR THE PIANO would most likely never exist. kindergarten, in primary classes m pu?lic and -fingers, touch, pedal and mood. rhythmic consciousness developed? the ch~ld for Little Children I hope that more of such articles private schools. The songs are class~ed for As Mr. Horowitz said-I'm mak- The concert artist must have abso- learn more quickly; and the Dia- thus is given early training in mUSIC apprecta- appear for it could do a lot to various seasons and occasions, for vanous ac- Published late in Mrs. Gaynor's career, this lute confidence in his piano-cconfi- phragmatic Sound board, which helps tion and group activity work. Mothers, too, ing mistakes, approaching musical help lUany people understand the dence in its tonal beauty. sensitivity create big piano tone in even the tivities in the life of the child. They are book is really a transposition to the printed concepts backwards sometimes- of action, and stamina. Because the smallest Steinway. can use these pantomimes and songs with pre- educational, recreational, yes, and even devo- page of her successful plan of teaching by more important things in life, not school children in the home. Suggestions for tional, as several sacred songs for Sunday but learning more-and thinking only in music, but other things as Stein way surpasses all other pianos So conscientious is Stein way which little children quickly comprehend the in these qualities, it is the choice of use of the rhythmics with other songs. in the more-s-and loving it. craftsmanshi p that, with proper care, school groups are included. beginnings of piano playing. Inc~udes inter- well. nearly every great musician. original volumes are also given. Complete texts, Bravo to Mr. Horowitz for put- this piano wil I serve for generations. Volume 1--421-40003 $1.50 esting pieces and teacher and pupil duets. Fred Phaneltf of course. Volume 2--421-40004 1.50 ting technique and mechanics in You can enjoy these very same Brighten the life of your family with 420-40010 ...•...... _ , .. _ $1.00 Chicago, lit. Stein way advantages in your own .. $1.25 Volume 3-421-40005 1.50 their proper places, necessary but the one piano that has been the In- 420-40025 ... home! WhiJe the initial cost of the strument of the Immortals for almost not all important. IlShall I Teach My Students Popular Steinway may be higher, in terms of a century. For a free copy of our use- Another Bravo to Dr. Guy Maier Music?" true value it is the most economical ful booklet, "How to Choose Your for his Pianist Page. He has solved piano you can buy. Every Steinway Piano," write to Steinway & Sons, many a problem for me; and I Sir: I read the article "Shall has the exclusive Accelerated Action. Stein way Hall, 109 West 57th Street, which encourages young fingers t~ New York 19, N. Y. enjoy his "bouncy," sparkling I Teach my Students Popular approach. Nothing trite or dry Music?" in tbe March (1951) there. ETUDE with great interest. It I am happy that the Teacher's was a very informative and fas- Round Table with Dr. Dumesnil cinating expose of the chords. will again be part of the ETUDE. Such an article would be well Have missed him lately. worth keeping for all time in the The Musical Oddities are most reference library. enjoyable and I hope Nicolas 510- Adolescent girls, particularly, nimisky will continue to be a are intrigued with popular music happy part of the ETUDE. -e-especia.lly those who are clever PIANO PIECES One comment on the not so CAT"lOG but too lazy to practice, yet CATALOG CATALOG P~I(E GRADE NUMBU happy part of the ETUDE- TITLE GRADE NUMBER PRICE TITlE GRADE NUMBER PRICE TITLE love to .be popular with their Piano Solos One Piano, Four Hands couldn't you improve the piano crowd. As you say, an introduc- 120--30627 .30 THE GUITAR SERENADE.... 2 120-30225 .30 MARCH OF THE WEE FOLK. 2 120-30008 .35 MARCH OF THE WEE FOLK...... 2 music section? While it is inter- tion to the chord system helps THE lITTlE SHOEMAKER and THE PRtNCEIS DANCB (Gavotte). 1 120-30736 .30 Two Pianos, Four Hands esting to see the contemporary makes practice period interesting, 120-30599 .60 The Stelnway is used exclusively by Applelon & SONG OF THE SHEARER (Words>' 2 120-30190 .30 VOICE OF THE WIND. 3 120-30735 .30 GUITAR SERENADE...... - .. 2 music-I feel it is not contem- as well as being instructive. 120-30598 .so Field. Elman, Grainger, Landcwska, List Templeton, LITTlE TROMBONE SOLO. 2 120-30226 .30 MARCH OF THE WEE FOLK...... 2 porary music of a very high cali- Mrs. Ena Ellis Tibbett, Zaremba. and many others. Illustrated is ~ the Model S Grand Ebonized. Now you may pur- bre. Most of it is mere rehash of Brooklyn; N. Y. chase a Steinway at convenient terms. See your 5 , EI N WAY Send for the PRESSERSPRING PIANO CATALOG. Dept. E-I-52 older better things-c-or light dance (Continued on Page 8) local Sleinway dealer. who is listed in the classified telephone directory. THE INSTRUMENT OF THE IMMORTAlS
ETUDE-FEBRUARY 1952 THEODORE PRESSER CO., Bryn Mawr, Pennsylvania 1 ,..
You'll thrill The "NEW" SHEFTE ETUDE ti,e I.... sic Itaaga.::itae RAPID COURSEin to the voice PRESS=R co., PHILADELPHIA, PA. PUBLISHED MONTHLY BY THEODORE MODERN PIANO PLAYING ONE OF THESE SUPERB 33'13 rpm 10 inch • . Offices, Bryn Mawr, Po. Editorial and A d verttslng Long Playing UNBREAKABLE RECORDS • QUICKEST • EASIEST ".par" br thl n'll-pt.liI Dllson ~"'Jlcal foundatit • of this superb larue. Frallci~ Cooke. E}'litor'9EO·n'''J'9~;j • MOST MODERN Founded l31J3 by THEODORE I'nESSER (EdllOT, - Regularly $435 Shirley C. Jefferis, Business Manager • MOST THOROUGH By GEORGE GAS COYNE Gll~' )[t;Coy, Managing Editor spinet! George Hochberg, Mu.sic Editor Practical Piano Coursein Wagner: -"'Die Meistersinger" is distinguished by its vitality and Guy ,\laier I (Complete) Han>ld He,.kl~y Sj"ol~, SIOlli1H;;k)' Eli~.abelh ,,\. GC51 drive. The orchestra of the Vienna YOURS "Die Walkiire" Karl '1'/. C'ehrl.c1l5 Ale~~llder "rCCllrPierre Monteux and his San Edward MacDowell's "INDIAN SUITE" this "NEW" SHEFTE standard of recording art consider- TUR SCHNA.BEL·S TEACHll\""G ... _ ... Gu.,. Maier 9 Francisco Symphony have made a Ever since Ies Dut performance by the Bosfo!? Sy~. S01\lE HIGHLIGHTS OF AR - . IERIC \ UI,bel flfle! Pulliam 10 ing the difficulties to be overcome phony Orchestra in 1896 this lovely an~ raetcdic suite COURSE is SHEFTE'S best has been a great concert hall fa,yome. Based on 11IE SINGING TOWERS OF NORTH A~' t •••••••• , ••• BttTbaro Gib&oll '12 splendid recording of this stand- in taking a performance from the genuine Indian tbemes--legcods. fesrtvals, ~r dances, mE YOUNG CAREER...... Ar'''' Sc1wabcl 13 work and the greatest for- stage with an audience present. It ard work, replacing an earlier ver- romances and sorrows. 1l)H A.R.S. recordlnl. ,."'.ilI. THE HAND AND THE KE¥BOAHD ','Su:HIIPI CllO'zinoU 14- ward srep in rhe nation. is obvious that the skill in record- sion made on shellac records. This -OR- STRICTLY PROFESSIONAL .... ,. . .. - ...... iU C D,bbe 16 wide movement to MOD- RUR,,-L DELIVERY SERVICE FOR MUSIC LESSONS ···· B' ." B' I 17 ing and the musicianship displayed is an item well worth having. Walter Piston's • j111rr Hom"" o xa oy' THE GENIUS OF AUTun SCHNABEL...... • . . . .. J .,. [8 ERNIZE and IMPLIFY in the performance had much to (RCA Victor, I2-inch disc.) ' N"" CON'CERTS Anulud Alel/um, SEPARATE PREPARATION FOn. JOI .... '... '. ']9 piano instruction. do with keeping the weak spots to a "2nd SYMPHONY" WORTH Alire tl arrinon 011" rip "POPS" RECITALS PROVE THEIR ...... , G I 20 minimum. Herbert von Karajan is GnilJaume de Machant: Composed in 1943, performed by the HOW MUSICIANS CAN SAVE ON IN.CO~IE-' 'fAX_.... n,·",. '~..c ollKI I 22 VOLUMES 1-2-3 !lltr!!is of Notre Denne Bence Symphony. NBC Symphony. the conductor for both sets of rec- N. Y. Philharmonic, Ph!ladelphla Fantasy.". smlf'tlllJ fore- BRE\THING AND BREA1'U CONTROL IN SINCIl\"G. . .jmlf'l,'1 A. R()I ('10 25 According to a note by Gustave Symphony and orbee leadlllg orch~. Mllrmy Killin#) Each volume 1.25 in U,S.A. lras--winner of me N~ York Mus~c RAT~ONAL IMAGERY APllUED TO TilE VIOLIN BOW ords and the fine cast for "Die Reese on the cover of this record, most dCCfll'iltOI'S' l'l'IJIlin'lflL'f1ts Critics Circle Award 10 )944·45. th,S On sale lit al! music 1l0fl~S Meistersinger" includes Otto Edel- this work "is the earliest known richly rhythmic and melodic score .has WOQ international fame for its co~- lor yuur lWIJ," IlH/ay, mann (Hans Sachs), Elizabeth poser. His music has bread~. HIS WH.ITE us FOR LITERATURE polyphonic setting of the mass by 1 Schwarzkopf (Eva), Erich Kunz style is concise and witty. In thIS sym- See the Fantasy, stullning contempo- LETTERS TO THE EDITOR .. one man." This fine recording is phony Walter Pist:o~ has reached . C"f1rl!.i~ Cfu/CIJYII(! 3 great powers of emou/liIlipJf 52 and the New York Brass Ensemble voiced hammers. ORGAN QUESTIONS . notable work as Brunnhilde and is AmericlIn music - and that American 12.... records. The American Recordmg So· .. UnTold n"rklpy 53 in his usual meticulous style. The composers have been wtiting enjoyable dery Philharmonic Orchestra engages the VIOLIN QUESTIONS...... Eli:;uIJl.,h A. Gnt Sigurd Bjoerling is impressive as melodies, important music for the PlIsl finest available conductors and artists. and These are but three reasons why we 5" all recordings are made with the lat~t JUNIOR ETUDE ..... assisting artists are not identified. 200 reM;! In all the great concen halls believe the "Fantasy" scts a new stand- \VORLD OF l\lUSIC. •... .•...... •••...•...... 61 Wotan. (Columbia. "Die Meister· hiJ!:h·6deliry equipment, and p-,:essed di- (Concert Hall Society, 12-inch the most famous orches!tas, conductors, rectly from a limited number of sliver-sput- ard for spinet performance. Send for singer," five 12·inch discs; "Die soloists, chamber and choral groups are tered masters. the free hooklet, "How to Choose the disc.) performing rhis music fat delighred Walkiire," two 12.inch discs.) HOW THE SOCIETY OPERATES Best Piano;' to help you :JI USIC audiences. Hichcr Your purchase of either of the Long Play· answer 20 dIal ques- Clflssie fwd Contem'lmrary COrlllJosiliolls tQlle, Chopin: Noctur"es And now an outstanding non.profit in. ing r.ecords offered above for only. '1.00 l\1ozarl: "Don Gio"unni" stitution has embarked on a program of tions YOll want to ask be- Polonaise (from "Pianorama of the ~rorllrs F";"'oritc Dunc('~"). _.. O;!i,Ii./;i-A;;flY 27 fuller Artur Rubinstein has made new docs not obligare you to huy any .. ddlllonaI r:. creating high fidelity recordings of 200 records from the Society-ever! However, (are cilOOsing a piano for To ,ohnllC A recording of a complete opera years: of American music! Every form of . CNGas[ Etude (Buttcrtl,· Etude) Op. 25. No.9 _ "'. C/IQlli" 28 recordings of all the Chopin Noc. we will be happy tG extend co you me cour- your home. tlwdc made before the war and out of musical expression is included in this pro· tesy of an Associate Membership. Each ; V"lse Lcnlc (from "Sylvi,a")G B II .. ) ./J,.lil,c"./..,'d'H' turnes. This is masterful piano gram-symphonic, choral, instnunencal and month as an Associate Member, you will BEST (frolll "Thclnes frolll t Ie reat a cIs" . 30 pos...;ibl· chamber works, folk-music, lheaue music If tbere arc children '" print for a time, has now been re- be off;red' an American Recording Society "'ANO Adagio (from "Pastels" by G",- :Maier') !lJo;llrt-Mujpr 32 wilh playing with aU the beauty and • .. music of America at work and at play; recGrding by a famous American composer, in the home, you'll want dirC('L issued and it provides a fine set music of America growing, laughing ..• at the special Club price. If you do not wish Tumblc-wecd (illareh CroteS(IUC)...... Paul HUn :J3 poetry of the music being brought music born of me love of 1ib~ and me "Mw,ic in "Y~)urChild's blow to purchase any particulat recotd, you need The Green Clltlu:dral...... •.•..... 1I"/lII-CI.rlelml 3·J. for the collector, The Glyndebourne love of fun, the Jove of good hving and merely return me special form provided for Development," too. r1clion out by one considered foremost the love' of God. Whatever your castes- mat putp9se. Son&: of the old Mill...... Lily Stricklfflld Festival Opera Company's singing here is music for you! 35 and c,tnl . l among the present day piano vir. FREf RECORDS OFFERED Winler Sk:ttillg Waltz (Piano Duc,l) hciJ!ht (II'" "hieh pro'H!CS/ITC3j of "Don Giovanni" has distinctive HOW THIS MUSIC CAME TO IE RECORDED (from "Piallo Partners" by Moll,· l)"'I:II(\"on) . ... !l/oUy Dorrllld¥tJrl 36 Cr ::.trill).:" length and "Oumllllg boor tuosi. (Victor, I"wo12·inch discs.) With cach two records p'urchased at me qualities of excellence. The late Recently, the directors of the renowned regular dub price you Will receive an ad· l"stTllmelll,,1 alHl Voelll CQlIIl1ositiollS area. Alice M. DiuoD Fund of Columbia Uni· 'I. didonal r,ecord of comparable Fritz Busch was the distinguished versity awarded a substantial 1$t:a0! to cr~ Liszt: FlUH!Tililles, ~ ....~'..tl quality ABSOLUTELY FREE. Capricc (Violin) ..••...... jf//UI ,,·jll"c. JT. ate the non-profit DitsoD MUSical FOl.'Dda· f' However, because me number ~ 38 • '-'IIK, ..h 1lI11:::-ical quality . conductor of this performance SOlletto Ilel PetrllCf' No. 104 rion, whose sole purpose is to ,ecore? and Wailic Wailie (Vocal) . of records which can be .... To", Sell/l 40 • Ville (:UOiIlCll'wft:i11l3JlsluP which included in its cast John JI aise Oubliee release each moruh a new high-fidelity. full. pressed from silver.sputlered JesseFrench f;Sons EUler~c (Mnsc of the Woodwimls) (Clarincl) frequency .recording of American music. Gn masters is necessariIr limited, Rakoczy Marcil Long Playing unbreakaHe fot'C(.ords. (from '"Ditson Treasury of Clarinet Solo,;"). . J. Ccru",cus 4·2 • Enduriug C'On~lru<:lion Brownlee as Don Giovanni, Sal- we urge you to mai the cou- This excellent group of Liszt pon at once! Eleg,. (Organ) . .. C. F. lJro",II'f>ud ,,. • He-filled :-'l)'ling vatore Baccoloni as Leporello, Ina ARE THE RECORDS EXPENSIVE? C-Pianos numbers contains fine material for No, ro the conttat}'. Because me Dhson AMERICAN RECORDING SOCIETY Pieces /Qr You,,;; Players • Easy Lo 1110\e Souez as Donna Anna, Audrey the pianistic prowess of the per- Musical Foundation made its recordings 100 Annllt.f tilt Am"hcu, H.w Ttrk 13, N. T. famous for mu,ical excellence for 76 years The HapI)" Clown...... •..•••..••..... An'le R"II;'UOII 45 Mildmay as Zerlina, Luise Hellets- Choice or naliou's kading S(;hools. forming artist, Vladimir Horowitz. Jl~allic witb the. Light Brown Hair ...... •..•.••.•...... •. FOl'ller-IPlll;rreu 11.5 for c;\.amplc: I THE AMERICAN RECORDING. SOCIETY, Dept. 719 1-2 gruber as Donna Elvira, David The pianist plays his own arrange. r------~I I A Riddle •...... ••...... • - . - . . • . . ..•.. Ada Ricllter 46 Los Angeles (Count)·, 4.';3 r---• 100 Avenue..------·--·----·------~of the Americas, New York 13, N. Y. San Francisco 20 Franklin as the Commendatore, • JESSE FRENCH & SONS I ~roo, Blows the Wind...... •. Edna Frida Piel.c/l 116 ments of the Rakoczy March and "INDIAN SUITE", hy MacDowell "2nd SYMPHONY", hy Piston ChiOlgo 20 Roy Henderson as Masetto, and I 0 0 : Dept. E"·21, Elkiiort, 'ndiClna : The Bobolink ...••••...••...... - . . . . . Ell Ketterer •• 4.7 u and mun)'", many others it proves to be a marvelous display (Check one) • Without obJigution, s~nJ your f.rcc book- I 11arching Song (from "Little Suile for Piauo")...... Vlmli",_ir Padilla 48 Koloman von Pataky as Ottavio. II Please send me the record. checJred &bove. tor Which 1 enclose $1.00 11.'I fUll payment. As an I leIs as indicaled: I of keyboard magic. (Victor) .AssocIate Member in the American Reronitng Society, I WIll receive the Soelet}··s publication FREE Send for school own- (Victor, three 12-inch discs.) • -Which will give me a.dvance notice of &&eh new monthly Soclet)· Long-Playing sell.'lCtlon which I 0 "How to Choose the Best Piano" ,I '1 am entitled to purcha.lle at the specla.I MllIllboershiv price ol' only U.95 tor 12" records, $4.35 Emercd tl! Jecolld clt/!J 11I1111erJanNary 16, 1884 tIt the P. O. ership li~t containing over lor IllJ>' records VIUl! a. tell' Ol'lnlS tor U.8. ta,x and sltlppi.D.g. However. I may dee-llne to purchase I 0 "Music in Your Cbild's Dtwelopmcnt" I (;1 Ph;lti.( Pa •• linder Ibr Acl I , of All/reh 3, J..879~ Cop>'right 19J2,. by TModoTC Pr('SSI'r Co., 2000 names and descriplive Sibelius: SYllIplIOII,' No.2 I IIOJ' or lIoIl Society records otfered to me. WIth each two Society CtlCordl.ogSI do purchll.'le. )'ou U. S. A. (/1/d Great 8,it,,;". Beethm'en: Seventh Symphony I WW send m6 lin ~dltlonaLrecord ABSOLUTELY FREE. 10Icnl
breath. nonn at La Scala in Milan. he giving autographs. When Why nOt see to it tbar your The French composer Ern- M EDITERRAN EAN CONCERTO had as At ':gnon an uncommonly the Director of the Paris Opera srudents get a chance to est Reyer possessed a caustic discover how much better hefty prima donna to deal with. wanted one for a friend, Meyer . they will play with a Wi!· • wit. He wrote about a fellow kanowski violin. You risk By Albert Semprini In the scene of the fire, where beer refused to oblige. T~lefrus- nothing. Send the COupon composer: "His work will not Illustrated: The Wilkallowski Co,uervatory Vio· for our special prices and PEllA A!'\NA LS are full of hc was upposed to carry her trated autograph collector re- o be forgotten by posterity. The lin, A s/mder, graceful model with well arched terms to teachers together stories about bulky singers off, a voice was heard from the sorted to a ruse. He published body producing a HIlOOth, rirh rOtle-No. 7273- with complete details coo· musical world will always re- Violin ol/l}'-$125 , •• No. 7134 Complete outfit cerniog \'V'i1kanowski \·io- A["eady Publisbed: H an announcement in the paper: who were assigned roles incom- audience: 1akeitintwotrips!" illc/lfdillg streamlined case. gelluilJe PelllambllCO Iios and the 6·day NO member him as a man who was wood bow alld t/ccessories, $150 (other Wilkanow- • patible with their avoirdupois. H 'Huguenots' tomorrow! :Music ski Models to $175). RISK Trial Plan. (Note: judged far beyond his merits." the plan is especially ap- l\1any a corpulent Traviata ex- by Halevy!" This brought an pealing to parents with Themes lor Piano Solo .60 Complete Piano Solo $1.00 • moderate incomes). pired of consumption in full instant protest from Meyerbeer r ~;;r:;- G~s:; Mfg.~~ePt. ET-2- who wrote to the editor: "I am view of the audience, to the ir- VIOLA PLAYER approached • I 60 Broadway, Brooklyn 11. N. Y. I Orchestral Version of the Themes from "The Mediterranean the composer of the Huguenots, reverent giggles _of the vulgar A Saint-Satins with the re- Please rush me without any obligation on my port complete information can- Concerto" customers. The famous basso quest to write a concerto (or the TISZT ONCE registered in a hotel not Halevy!" The editor for- I c;erning fam.ous Wilkonowski violins together with full details of your 6-doy I 1.J in Chamonix as follows: NO RISK trIO I pIon. I have your assurance that no soles representative will (may be uS'ed as accompaniment to Themes for Piano Solo). Lablache, who possessed an illl· instrUlneut, specifying that he warded the letter to the opera I I Place of birth: Parnasse. call on me in connection with this offer without my expren c;onsent. posingly ample em,bonpoint, suf- nceded it very soon. He received director, and he handed it over Arriving from: Dante. I D Teacher D Student Professional I Full Orchestra $2.50 Symphonic Orchestra $4.00 fered a humiliating experience thc following reply: "Cher Mon· to his friend. - . D in Paris, when he acted the part sieur, vous semblez eroire qu'ou Proceeding to: Truth. I I Extra Parts .30 Profession: Musician-philos- Name _ of the old Duke in Verdi's opera ecrit un concerto comme on Berlioz "e/used to give his opher. I Address,______"Masnadieri." In the third act avale un oeuf a la coque. Ce autograph even to Patti. She I the Duke sings appealingl; u'est pas tout a fait la meme tried to coax him by the prom- I CitY,----- State I An amateur ,vho prided L_ CHAPPELL &. CO., INC. about the starvcd and emaciated chose. Avec mes compliments, ise of a kiss and a homemade ------1 himself on his musical knowl- pie. Berlioz wrote her: "Bring condition to which he was re. C. Saint-Sacns." ("Dear Sir: RKO Buildin",. Rockefeller Center New York 20, N. Y. edge, attended a performance along the pie!" THE FRED GRETSCH MFG. CO. duced by his ungrateful sons. You seem to belie,-e that com· Exclusive U. S. distributors for Wilkanowski violins of "Gotterdammerung~' for the THE END The contrast of this pitiful la- posing a concerto is like swal· • ETUDE-FEBRUARY 1952 4 ETUDE-FEBRUARY 1952 5 _____-----~-IIII!L---- ingly brought to the fore by the it .,llil IIII ':11111'111.111." .IIL}I.__I~t?] conductor, Fausto Cleva. The sing- Music Lover's ~ ~."a e.M'tt • MERRILY WE PLAY AND SING ers, all excellent, include Lucine Amara as Nedda, Giuseppe Val- ~ LOOK AND LEARN FOLIO • €e; &~ if?e-Id dengo as T onio, Richard Tucker as T h '11 fi d that this book fills 0 need es a sup- • Best loved sacred and seculor song, on five linger MICHAEL AARON PIANO COURSE • ~:~e~~~r;' rea;er piece book for any beginning ~ourse; patterns for piano (with words). Indudes I Would Canio, Clifford Harvuot as Silvio, ~s a first approach for note reading; as a corrective for • Be True, Onward. Christian Soldiers, Skip To My and Thomas Heyward as Peppe. BOOKSHELF UN'NJERRUPJED SEQUENCE ••• • dl h b't PRICE 1.25 lou, When You And I Were Young, All Through faulty reo 1"9 a I s, h (Columbia, 2 discs.) NA'URAL PROGRESSION • The Night and many at ers. • PRICf: .60 By THOMAS FAULKNER ?fta,wut 'Ka~'tt PIANO PRIMER . .60 • books by 9-1 11ta<'« Rare Items BEGINNER'S GUIDE TO • • Addison Foster, an enterpnsmg GRADES 1·2·3·4 each 1.00 POPULAR PIANO PLAYING YOUR CHOPIN BOOK 1.00 • YOUR BACH BOOK 1.50 record collector from Narberth, ADULT COURSE . 1.2S • Necessary popular piano playing fund(lmenl(ll~ for the beginner. Progressively groded from early rudlment~ to • THINKING FINGERS Pa., is another of those who he- The Power of AI·t he could not have written in TECHNIC BOOKS 1·2 each ,75 • swing and Boogie Woogie. Explains chord formatiOns • by MAIlER and BRADSHAW lieves singers today are not as fly John M. Worbeke such a pessimistic tone. The and their uses Includes many populor standards such as. Hundreds of finger exercises for intermediate and good as they were in the "Golden 'OR • Siors Fell On' Alobama, For Me And My Gal. Who's • od ....onced pionisb. for the development of pion. golden age of Italian Music has , Age" of opera. The Power of Art by the late Sorry Now, etc. PRICE 1.25 istie conlrol ond facility in five-finger patternl, by no means come to an end. • thirds, sixths end octaves. PRICf: 1.00 To prove his point, Mr. Foster Dr. John M. Warbeke, former Italy's contribution to musical has brought out, with the coopera- professor of Pbilosophy at Wil- art during fourteen centuries tion of RCA-Victor, His Master's liams, Amherst and Holyoke has been so great that the HOW TO GET YOUR Voice and Columbia Records, a Colleges, is one of the most COMPLETE COURSE IN HARMONY number of discs made between the monumental works in the field ETUDE welcomes this very A "SELF INSTRUCTOR" by Jos~ph A. Hagen BOOK PUBLISHED ably written and most interest- New Records years 1900-1925. of Aesthetics, your reviewer has Formerly Editor of .Musical Theory JOT QUl' basic policy is to encourusce new au thora. ing work by Miss Grace O'Brien. "The Inler"u/;ollal M,
ETUDE-FEBRUARY 1952 10 ETUDE-FEBRUARY 1952 11 -_0---=----
"Our hands have man)' shortcomings The Young Career hard to reconcile with the keyboard:"
It pays to be thoroughly prepared by Artur Schnabel as told to James Francis Cooke when Lady Luck knocks at your door.
by Barbara Gibson as told to Rose Heylbut The Hand and the [(eyboar4
IN YEARS gone by, it seemed to be the struck. I in such a way that they seem to flow into anxious ambition of every piano teacher 'Vith the modern instrument, the fingers the keyboard. with little suggestion of hit- spinning of tone helped me to overcome it. -but she can ready herself to make the to restrict the pupil in every imaginable do not suffice, and the whole body is made ting or hammering the keys. VERY young singer ~I~elldsmuch time Beyond this, the throatinc s vanished as I form. The pupil was continually told what a part of the nervous and muscular organ- This necessity for playing forceful pas- E with ideas about getting started. Our most of luck! Somehow or other, pure, mu- sical singing will find its chance to be crew older and learned, through practice. not to do. His playing was largely localized ism, through which. the artist endeavors to .sages in the soprano voice and in the bass hopes and problems center about getting a oto manage my voice so thatI " met I10d" be- in the fingers and in the hand. The more interpret a masterpiece. By the whole body, without stiffening the hand or without chance-and the word cluuice is apt, be- heard. while an introduction La Toscanini himseif wouldn't do much for bad singing. came second-nature. Many "young" prob- angular and the stiffer his fingers, the better we mean that from his feet, which operate cramped muscles. I consider the greatest cause the beginning is a chancy business! lems are solved, seemingly by themselves, he pleased his teacher. I have recently been the all-important pedals, to his brain, from technical problem of modern playing. We take for granted that the aspirant to The point is, not merely to dream of getting as one grows older and continue careful told that Erlich, who was associated with which his impressions are turned into nerve Now, look at your hand again. Place it vocal fame has a fine natural voice and in- a great artist to listen to you, but to come study-which is another rea on for await- Taueig, recommended that pupils, when impulses, so many important centers are palm down upon the table. Note how long born musical feeling. Vie know she must before him with material that will please. ing natural physi a] development, and not practicing, hold a book clamped between employed to operate the playing mechan- the middle finger, the second, ..the third and work hard and, above a11, slm,vlr. But Suppose you had the opportunity to sing trying to hurry thing along! the upper arm and the body, so that there isms, that one may safely say that the pian- fourth fingers are in comparison with the thoueh we understand this with our minds, for an artist like 1\11'. Danise tomorroW- e Aside from any personal problems, the might be an absolute absence of movement ist of today plays with the whole body. first and the fifth fingers. Then place your our hearts are impatient for ways and what elements in your schooling, your emis- sion, your interpretation, would arouse en- coloratura voice has a problem of its own. in the arms. This is not surprising: as most In doing this the student must know, first hand in the customary playing (curved) means to make the dream come true. E:I;' o much of its music is of virtuoso agility of the teachers of the older day strove to of ail, that the Creator certainly did not position, and you will note that this serious actly how does the student become a thusiasm in him? So the start of your career depends less on "breaks" t.han on that, unless flor id technique is absolutely place the pupil under every possible kind have the piano in mind in making the hu- discrepancy entirely disappears. How can professional? sure second-nature, one keeps thinking of restriction. Now, the contrary is true. man hand, because the hand is not natu- we reconcile it with the needs of pianoforte My own work yields only a partial a~l- your own ability to put the breaks to good about it, running the risk of lapsing into Teachers are striving to produce the great- rally adapted to the keyboard. In fact. our playing? To me the most rational way of swer because I had phenomcnalluck. I did use. My own good luck rests firmly. on mechanical singing. I have heard people est possible freedom in pianoforte, but by hands have many shortcomings hard to approaching this is to permit the middle not have to try for a start-things just hap- Maestro Sturanl's training. say they find the coloratura voice artifi- an economy of means-that is, without un- reconcile with the keyboard. fingers to play normally with a normal finger pened. My father is an engineer and works He has always counseled me to work cial and mechanical-and I've wondered necessary exaggerations. How has this all You see, the better part of all music is action, and when the thumb is employed or with the father of Jean Dickenson who most slo'wly. Both in voice development and ill whether this doesn't mean that technique come about? written as though composed for a four-part the little finger is employed, incline the kindly got me an audition with Cesare engagements, he held me back from at- has been over- emphasized and music The change in methods of teaching has quartet. This makes the most important hand in that- direction, employing the reo Stu rani. The object of the audition was to tempting more than I was ready for. Noth- been due to two things-the increased pos· parts-that is, the out-sounding parts, bass laxed arm and the position of the hand, to learn whether my then sixteen-year-old ing may be pushed or forced. It's a mistake crowded out! The coloratura must learn to sing music. sihil ltles . of the piano itself, as different and treble----eome at the top and at the bot- compensate for the natural weakness of voice was worthy of professional training ; to think of one's training simply as a ehort- She must develop her lower and middle makers have improved its action and its tom. In this way, these all-important parts these members. when it was over ~ Maestro Sturani asked cut into jobs. tone, and the consequent enrichment of the from the musical standpoint fall to the Relaxation is synonymous with good me to study with him. He is my only teacher. For nearly six months I was kept at noth- registers as well as her cadenzas. She must literature of playing. The first keyboard weakest fingers of the hand, the fourth and Three years later, Maestro Sturani gave ing but scales and vocalises-especially ex- make her voice a medium of expression. pianoforte playing. There .is no great rem- instruments had an action so light th~t very the fifth fingers. edy, no panacea to bring about relaxation. a student recital at which I sang~ and which ercises in sustaining and spinning tone. On The answer here besides emotional ex· little muscular effort was required. Then Most of the melodies we have to play Bidu Savao and her husband, Giuseppe one full breath, I sing a tone, increasing pression itself, is scales, and vocaliscs The way to relax is to relax, and to keep on the lightest finger action sufficed. Agility must be played with the fourth and fifth Danisc_ ;ttended. And Mr. Danise at Ollce and decreasing its volume. I go through my based on scales. Here are some of the ex, relaxing~ untH the practice becomes a habit. was the chief asset of the performer, and fingers. Neither of these finge.rs has in it- arrano-~d for me to sing for Arthur Judson full scale on such lones. I find it an excel- ercises which have been of greatest help to A great deal of tension and stiffness is it may possibly be for this reason that we self, by pure finger action~ nearly enough of Columbia Artists _VIanagement. By still lent exercise both for breath control and me. and with which 1 still begial my daily purely mental, and I am (Iuite sure that find the earlier pieces filled with all manner force to carry great sonorous melodies. It another piece of sheer luck, \'i/allace Magill, tonal quality. warming-up :- much of it dates from the earliest lessons. of devices. introduced for sustaining a tonal i.5 for this reason that weight-playing, in producer of the Telephone Hour~ on NBC, Most young coloraturas incline to be~ 1) A five· tone scale, beginning around when the pupil is not instructed to sit at effect of an instrument whose sound died which the controlled weight of the arm is called on Mr. Judson that day, and listened come throaty in the middle registers, espe- the D above middle-C, singing up and the piano naturally but is unconsciously out a second or so after the string was employed, is used by practically all pianists to my audition. And he engaged me to make cially in lines which end in high notes for down, always softly and easily. Beginning afraid of the teacher or afraid of the instru· of today. Both the literature of the instru- my debut on the Telephone Hour. That 'was which they are making conscious prepara· then on the next hjgher tone, I repeat. up ment, and actually cultivates a kind of fear, ment anc1the modern instrument itself, de- two years ago. I know quite well that~ but tion. This is a natural problem-the inex- to the G above the next C. As a warming-ull which is easily trans'lated into stiffness. perienced voice must acquire masque reso- drill, this should not be carried lao high; mand it. The average student imagines that Often the teacher ma y gain the secret of a for this series of lucky incidents~ my start This interview, secured by James Francis Cooke, nance-and my earliest singing was not this' presupposes a kind of banging, but the pupil's failure ·to produce a good tone far would have been different. 2) A twelve-tone scalc, sung thc same originally appeared in the ETUDE for Februal)' Not every young singer can count on luck free from it. To a large extent~ the careIul way, but this time (Continued on Page 60) 1922. It is also included in the volume, "Great skillful pianist knows how to employ the more readily by observing the pupil than by Men and Famous Musicians," by Dr. Cooke. liatural weight of the arm, and of the body, watching the hands. (Continued on Page 63)
ETUDE-FEBBt .IRl 1951 ETUDE-FEBRUARY 1952 13 -
SAMUEL CHOTZINOFF
Training at the Chatham Square
Music School LS
c A harmony class at Chatham Square Music School. In real' observing are (I. to r.) Chamber Music at the School. A :routhful u-io Jascha Heifetz, Courtlandt D. BtH'Dc:., J I·., Samuel Cholzinoff, and David Sarnoff, chair- shows great seetousness of pur-pose, The 'cellist STRIUrrLY PROFESSIONAL man of the Board of Trustees. ~lIId the pianist go over a u-oublesome passage. There are no prodigies in this school; they are all students. by Samuel ChotzinofJ
Nothing had come easily, much had corne Chatham Square Music chool openedits FIFTEEN years ago in an old converted, doors in 1937, at 211 Clinton Street. It slum building on the lower east side of a little late, so I had a sense of values was just a few blocks up from East River Manhattan, an idea was put into action. and took little for granted. I had attended at a point where it flows between the Brook- It was an idea formed clearly and sharply Columbia University and had begun accu- Iyn waterfront and that section of Manhat- many years before in the mind and memory mulating a store of knowledge and expe- tan that includes Chinatown, the Bowery, of a young musician-a musician youpg rience about the professional musical world. and the Lower Ea t Side. Thi was the in years but.quite matured from the long This grew while accompanying young world I knew as a child. bitter struggle of his early life. Jascha Heifetz and other famous artists all For generations this slum-ridden sec- There was no room for self-pity and bit- over the world. This realistic approach to tion had been the haven for the miserable terness over those early days. Whatever the materialization of an ever-present idea but hopeful immigrants from many parts of energy was left from the problems of meet- was considerably advanced during my years the world. From here had been drawn the ing life and building a career was given as a music critic on the old New York to reflection upon one strong wish. This World and later on the New York Post. sweatshop slaves to New York's labor mar- ket. From here came tales of gang war and desire was to found a school that might Realistic as it was, this preparation for a (Above) l\Iaesh·o .Arturo Toscanin i conducts "student" orchestra at school b fit 1 (Above) Jaschu Heifetz explains some of the help salvage some of. the genius and talent school was only part of what was neces- derelicts, and here men of despair found All1o~g "stndents" wer-e Nathan Milstein (front row, second from I.); JltS~ll~t H~ilfe7~ problems of violin pluvj ng to n ~'oung student. (four-th from I.); Emanuel Feuermann (second Iroru e.) ; Alfred Wallenstein (cxn-eme I'.). that were lost to America's music in the sary, as any board of trustees will testify. the edge of the world. (Below) Byron Janis returns to school 10 play Plans, aims, and curriculum, no matter how Some escaped this section because of for students. Shown also I. to r-, are his teacher, shuffle of poverty, discouragement and Adele l\'Iarcu~. lUI'. Cholzinoff, and Ruth Berg- their drives, their skills, their arts and misguidance. concrete, are of little value without money (Below) Another typical young trio at the school obviously enjoying a rehearsal, man, Asst. DII'. of School. It seems proper to speak of the young to pay the bills. However, obstacles, no their luck. Sometimes it took a generation musician with an idea, for as I look back, matter how large, cannot stop dreams. They to move on, sometimes two, but most just that part of me always stayed apart and are very unreasonable, and only persist stayed on, living quiet lives until they died refused to be absorbed or lost in any pre- more vividly. with their hopes. Churches, synagogues, occupation with my career, responsibility I wanted a music school that would pro- political clubs and community houses in to family, or the demands of business and vide strictly professional training for the the neighborhood symbolized some of these management. The idea to help was not new, definitely gifted student who was deter- hopes. Today the picture is fast changing. but rather typical of many Americans who mined to make the grade. Since a profes- The East Side Drive, with its city and had crossed the border of insecurity. It sional training school was rare, and still private housing developments, is becoming was expressed in -the settlement houses and is, I knew it would call for trial and error. a poor man's Riverside Drive. The conver- charitable institutions that dotted the East But there was one part of the plan I couldn't sion of condemned tenements and old build- Sides of many American cities. But what seem to deviate from. That was the loca- ings is making the neighborhood an answer lay inside of me in those days was not a tion of the school. to many middleclass housing problems. vague dream or a flickering emotional re- In the parade of good citizens who began sponse to the cry for more culture in the on the lower East Side at its worst and rose jungle. It was more than a variation on to contribute to American life and culture Samuel ChotzinofI, founder and director of the the theme "Am I my brother's keeper" or Chatham Square Music School, is musical direc- were such names as Governor Alfred E. "the friends I left behind," for the only tor of the National Broadcasting Company (NBC) Smith, Eddie Cantor, AJ J olson, George Ies- NBC-TV, and RCA Victor Records. He was for: sci, Congressman Sol Bloom, General David finances I could boast of at this time were merly music critic on the New York World, and not conducive to philanthropy. I could later on the New York Post. He is also author Sarnoff, Irving Berlin. count my blessings in values, not dollars. of "Eroica," . (Continued on Page 56)
ETUDE-FEBRUARY 1952 ETUDE-FEBRUARY 1952 14 15 -
The Genius of Artur Schnabel
He seemed to "breathe" into the keys only to release music.
y • of the two rooms in the trailer Music school on wheels. The Dubbe School of Musi~ re'!dd ~~~e;i:; t~~ ;:~o and some of the pradice keyboards. by Mary Homan Boxall Boyd to befJin a round of oppointments in the coun rysl e. Rural Delivery Service for Music Lessons The problem of music teaching in a rural. community is solved by the "roving stadia." "PLATO," wrote Dr. Ferdinand Hand; in his work 'Aesthetics of the lyrical, the heroic, or the philosophical. of Musical Art,' "recognized in music the expression of the In listening to Schnabel play, it would have been impossible by M. C. Dubbe inner life as a representation of the various conditions of the to separate the pianist from the artist. Remembering his perform. mind. and regarded the idea of the Beautiful as its foundation, ance of certain lyrical parts of the Brahms Bb Concerto, in which. as moral beauty combined with that which is good, ema- a second- hand house trailer. We found a 1949 model parked on retrospect rehearsing them in my mind's ear, 1 am figuratively "pLEASE, please! Come to Mingo. \hild~en are. growing up nates from God, and therefore leads to unison with God. a roadside with For Sale cards in its wind.ows. Wl~lle It d,~ not reminded of rich, malleable earth, out of which blossom forth and getting away without any musical mstructron. We can "He raised the purpose of music beyond that of mere sensuous fit our drawn plans exactly, it would do WIth certain alterations. colorful, amaranthine flowerets of the most delicate, unearthly scarcely find anyone who can ~lay. for c,~urch. We have had no enjoyment, and censored those who valued it only in proportion substance.-And again-of his conception of the D minor Con- music lessons hereabouts for thirty years. We hought. . . P' to the amount of amusement which it provided for them. The Dubhe School of Music offers class instruction in .la~o certo by the same composer, wherein the octave trill in the first Thus the need has been called to our attention in several ~ur31 "Aristotle did not differ from these views to any material ex- for beginners as well as private lessons. Any requests for V~o~m, movement was not a feat of pretentious virtuosity, as one SOme- corners of our big county. But how can the teacher ~e In. a tent. He also ascribed to music an intellectual character." Voice, Instrumental, or Theory instruction are also met. We divide times hears it played; but a plain, and jubilant call of the gods, number of places? Can she afford five, six, or ten :tudlOs wI~h From the standpoints above quoted, and from their lofty pre- the work. Consequently we needed two rooms, one for each of .US, to the .very portals of Olympus itself.-But, so honest and so pianos and other equipment? Or can she even find suitable studio _ mises of musical conception, the writer humbly approaches the one to accommodate the class of Piano pupils. And thus the Roving simple was Schnabel in his attitude toward any so-called techni- rooms in the rural villages? '. subject of her compendium-the late Artur Schnabel-one of Studios came to have a large room (about eight by sixteen) and cal problem, that, when asked by an eager young artist-student In trying to rent rooms in the downtown section of one of ~JUr the greatest pianists of all time-profound musician, composer incipal cities we were confronted with refusals in ten possible a small one (roughly eight by seven). . and writer. if he would show him how to play that particular octave-trill, pn, "Oh 'f t th Fortunately for the Dubhe School, handYD1an-mUSlc~eacher.b.u5- smilingly replied: "Yes, of course-did you think it was a locations in words of the following effect: ,I you wan e To separate the interpretative function of the usual great band was able to do all necessary stripping and rebuilding, making secret?"-However, with all of Schnabel's generous intentions rooms for music lessons, I'm afraid I can't let y,ou have .the~. pianist's performance from his acquired, or even natural tech. equipment, fastening pianos, painting, lettering, and th~like. S~ch taken into consideration, I was never quite persuaded that any- For any other use, but not music lessons! Couldn t have kids m nical skill, is not always a difficult matter, for at least some of a handyman-ete.-husband is a wonderful money-savlllg. device, one but Schnabel, himself, could bring that trill into its full and out here-besides the noise. Like music myself, you under- the time. one is conscious of an indulgence of mere technical Six weeks of rather inventive work were spent on the umt before meaning of mythological and architectural significance. It re- stand, but my other renters-no, I'm sorry; I couldn't have that exhibitionism (because of a spiritual want, perhaps?}. Not so, the new truck could be hitched to it for the first run. Said money- mained unparalleled. As Beethoven strove after universal har- in here." . . . Schnabel, whose mastery of the keyboard was completely and Expense for rental and maintenance of even one studio, l~ It saving device also became truck driver. monies, Schnabel, conforming well in mind and soul, completely always subservient to his own musical demands. A certain subli- he comfortable and attractive at all, is usual~y out of proportI?n We are now in our fall season of operation and we are m~re negating the slightest possibility of the mechanical in his medium, mated power in the tips of his fingers, wrists and arms, placed t th . icome of the teacher of private mUSIClessons for begin- than pleased with the experiment. During the summer we. deliv- the piano, yet equipped with perfect command of tonal flexi- o e 11 hi f '1" . fi him at a point of perfection of execution so easeful and accurate, with the need for teac mg aCIrtrcs III ve ered music lessons to more than a hundred persons weekly m five bility in nuance of infinite variety required for the creative ex. ners. We were faced .1 that so-called technical problems did not exist for him. or more communities as much as thirty-five and forty-five rm ~s communities. Our total travel with the unit each week amounted pression of Beethoven's music, became the greatest and foremost "As mightiest powers by deepest calms are fed," Schnabel from our home base. (Incidentally, our home base, Montrose, .15 to 110 miles, not counting 66 miles of car travel to and from the interpreter of Beethoven's piano works. Whal a rich. legacy he seemed to "breathe" into the keys only to release music; his per- a town of seventy-eight souls, the smallest in~orporated town In unit while in a three-day station. As we moved over our curved has left to the world in his recordings! formance taking place from within to the without-without labor West Virginia, hardly one to afford one mUSICteacher adequate and hilly mountain roads, children and old folks hailed us. Not Because Schnabel's mind was well-trained and dynamic in many 011 his part-a kind of amanuensis to which he himself was listen- many trailers have been seen in our country. Studen.ts, parents, branches of knowledge, he was able to plumb the very depths of opportunity.)' . M ing. One heard music-only music-spoken truly and nobly with- About tWQ years ago, a possible solution occurred. to ~s. and other visitors to our studios have been most enthusiastic about Beethoven's music. Even in the long drawn-out parts of some of out boast or display, whether he was "speaking" from the realm Dubhe. She is endowed with an abunda~ce of the m~sIcal mIS- their compact efficiency and attractiveness. As we roll through the the later sonatas, wherein Beethoven seems to be having talks slOnary. SpIn. 't . Why not equip a house traIler as a studIOk d hand pull countryside and the villages we are self-advertising. People say with himself alone, Schnabel could take the listener through Ittotevlclllly. h' . 't of the students?. When she first as e . t at hques- to us, "I saw your trailer go down the road, so I came to see them without boredom. In the slow movements, most of all, he MQryHoman 80xall Boyd, pianist and teacher of renown, studied with hon. her husband and a group of friends gave a UnIted. s. rug.h about lessons for Sue." expressed the impersonal, spiritual message ·of Beethoven, in Neverteess' h I the idea stayed . Urgency for. moref serVIced m. t e One week we stopped in a new town to recruit students. Next Douglas Boxall (who later became her husband) and with Artur quietness, compassionateness and loving-kindness, projecting it . d of 1951 brought the Idea orwar agam so spnng an summer week a beginners' class overflowed our ten piano desk capa~ity Schnabel in Berlin and Theodore Leschetizky in Vienna. She served truly and simply. No prophet could have made it. plainer to a that definite schemes and sketches were put on paper. .. so that students stood in the corners and one even stood outSIde consciousness tuned to receive it. "A piece of wood or metal for a time as assistant to Artur Schnabel in Berlin. Before the war she InqUIry. at tral'Ier dealers showed that governmental- I .restnctlOnsb h . on a step, hanging on the door handle for an hour! We ~ad to or stone~ can be transformed into a divine message if the right had classes in the summer, in SalzburfJ, Austria for American students. on aIummum· and other materials discouraged. .speClad ]0 s;h td ere-t remedy that by dividing the class. Last week we pulled mto a spirit blesses the transformer's hand." (Continued on Page 51) fore we gave up th e idea of a custom-bUllt umt an searc e ou new area. Within an hour three families (Continued on Page 50) ETUDE-FEBRUARY 1952 I 17 16 ETUDE-FEBRUARY 1952 -
"Pops" Recitals P~ove their Worth
The dads reallv came aut in force when
the pupils' recitals were given original settings.
by ALICE HARRISON DUNLAP
I Two artists, with thousands of miles between them, have a HE IDEA for our "pops" recitals oc- flavor of cherry tart, custard, pineapple, feature of this skit was that all the chilo curred three springs ago when an roast turkey, toffy, and hot buttered toast," dren were on stage aU the time, and all busy. unique way of making T adolescent inquired if I would con- and like Alice, they very soon f n ished The second act was put on by the boys. sider teaching some popular music. It was them off! The White Rabbit, father Wil· There were ten of them, and they had been a sly remark, "Dad would come to hear limn, the Judge, the Playful Puppy, the given the opportunity to vote for what· me play Star Dust." Touchez l What teacher Hatter, and Alices of all sizes were among they wanted to be. Would this list tax does not long for an audience made up of those present. your ingenuity?-two cowboys (Hopalong dads, uncles, and grandpas to match the The Lilliputians called their program and the Lone Ranger) ~ three Indians, two Separate Preparation for Joint Concerts female contingent! Naturally, there could "Let's Pretend," which proved to be an pirates, a ghost, and a horse (the same one, be no favoritism toward the Upper Class, easier assignment. All I had to do was to left over from two years back, now making Man)' details, necessary to the perfect ensemble, and the Juniors and Lilliputians were con- find appropriate numbers for a cowboy, his third appearance). A cabin "on the lone sulted and encouraged to express ideas and a pirate, Chinese and Japanese girls, two prairie" provided a setting for the gather- by Anahid Ajemwn• must be IJf1inSfakingly worked out. preferences. Three delightful experiences little Negro girls, and Peter Rabbit's ing of motley characters. were the result, the knowledge of which no Mother. There was one little girl who As the curtains parted, Doug and Bud doubt would be helpful to other teachers. wanted to be "just Mary. That's my favor- sauntered onto the stage clad in the familiar part in our initial preparatory steps. ?I~CC while I decided one pianist in the family "I'd Rather Be Popular, Our Pops (and ite name." That was the year the horse garb of the Lone Hanger and Hopalong HE PUBLIC performance of ensemble w c have decided on a program for a JOJ1lt was enough and undertook to make the \ io- Moms) Concert" was the caption on a car- joined our troupe. When Bud played a cow- respectively. Bill, operating the stage lights, T music, from symphony or chamber o~- recital (the deci ion having been rcac.hed lin my instrument. This .is another factor tooned, mimeographed program carrying boy songl Good-bye, Old Paint, h is little cast the glow of sunset over the weary chestras down to quartets, tr ios, or duets, IS by correspondence) we enter on \\halll1lg~ll that produced warm musical ~rmpathy be- a picture of Boy and Girl with one soda sister sang to a horse composed of gunny riders. But not for long are they weary! generally believed by the listener to be the be considered an epistolary binge about I.t. tween us, for we were never III those ps~- and two straws. Performers autographed sacks and grocery boxes with the neces- The Lone Ranger has observed that Hops- climax toward which long hours of prepara- each setting forth our reactions to the music chiatrically critical years of childhood, r i- their numbers in advance, and colored the sary front and hind legs. As a reward for long has a piano "for relaxation after a tory practice in unison by the pa~ti~ipants on such levels as mood, pace, shading an~ vals on the same plane, and by the same pictures one night after playing class. Boys three months consistent practice Budd y was hard day riding the range." In a moment has been directed. And usually it IS. But .....onere! intention of the composer. This token we were each gro\\-ing up with an wore T-shirts and corduroys; girls, jeans allowed to close the program with a bang they are playing and singing Good-bye, Old sometimes this ideal state of affairs is not basically intellectual approach to a lllu~jcal appreciation of the potentialities of the in- and plaid shirts. There were sixty in at, -he shot off his cap pistol. Paint. This is the cue for the horse to possible for those who would play together. task seems to us both a "must" when n~.a- strument the other pia yed. tendance because the dads came out full Last year's rash of informality and "corn" enter, concerned with the musical idea that My sister Mara and I, who in the ~as~f~w - - - - I ibite d by "eoor.plllc.1 \ 15 d ISCUSSIOI1 1S pro 1 leo [;I force. After an hour of playing in a de- was a five-act variety show entitled "Just he is going to be left behind. For his sake years have found playing togeth~r .m joint (acts. As arduous as both of us find letter- This, of course, is all rather mystical and lightfully relaxed atmosphere (so different Horsing Around." Forty-seven people thcy play Trick Riders, hy Lake, and he recitals a great personal and arttsttc pleas- wr itina it has proved for our purposes bet- theoretical. and doesn't do much to gtve a 0_ from some other occasicns l ) refreshments played in a period of sixty-five minutes, gallops about contentedly. ure, live on opposite sides of, the co~ntry. tcr than [ong-d istance telephone connrsa- concrete answer to people who wa nt to were served. These consisted of hot dogs but only as a side issue. Such a show is Now the Indians creep in, Chief Bigfeet, She is married to a San FranCISCO englllcer, tions for such analysis, as we each get a know how we manage to do the spade ',"ork and pop, and were served at the Snicker- easily ·written around the personalities of Ugh, and How. The chief is spokesman, the and I to a Columbia Records executive who chance to set forth our ideas fully, and an for our joint appearances, though miles Snack (kitchen door decorated to look like one's students and the lighter musical num- is based in New Yark. People who know opporLunity to clarify them, something not vocabulary of the other two being limited apart. And though the actual factual answer the Ballard-Hi Drug) by the biggest "Pop" bers they have in preparation. this often ask us how we prepared for th~se always possible in the give and ta~e of tele· to their names which they concentrate 011 is concrete enough, it stems f[om the ra p. in white cap and apron. The first act was presented by the Lilli- joint appearances without one of us havmg phone conversation. Further, wIth corr~- making exceedingly expressive. Scalping port which exists between us and willlfJlit When it was over-"Gee, it's really putian girls. All of them owned the book to spend long periods a\\Tuy from home, a spondence, each has a record of the ot.h~r·s seems to be the motive for their putting which I don~t really belieye there can be good to settle down to my Beethoven ':Nursery Rhymes" arranged by MacLean, in an appearance, but they are persuaded thing neither of us is willing to. do. viewpoint, and any divergence of opmlOll The answer is not a complicated one. any successful interpretati\-e collaboration sonata; syncopation and dual rhythm in so their skit was largely centered around to try the piano first. So the little fellows between artists, even though they li\-e in call be discussed and ironed out in subse- First I should say that between any two popular are much harder-and what do that. Other musical numbers that fitted the have the opportunity to play their first the same city. quent letters. . . you have when you get through? But it scenario were: In the Tyrol-Behr, il1any- pers~ns who propose to concertize jointly, Bulwarked by this backlog of dISCUSSion, pieces of sheet music, weird little tunes Modern recording techniques <1l1d the a sympathetic similarity of sta,~dards and was sure fun 1" a-Mile Away-Cobb, and At the Lollipop with a thumping bass. However, the chief _\1aro 111. San F'ranCISCQ. an d l'1I1 l,e'\" 'York United States Postal system playa large The Juniors that yeM decided on "Alice Parade-King. With an adult student and an understanding of each other'~ probable each commence practice. When we ha\"e is impressed enough to remark, "Is good. in \Vonderland." It was before the Bentley mother as Mother Goose, nine Lilliputian interpretative response to the wntten notes \forked out our respective parts of the scor.e I buy piano. Tom-tom men take piano les- girls became nursery rhyme characters. is a basic "must." to our tentative satisfaction. we record )t and Mopper editions were available, so sons 1" 1 never could get over my delight This Maro and I have long had in full Frank Lynn's "Alice" formed the bulk of They came over the stile into the green on tape and mail the tapes (she the piano in the twinkle-in-the-eye-tongue-in-cheek measure, probably not only because of. the the program with songs from the story rec- meadow giving a large and appreciativ~ Violinist Anahid Ajemian and her pianist-sister. part and I my violin part) to each other. manner in which they swore allegiance tu warm relationship which has always eXIsted ords passed out to the audience and sung ·audience the opportunity to observe each Maro. make a concert and recital sister-team With the actual recording of the othe~ to the piano with the words 1 had written in between us (a characteristic, I think, of which has won wide reco'ilnition for exciting work against, we continue the final, polish. by all when they appeared on the program. one fully. Accompanied by themselves they the script. It was only looking forward families of Armenian origin) but because performances of double concerti and double ing stages of practice_ I need hardly add The program was printed on the back of sangl danced, and played games until to "The Show" that had kept some of them since the time when' at the age of 5 she was sonatas in this country and in Europe, Last there is always some adjustment of tempO "Alices," cut out and hand-colored by the '''Twinkle, twinkle, little star" reminded going through the first rugged months of the youngest piano student e~er to ~nter fall they were heard together in the world and shading conception once "e haye ~he children. Ice cream sundaes with many top- Mother Goose that it was time for them piano practice. Juilliard, we have both had an lI1t~nse l11ter- premiere of the new Krenek Double Concerto actual sound of the other's part to play with. pings created the effect of "a sort of mixed all to go home to bed. The most enjoyable The Pirates (Continucd on Page 49) est and pleasure in music. For a tlme I, too, for Yiolin and Piano at Donouesc:hingen in Occasionally I (Continued on Page 53) insisted on studying the piano, but after a Germany at the three-day Festival there'.
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WHAT IS A PROFESSOR? Music Dictionary you will find that /Questions and Answers Mr. Elson advocates calling one the • I am puzzled by the lise of the "upward mordent" and the other terms "Professor" and "Doctor," and the "downward mOl"deni." -K. G. I wish you would clarify the use of these titles. Men who teach music HOW TO TEACH RHYTHM nrc often called "Professor," and I Conducted by KARL W. GEHR· have even heard the title applied to KENS, .i\1us. Doc., il1usic Editor, • Would you. please tell me how to men teachers in schools, especially Webster's New International teach musical rhythms such as the How Musicians Can Save Dictionary, and Prof. ROBERT if the man is a principal 0/ a build- doued . eighth - sixteenth, and the ing or the superintendent of schools. A. MELCHER, Oberlin College dotted-quarter-eighth? f have tried On the other hand I know an out- again and again to explain that a standing teacher of violin who re- dotted-eighth-sixteerulv is like 0.11 sents being dubbed "Professor" al- eighth tied to a sixt ectuii and then on Income Tax though he is a fine musician 1Cith an followed by another sixteenth; and excellent academic background. rfI ill that a dotted quarter is like a yOlt tell me what you, think is the left hand. I think that the left hand me also which is the mordent and quarter tied to al/. eighth and fol-_ correct usage? should also be B·fiat and that the B- which the inverted mordent. Some lowed by another eighth. But they - B. J., New York natural is a misprint. Do you agree? books call them, by (lifjerent names, still do not understand. I have the 4. I heard Guiomar Novaes play and here again I ~m confused. same trouble in teaching the band, Here's practical advice on ways The title "Professor" is legiti- the Chopin Sonata in Bcfiat Minor, Miss lVI. D., New York and I should be glad to have your mately used only in the case of a and she took the first movement advice. Miss J. 5., Indiana tl musician's tax burden. less- painful. man (or woman) who has been ap- faster than I have ever heard it The dam pel" pe(lal is used to ma k e te pointed to some sort of a professor- played. Will you please give the mere or less by an pianists even ship in a college or university. He correct metronome markings [or though no pedal markings occur in Your trouble is a very ancient may he an associate professor. and each mouemeni of the sonata? the score. The important thing to cine, and every music teacher has assistant professor, or even a visit- -Mr. E. G. P., Maryhmd know is that the use of the pedal had it from the beginning of time by BETTY LEE GOUGH ing professor. but unless he has been must not cause blurring unless the -or rather from the beghming of specifically appointed La a profes- 1. Ye s, mood of the composition demands music notation! I myself tried to sorship by an institution of higher 2. I think J"112 is quite a fast it, and since the sonatas and do it by the mathematical method. learning such as a college. univer- tempo for this piece. I have heard sonatinas of the classical school de- just as you are doing. but although On the long term gains, only hall of the sity, or school of music. he is not en- it done considerably more slowly, mand clarity of rendition above al- my pupils could t eli me the an- from income. In many cases, the tax ~av- titled to use the title of professor. at about Lss. and I think this most everything else, the player swers, they seldom played the actual ANY years ago, Mark Twain made a ....a 1.n 15. taxable" ,~ and that at no more than ings work to make renting very econolllical. However there is also a colloquial tempo is very effective, as it gives M famous and oft-quoted remark to the ~ 50% rate. J n other words, the highest must be especially careful about rhythmic figures correctly. Years Unless he has an unusually high amoUl~t usage which sanctions the title in a more sensuous, Spanish character later I came upon and adopted the effect that only two things are inevitable.: tax on a capital gain of the long term his pedalling in the case of such of personal, deductible expens~s, a m usr- the case of almost any man teacher. to the music. compositions. Young players have "observation song method" that has death and taxes. Taxes of the income va r t- va riety is eian is usually better off by USIl1~ th~ t~x 2570. . Good taste frowns upon this usage 3. I am inclined to agree with a tendency to overdo the use of the long been in use in school music ety-while inevitable.e~10ugh~neednot be As with 10nO' term capital gmns, long table on the back of Form 1040 (If Ius in- however, and I do not recommend it. you the B-Hat is correct in the left pedal, and for this reason some teaching-and since then I have had inevitably high. Musicians will do well to term capital lo;ses arc deductible only up The title "Doctor" is legitimately come is $5000.00 or under) or the blanket hand, not B-natural. teachers forbid their pupils to use less trouble with leaching rhythm. consider a number of legitimate ways to used only when the man (or woman) deduction of 10')'0 or $1000.00, whichever to 50%. But short term capital losses may 4. You must not be surprised to any pedal at all unless it is spe- This "observation song method" is keep the tax bill down. . has received a doctor's degree from hear different artists play the same is less (if his income is over $5000.00). be deducted 100j{:. (A short gain is taxed cifically marked in the score. I am nothing more nor less than the teach- The manner in which a pr ofessional mu- some institution of higher learning. piece at different tempi. What is the not a piano teacher, but if I were ing of a song by ear. and after That's why it is wise to throw man y ex- 100%.) A short term loss can be used to sician purchases a new instrument can make offset a long term ga.in of twice the amount. The title may be Doctor of Medicine, right tempo for one artist might be I believe I would teach my pupils it has been learned correctly, dis- penses 111. as "I'rusmess "ostsc . Doctor of :r..1:usic.Doctor of Philos- a difference in his income tax. Take the If there is a large short term loss-more quite wrong for another. How stul- how to use the damper pedal cor- playing the notation of the same Things as well as money count for deduc- ophy, etc., but the title must have tifying it would be if everybody had case of Jones, who owned an instrument than can be used to wipe off long and short rectly-and I would insist that they song. When fifteen or twenty songs tible charity contributions. Bill Black, been conferred on the man. either to play the same piece at exactly which had originally cost him $1200.00, term gains-then the loss can be deducte~ use their ears every time they de- have been learned in this way the knowing this, obtained a tax saving of al- as the result of long study on his the same rate of speed. And it is press the pedal. teacher shows the pup.ils a new song and had a depreciated value of $200.00. directly from reeular income up to the ex· most S100.00 by donating old instruments part, or as an honorar~' degree con- especially true of this particular com- You might, for instance, show containing the same item of nota- A dealer offered $100.00 in trade" In· tent of S1000.00~ Any loss remaining above and props to a charitable institu.tion. ferred because of some sort of schol- position that there is no unanimity them how to play a scale legato tion; and Preslo~they are able to stead of taking this, Jones ran a classIfied arly or artistic achievement. Please It is important to remember 111 a case the S1000.00 figure may be carried over of opinion among the great artists even though using only one finger~ read it! ad to sell his "instrument outright. The best note that there are many women like Bill Black's that Uncle Sam will allow for use in five subsequent years. . as to the correct tempi for the The first scale tone is sounded and In applyjng this method to piano fIer he O"ot was $90.00, which he took who have either earned doctor's de- the claim provided you put down a fa ir Well aware of the workings of the capItal various movements, except possibly the pedal is put down immediately or band work I suggest that you ~ather th=n trade for $100.00 with the grees or have had such degrees con- O"ains provision of the tax law, George Gray the third. But I believe you will after the key has been struck. As (1) select several easy melodies dealer. Thereby, he saved a neat amount on valuation. A fair valuation means an ap- ferred upon them, and such women halved his tax on a long tenn gain of nearly find the following metronome sug- soon as the pedal "catches" the all containing the ]'hythmic figure proximation of the true depreciated value~ have every right to use the title the tax bilL . $2000.00 realized from a stock sale. Gray gestions reasonable. After all, the tone, the finger moves over to the you plan to teach; (2) have your not what the donated things cost when they "Doctor" just as men do. It is pos- The difference between the cleprec]ated only purpose of metronomic mark- next key, and just as that key is pupil (or pupils) learn these songs were new many years ago. owned a second car--one of those postwar sible for a person to have a doctor's value of $200.00 and the selling price of ings is to help the performer avoid struck the pedal is released and by ear, one at a time~ singing it Some musicians permit their child.ren to lemons bourrht at an inOated price. At the degree and 1.0 be also appointed to $90.00 was $110.00. By taking this loss in too serious misconceptions of tempo. immediately depressed again; and so first, then playing it so it will work aJter school and during vacations. time it wa~ purchased, it looked like a a professorship, in fact. many college the form of an actual sale, Jones was able 1st mov. Grave J~IOO; Doppio on up the scale. The chords of a sound the same way; (3) ask your good buy. . teachers are entitled to use either to claim-and get-a long term capital loss. It's well to watch a set-up like this lest it rnovimento d~IOO simple hymn tune may be used in pupH to look carefully at the Gray figured a depreciated valuatIOn of title-but not both at the same time! cost the father a $600 credit. "\Then a minor 2nd mov. Scherzo J.~80 Piu ]ento this same way. the rhythm being dis- notation as he plays t.he song; (4) But if he had sustained a $100.00 loss (by You will find, however, that most. of dependent earns $500.00 or over during a S1000 on the car. He took it to a dealer regarded at first and the chord being finally show him a song of the same taking the trade·in offer of $100.00), he . . d'd h t1y' the really fine teachers prefer 10 be J.~" year, he can no longer be claimed as a who examined the veillcle an sal s or . 3rd mov. Lento J"48; middle held by the pedal while the fingers difficulty that contains the rhythmic would not have been able to take off a cent. addressed simply as "1\'11'." And «Fifty dollars." section J~60 move over to the keys of the next figure you have been emphasizing. However, if Jones had been offered more dependent. there are some who. like your friend, "Done," said Gray who was well aw~re 4th mov. Presto J~88' -R. A. M. chord, the pedal being released just Ask your pupil to play it, then than the depreciated figurc, he could have It 1S important to be careful that a de- prefer to have no title at all. pendent son or daughter doesn't make over that he couldn't have traded the creaking as the chord is sounded but immedi- sing it, then play it again-all the taken this in the form of a trade-in and his -K. G. ABOUT USING THE PEOAL ately depressed again. the effect $500.00. By keeping h~s income under that automobile for more than that amount any· time looking intently at the notation. book gain would not have been ta.xable. being one of legato with no break figure, you can eat the wage cake and have wa)'. He then went back to his desk and Singing and playing are closely re- The tax men do not recognize gams or . I 55 of QUESTIONS ABOUT TEMPOS • Will you please explain the proper between the chords. lated and they should be taught the tax saving too. happily deducted a long term paper 0 • losses that arise from trade-ins on new way t.o use the pedal in sonatas As for the mordent and inverted hand-in·hand. There is no harm in The distinction between long term and $950.00 from his very real dollar stock • 1. jast enough for Mrs. purchases. . Js J.~72 and sonatinas? In one edition of mordent, there is a curious incon- explainjng the "arithmetic" of the gain of $2000.00 and thereby reduced hIS Beach's Fireflies? It's sometimes possible to effect conslCler- short term capital gains is useful in setting the Mozart sonatas I find no pedal sistency in their names, but if you notation of course. but the explana. March 15 liability by 8237.50. 2. Is J"!12 the correct tempo for able savings by rent,ing~ things rather. tl~an up tax savings. A short term gain or loss marks at all. but another edit.ion will remember that the sign without tion should follow rather than pre. When a musician receives insurance pay- Sevilla by Albeniz? has them. I have been taught not owning them. This is because depreclatlOll occurs on the sale of an asset held' less than the stroke indicates that the scale. cede the singing and playing. In six months. If the item has been owned for ment for a loss, how tbe payment is spent 3. On page 3 of this same piece to use t.he pedal unless it is marked, tone above is to be used you will other words, you are to follow rates often allow a negligible write-off eve.ry by Albeniz, where the run~ in six- the half year or better, the gain or loss is means a difference in the amount of money and I am confused because some have no trouble so far as interpret- Charles Hubert Farnsworths famous year. But 100% of a rental-charge for In- teenth notes are, 11/.,' copy has B-f1at a long term one. which the Collector (Con tinned on Page 60) of my older pupils like to use the ing the signs is concerned. By the edict: "Expel:ience should precede come-producing purposes may be deducted in the right hand (lnd B.natuml in pedal in their sonatas. Please tell way, if you will look in Elson's formal instruction." -K. G.
ETUDE-FEBRUARY 1952 ETUDE-FEBRUARY 1952 20 21 ----~--- • -.-~-----.....------.
CUTS, OR "ADJUSTMENTS"? easily dispensed with. But is it so? Do you consider it permissible to I would answer in the negative. make cuts in certain compcsiticns. feacher's '-"'oundtable Scales can be practiced in a musi- From time to time I..feel inclined cal way. A large variety of rhythms to do so, but I hesitate because I can be invented, and this is an ex- have heard it said that it is a lack cellent way of keeping one's brain of respect for the composer. Please alert and one's creative power in let me have your opinion, and thank Breathing and Breath Coturol MAURICE DUiYIESNIL, Mus. Doc., good trim. Then, there are so many you very much in advance. different colorings, so many modes rr L. M. B., New York Advises. Co.cerllin• C" Cuts , or "Ad- of 'attack which can be discovered. justments, a oncert Pianist, and A little concentration will bring • There is wide divergence of view- Scale Practice. forth a really enormous quantity of Singing points regarding the above question. combinations of all kinds. There can tn While some distinguished pianists be no drudgery when the ear is atten- do. not object to the use of slight tive to the contrasting tones of the adjustments, others equally distin- "Yes, that's true," he said: "if I times-hut I'm getting strong as a two hands, suggesting various instru- guished vehemently oppose any al- could only know how to curtail mv- horse. I really love playing-was a ments of the orchestra: suppose you teration of the original texts. This self I would be as perfect a musici;n real show off on Scarlatti-s-and other play the right hand with the bright, Does "natural" breathing give the by JOSEPH A. BOLLEW calls for an elaboration which I am as Saint-Saens is." brilliant numbers and I know you reedy tone of an oboe while the left going to snbmit here. Now let us come to Schubert. His would have been pleased with me- hand underlines it in soft legato couple places I didn't like-the singer's voice adequate suppoJ't? First of all, let me declare that was an extraordinary melodic gl ft. muted 'cello tones. ' the stand of the opponents is Ioulcal r!e wrote music anywhere, at any piano was fair-difficult to place Make a well-graduated crescendo legitimate, and respectable. In "'fact: trme, often not recognizing it as his any tones in treble cause the voicing toward the treble, then come down I often express myself as thev do O",7n later on. During the thirty-one was u.neven. Didn't get to try piano with a diminuendo that seems to fade when I hear the "butcherinO'''' that years of his life the number of his out-Just got there in time to play away. And vice-versa. always softly and musically. goes on over the radio. llardl~T to he compositions reached over six hun- and catch train-but warmed up in Con~rast staccato with legato, use Is it not after some great exertion, when VERYBODY AGREES that next to the Later, the sound of Z may be changed excused by the fact that all pro- dred, not counting a quantity of h.otel-each and every time I play slurs in patterns, cross the hands we are, as it is commonly referred to, "out possession of a good voice proper and alternated with the humming sound of grams are subordinated to the exi- them possibly lost. So we wonder: I'm careful of my spots-cause at one or two octaves distance, play E of breath?" To develop the air repository, had Schubert enough time to ponder worrying about them makes it even breathing and breath control are of primary NI. The M must be placed high in the mask gencies of the clock. When I hear all. scales with the fingering of C· we must observe what happens during in- some atrocities committed by artists over each one, to polish it up. to har.d for me to eat-it is getting importance in singing. But when it comes of the face. The Z must be done with lips major. These are just a few of the halation following exertion and duplicate who ought to have better sense, it submit it to the critical appraisal easter though. to the question of what constitutes correct open, both rows of teeth held lightly to- elements which make for interest the process. That is the real natural way makes me boil. This once stated. let of a small elite? Probably not. "I talk on four numbers just a breathing and efficacious breath control gether with the tongne gently held flat and and variety. to inhale for the purposes of singing. It us look at the record, as Al S~lith Otherwise he might have discovered little. I'm awful bashful; when they In conclusion. I firmly believe in we encounter a bewildering diversity of its tip against the lower teeth. The face is known among athletes as deep breath- used to say. Are master works really that certain works were not exempt clap I don't know hardly what to the value of scales. Chopin and Liszt opinion. There are advocates of chest must bc held in a smiling position for untouchable and must we abide by hom lack of proportion and exces- do-stage poise-I need that-there ing and it quite literally is deep breathing, did. We cannot go wrong if we fol- breathing, of costo-diaphragmatic breath- both consonants. Scales and melodies every sign, every marking indicated sive repetition. And it is reasonable they like it-but other places I don't for the in going column of air flows far low their example. ing, of abdominal breathing, of a combined should be used for the M. Various notes by the composers? to think that of his own accord he think they would. down into the body and goes into every play of thorax and diaphragm, of straight for the Z, but always singly. If there is Yes, on principle and out of re- would have proceeded to make some "Got into New York at 12 p.m.- INAPPRECIATIVE GIULIETTA available space in the body where air can "adj ustments." diaphragmatic breathing, of "natural" a tendency for the Adam's Apple to rise speer for their genius. But since "the waited till 1 a.m. for baggage-s-have Will you please fell me the story go and is necessary. exception confirms the rule." are There is, it seems to me, a vast a lunch engagement with press agent breathing, and of the use of different types during the exercises on M, it should be of Beethoven's "ilifoolllight" Sonata? This method of inhalation may and w~ not justified in departing from difference between "cutting parts of -maybe I can find out more about of breathing for the so-called different gently resisted and held in place. The Why was it called Moonlight? Thank should be practiced apart from singing ex~ tim rule occasionally? Let us take a master painting or alterinn its color where I play and what next. Will registers. Adam's Apple should be kept low and iu • • you. ercises, not only as a means to perfecting several examples? sc Iieme on one hand, and "leaving write. and let you know-Am going It would not be unreasonable to expect the same place, but without forcing. Simi- (Miss) A. D. M., Mussachuseus the inspiratory process, but also as a means When we play the Haydn Andante out a few bars of music" on the other to mls~ our lessons-though doesn't unanimity among the proponents of "natu- larly with the Z. The Adam's Apple should to expanding the air repository of the body. with Variations in F minor. or those ~land. For in the first case the paint- look like I have much time." There isn't much to say about the ral" breathing, for what could be more self- be kept low and in the same position no from Mozart's A major S~nata. or mg would be radically and immuta- Bye-Love, However, the following qualification must Op. 27 No.2 except that it is prob- evident than something that is natural? Yet matter what note is being used. Also, great Schumann's "Symphonic EtudesJ' do bly changed, whereas in the second June.' be made. In singing, an excessive intake ably the most often played amons here too chaos reigns. The earnest student care must be taken to preserve the same we make all the repeats? I I;ever case a cut in the music is optional What could be more spontaneous of breath induces tension of the throat, Beethoven's Sonatas. >:> of vocal production is sorely tempted to heard anyone who does. and leaves the original text intact infectious, refreshing and enthusias: the diaphragm, and other parts of the body. placement on any note of the scale for Z It is dedicated to Giulietta Guicci- exclaim "a plague on all your houses," con- and on any of the scales and melodies At the Conservatoire National de for anyone who prefers to follow it ti~? Here you are, my young aspiring ardi, whose name has been linked Therefore, inhalatory repletion should be Paris. shrine of Chopin tradition. rigorously. scious of the impossibility of testing all friends, with first-hand information s~ntimentally to Beethoven. Did Ciu- avoided when singing. An abundant intake used for M. Further, the quite natural the methods in order to discover which is isn't it the rule to leave out the two I sincerely believe that here. as from a coming concert pianist. June lietta appreciate the honor? Not very of breath short of "bursting point" is the tendency of the walls of the chest to con- repeats-though they are written at in so many things, good taste. n;usi- best and of the dangers of the hit or miss Summers is her name. Watch out for much, if we judge by the way she ideal. Practice, without singing and dur- tract during exhalation must be gently full length-in the popular Scherzo cal discrimination, and tactful in- her in the next few years. process it would involve even if time per- complained in a letter to a friend' resisted until there is no contraction of in Bcflat minor? tegrity can playa great part. A clear ing singing, will determine how far one "Beethoven had given me the lo~- mitted the series of tests. What is he to Does the above harm, or improve insight should be able to set our may go in this respect. the chest. SCALE PRACTICE ely Rondo in G, but when he wanted do? It certainly is a dilemma. the works? I incline toward the lat. artistic conscience at ease; for "if We now come to the matter of breath These exercises will contribute very con- For 'many years T have tried to t~ dedicate something to the Princess However, a little thought and observa- tel'. We also know of cuts and altera- only God can make a tree," the lov- control. The first thing to learn in breath siderably to conservation of the breath, get my students familiar with all the Llchnowska, he took it away from tion will put him on the right path. tions made by composers who. before ing care of a skilled gardener can scales, major an.d minor. But there control is how to retain an abundant sup· which is at the very basis o[ breath con- m: an~ gave me a Sonata in C-sharp Of all the methods advocated, there can sending their works to the publishers, trol and, incidentally but importantly, to enhance its beauty, and prolong its are only a few who :jeem to under- mmor lIlstead." be no doubt that the method of "natural" ply of air without bodily discomfort and had them pass under the scrutinizing life. clarity of tone. The conscious, deliberate stand their value, and the others just Something was wrong with poor breathing is the best, despite the difference tension. To achieve this, do the following. eyes of trusted friends. So did BaJa- roll them up and down withou.t any use of breath in phonation results in a Giulietta's sense of values for while After an abundant inhalation, hold the kirew with some of his 01\'11 pupils. of opinion among its proponents as to I WANT TO BE A CONCERT regard. for anything but a sort 0/ t?e R?ndo is a pleasan; composi- breath for a few moments and then expel cloudy tone and robs the voice of resonance. and Debussy with Chausson and PIANIST what it reany is. deafenmg rattle. f am getting can. tIOn,. ,It cannot compare with the it on the sound of Z, the buzzing sound, However, it must not be thought that the Satie. My fellow Round Tablers surely It will be found that these differences fused for I hear that some authorities glorIOUS masterwork admiI·ed the reverse is true. Absence of breathiness does In the recording of Tchaikovsky's remember several of my answers t~ of opinion arise from the fact that the not the phonetic letter Z, or Zee, as slowly contend that scales are no longer world over. not of itself make for clarity of tone. There Fourth Symphony by Koussevitzky, letters expressing the above desire. necessary. I need some enlighten- ordinary, everyday intake of breath called and evenly as possible, forward and high . The name "Moonlight" was never some measures are left out at the Now here is genuine information. It against the upper teeth, softly and musi· must also be an absence of gutturalne~ r;tent and will appreciate your opin- gIVen by Beethoven. It ·was added "natural" breathing is frequently inade- conclusion of the last movement It has just come in a letter from one cally. The period of breath retention pre· throatiness, of singing on the larynx and ton all. this important matter. by a sentimentally inclined publisher quate for many of the requirements of sing- is likely that the composer him~elf of my young artist students written ceding emission must be lengthened grad- of nasality. But it is a highly important Mrs. J. W. B., Ohio who was a shrewd business man as ing; from its limitations in other words. would have approved of this sIirrht immediately following the' first reo ually, moment by moment with practice, contributing factor and since we are deal- well. He thought this title would give The solution of the problem lies in reseclion, for he knew his propensity cital of her first New York managed The slalem.ent 01 tIle "authorities" but never to the point of discomfort. ing with breathing and breath control in the Sonata a greater appeal, and in- greater inhalation, in the ability to inhale ~o over-development. Once in Paris tour. you mention seems to be an error And the greatest care must be devoted to relation to vocal production we shall not crease the sales; in which he was 111 ~~89 he suggested to young Isidor "Dear Mrs. and Dr. Dumesnil: sufficient air to meet the larger demands and personally I continue to advocat~ and continues to be right! But th~ the emission of the breath. It must be ex- dwell upon other matters. Philipp a performance of his second HI played yesterday and I wasn't of vocal composition. For this, the air the use of scales as one of the best authorship goes to critic Rellstab pelled under the sound of Z, as slowly as. Not a few authorities believe that the Concerto in G major, rarely heard. nervous at all-love it-they love repository of the singer's body must be w.ays to build a solid, reliable tech. who wrote in an article that th~ possible, without the slightest forcing; the passage of breath past the vocal chords cre- When the latter risked a discreet me too~broke hammer on De Falla developed to its utmost. How can this be mc. I know that some teachers con. ~usic. of the first movement called to sound of Z must be made as even and in ates the singing voice. This is only partly remark about the tremendous length -and I was real careful too-darn done? Nature l)erself shows the way. tend that they are hardly more than hIS mmd a moonlight night on Lake true. It is true (Continued on Page 50) of the work, Tchaikovsky smiled: it. Train travel gets pretty terrible at When do we inhale to the fullest extent? as straight a line as could be achieved, a mechanical routine which can be Lucerne in Switzerland.
ETUDE-FEBRUARY 1952 ETUDE-FEBRUARY 1952 22 •
ORGANIST'S PAGE
Fernando Germani- Rational Imagery • A Great Italian Organist Applied. to the Violin Bow
The pupil's imagination is called upon in solving Meticulous attention to all details the problem of stabilizing the bow arm, brings magnificent results by MURRAY KAHNE
by ALEXANDER McCUHDY
TONG before. our modern electric juke- l:h.e novice can assume the elementary formula, but in the mUSICIan. L box was invented, our American an- posruon of holding the instrument without For the less talented, a more specific, as diligently as a student about to play his cestors could drop a coin into a mechanical was satisfied. Every phrase of the music taxing his power to accommodate his nerves more rational imagery is required. To reach contrivance and hear violin music, of a was as flawless as talent and hard work first recital. and muscles to the task. As instruction him a language is needed which will de- There are some great performers who sort. A real violin behind plate glass was . proceeds, however, he is called upon to pend more on mutual understanding be- could make it. never practice, relying on the glitter of Another work which Germani played was gripped rigidly by iron damps. Steel fin- make ever marc finely.differentiated mus- tween himself and the teacher than 011 his ERNANDO GERMANI, the titular their reputations to obscure technical faults. gers stopped the strings, while a "how" cular actions in the interest of aesthetic own independent ability to integrate all organist of the Vatican, has just reo the "Grand Piece Symphonique" of Cesar F Franck. I heard him practicing this work Germani, however, is not one of these. in the form of a revolving rosined wheel performance. A point is inevitably reached the factors involved in playing the violin. turned to Italy after a tour that took There is a freshness and clarity in Ger- for hours on end. He was working on it was raised and lowered to contact them. wJler~ the student approaches the psycho- To meet this problem, with my own stu- him to 19 states of the Union, plus the mani's playing that is delightful. He plays In terms of musical results, an immeas- physiological limits of his current level of with the double objective of playing- the ?entsl I devised a "language" of rational Provinces of Ontario and Quebec, and in- proper notes and of getting the registration with understanding of the music and with urable gulf separated the performance of skill on the instrument. Something must imagery, highly specific in function. de- cluded "appearances at 12 colleges and uni- the ease of the Italian school of organ- this sterile device from the performance be done to remove the present Iim itinc signed to meet the needs of students' who versities, 18 churches and five concert halls. exactly to his satisfaction. No halfway playing of Dr. Courboin and Marcel of accomplished hands and a sensitive conditions and raise him to a new level of have talent in varying degrees, but who It was my privilege to hear Germani's measures would suffice here. Dupre, the German school, or the English brain. Yet in substance the robot performed skill. are insufficiently integrated in their ap- first recital of the tour, and my even greater The stops on the organ which he was school of organ-playing. Germani does not the same physical tasks as the greatest Here the teacher is apt to foraet the proach to the overall problems of perform- privilege to watch him prepare the works to play were quite different from those of go to extremes of speed and registration. virtu.oso in concert. The latter's complex lesson implied by the way in which the ance. I do not advance it as the only or on his program. I wish all my students the European instruments to which he is Everything is in balance and well-proper- physical and psychological organization student first handled the instrument. He the best possible solution; but I have could have had this same experience. I am accustomed. Germani, however, did not tioned. Elegance, rather than grandeur, is bends its total activities toward one end: n~ay r~,sort to demands on the physiological found it to work well, and it does have sure they are tired of being lectured on settle for a combination of stops which characteristic of everything he plays. that some strands of horsehair. stretched SIde: Hold the bow thus ... the elbow the kind of methodological structure that the importance of regular, systematic prac- sounded approximately right. He literally No stranger to America, Germani has to a given tension, are propelled at a de- so ... flex the wrist more." Or he may permits of standardization and formal usc. tice and unsparing self-cr-iticism. A con- re-studied the Franck piece from beginning played here off and on for the past 20 termined velocity and pressure across attempt to apply a sort of mesic formula By "rational" I imply an image which stant search for perfection is tedious work, to end, trying every stop on the organ and years. He was first invited here by Dr. strings whose effective length is changed which is expected to work throu sh the and it is easier to let things slide. But that experimenting with different combinations may.be creative .in every sense, and yet be Alexander Russell and the late Rodman by the successive action of finger stops. student's subconscious mind. Sa;s the meticulous preparation brings magnificent until he found precisely the registration readily communicated because it is formed Wanamaker to perform on the Wanamaker The responsibility of the violin teacher teacher: "Playa dark tone ... a tall tone results, the example of Germani is proof he wanted-s-and in the process becoming of elements and patterns already familiar organ in Philadelphia. Since then he has is clear. It is to help the student with the ... a bright tone." sufficient. Attention to every detail is what thoroughly familiar with the resources of to the st.udent. He can generate the image made many tours of this country, some mechanics of self-expression without mak- It is more than likely that such words makes the difference between a great organ- the instrument on which he was to play voluntanly and can. learn easily to act in being longer than the one just concluded. ing him into a machine. Only thus will the are completely unreal for the student. He ist and a merely competent organist. the recital. accordance with the image. All through his busy career, Germani student eventually be able to express his will-he unable to produce the specific tone For example: One of the works on his This is what it means to be a great To illustrate: you arc instructed to walk has found time to keep in touch with trends thought and feeling through the infinite in the mind of the teacher because there opening program was the Each D Major artist. Great performances don't just hap- across a room imagining a wire to be in organ-bu ild'ing, He is not impressed with nuances in the emotional spectrum of sound is no meeting of the minds. Prelude and Fugue, which it is quite likely pen-s-they are the results of hard work and ~trung in your path at a height of six some of the current ideas of builders. He which we call music. Suppose the teacher illustrates, playing Germani has been playing ever since his careful preparation. I daresay that for inches from the floor. Without further in- has little patience with the school of In trying to meet this responsibility with legs were long enough to reach the pedals. every minute he spends in public perform- ? ~Ol:~f~r ~he student over and over, say- :truc~ion you will act to step over the thought which aims for ensemble at any my own students, I had to ask some un- In , This JS a dark tone ... this is a tall His pedal technique, moreover, is phenome- ance, Germani spends an hour in rehearsal b Jlllagmary wire. Again: imagine the wire cost. It is true that he likes a clarified en- conventional questions. nal. One would think the D Major Prelude beforehand. The quest for perfection is tone." The pupil may finally learn to dupli- to be strung four feet from the floor. Be- semble. He likes to have an adequate pedal The novice picks up the violin at his and Fugue would hold no hazards for so never-ending. My students, overwhelmed by cate the lone and recognize it by name. h~ving in accordance with the image, you and have it clear. He is exacting in regard first Jesson; he places it under his chin' accomplished and so thoroughly experi- the drudgery of learning their trade, some- But he has no rational insight into what will act to stoop under it. to the placement of an organ so that it can he scr~pes a few notes on the open strings'. makes a given tone dark, another tone tall, enced a virtuoso. times wonder when they will be able to . This is a far cry from the non-rational speak effectively. However, he is not im- What If human beings had to be taught, Germani, however, left nothing to chance. sit back and relax. My answer is: "Neverc-- unless he possesses a great musical talent. ~lllager~ of dark and tall tones. The wire pressed by an instrument which has nothing muscle by muscle, this integrated pattern Before the recital he meticulously practiced if you are an artist." It is true that with In s~ch a case he can rapidly integrate the Image IS drawn from a fund of recallable normally learned by imitation? Surely the pedal part alone, both to refresh his study and experience, technical facility in- but an ensemble. mY:lad factors necessary to produce the sense exp~rieJ1ces common to practically Germani recently had built for a hall just there would be neither teachers nor violin- memory and to become acquainted with creases~bu~ so does one's faculty of self- deslre.d tone, almost independently of in- everyone; 1I1 producing a specific and highly outside the Vatican a five-manual organ the unfamiliar instrument on which he was criticism. As one plays better, one becomes ists as we know them. Teachers may con- strucuon. For the great talent, this non- complex p~ttern of muscular cocrdiqation. with more than 100 sets of pipes. It has a to perform. Small details, which would always more critical of one's own playing. sider themselves fortunate that they are ~pecific and non-rational language of In stooplllg under the imagined wire it fine ensemble, he reports, abundant color hardly be noticed in performance, were re- That is why we find a world-famous organ- able to begin instruction already so far Imagery may be enough to achieve its pur- makes little difference whether one bends ~h in all stops, (Continued on Page 57) peated over and over until even Germani ist like Germani practicing before a concert along on the way to accomplishment. pose. The "magic" is ultimately not in the back a few inches (Continued on Page 53)
ETUDE-FEBRUARY 1952 ETUDE-FEBRUARY 1952 24 25 ------
PIANIST'S PAGE Polonaise The typical polonaise rhythm is well exemplified in this n b . arranged by Denes Agay. The rhythm must be well m k dum :r from the aIb.um , "Pi an or arna of the Wor-ld's Favorite Dances" t pedal markings are important. Grade 31/2. ar e an he left-hand staccato passaaes 'should be played crisply. The
MICHAEL K. OGINSKI CHOPIN: l\:1oderato, malta cantabile (J:66) 3>-~ t Etude in G-Flat Major, Ope 25, No.9 '"'
Ped. simile A Mi\STER LESSON BY GUY MAIER i >- ,., 3 ...... 2 .. ~ >- ~ I 3 2 I _~ ·ll.•~r 1:~. , - .. ~P ~ .~ .~ ...... ;;;i'" 3...- -- Fine P -nh A &- .-.;. ,/ Divide the piece by red lines into eight- , nM P:i " ~ ~ nly an unimaginative hack could have . measure phrases through lV1. 24; there- labelled Chopin's G-Ilat study, 01'. 25, . . O after into four-measure phrase-lines through , the "Butterfly." Any resemblance in it to 4 5 t M. 44; then to end. At first, practice in 4 2 ~ .. a butterfly's flight is purely coincidental. (4) Th n 1 r a rice th Etude "as is," such subdivisions and gradually extend to Originally it may have been called "Papil- hands together, in light rapid impulses of sixteen or more measures. Ions" Etude; that titLe is not too inept twos. Be sure to rest crnplet and long -- Iy (1.) Don't fool" 'round with the notes since it refers to a stylized "Carnival" at the fermatas ... (left hand omitted to in front of you. Memorize at once, hands dance-character (female!) , Iight-footed, separately at first, then together, 8 or 16 save space). dashing, scintillating. Translated literally J>OCO 1'it. .. measures the first day, 8 the next, etc, ..• as "Butterfly" it becomes Judicrous. Have a Practice the left hand with light, easy, ~ I..~ tempo you ever watched one fly? ... Well, - skip-flipping staccato (no pedal) _ Work at Chopin's study has nothing in common the right hand (with highish wrist) in with such a spineless and vacillating crea- "twos" with collapsing or dipping wrist on ~ ture .... Its whirring wings are propelled , the first sixteenth note, and with rising by strong, mercurial substance .... Away (5) Now work first .Ioldy then rapidly wrist on the second sixteenth thus: "down with that wretched "Butterfly" nick-name! in four-note impulses, with wrist dipping (loudly), up (lightly)." . The Etude is usually considered sacred 011 first sixteenth and risina on last six- Be sure to play the top black keys with to the virtuosi; "ordinary" pianists seldom teenths. Rest at fermatas! (~ res omitted fourth finger ... never squeeze or press tackle it in public. Although it is a difficult Ex.:l thumb. Bear in mind that this Etude is a to save space) ~ c:== etc. (and unique) octave study there is no rea- J ~ J .1:' •••• f:'< If son why the rest of us should shun it, for thumb piece. the thumb can be held Iiaht > - .. "L and relaxed you'll have less trouble wit.h (6) Then in impulses of ights _.. note it is by no means so hard to realize as the that only the beginning (Troup is ill sixes: concert pianists try to make us believe. endurance problems .... And don't whack all groups following it are ighte ... Wrist I They (lucky mortals) have ground it out out the octaves from wrist or arm. Play ~ dips at accents, rises on other notes. I since childhood, slow, fast, -soit, loud ..• everything with your fingers close to key Ex.'" and of course can snatch our breaths away tops and with quiet hand. TRIO - >- >-• by their machine-gun accuracy. (2) Now practice each phrase softly ~J J J !JI:'\.r=:i IJ .J J J .r.-..F)I.Fffflj 1'\ c> roo- P""l:: n:I ~ ;> - .... ;te. """'= - it:~·~0 But you can play it, too, if you will prac- with right hand thumb alone. Don't curve (7) ow in two-measure impul: (l\ith · - tice it intelligently and economically. You it excessively; play it on the lower· out· · ~ 1"":"\ after each second me~ure) ... then "- It. probably will not be able to reach the speed side end of its tip. Never jab a key with 'fstacca?o ·se/ffPre -= ....>- >- " f.'--Jl..- ..:= pespr. the thumb's flat side. Always keep in key. measures, then 8, eLc. >- of J,"S which is "out of this world," but ~.~~~ ~L top contact and play with quiet hand. Do (8) Return olten to No. 1. Work al il i••••:::- . ~ ,. ,~ ~ an ove"rall tempo of J=IO~-IOI with slight ~.~~~.... very slowly, relaxedly, firmly and \fithoul fluctuations is very good and extremely not try to hold the octave span, but curve , · looking at the kel'board. effective, and J'lI! is stunning. Avoid edi- the. un~sed .fingers gently .... Let y~ur ~ 2 '--' I , ... WfIst dIp shghtly on the eighth notes and Important points: ~ h n you play the , L.....J tions like the one by a famous pianist - L-., -=I which gives no less than 23 painful pre- rise on the sixteenths: Etude up Lo speed always sLarl3 little slo~" paratory exercises, not one of which con- er and solider than you can play it; then tains the exact notes of the Etude. It would E ...:. I gradually lighten and speed up .. , "takeil take months of agonizing over those drills ¥¥f~ ..; t F+iB"= easy," that is, ritard glightly nnd t'breathe" before you could start on the Etude itself! Do",,"n up up Down up up ,!own. at t?e ends of each 8.measure phra..~ ... Here are given a few stripped-down ways de. don t play M. 25-28 too loudly: 'tart ~I.29 to practice the Etude. Do not work at it much softer, work up to a good dim:n: and more.than thirty minutes daily; practice . (3) Now pr~ctice this thumb alone rou- make a convincing and re.lued ritard in tme (by p~rases) faster, playing the left often with each hand separately (the left M. 36 . _ . The hardest mea "UTes are )1. hand WIth It. Never use damper pedal in 4244 - - hand is very important, for it is the pace . - . PractIce them often alone. ~me- 1 I I I , It! o 5 any of th.ese practice routines. Keep the L--J L...-....J L...... J '--' setter and controller), and take plenty of tunes very slowly. occasion all \-er fa_4 from "Pianorama of the \Vorld's Favorite D ,~L--J L.-.-J L----l L--J t----J thumb qUIet, relaxed, light. pause between repetitions and phrases. (Continued on Page 51) Copyright 1951 by Theod P ances arr. by Denes Agay 410·41015 D. C. at Fine, Sen~a repetizione ore resser Co TUDE-FEBRUARY 1952 . /e 27 26 ET DE-FEDRt' IR) 19j~~------• -
4 2 Etude 2 5 d4'q~ 4~~' No. 110-03873 l ~.~ ;::;r~~ (fiq~ r5l=' ~ ~,; I::f= Butterfly Etude 1\ I ~.b .. ~,t... ?-7-. A--... Cf~e A Master Lesson by Guy Maier on the Chopin Etude in G-flat Major appears on Page 2~ of this issue. ~ r cresco 4 4 . ~ 2 5 ~@ ~ .. /1";' ;,. ~ . ~ .. e ..~ • b~ i ~ i . !
> l- Va ~ ...... 3 t,.....-. ~4 e..."a q~3 t- . ~. :>leggiero'? ~. p . 8":''---' '----'~ -L--...J~- _.~.~ ~-~- _~" '=5 '-:::":::. 2 4. s 5 5 2 5 /:L"' . ..:. 3 ~ I ?-.. ~. ~ . ..:. ,~l;,.' ~ffJ.:~ . ~e~~ 3 ~.~~ 53.'} It ~ 4 4 ~ -r 3 • 5 ~ 25 ff app(lssionato ~. /-- .... ~. @ ;,. ~ ..:. b... . ! l- ! w,! Ii: • : : : _ -.r ., 2 t '? '? '? e ....:...~ 5 q::j~1J ~4q y . $ t 5 a /. •:,...... - .. -a • ft a tempo 5 a 4 5 • ~ ~ , 4 2 • L---J . ;,. • L--J .. '------"----- 1\ I (,,~.D.~~:>~ ~ ~.t. ~e~+--~ ... A--. .;, ~. t. kei=e ~# •2 j 5 ~ •2 5 ~? 5 3 •2 § ~ ~., • .• '. :> rit. .@ p @ ft, . : .. .;. ~ .. ~ q . • . ~ , !- 3 3 ! ...... I....J .o...... J' .-...... ; "'-J" 3 ;-I ~ ~ 3 3 2 a L--J '------' L--J L-..J '------' '------' L--J 5 4 4 I • 2 4 •2 4 4 n ~. ~. 2;" ~ ( ,--5 ~ 2 4 2 ;11, .~~ (I~_. ~eq!:~ f...~E:i= ~,~ lL lI~t ,,~ ..... t11t~# /~r.: ~ /2.' ~ I , I '" .. leggieriss . @ ~ . .;,. ;,. p q~ ;,. .. .. ,b.. ® i ~ b~ f.,. I,I,~ b.. .. f • -- -.f-' "-J • I --.I 5 3 ...... 2 3 '------' L-..J • ~ ~ ~4 .. ~. 8 ...... ----._--_ _ ..-_ _- _ .._- _--- _.- .. .. , , I , cJ. L--J L---J ;;-:-- ; , I L--l - -..;.-----:------:.:.:.:.:.::. \...... ---I 5 t 3 2 •I 3 t
t 'dim,
2 t 2 5 • 5
• ETUDE· FEBRUARY 1952 WE· FEBRUARY _...... _ 29 ET 195 28 ,
8t?:--;: 1424 t 2 -r- 1'1 I ~J\"17 ~1"1:;; rl~7 r·f....7 ~1\~ Valse-, ., Lento from ~"Sylviai. . 'f" - S 1 . " provides excellent material for develop. 111 • -/ -.: r: r ./ r rr One of the most p opula r of"the lighter- works, the Valse from the ballet" Y v~a Grade 41/2. mf p >- ing a good sense of rhythm. A nice singing-tone is called for in the right-hand passages. 7 {i -. It li l,bJ.; -- LEO DELIBES . ~~. : . Arr. by Hewry Levine , ~ r 2 Sostenuto (J:""J a 2 1 3 7 i~~ -z>. "7 1 t~~ 7 --. .l.l~~~ ~...... I~JJ"1; .L~~ ~ I 142~~l\ I...., \"1:- 1~},"1" --- Ii '.
t r -/ P -. t 7 rr _"!f --- P sos,te121do -= -,J. ,hU. -.J. dim. l~ ~j l- 1 L----J '-----' 5 2 L--l I 3 '2 3 L.-J t.:» . V ,(' " P'~ ~ • '---' ~ 2 -J 2 "7 '----' L.A 5 8-;.uu.,,: -: 5 5 5 a 2 3 7 --. ..--- - 2 2 5 4 3 ~. --. . ~. ~ I. 2 ~. 2 ~ !.h ~.. ~ tbb.~h!.. '" ~"I .l! q~ ~~ ~ . ~ ~ ~ ~~q ,.l4ll,i) 2.:. .:..!~ ------1'1 I , ,,,,.b~ ~h•• b..~. Ih.... I.: k'~:~ ::: ~:.... :~ k-" ~-k1...... Ir. p mf l!- : ~ ~ I h"; ~ .-----. ~ 2 3 .. 1 '2 I 3 '2 3 I "2 .. 4 5 3 2 1 5 a 1~1-.----....,112. ';' .~ ll1 ! a 8·;;:-:.:::··: 8;:.....··: 3 ~ 2 r-. p.' ~ ~2 ~_ .. ~ I , b:::~:~: := :::- ~1"1~~"1 ~ -':~"t 7~"t ~ I~ - ~ p be" SOS!. .. -rall. e dim. a tempo J-r -/ r: r -/ ~r ~ · --- • ~ 3 5 I I 3 c:; ,~ ..... I , ~"'''''''2213 , , 4 ,~ I 342'
2· . !~~. . ~ ~ - ~ ~ I ~I 2. '.~~~~~k~:~~' = r:c i p ~ t2 , 2 4 {! i i L.H. ~;~ L.H. .. •i: 5 1 2 1 2 I · 2 4 2 4 2 3 ~ 2 5 % t .2 t I '----' L-.-.J L-J , , '.I' '-----.J 54 42 542 a tempo . '/r- 12 , A -'A'- _ 2 4 .------::-: "7 d. ~~':::.u- .., ,..,..::.' nn ' n.' '""';2":'::::": - - -= I ~~. ~ 4 f'J I - --', e' C~· ceo .~~ 2 , 1"':\ : poco 7'it.::::=- : p t r 1'7' ~ LHr.• 2 - malta ralle"ta~do _ . , , , ------~ .. l 7 -. 7 .7 r,- J?P 1"':\ · : ~ . .J 3 "!' ., .. 5 •3 3 2 1 1 2 : '""if' 4 4 2 3 • 4 From "Themes from the Great Ballets" 410·41016 A • 5 A , :;.J l-..J L-...J Copyright 1951by Theodore Presser Co. International Copyright Secured ETUDE-FEBRUARY 1952 • ETUDE-FEBRUARY 195_2_. _ 31 30 7 Adagio .No. 120 -30153 Tumble-Weed ·t ts s a id when he was 12. It provides excel. (March Grotesque) . . d vi l' witten by Mozar, t 1 1 , This little number is from a SonatIna for plano an VIO m , rift h nd- molt o legato. Observe all dynamics. . .. B t ct the notes of the e a An even, steady rhythm should characterize this number. It must not be played too fast, else it will lose its grotesque quality. tent practice in developing a siugmg tone. e sure 0 conne Grade 3. PAUL BLISS Grade 4. W. A. MOZARl' :> Arr, by G1'y Ma.ier Con moto (J :96) , ~, I~ I'J I . 4 3 1 2 3 . If ..,; .... I Wi1jVG p - 3 ~ _OJ - ' " " --. .," ...... " . ~.,. .= t", ...... - o/q~rr. ~r. (-r. C!f!r!rrr, 11 --- 58'" 3 . 1~3-5~~ ,., I 1 ;---.... 4'3,21 ~ 2 fj 3 5t'3 .. "" mffM 4 3 2 - 2 43 2 , 2- - ~ I , ~ I~ ,JL;-3- i£J"~ ifz3 ~ 1~~3"·3·' 3 3' L-lJ!...., ·3· 3~~ Jl....., 3 L.H_ s~ 2 3 4 3 ' ,., I L.:<..JI<~. ~ ifz .I<~::.--' l!.. • p.. ~e ~L.H. : : --.: 2 1 t v 3 2 1 1 3 '" 5 4 3 5 4 3 " .. ~ ~ J.,...oIo'" , 'L ---JA'-- __ --iAL _ 3 4 3 2 1 2 - 3-5 ,., I ~5 3 454 3 4. atc>Ilpo c-= '"3' +- +- F .. 3 3'"1" 2-3 ~~D~ ~ ~~ I 11 3£ 2~ 3 12 "- - ....;;"",--0 2 1 :1 1 Z I :> :::~ - • , - I , I r ~~ '-'" Ill•../. 3 3- I r ' _J " ~ 3 ..,; ...1.... ' ... ..,;..,;' , -,8-'" .. ltg: .. 1 3 2 :>. • JII" dim. e rit. IfLf~'~'-. ,,(2- ~e: fi' dim. e rit. I. p: m~...:!..!l.olllill JJ •• o rd. adhb. mf' I~ 11 ~ "~ ~ ~ I --JI'-- A'_ ~A'_ __'A'L AIL ____'AL ..JI ~ TIl -I' I TI I I I .. A A , 5 5 U n :> D. S. al Fine senza repetizione From "Pastels by Guy :Maier 410 - 40182 :> Copyright 1925 by The John Church Company International Copyright ·"A Co vMvhl~ ETUDE-FEBRUARY 1952 CopyTight 1942 by Th~odore Presser Co. Bnu::..u P.,--v ".~ 33 32 ETUDE- FEBRrMR'i 110·...... _------~ 3 No. 120·30859 The Green Cathedral t ity for a display of legato touch. I .. this number offers splendid o pp o r un A lovely piano arrangement of a w ide l y-u s e d song, Make the most of it. Let the piano sing the melody. Grade 31/2. CARL HAHN I Arr. by Bruce Cortetow Slow and swaying (.:72) ~ r i 4 ,.Ii ~ /:;---..,. s ...;~ .e r-I ::::::- t-: ~ ... I <, 4 ----=- 5 2 I 2 5 p • , ~------, f' r ====--pp , , , , , I I ~- S t;--" 5 4~ ~ ~~-~ .~ ~ D. C. al Fine ...U r ~'i"r l~::'~ c;J ,~ '~j'(r'CJ 'Ij '- .. 't! 'If'~ 3 3 'c:J 'lJ'r '~ 3 '. ~ . J lJ p l~gatz'ss<",o , ,,J l4 .. ,. No. 110·26878 Song of the Old Mill · · The left hand keeps a steady rhythm just as the wheel of the old mill keeps turning-turning. Grade 2. .~ "iI :: "". 4• "Z' ~ :::::: Fine 5 'Z r I I LILY STRICKLAND p: r (!T. , I I I I , , Allegretto (J, 13~ 5 3 5 3 4 I •, I 1\ -r-, 4 . 3 • ~~ L-- -{....f l • • .. . I- - OU' '- . cr .. '- f;; • • .. . ~ r 'tr,tiiU'U 'CI 'u'O '0 'ocY 7D~ mp 1lif .:: - . iE{crr "li i iU'U '<, '<, '0 . <, c. -6 e loooI- 1.0 ~ ~ ~ 1..00- ~. "Z "iI ~ ~. 5 2 ...... 1 =.. = • L.---J L-..J '---...J L-..J Ped. simile 2 -'-=.;',::::===~=!..-;-..:s~i::.m::.:tle 4 ('J I 5 2 , 2 4 s 4 2 I I , , I~ .., 11'1· 1$ • ~ ~ I· • ~. I.... l~' SECONDO MOLLY DONALDSON MOLLY DONALDSON ,I PRIMO a tempo 8·········....··..···.... Waltz (J ,58) Waltz tJ. ,58) 5 .\ 5 % 3 3 2 2 3 u %~ , I • -- - , 0 , It· f ., ., .. p' I > ~-r r I", I" f a ter/tpn --===== f qr-i ------mf L/_ 2 , r--,- .--r-. 5 3 5 D. S. at Coda 8····················································· ...... •..••...... ,. ~ ~ ~ u e' ? ;. 2--: -=:::----... , 5 ~ -' .. f· i , ---rr-. =------= : -=== rit rit. f) u ~~. . - ..' .. '19 - . ~ - 2 _____ ---- . 2 3 ~ l'. , ----- 8 ¥ 5 D. S. al Coda.. 3 4 , " •2 , 2 , •2 ~ •. ------5 ~. ~ u n. J2. += ~~~ e' , - f; ~~~ ..4 -fI- • ., F .. ~ CODA ---t----~---1 r: . -= ~ =- ==------= --t-----t--_L==- CODA ...... a.. -== 1'\ u ,;: F' ~ ~~~ .;::.,9' • e' / i'~f"f:. I .. fl.' #, IF .. ~ , 2 , 3 , 5 3 , 2 5 -~ 5 2 , 5 2 5 5 4 3 2 8 " . , , 2 , , , 4 5 2 3 "'12' >- >- ~ Jl ---:::------.~. ... ~ ~. E' . , . ~-~ 'e' e: f l'. :> :0:=- f ~. 12' Jl ----:::----. ,..-:.... It?: fI. ~ , e· e· e t 2 , 2 e· 2 t 1 2 '---"" 5 5 3 , 5 :>~ From I'Piano Partners" by Mo"lly Donaldson 410·41017 l'. 5 2 3 Copyright 1951 by Theodore Presser Co. International Copyright Secured L 35 ETUDE· FEBRUARY 1952 ,ETUDE'FEBRUARY 1952 ...... _-_.=.::.:.::.::::::::::....::.:..:.::: .n I I JOHN FINKE, JR. a tempo No. 134·41004 Caprice :> :> >- ~ -... :>~- > .> :'lt~22 V ~ -- --- > ~ -:i#i:i~''':inif· • ...... • •• •••••• '~-;jl-;j ~I~~·~f~ .... ~.S atempo ~ .. rit ~------. ~. =------.e ~~e~. ...~ I ,. T ~ ..... np ... II .. "it ~ ...... r ~ e ~ '~ f: t- f: & f: . - - .. - .. .. TempoI t> , _ 1I_1l .. _... ~=::,,,, >-.. >-- >=: !! ei,=_ 2 I I V V V "- > ... .. - r;.-.~~B 3 3 ~ ---- 4> 3 , - II'" -.--.- ,. ... •• .. mf ~/!< mp mf ==-"p '. poco #_ - = b .. ~----... I>,~ =- ~k $I- ,'it l;- r t I ~ --=:I np np poco ,'il. -== I p II t: ~ A - e - f:~ I"~ ~ : .... 3 .. .. . 2 Andante moderato • . TRIO Sui G (2nd time 8va higher Sui D mf) 1 , ., .~ 2 I , 4 3 I 3 , 2 2 33 . ~12_ ~#lI' ..0... ~.5~~~ .- - . . • . _. ,---- ;:::;::;;;; .- -.- It: -.. • ..~--=r ~. - ~ mp "--....:17 ..~ --. q~~"~ ~~ ~f:~PO;:;'~O 'I'it -.. I i=i="" u ===~ ~ ~ :-11 i::=' • := , II ~ --..- =:=:;l --. 'r 'r~r~. i-ll. n~ .. 'I 'I rll''-r ~1 - T I~ . t: qrrR- '17'~:o 1 1 • puco a poco ,', t. z::=:v ~$I- .. -=>--- r"""I r"1 . P ~t .. ~ / ~..1ta. ~ .. A' ..el ~..: ... ~------• : - - . - l,.oo" .. • l--' ...- ~ T------.. r:o. I 11 .. 1 1 Last tlme to Coda Con moto atcmpo 2nd time >- >- > :> , V V .~ to Trio t 1 ~ 3 2 1 4 f , r. • . ~'-J-J ~ n,,---, ~ mf ~~ ~ :;empJ~-J:d~ ~~ , =::;;:\ ~, tJ ~ _ , i::::::l=!=i " ~ :-;.. ~ , ~ ;;;;;,:Cl" "'"' - ~ I ---" I • rv ---.. - 111 ~~ ~~ IL ~t .. ~~ ~ .. qd& ~~ : ~". --. 1"..00' • l--' ..... :> :> :> :> :> :> , liz. Tempo I· -$- CODA o 1"'';' Y vB A ~ -, - '._.1 , "!,, ~ :: • .. mf· "':0'-' -==- ~ , )~~~~~~~~~~ • mf ' ''''' . • "':0'-' ~~'9~1!t''q'? I lip . ~. Q& I • ~~~~~~~~~~~~"§ • . Copyright 1951 by Oliver Ditson Company International Copyright Secured ~. ~. Q 38 ETUDE - FEBRUARY 1952 ETUDE-FEBRUARY 1952 ~ L D.S.al Coda 39 r-- I 1'1 II . - "'" I No. 121- 40007 lATailie,~ailie . . . .' 1 • 1 "-!! -/ if. TOM SCOTT Win - ter snow, Thenwillmylo~ re - turn From a Carolina Folksong - .. 1',1-- II · r Moderato (J:66) mp · t • • • ,,' • • • --= ::::=- • • -e- When cock Ie ...... ~-- -J----*A" I • · I. '------', '------' Pin mosso (J-100). up ;' 1'1 11 f>- >- >- >- - R.H ...... L.H. P malta legato, toith ont acceni . • 'i ~- - to me. Oh.wail-ie , wail- ie, ~ but love it is bon-nyl.; ~ n!~~~~_ :IT ~ Jl~ • -e- , ! ... I • "___ G I'PU '- ~.~ !-uaeeel. '3:- >- >->-»>- 3:- ~ f~ >- #g ) J R·f _! ! ~JmJ ~ r . r -e- -eo '1~ -e- --. -- ~ >-::-- rr>->- Tempo I (J :66)------Molto mosso 69) pin (J : m p A lit-tle whilewhen it _ is new, But >->->->->- pp bel~ls~'--======r======-______Then will my IO\'e re - # -; •• .... t.. .. ----:0. 11 .--: - • . . Ii it grows old ! and wax - eth cold -I >- ~ ~ ~~ 1'111::== ~ : ~ ~ == : ~ . e ~ ~ ~ == #: ~ : e ... I. ., e • f. '- ...JII~ --, f/-U : ::::=- ,'-- __ ..J ... ------ 1 , ! 1 , 1 I 1 '--' I blow _ II~ pp 1':\ turrrnl::==~_ to me. When ros-es . . - ~ '- Andfades• a-way like ning dew. n. &~e .~ ;;;;- ;;;;- 1'"'1':\ ~~ l- .. .. ~ I e · J. mp · . - t ~ . I " I ..'" • I 'co . pp -0' ~ I ~orendo IfJ0 u f' '------__ --11 LI~_...JI LI__ ___'0___ ;z; •· 1: • --' 1 1 Copyrighl1950 by The John Church Company International Copyright Secured ! 1 40 ETUDE.FEBRUARY 1952~- --- ETUDE· FEBRUARY 1952 41 'Euterpe tl1~el)e~~~e~~~_ -r -...... ~ (Muse of the Woodwinds) -..;;r If: I dim. poco a poco pp e dolce possibile I -=:::ff~ It TI - 1414 -Ii ~q'~ I~I;l1ij1: #Pqqj'J; L.H. m1~dim.pooo~¥o 0 I;~~i f b~ ~. pp In.. •. l • I " I " , ~f"J. J . . . . . , . . If b~. 71~ r>: - - fq ~~. ~ atom 0 Allegro moderato 1'it e dim. mf a tempo p : -;L __ - --... ~ 1~ ~til._ ~ --....{7\ ----- · · it: , 1'it. all~. _r."\ - I · · · · · · . . . oil · · · · · 51. ...1- • p dolce :"... -==-li. 1: I: 1: :f: ~ i . -.: rit. allarg. cresco -= - · r."\ : . . . "".. . . . · . . · . · . 1 - .... · 1l • ~. · ~. ... • • ;;. ~. ~. ... •• i. "'11I1~ i. i . .. No. 113-27784 Elegy Sw. 8' & 4' with Reeds @ (10) 107624 201 ------Gt: !Diap. 8' to Sw. Ped. 16' & 8' to Qill (10) 306745202 :> '. :> :> :> :> at. G. F BROADHEAD l'tl0It0 Ient 0 e rna estoso I , ...- . I --- · . . · ------Ii: MANUALS 3 - ,-,r 3 r--r -,., - 0Jf/ -~ ~~_. .J.1 s: /". L~ : - · 0} ~ 3 : PEDAL -. a tempo , •• I • ..~ .'- 3 -- r , p cresco mf oresc: From "Ditson Treasury of Clarinet Solos" 434·41000 Copyright 1951 by Oliver Ditson .Ccmp any -- --- Copyright 1946.-by Theodore Presser----C=-o-.------British Copyright Secured 42 ETUDE - FEBRUARY 1952 ETUDE-FEBRUARY 1952 b 43 ~ ~------No. 110-40112 Pat eticamente The Happy Olown Grade 21/2. All > ....-----.. egro ----- _ ANNE ROBINSON fI 3~f :.2. f 543~ :-- . . - - Sw. r-=l' . -- - . . @ mf I , ~:.J--- . @ . "'p - >..... ~,~~ ~ ~ . ~.. :.. he. b. • • . 5 f 4 f 5 f 5 2 3 2 3 Rf~ L as t t nnei t 0 C oda fl =- >~ 5. 3~- --t ------. • · . . · . I · I it .. I I...... - nip " ...... /;'J! p , ~- « ~- « ~I M~ . i"-It- • .. - - ~ (The clown laughs) :> Ho.ho.ho l Ha.ha.hal 3 ., ~, 5 \ , I l I .--.,. , ::::::::::---.. . - . . . ~ .> I I Il r ! L-=-I I 't;' poco rt -f; it ~~i #t· qi tl Ii: ~i t:' -It-• ' ,. 112. .i I: .. ~. 17\ f 3 D. C'-aI Coda f 2 4 "I ------... 1 2 3 ---:---- . ~ II!. !' !' '!' <,f---!' '!' '!' CODA ~ ..;...... ;.. ..;.. .;, ~ .",.---:-::.. ..~ .. Copyright 1950 by Theodore Presser Co. Bri tish Copyright Secured Tempo I a tempo)__ ---,--_____.... :~;dl:~:40265 Jeanie With the Light Brown Hair /------Andante e semplice STEPHEN C. FOSTER ------15 543 3 ~ 2 ,_32 I 2 2 ~ 2 'f 321 ~ 5 4 5 i 2 4 I 3 ~l 5 4 5 I 24 I 2 t 2 a 4 I 5 4 3 Gt. '-'C-- poco "all. f 0J r-1 - J. ~ I' 1_ l-U-j 1.1' mf ... mf ..=-- P-=~t: -== 3 ~ f:f'- I ~k_ ~1J\ P~=-~ "- f7-. ..- .- l/i~~..- .. ~t:~ 3 "" 5 3 t 2 f 5 I 2 3 f 5"" I 4 2 f 5 I 24 (' '5 53 t 2 t 5 2 3 I 5 2 34 3 5 f f (' I 5 4 5 5 ~ '-.::.. - - A I I l--- - 35 3 3- :;;;;-...., f 4 ~. fl' 2 5 3'23 52 3~ 5~ ~f~t:'\f~ 5--i,1 3 . . . ~ ••••• -& - p poco a poco cresco ..- r2 f =--mf ~:in; :::=:- poco 1'lj r-.. ~ ..------; ,.;---~ .~"~Jl"'.~.f1I\ 4 ~--;. '1.- #. ;;-'- -~: : : ~ 2V 2 2 1 4 f 2 1 f f f t 1 5312 f 5 2 3 f f f'2 f t t 4 2 2 5 3 4 5 5 345534 p·rs ---A--....J 1 L-..J '----' L....A.-..J CoPyrigh11939 by Oliver Ditson Company ~ International Copyright Secured 44 ETUDE-FEBRUARY 1952. . ETUDE.FEBRUARY 1952 45 No. 110-40167 Grade 1. Lysbeth BoydBode" A Riddle Moderato ADA RICHTER Sing an octave higher 5 2 5 1 1 r':\ -.-/ ...... - -.....;/ -...v --.-/ t 7-.-/ ...... - ...-.-/ Woo - 00 blows the wind, Leaves brown and sere, I know it's so that Brown-ies but - ter Ev - 'ry but - ter - cup, But "!f' r':\ -: n ht-- p:. e e' . • . .. ~. . · . "r 2 2 1 3 1 " 2 5 2 5 5 1 ;tor 3 ~ 11st time IILast timel 1 2 1 2 . , . - · -t -,.-..-./ - ...... ~~·. who do you sup - pose it could be That pumps the pu.mp - kins uP'::"?_==f== ------TJ 7J ..._ 1- • ?'all - Slow - ly fall - ing, Au "J- tumn is here. -. e' e' :::-- • " . · 3 1 • ------. . Fine , --- a tempo I \ 1 ~ 3 1 3 5 5 P No. 110-23666 • • • The Bobolink · Grade 1. · All egro moderato ELLA KETTERER 3 1 2 5 1 2 ~ .. 3.....- 5 2 1 3 " -----t 3 -...... 1 2 5 --- It I I Ear - ly in the morn - ing , All the sum-mer long, mf fl. .. /'- .fI..fI. .. fI. .. fI. !'- ~.t:. · . fI. .. t.t fl. .... fl. .... 135 ~-1 5 .. From "Poems for Peter." Copyright 1928 by J. B. Lippincott Co. Used by permission. D. C. al Fine 5 1 3 1 2 5 1 2 1 5 1 3 1 Copyright 1951 by Theodore Presser Co. I nternational Copyright Secured .. 3""'- 5 2 3 1 3 2,- ~ 3 , 5----42 1 No. 130-40478 Woo, Blows the Wind ------Grade I. -- -- Lorraine Wa le ns I I I EDNA FRIDA PIETSCH t Mournfully, with a nice singing melody Sings a bird so sweet - Iy, Wakes me with his song. "Bob-o-linkj'now he · /'- .. fI. .!'-.!'- .. fl .. fI. fI. .. fI. !'- .. fl fl." !'- .. fI. .... fI. • fl- 00 blows the wind <:» · J Mou.~r..::n:-.__ Tf~u;l;---_~Iy,--+:S~ig~h;'--"":~J.'ing, 5 1 2 1 5 3 5 . 5 5~ ~ --;- 2 5 1 1 "U~5 2 .- 1 ------, t T I . greets me, "Bob-o-link" is his lay, Bob-o-linksings so swe et-Jy, Bob-o-link,Bob-o-linkgay . well, ~ po - ~dSles ear, Sum' mer' dy . fI. .. fI. !'- • fI. fl .. fI. fI. .. f'- fI. .. !'- fI. • .. .,. n • !'- • • I .J 3 5 3 1 5 Copyright 1936 by Oliver Ditson Company International Copyright Secured Copyright 1927 by Theodore Presser CO. British Copyright Secured L, 46 ETUDE - FEBRUARY 1952 ETUDE_ FEBRUARY 1952 47 ._------_ ...... _---- "POPS" RECITALS umbrellas and hoods. Of course, you into service for this.] Herb is trying PROVE THEIR WORTH have already guessed that a broken on hats in front of a mirror. Jerry record player is no problem to the calls them together for last minute Marching. Song (Continued from Page 19) six visitors; they are students of instructions before the shop opens. VLADIMIR PADWA punchem and Pokem, enter boldly constantly pushed off the piano bench mine and can play all the records He is especially nervous about the Allegro con spirito ghost broadcast! II The end is not yet, for the horse says huskily, "Boys,it's my turn. I want to do it, 100." He plays The Old Gray Mare arranged by Weybright while the rest of the company sing. A swish ofthe curtain, appreciative applause, and the boys are convinced that as dramatic and musical artists they OPPORTUNITIES are without parallel. It was interesting to note that FOR YOU eventhe horse had made progress in three years, both in stage deport- ment and music. He had winked at the audience, danced, talked, sat in ... in lhe his lap, and finished the skit by playing the piano! Also, of interest, THROUGH UNIVERSITY EXTENSION CONSERVATORY the front end of the horse was in- ADVANCED HOME STUDY COURSES L- --I~ ·,, ~,,~ _I,,~ ~A~ _ vited to he soloist at the spring con- cert in a Junior High School of • Interesting positions are open in every part of the Musical Organization has to offer you. At 1600. and played the Tausig arr-ange- field. Schools and Colleges are making it necessary for very small cost and no interference with your ment of Schubert's March Militaire. every teacher to be equipped for his work; the Radio regular work, you, easily and quickly can is calling for highly specialized training and standard- qualify for higher and more profitable posi- The third act of the show involved ized teaching makes competition keen even in small tions in the musical world. seventeen Junior girls. How could communities. they perform in ten minutes, espe- DIPLOMA OR BACHELOR'S DEGREE cially when one of them wanted to Are you an ambitious musician? We help you to earn mare and to prepare A successful musician is most always a busy one. Be- for bigger things in the teaching field or any hounce out Bumble Boogie? Their cause of this very fact it is almost. impossible for him branch of the musical profession. We award skit was entitled Painless Practice. to go away for additional instruction; yet he always the Degree of Bachelor of Music. With a The little girls were dressed in the finds time to broaden his experience. To such as these diploma or Bachelor's Degree you can meet Saturday afternoon costume of plaid our Extension Courses are of greatest benefit. all competition. shirts, jeans, and fluorescent caps Digging out for yourself new .. and socks. ideas for the betterment of p -Fill Ln and Mail This Coupon-- • •• your students is a wearisome I UNIVERSITYEXTENSIONCONSERVATORY.Dept. A-742 I Bonnie is playing Bumble Boogie time-taking task. When you ; 28 East Jac.kson Blvd., Chic:ago4, lIIi1tois. = -Fina, when all the other children can affiliate with a school • Please send me catalog, illustrated lessons, and full information regarding ,I, tumble in. Something about the at- recommended by thousands of c§o~ri~:~'h;::c:;:~~~e~O~;~lwcourse 0 Harmony 0 Violin ; mosphere seems to indicate that successful teachers, you may Piano,Student's Course §Cornet-Trumpet 0 Guitar I be sure that their confidence Public:School Music-Beginner's Advanced Cornet 0 M d r :nother is baking cookies, and there . Public School Music-Advanced Voice an 0 In justifies your can f idence In 0 Advanced Composition Choral Conducting 0 Saxophone IS a chorus of approval. Mother is- new ideas or your work which 8Ear Training & Sight SinglnCJ 8Clarinet 0 ReedOrgan _ sues the ultimatum that only those we make available to you. Historyof Music Dance BandArranCJlng 0 Banjo • Look back over the RPst year! : who get their practicing done may What progress have you made? Name...... •....•...... - .Adult or Juvenile : eat. That leaves Bonnie as solo con- If you are ambitious to make Street No...... •...... • sumer. She is playing throughout the further progress, enjoy greater City _ State : conversation, but sotto voce. For the recognition, and increasing fi- • Are yeu teaching now? ,.1f so, how many pupils have you? = # next ten minutes the sixteen other nancial returns, then you owe : Do you hold a Teacher's Certificate? .... Have you studied Harmony? C p little girls play duets, accompany it to yourself to find out I Would you like to earn the Degree of Bachelor of Music? , ii fun singing, circle games, and square what this great Home Study '••••••• ,. •• _ • ..- _._. _ _~ dances all accomplished with the exuberant vitality peculiar to the THE UNIVERSITY EXTENSION juni?r age alone. Throughout the dis- Conaervalor';j From "Little Suite for Piano," 130-41072 cussrons, clamor, and shifting of ac- 28 EAST JACKSON BLVD. (DEPT. A·742). CHICAGO 4. ILL. Copyright 1951 by Oliver Ditson Company companists Bonnie persists in trying Internationa.l Copyright secured to get through her number. She is 48 l ET[JDE-FEBRUARY 1952 ._------_ .•- ETUDE-FEBRUARY 1952 49 ., RURAL DELIVERY SERVICE THE GENIUS OF ARTUR SCHNABEL (Continued from Page 17) FOR MUSIC LESSONS from Century are always good news. season •.• new music! Each year This season we have the good fortune BOSTON UNIVERSITY C'Musicand The Line of Most He- some years to an early period of selection of actual note combinations for 51 years music teachers have +0 be able to include a useful group (Continued from Page 16) sistance" by Artur Schnabel, pub- Schnabel's teaching career, again was secondary to the musical sound found new and interesting material of Organ Solos as well cs a group 0; lished by the Princeton University around the years of 1911-1912 at required-perfect legato, evenness College of Music awaiting them at their Century Deal- our students and their parents. They charming Easy Duets. Be sure to see called at the studios 19 talk about which time, the pupil, at his sug- in the playing of even two notes- er. This year we should like especially do not have to travel far. That saves them at your Century Dealer-soon. Press, 1942.) All Branches of Music music lessons. Even in little things, such as the gestion, left off playing pieces for nuance; the rhythm of the measure and Music Education to call your attention to the follow- time. While our rates absorb part of We had a few little problems, too. a shan time in order to gain a -the entire body relaxed-the arms ing First and Second Grade Piano the cost of travel, for we must have ORGAN SDLDS smooth, legato playing of short Dean Warren S. Fre'eman For lighting we had to seek slopping (Hammond Organ Registration passages,plain or intricate, Schnabel completely relaxed approach to the light. Such lightness was an ever- material places where we could plug in our some return for pulling the heavy Included) made music of everything he keyboard. All of Schnabel's pupils, ready resource to the player as he Courses leading to the degrees A.A. electric cable to a friendly front unit, our rates are much less than PIANO SOLOS· GRADE 1 touched. The simplest trills be- were, of course, good pianists, when proceeded {rom passage to passage. in Mus.; B. Mus.: M.M.; M.M. Ed. In porch. We have experienced a splen- regular lesson fee plus bus fare for Arranged by them. We take music to some who Kenneth Walton. A.A.G.O .. A.R.C.a. longed,in execution, and in nuance. they came to him, but some of them Schnabel, at rliat time evidently conjunction with the Graduate School 4025 Baguipe Capers, C-I-2 ··· .Dvoetne did helpful acceptance. At our main 3927 Arioso. 6...... J. S. Bath to the whole, in tonal variety and were not sufficiently relaxed, play- thought it expedient that the pupil 4019 Bareback Rider. T1l8, C.. D~orille could not otherwise have music at 4005 Consolation. E...... Mendeiliolm -M.A.; Ph.D. In conjunction with the station, a three-day-a-week' stand, we 3931 Carnation Marth. T.e T'ropht. Eb 4017 Dreamland. C. .rreortne in true musical feeling. ing too much from the fingers alone. should have the benefit of isolated had the power company to establish all, and this in itself is something Mel'etbeer Schoo! of Education-M.Ed.; Ed.D. 4024 Hall Scotcll. C·I-2. . .. , .... Wrdherg 3930 Elegle. Em...... l.nenet In 1911 and 1912, as the writer (See "The Hand and the Keyboard," observation and instruct ion with a 4020 La Conga, G .Dvcriue to give one a thrill. 3932 EVlllllng Slar. T(I~llhullltf. G.. Wuner a meter and box with outlets we 4006 Marth of tile Priest •• AlhUljll, f Year-round Projects and Workshops include- *4021 My Bunny. F,. .., .,. . .Hopklns For us there are several notable looksback, Schnabel was even then by Artur Schnabel elsewhere in this vorbereiter (assistant) over a period could lock when away. We feared Memlelllolln Workshop in Music Education 4022 Puzzle Piece No.1. C. Wedberg 4011 Medilallon from Thulf. D I.llenet playing all thirty-two of the sonatas issue. ) of about six months. In that time, "401S Scissors Man, Tllo, C Dvoriue pianos might not hold pitch under advantages. While we have a large 4008 Old Call1edrel. TIle. G HOPklnl 3928 Palm.. The. A? ~·.ure Opera Workshop 4023 Seesaw Up-Seesaw uown, C. wecceee by Beethoven in one season of con- In order to bring about a true from the playing of one tone, and stress of constant moving. However, investment in trailer, truck, pianos, 4009 stevcnre Dance. No.2. Em Dfllrak Pianists Workshop 4034 Wilson Clog-Jelly Jig. O-F-I.2 3929 Slar of the Enl. E~.. Kenn~y certs at Beethoven Saal in Berlin. and basic understanding of relaxa- onward by addition, covering the arr. Guenther our experience has been good. Tun- and other equipment, we save rentals 4007 Tambourln. Em .' . Itlmeu tion, Schnabel, at that time. (1911- keyboard in various ways, and think- ings have been required no more which formerly amounted to more 4010 Waltle. fro"1 Iht Plt,/elMaN', f Str.nll To many Americans of today, it will Eminent Foculty of Artists, Com- PIANO SOLOS. GRADE 2 than $1000 a year. Wherever we go perhapsbe of interest to know that, 1912) had compounded certain ing relaxation, his pent-up tech- posers, Scholars and Educators often in the trailer studios than in EASY DUETS • 1 PIANQ-4 HANDS we have all of our own teaching tools at that time, Schnabel also played iibungen (exercises) which, by a nique, acquired through the years, our ordinary use. Anyway, our handy- Moster Classel under such leaders 05- 4027 Bucking Bronco. D...... Krevttt with which we are familiar and with Chopinand Schumann; names which stroke of analytical genius he had became lubricated. He was free, and 4035 eantain Jinks, A...... arr, Guenther man tunes pianos. 4043 BUllea and Drum •. G·I ...... Drorlne Arthur Fiedler Roland Hayes 4032 Invention. C. .Foldes 4044 Contratulellon Minuet. F·2 evolved for the use of his pupils, ready (0 go on to pieces, preparing We anticipate ice and snow with which we do our best work. One set lleelhoren -nueener appeared on his miscellaneous pro- 4030 Just guppose, 0.. . .CaM.ow certain Bach Preludes and Fugues. Albert Spalding dread. On our curved and hilly roads, of equipment serves our entire ter-r-i- 4042 Fialshill. Tile. C- nrerree grams with works by Mozart. aU of which were characteristic of 4036 Kate Kearney Waltz. C .. nrr , Guenther 4041 HaYHed. C_I_! ,.. ..Drorlne the peculiar idiom of his individual Twelve Chopin Studies, a Mozart 4031 Lullaby in the Dark Wind. C Cadzow schedules will be too hazardous to tory. We can go when and where we Beethoven, Schubert and Brahms. For information, catalogue, illustrated 4029 Marcil for New shoes. Eb , .. Cadzow Sonata or a Sonata by Schubert for keep during December, January, need to go. The unit advertises ef- PIANO SOLOS. GRADES 3 to 5 Thewriter well remembers his beau- pian ism. "The Exercises" had to do folaer, write 4013 Meditation. '1'llOi8, Silll)!., C-2-3 with handing and arming as well future lessons. Schnabel had two ~[asl;enct-GrahaIll February, and early March. We will fectively for us, attracting attention tiful playing of Chopin's Etudes- DONALD L. OLIVER 4012 Nartissus. Simpli,tied, 6-2-3 4015 Crlllgratulation Minuet. D·3 as with the fingers, which were not assistants; myself and Madame halt our travels during the extreme as it does by its gigantic size to our I1Hthoren·Guentber someof the nocturnes (especially the ~edn-Hollkins Diredor of Admissions name displayed on its sides. We are 4014 Mare". />on 01 TArn Qt611j7S1 •• 4 raised in the manner of striking Malatesta, for this purpose of *4026 On Top of Old Smoky. c ... arr. Lambert winter period, using the trailer rooms I'rolltlftetr-Guentller C minor). He often played the A·flat 4028 Sambaline, 0.. ,Krefltt able to serve a wider region, more 4038 Mazurka in F. OP. 68. NI. 3•• 3 .Chopln the keys. The keys were simply re- preparation. at a permanent station. Outlying 4039 Momenl Musical. all. 94. No.2. Ab·4 Polonaise. Of Schumann's works: 4033 Witcllcraft, Am. . Steiner areas can have only limited service students; in short, with the "Roving !khubert Etudes Symphoniques, Davidsbiind- leased by the fingers in a state of Those who studied with Schnabel BOSTON UNIVERSITY 4040 Moment MllIlnl, Op. 94. No.6. AO·4 Room 115 • The pieces have words for singing, if for that season. Studios" we are able to make a liv- Stllubel1 lerlanze, Fantasie. Fantasiestiicke elasticity or resiliency. Motion later on, had a different experience, desired. 4016 Sabre Dlntl. GlI~lIe BlIl/d •• 3·. A number of advantages accrue to ing. THE END Khalthalollrlan and Kreisleriana. economy also entered into the prac- although the spiritual element which 70S COMMONWEALTH AVENUE 4037 Sonet. In F. Mejor •• 3...... StlrIIlU Cenlury Edilion is 20c a copy! The rumor that Schnabel at no Iice of handing and arming.' The he in fused, remained the same. Dur· BOSTON 15, MASSACHUSETIS Cenlury Edition is 20c a copy! Our graded-and.c1assified and our com- lime was ever known to touch an pJayer no longer had need of any ing more than half of Schnabel's Century catalogs are free on requtst 01 plete catalog listing over 4000 numbers j;' exercise of any kind would be leav· unnecessary waving of the arms to l'eaching career, and up to the time free at your dealer or on request from us. BREATHING AND BREATH your dealer or from UI. ing out a very important part of his free himself of fatigue, because he of his death, he was convinced that CENTURY MUSIC PUBLISHING CO, early training under the wisest and was learning to think relaxation. The no isolated preparation was neces· 41 West 63rd St. New York 23, N. Y. CONTROL IN SINGING greatest of teachers, Theodor Lesch- hand was brought into an ever in- sary-that the practice of the piece etizky,with whom he had studied for creasing resiliency. Even its phy- itself, offered enough exercise to BALDWIN·WALLACE (Continued from Pa.ge 22) a number of years. Hearsay had it siognomy changed, and gradually overcome any specific difficulty in CONSERYATORY OF MUSIC among Schnabel's contemporaries look on an intelligent "face." it. He became very definite about BEREA, OHIO (suburb of Cleveland) AfI'lllatedwiLh a tIrst. class Liberal Art,- to the extent that during the act of breath. It is necessary to concentrate (of his student days in Vienna). "The Exercises" were never writ- this. College. Four and th'e year courses leading However, all pianist:;, at whatever to degrees, Faculty or Artist Teaehen. Sen,l phonatio!1 a passage of air past the completely on directing the vibTa- that no one could excel him in beau· ten; a mere explanation of their for catalogue or information to: vocal chords does actually take place. tions of the vocal chords up as high underlying principles, even with the time of his career they were fortu- HAROLD W. BALTZ. Dean. Berea. Ohio t}' of touch and tonal flexibility in But phonation in itself is essentially as possible into the mask of the face. the playing of Czeroy Studies. Such accompaniment of musical notation nate enough to have studied with him, could share the panacea of his ct>artered 1878 a volitional act. The vocal chords be- Propelled in that direction. over the comment may seem petty and un- would have heen inadvisable because joy in playing-an effortless sense NEW YORK COLLEGE OF MUSIC gin to vibrate at the command of the breath, they will impinge ~n all the necessary regarding so great a severed from the supervision of one will and the breath thereupon begins important resonance chambers. All master of piano works as Schnabel familiar with every detail of the of seeing and feeling the whole to esca.pe. It is at this point that other resonance, the so·cal1ed chest PIANO BREAKS musical scene of great piano works Our ~Ionlbly Break Bolletin enl'lbles ron became, still the discussion of it actual and practical application. breath control is so important and resonance etc., will then be reflected to bUild up and glamourlze tbe sonJ::5 on There was nothing mechanical about as being close to hand. The climb the Hil Parade "'ith cU'rer breaks, DonI may he timely informing for some consists in the ability to regulate and resonance, and that is exactly as it figure8 and trick}' hool.'le etrecU- young, aspiring students of today, them, as exercises go. Some were was pleasant and without fatigue. ]Bremen Send to cents for Illtest copy or 'Z for B minimize the escape. The less the should be. }·ear. !lIcnllon If le.chcr. who may think that any basic train- original musical sentences, made up Like a mountain gujde. Schnabel, PIANOS THE AXEl CHRISTENSEN METHOD escape of breath the clearer, more The exercises described above are ~ngin the building of a great pianist of sections, much like fractions of through experience out of experience one of the world'. Studio E. P.O. Box 427, Oiai. Calif. ROOSEVELT COLLEGE powerful and resonant the voice and designed to enlarge the air reposi- IS unnecessary. Bach Fugues in two, three and four knew more than one way to the top SCHOOL OF MUSIC finest spinets the more amenable to the intricacies tory of the body and to develop the GREEK SINGING MADE EASY A teacher himself who knew every voices, wherein the hand had plenty of the mountain. Applied and Theoretical Music, Composition, of vocal technique and the nuances ability to regulate and minimize the Artur Schnabel's earthly career Triumph of encasement Musicology. and Music Education. Bachelor 6 RE~~I(lSgr:gsb~~/%r'~I~~~ I~'HORUS phase of the highest expression of to do; the ear continuously alerted beauty, tonal and structural of Music and Master of Music degrees. of musical expression. All vocal vi- escape of the 'breath, the two funda- (<;1'. tc"L &; J::n~. ph(metlcs) is ended. His influence remains. UTe Shpli,1 Miluoula" poloynil 25t per tllPr gre~t and ~eautiful pianism, Schna- for increased musical expression. quality. Distinguished for Bulletin on Request bration must be above the breath. mentals of good vocal production. "Then Tila Xehau" Tas!opoullli 258 pu co~~ "First hear and then play." The THE E:\'D beautiful proportions and 4,30 So. Michigan A,,'e., Chicago 5, Illinois "Divine Liturgy" (Tradition.I 8yzubne ~els teachmg, however, had nothing ~{any singers permit the breath to They must be performed with what Hymnl)-Desby-S2.50 per copy. functional compactness. ·6roup Disc. at 17t per tOpy. l~ common with the general concep. JAMES MILLIKIN UNIYERSITY go over the voice. Some even tend to the Italians call La. gala libera, with Masterfully built by outstand· GREEk SONGS PUBLISHING C/? . tIOnof virtuosity removed from musi- ing artisans who for a lifetime SCHOOL OF MUSIC force it over the voice. This, it must an open throat, as all good singing 464a St. E;lmo Drive UI Angel ... 18. C&hfornl. MASTER LESSON: CHOPIN ETUDE cal expression. have devoted rheir skills to the DECATUR. ILLINOIS be repeated, makes for a cloudy should be, with controlled ease with Orren thorough traininll in mu;l~. COUrSe! le.d- He broke down all conscious will- (Continued from Page 26) highest perfeclion standards of ing to degree. of: Bachelor or Mudc. Bachelor or voice, drains the breath and makes no forcing whatsoever, with ~o at- WM. S. HAYNES COMPANY fine piano making, lhe Bremen Music Education. ,\-la.ler of Music. and Master f~l .effort in pianoforte playin~, and of Music Education. the singing of legato passages, long tempt at making voice. These basic piano is noteworthy for its Mem berortheNation al Associ ation Schooleof Music Flutes 0' Disflnttlon dl~hked. forced or labored playing. in all above routines. measure) when playing the Etude beautiful proportions, golden Bu]1etin senL liPan request phrases and pianissimo singing so exercises assure preservation of the STERl.ING SILVER_GOLD_PLATINUM ~IS.altItude was that of a perfec- Work especially slowly and care· up to tempo. No pedal in practice singing tone and light, respon. W. ST. CLARE MINTURN. Director much more difficult, and often quite voice and produce the full rich tIOniStwho could "practice" what he fnlly on the left hand of M. 45-51, ... Use soft pedal wherever you sive action. impossible. ringing tone which is the hail-mark "p.rea~he,d" to the effect that every- and try to play these without a wish. Write for free brochures. CONSERV,.TORY To sing over the breath there must of all well produced voices. BTCn'Cft offer. "'~<~... ~>p«...l 4i>«hsnf. OF MUSIC thmg IS easy-everything is difficult The final test is this: After half W,i,c (0' ...... c 01 r.x..l o","""i<. 50 ETUDE-FEBRUARY 1952 ETUDE-FEBRUARY 1952 51 --_ ....._-- + / f RATIONAL IMAGERY THE SINGING TOWERS 1IJi!lUun ~ and J;,." OF NORTH AMERICA APPLIED TO THE 30 E. Adams St.-Chicago 3, Ill. Specialists in Violins, Bows, Repolrs, etc, " iolin uestions f:STABLISHED I!'I 1874. WRTTE von CATALOr. (Continued from Page 11) t(tl VIOLIN BOW uPrgan lfC!uestions Publishers of "VIOLINS and VIOLINISTS" $2.50 per yeOr-Specimen Copy 35c. its message to its eager Iisteners. in a frame of Georgia pine large (Continued from Page 25) Many Ar..i~ts uf the famous xuo So the Park Avenue Congregation enough to house a 2·octave carillon. TOSCAN"INIO,'cheSll'a ar .. By HAROLD BERKLEY usIng G. B. \"i,·zi Instl·u· chose a new home on one of the Melvin C. Corbett, an amateur ca- Answered by FREDERICK PHILLIPS ments. Est. in 1020. more or less; in either case the needs Expert repairing our specialty. highest points of Morningside rillonneur, first played this chime E.J.I J, ~IRlICORP.• 5U Fiflhbe., lie.. fo,k Heights to build a new church-s-the on Easter Sunday, 1928. A few of the image are satisfied. But the Riverside Church. Twenty-eight bells months later MeNeely added nine difference between a musically ac- were sent back to their famous man- more bells which enlarged the • Would a small organ be difficult study will smooth the way quitea ceptable and a musically unaccept- ufacturer in England, Gilett & chime to 23 bells, thus completing 10 build in an average home? bit. For basic studies use the OUIFFOPRUGCAR (') VIOLINS instrument, how much it is worth, able tone on the violin requires a Johnston, to be recast into a new the first American-made carillon. ]. M., South Carolina tainer J ipe rgan Method, supple. but even if it were made by Simon much finer discrimination of muscu- instrument. Nineteen bells were The clavier which had been used for merited by Roger' Graded Materials C. H. W., Oregon. Caspar Duif- yoigt, and is still in good condition, lar action. Actually the movements added to complete the 72 bell caril- the Id-bell chime was removed and To build even a small organ for for Pipe rgan, Whitings' 24 Pm. Ioprugcar (there are many spellings It would not be worth more than required to change an unacceptable Ion of six chromatic octaves, which a new clavier with space for three home use would be rather difficult, gres lve tudles. Bach Eight Short of the name) was a maker of lutes, $150. (2) The Classified Ad section tone to an acceptable tone are so was moved to the great t.ower of octaves of bells was installed just though it has .been done by enthusi- Prelud Fugues, and Pedal hut is not known to have made of ETUDE is quite outside my prov- fine as to lie below the level of con- Riverside Church. It was dedicated below the bell chamber, Irern which asts who have some natural tal III Mastery by unham. A circular is violins, The many so-called Dull- ince. For the present rates, you scious perception. on Christmas Eve, 1931, by Kamiel the carillon is played. Later, two b ing sent you de ribing uitabte fcprugcars that are to be seen came should write to the Business Man. This being the case, is it possible . Thnepianosin30days in this direction and enough mechan- ~o mu~lcal knOWledge needed, Plano tuncrs In !=:,'c"t Lefevere, who has continued as ca· more bells were added to this cari l- collections of organ music which for the most part from eighteenth ager of the magazine. for the student to exert conscious ,1"n,,,,,<1. LOW cost training by experts. nevomuonnrv ical ability, patience and mean 10 f~~;I,ii;'opnr~~~1~,:':lc0t;;',~"gl'::Cotrr:tepr:.~'!enrol~o~~:;le~~;~ rillonneur here. This set of bells is Ion. This, the first carillon in Con- carry out such a project. There wu ould be dove-railed in with these century France and Germany. They control over muscular movement he Instruction manuals, includlnl'\" spinet tun In!:", Full the largest carillon in the world, necticut, has always attracted a p- at one time a book by Milne entitl d sf udi s. Be sure to thoroughly master are freak violins of very little com- OOUBLE BASS CONSTRUCTION cannot even perceive as a movement? }~~In~;~l;:a:;,It:i'v:o".r~~,~~~,,:0ti:r~~~nell~~~a~~o,.';,~ And if the student cannot perceive CAPITOL CITY TUNING SCHOOL The weight of the largest bell is preciative audiences. "How to Build a Small Two Manual acb Ie "on before pa-sing on 10 the mercial value. D811t. 240. 129 E. Miehiaan Ave.• L.anslng 16. Mich. 40,880 pounds, more than 20 tons, Trinity Reformed Church of Phil a- Chamber Pipe Organ," but we be- next. H. A. 5., Saskatchewan. Matters his movement directly, through the Foe the ELEMENTARY PIANIST and its tower is 100 feet square at delphia is also noted for its carillon lieve it has been out of print for ANAPPRAISAL NECESSARY concerning the construction and kinaesthetic and tuctory senses, can its base and 392 feet high, From this which was founded by MeNeely & some years and might not be obtain- • I tmre a t)'bo/tl rud pipe orlan technique of, the Bass-Viol (or dou- be be induced to control his actions JUMBO NOTE beUry the carillon may be heard Co. It is the first carillon to be able even in libraries, so we really pumped by treml/n. The bdlalCJ Mrs. R. B., Washington. I ~an tell ble bass, as it is usually called) lie by some indirect means ... and if IR!SH MELODIES across the Hudson river. made all at one time by an American so, what means? Believe Me If All Those Endearing know of nothing which would help leak. fwd I ti~ not knolO hOlD to you nothing about your violin, ex- outside my field of activity. How- Young Chorms _ Cockles ond Mussels The Riverside Church carillon bell-founder. It was inaugurated in you very ill uch. . lIla/,·e the lIecessary f(pairs. I hare cept that the chances against it ever, if you wrote to Rembert Wur- A clue to the answers to these (Molly Molone) _ Come Bock To Erin • The Harp That Once Through Tora's finds many uses for its music. On March 1930 with !VIr. Corbett play- thought 0/ installing an electric beinga genuine Strad are about balf litzer, 120 West 42nd Street, New questions came through an experi- Halls _ I'll Take You Home Again Sundays it precedes the morning ing. ment I was able to perform with the Kathleen _ The Kerry Dance - Killer· • Can you suggest organ numbers 0/ motor-do )'OU /..,'010 0/ any firms a million to one. If you lhink you York, N. Y., I am sure his firm ney _ Oft In The Stilly Night etc. service with a program of sacred Iowa State College has a historic medium difficulty which would be (/oing this work? -D, fl. T., Ohio should have it appraised, you should could give you all details regarding aid ofa reed comparator. This is music, part of which is amplified carillon in that it originated in a appropriate to play at the morning send it to William Lewis & Son, 30 the construction of the instrument. a dev~ce for measuring fine devia- down into the nave of the church chime of bells 52 years ago. Cast tions in the dimensions of machined worship service dedicating a new TI'l're ill (l hailler of 8 pages on East Adams Streel, Chicago, Illinois, I am told tbat one of the best as a prelude to the regular church by John Taylor & Co. these were the church. I should like to have several Reed rgan Tuning and Repairing or, Kenneth Warren & Son. 28 E. Methods for the double bass is tbat parts. The part to be measured is music. On Sunday afternoons there first "Simpson-tuned" bells-the bells suggestions for each prelude, oUer- in the book" i mili.; Piano Tuning Jackson Blvd., Chicago. B'ut you by Semandl. slid along a smooth·surfaced plat. ll~ . PIANO BOOKS is an hour's recital in which sacred which made the modern carillon pas· tory (fairly short) and postlude. and on i ins" by Howe. It is a must expect to hear that it is a form and under a movable jaw. The ~ More Than 3D Excellent Collections and secular music is intermingled. sible--,brought to this continent. motion of the jaw is transferred -R. E. H., Iowa ruther cxpen ..i\ book. and we 5Ug· factory propllct worth at most 50. A BOOK ON VIOLIN MAKING CHAS. H. HANSEN MUSIC CO. Recitals are given each Saturday This chime became a carillon in electrically to a dial, and read off a ge t therefore that you try to eI' No one can tell the origin and value New Hyde Park, l I , N Y noon, and national holidays always 1929 when 26 bells, also made by scale to a fineness of .000025 in. We are sending you a marked list amine n cop) in )'our local library. of a violin without examining it W. G. F., Arizona. The book that I are observed with appropriate selec- Taylor, were added-a gift of the After some practice I found it in which suitable numbers arc in- music or b k ,,' reo 10 see whether personally. would interest your client is "Violin· tions. Christmas hl'ings forth espe- same family which donated the first possible, resting the back of my hand dicated by a check mark. In addition the in f rinD I ion wouId be sufficient Making as it Was and Is" by E. CONVERSE COLLEGE S::;!,:L dally fine programs from the Sing- ten bells to the college. This carillon on the platform, to move the upper the following compositions Bre rec- for your need~. E\en if you install A FRENCH MODEL Heron-Allen. This book can be ob- Edwin Gerschcfski, Dcan, Spartanburg. S. C, ing Tower and more than once its was dedicated by Anton Brees. jaw with my jndex finger within a ommended: an electric mol or. it wiJI be nec6- tained [rom the publishers of music has been sent by radio to In the same era, in 1901, a carillon range of motion as small as .0002- KNO X Deportment of Music Andre-Rockwell, Festal Prelude sary to pUl the bello\\"- inlo proper J. A. G., West Virginia. Your ETUDE. Galesburg, Illinois distant places of the earth. of 26 bells was installed in 5t. .0003 inch, provided I could observe Diggle, Marche l'vlelodique condition. e are sending )"outhe violin is obviously a. French factory M.mb" N. A. S. M. This carillon even participated in Vincent's Seminary in Philadelphia. the dial of the scale. If I did not COLLEGE Thomas W. Williams Galbraith, Stately March in G addresses of lwo firms who supply instrument of little value. The cir· A FACTORY IMITATION Vata/of} Utlt lIPO" rel}!ll,et Chairman messages for the Voice o[ America This was the first set of bells to look at the dial, my movements were Harris, Grand Choeur plans for the installation of elec· cumstances in which vou bourrht it during World War II. While all be installed in a girls' school. Cast so gross that I was unable to keep La~ey, Allegro Pornposo, Postlude tric blower in reed orgam. and it and the price you paid for it should il1iss J. M., Oregon. I am sorry -RECOMMENDED- carillons in the '''Old "World" re- by Georges Paccard, it was exhibited the needle on the scale, and I only Maltland, Grand Chocur in C is just possible Lhe..~ plans would suggest that it is not a genuine to have to disappoint you, but FOR mained silent under the oppression at an Exposition in France and later Slr.d. Jacobus Stainer never branded his knew how far my finger had moved Purcell, ~rumpet Voluntary include informalion aboul the bel· of the enemy, the Riverside Carillon at the Chicago World's Fair in name on his violins. He was far when I heard the click of the gal- ,The pubhshers of this magazine lows. or that Lhe firms would be able contributed its music to the com. 1893 where a fonner student pur- too fine a workman to maltreat his vanometer needle as it reached the PIANISTS munities whose bells were 10::1. or chased it and gave it to the Seminary wJll be glad to send any Or aJI of to furni~h such information. CONCERNINGBOWING TROUBLES these to you for examination. instruments in such a fashion. No end of t.he scale. silent. At the request of the Office as a memorial to her family. Forty- ANDORGANISTS Mrs. M. E., Ohio. From what you conscientious copyist would do so The experiment with the reed com-. of War Information, carillon music eight years later, in 1949, Paccard • Please send me the names of an.r eitheL The chances are that your parator proved to my satisfaction WISHING TO PLAY consisting of all the best known began casling more bells {or this • I have studied piano lor seven bOOks on organs, illustrating and de· write of your bowing troubles, I get the impression that you have violin is a German factory product that it is quite possible to control ACCORDION Christmas Carols of all the occllpied carillon, until in a short time S1. rears, and am intercsted in laki,Jlg scribing different kinds 0/ orgalls. not been paying enough attention worth about $50.00. And the fact movements too fine to he perceived European countries was recorded hy Vincent had a carillon of 48 bells. ~rgan.lessons, but there is no teacher -e. U., New Iwer re~ently to the martel6 in the upper that you had a new head put on it as movements, if one is provided Dr. Lefevere who visited families This addition was supervised by Ln· a'tIns town. In. the ETUDE Sante FROM PIANO thud of the bow. This bowing, and might detract from even that value. with a concomitant signal which is from 21 different countries in their Arthur Lynds Bigelow, a carillon le I sago mentlon was fnade of tl Ser;eral book.& giving this sort of the whole bow martele are excellent gross enough for perception. shops and homes in New York. Thev architect. Mr. Remy Muller, carll. schol~ that taught organ by mail· infonnalion. available a few )'ears ToACCORDION' ~onics for a sluggish' bow arm. It EASIER CONCERTOS WITH In the case of the reed comparator, sang and whistled the carols to hi~l lonneur of Trinity Reformed Church wou, you please send rne the ad~ back. seem to be out of print at the IS too bad you are not taking lessons the signal was visual: the needle on while he wrote down the melodies gives regular recitals on the St. d~~ss .0/ this school. Ij there are present time. "The Contemporary ORCHESTRA by Frank Gaviani ons an,Y more. From what you say, I the scale. The muscular activity of which he then arranged for the Vincent carillon on Monday evenings ° lCC.tt to such a plan please American Organ" by Barnes, can· the violinist generates an aural sig. First book of its kind ever carillon. Recordings were than made, before the five Novenas. mentlon the reasons. ,dunk your former teacher had sound Mrs. W. C. 0., Illinois. The only Lains quiLe a number of illustrations Concertos I can think of that your nal: a tone. This signal varies in printed. Written by a well and these were broadcast bv the (To be continued next month.) -C. J_. Kentucky ideas. Try to remember all the things of consoles. actions. elc. as related he told you. 12-year·old pupil could play with exact relationships of pitch, loud- known accordion instructor Voice of America to the cou'~tries primariJy Lo organ construction. We orchestra are the Vivaldi·Nachez in ness, quality, and duration, to and composer, it takes you at Christmas time over special short- We are sellding yOU the address of suggest that you look it up in rour changes in the pattern of the musi- easily through the transition wave broadcasts. a Correspondence Music Seho J I A VOIGT (') VIOLIN A minOl' and the Accolay in A minor. local library to see if it would belp. The accompaniment to the Vivaldi cian's motor activity; and the effects stages necessary from piano In 1927 the 51. James Episcopal ~s j~r .as we know the organ d ~~u;~~The Diapason and The American A. F. B., Massachusetts. Simon is for strings and organ (piano of delicate changes of motion are or organ to accordion. Church at Danbury, Connecticut, at- IS. Imlte to the reed or an Y Organist are two excellent magazines would do in place of organ). The vastly magnified, and easily percep- tracted attention when it ordere,l mJght contact them I g . ou Yoigt of Markneukirchen was born ISend For Descriptive Circular PE, f IllUSTRATION CREDITS f tl' • 10wever for devoted to organ interests. and in tible, in the resulting tone. a chime of 14 bells from MeNeely _ ur ler mforrnation. While :nuch In 1711 and died there in 1781 so Accolay had originally a piano ac- each issue you "'till find descriptions it is not likely tbat your vi~lin, companiment, but I believe an On the reed comparator, however, O. PAGANI" BRO,. INC, and· Company at Watervliet, New IS-Llewellyn Ransom, Surer progress could b d the direction of a g de rna Ie under (and sometimes illustrations) of labeled 1785, was made by him. No orchestral accompaniment is avail- I had one very signficant advantage 289 Bleecker SI" New York 14, N,Y, York, America's only carillon bell- Ben Greenhaus ld 00 teac ler y present day organs and new instrU· (Continued on Page 58) founder. The church hun!! the chime cou make out fairl II' ou one could say, without seeing the able. 20-Morht.;, N.w' Socv;« self-study plan Y y we witb a ments. We are sending you the ad· l, ~ o dresses of these journals. ETUDE-FEBRUARY 1952 53 .. ...; ,••2 ... ·__ _u_ryears of piano ETllnF.-FF.flRUARY 19j2 n _ iiiiiiiii .. There were ion, gave it added meaning and .Junior Etude Contest every Indian activity- .. f beauty. There were game Songs, war-songs to arouse the spir'it 0 love songs and cradle songs.In Junior Etude will award three attractive prizes each month for the neatest SHERWOOD MUSIl: S[HOOL . fi ht ; there were the warriors to g, . the them all one sees reflectednotonly andbest stories.or essays and for answers to puzzles. Contest is open to all many songs accoll1pany~ng d the bodily motions of the Indian~, boysand girls under eighteen years of age. Distinguished since 1395 for the trannng of professional ceremony of corn pla.ntll~g an but also something of the reflective Class A-IS to 18; Class B-12 to 15; Class C-under 12. musicians. Member of the National Association of Schoofs harvest. songs of supphcatton for spirit of these mer and women of Music. Faculty of renowned American and European rain Ior good hunting, for heal- Namesof prize winners will appear on this page in a future issue of the who lived close to nature andclose ing. 'By song, the Indians. relat~d ETUDE.The thirty next best contributions will receive honorable mention. artists. Degree, diploma, and certificate courses in piano, to their own Creat Spirit. every aspect of life to then rel ig- Put your name, age and class in which you enter on upper left corner of voice, violin, org-an, 'cello, wind instruments, Publ.ic School yourpaper and put your address on upper right corner of your paper. Write music, composition. In the heart of cultural Chicago. Li\7. on oneside of paper only. Do not use typewriters and do not have anyone copyyourwork for you. ing accommodations at moderate cost. Who Knows the Answers? Puzzleappears below. Send answers to Junior Etude, Bryn Mawr, Pa.-by * February29. SUMMER SEMESTER BEIJINS JUNE 10 (Keel) score. Oue hUlldred ;S lIN/eel) *I E,We,l by Elisabeth A. Gesl Claaiu Puzzle For free catalog, write Arthur Wildman, Mlviical Director. I'i te t (10 pointsI 1. How many whole steps are a mpo? Each word in the chain hegins instrument; 8. a flat or sharp note 1014 SO. MI[HHiAN AVENUE • I:HII:AIiO 5 • II.I.INOI~i there from G natural to F na- 8. What is the meaning of the symbol I icturcd with this withthe last letter of the previous in the signature; 9. a musical term tural? (5 points) word.1. a drama set to music ; 2. _.-.- e_ 2. What is the signature 01 a quiz? (10 pointsl INDIAN MUSIC a musical term meaning slow; 3. ~, 2. 3 < s·) major scale whose fifth tone 10 ...... __ ._ e-"l. a largemusical instrument having • • is E-flat? (5 points) 9 , 7 keysand stops; 4. symbols repre- 3. Does the bassoon have single by ELIZABETH SEARLES LAMB sentingmusical tones; 5. lines on meaning the tones are smoothly or double reeds? (20 points) whichnotes are written j 6. a sym- connected; 10. a sacred composr- 4. Which of these composers 9. l low mony sixteenth-nets bol which lowers n tone by one t ion with chorus, solos and or- was born first: lVlendelssohn, \\ uld be required to com, Two kinds of songs were recog- hall-step: 7. a large brass-wind chestra. THE North American heritage of Schubert, Brahms or Chopin? nized generally: secular songs, plelc a III n ure in 4/4 lime folk music includes a wealth of (15 points) \vl,i·h ontain d tw quarter ST.LOUIS INSTITUTEof MUSIC which were songs of war, victory, The enjoyment I get from reading differing melodic and rhythmic 5. Was the opera, "The FI ying dance-songs, and all the songs not and n dotted eighth. ETUDE has forced me to write to you. JOHN PH1LlP BLAKE, Jr., President traditions, among them the musical Dutchman" composed by Ner- which might be sung by anyone; n t ? ( p in ) Letter Box I am a composer of fourteen years, patterns of the North American di· Puccini Meyerbeer or though I look older. I have to my credit and religious songs, belonging to 10. hat ar th I tter namesof Bachelor of Music Degree in 24 Fields six operas, ten piano concertos, three Indians. Much of this music has Wagner? (10 points) the t n in the diminis.hed rituals and ceremonies, healing suites for piano, three Kynes, as well been lost, since the Indians re- 6. How many symphonies did Semi replies 10 tellers in cnrc of Master of Music Degree in 23 Fields songs, and songs given to a person sev nth ·h rd in the ker of as many waltzes, scherzos, etc. When corded neither words nor musical Schumann compose? (10 Junior Etude, Br yn Mawr, P'a., in a dream or trance, which might g miuor ? 1 ints) older I hope to be a symphonic con- and they will he fOI·w1lrded to the Preparatory School Courses notations. However, some of the points) ductor, I also play piano. (Who does- be sung only by the person receiv- writers. Remember foreign mail songs have been recorded during 7. What is meant by the terlll (i\ n. wer on n xl page) n't!). I would be happy to hear from ing the visions or by medicine men requires fi,'e-ccnt poslage; rOI·~ Institutionol Member National Association of Schools of Music other composers or music lovers. the past century by white musi· cign air mail, ]5 ccnl,s. Do not ask of the tribes. The Dakota Indians Die/;; Proulx (Age 14), Minnesota cians, and in some of the remain- fOI' addrcsses. 7801 Bonhomme Avenue St. louis 5. Missouri described these songs as those ing groups of Indians the old songs made by man and those given by I would like to hear from anyone who Does ot B lon" Dear Junior Elude: is interested in classical music. have are still sung, along with more the Great Power or Spirit which It I AMERICAN CONSERVATORY ETUDE gives 115 an idea of musical taken piano and violin lessons for sev- modern ones. could not be understood. Although the many ]ndian trihes BY ELSIE D YALE development in 1he U.S.A. as well as eral years and play violin in our high OF MUSIC-CHICAGO The song itself was often an leaching us many thjngs that we would school orchestra, Offers courses in all branches of music and dramatic art had differing songs and dances, 66th year, Faculty of 135 artist teachers accompaniment to dancing, with not know otherwise. r have sludied fOUT Dalene Baer (Age 14), Indiana Member of National Association of Schools of Music and even different ways of singing, the rhythm further punctuated by IN EACH of the following u 10 IIlight:' 35 that refers 10 a years on the piano and last. year be· Send for a free catalog-Address: John R. Hattstaedt. Pres .• !i71Kimball Bldg., Chicago T take piano lessons and recently started there were certain common ele- drums, rattles and whistles. The groups of five names or words sonata \\ hile the other fourrefer gan organ. AClivities like choirs and bands in schools are almOSl unknown playing the Hammond organ in church. ments. To the Indian, the rhythmic flute was the only melodic instru- there is one name or word that to ) mph ni~. CINCINNATI CONSERVATORY OF MUSIC pulsation of the song was of fore- here. Next year I'm thinking I may de- I am also accompanist for singing in ment common among the tribes. does not belong wi th the other 1. Kreisl r. M nuhin. lturbi. ,'ole my life to the church as music Ollr school group. [ would like to hear Dr. Luther A. Richman, Dean of faculty most importance. In some singing In the singing there was often spe- four. For example, among the fol- Heifetz. Paganini' 2. AiIdaole. minister. 1 sing in a Yery large choir, from other>'. Established 1867, Operated under auspices Cincinnati Institute of Fine Arts there was almost no melodic line Mary Ann l!,..r:al/ley (Age 12), offiliated with. University of Cincinnati. Complete school of music-Degrees, cial accenting by the voice, like lowing four: "Moonlight," "From lento, aU gro. bravado. moderalo: calted the Jolln Sebastian Bach Choir. at all. Ritualistic words were [ would like to hear from some music Connecticut Diplomas, Certificates-dormitories, [0 acre campus. For Catalog address. repeated bowing accents on one the Ne~vWorld," "Jupiter," "Ero. 3, P dal, onsole. swell. brid,,". chanted on one or a few tones, with lovers in the U.S.A. c. M, Beniamin. Registrar, Dept. E. T., Highland Ave. and Oak St .• CINCINNATI 19. OHIO I have studied piano five years and my string of a violin. ica," "Surprise," the name that stop : 4. "Blu Danube." 'Em: Pablo Dm:id Sosa (Age 17), a very definite rhythmic pattern. favorite composer is Beethoven. I would Songs, it seems, accompanied does not belong to this group is peror:'·· ti~,"s r..il .. ··Minule1 Bnenos Aires In other songs there was some- like to hear from Olher Junior Etude THE CLEVELAND INSTITUTE OF MUSIC "'Tal of the ie-nuaWood5"; 5- thing of a melodic line, simple, readers. Bachelor of Music-Master of Music-Bachelor of Science in Education igu , tarantella. g3\otle. minuel. Elaine Albertsoll (Age 10), New Jersey brief, but often full of a poignant Answers 10 Quiz (B.S. in Ed. by arrangement with Kent State University 1 (anfar : 6. Horn. trombone. ohoe· beauty. In these songs, there might 1. live; 2. n-Ilat, E-flat. A·flat. D-l1at, BERYL RUBINSTEIN, Mus.D., Director be only certain syllables or voc- trumpet. COrn 1: 7. Debu-~.Gr~' key of A·flat; 3. llouble reeds: 4, Schu- 3411 Euclid Ave •• Cleveland 15, Ohio ables which were uttered, although win. BizeL Berlioz.. ",aint- ~: hert, born in 1797; 5. Wagner: fl, fom; Member of the National Association of Scllools of Music the songs as a whole had a definite 8. u anneo."··lITro\"8tore.··M~. 7. at the same rate of speed: l1. an ah- engrin:' ":\Iessioh:' "La Boh"".: brevialion for five measures ,)[ rests, meaning, fitting into a certain cere- used in ensemble music: 9. fi\'e: 10. COSMOPOLITAN SCHOOL OF MUSIC mony or -expressing one certain 9. le\chioe. Pinta. en. [,.T.£li·· {·sharp, a, c, c·llaL ' Preporatory. College, Special, ond Graduate Departments. Courses leading to vini. Edd : 10. Stoko.,ki. Bachelor of Music, Bachelor of Music Educotion, Moster of Music, and Teacher's emotion. In the various Indian Or· Certificates in Music and Theatre Arts. tongues, one word conveys a mean- mand). To~nini. Horol'i\t. K~ Clarence Eidam William Phillips ing that takes a whole phrase or sevitzky. Answers 10 Gallle President Member NASM DE'on Edwin L. Stephen-Mgr .. 306 South Wabash, Chicago 4. Illinois sentence when translated into Eng- waltzes by Strauss; 5, fanfare is a lish. Songs often filled the place Hourish of trumpet,s, the others arc which wordless instrumental music dances; 6, oboe is woodwind, the Olhers JORDAN COLLEGE OF MUSIC are hrass; 7, Gershwin is American, does with us. They accompanied of BUTLER UNIVERSITY the olbers are French; 8, ".\Iessiah" Baccala~reofe de.9rees irl music. mu~ic education, radio, drama, donce. Masters in music the ritual dances; they united the is an oratorio, the others are operas; o.nd musIc education. Notionally known faculty of artist-teachers. Member, Notional Associa- Prize winner. Class A tions of Schools of Mu~jc. 58th year, 9, Casals is a cellist, the otbers are people; they were a sponta~eous Kodak contest Write for catalog. Address: singers; 10, Horowitz is a pianist, the BOll expression of the people as IS all Director of Admissions. E. Jordan College of Music: others are orchestra conductors. Helen R. Bobcr Age (17) Canada 1204 N. Delaware Street, Indianapolis 2. Indione folk music. ETUDE-FEBRUARY 1952 54 55 b lQ of 180 who was already playing ______~ book store. Now I talked. at the and composing. After repeated warn- "POPS" RECITALS PROVE THEIR WO.RTH ...... _. •...•...... _.-. .. ._ STRICTLY PROFESSIONAL tables and salons of influential peo- inas to the parents against public I ple. some of them with money. . (Continued from Page 49) • (Continued from Page 14) apcpearances. the child had to be • One evening I was one of the dill- dropped. Any kind of exploitation of Jerry, who has decided on French The girls model the new formals • ner guests at the home of Co.urt1ano:.d~ a child is a cardinal offense at the mannerisms to sell clothes to the which they will wear in the spring I'm sure every critic has asked • The fact that a few from the lower D Barnes, r.. A number of interests recitals. They appear in an order • himself, "What could be done to pre- school. All such offers by theatrical ladies, cries, "Mademoiselle shall be • East Side reached fame and fortune w~re represented at the ta.hle .. The which will enable each girl to sup- • vent these tragedies?", since a high or movie agencies are promptly servedon ze instant! Garcons!" The • caused one to wonder how many conversation went in many direcuons- ply appropriate background music • percentage of all New York debuts turned down. boysrummage in the wardrobe com- • highly gifted people might be lost I had slwwn the proper interest ~nd It's a common thing at Chatham ingout laden with scarves, caps, mit- for another model. Colored lighting, • are failures. The tragedy here is not • in the milieu. I remembered all the degree of restraint until the subject Squa re to hea r these children from tens, jackets. To the background lovely net and taffeta, beautiful girls OF MUSIC' • .br-llliant young musicians, the stu- only great emotional trauma that of ~nllsic came up. Even this would • might be forever damaging to the six years up playing serious music music of Snowfall played by Wayne, are seen-and the music? Numbers • dents of literature and philosophy not have moved me beyond the in a serious way, from Bach to Pro- Herb holds clothes while Jerry takes like Alice Blue Gown, Stardust, • that used to hang around Katz' book personality of the debutante but proper social comment had not the • kofieff. But there is an unwritten and them and assists Janet into them. Roses oj Picardy, Deep Purple. But • For the serious student who wishes in- • store and the Educational Alliance. there is no beginning again if there • matter of my "school" been su~- well-observed Jaw in the school that While Jerry keeps exclaiming little Bill Is not satisfied. He feels that • What had become of them? I could has been wrong training, and no gested by my good friend. Davl:1 tensive professional study of music, bal- a student is just a student. There are nothings in his limited French, Janet what he needs to take back to Texas • easily imagine. I had only to recall correction where there is no talent. Sarnoff. Although he had heard. this anced with participation in College liberal • no prodigies. To the casual observer tries to flirt with Herb who bites are "square dance clothes." This is • my own hazardous journey. Somewhere along the way all this dream recounted a hundred tunes arts prog r-am and general caDlpus activity. • might have been prevented. it is readily evident that the children fingernails nervously, slaps his own Janet's cue to begin Deep in the • Charity's remembrance of the and helped to build it . SanlOff wa-s Dos-mltoeiee , co-educational dining, exten- • Realizing the exactitudes and de- are not developing any special an; hand, flashes ties, and looks away Heart of Texas. Chris appears in • slums was always limited. Its efforts quite willing to listen agai'~. II is not sive concert series by guest and local • mands of a professional career, I tudes about them ..el-e ... The school bashfully. When Janet is completely peasant blouse and circular skirt. • were spread thin and its caseloads difficult to understand 1115 sympa- • knew the school had to be a rigid feels that rnu ...i and art. like all ex- dressed (they have stuffed my big The Texan jumps up. stamps feet, artists, excellent practice facilities. were always too heavy. Charity didn't thetic interest because this project • pressions or human intelligence. can Scandinavian girl into the coat of grabs her and shouts: • have time to hunt out and meticu- training gl·0UIHI where the student was close to him. His musical inter- • would be fitted for such a life. The be done in a whol ..orne. normal my most petite Junior miss) she "All jump up and never come Member National Association of Schools of Music • lously foster talent. But it had to be est began as a choir boy in a s):n3- • few who might pass the regular au- fashion. T mper taru rum-, and ec- says, "I'll take it all. No, it doesn't down! • done. I knew what lay beneath gogue on the lower East. SIde. Write for: • ditions and keep the rigorous pace centricit ie .. don't e~i ..l. matter what it costs. J ust send the Swing yo honey around and • handicap and poverty. I had taught Barnes. who worked daily at Ill';. fam- • would have a fair chance for a real The pur nt ..., as i" the case in every bill to Daddy!" After Janet's de- around Cons e rva to r-y catalog describing de- : poor kids for pennies to help pay ily's tr~ditional trade on \Vall Street. career. They would not he sent to Till yo right foot. makes a hole in I for my own uncertain lessons. was an accomplished pianist and a school. scm times are the problems. parture Jerry slaps his forehead as grees awarded further overcrowd that vast limbo II mar be du to u wide gall between the thought occurs, "Iusr send t.he the ground. • Chatham Square Music School devotee of music. He might have had Bulletin on admteetcn and audition: of would-be artists who had been the parent und the srudem intellec- billlo Daddy. Whose Daddy?" And promenade, hays. promen- came to the East Side with a special something to do with bril1gin~ up my procedures : encouraged to make the grade. ade!" slant to its social aid. It came during pet project at this time and place. tuall). and in outlook. omelirne.. a But the Texan has appeared; Bil.l The limitations of such a program The four boys and four girls form Calendar of Dlusic events for the cur- : the era of rapid development 01 pri- since his wife_ Katrina. had just cri ...j .. enlOllC". and u'-ually the par- is finally able to leave his stage as a community project was a matter a square, and sing and dance through rent year : vate social work and a stress un pub- come into a sizable inheritance which ent$' grcat intere ..t in Iheir child's lighting to a substitute in order to for consideration. But I remembered the com plete chorus, finishing in a • lic conscience. Settlement houses, she was distributing among her char- welfore brin~1I; them 10 lhe office 10 makea stage entrance. He is dressed PrograDls of concerts and recitals : that there were nine settlement line above the footlights. The skit housing projects and playgrounds itable interests. However. mu<:ic was talk it over. om ha\e C\' n followed in full regalia, and c.:laims to have given during past season houses catering to the general musi· • were earmarked ancl some begun.· not among theo:.e. This ·wa::=a critical t1li' schoo}"s lOugg ..lion 10 the poinl come up north to buy a little style closes with Bill's announcement con· • cal needs of the people. This school • J3ut I knew that what a student moment fOl- me. For years I carried wherc they lUI\c ..ought I;ocial and for his store down in Texas. He com- cerning Chris: "This is the party • was not to be limited to the immedi- dress I like. I'll take it, and the gal, Director of Admissions. Oberlin College • needed to make a career was some- the blueprint of my school deeply p,""ychintri counl; ling. There ha\'e pliments them on their new shop, • thing more than what the average ate community. Scholarship aid was been ca ...c'l wherc the parent ..wouldn', and inquires if Buttons and Bows lao!" As the curtains close for the Box 522. Oberlin. Ohio • to be extended to anyone who was engraved in my heari. 'Vithout mont:) • settlement house could offer music· budg . 1::0 th prohl m had to be mel wouldn't make a good theme song. last time I wonder how many of the • eligible. It turned out that of all the there jt would remain. That night • ally. Its work was to raise the gen· with I h (. "'l rat inn hr the student He hands his fan to Wayne so that audience realize they have been to ...... ' students ever enrolled only one lived Katrina Barnes made pos~ible the _------_ _---_._---_ _-----_ eral cultural standards of the com- 5lympatheti 11) and intellig nlly un· he can play the piano. The fan a piano recital. on the lower East Side. The school Chatham Square Music School. munity. cler ...lUnding the parcnl .. 811; a problem. promptly falls to pieces in Wayne's It was so much fun, another way has revealed a wider need. This bas Not long after this eventful dinner A pro~ram that would be planned The New York nher ..il) Clinic hands. There is desperate pantomime of .teaching that "the music must not caused a reconsideration of its loca- party at the Barnes' home the ruin, and carried on exclusively for the by Wayne and Jerry trying to fix the st.op"-for singing, for dancing, for tion. Applicants have come not only of 211 Clinton Street. which had for Gifted hildrcn and ..c\eral in· exceptionally gifted youth was need· fan while Bill plays. When Bill takes games, not even a hole left in the Summer Session from other communities and other for years been haunted by neighbor- lere ..ted pl;)'chi tri ..tl; work with the ed; intensive training that should it back, it promptly goes together background of musical mood. With JUNE lb to JULY 26 and JULY 28 to AUGUST 30 cities, but from Canada, South Amer· hood kids, vandals. and scrapmon- $chool when needed. Before we begin continue from the moment a child again. Bill wants a style show, so an understanding we settle down to ica and Europe. gel'S, was becoming a bright !:-pOI in working with 8 child. it il; ou.r poJk~· entered the school until his debut. a dismal area. 'When finished. clean. to send c\ r)' one under ten years of Jerry seats him comfortably. Bill polish the recital numbers for May: 1200 REGULA.RLY ACCREDITED SUBJECTS AND If performing artists for the concert Now came the question of the limi- SPECIAL PROJECTS FROM WHICH TOCHOOSEAT fireproof. and freshly painted. it was age to the ~.Y.l'. Clinic to determine pulls out his pipe and lights it, sonatjnas, sonatas, concertos, and and opera stage were to be turned tations of high specialization. It is still a simple and modesl con,truc- whether lhe child i fit to meet the something else from his magic trick numerous smaller numbers by their out, such a program would be neces· often too evident and disturbing tion. demand ... of concenlrated ~pecializa· re!lertoire. Now comes the moment favorite composers: Haydn, Mozart, sary. This decision was the result when one's education has been too MINNESOTA The enrollment of the school wao:. tion. for which the skit has been written! and Beethoven. THE END of years of sharing trials and trio narrowly confined. A broad inclusive calculated to be relatively slllall The idea~ and aim~ of Chatham learning and Ipisure go together imphs of not only Heifetz, but of culture is highly important to a full expression of art, in any form. The since unusual talent is not comnwn. Square :\lu_ic hoot are fullyap- at Minnesota Summer Session in the other great artists like Alma Gluck A GREAT ITALIAN ORGANIST City of Lakes. and Ehem Zimbalis!. I felt secure complete life of a m~lsician or artist Even the appearance of great artjo:.ts preciated by Ihe leading artisis in in my convictions about what was is not Emited to the hour of per- in history is counted in terms of dec. the mlll;ic \\orld. Thi .. wa.. true eren (Continued from Page 24) SPECIAL COURSES IN MUSIC needed to prepare a student for the formance. But the acquisition of a ades and generations. The school lIa, when we started. I recall an unfor· AND MUSIC EDUCATION. ALSO and an impact from several sets of unfinished essays-all in a st.ate of concert stage since these convictions true cultural breadth is a lifetime never had an enrollment of more gettable experience when a numJxr FEATURING PROJECTS IN ••• reeds which is overwhelming. extravagant chaos which makes his were born of a dual experience. Not process. I was not wrong in deciding than 75 students. This limited num- of famous mu~ician .. gOI together to • American Studies Germani in person is unassum· friends smile but which bothers him only had I felt and lived the day-to" that students of tlte caliber that. ber has conveniently suited the pur. plan a btnefit for lhe ~hool. Th· • Scandinavian Studies ing and quiet. He has many interests. not at a-ll. He maintains that he can • Printed Media day life of the performer, but for would be sought would themselves poses of the school. A small enroll- wac; thE"ir own idea. TIle aJlair ~-a:: • Moss Media of Communication His musical knowledge is not con- instantly find whatever he is looking more than fifteen veal'S as a music acquire knowledge and information ment enables the kind lOr per'unal held in thE" hanin Thealre in \ew • Language Arts fined to the organ, hut includes for. • Efficient Reading critic in New YOl:k I had studied other than music to round out their auent.ion this type of student needs_ York. The farcical ~kil~ wert alak music for other jnstruments, of all Germani's work at St. Peter's is • Modern language Institute personalities. It would be our busi· It IS a truism in pedau(lO"\- thai • Renaissance Seminar him from the other side of the stage. off on cla&-room a ti,'iti~ and OT- exacting and keeps him busy. He ness to stimulate them toward a children with vcr)' hiO"h eIQ",:_ . I styles and periods. • Business History To me there was nothing more '" :- ane che ...tra rehea~a.1 ... The "characw·~~ says that he looks forward to the • Intensive Beginning Greek .broader scope. I have always felt that strong emotional drives may al"-o be It was especially enjoyable to hear • Intensive Beginning Russian heart-rending than to see an ill-fit were drc....-..sd 801 cbildren in Wor1 such an influence is one of the reo Germani talk about his family (he time when they can rebuild and add • High School Dramatic Workshop young musician in a de.but attempt· problem children. The problems are pants a nd Lord f auntie-TO)'.:-hiWaDd quirements of a truly competent is married and has three children) to the present organs (there are five Write Now For Help/vi Bulletin/ ing to enter into the highly competi- not necessarily those of correction tie.... rturo To~caniDi pJ.,ed Ibt teacher. It turned out that the ap· and their sunny house on the Avan- in t.he Cathedral) or have a new one. Dean, Summer Session tive and ruthlessly exacting field. and control. They are more or leo:., role of the .. hoolm~ter. AIIJ{l. plicants who were accePfed, were tine, one of the Et.ernal City's Seven He described to me what he wants While for years I was driven with those. of adjusting an unusual pc·r. tho ..e who did a com'incin@ and hI- UNIVERSITY OF without exception. students of high Hills. Not far away are the old as the ideal organ for the Cathedral, concern for talent that might never s?nall~y 10 ordinary and inadequate lariou ... job a the ~lae5tro·~ MudeD!.: scholastic standing. churches of Santa Maria in Cos- and when he gets it I am sure it MINNESOTA see the light, here I was equally torn SI~uatlOns. One child of six Or seyen 752 JOHNSTON HALL. MINNEAPOLIS 14, MINN. were J 85Cba Heifetz.. \1.dimir Horo- will be a masterpiece. At present with the plight of the misguided and Fortified with a clear and definite WIth the ability and desire tn . merlin; Santa Saba, Santa Sabina . I Com· witz. Emanuel Feuermann. .-.than he plays on an organ which, though unfit. Young people who may well formulation of what was needed and pose, mig 1t .he found in a home ~nd Santa Prisca, and across the way :Milstein and La,Hencc Tibbett not large, is very effective. have been suited to a lesser musical what' I was driving for, I began to where there IS no musl'ca] . t IS the Palatine Hill, with its ancient A I m ere"'t HeilelZ. Tibbeu. and ~l... s.rnof Germani left liS in order to get capacity, or who may have been put my thoughts into words. I talked not ler. l~ecause of his extraordi: ruins of the Palazzo dei Cesario 500n after ~tabli5hed ~bola.r"bi~ 11 home in time to play for all the hiuhlv useful in some other direc- about the "school" to everybody. nary talent and development at a In his house is a vast studio can· festival services at Christmas. It is tio"'n,~Yould probably be subjected to Mention music and you heard plans. tender age. miuht be a fit b' { the scbool. taining a piano, an organ, and a ' "=' su Ject or This profh ..ional inle~l ill the huge table piled with books, manu- hoped that his return will not be too lives of frustration and disappoint- But now I wasn't just swapping pl!bl IC exploitation TI' dreams with the boys back at Katz' . . liS was the school continued. Later. 'Wheu~ script's, scribbled notes, finished or long delayed. THE END ment. case WIth one child or f .' I Ollr "It 1 an of our fir"'l (CoFl,iFlut'4 on P~(6: 56 ETUDE-FEBRUARY 1952 57 ETVDf:-f£BR[ ~Rl I;: SOME HIGHLIGHTS The ultimate goal of instruction the tone he hears to be coming is to teach the musician to "read" RATIONAL IMAGERY APPLIED TO THE VIOLIN BOW from the bow rather than from the OF ARTUR SCHNABEL'S TEACHING in terms of the imaged bow. as welt violin. With this concept, the bow as in terms of a mental image of the (Crntinued from Puge 9) (Continued from Page 53) may continue to sound. even. after EASTMAN SCHOOL OF MUSIC sound of the printed page. After a its (imaged) six or eight inches Schumann's Krelslerlana No.2 when are both studying music together; so . . "ff" the time, this faculty becomes easier of over the violinist: the stabilization The volume is increased when imagi- have gone by an d It IS 0 . Schnabel sang to it quietly in his take courage and do not be upset or so that the instrumentalist has ooh: furnished hand by the immobile nary weight is added, and decreased string. We do not think of the strm.g pleasant, low, gruff voice: nervous when you play to me." my to see a phrase. complete with mark_ The University of Rochester ground platform. The moment I re- when it is subtracted. as holding the bow up; the bow IS As _a teacher, his humility was ings for tempo and dynamics, to feel moved this support I lost all con- Anyone who has handled a fishing self-propelled, holding itself up n.o that he holds in his hand a bow , ,.., I <, i?credible. After not seeing Lee Pat- trol. The necessary stabilization must rod or waved a pencil as a baton has matter where it moves. Again rt HOWARD HANSON, Director whose length and weight are proper uson and myself for many years, he take place inside the body, and in the necessary kinemotor experience must be emphasized that the in- ~ heard us play on two pianos. First for the playing of the phrase. Such RAYMOND WILSON, Assistant Director such a way that the freedom of the to create these images; if he has not strumentalist does not "test" the "Ach,••du bist die ecboen.ste in der W~l!" he paid us many compliments for a bow. if manufactured alit of tangi. "O~,yD" a,." '''C tOlleli - (Mt i.. t"~ I(}()~td." arm is not impaired. had such experience, he can easily weizht of the imaged bow by lifting our ensemble. then added, "But ble material. would have the correct P,.., .J. ..,! In part, this stabilization is ac- acquire it. In a very short time the it. He must not interfere with its J ..1 I I please don't tell anyone that you Undergraduate and Graduate Departments musician can wave his bow around period of 0 cillution and COtrect complished by a postural frame of motion. The effect of the image on stud ied with me so long ago, because in the air as though it were actually weight to swing easily and naturally , reference. The configuration of 'the the delicate, subliminal musculature I J was such a poor teacher then 1" SUMMER SESSION longer or shorter, lighter or heavier through the particular motions r~- trunk and legs, while not rigid, is of the musician's body will be such ... After such a serio-comic sally quired for the playing of the Ilhrase. Schnabel has left one priceless relatively static. The problem of than it is. that the real bow will be activated he would wink slyly at the class; his heritage-his phonograph recordings. June 23-August I, 1952 He soon discovers that it takes The imbalance of the real bow in stabilizing the bow arm, on the other to preserve the image, its velocity sense of humor was priceless. Even those he made years ago when much more energy to move his arm the ruusi ian's hand is 50 modulated hand. is one of providing dynamic and pressure adjusted automatically Whenever he expounded the music recording technics were still far stability which will serve the needs than to move the bow. The next step by prop r muscular adjustmentc., FALL SESSION by imaging the correct distribution in English or German. Schnabel was from sntisfuctor-y arc t.he finest is to learn to ignore the force re- themselves induced by the genera. of the arm in motion. of balance and weight in the imagi- master of the spoken word. His "teachers" any serious piano student. September 22, 1952-June I, 1953 quired to move the bow, and think of ti n of the lmag that the arm and In the light of the observations nary bow. speech was cryst.al-clear. often terse can consult. ... Listen to them over: described above, I wondered if the the bow as propelling itself through The left hand also comes to work bow tog Iher become a flexible. and axiomatic hut never sententious. and over with your scores _ .. do not for further information address solution to the violinist's problem space with a force of its own. He automatically to preserve the illu- adnpt abl 1001 capable of meeting He loved the word "activity." Every 1 ry to imitate, but let the music flood might not lie in the form of a specific moves his own arm only with the and solving all problems of difficult sion that the bow is "in tune" and musical shape flowed serenely and your spirit ... you will then experi- ARTHUR H. LARSON, Secretary-Registrar rational image or images that he force necessary to follow the bow in playing Eliluntion ... as result gains 'greatly in freedom surely to its objective. Every voice ence the essence of Beethoven, Mo could project into his bow, much the all its motions through space. The TIIF. f."iO of motion and accuracy of intonation. had to be heard, but never obtrus- zurt, Schubert, ... What a tragedy EASTMAN SCHOOL OF MUSIC same as the image of the stretched student learns not to "test" the im- ively.If a student sang a theme with that the record companies did not wire was projected into the previous- aged weight of the bow by trying to too much melodramatic emphasis, persuade Schnabel to leave more of Rochester, New York ly cited illustrations. raise it from the string. He also )'OU OIlC hi;; matchless "realizations" with us! Accordingly, I asked my pupils to learns that the muscular adjustments SEPARATE PREPARATION FOR JOINT CONCERTS Schnabel exhorted, "Oh, are of those pessimistic pianists; don't In my teaching activity throughout imagine that the bow in their hand which take place in his ann as a re- had grown longer or shorter, lighter sult of correctly applying the image (Co/l/i/lt 62 En·Df-FfBR( lRI" ~ ETUDE-FEBRUARY 1952 63 pre:Her preJenlJ OulJlandinlj Choral m.: lor the J!enlen s:»: and lor c.: su; EASTER LENT PALM SUNDAY SATB (Easy) SAT I (Easy) SATB (Easy) Cat_No. Priee Compo~er.Arronger Cat. No. Price Title Composer-Arranger Cat. No. Price Title Composer-Arranger Title Title Compo,er-Arranger Cat. No. Prke ..... Rasley 312-21598 .16 troLLOW ME (Lent or General), .F)oering 322-35429 .15 KING'S· WELCOME (0 Hark! The Cry). .., Whitehead 332-14659 .22 ALLELUIACAROL . EASTER MORN Maflhews 332-1532,1 .22 ASIT BEGANTO DAWN (Sop. or Ten.)...... ~artiD 312-15626 .12 :j:HALLELUJAHl CHRIST IS RISEN (Sop.) Eastham GOD SO LOVED THE WORLD *PALM BRANCHES 312-10308 .15 from "The Crucifixion" ...... Stainer 332-08621 .12 . Faure-Sudds 332-09568 .10 AWAKElTHOUTHAT SLEEPEST HARK! TEN THOUSAND HARPS AND VOICES Miles 332-15068 .16 (Solo or duet medium voices) . 332-09529 .12 322-35134 .12 [Scp., Duets and cucrtete) Simper HE IS RISEN (Canta1ina) Floerinq 332-15143 .20 1 LAY MY SINS ON JESUS (Sop. ad lib). .Speaks 322-35093 .16 ·PALMS . ·Fcrure-Po'wera BEHOLDTHE GLORY . Keatinq 312-21479 .18 HE IS RISEN from "The Resurrection". . Manney 332-14275 .18 .10 IN THE CROSS or CHRIST I GLORY. .. Cranmer 312-20655 REJOICE, JERUSALEM, AND SING! CHIME,CHIME.CHIME (Easter Carol) Loud 322-35126 .10 HOLY CITY {Sop., Alt., Ten.) Adams-Page .Nevin 332-10137 .15 332-15250 .20 UESUS. REFUGE OF THE WEARY (Bcrr.. Palm Sunday or Easter) ... CHRISTHAS ARISEN {XV Century French)... . Campbell 332-15111 .16 HOSANNA .Granier-Adams 312-10111 .15 (Lent or General, Alt., Chorale). ... Marks 312-40018 .16 RIDE ON IN MAJESTY (Duet for Ten. and Bass) Baines 312-20325 .16 CHRISTOURPASSOVER (Solo quartet)...... MacFarlane 322-35139 .20 I KNOW THAT MY REDEEMER LIVETH LEAD KINDLY LIGHT. ... Buck 332-00461 .15 RIDE ON, 0 REDEEMER.. . Keatinq 312-21553 .16 CHRISTTHELORD IS RISEN...... W ooler 332-14477 .16 from "The Messiah" Handel.Warhurst 312-21118 .18 CHRISTTHELORD IS RISEN TODAY. . .. Strickland 312-21234 .16 fLEGEND OF THE DOGWOOD TREE (Carol) . . .Marryotl 332-15176 .16 WITH PALMS ADORE HIM ..... _...... Bornschein 332-15177 .16 JOYOUS EASTER HYMN (Sop.) Reimann-Manney 332-13966 .18 EASTER DAWN...... Baine. 312-21577 .18 LET THE MERRY BELLS RING OUT MUST JESUS BEAR THE CROSS ALONE 312-20900 .16 WHEN HIS SAL V ATION BRINGING. . .. Erb EASTERDAY (Sop. or Ten.) . . Rowley 332-08618 .15 (Sop.) Gans-Brackett 312-06242 .12 (Carol)· ... Clouqh-Leiqhter-Cain 332-15014 .16 HAlL HIMLORD AND LEADERI (Processional) Nevin 332-10962 .15 LIFT UP YOUR VOICES NOW. . Avery 332-13594 .18 WHEN I SURVEY THE WONDROUS CROSS SATB (Medium) HALLELUfAHJCHRIST IS RISEN .. _.. Simper 312-00091 .12 LIFT YOUR GLAD VOICES. . Avery 332-13390 .22 (Sop. or Ten.l ...... Hcrns .15 312-20777 HE IS RISEN . , .... Stult • 312-10802 .15 LORD IS RISEN INDEED. . ... Billinqs-Lerman 312-10068 .16 tALL GLORY. LAUD AND HONOR. · . Teschner 332-14907 .10 HOSANNA(Alt., Bass) . .. Granler-Schnecker 332-10955 .15 SATB (Medium) LORD IS RISEN INDEED (Processional or Introit) .... Manney 332-14079 .18 ALL GLORY, LAUD AND HONOR. · . Williams 312-10408 .16 IN THEENDor THE SABBATH (Sop. or Ten.) .. MacFarlane 332-11517 .20 o CHRIST, THOU LAMB OF GOD (Agnus Dei) .. Ledington 332-15211 .15 APPEAL OF THE CRUCIFIED JOYCOMESWITH EASTER Marryott 332-15246 .15 FLING WIDE THE GATES reo-en o KING IMMORTAL (Sop., Alt. or Bcr., from "The Crucifixion"...... Stainer 332-13254 .18 rOYDAWNEDAGAIN ON EASTER DAY. . .Naqle 332-15067 .15 from "The Crucifixion". . Stainer 312-10811 .18 Violin obb!. sold separately). Brackett 332-12587 .20 AS CHRIST UPON THE CROSS (All.). . Bullard 332-09817 .15 'to MORNOF BEAUTY from "Fmlcndic" .. Slbellua-Matthews 332-14714 .16 tHOSANNA! BLESSED IS HE o LIGHT THAT BREAKS FROM YONDER TOMB BEHOLD THE LAMB OF GOD (Alt.. Ten.. Bor.. Voice speak. ONEEARLYEASTER MORNING (Palm Sunday or General)_. . Marryott 332-15011 .16 {Sop.. Ten., Violin obbl.). . Dressler 332-10510 .18 ing choir and solo speaking pis, 30 min.) Jones-Me Rae 332-15179 .30 (Sop. or Children's Choir) , . .. Marryott 332-14814 .12 . Nevin RISEN LORD (Sop., Alt., Ten., Bass, Violin obbl.). .. Fisher 332-10967 .20 tINTO THE WOODS MY MASTER WENT .... 332-13935 .15 lEN IRAOlllONAL CAROLS FOR EASTER 332-14276 .18 o CALVARY (Sop. or Ten., Alt.l. . .. Rodney 332~12635 .12 ... Parker JERUSALEM (Alt. or Bar.). 312-15623 .18 TWELVE OLD LENTEN AND EASTER CAROLS ,Baine. 312-21285 .22 ON WINGS OF LIVING LIGHT COME UNTO ME (Bar.)...... Spence 332-13654 .16 *PALM BRANCHES (Bar. or Bass) ...... Faure·Bruche 332-09678 .12 WAKE FROMYOUR SLUMBERS . Marryott 332-15276 .16 (Alt., Bcr., Violin and Harp obbl.). . Bartlett 332-12305 .20 CRUCIFlXUS from "Mass in B minor" REJOICE AND BE GLAD (Ten.). .Berwald 312-20302 .16 *PALM TREES (Mezzo or Bcr.}. · . Fc ure-Norrta 312-o62C4 .12 WHEN IT WAS YET DARK . Maskell 312-21140 .18 (E. and L. text).. . .Bach 332-14650 .15 :t:RESURRECTION (SSAA TTBB) McCollin 332-14084 .15 PREPARE THE WAY (Swedish melody). · ... Levees 332-14449 .12 WHY SEEKYE THE LIVING AMONG THE DEAD? HE WAS DESPISED "'Alt .. Ten. and Sop. duet} ... Hosmer 332~11954 .15 (Sop.I ...... •.• , ... Eastham 312-10309 .15 SING AlLELUIA FORTH (Scp., Ten., Bass) Buck 332-00460 .16 RIDE ON! RIDE ON IN MAJESTY I SEE HIS BLOOD UPON THE ROSE WORLDITSELFKEEPS EASTER DAY. . . Sellew 332-15313 .16 SING ALLELUIAS (Sop. and Alt. duet). .Keatinq 312-21455 .18 from "Christ and His Soldiers"...... Farmer 332-01278 .12 (Lent or General)... . . Stevens 322-40010 .16 SPANISH EASTER PROCESSION. . Gaul 332-14269 .18 I SOUGHT THE LORD. . Maltzefl 332-15298 .15 SATB (Medium) THEY HAVE TAKEN AWAY MY LORD. . Stainer 312-10826 .10 I WILL EXTOL THEE (Ten. or Bar.).. . Wooler 332-14006 .16 SSA ALLELUIA, ALLELUIAI ...... Brander 312-10240 .IB ,THIS IS EASTER DAY (Sop. or Children's voices, Carol)...... Marryott 332-15144 .16 IN DEEPEST GRIEF from "St. Matthew Passion" HOSANNA! BLESSED IS HE ALLELUIA, ALLELUIA! [Sop.I ...•...... Stults 312-10796 .15 332-14081 .15 :j:THREE EASTER CAROLS (2nd set)...... Whitehead 332-40056 .12 (Double chorus, Difficult}. . . Bach 332-14324 .20 (Medium, Falm Sunday or General) .. · .. MarrYO!l 332-15347 .15 ALLELUIA,CHRIST IS RISEN ...... Kopolyoff-Goul ANCIENI GERMAN EASTER CAROL THREE HOLY WOMEN (Normandy Carol)...... Gaul 332-12597 .10 JESUS, WORD OF GOD INCARNATE INTO THE WOODS MY MASTER WENT (Magdalene, Cease All Grief and Tears). . Gaul 332-14653 .18 THREE MEN TRUDGING (Provencal Carol). ... Gaul 332-13968 .15 (Ave Verum) (Sop. or Ten.)...... Nevin 332~11629 .15 (Sop., Easy) ...... Nevin 332-14037 .15 APPEALOF THE CRUCIFIED...... Stainer 312-21282 .18 .. Matthews 332-13712 .18 t LAMB IS INNOCENT AND MILD. . . Eichhorn 332-15056 .15 ,THREE WOMEN WENT FORTH (SSAA TTBB). JERUSALEM (Medium) ...... Parker-Warhurst 312-31475 .16 AS 11BEGAN TO DAWN ISop.). .Vincent 312-20480 .16 :j:TODAY DID CHRIST ARISE tMY JESUS, AS THOU WILT. . Voris 332-14020 .16 *PALM BRANCHES (Medium)_...... Faure·Ryder 332-12739 .15 ATTHE SEPULCHRE (Bass). .... Nevin 332-13595 .18 (Dutch Carol. XVII Century)...... Whitehead 332-14548 .18 MY SOUL IS ATHIRST FOR GOD (All. or Bar.l .. Madsen 332-14939 .18 AWAKE,THOU THAT SLEEPEST (Sop., Bass). ... Maker 332-03731 .15 TRIUMPH (Sop. descant, to CHRIST. THOU LAMB OF GOD (Agnus Deil.Ledinqton 332-15211 .15 AWABE UP. MY GLO)lY. . . . .Barnby 332-08980 .15 Sundays after Easler and general) . .Means 332-40055 .16 o JESUS. THOU ART STANDING BECAUSE1 LIVE. YE SHAll LIVE ALSO tVICTORY (When the Children Went to Play, (Sop. or Ten., Bar.). . Stoughton 312-21637 .15 (Sop., Ten., Bar., Easler Morn, Biblical Anthem for Minister Old Alsatian Carol) .. Gaul 332-12922 .12 to SAVING VICTIM (Sop.). . Fichlhorn 332-40006 .16 GOOD FRIDAY and Choir) ...... Fisher 332-13807 .25 WffiTE LILIES ...... Marryott 332-15312 .15 to SORROW DEEP (Lent or General). Lovelace 332~40000 .12 ;BECAUSETHE LORD IS RISEN. . Williams 312-40049 .15 WITH HARP AND WITH TRUMPET ...... Mile. 332-14975 .16 THREE CROSSES from "Behold the Chrisl' Nevin 332-14725 .15 SATB (Easy) BEHOLD,THE ANGEL OF THE LORD. . .Fichthorn 322-15277 .25 YE SONS AND DAUGHTERS OF THE KING BEHOLDTHE RISEN KINGl (Sop. or Ten.)...... Dressler 332-12918 .16 (Old French Air, XVII Cenlury). Thiman 332-14550 .18 WHEN I SURVEY THE WONDRbUS CROSS o SACRED HEAD, NOW WOUNDED VioUnParI Only . .25 YE SONS AND DAUGHTERS OF THE KING (Sop., Alt., Ten., Bar., Bass).. . .. Andrews 332-13491 .20 (Sop., Solo quartet) .. . . Handel-Bracket! 312-06276 .10 BREAKFORTH INTO JOY...... Bamby 312-10729 .15 332-14974 .15 WHEN I SURVEY THE WONDROUS CROSS ON THE WOOD HIS ARMS (0 Filii et Filiae). CHRISTIS RISEN (Sop. or Ten., Violin obbL) Dressler 332-11779 .16 (Sop., Alt., Lent, Good Friday, General) .... Schnecker 332-10981 .15 ARE STRETCHED · .. Vulpius-Roff 332-40058 .12 CHRISTIS RISEN Morrison 312-10475 .16 SSA (Easy) WHEN JESUS 'WAS A LITTLE CHILD tTHRONED UPON THE AWFUL TREE. · . Ledinqton 332-15112 .15 332-12437 .16 (A Legend) .. . .. Tschaikowsky-Page 332-13334 .10 CHlUSTIS RISEN (&r:)' Turner ALLELUIA. ALLELUIA! .. Brander-Warhurst 312-10803 .18 CHRISTIS RISEN! CHRIST IS RISEN! (Bass). Spence 332-13100 .18 :t:EASTER ALLELUIA Shure 332-15110 .10 SSA (Easy-Medium) CHRISTIS RISEN FROM THE DEAD (Sop.) Morrison 312-20128 .16 SATB (Medium) EASTER CAROL (Piano obb!. ad lib). Buckley 312-21552 .16 332-10742 .20 ADOREMUS TE (We Adore Thee) CHRISTIS RISEN FROM: THE DEAD (Sop. or Ten.) .. Rogers EASTER CHIMES (Carol Anthem). . Scott 332-13967 .15 (E. and 1. text)...... Roselli-Saar .10 312-00031 .16 332-14206 BALLAD OF THE TREES AND THE MASTER .. ChadWick 332-14253 .16 CHRISTOUR PASSOVER (Bass) . Chapple EASTER DAY (Sop.). . .. Bowley 332-13248 .15 312-10307 .10 ADOREMUS TE (We Adore Thee) DARKENED WAS ALL THE LAND CHRISTOUR PASSOVER (Sop., Ten., Bass)...... Eastham LET CHIMES OF EASTER BE GLADLY RUNG. . ... Abt 332-11371 .16 (E. and 1. text)...... Perti-Saar .10 332-13377 .20 332-14397 (Tenebrae Factae Sunt) (E. and 1. lexts) ... Haydn-Lynn 312-40055 .16 CHRISTOUR PASSOVER. (Bass) ...... Nevin ·0 MORN OF BEAUTY from "Finlandia" .. Sibellus-Matthews 332-15046 .15 332-08234 .18 AGNUS DEI (0 Lamb of God) (E. and 1. text) .. Bizet-Bliss 312-20268 .15 THERE IS A GREEN HILL FAR A WAY. . Gounod-UlIle CHRISTOUR PASSOVER (Alt., Bar.) Schnecker SING YE HEAVENS...... Stair.-Montrose 312-21529 .15 332-10738 .12 CIIR1ST OUR PASSOVER AGNUS-DEI (0 Lamb of God) (E. and 1. text). Bizet·Ryder 332-12610 .15 THERE IS A GREEN HILL FAR AWAY WHEN illS SALVATION BRINGING. . .Erb 312-20899 .16 (in G, Sop., Passage for solo quarlet)...... Stults 312-20295 .12 AVE VERUM (Jesu, Word of God Incarnate) (Sop.) .. Gou nod-Wood 312-10161 .12 (E. and L. text).. . .. Mozart·Page 332-11796 .12 WORDS ON THE CROSS (Verba in Cruce) CHRISTOUR PASSOVER (Ten. or Sop.). .ToW1l 332-03016 .16 SSA (Medium) CHRISTTHE LORD IS RISEN AGAIN Hosmer 332-14266 .20 CALVARY .. . .Rodney-Warhurst 312-21321 .16 (Bar., Lent or Good Friday). . Nevin CHRIST HAS ARISEN (XV Century French tune) .. Campbell 332-15212 .15 332-14338 .22 CHRISTTHE LORD IS RISEN TODAY (Sop., Bar.) .. Huerter 332-14157 .20 COME TO MY HEART, LORD JESUS. . . Ambrose 332-15072 .16 CHRIST TRIUMPHANT .. Shelley 322-35211 .18 CHRISTTHE LORD IS RISEN TODAY (Bass) Lindsay 332-13806 .25 GOD SO LOVED THE WORLD DAY OF DAYS...... Van de Water-Manney 332-12439 .15 SSA (Medium) CHRISTTHE LORD IS RISEN TODAy...... Morrison 332-10397 .16 from "The Crucifixion". .Stainer-Nevin 312-21143 .12 EASTER HYMN . . ... Aba 332-02876 .10 CHRISTTHE LORD IS RISEN TODAY (Bass) Roqers 332-10535 .16 I HEARD THE VOICE OF JESUS SAY.Rathbun-Warhur.st .15 312-21146 TENEBRAE FACTAE SUNT (Darkness Fell on the Earlh) CHRISTTHE LORD IS RISEN TODAY (Sop. or Alt.) .. Wilson 332-10266 .18 HALLELUJAH CHORUS (E. and L. lext). Palestrina_Saar from "The Messiah". .Handel-Warhursl 332-21332 .18 IN THE CROSS OF CHRIST WE GLORY.. .. Howe-Page -332-15168 .16 332-14208 .10 CHRISTTRIUMPHANT (Bar. or Alt.) j. .Shelley 332-35141 .20 THERE IS A GREEN HILL FAR A WA Y HOSANNA! (SSA or SSAA, Sop.). . Granier-Manney 332-13251 .15 INFLAMMATUS (When Thou Comest) COMEYE FAITIlFUL. RAISE THE STRAIN. .Thiman 332-14817 .18 .18 (Lent, Good Friday, General) Gounod-Warhursl I KNOW THAT MY REDEEMER LIVETH (Sop., E. and L. text)...... Rossini-Felton 312-21028 312-10154 .15 CONQUEROR Baumqartner 332-14271 .15 from "The Messiah". .Handel~Warhursl 312-21365 .16 JESU. WORD OF GOD INCARNATE (See "Ave Verum") ;'CROSS OF SORROW' .Sibelius~Peery 332-15045 .12 IN THE END OF THE SABBATH (Sop. or Ten.) Coerne 332-13388. .16 LAMB OF GOD (See "Agnus Dei") 332-14479 .20 ~Cannot be sold in Canada. .Matthews 332-14355 .16 o BONE JESU (0 Blessed Jesus) ~~~N:~~~'ON' WmTS'UNDAY" ...... SPANISH EASTER PROCESSION (Folk Motive) Gaul (E. and L. text)...... Palestrina-Saar 332-14207 .12 t A cappella ad lib. WERE YOU THERE? (Negro Spiritual). . .. Manney 332-13761 .15 (Bar., Carol of While Russia). .Kopolyotf-Gaul 332-14158 .15 PANIS ANGELICUS 0 Bread of Life from "Messe Solen- t A cappella. nelle" (Sop., E. and 1. text) Franck-Harris 332-13651 .15 Solo voices indicated by- So So Send for additional Easter lists in the Presser Sacred Choral Catalog. VERE LANGUORr:S (He Surely Hath Borne Our Griefs) Bass. . . p., prano, Alt., Alto, Ten., Tenor, Bar., Barilone, Dept. £·2-52 {E. and 1. text)...... Lolli-Saar 332-14205 .10 Texl,s: E., English, L., Latin, Script., ScripturaL When you think of Music • • • think of Pressers THEODORE PRESSER CO., Bryn Mawr, Pennsylvania 64 ETUDE-FEBRUARY 19;1 Twenty-five years ago the "World's Most Unusual University" hod its beginning as a little institution with 88 students. FOUNDED UPON THE AUTHORITY OF THE SCRIPTURE AS THE WORD OF GOD. EMPHASIZING THE GOSPEL OF THE GRACE OF GOD. STRESSING THE DISCIPLINE AND SELF·RESTRAINT NECESSARY FOR THE SERVICE OF GOD. The influence of Bob Jones University has extended around the world. Its student body comes from over twenty-five countries of the world and its graduates have gone out both as ministers and laymen to witness for Jesus Christ in all parts of the world. NO SCHOOL HAS HIGHER ACADEMIC STANDARDS. NO SCHOOL HAS EXACTLY THE SAME EMPHASIS. NO SCHOOL HAS QUITE THE SAME COMBINATION OF EVANGELISM AND CULTURE. BOB JONES UNIVERSITY GREENVILLE, SOUTH CAROLINA MUSIC, SPEECH, AND ART WITHOUT ADDITIONAL COST ABOVE REGULAR ACADEMiC TUITION ACADEMY AND JUNIOR HIGH SCHOOl IN CONNECTION ------ :> .... ql - • 3'""' ~ rit." f.f'" 11if f f'Z. 3 .-/ f~ , 1'- _===I=="p . 1.. .L~ IJ J ...... ~ , · ... ;. I!;' 3 "':f ...... ~..l.J .~..~ .. 3 3 ~~~1 ,., I I~. ~ .. , "''''23~ -- .. f.f~Fine . , ~ " --.;;1..1 >'"1l pp sempre pp e malta legato . ~ ~, I .. ... ~ > ~ .~i; ~hj,~ , rf1~mJ~ .