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

11-1-1935 Volume 53, Number 11 (November 1935) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 53, Number 11 (November 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/839

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE ■Music ■Magazine WHERE SHALL I GO SPECIAL NOTICES TO STUDY? AND ANNOUNCEMENTS

Private Teachers (Eastern)

WALTER CHARMBURY Pianist and Teacher

KATE S. CHITTENDEN

COURSE ALBERTO JONAS of MUSIC John M-Williams STUDY LaFORGE-BERUMEN STUDIOS

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At Leading Music Dealers Everywhere The John M. Williams “Favorite Melodies for the Adult” are the perfect answer to a need long felt by piano teachers for use with adult John M. Williams Books Wherever you find a Music Merchant beginners. These pupils resent the first “baby First Book for the Adult Beginner. 1 pieces” in adult beginners’ books. Hence, EDWARD E. TREUMANN Favorite Melodies for the Adult... 1 intent upon truly serving the best in¬ the need for a book of pieces ESPECIALLY Very First Plano Book. terests of his community, there you will SELECTED, keeping in mind WHAT the First Grade Piano Book. 1 older pupil WANTS TO PLAY. Edited with Class Piano Method. Book 1. 1 find the John M. Williams “books with adult possibilities (ability to play octaves, Class Piano Method. Book II. Class Piano Method. Book III. the blue covers.” Make a point of ask¬ large chords and use the pedal) also the limita¬ Class Plano Method. Book IV. tions (mostly of speed) of the older beginner RAMON E. TUCK Half-Hour Book. 1 ing to examine them. Study them care¬ in mind, this book contains 55 Favorite Melo¬ Advanced First Grade Book. 1 dies. Here are songs from operas, folk melo¬ m JSxSA* Second Grade Book. 1 fully—all of them—and we are confident dies, old time songs, plantation and range Third Grade Book. 1 songs, convival songs, drawing-room music, Fourth Grade Book. 1 that you will understand why the John Boy’s Book of Pieces. 1 sacred music and educational teaching pieces. Graded Sight-Reading. Book I. . . . 1 M. Williams Course of Music Study is Its price, only $1.00 Graded Sight-Reading. Book II- 1 the “National Preference.” Your local Graded Sight-Reading. Book III... 1 — also “FIRST BOOK LAZAR S. SAMOILOFF Graded Sight-Reading. Book IV... 1 dealer will let you take these books “On The Major Scales. Book I. The Major Scales. Book II. Approval.” If not, write us direct— for the ADULT Team-Work Tunes (2, 3, or 4 Players) I Burgmuller, Op. 100.75 and we will serve you gladly. BEGINNER” 20 selected studies A successful first instruction book for the piano, written for pupils over twelve years of age. It contains, in understandable lan¬ FREE BOOKLET “How to Teach from Middle C” guage, illustrated by easy-to-read charts, the This little booklet tells the story of notation with rudiments of music, the use of the pedal and BRAUN pictures, explaining how the Williams Method elimin¬ the very simplest rules for building chords— ates long wearisome “Practice” for the piano pupil. exactly what every mature person wants to CONVERSE COLLEGE 28? You will find this book of real interest and value. It know. Also 33 additional favorite melodies is free upon request from your local dealer or Boston. in playable keys. $1.00

lafer- aisp— 116 Boylston St. rfkth ANNIVERSARY BOSTON MUSIC CO Boston, Mass. this Year of 1935

NOVEMBER, 1935 631 Editor JAMES FRANCIS COOKE • Hobbies for Everybody THE ETUDE Associate Editor EDWARD ELLSWORTH Published Monthly HIPSHER By Music Magazine PERHAPS you remember the Etude editorial, “The compels concentration and affords relief from the cares of THEODORE PRESSER CO. Perilous Blessing of Leisure,” which appeared in life. 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC November, 1932. About a year later Uncle Sam and It provides means for associating with cultured people. PHILADELPHIA, all of his children awoke one morning and found that in¬ It stimulates the imagination and introduces one to that world of dreams which exalts the soul. PENN A. Vol. LIII No. 11 • NOVEMBER, 1935 creased leisure had become a kind of political religion. In other words, we had to have leisure whether we wanted It is the most discussed art of the times; since millions it or not, because the government would permit us to work of people hear daily, and largely over the radio, the music just so long. Millions of people who had always wanted of the greatest composers performed by the foremost to do things for their self-gratification, who wanted to artists. The World of Music play, to read, to exercise, to study, to collect things, to Owing to the widespread instruction in music, more raise animals, or flowers, or vegetables, to make things, in people have been trained in that art than in any other. Interesting and Important Items Gleaned in a Constant Watch on fact to gratify an ambition to be happily engaged without Millions will make music a hobby—millions more than ever before. The old complaint, “I would give anything if Happenings and Activities Pertaining to Things Musical Everywhere the consciousness of being bossed by man or money, could at last enjoy themselves “to their hearts content.” I could take up music,” has no meaning now. Anyone To these same millions this same leisure was like a new who has access to an instrument can “take it up.” Even ZURICH, SWITZER¬ SHANGHAI CHINA has its Municipal THE EDINBURGH PUBLIC MUSIC ITALO MONTEMEZZI, automobile—they had to be taught how to run it. There¬ though you can not yet afford a teacher, you can, by LAND has had a nine day Orchestra which^has «l~ M *SEZ. St ft fiftS fore the Leisure League of America was organized. The earnest and unrelenting self study, do surprising things. Bach Anniversary Festival native ballet, “Incense Shadows.” Joseph Central Public Library, contains nearly automobile in untrained hands might run wild and do Any musical friend will he glad to give you a helping hand Lampkin, violinist, and Arthur Rubinstein, thousand volumes, most of which are loaueuloaned ^other operas, arrived -Italo featured by an uncut per¬ more damage than good. The Leisure League got to work at the start. Thousands have had no other beginning, and VOLKMAR formance of the “St. Mat¬ pianist, have been enthusiastically received for home study. _ America^ on July 6th^lor Monxemezz, Andreae - indefinite stay. — — and soon the newspapers were flooded with articles upon yet they have become able to play in a very gratifying thew Passion,” conducted there in recitals; and there has been recently ,,TTOTr, * . „ experiment of accompanied by his wife and son and has let by Volkmar Andreae. The festival was opened really creditable performance” of Bizet’s MUSIC AS A PILOl w« an va -u“V the new creed, “Get a Hobby.” Last May an exposition way. Of course if you can afford a teacher you will save seaidom"hea. . rrdi ''“Theitrwsi nr.—-i{uTnU t?:_i-)> ’“byToVai i— i —wt Ray W DmnmBrown, nrfumwTen,'onSeptember An September 7th, he it be known that he is at work on a new opera. by a concert by Karl Matthei, on the organ years of time and many false leads. talent_ flewnew fromirom Newincw York,xurik, r—uvci tuicthe oicatGreat Lakes•L-'-a-rvvv-'° Ofw this° work he is making at the present of hobbies was held in the Commerce Hall of the large of the Fraumiinsterkirche; Professor D. Joa¬ -*• Region, down to Washington and back home, further announcement than that the liDreuo Port Authority Building in New York City. Some thirty Those who know something of music will have fun in chim Moser, of Berlin, lectured on “The Dominating Genius of Bach”; and there were THE CHICAGO SYMPHONY ORCHES- guided by the strains of orchestras from vari- is by Sem Benelli and that it is based on a organizations joined in the movement and the giant hobby developing their art along some special line. We know programs of the cantatas and miscellaneous TRA announces, among the regular subscrip- ous radio stations._ mediaeval legend. campaign of 1935 was launched. one man who made a special study of Haydn. First he compositions of the master. HI_ _ ONE HUNDRED AND FIFTY-FIVE AP- THE FIRST PRIZE for composition at the We have been looking over the graphic floor plan of this learned the best known sonatas, and then he found a veri¬ version by Dr? Frederick Stock, conductor of PLICATIONS are said to have been received Conservatory of Madrid has been awarded amazing hobby round-up in New York. Here are some table world of wealth in that master’s other piano compo¬ ANTONIA BRICO, the young American the organization. for the post of Borough Musical Director of jointly to Manuel Parada de la Puente and of the activities represented: collecting pets, stamps, arms, sitions. Every new piece was like a choice gem added to conductor, won enthusiastic comments for her ■a-1- Durban, South Africa, to succeed the late Mr. Emilio Lehmberg, pupils of Conrado del coins, fish, or almost anything else ever created; then there his collection. Haydn—happy “Papa Haydn”—brought leading of the National Symphony Orchestra THE NATIONAL EISTEDDFOD of Dan Godfrey. The salary offered is £1,000 Campo. The work prescribed was a sym- were amateur theater games, home carpentering, photog¬ new interest and delight to that man’s life. More than of Washington, for its concerts of July 21st Wales was held this year from August Sth to (nearly five thousand dollars) a year. There phonic Scherzo for full orchestra. and 24th. On her first program were such 10th at Caernarvon; and the ceremonial were thirty-two candidates from the Union of -1> raphy, outdoor sports, mechanical toys, reading, the home this, by making his playing better than ordinary he was testing pieces of leadership as the “Fifth Sym¬ meetings of the Gorsedd took place in the South Africa, one hundred and fifteen from arts of women (cooking, dressmaking, embroidery) camp¬ able to give a great deal of delight to his friends. phony—From the New World” of Dvorak; Sen ofthe* great Castle'from'wMdTthe' first England, two' each from Australia and Amer- THE C™CAGO CITY OPERA COM- ing, travel, gardening, painting, sculpturing, hunting, pub¬ Teachers who are anxious to increase their business the Love Death from Wagner’s “Tristan and Prince of„f WsUWales was proclaimed.nrorlaimed The chief ica.ica, and one each from Rhodesia, Scotland, 1 * ’ wlln *-arieton nacKcu as prtsiueni, Isolde”; and Tschaikowsky’s symphonic poem, announces a season of five weeks at the Chi- lic speaking, dancing; and the end is not yet. should start at once to capitalize the present development choral competition, with Bach’s “Be not Irish Free State, and Austria. cago Civic Opera House, beginning November “Romeo and Juliet.” Afraid” as the leading item, was won by the -a-J> One comparatively small section was devoted to music; of the “hobby” idea. How? Write letters to your local Sth. The roster includes some of the best yet probably far more people in the United States find de¬ paper on the advantages of music as a hobby. Will the Sales and District Choral Society of Liver- ACCORDION CONCERTS were features operatic artists of the day; Gennaro Papi and THE LAURIAN CLUB of Christchurch, *pool . (?)' ', ; and I[Tin,. the secondrpi choral, v i -»*•contest, ?» 0f the.. recent convention. _ _ . of the. National, . i As- JtienryHenry WeberWcDcr willwin bedc theidc lcduingleading Lunuutiurb,conductors; light in music as a hobby than in any other way of em¬ papers publish your letters? If they are wise, they will. New Zealand, included in its first program of with Brahms’ “Blest are They that Mourn S0Ciation of Music Merchants, for which pro- and ^ will range from three doIlars down ploying leisure, with the possible exception of reading. The papers carry thousands of dollars of musical adver¬ as chief item, the Llanbens Choral Society grams were furnished by such eminent artists . . the season, on April 13th, the Overture in B We believe that minor for Flute and Strings of Bach, the (Charles Owen, conductor) took first place. as Guido Diero, Santo Santucci and Charles y _tr tising; and the “String Quartet, Op. 64, No. 4” of Haydn, ■a---1- Magnante. this is a most editors should re¬ “Pastoral Songs for Voice and Trio” by AN AMERICAN BALLET is announced *-* FRANCIS MACLENNAN, widely known fortunate and alize that your Quilter, and a Pastorale for a quintet of wind by the management of the Metropolitan Opera AT THE KURSAAL of Scheveningen, American tenor of some years ago, died on wise choice. Mu¬ letters are pro¬ instruments, by Pierne. Company, to replace the traditional ballet Holland, the Residentie Orchestra, with Carl July 17th, at Port Washington, Long Island, sic offers almost corps so long familiar to patrons of this or- Schuricht conducting, recently gave a pro- Born on January 7th, 1879, in Bay City, moting their busi¬ ganization. George Balanchrine, a product of gram of French music, including the Overture Michigan, he received his vocal training in unlimited oppor¬ ness interests as RICHARD STRAUSS is reported to have the school of the Imperial Ballet of St. Peters- “Benvenuto Cellini" of Berlioz, the Symphonie New York, London and Berlin. He sang the tunities for study. resigned from the presidency of the Third well as the wel¬ burg and creator of nine ballets for Diaghileff, Espagnole of Lalo (with Zino Francescatti as title role in the first production of “Parsifal” It has literally fare of the com¬ Reich Chamber Music and from the chair¬ will be director of this new Metropolitan con- soloist), and the “Symphony in D Minor” of in English, by the Henry W. Savage Opera manship of the Association of German Com¬ no boundaries. tingent. Cesar Franck. Company; and he was the Pinkerton of the munity. In addi¬ posers. Though having given “advancing first performance of “Madame Butterfly” in Unlike many hob¬ tion to this, the years and declining health” as the reason, it English, by this same company, on October bies it has limit¬ is commonly believed that the real cause of THE CHINESE THEATER, with May- A GRAND OPERA ARTISTS ASSOCIA- teacher should his action was a “lack of sympathy with the Lagne-Fau as leader, provoked lively interest TION OF AMERICA has been organized ir. 15th, 1906, at Washington. He is said also less variety and is make as many Nazi policy of anti-Semitism in art.” It must by its recent season in Petrograd. The most New York City, similar in form and purpose t0 have been the first American tenor not merely a musical of works presented were “The Life t0 the Actors Equity Association. It is affili- Tvir'"“ talks and address¬ not be forgotten that the recent Dresden pre¬ repetition of rela¬ of Duke Lagne-Lou” (fourth century) and a ated with the American Federation of Labor; es upon the sub¬ miere of his “The Silent Woman” was held up tively similar for some months, supposedly because of the lively comedy, “The Drunkard.” On acquaint- and already it has instituted efforts to secure ject as possible. composer’s insistence upon recognition of ance the musical scores became “expressive state or federal support for touring opera AMERICAN WOMEN COMPOSERS held mental opera¬ We know of one and intensely logical” as an accompaniment companies exclusively of Americans. Stefan Zweig as librettist. a conference from July 26th to 29th, at Chau- tions. teacher who in¬ It calls for the consummate masters in the interweaving ot THE LOS ANGELES SYMPHONY OR- duced her most “BORIS GODOUNOFF,” in a performance coordination of singing, dancing, dialogue, and acrobatic dis- CHESTRA will have as conductors of the under Albert Stoessel, played the “Gaelic active pupils to on September 30th, opened the season of the the mind and the famous Sadler’s Wells Opera of London. It play’ _t. present season, beginning November 14th, Symphony” of Mrs. H. H. A. Beach, dean of agitate the sub¬ body. was the first presentation in England of the MAX WALD, an American composer resi¬ Pierre Monteux for the first twelve concerts; America’s women composers, and “Pirate’s ject among their Arnold Schonberg for the next pair; and Otto Island” by Mabel Daniels. original version. dent in Paris, is reported to be at work on a It may be prac¬ friends. Such Klemperer from the first of January t " ticed in solitude comedy opera, “The Cooper’s Wife,” with its end of the series. Mr. Monteux will conduct propaganda is in JAMES C. PETRILLO, plot laid in colonial New England. the entire season of the San Francisco Or¬ BEN STAD, founder or in groups. the public inter¬ president of the Chicago chestra, from January to April. and directoi of The Ameri¬ It is not con¬ THE GESELLSCHAFT DER MUSIK- est and is there¬ Federation of Musicians, is can Society of the Ancient fined to any sea¬ also an influential member FREUNDE (Society of the Friends of Music) Instruments, of Philadel¬ fore justifiable of the Park Board of the U1of ViennaVlclll,a has„„ been holding an exhibit of if„ THE DOME OF THE ROYAL PAVIL- „phia,nla hasnas returnedrelurnea from,rom .a son of the year. and wholesome. city. It was through his treasures which include such priceless gems !GN, of Brighton, England, which has been European trip on which he It is invaluable We have read initiative and his wide and as the manuscript scores of the “Piano Con- the scene of the principal concerts of that fa- searched the museums as a means of certo in D Minor” and the “Symphony in G mous seaside resort, is in the process of being monasteries and libraries of many ponderous influential acquaintance mental refresh¬ that the summer concerts Minor” of Mozart; the “Eroica Symphony” remodeled along modern hues, the alterations Belgium Holland France articles by soci¬ at Grant Park were pro¬ of Beethoven, from which the dedication to including a large pipe organ. ■ - ’■ • • ■ • - - ment, because of ologists and psy¬ moted and successfully Napoleon was erased by the disappointed •*<-1> the fact that it Petbillo chiatrists, upon financed. At the opening master, with such vehemence that the paper PIETRO MASCAGNI conducted ii. . teresting works by <_ concert- of the ies he was given an ovation shows the holes; the two great symphonies gust an open air performance of “Cavalleria- posers of the earlier centuries, that will be by the public and members of the orchestra. of Schubert; and the “German Requiem” of Rusticana” given the Square before the added to the repertoire of his organization. Another musician to the fore in civic work! Brahms, entirely in his own script. Cathedral of Szeged, Hungary. (Continued on page 690) Music Axiom for November Let Music Cheer Your Daily Life. Music Study Exalts Lire NOVEMBER, 1935 633 The Wagnerian Singer By Kirsten Flagstad PRIMA DONNA SOPRANO, METROPOLITAN OPERA Musical Ephemera the dangers of unemployed leisure. Some of the greatest Secured Expressly for The Etude Music Magazine minds in the country are deeply concerned over the possi¬ MANY of those who are today feeding on the vast pop¬ ble dangers of the sudden acquisition of leisure upon the ular music of today will not be long in wanting to By Rose Heylbut part of millions with little proper preparation. study an instrument-which will open the door to the art We ask our readers to support the “hobbies for every¬ which gives them such delight. We know of one man who WHEN I WAS A GIRL, I used to Unless the interval is specially marked with I could sing many of the Schubert songs, freer, my teacher said that its quality was one” movement. Many are not satisfied with one hobby. was the manager of a large mid-west industry. He boasted wonder about what seemed to me a glissando slur, it may not be “swooped” simply from hearing them at home. I was good. Indeed she predicted that within two Your editor is not. One hobby would be a bore, there¬ that he could stand popular music but he cared nothing a rather curious method of classi¬ upon, or delivered in a portamento style. taught the piano, and I taught myself or three years I might even be ready to fore we turn to writing on other subjects than music, to for “classical” music. On Sunday afternoons, however, he fying singers. The grown-ups would talk Each tone must be attacked clearly and several parts; Elsa at thirteen, and next, think about public work. Neither my separately. This is a difficult thing to Aida; but I never was expected to be a family or I put much faith in such hopes, gardening, to automobiling, to swimming, to the drama. used to start his explorations through the Sunday papers, of Madame G.as “a singer” and However, if we did not have music as one of our hobbies, of Madame S.as “a Wagnerian master without much practice, especially in musician. My parents thought there should and I was set to learning stenography as while he had the radio turned on. After a few weeks, he and if we were unable to play at the keyboard every day, singer.” This puzzled me. Did “Wag¬ such skips as may not be interrupted for a be at least one “practical” member of the a means of livelihood. family and wanted me to become a doctor. Then, two years later, a performance of we are certain that we should be very unhappy. found that he was listening to the New York Philharmonic nerian” mean a special kind of voice? And, fresh breath. And Wagner is full of just and the Sunday newspapers, with their weekly accumu¬ if not, why make such a distinction? Could such skips! For the listener, they stand as I passed my preliminary academic examina¬ “Tiefland” was organized in Oslo and I tions two years younger than most students, was allowed to try out for the part of the lation of things worth while mixed with rubbish, fell to not any skillfully trained singer sing any one of his greatest and richest individuali- The Daily Revolution kind of music? Well, today I am fortu¬ worked too hard, and had a breakdown. So child. I was the thirteenth candidate heard the floor. On moving to New York he became a box nate enough to be termed a “Wagnerian I did not study medicine after all. at the audition, and I got the part. Two “(T^ON’T y°u know that we are going through a Revolu- holder at the Philharmonic, started to study music him¬ singer” myself, and I appreciate clearly The Wagnerian Method When I was confirmed we had a party months later I made my debut—at eighteen. EJ tion?” demands the pop-eyed Bolshevik, decorating the self and had all of his children to study it. what the difference is. Perhaps at some AGAIN, WE MUST remember that at home and I sang arias out of “Lohen¬ I had never intended to be an operatic- recently discarded residence of a consignment of Fels-Naptha. Just what is happening should be of immense interest time you, too, may have wondered about it? ii. Wagner wrote his own lyric text, not grin” and “Aida” to help entertain the singer, and yet my operatic career had guests. A musical friend of my mother’s begun. My voice found favor; some kind “Yes,” shouts any high school student. “The world. re- to all music lovers, especially those intending to earn Wagnerian roles, as a whole, require a as an “opera libretto” but as independent volves around the sun every twenty-four hours.” special sort of voice, special training, and, dramatic verse, equally important with said it was a pity to use so small a voice music patrons of the city offered to finance their livelihood through music. Recently we heard the my further studies; and I was sent to And how unspeakably dull it would be if conditions didn’t above all, perhaps, a special mental prepa¬ voice and orchestra. This at once lifts for such heavy music, and offered to give following popular program played by an excellent sym¬ me a few lessons, just to keep me from Stockholm to work. After my study years, change. One of the finest provisions of the Maker of all things ration for which I can think of no better the text out of the category of words that phonic group conducted by a nationally known director: have simply been “set to music.” Tljey are ruining my voice. We began very slowly, I returned to Oslo and sang many roles in is that we continually have the assurance that we may look name than a spiritual approach. No singer with a naturally light voice should at¬ vital in themselves, throwing light on the very carefully, letting the voice come out Italian, French, and German. Elsa and forward to something different. It can never again be just Overture “Raymond” .Thomas tempt the Wagnerian parts, which demand characters’ thoughts and actions; and, as as naturally as possible. Then, as my Eva were my first Wagnerian roles. Two the same. That’s what adds zest to things. That’s what gives March “Lenore” .Raff great power, great compass of voice, and such, they must reach the hearers as clear¬ breathing improved and the voice became and a half years ago, I sang Isolde, my us hope when we are down; and that’s what keeps us on our “Danse Macabre”.Saint-Saens great volume of tone. A small voice of ly as the music itself. This of course in¬ toes when we are up. firm quality may grow into these parts. I volves a special diction problem. The “Second Hungarian Rhapsody”.Liszt The trouble is that thousands have not found this out. They know this from experience; but an organ words must be both spoken and sung! Even expect everything to go on just the same. It never does. It March “Pomp and Circumstance”.Elgar which is naturally light in timbre would a native German has to prepare very care¬ best leave them alone. The Wagnerian fully for Wagnerian diction; and non- can’t. As your editor has repeatedly pointed out, the only These compositions, which have been played scores of thing of which we may be reasonably certain is change—inevi¬ roles are tremendously long parts. Isolde Germans, such as: you and I, must make a times a year, have become so hackneyed with many people requires exactly one hour and twenty min¬ special study, not only of German, but also table, unceasing change. The supposedly adamantine laws of that much of their spontaneous charm has been worn utes of actual singing; Elisabeth is really of German refined for Wagner! I have science crumble continually. When, in 1895, the X-Rays were away. A new order of things has taken their place. Unless a comparatively brief part, so far as con¬ found that the great point for which to discovered by Roentgen, the law that “all matter is inert” tinued singing goes; yet both demand a work is a crisp, concise explosion of con¬ crashed like an eggshell. Then the Curies, with their new a standard composition is played by an extraordinarily large, full, strong voice. sonant values. My native Norwegian is found Radium, came along and tramped on the fragments. The fine orchestra and in a superb manner, it cannot hold not so explosive a language as German; it great permanent scientific law of existence is change. There¬ the attention of the average cultivated listener. This pro¬ A New Singing Art is perhaps more like English in the quality fore the wisest people of the world are those who are most vides an extraordinary opportunity for the brilliant new THE REASON for this goes back to of its sounds; and I had to give special Wagner’s own intention in writing care to the sharp, incisive d’s, p’s, b’s, k’s,' cognizant of the inevitable alteration, which affects in some school of American composers and orchestrators. degree even the eternal planets in their orbits. these operas, or music dramas, as he pre¬ t’s, and w’s, when first I began singing There is, withal, a tragic aspect to the giant musical ferred to call them. You will recall that Wagner in German. efforts of the writers of Ephemera. What becomes of the Wagner rebelled against the “lighter” My own career has been different from Lincoln Did! vast number of delightful melodies that they are produc¬ school of opera, like those of Rossini, for that of most Metropolitan singers, in that ing for the pleasure of the pub he? A melody is created, example, where the artists sang tuneful I had comparatively little earlier experi¬ “/(OPPORTUNITY is the thing which shakes hands with the developed with every imaginable kind of setting, and melodies or displayed vocal fireworks ence in wide repertory work. Before com¬ against a conventional, even unimportant, ing here I had sung only in Norway and W other fellow but passes me by.” “I never get any breaks.” then its publishers do everything possible to see that it “I’m unlucky.” “Fortune sneers at me.” orchestral accompaniment. Wagner had a Sweden, except for two seasons in Bay¬ has the widest possible dissemination over the air. The Of course you never heard a successful man make remarks very different purpose. He wished to reuth. In my native Oslo we sang Wagner result is that after a very few months it has been heard in Norwegian. When I arrived at Bay¬ of this kind. He does not worry about opportunities, he manu¬ blend voices, orchestra, words, and action into one complete whole; no one element reuth, to sing for Frau Wagner and factures them. so many times that it necessarily becomes, in most in¬ stances, as obsolete as last year’s derby. The sales of the was to be more important than another; Intendant Tietjen, I sang as I was accus¬ Take the amazing case of Abraham Lincoln. In his day, and the entire result was to he not merely tomed to singing and soon learned that my they thought that he was lucky. He was so lucky that he lost sheet music fall off and the revenue to the publisher and a series of melodies but a complete musical Wagner style wgj not the orthodox Bay¬ literally every election until he was elected President. But, note the composer is reduced to a minimum. The American delineation of life and emotion. reuth style! I was told that my diction that that which others would have called hard luck never Society of Composers, Authors and Publishers has secured A system of this kind is a departure from was not crisp enough. Also, I needed to stopped Lincoln. He had developed the gift of taking what fees from theaters, broadcasting stations, hotels and dance the more conventional opera and places a enlarge my voice. That meant setting to greater responsibility upon the singer. He work, not only on the roles I was to sing, others might have thought were routine matters and doing them halls which have in a measure reimbursed those who were in such a way that they came to be looked upon as masterpieces. must learn to be a cooperative member of but also on a complete study of the special losing by the new condition of affairs. There is obviously Take the Bixby letter or the Gettysburg address. Lincoln had a vast musical group rather than an indi¬ Wagner style, covering the points I have a fundamental justice in this. vidual “star”; and, vocally, he must con¬ just outlined. By the end of that season, his mind so in rein that these two things (which others might stantly assert himself along with a power¬ though, I, too, had a Wagner style. have looked upon as a letter and a casual occasional speech) be¬ There is, however, another aspect which is regrettable. It seems pitiable that much of this splendid melodic out¬ ful and richly scored orchestra. Thus, at came imperishable mosaics in literature. Lincoln did this. Did the outset, all Wagnerian roles require the From Small Beginnings you ever try to do likewise with the commonplaces of life? A put is not shaped into more permanent form. It could be sort of singing which is not accompanied IT IS READILY understandable that masterpiece is often a commonplace raised to the nth power. easily developed into classics. As at present treated, it by an orchestra, properly speaking, but in one can improve ones diction; but how, When you hear a great artist, when you hear a great compo¬ really is purely ephemeral. What do we mean by ephem¬ which the singer must rise to a plane of vou will ask, could I enlarge the power sition, note the nature of the work. Beethoven, Brahms, Grieg, eral? The word comes from the generic, ephemera, equality with it. This, in a few words, of my voice? By progressing slowly, by means that the Wagnerian interpreter, never forcing the voice in any way, and Dvorak and Strauss have taken the commonplace folk tunes popularly known as day-flies or May-flies. These queer and built from them classics. What man has done, man can do. more than any other, must sing with a full, by sparing myself no effort. I can truth¬ insects remain sometimes in the larva state for three Most of the great virtuosi and the great composers came from large, round tone. That is what we mean fully say that my voice reached its present years, to be born for a life of only three hours. Why by designating these parts as “heavy” roles. scope less than three years ago. As a girl the common people, as did Abraham Lincoln. They got hold does a Chopin concerto, Schubert’s Erl-King or Men¬ They require singers with big voices and and as a music student, I had a very small of themselves mentally, physically, morally, spiritually and ar¬ much physical endurance. delssohn’s “Hebrides” Overture survive a centurv. in a voice. Indeed it is solely because my voice tistically, saw where they wanted to go, and then used all their Further, in his insistence on the single, was so small that I chanced to take singing energy to get there. Lincoln did. Beethoven did. Liszt did. condition of apparent perpetual youth, while many of well-rounded dramatic whole, Wagner was lessons at all! Dvorak did. Verdi did. Almost anyone of any consequence the sprightly and delightful ephemera of today live but a careful to leave very exact instructions as Mine is a musical family. My father did. Why not you? few hours? to the way in which he wished his music was an orchestral conductor, and my mother sung. Now, when most singers cover a still conducts performances of opera and large vocal span, from a low note to a high operetta in Oslo and coaches singers in one or the reverse, they almost unconscious¬ their parts. Site is called “the musical ly use a slight glissando, swooping upon Mama of Oslo.” not because of me but their tones in a vocal arc. In Wagner this because so many singers depend on her is taboo, and by Wagner’s own indications. for help in their work. Before I was six, KIRSTEN FLAGSTAD AS ELSA IN “LOHENGRIN”

634 NOVEMBER, 1935 THE ETUDE 635 Thus one might sing every night, but al¬ She does not merely represent a woman may be different from my own, I caff tell ways in the same parts. first role in German. I was invited to give tragically and fatefully in love; she is that you that it has helped me greatly. In Stockholm, of course, they do have an audition at Bayreuth, and there it was woman. She is the very embodiment, not Have Musicians a Sense of Humor? While studying Isolde, I sang the entire a varied repertory; but the smaller Scan¬ that I came into personal contact with the of a person in a tale but of a force that part every day in full voice, and then ap¬ dinavian cities proceed after the fashion of requirements of the “Wagnerian style.” might come into the life of any one of us. peared at the theater in the evening for Oslo. In Gothenburg, for instance, where It is this utter and supreme reality which Let Nature Have Her Way my regular performance. Thus, I sang I appeared just before coming to join the By the noted European Music Critic, the Wagnerian singer must learn to cap¬ LL ALONG, my voice had remained two Wagnerian roles a day. I worked hard. Metropolitan, I sang only two operas— A ture. How to do it? By absorbing the . comparatively small. Study had im¬ Then, when I had the part well in hand, twelve times in “Fidelio” and fourteen times part completely; by living with it, becom¬ proved it greatly, of course; but, even I noticed a strange thing: I weighed ex¬ in “Tannhauser.” I had to learn the flex¬ ing it. By learning all one can of the Gustav Ernest though I was singing large roles, it had actly the same as I had weighed before, ible versatility of operatic repertory over age, the habits, the customs and the his¬ not yet reached its full power. My voice and I certainly looked no stouter; but the tory of the character and her times. By here; and it is an excellent thing. developed by its use in singing. That is sleeves' of my dresses were bursting out in Another thing I learned over here is the the back! What had happened was that losing one’s own identity in that of the the best method I can recommend. I am wonderful kindness of you Americans. composer asked his opinion on a piece of my lung expansion had developed. And character, instead of merely dressing up When he had gone about an hour, he got “The party?” cried Handel; “I am the certain that the mastery of Isolde gave me Never in my life had I dreamed that people HUMOR IS of such varied sorts that music he had written. Spohr looked it then it was that my voice sounded fuller, one’s identity to “play a part.” All this tired and sat down by the side of a river. party.” my full voice. Once a student has a firm could be so warm, so generous, so truly to catch its spirit there first must over carefully and then replied, “Well, more powerful, more dramatic. Intendant is extremely elusive to talk about, I know; be some understanding of its nature “After a little time, he fell asleep and background of correct personal singing welcoming to a perfect stranger. It has The Titan Stoops to Wit really, I find much in your music that is methods, the only sensible thing is to go Tietjen, who had heard me earlier, ex¬ and yet it is one of the most important and of the different interpretations of its dreamt that he had lost his sheep, which been the richest possible experience to come HAT BEETHOVEN was very fond good and also much that is new.” The ahead and apply them, allowing time and claimed that he would not believe it to be requisites of Wagnerian singing. application to life and art. gave him such a shock that he awoke. To T here, and I shall always count it gratefully of a joke (and, when he was in what young composer beamed with pleasure. . . . proper vocal habits to open up the voice. the same voice. It grew by slow, natural And finally, I should counsel all aspiring A “humorous man” is generally under¬ his delight he saw all his sheep around him, as the high point of my career. he called his “unbuttoned mood,” very fond “Only,” Spohr continued, “what is good Some voices may take longer than others methods of development, and by unsparing young singers to crowd as much versatility stood to be one who is bright and witty— after which he got up and went on, but of trying his hand at them himself), many is mostly not new and what is new is mostly to reach their full scope, as did mine; but hard work. as possible into their work. Here again I one to whom fun is the very essence of life, not fo long, for after about half an hour SELF-TEST QUESTIONS ON will be surprised to read. His wit was not good!” the natural method is the only one to fol¬ speak from experience. My own prepara¬ one who is full of merry ideas and ever he came to a very long bridge which was low. Forcing the voice for more power Creating the Role tory work lacked versatility, for the simple MISS FLAGSTAD’S ARTICLE ready with laughter provoking repartee. well protected on both sides so that nobody usually of a somewhat ponderous type and reason that there was no way of getting a should tumble into the river. He looked the same joke may recur in several letters; Music and Macaroni defeats its own purpose and ruins the organ. UT TO RETURN to our discussion 1. What special requirements does the How different the meaning of humor, when truly wide repertory at home. Opera in at his flock; and, since he was bound to as, for instance, his complaint at having, Whatever one is to have vocally, must of the Wagnerian singer’s needs. We Wagnerian opera demand of the singer? associated with art and more particularly THIS RECALLS the answer said to come naturally, for singing is a natural have touched upon the requisites of voice Oslo is not what it is here. We have no with music, is seen if one thinks of a piece cross the bridge, he began to drive his for the many notes he had written, received have been given by Rossini to some¬ 2. How long does Isolde sing in a single so comparatively few bank-notes in return. physical activity. and study; let us now consider that ques¬ full operatic season, where a different work like Schumann’s Humoresque. The most eleven thousand sheep over it. And now I one who wanted to know what he thought tion of “spiritual approach.” The power is mounted every night, and the same performance? must ask you to be good enough to wait To his friend, the Countess Erdody, who I do not believe, however, in pampering 3. In what particular way does Wagnerian serious parts in it alternate with the merrier of a funeral march he had written on the of the Wagnerian characters lies in the singer may have a chance to take part in till all the eleven thousand sheep have had invited him and offered to send her the voice. One reason why my voice grew, singing demand an approach of tone dif¬ ones; and the deeply impressive Finale death of Meyerbeer. “There is only one fact that they are not “story book people”— two or three different types of opera each crossed it, after which I will continue with carriage, he answered that he “would rather I think, is because I always allowed it ferent from that of much other singing? leaves no doubt as to the feelings which thing I regret,” said Rossini, after examin¬ they are actual figures of history and week. In Oslo we have a theater which the story, of which, as I told you before, walk—courage is preferable to carriage!” fullest scope. I do all my practicing, 4. What method of developing the full dominated the master when he wrote the ing it, “and that is that it is not you who coaching, and rehearsing in full voice. I legend, who present to us real life, real gives regular plays during the year, and nobody knows the end yet. . . . Good-bye, To his devoted friend, Baron Zmeskall resources of the voice is here recom¬ piece. died and Meyerbeer who had written the never use mezza voce, unless the score emotion, real conflict. Without in any way then four or five weeks of opera, in addi¬ The contrasts, of which life is so full; dear cousin, I am, I have been, I should be, von Domanowecz, a Bohemian nobleman, mended? funeral march.” specifically calls for it. While I should disparaging the other operatic heroines, I tion. Perhaps only two or three operas I should have been, O that I were, wish who used to provide him with quill pens, he 5. What is a distinctive quality of Wag¬ the consciousness of the sorrow and pain As is well known, Rossini made many a not go so far as to advocate this for an¬ think you will agree with me that Isolde are given during the season, and they are with which so many are weighted; and on to heaven I were; I shall be, if I should be, wrote: witty play upon words and in addition to ner’s characters in his operas, and why? “The Baron Zmeskall is without delay other, whose voice and general robustness stands as the greatest tragic figure in opera. repeated each evening for a week or longer. the other hand, the conviction that in spite O that I should be, wish to heaven I had that was really a very accomplished cook. to pull out his feathers. We hope he will of all these, the world is full of beauty; been—what?—a dunce. Adieu, my dear He took pleasure in making all manner these are the ingredients which make up cousin, where to? I am the same true not find them sticking too fast.” of dishes for his friends and was particu¬ He is inexhaustible in inventing nick¬ what is called humor in art. It is these, cousin. W. A. M.” larly proud of his ability to cook rice and which give to works like the Finale of names for his friends. Diabelli, the com¬ macaroni. Once a social climber gushed Handel’s Appetite poser and publisher, is “the Diavolus (the The Dolls' Music Festival Beethoven’s “Sonata in D Major, Op. 10”: to him, “Maestro, do you remember that evil one)”; Schuppanzigh, the uncommonly his “Seventh Symphony”; and the second THOUGH BEST remembered by the famous dinner given you in Milan, when stout fiddler, is “Milord Falstaff”; Zmeskall By Virginia G. Tupper movement of his “Sonata, Op. 110”—with world as its greatest composer of they served a gigantic macaroni pie? Well, he addresses in one of his letters as “Mr. their ever changing moods of feeling oratorios, Handel, in his day, was widely I was seated next to you.” “So!” smiled Zmeskall Zmeskallitz. Confounded, ever and expression—their special character. famous as a prodigious eater. Rossini. “I remember the macaroni per¬ invited Domanowecz! Not music-count, To interest the child is the daily problem doll recital, and the public generally are 19861 Dollie’s Lullaby.. .N. Louise Wright 25004 Dolly’s Lullaby. .Wallace A. Johnson Strangely enough, music of Haydn, with One day he entered a London restaurant fectly, but I fail to recognize you.” but gobbler-count, dinner-count, supper- of the music teacher. The Dolls’ Music interested and cooperate in supplying fine 24426 Dolly’s Sleepy Time Dutch Doll—Wooden Shoe all its joyousness, is not humorous in the and ordered “dinner for four.” When some Rossini was very caustic about the works count, dearest Baron Mudcarrier!” Festival is most attractive to little girls, dolls. Wallace A. Johnson Dance.Edward A. Mueller sense mentioned. time had passed and no eatables appeared, of Wagner. After he had heard “Tann¬ Here is another variation from the pupil 16397 Dozing Dolly.Geo. L. Spaulding 22630 Dutch Dolls’ Dance Now this has been but a prelude to para¬ the irascible master called the waiter and and grown-ups as well. Mrs. Crosby A Versatile Composer hauser” he said, “It is far too important Adams originated the idea and composed recital. Tom Thumb weddings are always 11332 I’ve a Sleepy Doll.Geo. L. Spaulding (4 Hands).Helen L. Cramm graphs which shall deal not with the sense angrily inquired if he had forgotten about and too elaborate a work to be judged F THE STORIES told of Spohr, the for it a charming “Dolls Suite,” of songs popular. As a climax to a Spring Recital 6944 My Dolly’s Birthday 30107 French Doll—Gavotte of humor as shown by musicians in their the dinner. O after a single hearing, but I shall not give Edward A. Mueller “Why, sir,” the waiter apologized, “I was famous violinist and composer, one at and piano solos in the second grade. The we had a play wedding, the ceremony writ¬ Geo. L. Spaulding works but rather as it has come to the it a second.” Once he was discovered waiting for the others of the party.” least has become public property. A young doll recital is easy to give, and those in the ten with musical terms. The whole pro¬ 30108—Italian Doll—Tarantella surface in their relations to and intercourse reading one of Wagner’s latest music Edward A. Mueller audience who may be bored by the playing gram leads up to this. Flower, spring Grade Ij4 with their fellow men. In preparing these dramas, and a friend remarked that he was pieces and love songs are played and sung. 16549 Marching Dolls.Joseph Ellis of small fingers, enjoy the gay show of 23123 Dollie Waltz.J. M. Baldwin there has been no little difficulty in finding holding it upside down. “Well,” retorted The honor of being the bride may be 30105 Scotch Doll—Highland Fling dolls of every kind, age and variety. 23930 Dolly’s Birthday- adequate English idioms for the jokes, Rossini, “I have tried reading it the other offered as a prize, or voted on by the whole Edward A. Mueller A flower pot stand is put on the stage Waltz .Walter Rolfe witticisms and satirical remarks of the way and now I am trying it this way, but class. The pupils looked lovely in colored 23075 Singing to Dolly—Waltz for the dolls to sit on. An old red curtain 8252 Good Night, Dollie, composers, the humor of which so frequent¬ I still cannot make anything out of it.” organdies with tiny old fashioned bouquets. Wallace A. Johnson will change this ugly stand into a tier of Sleep Well.A. Sartorio ly has lain in the double meaning of a word Rossini was once asked by an amateur reserved seats. When the stand is full, A choir robe and spectacles provide the of the original language for which there composer to examine one of his works. The Grade \V/i dolls are arranged about the stage at doll preacher’s garb. is no similar figure in the English. composer, to gain Rossini’s favor, presented Grade II 23596 The Clockwork Doll tea tables, in carriages, chairs and at tiny to him a fine Stilton cheese. Rossini ac¬ 1421 Doll’s Crade Song.Carl Heins Montague Ewing Salzburgian Jests pianos. A small organ was discovered in A Selected List of Piano Pieces cepted it with, “Thanks, I like the cheese 4500 Dolls’ Dance. Op. 44, 14347 The Doll’s Lullaby..R. S. Morrison a music store and borrowed. A large doll with Doll Titles THAT MOZART, especially in his very much.” No. 4.Bernhard Wolff 24085 Dolls’ Minuet.C. V. Stanford sat at it ready to play the bridal march for younger days, had a keen sense of Prince Poniatowski once induced Rossini Grade I 19773 Dolly’s Birthday Party 13241 Dolly’s Delight-James H. Rogers a doll wedding that was arranged in pro¬ humor, his letters abundantly prove, more to hear two operas that he had written, cession, awaiting the first notes of the Cat. No. Title Composer Wallace A. Johnson 16827 The Japanese Doll.. .E. R. Kroeger particularly those to “Basle,” his young 379? Doll’s Lullaby.J. Margstein 4319 Dolly’s Cradle Song_C. W. Kern with a view to getting the master to decide "Lohengrin” March. cousin, Maria Anna Mozart of Augsburg. which should be first performed. Rossini Pupils are glad to bring their prettiest 6945 Dolly Darling-Geo. L. Spaulding 16170 Dolly’s Dance. .Herbert Ralph Ward Grade III Unfortunately his jokes are often of a fell asleep during the audition of the first dolls to the Festival. Merchants are usual¬ 7514 Dolly’s Asleep.R. E. DeReef 2959 Dolly’s Dream and Awaken¬ 15872 Ching Ling—The Chinese nature somewhat coarser than would be opera; but, on waking just as the prince ly kind about lending new dolls. Rare 23811 Dolly’s Cradle Song ing ..Theodor Oesten Doll.Constantin Sternberg expected from a young gentleman so well was about to begin the second one, touched dolls are sometimes borrowed; so that corn Gilbert A. Alcock 4225 Dolly’s Funeral. Op. 39, 24180 The Doll Princess'.Leon Jessel brought up. He had, however, occasional him on the shoulder and said, “Now, my shuck dollies, museum dolls, and quaint, 5716 Dollie’s Dream_Geo. L. Spaulding No. 5.P. Tschaikowsky 15870 Florinda—The Shepherdess flares of amusing, childlike humor and good friend, I can advise you to have the antique dolls from Europe have arrived, Doll .Constantin Sternberg fancy, as shown in the following extract other opera performed.” glad to get out of cases and trunks. 15871 Jackey—The Sailor Boy from a letter to “Basle”: If a small sized piano, made for children, Doll .Constantin Sternberg “Just listen to the story which I want The Village Jokester can be rented, it is more in keeping with to tell you. It is not very long since it the general effect than a grand piano. Grade lllyi happened, and it has created a great sensa¬ ONCE A DRUMMER was very per¬ This recital has been given for Free 19729 Parade of the Wooden Dolls tion. Between us, I must tell you that up sistent in trying to get Rossini to Kindergartens and Day Nurseries', and the Montague Ewing till now nobody knows how it is going to employ him; and on one of his visits to the pupils by their work enjoy helping little 23198 Soldier Doll.Montague Ewing end. Well, to put it short, in a village master brought his drum. Rossini sug¬ children. The program itself is selected some little distance from here there was gested, “Let us hear you play,” as he gave from The Etude and the Presser Cata¬ Grade IV a shepherd who, though pretty old, was the visitor the music to his own “Semi- logue. There is an abundance of doll music. 4509 Poupee Valsante. Dolly still strong and hearty. He was rather ramide.” The first measure of this contains Doll songs by Jessie L. Gaynor and Mrs. Dances .Ed. Poldini well off, unmarried, and leading a merry a tremolo for the drum. With this done, Crosby Adams and doll recitations give life. Before I forget it, I must mention the drummer remarked, “Now I have a variety. A doll dance, by a graceful child that he had a terrific voice, so much so, that rest of seventy-eight measures and of in ballet costume, is pretty. people got frightened when they heard him course I will skip them.” “Oh, no,” re¬ After the recital the children parade talk. He also had a dog called Belloi, a plied Rossini,” “count those seventy-eight around the hall with their dolls. The Pietro Mascagni believes that fine, large animal, white with black spots. measures. I particularly want to hear judges! vote on the prettiest doll, and a t(Tbe music of the future will be One day he was driving his sheep, of which small prize is awarded the little mother. like that of the past. . . . When the he had eleven thousand, and in his hand he When instructing her class how to listen Rossini was born on the twenty-ninth world is tired of its mud-bath of held a stick with beautiful rose-colored to music, the teacher can point to the quiet of February; that is, Leap Year day, and jazz and similar perversions of the ribbons. For he never was without a stick. doll audience, as an example to be followed. had, of course, a birthday only yonce in noblest of the arts, then we shall That was a habit of his. But to continue. Little girls enter with enthusiasm into a WAGNER AND BRUCKNER AT BAYREUTH, IN CARICATURE four years. When he was seventy-two he A TROUPE OF DOLLS DRESSED FOR THE OPERA again have music.” NOVEMBER, 1935 637 636 THE ETUDE invited all his friends Bism.rk had ..dead that «-» »« My* be accepted by the state bank. BoabdH," wa. brought ««*»•£ ^ »• W (Moakowaki «J» doS'*Met£ini w.. rehear.ing one Thil ^.ordinarylinary sensation...nation. - . .ont»». the course of a Opera House and. of his operas in a small noticed that the horn was out ot tune. _ von -.iaa assays “Who is playing the horn in that way? he demanded. “It is I,” answered a tremu¬ n J-..4. „„„ R5ln,n srlHressine first introduced to the public by mans , ,» At a dinner at which both Mosz- lous voice. “Ah, it is you, is it ? Well, go Biilow, who was a great admirer of his lowem ^ ^ Biilow took part, the latter What About Radio right home!” It was his own father! the audience, apologized, “I am afraid, ladies and gentlemen, we must stop a mo¬ works. , , , , . -.cwi bv a French gentleman for his ■ I_.... JNI _ Still greater things were expected of hi . h Von Biilow, whose Brahms’ Symphonies and Sagacity ment, for in these dark conditions those (pointing at the music) will after so brilliant a beginning, andandnobody nobody ^ . then reached its height, Russian ONE OF THE MOST serious of : _ to us!” thought that he had already reached me m ^ ^ ^ a1hum presented to him: cians, Brahms, was among those who belittle By Wilfred Pelletier Once, when going up the badly lighted culminatingd , - point- < fm^lesautres could listen by the hour to humorous ~ his decline would be even more rapid in ^ cretins* (all the others are cretins). stories, of which he used to make notes on stairs of his hotel in London, someone de- When a little later, Moszkowski, who, we the spot, so as to be able to pass them on must ’add, was a Jew, was asked for his Eminent Conductor of the Metropolitan Opera Company and of the to others. He himself had a reputation autograph, he, after reading von Bulow s for saying witty things, though his sallies National Broadcasting Company frequently had a nasty sting to them. After words, without a moment s hesitation wrote underneath, “Mendelssohn, Meyer¬ a performance of his “First Symphony,” a high personage remarked to him how beer Moszkowski—tons les autres soul strangely the theme of the last movement Chretiens (all the others are Christians).” was like that of Beethoven’s “Hymn to It would be not difficult to add to this Joy.” “Yes,” said Brahms; “but what is list of musicians’ jokes. But we have here stranger still is that every ‘donkey’ notices a sufficiency to evidence that musicians are in thinking about this, in order to offer delay. With the best will in the world, that at once.” not lacking in the sense of humor. some assistance, perhaps, to future aspi¬ there is no room for “slow-pokes,” or for When Brahms was once on a visit to the rants ; and the nearest I can come to solv¬ people who have to be coached, parrot n for a a affecti fashion, in the details of some other ar¬ Duke of Meiningen, whose country lies in malady of the thyroid gland ing the problem is this: the first few notes the midst of a number of very small inde¬ imes results In physical deform- that come to the listener over the air must tist’s interpretations. pendent states, the Duke met him early on wJs*Sseid^*?n^der\sion>I11ft,rCOt^er^),llowerserof make him sit up and exclaim: Besides all this, too, the radio singer a morning returning from a walk. “Well, “Who is that ?” must pay strictest attention to diction. In where have you been?” inquired His High¬ Cretlnism^s’^cotnmon^oniHUon Tif'hospitals “I would like to know more about him!” a theater, acoustics, orchestral blares, dis¬ for mental hygiene. ness. “Oh,” Brahms replied, “I have just “There is a singer who interests me, who tances, or even thick draperies of a stage made the round of the neighboring states.” moves me.” set, any one of these can obscure the In one of his letters to Joachim there Or, "he puts independent thought into his carrying power of a singer’s diction. On occurs the remark, “As to pupils, I have Fifty Years Ago This work, and makes even an old piece sound the air, there is nothing between the voice quite a number of them; one plays better Month fresh and new.” and the microphone; and a single indis¬ than the others, and some even worse!” tinct or mumbled word can turn all “thumbs He was trying over his first violoncello Special Equipment down” at an audition. The radio singer Louis Plaidy, eminent piano teacher of must make up his mind that he can de¬ sonata, with his friend, Dr. Gansbacher, the Leipzig Conservatory from 1843 to 1865, HAT IS the desired result. Now, when the latter called out that Brahms was T pend on nobody and nothing but himself. and then for some years a private teacher as to “how to get it?” His vocal charm, his effects, his methods, to play a bit softer as he (Gansbacher could Well, the singer who inspires such a in that city, during which time he formed his interpretations must all be absolutely not hear himself at all. “Happy man!” feeling must be sincere. He thinks not the technic of many of the leading pianists his own. The radio mechanism cannot Brahms replied. of the Mid-Victorian Era, was quoted thus: of the effect he is to make, but of the job He was once talking to George Hen- “build him up,” and the busy directors “The teacher, who surrenders himself before him of presenting good music. He schel, the conductor and singer, on the cannot spare the time to take him aside with entire love and self-sacrifice to his thinks out his own interpretations and does ambition of high born personages to shine An Interview Secured Expressly and coach him, beyond the merest giving scholars, is the true artist. The scholar, not try to copy other people’s mannerisms. as composers. “Look here, Henschel,” he out of directions. He must be musically therefore, whether as a practical musician Personal magnetism cannot be acquired; added, “one never can be careful enough for The Etude Music Magazine sincere, alert, individual and competent. or as an art-loving dilettante, may thank but sincerity and individuality of thought in judging of the compositions of princes, him not only for a correct mechanical’ tech¬ By R. H. Wollstein can be cultivated; and the singer, who for one never can know who may have Versatility, Plus nique. but also for a right direction in the hopes to succeed on the air, will do well to written them!” investigate these traits. THE SAME holds true for the orches¬ The conversation once turned on a cer¬ way of intellectual culture. “To be sure, the musically beautiful, the Other indispensable qualities, which a tral musician. He must have every¬ tain composer who was known as an imi¬ inspired rendering cannot be taught; ii WHILE RADIO MUSIC has been of the other musical fields 1 It requires radio singer must have, are mental alert¬ thing that the symphonic or operatic man tator of Brahms. “Yes,” said Brahms, depends upon the power of intellectual ap¬ for years a boon to the listener, everything that those other fields do—with ness and great musical “quickness”; facil¬ must know, plus the trick of playing popular “whenever I compose anything which THE VIRTUOSO prehension, the susceptibility and depth cl it is beginning to take on new sig¬ the possible exception of good looks—and ity at reading notes, at seeing to the core music with conviction; for no radio hour proves a success, he at once composes it From an old German caricature feeling, as well as the general .esthetic cul¬ nificance to the professional musician and a great deal more, besides. Let us consider, of desired effects, at taking orders, and is without popular music in some form or again.” ture of the player; but the hearing of gooc to the music student who is still busy pre¬ first, the possible outlets for the music at carrying them out at once. Speed is other. And he must do his work in exactly To a lady, who naively asked him im to music artistically performed, the making paring himself for something, without a student, in radio. the soul of radio work—speed, plus the the same way, except that he must he more whether it was his habit to think very long crpnA- hurry knocked agaist him his rise. Domestic troubles caused him alert, more ready to watch out for changes, as if all of R°°d music with good musicians, to- very definite picture, perhaps, of what that Undoubtedly the most promising fields surety which prevents rapidity from be¬ before he began to compose, he put the mAand furiouslyfnH( called out, “Donkey!” At leave Berlin to live in Paris; and something will be. To the well established are singing, orchestral work, and, possibly, coming mere slipshod effort. corrections and new instructions, all at a counter, “Do you usually think long, be¬ from his 8ether with good instruction, will be the which the famous pianist and conductor, his strength had come to him f best means to lead the scholar ever on¬ fields of musical work—opera, concert, direction. The solo instrumentalists have moment’s notice. fore you speak?” When Simrock, his pub¬ as if taking it for a self-introduction, native soil and had gone from him the church, oratorio, and the like—there hah not, at the present time, the wide scope of As for the conductor, or director, he lisher, in the course of a letter informed ward, and finally will bring him to a point “The Wheels Go Round” politely lifted his hat and said, “von moment he left the country of his birth, where he will hit the right instinctively. been added, all of a sudden, one might say, activity that these others have. Most pro¬ must be a symphonic expert, an operatic him that “Mrs. Stockhausen (the wife of ^Bulow!” When, in the summer of 1877, very few large works came from his pen the new infant wonder of radio performance. grams do not make a speciality of solo RADIO REHEARSALS and programs expert, a popular waltz, march and ballad the great oratorio singer) had presented “If the scholar has to take the playinr staying at Baden-Baden, he had from that time onward, and gradually he of his teacher, or of other masters, for his There was a time, as we all remember, piano, violin, violoncello, flute, or harp per¬ are like nothing else in the world. expert, an instrument factory, a music her husband since Sunday with a third affixed to the entrance door of his flat the descended step by step to the level of a the teacher not require that the when radio did not attract the best per¬ formances ; and when they do, they usually They are entirely different from any famil¬ library, and a past master of theory, har¬ boy,” he wrote back, “What are you talk- . . . mere drawing room .composer. When the ’ exactly £ his formers of the musical world. But that draw on the established “big names.” Thus, iar field of operatic work. In the opera mony, counterpoint, and orchestration—all ing about? You say Mrs. Stockhausen mscnpion. war broke out, he happened to be seriously anrp either hishjs teachertP^her or anyanv virtuoso time is now definitely in the past. The the picture narrows down to those who one has weeks in which to prepare a role, of these rolled into one and prepared to has had a third boy since Sunday. Well, “In the r ill; and, being unable to continue his work whatsoever. The strict copying of cer¬ greatest musicians are turning to the micro¬ can sing, and those who can work with and during those weeks there are helps function at the speed of sixty miles an has she been going on like that all week?” In the ; as a teacher and composer, and being cut phone, today, sometimes as guest artists, tain peculiarities of great masters, as well orchestras. and coaching by half a dozen experts. When Simrock once sent him the first off from his German friends and publishers, sometimes as “regulars.” This must mean Here are some of the problems the radio Early Daylight-Saving as the striving for effects through exagger¬ Yes, and every bit of the time and the as¬ copies of his latest songs, which Simrock he spent the last years of his life in great a great deal to the music student. It means, The Candidate’s Equipment sistance is needed 1 In radio, one works conductor may expect to face; and it might ation of the characteristic features of a had published, Brahms wrote to him, “It MANY WILL remember Alfred Reis- poverty. Ifit was auedue omyonly toiu theuic kindnessMiiuucsb ...... for one thing, that he can hear the best THE FIRST requisite of the radio not in weeks but in minutes—actually, min¬ be a good idea to check up with them in s perfectly__ disgraceful that anyone should enauer (pronounced Rise-en-our) or some English and American admirers P,e.ce ^ ™us.c ,s sure to run into mere music, for his education as well as for singer is not so much ability in per¬ utes-—because the orchestral musicians are a personal way. He must have a complete be capable of printing such stuff and selling the great pianist. One day he was in- that he was saved from the worst. His externalities and caricature, his entertainment, at all times, cost free formance as the greatest and most sensitive paid by the hour and subsequent fractional symphonic and operatic background from it for good money. Is there no public ex- formed by a London violinist, who had charming salon music is too fine not to be , Th* teacher must * the sch?^r and conveniently. It also means that in musicality. As a result of having listened to parts thereof, and leisurely rehearsals would which to draw in planning programs. He amination for publishers, that one might engaged him for a concert, that he would expected to have a revival. Music fashions £uce he music as much as possible out of modeling himself upon the established ar¬ hundreds of radio auditions, I should say eat up thousands of dollars of quarter-hour must be able to make his own orchestral know if they can distinguish between muck have to come to a rehearsal at ten o’clock go in waves, and a wave of Moszkowski hlmsd : and in accordance with h,s ovui tists he finds a new outlet for his own that the candidate’s first need is not only payments 1 Yet, while the tempo of your arrangement of any piece of music in the and salad?’ in the morning. “Impossible!” Reisenauer is sure to come again conviction. Let him therefore favor the developing powers. I, for one, heartily a well trained voice but also a voice with work is unbelievably faster, its result must world. Even if he does not haye to do 1 „„ „ „ n r pupil’s own conception and style of deliver)’. cried. “How can I do that, when I endorse the idea of adding radio work to personality. That latter quality, I know, present the same smooth, perfect, unhur¬ the writing down himself, he must be able Hans the Nimble Wit Why is all this recalled? Because of s0 far as this may correspond with the get upi till 1 o’clock?” “Well, my dear the possibilities of future accomplishment. is an extremely difficult thing to define. to supervise such work. He must be able the other replied, “you *e terrible irony of fate which caused one, character of the piece and not be positively ried effect of the visible stage. OF THE MANY stories attributed to Mr. Reisenauer, There is here a very definite field. It is No critic can hope to put his finger squarely to change or arrange scores at a moment’s hour earlier.” who had held so high a position as an artist, false and unbeautiful. But. above all, the Naturally, then, we have our eyes open Hans von Bulow, a few may be men¬ will just have dignified and worthy of the best attention. down on the elusive, magical spiritual for singers who can fit in with this rapid notice; -for it often happens that cuts or tioned. It is not to be wondered at that to be nearly forgotten as such and to be teacher’s iabor with his scholar must all Also, it may hold the germ of a splendid The Humor that Saves remembered largely by his jokes. That tend toward the fontlation of a SOUnd musi- quality which makes for “personality.” No working tempo; singers who have them¬ new instrumental effects must be made, the wit of one whose life was full of dis¬ future—provided one can succeed there! uncommonly good - singer in the world believes other than that selves and their voices under perfect con¬ even without writing them down : at all. appointments had often something bitterly ONE OF THE MOST pathetic figures they were uncommonly good ones the caf sense, fine sensibility, fine musical per- he possesses “personality.” And yet many trol, at all times; who can work on one He must simply speak to his men about ironical and aggressively pointed. in the history of modern music is that refd®r will be ready to admit, from a few ception and discrimination, and the fine A Survey of the Field do not. brief suggestion, without hours of coaching it in as few words as possible, and then At an operatic rehearsal at Hanover, of Moriz Moszkowski, at one time the idol which bear translation. self-possession necessary to a good deliver)-, WHAT, THEN, are the necessary req¬ Unfortunately, I have had the experience and reminding; who can scan a page of go ahead and give a perfect performance. when the prima donna was singing of Berlin society and one of the most popu- After his first Russian concert tour, And he must constantly insist upon a sim- uisites for radio success? In my of listening to singers whose first three words and music and look up again a He must be able, of course, to work out bearably out of tune, von Biilow suddenly lar composers of the day. The writer, like Xaver Schwarwenka was telling his friends pie, unaffected rendering; for the simplest own radio work I have had occasion to notes reveal a good physical organ—and moment later with the whole picture any desired effect of harmonization. And gave the sign to stop and bowing to the all the world, admired him as much for his of the success he had achieved and, turning rendering, where the scholar lets the piece make a number of observations which might nothing more! There is no sadder task clearly and firmly in mind. We need he must do all these quickly, alertly and lady i his suavest manner said, “Would splendid musicianship as for his charming to Moszkowski, asked, “Well, what do you speak for itself, without additions or arti- prove of interest to the hopeful young than having to face such a candidate and singers who can think musically and can perfectly. Always he knows that time you mind, Madame, giving u your A?” personality and ready wit. His Spanish think I made at my last recital at St. ficial refinements of his own. is the most aspirant. Let me say at the outset that to try to explain why he does not “get convince an audience at once, without counts nearly as much as the finished effect In a time when the relations between Dances had made him famous at o : stroke, Petersburg?’ “Just half,” Moszkowski re- intelligible, and for this very reason t radio work is much more difficult than any over.” A great deal of time has been spent warming up, without argument, without (Continued on Page 683) Germany and Russia v t of the best, and some other piano pieces—such . Valse plied. most impressive.” NOVEMBER, 1935 639 638 THE ETUDE The Very American Story of Emma Abbott Bach and Handel In ivhich Poverty becomes the Vestibule to Success Compared By Tod Buchanan Calloway

Americans revel in that peculiarly national trait of compelling success when mountainlike obstructions seem to By Walter Spry make it unthinkable. Emma Abbott, born in Chicago, on December 9, 1850, and died in Salt Lake City, on Janu¬ ary 5, 1891, will ever remain one of the most colorful of our American prima donnas. Judge Galloway, in his very human manner, has discovered certain things about her youth, which must inspire ambitious young singers of our THE DIFFERENCE in the music of Bach and Handel day. After all, the American spirit of penetrating all interferences is one of our most precious national assets. is not so apparent to the casual listener as to those —Editorial Note. of us who have made a study of these two great mas¬ ters. Although born the same year (1685) and in the same country (Germany), their lives were along totally different THAT Emma Abbott was as true a to see Clara Louise Kellogg. We will let mother, brothers and sisters. ing this time she sang in a concert with our first American prima donna to be recog- “ ‘I must go to the post office now and Ole Bull. Then, in the following year lines. Bach lived in a small world, as far as exterior in¬ singer as she was a patriotic Ameri¬ nized by Europe- tell the story. see if there is a letter from my mother!’ (1872), with the aid of the congregation fluences were concerned; while Handel was a traveler who can, the writer cannot affirm, as his recollection tells him that he heard her only _ she exclaimed presently, jumping up. It and the blessing of Henry Ward Beecher, lived many years in Italy and later went to London. Bach once in the opera, “Bohemian Girl,” when A Good Fairy Prima Donna was pouring rain outside. ‘Show me your she sailed for Europe to prepare herself was a family man—with a very large family—while Han¬ she was supported by the erstwhile silver IN HER INTERESTING “Memoirs of feet,’ I said. She grinned ruefully as she for an operatic career. del was a bachelor. From the beginning Bach was identi¬ voiced tenor Brignoli singing Thaddeiis of an American Prima Donna,” Clara exhibited her shoes, but she was off the One wonders, with her puritanical back¬ fied with church music; while Handel who wrote three of Warsaw; but that she was a native born Louise Kellogg tells graphically of how she next moment in search of her letter, ground, how she assimilated with the his operas during his early sojourn in Italy, and others American no one can deny, for her life first started Emma Abbott on her “When she got back to the hotel foreign artists. This continued to be one later in England, did not write his oratorios until toward was devoted to the effort to popularize career, which resulted I got hold of her again, gave of the constant contrasts of her operatic the end of his life. opera in this country. triumph for Emma Abbott, some clothes' and took life. She began the true operatic career in There are certain qualities in their music that resemble Emma Abbott was born in Chicago, crowned with a :r to the concert in my America with pietistic inhibitions which carriage. After my each other and many that differ greatly. Both being per¬ where her father had located as a teacher won through her in later she was obliged to drop when it came first song she rushed formers of distinction, skilled in the polyphonic style, we of music, both vocal and instrumental. domitable pluck and to her appearing in tights, which in pagan From her father we can trace the early courage. ‘Let me roles she justified by being worn “modest¬ find that it takes ability of a high order to give adequate musical ability and the New England con¬ Miss Kellogg look down your ly.” She even sang the immortal part of rendition to their instrumental works, he they for the stancy of determination and will to suc¬ writes: “On one throat,’ she ex¬ Violetta in “La Traviata” as “A woman harpsichord, organ or violin. When Handel was perform¬ ceed which were the determining features concert venture claimed excited¬ who tried to be good.” “Proper narration” ing one day at a church in Rome, it is told that Scarlatti of Emma’s character. Her father was we arrived late ly. ‘I’ve got to succeeded the famous Abbott kiss. One (born 1685 in Naples) had not yet seen the performer born and married in Concord, New Hamp¬ one afternoon see where it wonders whether she experienced the near when he said: “It must be that devil of a Saxon!” Later shire; so Emma inherited her Yankee in Toledo nausea which Clara Louise Kellogg en¬ Scarlatti so revered Handel that each time he heard his pluck from both parents. Her father, be¬ where the countered from the garlic laden breath of name he crossed himself. Bach, of course, was famous fore he began his wandering existence, was other mem- j her tenors, in the Abbott kiss. throughout Germany as an organist and harpsichord player. the director of the Old South Church choir bers of the Abbott studied first with Sangiovanni in The principal difference in their art of composing is in Boston. Later Seth Abbott moved from Milan and then with Delle Sedie and Chicago to Peoria, Illinois, where Emma . that Bach’s music is very chromatic, while Handel’s works Marchesi in Paris. Her lessons over, she early made her debut as a singer and are in the main diatonic. For this reason Bach’s choral appeared in “The Daughter of the Regi¬ player on the guitar. trilli, the ment” at Covent Garden Theater, London, music is more complex and is less known to the world in The story that she walked barefooted to baritone, met under Mapleson. She then returned to general, while Handel’s oratories are favorites in every appear before an audience composed of coal me at the America and shortly formed the Emma land. The beauty of Handel’s music is more apparent, and miners is undoubtedly apocryphal. The station and% Abbott English Opera Company. There¬ its grandeur is unsurpassed. His instrumental music for family was, however, in extreme poverty, said immedi¬ after, until her death, she continued tour¬ the piano is, however, of much less importance than and Emma contributed to its lean purse by ately, ‘There ing the country, singing the leading roles Bach’s, because of its limited amount and its lack of va¬ giving lessons on the guitar and singing in is a strange in her opera company. riety. Such pieces as The Harmonious Blacksmith, the concerts. looking girl from her voice, Originally her voice, while not very Chaconne in G, the little Fantasia in C and some of the waiting at the and I said ‘yes.’ flexible, was pure and pleasant, so that A Career in the Distance hotel for you to “Her poverty suites are attractive but do not compare with such works Gounod praised it. By dint of hard work MBUED WITH the idea of assuring hear her sing.’ and her desire to as are in constant use by the many students of Bach, some I she made her inflexible organ into one of comfort for her family, and with the ‘Oh dear, another get on naturally flexible technic. “La Traviata,” “Romeo of which works are to be catalogued in a coming para¬ knowledge that as a child she had a beau¬ one,’ I exclaimed, appealed to me, and and Juliet,” “Paul and Virginia,” “Pina¬ graph. tiful voice, she conceived the plan of putting ‘to tell that she hasn’t I was instrumental in fore,” “Martha,” and “La Sonnambula” her talent to use. When she was thirteen As already hinted, Bach was a great teacher; and he any ability. ‘She is raising a subscription offered her favorite roles, which she first years of age she found a printer who wrote a literature which pupils from the early to the most very queer looking,’ Pe- for her so that she could made widely popular in America. trusted her for her printing bills, programs, trilli assured me. go East. My mother im¬ advanced grades may study. Many small pieces of the Later she and Clara Louise Kellogg be¬ and posters; and, walking to a neighbor¬ “As I went to my supper _ grades preceding the Inventions form the habit in the young mediately saw the proprietor came less friendly; but we must remember ing town and posting her own bills, she I caught a glimpse of a very and arranged that what money student of training the hands to play independently and to¬ that the strictures of the elder singer on secured a good audience. Her proceeds he had collected the night be¬ gether. It is my belief that the Inventions are frequently 6d Pe-n?’1 3nd • Denver is no easy task. But I have succeeded in establishing a Perepa Rosa, who was at that time in this lect such small'Change as she could. a girl of ability, and I atn glad that I at an Emmy Abbott show." certain appreciation of the fact that Bach’s subjects are al¬ country and was noted for her generosity “ ‘I sang here last night,’ she told me. started her off fairly, although, as a matter ways of inspirational character and masterfully developed. to struggling musicians. ‘and the manager of the hotel collected of fact, she would have gotten on anyway, If Emma Abbott is not enrolled among For Emma it was the old story of one Furthermore, the polyphonic style of writing is one neces¬ eleven dollars. That's all I’ve got, and I whether I had done anything for her or not.” the great singers, it is because her ambition obstacle after another. Frequently walk¬ sary to conquer in this music, to prepare us for the more don’t suppose he will let me have much of led her away from the beaten track. By ing from one town to another, she had her that.’ Of course, I, who had been so pro- A Career Begins carrying out her own ideas with her own modern composers such as Brahms and Rachmaninoff. A CHURCH CONCERT AT THE TIME Of feet frozen and was often hungry. Arriv¬ tected, was horrified by all this. I could T7* NCOtjRAGED by Clara Louise Kel- opera company, she was very successful (Continued on Page 687) ing in New York Perepa Rosa was away. JOHANN SEBASTIAN BACH not understand how a girl could succeed XL logg, in 1871 Miss Abbott became a and made a great fortune. With fifteen dollars she started West, 1 doing that sort of thing. She told me pupil of Errani. and also the soprano in Emma Abbott did astounding things with stopping in Toledo, Ohio, where she hoped furthermore that she took i of her the Church of the Divine Paternity. Dur- (Continued on Page 683) NOVEMBER, 1935 640 641 THE ETUDE Rubinstein s Famous Song Musical Embroideries at the Piano

"Der Asra," By Leroy Elser

As Arranged by Liszt IN MAKING a study of a particular It is clear that in ornamentation, as in to the main note, which is written as if placed directly over or after the note to phase of technic or of interpretation all other phases of the art of music, prog- it retained its full value, whereas a portion which it is attached, as the case may be. (inevitably interwoven) the mind is ress has been made from a blind groping of its time is taken in execution of the grace, It may consist of four to five notes. A clarified by first determining the artistic from mere instinct, through successive It is only when written in small notes few general rules for its execution follow. A Soliloquy on This Widely Known Composition goal which is intended to be served by it. stages, to the high plane it occupies in that confusion is apt to arise in the man- 1. Placed over a note: Thus the approach to the study of musical the music of Bach and Chopin. Passing ner of their execution. The acciaccatura is (a) If over’ a long note; if in slow ornamentation may be rational, rather than over all that period of slow growth, it written as a tiny note slurred to the prin- tempo or before a rest; the haphazard one it seems generally to be. will be our object to give some general cipal one. A line is drawn through its By Austin Roy Keefer No better expression of the legitimate rules for the execution of the most com- stem, thus ANTON RUBINSTEIN purpose of musical embellishment will be mon ornaments in use from the time of the Ex. 3 HEINRICH HEINE found than in the following quotation from classicists to the present time. Ex. 1 Sir Hubert Parry’s work, “Evolution of married; and upon hearing this the ireful densed story of this myth of the Far East. M- WHEN ONE HEARS a master Daily pass’d in radiant beauty, the Art of Music,” in which he refers to A Cosmopolitan Crew song that for many years has never To and fro, the Sultan’s daughter sage put a curse upon the race of the Asra, Carrying the Message that each should live only long enough to two great masters of music; the one, work- QINCE MUSIC is a universal language failed to please discerning listeners, In the twilight, where the fountain F THE INTERPRETER has this de¬ mg in practically every musical medium, O one should know the terms which are d as little \ ie as possible is used in it is worthy of special study. Songs com¬ Ripples o’er with crystal water. beget an heir and that none of the Asra scriptive material in mind he can make tribe ever should enjoy love for long. To and the other, peculiarly the apostle of the synonymous in various countries. Thus execution, As now used, the long posed by such masters as Schubert, Schu¬ Day by day the youthful slave stood, the piano sing the desert echo, make it appoggiatura i ward off this terrific curse, a ruby was ob¬ piano. Of Bach he says, “Indeed he had we have the French word, agrements or - somewhat variable, but the mann, Mendelssohn and Rubinstein, when In the twilight where the fountain throb with oriental harmony; he will be a gift for rapid ornamental passages al- agremens, the German, manieren, the quaint general r“le is to give it •half the value Ripples o’er with crystal water. tained that seemed to emit darts of flame. transcribed for the piano by such a pianist able to hold his listeners with the magnet¬ ””“t unequalled by any other composer; —English..__, word, graces, and Lvthe 4.ItalianWW1 , ab- of an “"dotted note and wo-thirds the as Liszt, are worth while. Worth while Daily grew he paler and paler— So long as the Asra kept the precious ism of what the poet, the great composer- “Asra Ruby,” the sage’s curse meant noth¬ for they never suggest mere emptiness and belimenti, all meaning ornaments It is value of one that is dotted. Often the indeed are these pieces for their poems, Once at evening came the princess artist Rubinstein, the omniscient Liszt, all show, but have some function in relation worthy of note that the French term exact time to be Siven it is indicated by ing. music and history. To his side with hurried accents: have so abundantly felt. to the design, or some essential basis of agremens, came into use because the the grace itself- which must be substracted Piano transcriptions of songs, by Liszt, "Tell thy name, for I would know it. “Many generations later the Asra was While many programs for music of the If, however, the principal note captured by some Sultan or Rajah. The effect, or some ingenious principle of as- French were the first to standardize the from the time of the main note- If the is followed by another of the are excellent developers of superb musical And thy home, thy sire and kindred?’’ abstract mean too often nothing but cheap sent, or some inherent principle of actual use 0f the various graces next note is one of the same pitch, the ruby hung from his neck. The chief for¬ same pitch, the turn begins on discrimination. Everything Liszt touched And the slave replied: “My name is sentimentality, yet descriptive programs for melodic beauty which puts them entirely Those ornaments, which will be particu- aPP°ggiatura takes all its value and is car- became wonderful. All of us cannot sing Mahomet, I come from Yemen; bade its being taken from him, as he felt song transcriptions of dramatic, historical the main note. the power of the flaming redness. Instead out of the category of things purely orna- ]ariy treated, are the trill, the appoggiatura ried to the next with strong portamento, or hear good singers in the great licder, at And my race is that of Asra, or special atmosphere, will help the pianist mental. Speaking of Chopin, he con- the mordent and the turn. ’ T, , of making the Asra a menial slave, he be¬ our fancy; but the faithful piano will come Who must die if love they cherish!” to sing his message with sympathetic heart, tinues, “With him, ornamental profusion The trill (trjIle> trilkr trill shake or 1 he Mordent came a personal slave of the Arab, and his to our aid. Let it sing your songs, tell your head and hands. ; a necessity; but, more than in any tremblement) is one of the earliest graces A SIMPLE or single mordent (beisser, . duty was to keep the jugs filled with water. stories, paint your pictures, portray your Romantic Legendry Elsewhere in The Etude will be found other composer except Bach, it forms In due time the princess saw the attractive and Grove says, “The chief and pince’ tnordentc) consists of three’ moods, or interpret the emotions which the writer’s especially prepared edition of part of his poetical thought.the most frequent ornament of modern notes, the upper or auxiliary note occurring . ERE IS a personal version of the words often fail to express. The piano can H youth. They had many secret glances and very idea is often stated in terms of the vocal and ;nstrumental.” It consists of the but once; while in the double or long mor¬ legend that makes the poem perhaps a piano gem which has been much neglect¬ give infinitely. meetings. Later he stole to the palace, and ed and is well worth the effort of its mas¬ most graceful and finished ornamentation, reguiar and rapid alternation of a in_ dent it appears twice or oftener. Both more understandable: . Placed after a note: The Asra is, in many respects, a song of his only possession was the ruby which he such as is most peculiarly suited to the cipal note with one usuaI1 a major or kinds begin and end with the principal “Ages ago, in the Orient, a lovely girl tery. The added fingering, pedal marks and (a) If a turn follows a dotted note charm. It is rich in history, in legend and gave as a bribe to the porter! Before he interpretative indications are in accordance genius of the instrument. Accepting minor second above or below it. When a note and are played with great rapidity. was to marry the very old sage who com¬ and the next note is a single un¬ in imagination. To interpret the work reached his beloved princess he had to kill B3ch and Chopin as ideal in their use of triH ends with a turn it is said to be They take a part of the value of the main piled the Mohammedan “Koran.” On the with the principles of Leschetzky. The in¬ accented one filling out the meas¬ fully, one should know not the words only several attendants. Of course the lovers embellishments, it becomes more simple in perfect; without the turn, it is imperfect note and are seldom played before the beat day set for her wedding the prince of the troductory measures offer great pianistic ure, the value of the dotted note but also the marvelous background that eloped together. After a male heir was possibilities for tonal shadings. Technically miis.c of every period to apply the measure The trill sometimes begins on the prin- or part of a beat to which they are at¬ must have inspired the poem. It is of Asra tribe met her, and at sight they fell is divided into thirds and the born, the two lovers were drowned; but the composition offers no great difficulties ai function ,nin relation to thefl“ design,'1“c'gn- cipal note and sometimes on the auxiliary. tached. Goodrich says that, “In modem unique interest. deeply in love. The young woman’s father or making them so far as may be principal note played on the first the young Asra was destined never to to earnest workers; but it is nevertheless part with most of the early masters, and with works> especially since the advent of Chopin, Here is an English translation of the permitted her to make her choice, and she third, three notes of the turn on a work of undoubted artistic worth. of the poetical thought.” the French, it was the unvarying rule, until tbe mordent is frequently to be considered German poem: chose the handsome youth. They were soon enjoy or cherish love.” Such is the con¬ the second and the principal note The Origin of Ornament *e end °,f tbe .eighteenth century, that as. representing adventitious grace notes, again on the third. TC T.TTJD . __„.T . the trill should begin with the auxiliary whose value is taken from the previous, n„t 1 lb 1MRKAL11CAL in a brief treat- note; while nineteenth century authorities frora tbe Pn"cipal note.” His argument is Memorybook Pages of a Musical Pilgrim I ment of the subject to trace the slow such as Hummel, Czerny and Moscheles, ™s method of performance does not development of ornamental devices, nor is prefer that it slrould start w;th the {nl interfere with the melody , the Presenting Messages and Music From Many States it of especial importance to the student of cipal note. The modern sign of trie trill rhythm, if played without accent. the I'nfprmPfUntp crrartoc the .-.'crt,* . y_ . " T, ■ ..._ By Aletha M. Bonner the intermediate grades. Given the right or merely Zr. Other signs used1 It: is “"fortunate that there has been an perspective and direction, the earnest stu¬ in older music were X //. The rapidity exact reyersal in the meaning of the terms, (b) If the dotted note be a short one dent will find his own way in safety. with which the notes comprising the trill mordent and inverted mordent, so that in Primitive peoples, who, without excep¬ or if the time be rapid, the same ‘I HEAR AMERICA SINGING”— are played, or in other words, the number interpreting the signs, one should make tion, display an innate love for excessive rule may apply, or a group of IN NEW ENGLAND . of notes composing it, will be determined sure which it is that the composer or editor four equal notes to the value of ornament, are almost always of inferior both by the technical ability of the per- ‘"tends. As “sed in modern music, the sign the simple note (without dot) “My country, ’tis of thee. after the landing of the Pilgrim Fathers, and tuned at reasonable rate and like¬ The first Pipe Organ in New England, intellectual power and organization With former (though from a pureI artktjc of the mordent is V\ and that of the inverted was largely the story of Psalmody in its wise may be taught to play upon in¬ 1713. orientals, though highly civilized, the followed by the principal note Sweet land of Liberty, standpoint this is not to be considered) mordent is The sign of the double to the value of the dot may be various forms. instruments above mentioned.” The first pipe organ built in New Eng¬ is observable whether in literature, art or Of thee I sing! and from the character and style of the or i°ng mordent is 'VVNA. Mordents are played. To “Psalm-singing New England” be¬ land, 1745-6. music. In European countries, what is Land zvhere our fathers died, It was in historic Boston that the first music. generally to be played in diatonic ' Land of the Pilgrims’ pride, longs the honor of publishing the first The first Orchestra organized in New generally known as Hungarian music, Singing School was opened in Brattle Apr indicates that closing s are toto bedc terva*s “ldess accidentals are placed either book printed in the American Colonies—a England. though devoid of ornamentation in the From every mountain side, Street Church, this in 1800; and, at the form a'x>ve or W°w the sign, thus: y Let Freedom ring!” music volume—which adds still greater first place, in the hands of the gipsies P*ayed sometimes written n the old State House of the capital city, the The first great Oratorio Society in eable ^he mordent is composed of a principal : —Samuel F. Smith. luster to this accomplishment. The Bay became the most ornate known. This orna- °* a I""1- Th‘s dev'ce original organ upon which Oliver Holden America, “The Handel and Haydn So¬ with an upper auxiliary; and the in- : Psalm Book was the title of this treasured ciety,” 1815. mentation, though meaningless, implies an when the succeeding harmonized the world-loved Coronation is aptitude for mechanical dexterity. it falls. Closing notes are played in the verted morde"t has a principal note with a AS EVERY American knows, the im- tome, which was published in 1640, at These, and other noted first-formation Cambridge, Massachusetts. on display. The desire of singers to display their same speed as the trill, being usually rap- lower a“x'liary. Examples of each kind mediate cause of the settlement of features emphasize the practical and pop¬ idly connected with the next main note. follow, first as written and then as played, A. this great land of the Americas was It was to see a copy of this famed old vocal skill caused composers to write in This quaint and highly revered State ular interest taken by the citizenry of a manner to satisfy their vanity and found the shake from below. This auxil- a profound desire in the hearts of our fore¬ book (only a few of the original editions Boston in musical art. fathers for personal religious liberty; that are now in existence) that the writer House was in 1789 the scene of an inspiring expression in meaningless overornamenta- 'arT bel°w is played first, then the - Ex.2 The city was the birthplace of many fa¬ is, freedom to live and worship according journeyed to the Public Library of Boston, musical event. The festive occasion was tion. This cause, the love of display, n°te is trilled with the upper auxiliary, mous early musicians, including William to the dictates of a Conscience rather than the first , city visited in these musical pil¬ a visit of General George Washington, accounts for the great number of embellish- ** the shake from above. This is like then President of the United States; and Billings (1746-1800); Oliver Holden ments which have at one time or another a f°“r "9te turn starting above, followed a King. grimages in America. And here, on glass- (c) Turns after long dotted notes, And urged by such a desire they put guarded display, was the priceless volume, here, under a triumphal arch, Holden’s (1765-1844); Lowell Mason (1792-1872); been in use. Fortunately, most of them have by the trill proper, choir, “The Independent Musical Society,” and later-century contemporaries, William become obsolete and only those most suited except as mentioned under “a”, their purpose of freedom into practice and together with other treasured music pages The accent sometimes falls on the first and are played the same as when burst forth in an ode of praise to the hon¬ Mason (1829-1908) ; George P. Upton to enrich musical thought have been re¬ The Appoggiatura UH Ulc lne mermans crossed the wide Atlantic; here to enter of storied fame, such as, time-worn sheets T sometimes on the last,asl wrenote.. The Germans they follow an ordinary note, ored guest: (1835-1919); Benjamin J. Lang (1837- into mutual covenant: “to enacte, consti¬ of spinet and harpsichord “Selections”; for, HE APPOGGIATURA (appogiature, call the first variety, pralter or pralltrillcr that is, of four equal notes. 1909); Alice Fletcher (1845-1923): Louis in the realm of instrumental music, the A port de voix, vorschlag) is a grace and the second, schneller. Another term tute, and frame just and equal lawes, or¬ despite the opposition of certain of the Great Washington, the Hero comes; sterner-minded Puritans, musical instru¬ C Elson (1848-1920), and many others. application of strictly decorative devices note preceding the principal note; and it used to designate the mordent is passing dinances, actes, constitutions, and offices”— Each heart exulting hears the sound. to which they pledged “all due submission ments were in time introduced into Colonial From this “cradle of culture,” as Boston had to wait upon the development of the may be a step or a half-step above this shake. Now in full chorus burst the song, and obedience.” life. is sometimes called, we travelled down the respective instruments; and the early stages note, or a half-step below it. The appog- The turn (groupe, grupetto doppd- And shout the deeds of Washington! Founded, then, on the principles of deep An advertisement appearing in the valley of the broad Connecticut—a river of that development came to us from the giatura is sometimes called a leaning note, schlag) is one of the most useful of graces and conscientious conviction, it followed Boston News Letter of 1716 dating„reads: Boston has been called the “City of which rises in New Hampshire, forms a composers for the lute. Composers for the and it may be either long or short. When In slow music it serves to connect long that the early music of the young nation Musical Firsts,” and rightly named; for. boundary line for Vermont, and flows forerunners of the piano, the clavichord short, the name applied to it is acciacca- melody notes, and in rapid tempo or on should stress the religious motive. It “Note, Note, Any person may have all in connection with the first features, al¬ southward through Massachusetts and and the harpsichord, were most ingenious tura. When long, they are sometimes writ- short notes it tends to lend brightness and (d) If a turn s placed over th< might be also added that the history of instruments of musick mended. Harpsi¬ ready mentioned, her musical past includes Connecticut into Long Island Sound. m their use of ornaments to disguise the ten out as large notes as a part of the accent to the phrase opening not of a phrase, it i American Music, for nearly two centuries chords, Virginals, and Spinets strung such initial items as: poor sustaining power of those instruments, text, and sometimes as small notes slurred The sign of the turn is V5 which is (Continued on Page 684) (Continued 01 Page 694) NOVEMBER, 1935 THE ETUDE 643 The Most Amazing Romance in Musical Why Counterpoint? v History By William Benbow By Nicholas Slonimsky

Our next venture will be like a play at ANY STUDENTS are asking M 1S*’1 A B tennis, in which the net will be a phrase or this . question, especially those two of Drink to Me Only With Thine New and interesting revelations specializing in pianq:... And the Eyes. Back and forth next question they ask is, “What difference will bandy the short seal will it make in my playing?”. of Tchaikovsky’s extraordinary The answer is, “You will see more and j in a hear more, and consequently you should 1 r r.r E3 express that much more in your interpre¬ love affair with a devoted tation.” The esthetician would say that it will sensitize and stimulate your aesthetic ,—1 if 1 admirer he never met power of apprehension and appreciation. /r4 «C± J J-J-r ■j... J>.| Remember the classic instance of the man observing Turner painting a seascape. He said, “Mr. Turner, I’ve lived all my life U A at the seaside, but I’ve never seen anything M like that.” To which Turner answered r r - We may borrow from nature or archi¬ NADEJDA Filaretovna von Meek time ago I received a letter from a girl quietly, “Don’t,you wish you could?” D tecture all sorts of patterns with which to was Tchaikovsky’s good angel. whom I had met and known before. From Almost any one of us would object to fl. 1 1 —4 1 1- ' J>.l -ZB weave our contrapuntal vines around the But the picture would be incomplete this letter I learned that she had for a long being called an ape. Yet Robert Louis trellis of our original melody. From an elm if, beside the angel, there had not lurked time honored me with her love. The letter Stevenson, speaking of his . technic of ac¬ f Ccxj r leaf we shall take the serrate or saw-tooth a demon. That demon was Tchaikovsky’s was written so sincerely, so warmly, that quiring literary skill, characterized him¬ pattern for our next attempt, for a string nominal wife, Antonina Ivanovna Milyu- I decided to answer it. Although my reply self as a “sedulous ape.” He studied and j A W3J kova. Their romance started trivially. did not give my correspondent any hope, carefully analyzed the styles of different Perhaps we can amuse ourselves by try- quartet. Ex.7 The young woman admired him from afar, we continued our correspondence. writers in different centuries, and then he g to combine the themes of Nos. 2 and 3. wrote him letters, as a young romantic “The outcome of it all zoos that I agreed “imitated” them “sedulously” in order to A has no melodic interest. In B the We shall ask the bass to sing the melody musically-inclined girl (at one time she to pay her a visit. Why did I do it? Now, sense their distinctive characteristics of tenor has more interest than any other and the tenor will try to cheer him with attended the Moscow Conservatory) would I believe that the power of fate drove me diction, vocabulary, syntax, and treatment. In C both the bass and the *- friendly banter, using„c,n«r the, B phrase from write to an idolized hero of her dreams. to this girl. During our meeting I ex¬ The real value of those disciplinary exer¬ have a tune of their D has three No. 2. Sonrano and alto will imitate him. Two of her letters, dated May 1877, have plained to her that I nurtured for her a cises lay in the concurrent sensitization of points of interest: In the second measure the tenor even turns been preserved in the archives of the sentiment no more tender than that of mere his esthetic and critical faculties. It em¬ 1. All three lower voices have a a somersault. Tchaikovsky Museum at Klin. friendship. powered him to discern, discriminate, ap¬ melody of their own. Ex.4 “After I left, I realised the folly of my praise, and enjoy the essential art values. 2. There is more contrast in time She wrote: action. If I am not in love with her, if And may we stress the fact that this sort values in different voices. "Wherever I am, I cannot forget you I cannot reciprocate her sentiments, why TSCHAIKOWSKY AT HIS HOME IN ST. PETERSBURG of culture would have accrued to Robert 3. Here there is a sequence in the or stop loving you. What I like in you, should I go to see her, and what may be Louis Stevenson, even if he had not written I uill find in no other man; I would not Alto. the end of it all? From her subsequent even look at another man after you. Yet, a single essay or novel. letter, I concluded that, if, having gone so Kiev, August 9, 1877. friendship attaches me to life. Besides. A Question of Costume only a week ago I had to listen to protes¬ Nadejda Filaretovna: I have the weakness (if it may be called Athletic versus Ascetic far, I should suddenly turn azvay from her, SCOTTISH HIGHLANDER had tations of a mem who has learned to love it would make her wretchedly unhappy and Here is a brief history of what I have a weakness) to love life, love my work, O, EARNEST STUDENT, do not he A S twin sons, one of whom bided at the me from my school days and has remained drive her to a tragic end. Thus, I was had to live through since July 18; that is, love my future successes. I have not yet dismayed by the seemingly pedantic The intensifying of the chromatic and faithful for five years. It was as painful native hearth and heath, the other going to confronted with a perplexing dilemma; from the day of my wedding. said all that 1 want to say before I die. and austere aspects of counterpoint. Rid arabesque (even grotesque) elements leads to listen to him as it must be painful to Edinboro and becoming a priest. Here either to save my freedom and let her I wrote you already that I •married not Since death does not take me, what am I yourself of such an ascetic complex, and us to the extreme modernistic development, read my letters having nothing encouraging they come arm-in-arm toward you. How perish (perish is not just an empty word; because of my heart’s desire but yielding to do?” submit to the beneficent athletic discipline which experiments with such “burbanking” to say in reply, when, even with the best will you distinguish them? Did I hear you she really loves me beyond all measure), to an inconceivable chain of circumstances, He wrote to his brothers much more with which this study will empower you. of tonalities as the following baroque speci¬ of intentions, you are unable to show any¬ say, “Kilts”? Well, just so, counterpoint or to marry. I could not but select the leading inexorably to a most difficult frankly: Most of us do not know how shortsighted men. It recalls a sentence from a Gals¬ thing but complete indifference.” is musical costumery. We may dress a latter alternative. In this, I was supported dilemma. I had to choose between turning "I would be a liar if I would try to as¬ familiar melody in the staid habiliments of worthy essay. Speaking of beauty he away from a young woman whose affection In her second letter, Antonina Ivanovna by the fact that my eighty-two-year-old sure you that I am completely happy, that For a practical test of musical short¬ a monk, or we may trick him out as a writes, “How dangerous a word—often for me I had so carelessly encouraged, or writes in the same vein: father, and all my friends and relations I am accustomed to my new situation, and sightedness, take the first few measures of clown. misleading us into slabbing with extra¬ marrying her. I chose the latter. But after “Having read your letter, I felt I loved zrnnt to see me married, so on. After the terrible day of July 19th one of the best known tunes in the world, The treatment of a familiar tune will When a person faints, his bodily motions neous floridities.” the ceremony, when I found myself alone you twice as much. Perhaps, if you were “So, one fine day, I betook myself to my (the day of the wedding), after all this Onward, Christian Soldiers. Although naturally arouse more interest than a text¬ and his speech (and his relatives) are held Ex.8 _ with my wife, I suddenly realised that I perfection itself, I would have remained future spouse and told her candidly that interminable moral torture, one cannot millions have heard and played it repeated¬ book cantus. The tune to When Morning in suspense. Our word syncopation means had not for her even a simple feeling of indifferent to you. There is no defect that zuhile I could not love her, I would be her easily recover. The most encouraging thing ly, we would venture to guess that not one Gilds the Skies, in all our hymnals, will fainting. So a syncopated note loses mo¬ friendship; worse than that, that she is would force me to renounce my love for faithful and grateful friend. I described is that my wife does not understand my un¬ in a hundred has heard or seen the interest¬ serve as a starting point. tion just at the point where we expect it hateful to me in the fullest sense of the ing contrast between the first phrase to come down on the accent, and we are you. This is not a momentary infatuation, my temperament, my irritability, uneven¬ happy state. Now, and all the time, she (measures 1 and 2) and the third phrase Ex. 2 but a sentiment that has been growing for a ness of moods, my shyness of people, my has an air of satisfaction and contentment. held in suspense until it moves again. In “I realised that I, or at least my music, (measures 5 and 6). The student, when long time, and I could not destroy it even circumstances, all in minute detail. After She is not difficult. She agrees to anything the following example notice the suspension was doomed to perdition. My future ap¬ his attention has been called to that, will if I wanted to. I dare assure you that I that, I asked her if she would be my wife. and is satisfied with anything. in the soprano, with the tenor and then the peared to me as a pitiable half-existence, say at once, “Why yes, the soprano sings am an honest and decent girl, in the full The reply was naturally in the affirmative. "We had talked over things, and our bass copying that figure. an unbearable comedy. My wife is not the same phrase in measure 5 and 6 that sense of the word, and that I have nothing I cannot express in zvords the torments relationship is clearly determined. She Ex.5 _ __ guilty of anything; she never intended to the tenor has sung in measures 1 and 2,” to conceal from you. My first kiss will through which I passed the first few days consents and will never complain. All she drive me to matrimony. Consequently it and will stop at that. Asked to look again i be for you, and for no one else. Do not after this. It is not difficult to understand needs is to tend me and take care of me. would be base and cruel to tell her that I more closely, he will -finally see that the try to discourage me concerning your quali¬ why. At the age of thirty-seven, possessing I have full liberty of action. As soon as have no love for her, that I regard her as tenor of measures 5 and 6 is the same as ties, because it will be a waste of time. I innate antipathy for matrimony, to be re¬ we get accustomed to each other, she will an intolerable burden. The only way out the soprano of measures 1 and 2. “Is that cannot live without you. Perhaps I will duced by the force of circumstances to the not hamper me in anything. She is very was to dissemble. But to go on pretending all?” you ask. He looks again and sees kill myself. Then, let me look at you, and status of a bridegroom, and at that, a limited, and this is a good thing. An in¬ as long as I live is the greatest of ordeals. how “ladies and gentlemen change” posi¬ kiss you so that even in the other world bridegroom not in the least enamored with telligent woman would frighten me. With I sank into profound despair, which is all tions in the four voices. I should remember this kiss.” his fiancee—is very painful. this woman, I feel such superiority that “Now I zvill say a few words about my the more horrible, since there is no one there can be no fear.” A Contrapuntal Surprise Tchaikovsky’s letters to Antonina Ivan¬ future wife. Her name is Antonina Ivan¬ near me who could comfort and encourage me. I began to think of death eagerly, On July 23, 1877, Tchaikovsky wrote to HEN IT IS explained that what he ovna have not come to us, but we have his ovna Mityukova. She is twenty-eight years his brother Anatol: W letter to Madame von Meek, in which he of age. She is rather attractive. Her passionately. Death seemed the only way is seeing and hearing is a bit of that We begin at A, with the melody in the “I live through a really difficult period states his reasons for the marriage. The reputation is spotless. She is poor, moder¬ out; but violent self-destruction would be horrendous ogre, “quadruple counterpoint,” tenor. The soprano imitates it by “diminu¬ of my life. However, I feel that little by letter is dated, Moscow, July 3, 1877, three ately intelligent; she seems very kind- out of the question. he feels like the character in Moliere’s play tion” (by notes of half the original value), little I get accustomed to my new status. days before the wedding ceremony, only a hearted and is capable of unlimited devo¬ "I must tell you that I am deeply at¬ who considered himself highly compli¬ followed at once by the B phrase which It zvould be horrid to deceive my zvife. So anticipates the regular B phrase of the few months after the beginning of his cor¬ tion. One of these days our marriage zvill tached to some of my relations, to my mented when told that he had been “speak¬ The present day futurist might claim to I told her beforehand that she could count tenor. The C phrase inverts the A phrase, respondence with Madame von Meek. take place. What zvill happen next, I do sister, two brothers and my father. Should ing prose” all his life. Proceeding to more complex possibilities, justify such “floridities” by saying that this on my brotherly love only. Physically, my Now that we have started “seeing and is followed by D, which inverts the B not know.” I decide on suicide and carry out my de¬ we now introduce chromatic progressions, is a bit of harlequinade, in which the alto "In the first place I must tell you that cision, it would strike them a death blow. wife is absolutely repulsive to me.” things,” let us proceed to compare the phrase in both soprano and bass, while the at the same time endeavoring to maintain sings the song to his beloved “Celia,” while I, most unexpectedly, have become a bride¬ After the marriage, he wrote to Madame There are many other people, there are musical interest of these four variants of tenor begins the third phrase of the melody independent melodic interest in every voice, The state of mind and body of Tchai¬ the soprano is given to the flute, the bass groom. This is how it happened. A short von Meek: several dear friends, whose affection and the first phrase: at E. kovsky while in Moscow is shown in the for that is the essence of counterpoint. (Continued on Page 677) NOVEMBER, 1935 644 THE ETUDE 645 following incident whicK he related to a inscription in Tchaikovsky’s handwriting: RECORDS AND RADIO friend: "Stolen on December 15, 1877 by Piotr “The weather was cold and nasty, and Tchaikovsky, court counsellor and conserv¬ By Peter Hugh Reed there was frost at night. On one of such atory professor, from .he Library of the BAND AND ORCHESTRA DEPARTMENT nights I went to the deserted shore of the Palace of the Doges in Venice.” Which the heightened speech of his fully sublimated Moskva river, and the idea came to my Yet, such is the paradox of genius that ■>HE “Trio” by Bach, __ Conducted Monthly by mind to catch a fatal cold. Unobserved, I at the same time, during the most harrow¬ nn Victor inner emotions. Italian Trio performs on V lctor The G Mininor has long been popular. waded into the water up to the waist, and „.ingB period-- —of ----his r--personal life, Tchaikovsky„„ ; jl discs 8710-11, is from 1^ 1 'lsl ^ been twice recorded. The C Major, VICTOR J. GRABEL I stayed in the water as long as I could composed his finest creations the Fourth „ Bach-S celebrated tribute to Jas be hand has been unjustly neglected: endure the cramps in my body. I came “Symphony”■-^ and the oneraopera,- “EugeneEusrene Frederick the Great. . . t £ - fine- work—a really great work. FAMOUS BAND TRAINER AND CONDUCTOR out of the river with a firm conviction that Onegin.” A letter from Venice to his The story goes that Frederick, who We Welcome its advent on records and I would certainly die of pneumonia or some brother, dated Dec. 24, 1877, reads: a noted flutist, given to playing «« recommend it to the attention of all music other disease. But my constitution proved “Only thanks to the monotonous exist¬ her concerts almost every evening, was lovers. The Pro Arte Quartet, with Alfred to be so strong that this icy bath passed ence in Venice and absence of all distrac¬ e night, when about to play a concerto Hobday as second violist perform this zvithout consequences. I did not try again tion could I work with such perseverance officer brought him a list of strangers ° the recording. ( Victor set M270). but felt that I could not go on like that any and determination. When I am at “Eugene who had just arrived at the castle. Dis „c Major Quartet” (K465) is longer. I wrote to my brother Anatol, Onegin,” I do not feel the same satisfaction covering■ Bach’s name among the traveie , Ust of the s;x that he dedicated t asking him to send me a fictitious telegram Problems m Arranging for the Concert Band as in writing the symphony. I am writing Frederick in great agitation sent fori!a“ Haydn It was written ii t 1785, two years demanding an urgent trii> ta.St Petersburg. the opera in a casual way, it may be worth him immediately, before he had Haydn. This he did without delay. I recall little while, or it may not. The symphony is come to nun travel_ before the quintets just mentioned. When opportunity□ppui tunny l° i tz ■ it was first produced it incited no end of By Dan Jensen about my sojourn in St. Petersburg. I different: I write it in clear conviction that „ remember terrible fits of nerves.” mg clothes. Once Bach criticism’ because of the dissonance in it is an unusual work, and the most per¬ forgot his concerto and took o d Ba ^^ jng bars. Although today this fect in form of all my preznous writings.” HE BAND WAS at first organized He did hot return to Moscow and to his as he called him—for a t0.^ of hl» longer offends, it nevertheless conveys T 14 Violas, 12 Violoncellos, and 10 Double- the orchestra there is a thoroughly blend¬ facility of playing are their greatest assets. in order that the noted musician might play s ... -» _ only for playing military and dance basses. ing string family. They are all instru¬ Since they are not entirely satisfactory, wife. He went abroad. To Madame von When a divorce seemed imperative, certain feeling of strangeness.’ It t music. Both of these types’ of bands The usual band arrangement would give ments with the same sound characteristics. the use of some other reed instruments Meek he wrote from Clarens, Switzerland, Madame von Meek wrote Tchaikovsky: upon his various Silbermann forte-pianos. tainly presents Mozart in a new light. The call for loud playing. these string parts at various times to any The harmonic series is complete for each might help to overcome the difficulty. on October 23, 1877: Moscow,_ Feb. 24,, 1878. At Bach’s request, the King furnished him C Major is one of Mozart’s'finest quartets. “I spent two weeks with my,, wife in “I am terribly worried and perturbed w;tb a theme, upon which the musician It was only toward the beginning of the and all of the wind instruments. The or¬ instrument, giving the sequence of one, two, Its expressive assurance is striking—there twentieth century that bands began to pre¬ chestral wind parts would be partially re¬ three, four, and so on. Proposing a Change Moscow. Those two weeks were a series that you are being annoyed. Unfortunately, promptly invented a six-part fugue. a profundity or depth of strength tc ‘L of the most excruciating moral trials. I I could think of no other meansmeans, to remedy When Bach returned home, hene took« the ” £ which marks the matured genius of sent concert music. The modern concert tained. The others would be given to The Clarinet is the principal substitute These substitutions for the felt at once that I could not love her. I this situation, except through indifference King’s theme and created his famous that genius which two years band is hindered by tradition. Ideals of another instrument. To illustrate this, the for strings in the band arrangement. The Violas, Violoncellos, and Doublebasses which he dedicated its creator, that genius which two years could not get accustomed to her. I was and patience,, for it is not likely thatjhe_ .‘Musical Offering”: «hmh he_ded.cated flH,y consummated in hi, instrumentation still lean towards the student wishes' to cite an example from Clarinet is not of the same harmonic se¬ are the most important changes' in instru¬ in despair. I sought death; I believed military. This is needless in the present "Rienci” Overture. Wagner is noted for quence as the strings, having one, three, mentation which the student is proposing. would agree to a divorce, unless she finds and sent to Frederick. This work is one ‘G Minor Quintet!”Quintet.” * TheThe^X'iffinih- Andante section it was the only way out. I had fits, of another man who would be willing to marry 0f Bach’s most notable contrapuntal struc- termed "possibly the most day, because practically all of the high the use of tone color effects. This calls five, seven, and so on. This would not be It is very well agreed that the soprano insanity during which my soul was, filled her. If this is the case, why not offer her tUres. The “Musical Offering” contains has txu , I , . schools and colleges that have band work, for exact use of the woodwinds. In the so serious a drawback if the Clarinets as a Qarinets are best for the Violin parts. ivcmcnt from with such savage hatred for my wretched, of money as advance payment among other pieces, a Rtcercare (recorded ^ t ° •• now have several organizations. One is defi¬ passage beginning on measure 7 of the unit produced the entire range of string According to authorities the Saxophones, ng otner pieces, a immw. - A good record- wife that I could haz’e choked her to towards zvhat you are paying her Victor disc 8660) and the present any of*ozart>.■ nitely a concert organization and the others score, Wagner writes for 2 Flutes, 2 Oboes, effects in the band. By this the student and especially the Alto and Baritone, most ing of this work has long been needed. death. My conservatory work and my say, ten thousand rubles? It may be that ‘Trio,” sometimes called a “Sonata.” This do the military or marching end of the 2 Clarinets, 1 Bassoon and 1 Horn. In the implies that the Clarinets should give the nearly resemble the Viola and Violoncello And it was fitting that it should have been home work became impossible. I was she will consent to give you a divorce on “Trio” was originally composed for flute, band score the first Flute part of the or¬ balance of tonal effect, supported by a in tone. The only serious drawback to made by an eminent American organization losing my mind. Yet, I could blame no this condition. I would undertake to raise violin and accompanying clavier. Casella, Yet the concert band retains the excess chestra score is retained for the Flute. The brass group (to be discussed later), of the the use of the Saxophone is that its range like the Gordon String Quartet, who make one except myself. this sum. Please try, my good friend. I the eminent Italian pianist, however, has of brasses needed in the outdoor playing, Flute II part of the orchestration is omitted. 70 string players in the orchestra. In is limited. The E-flat instruments cannot their initial bow on records with this work. "My lack of character, my zveakness, my do want to see you protected against annoy¬ given it what might well be termed a more but superfluous for finer symphonic music. The Oboe I of the orchestra part is given present day bands only the Violin and reach the low C of the Viola and Violon¬ (Columbia set 219). Almost invariably two or three trombones little practical sense, my childishness all ance.” symmetrical arrangement for violin, violon¬ to the E-flat Clarinet. The Oboe II part occasionally the Viola parts are thus repre¬ cello parts. For this reason it is advisable were responsible for this. At that time I It has been fittingly said that the quar¬ are used on each part. Many of the fine is carried for one measure by the band sented. The Viola parts are often omitted Tchaikovsky replied from Clarens, in cello and piano; and it is this version which to use the Alto and Bass Qarinets in con¬ receii'ed a telegram from my brother, in¬ the Italian Trio—headed by Casella—per¬ tets of Beethoven's last creative period bands have four cornets on a part. What Oboe which then finishes the passage on the entirely. The Violoncello and Doublebass junction with the Saxophones. To further Switzerland: “occupy a solitary position not only among need is there for this army of brass Oboe I part. Otherwise Oboe II is omitted. parts are almost invariably given to the forming me that, in connection With the Clarens, March 10, 1878. forms on records. extend the range upward for the Violon¬ renewal of performances of my opera, it Beethoven’s works; they probably repre¬ players ? Three trombones are sufficient The Clarinet I part of the orchestra part is brasses which do not have the tonal quali¬ “I will now answer, my dear Nadejda This is delightful music; music that cello parts, a Tenor Saxophone may be was necessary that I should go to St. ' with each sent the last word and the supreme effort for almost any concert band, and at the given to the Solo Qarinets. This is' usually ties of the Qarinets and so do not blend -pilaretovna, your questions concerning my grows upon one in the instrumental music of all ages.” The most, four cornets can supply enough so¬ a large group in the band and since no in¬ Petersburg. Mad with happiness that I future, in which. your friendship promises^ ^ ^ _ hearing._ It begins_ with expressive with them as the members of the string The Contrabass Clarinet lacks a minor could get out of this hell of pretense, false¬ r truly my Largo, which is followed, first by a jovial first of these, the “Quartet in E-flat. Opus prano brass for such an organization. structions for a reduced section are given, family blend with one another. That this third (or a major third where the Double- o much happiness. You 127,” is distinguished by its rarely exalted Reed choirs are as yet incomplete. A band it is likely that this part will be overbal¬ hood and hypocrisy, I went to St. Peters¬ good fairy, and I do not find words to ex- fugal Allegro then by a poetic Andante, is unsatisfactory is evidenced by the use of bass goes to low E-flat) in the regis¬ Adagio, whose sublimity can probably be director is quite proud to have a large anced. The Qarinet II part is given to the burg. When I saw my brother, all that press the love and affection with which I and ends with an Allegro with a rollicking Violoncellos and Doublebasses in many of ter. The B-flat and E-flat Saxophones' zvas pent up in my soul during the two traced to the fact that Beethoven had but group of soprano clarinets. Does he think band Clarinet I section which probably will tire finer concert bands. In order that (Bass) are not so useful here because of repay all that you are doing for me. As fuSal subject. . recently completed his "Missa Solemnis." about the lower voiced woodwinds? Bands result in their being overbalanced as the endless weeks burst out. My brother went regards my relationship with a certain per- Among all Bachs choral music, there is Clarinets may produce this string balance, their unwieldy nature. Hence the use of have been slow to adopt changes in instru¬ Solo Clarinets were. The Bassoon part is to Moscow, had a talk zmth my wife and son, a divorce would be the best way to end nothing more purely ethereal or more beau- Fourteen years lie between this work and more instruments should be used to supply the Contrabass Sarrusophone is suggested. mentation. Such changes are necessary if given to the Baritone while the band Bas¬ arranged that he would take me abroad, the whole affair; it is my heartiest wish. I tifully expressive than the Choral Jesu, Beethoven’s “Quartet in F Minor, Opus the Viola, Violoncello, and Doublebass It easily spans all of the lower and most finer results are to be obtained. soon rests. The Horn part, strangely and my wife would go to Odessa so that am convinced that the sum which you men- M' of Man’s Desiring, Horn his Cantata 95.” And, in these fourteen years, his parts. Hence the following players would of the upper register of the Doublebass There has been very little attempt on the enough, is given to the Horn. In addition no one should know anything about it.” tion is quite sufficient and that that certain No. 147 It is one of those musical frag- deafness has driven him into himself. The be more satisfactory: 8 Qarinets I (Violins part. With the use of the double reed in¬ new music that he creates in the quartet part of arrangers for band to specify how to these atrocities, the arranger invents a I), 8 Clarinets II (Violins II), 6 Alto In conclusion, he asked Nadejda Filare- person will prefer it to the very precarious "lents (that is when considered apart from stead of the Saxophone mouthpiece, it is form, beginning with this work, is the “ex¬ many as well as what instruments were to melodic line not existing in the Wagner Clarinets (Violas), 6 Bass Qarinets tovna to let him have more money. Madame pension, which I undertook to pay her. the Cantata) that-one listens to and prompt- possible to obtain a flexible bass which is pression of a lofty spirit beyond all human play the parts. In fact, they have even score and gives it to a large section of (Violoncellos), and 6 Contrabass Clarinets von Meek answered in her typical fashion: “But I can consent to this form of tribute wants to have repeated. That is why it easily handled technically and which has tried to arrange the music so that any Qarinet II players. After reading about (Doublebasses). Why is it that this is “Dear Piotr Ilyitch, why do you hurt my only in case she makes a formal promise !s desirable in a recording. The__ vocal rpart_.. affairs.” The Flonzaley Quartet, who dis- a somewhat more brilliant tone, due to the combination of wind instrumentalists may this badly arranged passage, no doubt other not done? Probably the high cost of the feelings by worrying about your finances? of the loveliest and banded a number of years ago, played this brass tubing, than the other woodwind to divorce me. Recently I had an occasion ls rarely mated . play it. Quite naturally, a composition instances similar to it will occur to the lower voiced Clarinets has contributed to to convince myself that this certain person «ost casual melodies, which is played by work for a Victor recording (Set M153) basses. The tone in a blended combination Am I not your frieiul? You know how played by a band with twelve clarinets and reader. the lack of large groups of them. Certainly would never let me alone were it not for the violins and oboe^ In a recording of before their retirement; but, for some gives the same vibrant sonority as the many happy hours you have given me, how six cornets sounds different from the same Probably a worse evil than this pointless the poor quality in the upper register of deeply grateful I am to you for that, how the fear to lose her pension. I am giving ‘his work by the Choir of the Temple strange reason, this recording was never Doublebas's. piece played by a band using six clarinets trading of parts is the lack of homogeneity these instruments seriously impairs their necessary you are to me, how keenly I de¬ her this pension conditionally: ‘Behave Church London, (Victor disc 4286). a released in this country until recently. The difference in construction of all of and twelve cornets. The most outstanding of the groups playing the string parts. In usefulness. The wide range and great sire you to be what you were created for; yourself; don’t annoy me or my relations P.'ano and oboe solo are used to support the Their performance of this work is a fine these instruments produces a mixed set of one, but unfortunately the recording suffers attempt to set a standard of instrumenta¬ harmonics. The Saxophones and Sarruso- consequently, I am doing nothing for you, (she had already begun writing letters to s>nSers- °« the reverse *ace of this disc tion for band is that proposed by the but all for myself. By tormenting yourself, my old father); conduct yourself in such a the same choir, supported by an organ, by comparison with modern ones. phones are octave changing and produce The glamour of the Arabian Nights, the American Bandmasters Association, which harmonics one, two, three, four, and so on. you spoil my happiness in taking care of manner as not to be a burden; then you will an impressive excerpt from Spohr’s they recommend to all composers for band. rich coloring and the exotic rhythm of the Since these are different from the Qari¬ you, as of showing that I am not a friend. get your pen ion If not, live on your own.’ Last Judgment. Here is a particularly Since this is a problem in arrangement, not Orient: these things Rimsky-Korsakow nets, it is recommended that the larger Why do you do it? It hurts me so. .. . If “You may think this language harsh or desirable disc. in composition, the student must solve the C Major and G bas incorporated in his symphonic suite part of the group playing the lower string I should need something, you would get it cruel. I wish I could tell you the repulsive ozaf s Qmntets - - problem of selecting the most suitable in¬ parts be Clarinets, which will tie the unit for me, would you not? So we are quits, details, demonstrating that this certain M,™r hav_f been called “songs of death’ “Scheherazade.” The program of this pop¬ strumentation. ular work is only hinted at, for Rimsky- together in tone color, and the lesser part and now, please, Piotr Ilyitch, do not inter¬ person is not only absolutely soulless and' a„n„d Hence the student arranger really has Korsakow wished it to be intentionally be Saxophones and Sarrusophones which fere with my management of your affairs.” petty, but that she is beneath contempt.” compassion. They were written in 1787, two problems instead of one. He must improve the tone quality and add range and about a month apart, at the time when vague. For this reason, the program is not determine what combination of instru¬ Tchaikovsky’s gratitude was without end. But the divorce proved t( volume. Mozart’s father was upon his deathbed. essential to the enjoyment of the music. ments will be best suited to the composi¬ With Madame von Meek’s unlimited re¬ cult than could be imagined, and this A new recording of this work by Stokow¬ This gives as a revised list the following: sources, he felt safe. He went to Italy. despite the fact that Tchaikovsky’s' brother, These two works reveal Mozart’s genius at tion, and then arrange the selection for a highest. There is human anguish, un- ski and the Philadelphia Symphony (Vic¬ specific group. 8 Clarinets I, 8 Clarinets II, 4 Alto Clari¬ He was still boiling with rage against his Anatol, who assumed the role of an inter¬ tor set M269), a recording in which the nets, 2 Alto Saxophones, 4 Bass Qarinets, wife, who kept writing him vitriolic letters. Hl_ deniably, in this music, but no hint of mediary, was himself a member of the legal richness, the subtle shades and the dynamic 1 Tenor Saxophone, 1 Baritone Saxophone, He wrote to Modest on November 7, 1877: profession. Tchaikovsky’s wife, contrary morbidity. Mozart speaks from his soul, Instrumentation reaches of the music are fully reproduced 4 Contrabass Clarinets, and 2 Contrabass “Her last letter is remarkable in, that his expectations, shifted the whole affair deeply touched by filial devotion and the T IS NECESSARY to consider the for the first time, should find a large and I Sarrusophones. from a sheep she is transformed into a wild, orchestra and the effects produced by o the psychological rather than financial thought of death; and the music 1 the appreciative audience. sly and treacherous cat. According to her, plane; she wrote him on May 27, 1878: the orchestra in order to arrange music Adding Power so that a band will be a satisfactory I am a deceiver who married her in order “You want a divorce, but why should it SINCE IT IS necessary to have more to shield myself against scandal. Sfie is be negotiated in the courts? You zvrite medium of expression. In “Iphigenie in Aulis,” by Gluck, the power at times than the aforemen¬ horrified at my shameful perversity, etc., that you assume the guilt—there is nothing tioned group of reed players can produce, etc. What filth! But the devil take her!” surprising in that. You want freedom for orchestra, as set up by Wagner, consists of 2 Flutes, 2 Oboes, 2 Clarinets, 3 Bas¬ some brass players should augment them. A curious document, illustrating Tchai¬ yourself and never stop to consider zvhether cnamoled oTthZ'ZJJZ' "’-C '"tf* ma>ori,y of listening public is not In the band there is a clear brass family of it is good or bad for me. Was it not nothinq else thev haw hr^i ^ years °f broadcasting have taught me soons, 4 Horns, 3 Trumpets, Tympani, and kovsky’s mental distress at that period, is the usual strings. Since Wagner was ac¬ Trumpets and Trombones which tend to preserved at the Museum at Klin. It is a enough, the sorrozu that you made me give greater prominence to certain overtones suffer, when you abandoned me without customed to a rather large orchestra, this book of Tragedies of Euripides, in a Latin probably meant 18 Violins I, 16 Violins II, than the covered brass family (Cornets, translation, published in 1591, bearing an (.Continued on Page 688) Damrosch. SEVENTH REGIMENT NATIONAL GUARDS BAND IN PARIS (Continued on Page 679) NOVEMBER, 1935 646 647 THE ETUDE MUSIC EXTENSION STUDY COURSE Analysis of Piano Music A Monthly Etude Feature appearing in of practical value, For Piano Teachers and Students the Music Section The Teachers’ Round Table by’an eminent of this Issue Conducted Monthly by Specialist By Dr. John Thompson GUY MAIER NOTED PIANIST AND MUSIC EDUCATOR rhythmical patterns, are of the greatest aid cerned to have their pupils understand of writing music, against a staccato bass. in sight reading, memorizing and general SPANISH DANCE musical form—a very important require¬ The second section is somewhat quieter in musicianship. Many of the measures of By Gustav Lazarus ment in intelligent interpretation. ihe the right hand in A Jolly Tune give prac¬ This little Lazarus offering has the edu¬ vein, and suggests perhaps John Chinaman same patterns persist through this entire tice in alternating double notes with single No question will be answered in these columns unless accompanied by the full name cational qualities which teachers are alvfays singing contentedly at his work. After a short interlude the first theme piece and it is strongly recommended that notes. The marks of dynamics arc clearly and address of the writer. Only initials, or a furnished pseudonym will be published. delighted to find in a composition. The this number be included in teaching reper- right hand has the mordent figure in the is heard again and leads into a new theme in indicated as are accents and ritardandos, so staccato eighths for both hands. Be sure that there should be no difficulty in the passages, for- the hand tends to tighten, form of triplets. The right hand also has Small Hands and Octave several examples of repeated notes, meas¬ to observe the accents as marked in this THE ASRA matter of interpretation. and brilliance and endurance are cut in ures 3, IS, 16, 17, 21, 25, and so on, which section. Wrist staccato is strongly recom¬ By Rubinstein-Liszt _ Playing half when the fourth finger is used. mended. To be effective this piece will What an interesting composition is this. COASTING PARTY To avoid tiring, try to think of octave should’be played with finger-plucking stac¬ By Hester Lorena Dunn o study Kullak’s cato. In the left hand are many instances have to be played up to tempo. Two of the greatest geniuses of the key¬ School of Oeta' passages in impulses or accented groups board have had a distinct part in the mak¬ This little tune, as may be readily seen, _ I have small hands instead of single tones. If for instance, of the sustained bass note, as well as .the EVENING MELODY is built on the scale figure. The four line and though I can reach the octave quite interesting phrasing effects in meas¬ ing of it. There is no disputing the fact comfortably, my hands get very tired you play a chromatic octave scale in groups By Victor Renton that Liszt and Rubinstein are gigantic fig¬ verse printed at the top is very clever in in playing these studies fast, espe¬ of four sixteenths, think of each first six¬ ures 39, 40, and 41. In this little Nocturne the left hand cially in playing octaves on black ures in the pianistic world. How interest¬ that it shows exactly how this piece should teenth note as a full arm octave and the The matter of rhythm is certainly of carries the melody throughout the first sec¬ keys the fourth finger tires quickly. ing to find these great technicians taking be studied. First of all the scale is divided I think I have flexibility in my wrists three following as fore-arm octaves. In importance in playing this piece. Accents tion. The right hand should not at any and hands. pleasure and interest in the simpler forms between the hands—four fingers in each other words, the four notes are thought of well marked and staccati sharply pointed point over-top the melody and one should Please advise me If I must continue of music! Perhaps this contains the seed hand being used. This procedure avoids using the fourth finger for octaves on as one full arm impulse (accented) with will help much to establish the rhythmical summon one’s very best singing tone. Call black keys. Do you think this fatigue of a lesson for young pianists who look the necessity of passing the thumb under three fore-arm movements thrown in! Al¬ outline upon which it depends for its Span¬ to mind a singer and accompanist and play will disappear with practice? For upon technical display as the acme of piano and the hand over. It also divides the scale nearly three years I could not play ways rest for an instant before and after ish flavor. each hand accordingly. The left hand re¬ piano and now I have begun again, into tetrachords. This gives an opportunity playing each four-note impulse. A good The tempo is moderately fast and holds quires deep pressure touch while the right- playing. practicing three hours a day. Also The Asra was written as a song by for scale analysis to those teachers who in Kullak Studies, No. 3, the fourth fairly even throughout. There is nothing hand chords should be accorded a more way to relax is to throw the arm into the Rubinstein who used the poem of Heinrich teach the construction of scales of tetra¬ finger is used on white keys. Can I in the least complex about this little num¬ shallow touch in order that the tone may use the fifth finger and play legato t air, bounding lightly to the lap after play¬ Heine, the “German Shakespeare,” as a chords. Tetrachord. as we all know is a ber. It is' charming and simple and would be kept “thin.” The tempo for this section ing every four tones. I cannot emphasize setting. The oriental flavor of the melody name given to four notes arranged in make an excellent addition to the average is Andantino. The second theme is in A May I compliment you on your zeal to too strongly these moments of rest (and is unmistakable. The song so impressed alphabetical order. The major tetra¬ pupil’s recital repertoire. minor and is taken this time by the right acquire an octave technic “all by yourself.” thought 1) between playing-impulses.... It is Liszt that he later made a piano transcrip¬ chord is a group of four notes with a hand in the soprano voice. The tempo in¬ Your efforts and persistence should set an unwise to work strenuously on octaves for half step between the third and fourth. ARMISTICE DAY creases somewhat in this section, marked tion of this number. example to other teachers, for too many more than one half to three quarters of Do not fail to read Mr. Austin Roy By Evangeline Lehman pin mosso, and the tone is also bigger than Two tetrachords (a whole tone apart) of them have been careless and lackadaisi¬ an hour daily. Keefer’s detailed analysis of this work in form the major scale. When the scale is One senses the excitement and flag wav¬ that used in the first theme. cal about octaves. As a result those stu¬ ing of Armistice Day in this contribution The entire piece is to be played with the current Etude. divided between the hands as in this ex¬ dents who have natural aptitude for octaves The Musical Mother by Evangeline Lehman. ample, each hand plays a tetrachord and tire expression and sentiment. The pedal is to LARGHETTO and a good hand have muddled through 5 learned _ play the piano The opening motif has for its subject a be used with care so as to provide as much form is made very clear. In Coasting Forty somehow while the others, falling by the fragment from The Star Spangled Banner. By Mozart-Schutt scale figures ascend and descend, making _d fasiiion. That is, I read my sostenuto as possible without blurring. Edward Schiitt has won many friends wayside, have given up in despair. notes correctly and understand the Following this an arpeggio leads into a an ideal exercise. As soon as pupils learn various rhythms, but I know nothing through his original compositions' as well An octave routine should be as much a phrase from the French National Anthem, JUNE CAPRICE to construct a scale they should be given of technic. I read fourth and fifth as by his many clever arrangements. He part of the daily practice as scales and grade music easily and play all popu¬ the Marseillais. Next the Armistice Day By Stanford King pieces in which the scale appears as melody, lar music. I play a lot from The possesses a style that is individual and it finger exercises. It is necessary first to Parade begins, in strict march time, the This caprice calls heavily upon the re¬ thus training them to look upon the scale Etude, of which I have been a sub¬ is interesting to see how he has submerged understand the three essential kinds of scriber for several years. drums of the band being heard in the roll sources of the average pianist in the matter as an interesting musical pattern and not A year ago I started to study tech¬ this style so as' not to encroach upon the octaves: 1, full arm; 2, fore-arm; 3, hand of the grace notes in the left hand. of touch. It begins allegretto grasioso merely a form of technical exercise. nic without a teacher and went original atmosphere of the Mozart air in (or wrist). Each of these must be prac¬ through Schmitt's "Preparatory Exer¬ The second section is in two-four rhythm (light and lively' but graceful) with the Wise teachers have many such numbers cises, Op. 16” and now I have started his arrangement of this Larghetto from the ticed regularly and in combination in order and here are heard the trumpets announcing melody in the upper voice of the right hand. as this in their teaching repertoire. to meet every difficulty. Full arm or C. L. Hanon's "The Virtuoso-Pianist. the1 approach of cavalry. Begin this sec¬ This theme should be played with wrist “Garinet Quintet.” Part I.” How can I Judge when I After a short eight-measure introduction, weight octaves are used chiefly for slow, have caught up my technic with my tion quietly and let it grow in volume as staccato, the short groups in thirds and A DARK SECRET ponderous passages, or for special bell-like reading ability ? I transpose and the cavalry draws near. After this short sixths bounced off clearly and distinctly the melody begins in the upper voice of By J. Lilian Vanoevere count with almost no difficulty. How¬ the right hand and flows thereafter in a or “dripping” effects'. Debussy’s Sunken ever, I realize that reading, counting section the parade motif is again asserted but at the same time quietly. In A Dark Secret the melody is carried Cathedral offers ideal opportunities for and transposing are not all there is manner typically Mozartian. The music to music so I have gone back to and builds to fortissimo as the procession Beginning at measure 5 make certain in the left hand for the most part. The these full arm octaves. has all the grace, charm and purity asso¬ Mathews’ “Third Grade” and I in¬ passes under the Arc de Triomphe. The that the melody in the soprano sings out first theme is written in two-note phrases For brilliance, combined with endurance tend to go right on from there. I have ciated with Mozart airs and the arranger no definite plans or ideas other than theme ends on a passage in sixteenths and is sustained over the accompanying and it follows that the drop-roll attack the constant practice of fore-arm octaves has wisely preserved a simple broken-chord the fact that I want to learn for my (bugle calls) and the final high note in chords. The tone increases to mezzo forte should be used by the hand and arm. The is indispensable. The fore-arm movement own pleasure. I practice an hour accompaniment as its support. daily. How shall I divide this time ? the right hand, preceded by a roll of three in the second section, the theme remaining first theme is in A minor, the right hand occurs as the octaves go from white keys Play the melody so that it is sustained, At present I spend three-quarters of grace notes suggestive of the piping of in the upper voice. supplying the accompaniment on tonic and to black and vice-versa—as in the chro¬ the hour on exercises.—Mrs. G. O. legato, and not too big in tonal quantity. fifes. Style is paramount in playing a compo¬ dominant chords. It should be played with matic scale. The fingers keep constant GUY MAIER Play it expressively but simply. The secret With two husky children on your hands, A WOODLAND FROLIC sition of this type. Unless it emanates ease a certain air of mystery in keeping with the contact with the keys, and the fore-arm of playing Mozart lies in preserving sim¬ and your household and social duties it By George Hamer and abandon the effect of a caprice is lost. title. The sfOrzando chords in measures never strikes from above, but simply pushes The Etude has the pleasure, and feels that it is a great honor, to announce Mr. plicity and at the same time keeping the must be difficult to find time for concen¬ The first section of this composition con¬ The Trio section affords opportunity for 9 and 11 should not be overlooked. These in and out. The best way to practice these Guy Maier as the successor of the widely loved Professor Clarence G. Hamilton music alive and colorful. trated, undisturbed practice. Yet I have sists of finger legato passages built on the crossing hands—usually welcomed by young are designed for dramatic effect and should fore-arm octaves is in short groups of the who for years conducted our Teachers’ Round Table.. Mr. Maier is internationally The little passages in thirty-seconds as taught many women in just your situation five-finger group and the scale divided be¬ pianists. The melody here lies in the inner stand out distinctly as the rest of the theme chromatic scale, alternating very slowly known as a pianist and educator. He was born in Boston, educated at the Nczv well as the measures in triplets (35 to 37) who somehow seemed to find two or three tween the hands. It is taken at fairly fast voice, played by the right hand while the is pianissimo. and very fast. The wrist is held rather England Conservatory, and later studied with Artur Schnabel in Berlin. His left supplies the bass and reaches over the should be played with shallow touch over hours a day for their music, and who still tempo, and forte. The staccato quarters The second section of the piece begins high and the unused fingers are usually recitals, here and abroad, including concerts for young people in all parts of Amer¬ right hand to fill in the upper accompanying the tops of the keys in order to imitate as had happy homes, contented husbands' and interspersed between the legato passages with a phrase marked mezzo forte. This is flattened out. Practice each hand separate¬ ica, and his Two Piano Recitals with Lee Pattison, have brought him great dis¬ chords. At the end of this section a return closely as possible the harpsichord of well-brought-up children. How they could should be clipped off sharply and accented answered by a left hand phrase played ly first, then hands together: tinction. He has been a member of the Piano Faculty of the University of Michigan is made to the original theme, D.C., and the Mozart’s day. If given the benefit of the do this is an inexplicable mystery to me, exactly as marked. pianissimo. This alteration is in effect until School of Music and of the Summer Session of the Julliard School of Music. piece ends at Fine. modern piano with its vastly richer re¬ for no one knows better than I how seem¬ The second section is' in D Major and measure 25 is reached from which point consists of chords for the most part. Play sources, these passages become too thick ingly impossible it is. Recently, after A LONELY BIRD and lose the sparkle so necessary to their the tone remains mezzo forte until the close spending eight weeks as head of the house these with fore-arm attack. By Lyda Simmons of the section. After the pause at the end. Note that the melody is taken over by full beauty. This edition is very well edited These groups' are gradually combined and -—charming music and not too difficult. I (in the absence of the real head) and being Here is a short piece brimful of value return to the beginning and play to Fine. the left hand in measures 19, 20, 23, 24, 27, and if the marks of expression, pedaling extended until you can play a chromatic do not advise Kullak studies since they are at the mercy of the dozens of daily inter¬ for pianists. It is tuneful enough to win and phrasing are followed faithfully the GRANDPAP AND HIS.FIDDLE scale of two or three octaves brilliantly unnecessarily complicated. I like Presser’s ruptions and unexpected situations' which 28, 31, and 32. Here again phrasing and in its own right a place upon the program accents are important and must be observed. result should approximate the interpreta¬ By Berniecf. Rose Copeland and fast, accenting by three’s, four’s, and “First Studies' in Octave Playing” (Grade occur in every household I decided that of the pupils’ recital and in learning it the tion Mr. Schiitt had in mind. fft' i gift nTff' two and three) also Presser’s “Selected anyone who could practice the piano and Give this music a cheerful, merry rendition This descriptive little number may be of ■ young performer will acquire helps to real in keeping with the title. At the end of the interest to some students because of tie Hand, or wrist octaves, are used for Octave Studies” (same grade) which are run a family at the same time must be a pianism. The little groups in thirty-second second theme go back to the beginning and stress laid upon “mountain music” over the light, very rapid passages and for fast re¬ delightfully melodic. I can also highly paragon indeed! I simply could not do notes are quite birdlike when rolled instead By Wallace A. Johnson air and otherwise at the present time. The peated ones. The wrist is flat or low, and recommend J. H. Rogers “Octave Velocity both. play to Fine. of fingered. Pupils should be taught to This brief number (about Grade On introduction suggests the tuning of the ifUm the octave is played by a quick whip-like Studies” (Grade two and three) and his So, even your one hour’s practice a day THE CHINESE LAUNDRYMAN master the five-finger roll before beginning and-a-half) presents an opportunity for t movement of the hand. Again, do not hold “Octaves and Chords” (Grade three and seems wonderful; but why spend so much to study this piece. The groups are rolled study of harmony patterns. The left hai fiddle by means of using the same notes as By Walter Wallace Smith those to which violin strings are tuned. the wrist in the air or whack at the octaves four). of it on exercises? I can understand your Pieces of Oriental inspiration usually into the following eighth notes and tos'sed consists of the tonic and dominant seven from above. Rather play them with a This effect is used again in measures 13 and Of course you must use the fourth finger ambition to improve technically, and if haye a great appeal for imaginative young off sharply at the end. There follows a chords throughout except for the caden quick flip of the hand, always' resting on 14. The theme itself lies in C major and tut* iifM on black keys when you play legato octaves, you will practice a few short, concentrated pianists. Here is a whimsical one the title short, phrased group which should be chords at the very end. These, as th top of the key when not playing. but do not worry too much about these; exercises intensively each day you will played legato, very lightly however, in remains for the most part in the five finger of which suggests the antics of a clowning progress from subdominant to tonic su I know of no better wrist octave exer¬ they will take care of themselves if you make fine progress. Most people have the Chinese laundry man. The opening theme order to preserve the birdlike effect This gest the “A-men” of a hymn. Pupils shoe cises than some selected ones from Doering, The G major scale is used as part of the practice the other kind thoroughly. Avoid mistaken notion that to acquire a technic scurries its way along in the approved piece makes an interesting study in rhyth¬ learn to recognize harmony patterns Opus 24, and as for octave etudes, the first melody in measure 11 and this, together using the fourth finger on black keys when¬ one must “go through” books and books Western conception of the Chinese method mical patterns for teachers who are con¬ these, together with melody patterns a ten in the back of that little book are ideal (Continued on Page 694) ever you can, especially in loud or rapid (Continued on Page 684) NOVEMBER, 1935 648 THE ETUDE 649 FASCINATING PIECES FOR THE MUSICAL HOME How Music Lovers May Become More SPANISH DANCE GUSTAV LAZARUS This is the kind of a piece that teachers will grasp in an instant because of its great playability and educational qualities. It has a real tune, is well Truly Musical constructed,and lies under the fingers. Grade 3.

By Walter R. Spalding

PROFESSOR OF MUSIC AT HARVARD UNIVERSITY

Shall Those “Good Old Days” If everyone practiced the saxophone,* we To cultivate this by keen listening and by IN THIS machine age everything tends establishing a proper balance between the Return? to be done for us. We are shaved should all become crazy! O HOME, therefore, in America, so A genuine and lasting familiarity with ear, the ends of the fingers and the brain N mechanically, we are carried every¬ far as this condition is possible, should music is to be gained only by active, per¬ is one of the most fascinating pursuits in where—soon our legs will drop off! We be without a pianoforte. In Elizabethan sonal participation, that is, the making of which any boy or girl with a love of music speak our correspondence, even our books, days every family above those in needy it ourselves or in union with others, even can engage. Furthermore, though the into a tube, and presto, they drop out done! pianoforte is not so rhythmic as the drum circumstances had in its living room a set In these restless days, who cares for nice¬ if it is merely picking out a tune on the pianoforte, with one finger. When we can —those who revel in forcible bangs should of viols and recorders (precursors of our ties of style, always the result of slow, use the drum rather than the pianoforte— modern flute). These served a double pur¬ painstaking labor? With predigested food, sing the themes of a piece, it is really ours —but not until then. It is better to know it has a scale of graduation from pp to ff. pose. Parents and children would often both physical and mental, our stomachs and as is implicit in the name pianoforte, mean¬ make music upon them, but also, when any¬ brains are becoming flabby affairs. one work well than to have five hundred poured through our ears, often only once. ing from soft to loud. There are also in one came in to spend the evening, he would We need not underrate the countless the instrument subtle shades of color be invited to entertain the family group benefits due to our marvelous modern brought out by a sensitive use of the pedals, upon those charming, intimate instruments. machines from the telegraph to the radio, The Gateway to Pleasure both the damper and the una corda the For in those times if a man could not read but for a normal, vigorous condition of ET US expound somewhat the merits L former called, by Rubinstein, the soul of at sight and take his part in a Glee or a body, mind, or spirit, activity is a funda¬ J of the pianoforte, for such personal participation. Although this instrument is the instrument. Catch, or could not make some kind of mental law of life. This holds also in the The pianoforte is therefore indispensable incapable of the emotional appeal of the sound on a viol or a recorder, he was in realm of the arts, especially in music—the for real musical cultivation. There has most personal and vital of all. At present, voice—the singer and the means of expres¬ so far an uncultivated member of society. never been a lover of music—professional in comparison with the continental peoples, sion being one and the same—and though Our pianoforte, as has been explained or amateur—who did not have a working we are a nation of music listeners rather it does not possess the sonority of the organ above, is the modern and far better substi¬ knowledge of its advantages and who could than music makers. No one should mini¬ nor the melodic cantabile of the violin, yet tute for these old instruments. Quite apart not at least “play at it.” A lady of eighty, mize the blessings we owe to the develop¬ there is such a thing as a pianoforte touch. from its attractiveness as a "piece of house¬ who had played the piano all her life, was ment and use of the radio. It has' brought hold furniture," it is most desirable that a asked recently if she continued to keep up music into millions of homes which, before pianoforte should be in every home, almost her piano playing. “Why, yes indeed. I its advent, were starved for any spiritual ously by a saxophon as necessary as a cooking stove or a re¬ remark by a fan continue to -eat, do I not?” There is much food. The radio concerts by Walter Dam- frigerator. Even if no one of the family food for thought in this answer. rosch and Ernest Schelling, with their can play upon it, it stands ready for guests stimulating and witty comments, are of in¬ who can, and at least it is a symbol of the calculable significance, especially for the artistic spirit and shows that the Muses young boys and girls of our country. are hovering over the house, even though few hymns of joy arise therefrom. The Universal Musician To sum up, we are a great nation of listeners: we have some of tire best orches¬ EVERYTHING, however, has its use tras in the world and concerts, operas, and and abuse. Let us apply the words, music festivals galore; but how about music “This ought ye to have done, but not to as an indispensable factor in our lives? leave the other undone.” It is all a matter With Continental families it is taken for of proportion. Far too many people think granted that everyone can sing or play that by pouring a continual stream of music some instrument; true. Hence in the eve¬ through their imagination—often into one nings, instead of going to the movies, or ear and out of the other—they are becom¬ whirling about the town at fifty or sixty ing more musical* As' well expect to be¬ miles per hour, or even attending theaters come strong by eating all the food you can and concerts, the family assembles and hold and not lifting a finger in exercise; or makes its own music. What higher or to become a good athlete by merely watch¬ more beneficial activity can there be? I ing others play baseball or football. am convinced that from this soil, cultivated By the grace of heaven, however, we are all music makers whether we realize for generations, have sprung the many it or not. That is, we have a voice and the famous composers of Europe as well as means of listening to it, the ear; our heart their great performers. Heaven grant that is a kind of metronome—we can make we Americans, who boast of being so prac¬ rhythm by clapping our hands—and we tical, may have the sense and the courage have imagination, emotions, and even souls'. to do likewise. Then why not sing? One hears more people singing on the streets and in their daily PASSING NOTES occupations in Italy, France, and Germany, By Florence Leonard in a day, than in years in our country. The Couperin family in France was al¬ What other means are available for the most as famous through several genera¬ making of music? The marvelous instru¬ tions as the Bach family in Germany. ments with which our modern world is so Marguerite Louise Couperin, in the reign admirably equipped—the violin, the organ, of Louis XIV, was the first woman to be the flute, the clarinet, the saxophone, and appointed a royal musician. She sang and supremely the pianoforte. Why? Because played the harpsichord. Armand-I.ouis Cou¬ this instrument is the finest ever perfected perin was organist at Notre Dame Cathe¬ by the imagination and skill of man, putting dral during the Revolution, and his wife everything, melody, harmony, rhythm, dy¬ was a noted concert organist at the age namics, and (to a certain extent) color, of eighty-one.—Dickinson. under the control of a single performer. United States Steel Corporation, in its The violin is too difficult, except for those report on welfare work, lists fifty-three of special inborn talent; the player has to groups of musicians among its employees , do too much. He has himself to make all eleven orchestras, nine glee clubs, one choir, the tones, the intonations, and the shading. eight quartets, twelve bands, four choruses, It is fine to be able to play the flute or the clarinet, but they have great limitations. one harmonica band, and seven miscellane¬ ous musical activities. “One of the best and easiest ways to reach our new citizens of PROFESSOR WALTER R. SPALDING foreign birth is through music, the one universal language.” 650 THE ETUDE ARMISTICE DAY EVANGELINE LEHMAN rj. j The parade c ontinues on ’NEATH THE ARC DE TRIOMPHE IN PARIS _ ag0 when«the boys”often countries Miss Evangeline Lehman has caught the irrepressible exuberance of the great November day.8®v 'edthis great hour in a very unique modern came out of the hell of war to greet the world. From her long residence in Pans, the composer ftion by permission^ General John J.Pershing, 50 55 poco piano piece which should be featured on many recital programs. 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Till one eve the lonely Princess Daily walked, in peerless beauty, Thus with hasty word addressed him: To and fro the Sultan’s daughter, “Tell me, slave, thy name, thy birthplace, In the evening near the fountain Tell me of thy home, thy kindred! Where the lucid waters prattle. Then replied the slave: “They call me Daily stood the young slave also Mahomet, I come from Yemen, In the evening near the fountain, Where the lucid waters prattle. And my race is that of Asra; When we love, of love we perish!’ Daily grew he paler, paler, Heinrich Heine ANTON RUBINSTEIN Annotation and editing Transcribed by by AUSTIN ROY KEEFER FRANZ LISZT „ Moderato m.m. J=88

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British Copyright secured NOVEMBER 1935 667 THE ETUDE PROGRESSIVE MUSIC FOR ORCHESTRA THE JOLLY SOLDIER BOY EDWARD BEYER MARCH EDWARD BEYER FLUTE THE JOLLY SOLDIER BOY Arr. by John N. Klolir MARCH ,, n V .

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(y r p-nd I *8 2 5-5- * * r 2 3 > Copyright 1935 by Theodore Presser Co. Copyright 1935 by Theodore Presser Co. British Copyright secured 670 British Copyright secured NOVEMBER 1935 671 THE ETUV* THE ETUDE HISTORICAL MUSICAL PORTRAIT SERIES An Alphabetical Serial Collection of The World's Best Known Musicians total of 2024 celebrities, This series which began in February, 1932 has included t( c is adequately covered. previously published are is Department.

NOVEMBER, 1935 673 same, or from G to C, completing the octave. But this mechanism must be very elastic in its action; otherwise the voice could not be carried up in falsetto or in timbratto on the so-called long reed. The top note of this exercise is to in¬ Good Taste A daily practice of the following exer¬ crease and then decrease in volume, by a cises, intelligently carried out, will increase similar action on the intensity of the the volume and enrich the quality of the breath. Ex.l Ex 3 Approves i*1 J f'1'P Ee Ee- Ah For the ee, make all preparations of the vocal organs for the sounding of oo (as Registers: Their Cause and Cure in stool), with the teeth sufficiently sepa¬ rated to admit the tips of the first two The small notes at the end of this study Tone fingers side by side; and then, with no are to be done in a pure falsetto. KIMBALL By Luzern Orrin Huey change in this condition, sound the ee. This All of these studies are to be transposed Etude readers represent the Nation’s largest group able to appreciate the will at first require much care, and possi¬ to a key most convenient to the individual nuances that distinguish the new tone and scale of Kimball pianos. The bly a little discomfort; but persistence will voice'. As work progresses they will be trained ear and the cultivated taste is quick to appraise and approve the THERE HAS BEEN the statement octaves of tone as produced by the human that the action of the register Vowels formed on this basis may uc cause the organs of enunciation win; and through this the singer will ac¬ very slowly transposed by half-steps to resonant singing tone quality, rich and colorful, that characterizes Kimball mechanism of the human voice is divided into two groups, which will be but because the pitch mechani®. - quire that so beautiful long e sound which higher and lower keys which will gradually pianos. And because good taste implies responsibility, Etude readers are termed the high and the low group. Uh. forced contraction, cannot proper), is characteristic of beautifully spoken or develop the entire compass of the student’s buying and recommending Kimball pianos in increasing measure. concerned with pitch rather than with Voice Classification quality of tone. In spite of which, ex¬ 66 (as in wood), dd, 5 (as in at), eh, ih, anaand reenforcereentorcc the initial —vowel ■ sung Italian. Nationwide Endorsement Guarantees Satisfaction periments based on pitch alone seem to TN SPEAKING of a baritone or tenor, d (as in late), and re form the high group, this reason J- we have in mind a voice consisting of a have been practically useless; because, with the most pronounced action and re- and speech—i* r——-formation •is of. gnu\s, Smartly fashioned in the modem vogue, a new Kimball Grand or Upright series 'of homogeneous tones. That is, we owing to the peculiar characteristics of the enforcement in the vestibules and ventricles in building an unforced Hmhntie adds prestige to your studio, enthusiasm to your teaching, pupils to your may say that the voice has a certain quality untrained voice, the testing of the pitch of the glottis, or before the tones enter t‘ ly full, free quality) into the uppn list. The high endorsement of Kimball pianos by artists, music lovers and mechanism is greatly hindered by a seem¬ of tone extending over its entire range, resonator for reenforcemcnt. Oh, ah. c Some Rights and Wrongs in Singing "R" American families is evident from the fact that more Kimball pianos are which stamps it as belonging to a certain of the voice, especially when worlrit ingly primitive instinct to tense the mechan¬ and au constitute the lower group and arc what lias been termed the long ««) in homes and studios throughout the land than any other make. Our un¬ ism as the tones ascend. This tensing is class. If a closure of the arytenoids pro¬ formed by a lowering and widening of the By Wilbur Alonza Skiles paralleled record of 79 years without reorganization or change in ownership duced one series of homogeneous tones, aggravated when the upper notes are ap¬ larynx, in the order given, with the action The• Long neeaReed is your insurance of quality, style and economy. Kimball pianos are priced proached by an unbroken run, or scale while a stretching of the vocal ligaments the lowest in many years. Convenient monthly terms available. produced another, differing in quality from most pronounced on the an. In forming \\/HE.V SPEECH-th« from the lower to the higher pitches. This this group there is a pronounced pvr|K-n- VV , “R” is one of the most, if not the most, forceful efforts that might blur the tone. direct approach is therefore inclined to the first, there would be a change of char¬ dicular-lateral expansion, misunderstood letter sounds in the English The charm and beauty of song may be cause a more or less serious break (or acter in the voice. Therefore the second language. There are five distinct ways in greatly dispelled by an ostentatious trilling series, though higher, must harmonize with l.ueMnrnt of the entire mechanism. breaks) in the voice, which obviously W ithout this supplementary action, the pc.lirnt m,»|ify somewhat the orah^ which singers handle this character. Of of the “r’s.” When this consonant pre¬ W. W. KIMBALL COMPANY results in a change of quality. One of the first in upholding the character, or these five ways, three are permissible in cedes a vowel it should be unpretentiously timbre, of that particular voice. It thus primary sound, as formed at the v.,:,| ,|1C *ccond or « axfcTtt Please send me without obligation the these breaks in a voice may be caused by singing, two are ordinarily preferred, and made at the lips; it should be rounded out Main Office any unprepared approach to a tone out of becomes the duty of the teacher to assist W \ 7 scarc<',y = a"d the**- it a» may be available only one is the best almost invariably. and allowed to melt into the vowel sound 1935-36 Kimball Piano Brochure. (E 11) the_ student to glide from one of these KIMBALL HALL, Chicago, III. the usual tessitura of that particular organ • wen L"* ... ■; These are as follows: following it; but it should be deftly han¬ Name ...... and such a break is always an indication registers to another in such a manner as dled and not allowed to rob that vowel 665 Fifth Ave. (1) A well rounded-out-on-the-lips “r,” Address. that an improper use is being made of the that the change of mechanism will be not ^‘"5exl’lainS wt*y. thls •‘■wo, ft roup j, Um, which lu. bwndiwhfeO, 7-■ ' sound of its purity and clarity. For ex¬ New York, N, Y. e easily formed by a heavy vibrating tin the long red It ,, tu, ~ produced somewhat similarly to humming, pitch mechanism. observable and that the voice shall come save that the lips are left loosely apart in¬ ample, “room” should be sung as “r-oo-m” City .State. to the listener’s ear as a complete series, rTexpiatn” V'an ,lu l,r'' ... stead of being loosely together as in hum¬ instead of “RRRR-oo-MM” which is all A Master Speaks from lowest to highest pitch, of tones of a ming. Also, this way is identical with the too frequently heard. quality so carefully graduated that the A REGISTER” in the human voice as correct way of production of vowels at the As a finishing consonant of a word, “r” hearer will be conscious of no change. Of ■Gx defined by Manuel Garcia, is a series srs. ¥ F* s should seldom be trilled with the tip of the Jast two generations of singers, it is lips. of homogeneous tones produced by the (2) The tip-tongue trilled “r.” the tongue. It should be allowed to be probable that Melba more nearly approxi- action of one mechanism. This means that (3) The back or mid-tongue “r.” just the finishing touch of its preceding one set of muscles (the pyramids, for in¬ ringer PerfeCti°n in this than did any other sg f tsssi (4) The single-trilled “r.” vowel’s production. That is, “lover” is cor¬ stance), acting in a definite manner, will under a light or normal nr formed medium range. Now in going up - (5) The “eliminated r,” such as is so rectly completed by its final “r;” but this According to Garcia, the bass uses a produce a series of tones similar in quality frequently not heard in the singing of finishing character is not the main element OPERETTAS, JUVENILE SONGS, MUSICAL closure of the cartilages for the lower tones, were this The hmit of^aS^: ^ * * READINGS, MUSICAL COMEDIES, PLAYS or timbre. Which is rather indefinite. To words like “dear,” which thus becomes of the word; or, rather, it should not be so. followed by a stretching of the ligaments. Pitch mechanism, speech in s ,"' U; ' t!-c taiiir thtst. ‘ for all occasions be reasonably explicit, it should explain become impossible. VVe therefor. U"ud ,nR ,be niedium into the head res • • The vowel is the fundamental sound in HARMONY BY MAIL the extent of these homogeneous sounds or This, m turn, is followed by the same pro- Delightfully amusing, simple entertainments for fram this mechanism to form til’. ° ""'i'* '!r‘,cr *° the t--ne . : v ' Of these ways, numbers 1, 2 and 4 are this word, and on it the emphasis should both juveniles and adults. Denison's plays are A practical and thorough course of 40 lessons. the number of intervals covered by the relaxeTL vibratinS mechanism relaxed or presenting a thinner vibrating under varying degrees of «-ZOWds ;wh utterance. lor permissible in singing; while only numbers be placed; then the “r” should just be produced everywhere—-famous for Small monthly payments. Send for particulars. action of one mechanism, as the voice moves 1 and 4 are those ordinarily preferred meth¬ rounded out smoothly, easily, freely and 60 years. Complete selection ot Music composed to your words. surface, which raises the pitch accordingly only within but abo wcl ab ve r""' 00 '«"* reed, the n*cham»* theatrical material for schools, FREE Price reasonable. upward from its normal base. According octave, and to do this with!, r ^ as that Bed » fc ods ; and, again, only number 1 is the “best deftly on the breath. When this final “r” dramatic clubs, lodges. to Garcia, the glottis, in which the primary The baritone, with a lighter vibrating CATALOG ALFRED WOOLER, Mus. Doc. medium, probably makes the same use of musical quality and without creating^!* -cd in an entirely difa- bet” invariably. is exaggerated in the word “lover” its dis¬ T. S. DENISON & COMPANY WRITE 1511 Boone Court Lakeland, Fla. sounds originate, contains the two principal Number 3 gives a most provincial char¬ tinctive quality as ah expression of tender¬ TODAY mechanisms for creating pitch. One con¬ the pitch mechanism. The tenor, with his Cp nr tension. This requires ti, JT' ! therefore the route K skillful handling of the voice d * d,ffcrcm- '"'lead of contracting, the fa* acter to the word. Number 5 robs the ness is lost. sists of a pair of cartilages, called the tVh'CVymg ,jSt an octave above that of mechanism works under elastic (a- word of its musical properties and is bad When used as a finishing consonant of arytenoids or pyramids, which draw to- the bass, would start with a stretching l he Falsetto forced) expansioa The larynx is raised English in song or speech. a word which precedes another beginning gether or close to raise the pitch. The °f„the ™caI 1‘ganients for the lower tones F Kinne memorize music followed by the secondary action or a OR THE PRODUCTION ,, , , ? H . but the vocal bank The “r” in all singing should be done with a vowel, “r” has a tendency to hang Memorizing Course «“><* anli Bure other, known as the vocal cords (or liga¬ forward, at the lips and front of the mouth, loosening of the vibrating mechanism. A c0Jft0’ ‘l16 larynx rises and the ’?S,C?c ,1-nl_iuPKr tones, the - Owin? With Book, Lyrics and Music by vocal cords loosened and the cartilages re¬ frontal 7inhlgheStr vibratinS area t ,7 th°roughly drilled in falsetto „— ■ COMPLETE PROTECTION HOWARD D. McKINNEY laxed, the first process is repeated, with Pitch Action in Vowel Formation the only reriffor^ *hC head’ which afford th C,osc,v interchangeable action the important difference that as the liga- The fari ?? Cement- d All risk Insurance for your An unusual and charming work that can be readily adapted to the re¬ ments are thinner, the tones will be higher, sources' of any good-sized junior high school. X on the basis of the hum, with closed lips forming When used in !he' ? cherished musical instrument. although under less tension. In order to example of • ’ affords an excellent ? /.,mbra"° ,s especially helpful m de Gives opportunities for good dancing of various types; provide for the still higher tones, the there is a scarcely perceptible change in the AS LITTLE AS $3.50 ANNUALLY Is flexible in the matters of casting, staging and costuming; mechanism when going up and down the of the vowel I??* If meant b>’ a blending 'eIop,nR ,hc upper tones. The rule, how; Insures against Fire, Burglary, Theft, Acci¬ mechanism known as stop-closure is used dental Damage, etc., at home and elsewhere. While bright, cheerful and humorous, is not in any sense cheap and trivial; m which the vocal cords are closed at each octave But, when it comes to forming from a/? » not different ^ ,h’5 ^ " Gives the boys in the school as great opportunities as it does the girls. ment. The nm °-7 cll,all'tv nlarr ,ba' quality of tone should b< Why risk disastrous loss, perhaps inability end, or half-way, allowing only a very vowel-bear,ng, or vowelized, tone, a marked 111 and ,s Fischer Edition No. 7005 Price, complete score $125 small portion to vibrate. With this change takes place. Each vowel wfo£ fore able to ford dV'U3*'011 are th«e" broo'llb or to a tone in wbc, Due from press about November 15, 1935 mechanism the high tones may (or mav distinct, T*' pation, in writing for details. ease. Priman'l,, .u^6. with coninant,v„ ■ hen n normal or ordinary use. each not) be produced with comparative ease Send for our list of Operettas and Part-Songs contraction is set un'* ,Si bccause n., f('rr(.(i 3C7?n of, tbc pi,cb mechanism appears to R. L. Muckley & Company This gives five distinct register mechanisms J. FISCHER & BRO. to provide approximately four and one-half Tribune Tower 415 N. Michigan Avenue pose, as in the basic pitch of speech Chicago Illinois 119 W. 40th Street New York, N. Y. 674 Dealers write for full information *• “,,ter —f °f C). A stretching of tl NOVEMBER, 1935 675 THE ETl'Dl ypjMMJ FOR ONLY $775.oo

The Left Hand in Organ Playing By Clement Antrobus Harris IpSSI

■g>svg$m&s WICKSP1PE0RCANC0.1 Wq/tland, 911 CENTURY PIANO SOLOS. 15c ea.

ETHELBERT NEVIN John Tasker Howard Author of “Stephen Foster"

Why Counterpoint

('Continued from Page 644)

254 West 40 St. New York. N. Y.

676 NOVEMBER, 1935 Organ and Choir Questions Answered Bands and Orchestras By Henry S. Fry, Mus. Doc. (Continued from Page 647) Ex-dean of the Pennsylvania Chapter ol the A. C. O.

No Questions will be answered in THE ETUDE unless accompanied by the full name 3 Flutes and address of the inquirer. Only initials, or pseudonym given, will be felted. Altos, Baritones, and Tubas) although both employ the same set of harmonics in 3 Oboes playing. With this in mind, the student 4 Clarinets 5 Saxophones 8 Bass ). Enclosed is a list of stops of the organ A. The 6 Cornets Clarinets which I have been asked to play Jor one chorus i«, as jou state* has experimented with brass ensembles and 3 Bassoons . vice. This organ has gone without atten- to tb«* has found that a purely clear or purely 4 Horns 4 Trumpets 8 Contrabass covered brass group sounds more homo¬ 3 Trumpets' 2 Fluegel- Clarinets as to what \se*1or accompaniment1^ to ITsometimes b^adkigablebe advisable toaSLStoVhunge“il 4 Cornets a contralto , instance ••O Divine Re- for iustanee,Hire, ini" a" fairly large. choir’Pfe* geneous than a mixed one, and that the 3 Trombones horns r ‘-Hark, Hark n. 2 Alto Horns deemer” by Gounod, vniee Who/ covered brasses are more effective for 1 Tuba 4 Horns wuld take the place of the “choir"t Please with soprano* and altos, if Deressar, 00,^ lyrical, soft passages and the clear for 4 Percussions 4 Baritones 2 Baritones uyyest combinations for ‘‘A Bhepherd^s ldyl^ balance ot^partu J* important ami eh«n@,^ powerful, strenuous passages. Stringed 6 Trombones 2 Tubas „„ ...... __e button . e made for that instruments are very lyrical, hence it is 2 E-flat 4 Horns in Unison." What is its uscf For hymn Tubas 3 Trumpets ing am using Great Dulcianu, Melodia Q. What is the origin of the cm deemed best to use covered brasses on Open Diapason—Hwell Bourdon, Violin - - Blu, 4BB-flat 3 Trombones pason. Principal, Flute and Oboe. Pedal 16 string parts. A suggested group to secure —Great to Pedal and Swell to Great. Is this i- proper balance would be 2 Cornets, 1 Alto Tubas 4 Percussions correct t—B. C. ternh%arnedlVgahis°/ ihltaria'’f / iftl Horn, 1 Baritone, and 1 E-flat Tuba. This 4 Percussions A Since organ has not had attention for of "he trfmulaft. "//oic* w/7*oTtenT.j.V two years, we would suggest its being tuned. indicated registrations sound "pie group could be doubled without loss of Let us divide each group into parts ac- boxed. Additi We, of course, are not familiar with the “bul¬ "screechy" without the tremulant Chi * effect, in which case the second Tuba is cording to an arbitrary system. Let Violins ^.Veinformation“bi“ the registration ,rill somv,f„r°,mBr^',wi ges0 the folYowing^registration for the solo, ditions but not uhenus. In the latlrrli ?? BB-Flat. j Flutes, Oboes, Clarinets I, Cornets I, thu new innovation in time study. 2268 "O Divine Redeemer” : you think / am fustlfied in usinn the ,?. In addition to these two groups, the and Trumpets i be called Sopranos. Let ||J DWIG & LIJOCIC lantf Would il be possible to buy •*' x Celeste. mentioned on enclose Clarinets II, Cornets II, and ihtr Ludwig Bid*., isii.27 a. uncomst. Chicago, 111. Great—ftte'iodia and Gamba, if mild Swell the band by the regular choirs. The stu- Trumpets n be called Altos. Let Violas, f^Ta^TS^riTi” '1 —FteouM bt ,he Pedal—Lieblich Gedeckt Bourdon dent adds an extra Flute since the Flute Alt0 clarinets', Alto Saxophones, Alto I withom obVutat'ion'piwle’acnd me your new book J Swell to Pedal. parts often duplicate string parts. By Horns, and French Horns be called Tenors. jaboutTunedTimeB.il.. Play first four measures ot he great organ <>f tumSfrg going to Swell at measure - using the extra Flute an octave above the Let violoncello. Bassoons I, Tenor Saxo- i^"“---.—..1 Great Gamba. Make the combination WUIUIUUUUII.. III IIIIK. r,| fill. ssa.10f'Tb.extfSaa* J . . ,ur J DIM others, the overtone missing in Clarinets phoneSj Baritone Saxophones, Baritones, j®*"'*..... Slo,L . ! point the basissis forfoi your registration adding Marin" N ••Hal Mur* * OI* is supplied. It is possible to add Trombone and Xrombones 1 and H be called Bari- 1 P„»i,i„n_.. .. . 1 and ^retiring stops ns necessary, and using , r i, beautiful tonel See your P-A Dealer. .. - for melodies in accompaiiimeiit ( 1 tretmilant but It is truetlui No obligation. Easy terms. Write today. uu parts where none are given in the original tQnes Xhe baiance of the winds are the to be emphasized.ized. ,"rf I" without treaol. The manual to be used in place of the PAN-AMERICAN if the orchestral brass parts are reduced Basses Qn this basis the three groups I “choir” will depend on tone color desired. 1108 P-A Building, Elkhart, Indiana one degree in intensity. divide as fonows : ... Shepherd's Idyl" we suggest the fol- The percussion parts are certainly not lowing registration . mule should he oi II Swell—Salicional and \ handled better than the others. Almost I Great—Melodia. invariably the arranger loads the score with Sopranos. 26 Pedal—Lieblich Gedeckt—Swell t Pedal. Altos . 17 FOREIGN NEWS SERVICE Wher. "__ registration is givei Oboe 8' ns freipirntly ■ wki Snare and Bass Drum parts where the and Great Diapason „ ... using y I tin rtistic. TVt , composer intended none. It is the student’s Tenors . 14 e Horn and Violin Dinpason, Baritones. 12 Mr. Beatty’s statement was given in a conference ing the Great for using Dulciana C,.T„'d can lie purchased for ati contention that rigid adherence to the or¬ At the indication “Swell both hat ■bidd¬ a<*t. pitta transportation . chestral rather than the military band per¬ Basses . 11 at Cleveland, Ohio, as the reason why The Chris¬ Swell Gedeckt and Flute and I* pr..p. r .... a , ent location . .. serving to bynttia. It is Clarinets II, 4 Alto Clarinets, 2 Alto Saxo- ble woodwinds are best adapted to playing daily newspaper, it began to build up its dis¬ know”5lg,^“uatoi •« ring the a clientele of refinement. Q• I am endec compile a course at tho licgllining of th phones, 4 Bass Clarinets, 1 Tenor Saxo- str;ng parts. How does the distribution of tinguished corps of correspondents which today of study in organ for Grades / Singlo Rooms from $2-00 Daily phone, 1 Baritone Saxophone, 4 Contrabass woodwjnd parts in II and III compare? sire, parallel in difficulty t,- piano course i^ J*,e M,*M*»*«*r at mr riw i encircles the globe. Into the huge publishing of equal scope which I hare H» r\ ice. The Hinging or naylng of th* “JUw* • Clarii 2 Contrabass Sarrusophones, 2 Only a glance is needed t< :e the superior pupils have c• 'n using. My 7'll '"'dependent on the wishes of those in "•-1mpleted Stain, “The Organ*’ authority. If the sung opening sentmev L< Cornets, 4 Alto Horn, 1 Baritone, and 1 baiance 0f group III. house in Boston, Massachusetts, flows the "Method," the Tuba. ' «»«d prams,pedals, and harehai studied "Arnetther" f^n"T1 ,n,il0,}', stream of news from the Monitor’s bureaus, its Sopranos . / would like son,*.^‘7eZF;c ut,i.11 UtcSor rcr8: l,n,0H*‘ “ '* '"•p/ope'.y lmd^.eX’lnThF iX staff correspondents, its special contributors . . . taming their ability and Comparing the Groups Altos .... cables, radiograms, telephone messages. On five Us? ZZL&X-l Will send , Tenors ... The Most Famous Name AS FURTHER PROOF that the type of Baritones ame of a reliable authority on mod i with continents, with a network radiating from the be used for pupils wh0 hare i . combination suggested by the student in the Accordion world background ... -...... t five dollars world’s major capitals, the Monitor records, -analysisf—M. H seating^ ab t Ik re. is a more perfect one for the rendition of A. Ion might include for future use or fifty. symphonic music, let us consider three or- It might appear that group III assesses, interprets. Carl •P ifooka J2aStqr 8t’,uli.Vfi £or Organ," hy #1.00 rifdtgan. oh~whaTp^XT ganizations and compare them. Number ideal because of an unusually large pro- EXCELSIOR St°t*?’"<*r addition T a U and MUSIC KINDERGARTEN ^ 111 15 mifurther uici cjtpiaiucuexplained byuy theuic laufact thatuul er—r—... n . n _ r . ' , 7-T” 8 Violon¬ in their area. and “Manual bf <&£****' tfVo^T'^JTlSSSte^ ' 2 Alto Clarinets the French Horns (which will be listed Rebuilt Band & Orchestra Instruments cellos Clarinets 4 Bassoons'"**- with the brass) are very often used with . honestly BEBUILT-fully guaranteed THE "BRUCE school. 8 Double- 2 Bass 20 Clarinets the woodwinds thus giving 12 Tenors. t. Distributors King Banc ^!Z/z,rui,r-T.. 7; basses Clarinets I and II WEYMANN COMPANY, D,»l. E addresZf ^som^H ""'"ion 7t^°^en,'bmed " Ivh.T st'uU T£ Likewise let us compare the brass' s CHRISTIAN SCIENCE Strument '—R E jj ,h"t build such in- Dofce Cornet bt used! Of what kind of pipe* ions of group II and III: linULP^Me'to secure sueh mS,. /».f/f«rrdl what is Mixture' stops t What Cancelt- TO SUPERVISORS OF MUSIC, SCHOOL MUSIC DIREC¬ to arrive at a balance. All of the Tenors MONITOR e sending" you inf or n R. b. r in group II are French Horns which often TORS, AND BAND AND ORCHESTRA LEADERS, known Sopranos . 6 fnr ensemble effects, unless csrcfnllf play only chords, hence the Viola melodic „ W- 1 recently came arm*. 80“'ll," stops are used, we Imagine the organ FREE is such, or who properly identify themselves Altos . 6 Published by The Christian ScienceTubUshing Society line is lost, while in group III part of the Boston. Massarhncottc Organ" published in Januai n ?oosPH °L< Thr Wn, !>e rather “clumsy" tonally, dne to a Tenors . 4 Molineaux and was delighted , f e . ‘!l °rorge prepreponderance of “fat" S’ sto|w. For a Great 128-PAGE BOOK containing 124 Optional 1st Violin Parts (complete, and entirely in the Tenors are Alto Horns which do play the material for church SCrviffs CJeccllent "rg ...... a spwlftal. f Baritones . 8 te_«*aptedJo a real old {f^.^oahl recommend the inlditl. of br 1st position) to the Walter Jacobs Standard Marches and Galops; and/or Viola parts. THE CHRISTIAN SCIENCE MONITOR I. Fifteenth and Basses . 6 J Thus the group III instrumentation Dept. EM-11, One, Norway Sti 64-PAGE BOOK containing 141 Conductor-Solo Bb Cornet Parts (full size) from the a!soS„r'V.ti,v'‘...,',I;', h,a :S'VePlJ. nrZ‘T ** Note the fact that almost all of the allows the use of separate woodwind and f—v %u e. §r onconc fhof"'“ Tyouo* a1—*-*-• Walter Jacobs Band Books; and/or □ Please send The Christian Baritones and Basses of group II are in brass groups with more accurate balance (36 issues) beginning at once. available aSS“ the?“mS* l "f “The ^n Sh? \ ■' ■ : J 48-PAGE BOOK containing 51 1st Violin Parts, some full concert size, of the Walter the brasses. An all brass passage in such and the tutti passages are certain to be ?wa Jacobs Overtures, Suites and Selections, mostly of medium to very easy grade. Instru¬ a band would have to be specially treated richer than in the ordinary band. mentation includes Eb Alto and Bb Tenor Saxophones. Clarinets and Cornets for Bb instruments. To All Others These Books Are $1.00 EACH isue^only, including Modern0lgemsi'faoyreVn by Lewis”:' “aass'lc'and’ s^dficitlon'.c Please supply your permanent address and present school No musician can any longer hold himself as one of a race apart; he must act in close cooperation with other men, bound together with them "by a .$2.60 location (if any) and indicate your musical status. connecting tissue of mutual ministration.” And the musicians of our own ° wJfat is the prooer «/« ■ m et, .‘.'Vi " airaWal nr/ When the hT)ireeiPl r n ,'ng °f na church Ti,eTii.. nfi.„irv.? h .',e"an1"'11 for coloring.mloring s.solo combination/- WALTER JACOBS, Inc., 120 Boylston St., BOSTON, MASS. time must show that they are men of reading—men of thought, if for no other “- tGr #<”“* " hoir i^EPtlT! 7orP^.'? useful in ensemble effects IS properly formed o Jacobs’ Band Monthly and Jacobs’ Orchestra Monthly, $1.00 per year, each. reason than that in their work they ii’ill be thrown increasingly into contact with those of other professions and occupations.—Stewart Macpherson. pipes. A fntv; .°r-:.n„r,s taking off all s NOVEMBER, 1935 679 THE ETUDE clamping surfaces and the edge of the in¬ A stretched hair, which hangs loosely when strument. the others are tightened may be shrunk CHRISTMAS GIFT SUGGESTIONS The sound of a violin will be injured, back into place by being quickly run length¬ THE VIOLINIST’S ETUDE also, if either the rosined part of the ways a safe distance above the flame of a strings, or the hairs of the bow are touched candle or match, the rest of the bow hairs by the fingers. being protected by a damp cloth, or other Edited by The tuning of one or more strings of wrapping. This requires extreme care. the violin may, sometimes, be found almost Be careful in taking the bow out of the ROBERT BRAINE impossible-—the pitch jumping too high, or violin case as the hairs are stretched and too low* even with most careful turning of often broken by catching on the turn but¬ 's the ambition of The Etude to make this department a “Violinist’s Etude’’ complete the peg. This trouble may often be reme¬ ton of the bow-holding clip. It is advis¬ died if the offending peg is removed, and its able to remove this clip entirely, and to glue small end, at the point of wear, is twisted in its place a spring clothespin in line with between fine sandpaper pinched in the fin¬ the bow, so as to nip and hold the frog or gers. This is done in order that the peg sliding block, at the heel of the stick, and may fit at the small end a trifle more free¬ away from the mounting of the hair. A Helpful Hints to the Violin Teacher ly than at the large end. coat of dark stain on this bow clamp will Erratic tunirig may be caused also by improve its appearance. rosin dust in the string grooves of the nut. Now and then it is well to remove the By J. W. Hulff A COMPREHEN¬ A N outstanding col¬ MOST complete To prevent this difficulty, the rosin should bow-adjusting screw and touch its threads A: SIVE collection of lection of standard fa¬ child’s book, contain¬ T IS APPARENT that teachers are be kept in a tight box; it should not be with a trace of vaseline or cup grease. In I number of students collectively find the studio to gather such information or not. The four violin strings agree v more than two hun¬ vorite songs. Words ing nursery rhymes, allowed to shake around loosely in the case. like manner, the thumb screw of the E carrying the concentration idea too far. presence of anyone but a student almost An undated lesson should never be al¬ first four keys by sharps. dred well known songs and a series of As an aid to easy tuning, the strings may string adjuster should be dampened with a and music. Included Constantly stressing the word “concen¬ invariably a hindrance. Fond mamma, un¬ lowed to go out of the studio. A small classic, modern, light piano pieces and duets be made to draw in their grooves with less little oil. are patriotic, operatic, tration” to a young student eventually less politely informed at the very first rubber dating stamp and an ink pad are operatic and sacred suitable for the young G D A E friction if the grooves are marked through¬ When fitted with strings of improper sacred, plantation and makes of that student a bundle of over¬ lesson that the teacher wishes to be alone inexpensive, neat and handy and show the compositions. NO folks. A REFRESH- out their depth with a soft lead pencil. The gauge, a violin cannot do its best; nor can many other selections. charged nerves. Relaxation should go hand with the student during the lesson period, parents just how much work the student MUSIC LIBRARY ING FOLIO OF in hand with concentration, and it would strings should not be wound about the peg it satisfy when tuned below concert pitch, usually makes it a habit to sit in the studio is carrying, whether he has to take the COMPLETE WITH¬ SPLENDID FOR HAPPY REMIND¬ seem to the writer, after more than twenty- so as to crowd against the wood at the or played with a poor bow. Also, it will USE IN GROUP ERS OF YOUR OWN proper, during the lesson. This tends to same lesson again, prevents the child from be handicapped if played in a small, clut¬ OUT THIS VOL¬ two years spent in teaching children, that take the mind of both teacher and student side, where the peg is largest. They SINGING. EARLY EFFORTS. studying the wrong lesson assignment and tered room, in one with soft hangings, UME. relaxation should first be brought to the from the lesson, for always conversation should wind on free, in line with the open saves time when the next lesson is to be drapery, and so on, or in atmosphere warm attention of the student. will ensue that is foreign to the work on string, and with just enough around the and humid. Some students have been discovered at hand; or at times the anxious and well- peg to hold firmly. such a tension during the playing of an Here is an infallible cure for a swaying With use, the value of a violin increases. meaning parent will prod and scold the student. This is not original, but it has easy solo in the studio, that breathing was child. Also the Bow Played regularly, as in an orchestra, the oney **01!eeif ully "re f u 11 il.Ml" it not entire unconsciously suspended. Would a student, been used many times with excellent re¬ HOULD THE BOW hair become instrument is said to double its value in V CANADA.) sults. Have the student bring a saucer, trained to relax, have been bothered with Encouragement Necessary soiled, it may be cleaned with alcohol. three years. MAIL COUPON FOR ILLUSTRATED FOLDER WITH CONTENTS such handicap? Certainly not. place it under his right foot and proceed '"THE EXPERIENCED TEACHER How often do young students complain with the lesson. When swaying commences -I- knows that the discouraged student the weight of the student breaks the saucer of a parched throat after concentration on often holds the greatest promises for the some difficult bars of a new study? Often and he is requested to bring another at future. Deliver us from the self-satisfied the next lesson. This is continued until The Violin Vibrato a student has profuse perspiration of the student! As a rule such students are con¬ hands, which is an affliction of the nerves, the habit disappears. ceited, lazy and supersensitive when cor¬ A pupil should be told repeatedly that brought about, in a great measure, by lack rected. A discouraged student should be By Charles Fingerman of relaxation; and rare indeed is the there is nothing so difficult that he cannot shown where he is retarding his own prog¬ play it if he will attempt it slowly at first. student who is devoid of facial distortions ress, and, if he has several handicaps, the while playing the violin, the result usually Getting a student to play slowly, by the instrument. He must feel an electric cur¬ teacher should take up one at a time, and After this diagram is learned, then ad Who was the first player to use the of too much concentration. way, is often more difficult than making rent flow from wrist through and into his see to it that one trouble is removed before that the next key letter "B" also stand vibrato? We do not know, but we believe him play rapidly. for bow and that it has five sharps in th that the vibrato was not always used, that fingers. He must strive to have the wrist The Road Made Easier mentioning another. And remember, praise, Every six months the students’ bows and fingers coordinate in making this flow when deserved, is good pedagogics. signature; then tell how in the next fa the violinists of four or five centuries ago '"THERE ARE NO ROYAL roads to must be re-haired. A teacher should not "Fg.' the F stands for frog and the ke played with a still-finger execution and that as even and as regular as the approach and A beginner, as every teacher knows, will neglect this, for some students will go for retreat of the tides. the mastery of the king of instruments, invariably waste bow at the beginning of has six sharps in the signature. some great genius arose who was daring but there are many short cuts not dreamed years without having a bow re-haired and At the end of each hour of practice, the the downward stroke. When he discovers, enough to experiment with an oscillation of of by the masters who have gone before. wonder why their violins are deterior¬ student may utilize the bow for slow, sus¬ near the end of a slurred passage that he Key of B (Bow; the fingers and wrist. This genius prob¬ ating. Also see to it that the three lower tained exercises. His aim should be a An inexperienced teacher of children is is running short of bow, he will retard the ably discovered to his amazement that this prone to make the mistake of planning for strings are not left on the instrument until luscious, orotund tone. The vibrato should arm as he approaches the point of the stick. # method of execution opened up new fields the child the same course of study that they snap from age. not be used in quick, technical passages. Of course, this is all wrong and the teacher of beauty, that it imparted life, color and later is given to one who is to become a * Sincerity should be the goal, and this can at the very first lesson should drive home When a student gets into the “positions” personality to the tone and that it set in tell him not once, but many times, that the be reached only by making the most of professional. The average child does not the fact that if a student can retard the motion a sort of vibratory sympathy allow¬ care to take music so seriously. His public first finger on the G string and the fourth the vibrato in slow movements and fore¬ downward bow as he approaches the tip, ing the innate music of the violin to gather going it in the swifter parts. school hours and his recreational hours are he can also do so at the beginning of the finger on the D string, both in the first up stray particles of tone from the sur¬ more important, and if he can manage to * A large tone points just as often to a stroke. After a student has taken a few position, produce octaves, and that, if this rounding atmosphere. get in an hour a day at his violin practice masterly vibrato as it does to strength of lessons it is well to fasten a piece of white is true in the first position it must be true Before the vibrato can be taught the pupil and become a member of his school or¬ fingers. The vibrato does away with the adhesive plaster around the bow at a point “ a!th* {OS,tt°ni ",c violi"’ aild a'so must understand that the greatest beauty in chestra, he, as well as his parents are satis¬ effect of sparseness—puts flesh on the tone, about fifteen inches from the frog. For¬ on the D-A and A-E strings. A student music and in any other art comes from fied. It is probably safe to say that not so to speak. It plumbs the violin tone to bid, until further notice, the use of more when he first attempts double-stopping in Key F (Frog) sharp evenness, balance and symmetry of lines. its depths, makes for clearness, sweetness five per cent of such students continue their than fifteen inches of bow. Insist on short the higher positions, usually gets the fourth In other words, an even vibrato is what the violin studies after leaving high school. and sonority and gives character. With¬ lower bows until he has mastered the art finger tone truer than the tone produced by pupil must seek. Nor can this situation be blamed on the out it the violinist finds himself hopelessly of good, strong tones with a minimum use the first finger. The suggestion offered at The student must practice the artistic student when one sees the immense amount of bow. quaver silently, that is, without bowing the handicapped in his climb to virtuosity. of home work that must be done in order i nlarfn™1^ f ^ ParaSraPh will help A teach 6 ur$t finger Where il belongs that school grades may be maintained. It Also Report Cards Jl is really a wonder that a child can find teach- e/ Wh0 g,Ves a11 his time to the DARENTS ALWAYS ARE glad to re- teaching of young children must use the * any time for recreation and the study of simplest of illustrations, words and lesson A ceive report cards on the first of the Eliminating the Trembling Bow month, showing the progress, or lack of materia1 m order that the little player may A teacher of piano is not usually bothered progress, on the part of the student. This make reasonable progress onri u For the flat keys the above illustratio with^what some students irreverently call also assures the parent that the teacher By Ronald Ingalls the ‘squatter” nuisance; but teachers of may be reversed. Begin with F, haw is conscientiously watching the work of stringed instruments who often instruct a one flat in the signature, and proceed ba the child whether the parent comes to the School Music Collections J? G string representing the key Much has been written on this subject the down-stroke the thumb joint gradually G-flat with six flats in the signature. from the standpoint of relaxation in wrist curves until at the middle it touches the All clarinet and cornet parts for Bb instruments Orchestra All Books published for saxophones Books and arm muscles. Many violinists have hair lightly. Cod.rdinating with the thumb Be Good to the Violin thought they had overcome the ghost of the motion, a slight change of the point of Columbia Collection of 120 Patriotic and Favorite Home Songs.Orchestra .SO .50 flickering bow, only to have it recur, pressure on the index finger, by rolling the Album of Ms By Dexter W. Allis pressure from the thumb side to the under Band Book of Classics, No. 1. standing in the shadow, and frequently Band Book of Military Marches, Nos. & 2.. MORE ATTENTION and adjust¬ side of the finger, carries the bow to the a ™le! ,or other suitable gauge, to within jumping out at the least expected times. Concert Album. ind, Saxophone Band ment are required by the violin than middle with perfect smoothness. From the /•*-’, of lts Proper distance—usually thirteen obiw ‘“«w And what a frightful dread this develops Ensemble.Orchestra, Band, Saxophone Band by any other musical instrument inches—from the nut to the bridge paired tone quality of the instrument. middle to the point, the thumb gradually To insure accurate playing, it is impera¬ in one! Evergreen Collection of 50 Famous Old Songs.Orch., Band, Sax. Band Adjusting the bridge should be done with Purity of tone may be impaired also by unbends again until it is straight at the tive that the top of the bridge remains fixed. What is a violinist to do in such a case? Folio of Classics, Vols. 1, 2 & 3.Orchestra care lest it suddenly slip too far, snap pi's di- the presence of minute cracks between the point. At the same time the pressure on Folio for School Orchestras, Vols. 1, 2 & 3.Orchestra - It the distance between the nut and the What is a teacher to do after all experi¬ down onto the violin top, and dislodge the the f-holes, impaled firmly onUfh °nC sides and top of the violin. These exist the index finger rolls again toward the Loose Leaf Collection of Standard Marches, Vols. 1, 2 & 3.Orchestra bridge changes from time to time, the play¬ ments leave the pupil’s bow “trembly”? sound post. tipped point of a lartre • ,the rosln wherever air can be sucked through the thumb side. School and Community Band Book, No. 1.Band ing length of the strings also varies and, The following suggestions may assist in The safest way to adjust the bridge is safety pin, and insertedS.tra,^htened-«ut joint, and should be repaired only by an If the up-stroke does not flicker, the all’s Band Book of His Most Famous Marches.Band consequently, the finger spacing must be overcoming this bugaboo. to press it gently in the desired direction proper spot usually shots a? aP ^ L T.he expert. The tone may be injured, too. by thumb position at the point remains un¬ To Music Supervise adjusted. The bridge location, therefore, The tremble is generally most pro¬ it address, together w with the fingers, at the same time tapping coloration on the insid^ of ft * ,'?ht d,s" the cbm rest so clamped that its inner edge nounced on the down-stroke. At the frog, changed throughout the up-stroke. If it se'folhten frequently should be checked by means of The post should be accuratltoffi0 H b?Ck' touches the violin top. When properly it into place with the handle of a pocket on the G and D strings, the thumb is nearly trembles, the movements of the down- WALTER JACOBS, Inc., 120 Boylstnn St., BOSTON, MASS. . Slight n.i.pl.cenCTt'Tff’Xn’T" placed, it will be retained more firmly in straight; on the upper strings quite so. On stroke are carried out in reverse order. JACOBS’ BAND MONTHLY and JACOBS’ ORCHESTRA MONTHLY, $1.00 per yet position with a trace of rosin between its NOVEMBER, 1935 681 THE ETUDE What About Radio?

MUSIC ON THE FILMS (Continued from Page 639)

Keeping Up -to-Date | cinating Gladys Swarthout. Miss Swank | out, known to millions over the radio n/ itself. These, then, are some of the es¬ office intake. But the immense free field | makes her cinema debut in this new f sentials of a successful radio career. Try of radio, reaching many more people than for opera singers. radio by all means; but first make very either of the others, has no such check-up *J in Music sure that you can measure up reasonably —just because it is free. Thus, the pro¬ The operetta, “Rose Marie,” has (*, near to the requirements. grams depend on the listener, and they I chosen as the medium for a new cinenu give exactly what is asked. The person INCLUDES ACQUAINTANCE WITH NEW I presentation. This light opera oi ft Making the Program who writes in his suggestions and criticisms I Rocky Mountains is now shown with a real THE PLANNING of radio programs will be served. The person who will not MUSIC PUBLICATIONS OF MERIT I mountain background. Nelson Eddy am is an interesting one. Here, again, be bothered with writing, and who criti¬ j Jeanette MacDonald, who made film ft, the problem takes in all the familiar aspects cises privately, gets no better than he de- j tory last year in “Naughty Marietta,” ag of program building, plus something more. • Teachers and Active Music Workers Will Find Much That Let me close with a word, not to prospec¬ ] the stars in this new production and went In this case, the something more is the Is Interesting in These Classified Lists of Recently Printed ever present knowledge that one is. reach¬ tive radio performers, but to the listeners j to the lovely Lake Tahoe district, with a themselves. You are the goal of every Sheet Music and Octavo Numbers. ( company of one thousand players direaed ing the widest audience possible, and that he must therefore take all possible tastes single program on the air. How can you, ! by the Metro-Goldwyn-Mayer Studios. into account. One may not always follow then, get the most out of radio ? First of -Am OF THESE NUMBERS MAY BE HAD FOR EXAMINATION- The finest and quietest his own preferences, although there is all, by having a good set and keeping it t Stephen Collins Foster is the subject of plenty of scope for the exercise of the best in good repair. That has nothing to do , a musical film, "Harmony Lane,” now be- portable ever made. Cat. No. Gr. and soundest musical judgment. One with musical advice, but you can not enjoy j ing issued by the Mascot Studios. ADAIR, MILDRED VOCAL SOLOS must be able to get into the habit of blend¬ music that comes to you in a distorted cr 26295 In an Enchanted Garden. 1J4 Songs and Ballads Dealers and ing selections like “Die Meistersinger” and “wobbly” fashion. And, after that, try to ALTBAYER, BERTRAM LIND, LUCILE SNOW Beethoven, some years ago, was the sub¬ ■26272 Fifi, The Little Ballet Girl 256 26282 There’s Just One Song (E- "A Midsummer-Night’s Dream” with The develop as wide a range of taste as you BAINES, WILLIAM ject of an admirable play in which David branches every¬ Rosary and Annie Laurie,.and of season¬ possibly can. If you happen to prefer pop¬ 26288 June Bugs’ Jamboree. ... 3 MANA-ZUCCA. LAWRENCE TIBBETT Bisphani took the leading role. Now War¬ 26289 Over the Hills . 3 30617 My . Secret (d-flat-a-flat) . . where. ing the result with out and out popular ular music, be open minded enough to listen BIZET, GEORGES SPROSS, CHAS. GILBERT ner Brothers have a new “Life of B«. “numbers.” to the great classics now and then; and try Menuet. From 1’Arlesienne 30092 The Wind (F-b-flat) . thoven” being introduced to the cinema to see what the performers are telling you Sacred Songs This field of popular music is a thing ESTABLISHED 1888 BIXBY, ALLENE K. DALE, NORWOOD THE GREAT IMPROVEMENT in world by no less than Max Reinhardt, the L C SMITH & CORONA apart. Personally, I do not consider pop¬ in them. If you love the classics, do not Traders from the Desert.. 2 26275 Love Divine (d-F-sharp) . sound recording and sound repro¬ greatest of modern producers. The musi switch off your dial the moment a waltz COLEMAN, BYRON MARKS, HAROLD K. ular music as “bad.” It is not bad 1 It is The finest possessions are Cherry Blooms . 2 2 26304 Thy Will Be Done (d-E) duction, in connection with moving cal adjustment of the score to accompany TYPEWRITERS INC simply different; and we of the radio must or a revue hit comes over to you. The not usually found in ex¬ pictures, has made possible the presenta¬ COPELAND, BERNIECE ROSE VIOLIN and PIANO the picture is to be made by the Austrian Syracuse New York learn to respect it, provided it keeps in number after it may be Beethoven. And travagant homes. Smart Brown-eyed Susans Nod tion of many very remarkable musical 2% BEER, LEOPOLD J. composer, Erich von Korngold. Korngold its own place. A spirited march, a lilting even if it is not, there is something worth and sensible people, to¬ 26286 Grandpap anc . 26260 Frolic of the Imps. 1 works on the films. Since these must in¬ made the remarkable modernization of the listening to in everything. day more than ever, are 262.47 Surf Riding ... .. 2 26259 Sleepy Time .1 waltz, a sprightly operetta hit, or even a GAYNOR, JESSIE L. evitably have a very definite effect upon score of Johann Strauss's “Die Fledermaus Revue number with red blood in its veins, choosing the Lester. DUNN, HESTER LORENA 30628 March of the Wee Folk 26276 Acrobatic Fingers ... 1 all musical activity in America, The Etude (The Bat).” which was produced with such A Great Opportunity 26277 Birdies’ Lullaby . 1 {2nd Violin ad lih.)... 1 can be very good music indeed! But, Catalog upon request KOHLMANN, CLARENCE will from time to time furnish its readers eclat in Berlin. This should also make whether you agree with that or not, if you WE, ON THE production end of radio, " " ~ {With 26285 Twilight in Arcady. 3 Words) with information regarding the films, that splendid moving picture material. Korn- have your eyes on the microphone you will are honestly trying to build better DVORAK, ANTONIN' OCTAVO ANTHEMS ROSICRUCIAN MYSTERIES 26296 Largr argo. From the “New should be of practical interest. Our pub¬ gold also arranged the music for the War¬ have to get adjusted to learning about it and programs and to serve better tastes; but Mixed Voices lication, however, goes to press so far in FREE Introductory Book World” Symphony (Arr. MARKS, J. CHRISTOPHER ner production of “A Midsummer Night's —explains the practical, useful, modern teachings to playing it with the same smoothness and we can not do this alone. We need help ELLIS, CEcIl^ 21214 Now the Day Is Over. . advance that it is impossible to include Dream.” of the Rosicrucians. (Non-Religious). Dignified, sincerity that you put into Debussy. and we need it actively. When you enjoy Lester Piano Co. SHEPPARD, ERNEST H. uplifting, mental and metaphysical principles easily 26293 Parade of the Butterflies.. certain facts regarding current films. Which brings us to another point—the a program, try to put into words why you EWING, MONTAGUE 21215 O Worship the Lord. used to overcome life’s obstacles. Write for FREE SPROSS, CHAS. GILBERT Among other famous singers at Holly¬ book, "The Secret Heritage" and learn how to quality of radio programs. Who plans like it, and then send this opinion to the 1306 CHESTNUT ST. 26255 ’Mi_ 35302 Oh! for a Closer Walk receive this knowledge. Address: Scribe A J. U. 26268 March of_, Gods . with God . Offenbach’s “The Tales of Hoffmann,” wood. engaged this year by Jesse L. Lasky them? Who says what is to be played station. If you would like something you PHILADELPHIA GREY, FRANK H. THOMPSON, VAN DENMAN of the United Artists Corporation, for 9JTe ROSICRUCIANS and what is to be left unplayed? You do! do not get at all, write about that. If all. 21222 From All That Dwell Be¬ which was selected by the Metro-Goldwvn- HOPKINS, H. P.'. making musical films, arc Nino Martini in San Jose (amorc) California Radio is perhaps the most democratic en¬ sincere music lovers would set himself 1292 Miss Bo-Peep . low the Skies. From Mayer Studios for the film debut of Marion Talley, proves to be an even better medium "Here's to Romance," released by the Fox tertainment in the world. There is nobody the task of writing in, at least once a year, KEENAN, GERTRUDE N?wew^ad”gCl. °.f .‘hC to demand more good music, they would 1254 You Can’t Catch Mel_ WEST, JOHN A. in the cinema than in the opera. The high¬ Studios: Mine. Schumann-Heink, who has Etude Advertisements are who cannot have a say in the matter. The KERN, CARL WILHELR quickly see the “cheap stuff” disappear. 35303 O Mother Dear, Jerusalem ly fantastic German rhapsodist composer, signed a three year contract with Metro- Bulletins of Splendid Buy¬ sole means of judging what is liked on 1280 High School Grand March . WHITE, CLARENCE C. But eager as we may be to do better things KETTERER, ELLA 21217 I Know I Have Another author, music critic, theatrical manager! Goldwyn-Mayer (pretty good for the ing Opportunities - - - the air, are the letters which listeners send LEARN TO TRANSPOSE in a better way, we cannot do this without 26271 On Skates . Building (Spiritual) (8- lawyer and musical conductor, Ernst Theo¬ seventy-four year old prima donna!): in to us. If you want good things, write KING, STANFORD the public’s aid. 21216 Sinner, Please Don’t ‘Let dor Amadeus (Wilhelm) Hoffmann, was Grace Moore, whose new picture is “La to the radio stations and say so. If you tional Transposing Co., Box 5945, Desk C, Kansas City, M Of course vast quantities of letters do This Harvest Pass most grotesque of all writers of his time. Marseillaise”; and Helen Jcpson of the do not raise your voice against the cheaper (Spiritual) (S. and Bar. come in, and it is thanks to them that we have let Solos and 8-Pt.) . Hoffmann’s own opera, “Undine,” was once Metropolitan, who has contracted with things, do not be disappointed if radio as much good music as we do. And the RAVINA, JEAN HENRI WORK, JOHN W. very popular in Europe. Three of his tales Paramount Pictures. brings you nothing better. Nothing can 26299 Mi 21208 Glory to That New-Born situation is constantly growing more en¬ King (a cappella) . form the background of the opera of Offen¬ be accomplished in radio which the public RENTON, VICTOR couraging. Curiously enough, the people 26287 Evening Melody.356 Treble Voices bach, “The Tales of Hoffmann.” This The success of musical pictures is im does not applaud, in a personally expressed TEACHERS RICHTER, ADA FOSTER, MYLES B. way. who live in the big cities, where fine music 26303 Sunny Jim {With Words) 1 35301 Eye Hath Not Seen, nor opera was produced in Paris in February cated by the fact that Metro-Goldwy SMITH, WALTER WALLACE Ear Heard (S. A.).... Mayer have, it is reported, bought t is a daily event, have the least to say. Our 26274 The Chinese Laundryman 3 1, four months after the composer’s Getting What Is Wanted most helpful letters come to us from the Men’s Voices death. It was successful but for some screen rights for all of the Victor Hertx STAIRS, LOUISE E. BEETHOVEN-NEVIN EOPLE OFTEN ASK whether it is farms, the towns, the great lonely spaces, 26256 Wild Flowers .2 21210 The Heavens Are Telling reason was never given in America until operas. P TOURJEE, HOMER HANDEL-NEVIN really true that the program directors where the radio brings the only music avail¬ 21209 Holy Art Thou. Largo 1907. In 1926-27 Marion Talley made” great able, and where it means much to the peo¬ THOUSANDS nit in the leading role; and it is not sur Jan Kiepura stars this year in the sere actually depend on what the public tells 26301 Walt- from “Xerxes” . . them, in planning the music that goes out ple. Perhaps it will not be the “centers of prising that she should be chosen for the world in a new picture with Gladys Swart Wm. M. Felton, . -, OCTAVO—SECULAR over the air. Yes, it is true. Every letter culture” at all that shall build us our VANDEVERE, J. LILIAN Mixed Voices filtn verston. The innumerable other stories out known as “Give Us This Night." ocean’s edge 26250 A Dark Secret ELGAR, EDWARD is carefully filed away, documented, and national taste in music. Perhaps it will be WRIGHT, N. LOUISE " 21211 As Torrents in Summer often consulted. After all, we have no the plain people, in the outlying sections, HoHywoT" °Uld Pr°Ve 3 g°,d mit’e for Laurel and Hardy are being presented TO YOUR THANKSGIVING From “King Olaf” .... other way of judging public taste. If peo¬ who take the time to think about what they LEVENSON, BORIS Balfe’s “Bohemian Girl," by the h PIANO E 21205 The Little Farm. (Italian APPETITE AT ple do not like the contents of, a magazine, like, and who are eager for more. In any ENROLLING Roach studios. This opera affords ma One Piano—Four Hands Folk Song) (a cappella) The Lawrence Tibbett film, called “Met¬ they stop buying it: and circulation figures case, all our readers can have a share in Here is the up-to-the- CHOPIN, FREDERIC Treble Voices very comical situations. minute method of 9 Etude, Butterfly, Op. 25, BLISS, PAUL ropolitan, is excellently adapted to the soon tell the story of popular favor. The this national music building—if only they No. 9 (Arr. E. P. Sher- 21212 Butterflies Are Flying magmficent vo.ee and fine histrionic talents Chalfonte- same is true of theaters and their box will use their opportunity. Piano Accordion in¬ struction. Simple, di¬ grey/frank'h.. 4 DRiGo-IDou’nf) . tonehs rr°V{ American operatic bari¬ 26297 Little Attic of Dreams 2 21221 Spring, Lovely Spring (S. tones. This is being presented by the 20th rect—teaches the most 26298 Marigold . iy2 Century-Fox Film Corporation/ Haddon Hall modern method in the Two Pianos—Four Hands glover-carleton MENDELSSOHN, F. 21220 The Rose of Tralee (S. S. Sharpen your holiday hunger shortest possible time. HAUPt; DAVID. The advent of Lily Pons tr. n,„ ct by the sea — then regale it at The Story of Emma Abbott Employs the brilliant technique used by the best professional or¬ 21223 Spanish Gardens (S. S. A.) world, in “I Dream Too Much,” is I matte" these hotels. Your own fam¬ Men’s Voices chestra and radio artists. Harmon¬ of unusual moment. This singer’s beauti¬ ily turkey, trailed by a troupe BLISS, PAUL izations, fill-ins, improvizations, 21213 Softly, A Serenade .. fully articulated coloratura, her charm and oi good things. Golf. Riding (Continued from Page 641) breaks, runs ... all included in the SHEPPARD, ERNEST H BAND her vivacity, should fascinate millions- on the sand. Special enter¬ KLOHR, JOHN N. most Practical Keyboard Harmony 34092 Vigilance March . mdlions who could never have heard her tainments. $7 up at Chal- her art, of which one of the most inexcus¬ that she was a fine business woman. ever offered. at a seat in great opera houses fonte, $8 up at Haddon Hall, single, Amer. Plan. $5 up at able was her introduction in the opera of The opera loving public is definitely and s of Piai will a n And Haddon Hall, single, European “Faust” of the hymn. Nearer My God to decisively indebted to the energetic man¬ Paramount Studios, in orcs»r.t;n~ «t> Plan. Special weekly rates. Thee. It was in Italy, too; and, while the agement and ceaseless devotion to her art, of the Rancho,” have turned to Another few Americans present may have approved, through which Emma Abbott positively Theodore Presser Co Metropolitan Opera star, the always fas- the Italians certainly did not. She was Everything in Music Publications—World’s Largest Stock Book martini and schuman.n-heink always trying to purify the stage and and permanently advanced opera in Amer¬ $|00 ica and, by her thrift and encouragement, 1,2,3 (each) 1712 CHESTNUT STREET, PHILADELPHIA, PA. all the arts music It ft librettos. She had almost an overabun¬ immediate expression of human w,nrr^al’ ,hc "tost spontaneous and dant force of character, and she had no made her name an inspiration of lasting medium.—Harold Bauer. emotion, the most sensitive and elastic reluctance in puffing herself, thus showing benefit to the American stage.

NOVEMBER, 1935 683 THE ETUDE Teachers' Round Table Question and Answer Department Qlrfaflanbjnfltttutf of 0)ttsir (Continued from Page 649) Conducted by Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma of exercises and etudes. Such a course out. But be sure it is real music, such a- f Karl W. Gehrkens Public School Music Course in conjunction with Western Reserve University may lead to a wonderful facility, but never a Chopin prelude or etude, or a rapid move- 'll Professor of School Music, Oberlin College BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio to a real technic. For technic is simply ment of a Beethoven or Mozart sonata and fl the ability to control your medium, to do not taw'dry, insignificant stuff. Musical Editor, Webster New International Dictionary Earn a Diploma I am glad to hear that you plan if w with it what your mind dictates. Therefore, Mo question will be answered in THE ETUDE unless accompanied by the full name sible to teach your children. Contrary to • the best course would be to limit yourself and address of the inquirer. Only initials, or pseudonym given, will be published. 0fc SCHOOL OF MUSIC to fifteen minutes, and make out a three- the general notion, I feel that an intelij OF THE UNIVERSITY OF MICHIGAN weeks’ technical routine; one week a few gently musical parent is often the best t* Trills. nine-eight, and so on! Between three-four 0 How do you play this trill passage six-four, six-eight, three-two, aside from tlu Complete curricula leading to degrees in finger exercises, from Schmitt or Hanon, ginning teacher for a young child. If you all branches of Music. Faculty or distin¬ practiced first very slowly and then imme¬ desire suitable material I can heartily rec¬ from Silvery Waves, by Wyman T the SS2 guished artist teachers. Concerts and May (fonserdatajg ofHlusic diately very fast, in small groups of notes ommend: “Middle C and the Notes Above Ex’* >£~~——■——— -:- Whs which of*the 'three*piano pedals ii Festival by world's greatest artists and at first, then combined into larger and Below,” by Simons: “Play-Time practice pedal?—A. B. A composition in ^C-sharp wouk organizations in Hill Auditorium seating AExrd4fvelyToiMiil?ea^tLSAm2dArte0ted groups; the next week a few scales or Book,” by Adair: “The Boys Open Door Do you feel that if you were given the Opportunity you could 5,000. Chorus of 350; student symphony Under Auspices Cincinnati Institute of Fine Arts arpeggios, practiced the same way; and the to Music,” by Mathews. The first two are accomplish more in Music—qualify for the bigger and better orchestras, glee clubs, bands, etc. Recitals Affiliated with University of Cincinnati major, in some editions _ - to Mat each week on $75,000 organ. Institutional Member National third week intensive work at a Czerny for very young children, while the third is Q. Is the top note supposed to be trilled major, thus making it much easie opportunities that are ready and waiting just as soon as you are Association Schools of Music Etude, from Czerny-Liebling Books II or more difficult. A splendid new work of with the fourth and fifth fingers, while at the in reality, D-flat and C-shar Second Semester "11 same time playing the melody notes with the _- __ - -- - ___played i: qualified to grasp them ? { Sixty-Ninth Season Now Open III. which I am very fond is Bernice Frost’s ne. If one half of Begins 1 others? How can I do this when my fifth D-flat and at the same time the other hal Your musical knowledge—your position and income today February 17 i| Special Students May Enter at Any Time The rest of the time could be spent "At the Piano,” for class o~ .. finger is too short to trill successfully? There played in C-sliarp, there would _ be a learning a new piece with some technical -i similar passage in Listen to the Mocking uuc ...... ,.-illc hight- _ C-sh —are the result of the training you have given your natural CHARLES A. SINK, President 2650 Highland Ave. Cincinnati, Ohio ‘ ..ts for playing this will t on keyboard instruments, they problem in it that you may want to work i.—R.A.P. sound the same. ability. Additional training’will open up new fields, new oppor¬ ed to be played with ».—The various measure s Indicate the the fourth and fifth fingers ; however, if your type of accentuation___of and th< the beat tunities, greater income and higher standing in the musical hand ... |-- I-— I ixc irfo fundamental kinds of meas- of difficult you can do it this way : As soon re always been duple and triple, and world. DFTDAITinstitute A professional school Memorybook of a Musical Pilgrim MUSICAL ART you strike the melody dotted quarter-nc STth” Id notation triple measure was marked You can get this invaluable training right in your own home, mUfitti- in a university environment with the thumb, they ean be immediately by a c ■cle (the symbol of perfection) while (Continued from Page 642) leased, as the pedal —*”rill carry the ‘t— “- leasure wass indicated by a broken- without any interference with your regular work, and at but a School OF MUSIC Sc For Free Bulletins Write to the fifth count. This will eliminate ac circlecircle—fro—from which ourur modern sign for quad- mtinued octave stretch’ while' ” trilling. -If, ruple measure Three-eight,- three-four fraction of the cost in time and money otherwise necessary. The Thus on the way it was our pleasure to followed. A master molder of music, he by your question, you mean you cannot trill and three-two thus fundamentally the SCHOOL OF MUSIC pass through Middletown, an old Connec¬ it was who gave vivid form and color to with the fourth and fifth fingers, the finger- game type of imeasure, namely, an accented Extension Method of Musical Training developed and perfected — unaccented ones; but 1830 Sherman Avenue ticut city, dating from 1636, and the birth¬ national harmony, instilling into it a de¬ here marked will be found easier. The beat followed uy o by the University Extension Conservatory—whether for be¬ Evanston, Illinois 1 Listen to the Mocking Bird is played the note standing fc place of Henry Clay Work (1832-1884), cided American accent based on profound eighth, sometimes „ and sometim .. ginners or advanced musicians—is not an experiment, not a iple measures (duple and OBERLIN CONSERVATORY OF MUSIC NORTHWESTERN a popular war-song writer of his day; scholarship. ‘compounded.” ' Thus~ *— makeshift, but has stood the test of a quarter of a century’s Frederic Grant Gleason (1848-1903), or¬ An ardent lover of nature, Mac Dowell in ‘listening to music it is often difficult to unqualified success. ganist and composer; and the renowned longed for free communion with wood, tell whether the notation is three-four or UNIVERSITY Reginald DeKoven (1859-1920), one of field and stream ; and in the heart of a hill- six-four. Another way of thinking of this is Thousands of professional musicians, teachers and artists to see six-eight as a two-four measure com¬ throughout the world owe their success wholly to the authori¬ the nation’s outstanding composers of side forest near Peterborough, New Hamp¬ posed of triplets. I realize that I have not opera. answered all of your questions, but I hope tative methods and the painstaking guidance of the master shire, was builded for the composer a that this will give you at least a hint con- LAWRENCE COLLEGE quaint log cabin—“A house of dreams- teachers of the University Extension Conservatory, and gladly JSMOPOLITAN Out of New England, Into cern g^ praetice pedal is a device that used CONSERVATORY OF MUSIC SCHOOL OF MUSIC a place destined later to become one of built into pianos for softening the testify to that fact. APPLETON, WISCONSIN ^ SHIRLEY GANDELL. M.A., Oxford New York America’s treasured musical shrines. --- ‘her members of Carl J. Waterman, Dean It spoiled the ... Fall term opens Sept. 19 LEAVING historic Middletown, and Before the days of Mac Dowell, another ie device is no longer Let This Great Conservatory Open the Way for You - continuing along the river to its out¬ New York son had kindled the fires of Whether you are a professional musician, a teacher, or just a beginner, this flow, we arrived at the metropolis of national musical expression, when, as a ope that you will give me some ad- matter which is entirely foreign great Musical Organization will open the way to the sure attainment of your America—New York. A city of many homesick wanderer, abroad, he wrote: y husband and I have written an musical ambitions. You will find the small cost of our training to be in no cities it is, for on “East Side, West Side, or children of the lower grades. We _ j Invention sense an expense, but a real investment that will pay you big dividends in 1 urged by many to publish this e editions, as in Ex- SCHOOL OF THE DRAMA all around the town” (to quote from the ’Mid pleasures and palaces, though we and hare been variously advised as A and in others 8 Example B. Which satisfaction, in culture, in standing and in real money. Your satisfaction is THE GOODMAN THEATRE popular old song, Sidezvalks of New York, may roam, •- Most of this -- GUARANTEED. FACTS ART INSTITUTE OF CHICAGO by the Irish-born Charles B. Lawlor), one Be it ever so humble, there’s no place Judge for Yourself wanders from village to village of different like home! ABOUT THE — nationalities. And here, amid this sym¬ We want you to know how interesting, how valuable, the training of the University Extension Conservatory will be to you. We want you to be the phony of color and character, are towers th Sawyer Gi This immortal song-poem. Home, Sweet judge—without any risk or obligation whatever on your part. Standard it. B. The Ar and spires that kiss the clouds. Home, which came from the pen of John Howard Payne (1791-1852) has found Return the Coupon and we will send you a number of sample lessons in GRADED COURSE A World in Miniature echo in the heart of the world. any one of the courses in which you are interested, for your examination— MILLIKIN CONSERVATORY OF MUSIC TN CONNECTION with its “bigness” in ABSOLUTELY FREE. — In Ten Grades — DECATUR, ILLINOIS Program printing, adi-- - These Sample Assignments will prove to you why University Extension i- buildings. New York is an incomparable you a royalty (usually about By W. S. B. MATHEWS Offer* thoro training in mu«ic. Course* leading to recreational and art center, with such a PIANO: each copy sold). I like the vc- . Conservatory training in Music has gained and held such a high place in Bachelor of Music Degree. Diploma and Certifi¬ ter ; all of my books have been put out under ample the Musical World, and has meant so much in recognition and real money cate in Piano. Voice, Violin, Organ. Public School variety of notable and interesting places to A. D. 1620, from “New England Idylf such an arrangement by some reputable con- Tempo Music Methods and Music Kindergarten Methods. be seen that one finds something to attract Edward MacDowell (New York) corn. Some folks do not like the idea of before the second sixteenth n to so many thousands of ambitious musicians. BulltUn nnt free upon request selling their wares and are not very good ' struck. If this In Just check the course in which you are most interested. Sample lessons W. ST. CLARE MINTURN, Director and entertain at every turn. Here is in- Before a Shrine, Op. 415, No. 1* business people: others enjoy the business idante the mordent v termingied history and romance: here Reginald DeKoven (Connecticut) side of it, and you might make more money cample A. will be sent to you, with full information of all our Courses and our re¬ Liberty,” the stately statue overlooking Secrets In The Attic. Op. 119. No. 4 if you had it printed privately. This is hard markable and exclusive method of teaching. There will be no obligation to predict, however, and I reall;illy have Bach Trills. whatever. the great harbor, holds high her torch in Mrs. H. H. A. Beach (New Hampshire) consistent with practicability. The essen¬ Qo you take advantage of the many definite advice Q. Will y tials of music study which had led to the symbolic gesture of the radiating power of March Religioso the enclos ' This Is YOUR Opportunity—Mail the Coupon TODAY! tuosity were well established. It remained excellent merchandising oppor¬ magnificent opera houses and theaters, con¬ Horatio W. Parker (Massachusetts) sable studies and tunities which ETUDE Advertising servatories and universities, museums of art America Grand Triumphal March University Extension Conservatory s, leading to econ- Columns offer you? and natural history, libraries, churches— Walter Rolfe (Maine) ey. These studies Dept. A-38, 1525 E. 53rd Street, Chicago om the simplest exercises in the every form of art, science, literature re- Hurrah For America. Piano 4 Hands ks up to the finest educational hgion and commerce, as represented in’ this George L. Spaulding (New York) f Handel, Bach, Chopin, Liszt, Caution! Magazine Swindlers Empire City.” Certain of the outstand¬ • Appearing in The Etude, January 1932 iw»- UNIVERSITY EXTENSION CONSERVATORY, Dept. A-38 Are About ing musical influences, both sacred and VOICE: 1525 E. 53rd Street, Chicago, Illinois. secular, have embodiment in the Metropoli- Complaints come in daily where music Coronation Please send me catalog, sample lessons and full information regarding lovers have paid strangers for Etude Music Ho"se- Carnegie Hall, Town Oliver Holden (Massachusetts) course I have marked with an X below. ixible, at the teacher’s Magazine subscriptions and have received no ,:M,eCca Temple, and St. Patrick’s My Faith Looks Up To Thcc □Piano, Normal >et □Guitar list of collateral ir copies. Canadian subscribers are particularly Course for □Ear Training and warned to beware of a man travelling under of Amlrica°ne °f ^ lmportant dihedrals Lowell Mason (Massachusetts) eral editions of these “Little . A. Since this is such a simple little cc Sweet Hour of Prayer ind Fugues” with which I am sition it would seem more appropriate tc Teachers _ Sight Singing the names of Bellamy, Davies, Baker and Among the legion of native-born Goth¬ inly a mordent is used, and the sixteenth notes instead of thirty-second n □History of Music □Mandolin W. B. Bradbury (Maine) for these ornaments. □Piano Course for other aliases. This man offers cut rates on amites, whose achievements of artistry and measure’ is played as follows : Students □Choral Conducting □Saxophone Home Sweet Home The Etude and other magazines. He carries rays of cultural enlightenment have been □Public School Music □Clarinet □Piano Accordion either a faked receipt of the National Circu¬ Verses by John Howard Payne □Harmony □Violin □Adv. Composition lating Company, the Curtis Publishing Com¬ far-reaching the composer, Edward Alex- Mathews’ “Standard Graded irse” ir ander MacDowdl (1861-1908), has been (New York) Grades (Price $1 ~~ 1sen, grade) ha pany or McCall’s Magazine. America Grade One Volume both Clefs trot Duly authorized representatives are pro¬ accorded highest honors by both his distin¬ Name . ..Age.. start (Revised Edijzuieiunj or with the 1 vided with the official receipt of the Theodore guished contemporaries and those who have Verses by Rev. Samuel Francis Smith Clef only start in thet,.„ first feu ' (Massachusetts) Street No. ’ Edition). l or alt grade, Presser Co., publishers of The Etude Music or inspection U Magazine. Pay no money to any one unless City . State. the opportui UJNVLkSt COLLEGE-" volw mes of this a you are convinced of his responsibility. Sign no contract, nor pay any money, before read¬ SCHOOL OF MUSIC FOR womfn _ ATLANTA How long have you taught Piano ?.How many pupils have ing receipt or contract offered you. Do not CONSERVATORY of MUSIC you now?.Do you hold a Teacher’s Certificate?.Have THEODORE PRESSER CO. permit any one to change the terms of a Accredited. Full B. Mua. HWH MDOSOS GEORG LINDNER receipt. Do not accept an ordinary stationery 1712 Chestnut St., PHILADELPHIA, PA. Courses College Environment T* D.m|om® i'n 'm NO, VOICE, VIOLire ORGAN, you studied Harmony?.Would you like to earn a degree of store receipt. We cannot be responsible for National Reputation. Artists’ Te?,chera P®c SCHOOL MUSIC. NORMAL train- the work of swindlers, so help us to protect Po?aZio*~ Moderate^uitio^T-; INC. DRAMATIC ART AND DANCINC Bachelor of Music? . -N. Irving H,-. Peachtree ,nm S?? “.““"Unu, G,

NOVEMBER, 1935 THE ETUDE T VOICE QUESTIONS INSTITUTE OF MUSICAL ART mu the Answered of the By Frederick W. Wodell "«*» i MILLIARD SCHOOL OF MUSIC ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean Music Mastery Series Ro questions will be answered in THE ETUDE unless accompanied by the full name y and address of the inquirer. Only initials, or pseudonym given, tail! be published. Thorough instruction in all branches of musical education. Private lessons in all standard instruments, courses in theory and composition, normal courses for teachers, methods of group training for children, preparatory Popularly Priced courses for children, extension courses, and many others. Public School Music course leading to degree of Bachelor of Science with i the Glee E. Davidson Palmer. „ ..-- - t school, ana is a member of the girls’ pupil with a promising voice, we would sug¬ Major in Music. .8 e which sings a cappelln. My daughter gest that he devote his attention to learning Catalog on request. • anxious to have vocal lessons, but it how to use his “natural” voice with skill. We SIXTY CENTS is imposstbi i live in a small town, make a distinction between what is called in 120 Claremont Avenue, New York nd any course of study the man the "Falsetto,” and the “Head” that she cc- t home by herself t—Mrs. 0. W. R. The Forcing Habit. EACH VOLUME Q. I especially enjoy the “Singer’s E e the possession of a and, “Voice Questions Answered.’’ I a NEW YORK SCHOOL of MUSIC and ARTS voice. Let her beware ol bitious to he a good sin-—- T »■—- THE LARGE AND ECONOMICAL EDITIONS, WHICH THE __ -- — J young to stand t teachers hard work. Glee Club rehearsals are apt to town for c Should I i 310 West 92nd Street, New York City (At Riverside Drive) Excellent PIANO STUDY WORKS covering many phases of pianistic development in be too long and arduous, unless the leader is noio be abl tightening a RALFE LEECH STERNER, Director DEMAND FOR THIS SUCCESSFUL SERIES OF MODERN all grades, and supplying important contributions to the teaching materials used by a skilled vocalist and v . ' breaking or, <’? Can you tell me any- many teachers, are found in this Series. If you are a teacher you will find it helpful All rates for tuition and board PIANO STUDY MATERIALS ENABLES US TO PRINT, carefully I teacher who directs our choir says that we all to have at hand for permanent reference the "Descriptive Catalog of Mutic Mastery n. Shakespeare. Possibly she sing too harsh and loud. I know that is my greatly reduced. of the elementary work given worst trouble—trying to sing too loud—but PERMIT THE MAINTENANCE OF THIS UNIFORM AND EX¬ Series Works.” (This Catalog will be sent FREE on request.) TEACHERS ARE ISK 1 absolutely necessary it seems that I can’t be heard if I don’t sing GRANTED A DISCOUNT AND EXAMINATION PRIVILEGES ON THESE VOLUMES. xereise g loud. If you can tell me of some book that her tones sweet, el will help me, or give me some good advice I CEPTIONALLY REASONABLE PRICE ON THESE WORKS. she avoids singing will greatly appreciate it.—R. M. loudly or too long, r of voice wait "Goo* SSStiK upon good quality. Music competition, and to offer to parents. The only Scientific Pedagogy based Develops teachers, students a means of judging on Feeling, and practically Culture” applied to Music. ft Seed for P M B circular. STArni!do Sartorl™/) Ln«T HAND AL0NE • PIANO CONTEST A EFFA ELLIS PERFIELD Grade °3-4* “I Cat"'Na'13379) Price. 60 cent, | r W 103 East 86th St., New York, N. Y. oZpr Grade 2® ' srsM"T!».....» wsr wss-jsr wi araewts S“1 sk? &sn...» S3?60 cents ST set™ %sr*zw- ■sSAfts; Tcatf*No^ 18051 )bet Price, BO cents SEEK™* SB J^sOWStolf ...» sar.”*®? srsarw?. must pay an emrance Louise Wei sF-rrrrrr SCHOOL of MUSIC SuceeK*to7foMRSCABABCOCK's :~sts°Lr:°cic S5fS*°^u1g,,&5r~iSg....» Bwagqggc ss-si:F»r: INTERNATIONAL MUSICAL ESS “SETS...» and EDUCATIONAL AGENCY “SK*” v““S!rv as "■ jgr.

cents Grades (Cat. No. S649) Price. 6# cenls ! M?SS.ESS‘F0R YOUNG Grade 2 (Cat. No. 24067) Price. 60 cents INschehTRETATI°N STUDIES - Franz C. Born- Grade S (Cat. No. 111») price. 60 emts i -S" ass S 6YRTcftTUNDo.^WU1.rKf^ ^s§grf SSST FISdiTIES 1N OCTAVE PLAYING - Grade 3-4 ?STt' No. 14590) Price, 60 cents

^PROGRESSING PIANO PLAYER - Louis 'Sr«AP'r"; ss-a-ar ...» SHijiKSE TE8N.rtoRr{oLILdmN,L?CTAVK 8TUD,KS * An"“* Grade 6 (Cat.Jv’o. 11480) Price. 60 cents Grade 3 ’ (Cat. No. 13492) Price, 60 cents

THERE ARM OlVIY THREE EXCEPTIONS IN TH,S ENT,KE~ S!«S CSM“:.; SERIES TO THIS NEW UNIFORM PRICE OF 60 CENTS EACH. 5 Bach and Handel Compared (Continued from Page 640)

Naturally the young people of our day wish to study the works of modern composers; and, if we persuade them that they can better do so by pre- g the way by the study of the classics, they will take up the study of

Theodore Presser £o

1712 CHESTNUT STREET PHILADELPHIA, PA.

MUSIC PUBLISHERS, DEALERS & IMPORTERS

NOVEMBER, 1935 THE ETUDE The Most Amazing Romance in Filling the "During-School-Time" Musical History (Continued from Page 646) Publisher’s Monthly Lett Teaching Periods You have Open mercy to the derision and contempt of sought to see her in Tchaikovsky’s behalf. ^everyone, and now you want me to sue you He wrote Tcha.kovsky about h,s visit: AA DBulletin l a 1 I m ofan-T IInterest M-i- Mia ev £for a h AllAll MusicA 11 an i /I 1Lovers /M T M/a l ^ \ on false grounds? , J >alked at Oreat len0And j u,m e )h(, c ■ ■ Prices Apply to Orders Placed Now, The pupils who sign these pledges feel a responsibility. They is among the great both or so I hope. Pay this debt first, instead 2878). with Delivery to be Made When Youngsters are delighted by this book have made a contract with themselves to do a specific amount of as a pianist and a ci Music Play of paying the lawyers, and send me the practice a day and they feel obligated to live up to this contract. poser, every one men¬ which makes fascinating “play-time” of ten thousand rubles. The proceedings came to an impasse. learning to render music on the piano. For Every Day Around the May Pole—Dance Tunes for “I never saw anything like them,” wrote one teacher. “They have tions Rachmaninoff “I appeal to your conscience; believe me, Tchaikovsky wrote Madame . without preface or given name. From the very first page, with its cap¬ Complete, Price, $1.25 Piano—Baines .'.. 1 helped improve the results of my teaching a hundredfold.” I am not guided by greed; you yourself will he would not need the ten thousand rubles Birds of All Feathers—Musical Sketch— He was born April 2, 1873, at Onega, tivating, full color, fanciful musical feel happier in the knowledge that I am and asked her to let him have three or four Any teacher may secure these pledge cards, illustrated with por¬ Govt, of Novgorod, Russia. The marked tal¬ picture, through to the last pages, it Educational Vocal Technique in Song traits of Beethoven, Bach, Chopin and Mendelssohn, entirely with¬ ent of his youth is evident in that as early saved from misery and prh'ation. You have thousand to pay his wife’s pension several and Speech—Two Volumes—Shaw and wins juvenile interest. Its game-like your genius which gives you material sc- years in advance, also to help her liquidate Lindsay—Each ...... out cost. Write, stating the number of students in your class, to as 1882 he* had been accepted as a pupil at the Petrograd Conservatory, studying there procedures, many illus¬ curity, but nature has not endowed me with her debts. Evening Moods—Album of Piano Solos ... The Etude Music Study Expansion League, 1712 Chestnut Street, trations, cut-out pic¬ for three years under Demyansky. The fol¬ anything out of the ordinary. . . . Pangs of He added : Little Classics—Orchestra Folio- Philadelphia, Pa. tures, and pleasing lowing six-year period was spent at the Mos¬ tunes make a new, prof¬ conscience will be your greatest punish- "Thus, my dreams to lift the heavy chain, Piano Accompaniment . cow Conservatory where he came under men,. Let God be our Judge I shall ex- gf W(„ are that/ned Ziloti for piano and Taneyef and Arensky itable and happy exper¬ Piano Studies for the Grown-up Beginner pect your instructions to settle this offer ^ fl/ certajn J for composition. His concert career then oc¬ ience for teachers using Theodore Presser's Manuscript Volume . quietly, without scandal. 0„/j, lefl _,0 “ Rob Roy Peery's Third Position Violin New anthems this year that may be had ican composer, Evangeline Lehman (50c). cupied his attention until 1899 when the Lon¬ it to win and hold piano Book—Class or Private Instruction. for examination: A new organ solo this year that will add don Philharmonic Society engaged him as beginners from 5 to 8 Presser Co. Tchaikovsky’s impression of this letter far as possible, from all encounters with Sabbath Day Solos—High Voicb .-. FOR MIXED VOICES an appropriate instrumental note to the church pianist, conductor, and composer. years of age. we find in his correspondence with Madame her. from all memories of her. Lei us hope Sabbath Day Solos—Low Voice . Cat. No. . Price Christmas program is As a teacher he served three years begin¬ 1712 CHESTNUT ST. nH|LA von Meek: that some day she will understand that she Sacred Choruses for Men's Voices . 21229 A King Was Born {Sop. Solo), H. A. 26320 A Christmas Pastoral, by H. Alexander ning 1903 at the Moscow Maryinsky Institute m privileg Singing Melodies—Piano Album . Matthews .*0.12 fully granted t Everything in ■ “I received a letter from a certain person, needs a divorce just as much os I do. Bui 21230 Tidings of Great Joy, Mrs. R. R. For- ^ for girls and during a portion of this time he Six Octave and Chord Journeys—Piano— also conducted at the Imperial Opera at Mos¬ MUSIC PUBLICATIONS Among phenomenally stupid and idiotic then she will not gel any payment for it.” Rodgers . 21226 The Christmas Belis.Wm. Baines .10 This year’s Christmas solo is a composition speculations, there is however a formal con- (June 28,1878). of the celebrated accompanist of noted singers, cow. After 1906 he took up residence in 21208 Glory to That New-Born King {Spir¬ Dresden, spending much of his time compos¬ sent to a divorce. Having read that, I felt itual).J. W. Work .12 and radio and concert pianist, Charles Gilbert There was no divorce. Antonina Ivan- ing, between making concert tours as a pian¬ mad with happiness and ran around the FOR TREBLE VOICES Spross. It is entitled Emmanuel and is pub¬ lished in 2 keys—high and low voice. The ist and conductor. He first visited the United garden for an hour and a half until I felt °vn* re,"ai.ned TcJ?jJf0vs*y’s *ife until htr 21224 Brightest and Best (S.A.), AUene K. States in the season of 1909-1910. physically exhausted.” death' B1etwccin ,8»> ai'r: Education and Correla¬ Jesus that may be sung to children of the In order to maintain efficient service. The osition there. His Director, have not selected the material for (Price, 75 cents.) This album, of course, in¬ was a gifted soprai By John Tasker Howard tive and Comply. ,« Lre your Christmas program, the liberal examina¬ Sunday school, or by a talented member of Etude should be notified at least four weeks This book is valuable to the teacher a their group. It is entitled Noel, Noel and in advance where an address is changed. Be cludes his famous Prelude in C-sharp minor. marriage was blessed with seven chil- Ethelbert Kevin’s extraordinary melodic tion privileges of the Theodore Presser Co; The portrait sketch on The Etude cover lade him one of the n. should be of much assistance. It is not essen¬ the text and music are by the inspired Amer¬ sure to give both old and new addresses. br.^Berwald has had many pupils lusic history since Fra is by the artist, Lillian Gebauer. lert, in that fe'— composers of fine Publishers : Roerich Museum Press. tial that you know the titles of the music you whom might be mentioned the well- raining and ta__ ■oduced i wish to examine. An experienced corps of American ^composers, Charles songs and piano pieces that have had such music clerks, most of them holding positions Educational Vocal Technique a tar-reaching and enduring appeal Ir is The Organ and Its Music in local churches, either as organist or soloist, The list of compositions by William Berwald fortunate that the author has been able to By A. C. Delacocr iik Bat say In Song and Speech ■ 1891 he conducted thj secure directly through Mrs. Ethelbert Kevin will gladly make a selection for you. Just and through her carefully preserved letters „ ,we have one of those rare books describe the type of cantata or anthem you By W. Warren Shaw and diaries of the composer, enough material which give a deal of information in an in- Compositions of William Berwald t° bring together this large ami finely illus¬ tcresting presentation which deals in details favor and give some idea as to the capabilities PIANO SOLOS trated volume dealing with the ..a, of your choir—soloists available, etc. Any, lr£lMighty Lak’ a Roue, with”"A IDs tor leaf or all, of the music may be returned if not o outstanding T’n°'-.<1 many other notable works, oluine is Orowth ^.7ltOrgIinPrM,i”^&^™he°"ar!?rat found suitable. ttirely apart from time: “The Komantic Revival": "Evolution The Theodore Presser Co. catalog con¬ produced a method for the instruction of vocal cal value. It is far more compre- n.„r^ycAct.!on": “The Organ Pipes": "The tains many highly favored Christmas num¬ students in classes which carries the weight of O/San Case": and so on to "The Aesthetic of the Organ." bers—cantatas, anthems, solos, duets, organ authority and experience. pieces and collections of carols and Sunday 23118 Shadow Dan 1flteresting illustrations of historic The principles of voice culture set forth and of mechanical developments school services. Their stock also contains by IV. Warren Shaw, noted teacher of New 12 Juvenile Birthday Party . hisCmemoryd°W’ Wh° has deT°ted her life to ' , ?“ ,h<‘ Pages. A book that every organist Christmas music from the catalogs of all pub¬ York and Philadelphia, are enthusiastically lishers, thus assuring prompt service on all PIANO DUETS Pages : 423. Pages - 2O0OrS“n m”SiC shouId P°ssess- endorsed by such artists as Lawrence Tibbett, Price: $3.50. Price : $2.50. orders received. Gladys Swarthout, Frederick Jagel, and Ar- $0.50 19902 Dans< Jtesqiie .3% $0.6C Publishers : Thomas Y. Crowell Co. .50 17634 From ie South. Danza. Publishers : E. P. Dutton & Co., Inc. A cantata for mixed voices, published late mand Tokatyan, all of whom have been asso¬ last season, will be featured on many Christ¬ New Values in Music Education ciated with the Metropolitan Opera Company Anecdotal History of the mas programs this year. Hosanna in the of New York. The adaptation of these prin¬ 0 Dear Lord and Maste By Laurence Adler Science of Sound Highest by Alfred Wooler (60c) is the title of ciples for use in schools and colleges is the , Jn this book, to quote from the t.-. - this 40 minute cantata which includes, in by Howard Hanson, “Mr Adler ^or<«<>rht Re- ^ a section is given to the presentation of har- man journai to have five hundred choruses ot really a book of octave and chord “pieces,” and other presentations of them, they dis¬ printed pages are available. The series began composer in question, monies...... , ... lL. men, with three hundred and fifty paid cc since it contains such imaginative titles as In appear from view like merchants who set up 21035 Awake! Salute the Happy with the February 1932 issue of The Etude. Tv,“ ' With the study of the third position, the ductors; two hundred and seventy amateur a Deep Ravine, Along the Donkey Trail, Danc¬ oil the best streets, then slide to a side street, 10747 The New Born King.Morrison ing Shadows, A Storm Warning, Through a 20618 Bethlehem's 20830 No Cradle for Jesus.Dicks Handel Havdn" Mendelssohn Mozart Schu- PuIjil should be ready for a serious considers- orchestras, with sixty-four hundred and then a back street, and finally disappear alto¬ 2 The Con le King....Stubs 10884 O Come to My Heart Lord; Jesus Around the May Pole Narrow Gorge, and Sparkling Dewdrops. Miss gether. t Chris ....New maun, Verdftd otLre No betterMaterial tio,n. ofttha‘ ^ ™net> mcmbt'rSthirt>’ °f Rodgers has a real gift for spontaneous melody 6 Glory ) God i the Higl for the inculcation of sound musical apprecia------. . f ‘ - - i i flItHill>‘ ofCl mandolins;luaiiuuiiiio , nuuand luujforty-five -live of ban- When we speak of the publisher’s printing 21112 Silent Night (With Faux Bour¬ Dance Tunes for Piano given, together with many original and donjons (a sort of small concertina o and catchy rhythms, and her compositions don) .Gruber-Fry tir“" m>" be had than that offered t“ ““"ua 18 orders, we refer to the orders for established 20682 Hark! A Burst of Heavenly Music 21173 There Is Room in My Heart for By William Baines j -....j— t— -<■ dion). show that practical touch which is evidence of stock items, and such listings are like lists Stubs orchestra players in this outstanding wllec- ^The'1 third‘position5 itselfT taken up in her wide experience as a teacher. 10627 Hark! What Mean Those Holy Thee .Forman The celebration of May of those stores which have firmly established Voices? .Neidbnger 10604 There Were Shepherds Marks Day is being more and This book contains probably just enough themselves in the shopping districts because 10470 The Holy Night.Mueller 21107 Thy Salvation Cometh.Dressier MUSICAL HONOLULU c boast of its material for study of this phase of piano 20931 The Infant Jesus, Lord of All 21133 The Virgin’s Cradle Hymn....Beck more observed in many aIlu a DO buyers turn to them frequently. 21114 The Vision of the Shepherds sections of the country have advanced Bergstrom Music Company, now in its thirty- technic in preparation for the more serious When you realize that the only way a pub¬ Montani eighth year, which recently changed hands at 21115 It Came Upon the Midnight Clear and quite elaborate, indeed, amsupSte ^complete sSforchfstm! ?nd seated ‘shifting studies present- works of Doring, Kullak, Sartorio, and others. lisher can keep the individual price per copy Tily have been some of the pro- inpludil|,r Tenor Ball;0 v mg all possible shifts between the fingers, a valuation of one hundred and eight thou- A single copy may be ordered now in ad¬ at a nominal figure is to print editions large 21116 Joj^ JFills Our Inmost Hearts grams presented by schools Until this offer is withdrawn, parts may be Witk such a wca,thI ,ofA material__I adequately sand dollars. Hail to the musical Middle vance of publication at the special low price enough to last for several seasons, you can book a complete study of Pacific! of 25 cents, postpaid. 35242 Listen to 'the Won s Story academies, collegi 311(1 ordered at 15 cents each, piano accompani- Prescn.tmg see why it is well for the alert user of music Hawley 10872 T us Story.Stubs civic organizations. ment 35 cents, postpaid. the thirdth,rd position,11 every violin teacher should -I *• to follow continuously the selected listings Dancing and music are of much importance be interested in securing a reference copy of THE IN-AND-ABOUT Chicago Super¬ Sabbath Day Solos from the past month’s publisher’s printing Treble Voices Men's Voices to the success of a May Day program and in this work at the nominal advance of publica- 20829 The Angels’ Christmas Mjssa^e visors Club has added to its forces a concert High Voice—Low Voice order. There is always open to any interested 10964 A.. With Gladness Men of Old this book Mr. Baines gives, not only com¬ band of two hundred pieces, with Capt. John the privilege of securing a copy of any of these (3 pt.) .Berwald Piano Studies for the Grown-up tion price of 30 cents’ postpaid' No vocalist requires a larger repertoire than 20685 Christmas Chimes (3 pt.)..Calver 20885 Glory to That New-Boi plete instructions for eight dances ’round the H. Barabash as conductor. numbers for examination. 21186 Christmas Star (3 pi.) Kinder (Spiritual) . a May-pole, but appropriate “catchy” music for Beginner Birds of All Feathers the church soloist. Week after week he sings 20988 Hark! What Mean Those Holy 21111 Good Christian Men, Re; each. Besides, there before the same folk and too frequent repeti¬ Praetorius-Nevin ---—to unison songs, a One of the most convincing signs that A Musical Sketch brief and interesting history of Mav-pole danc- , ■ . , , , - . , , . COM PETITIONS tion of any selection, even the most favored 20932 The Infant J , Lord 21110 Holy Night! Peaceful Night! ing and complete directions for costuming and America is [fastast becoming music-minded is By Mildred Adair 23456 Three Little Chria s Pieci (3 pt.) . . Montani Barnby-Nevin one, detracts from its effectiveness. Experi¬ 21174 Three Chrism setting the scene. ® the steadily increasing demand for piano in- Miss Adair’s clever little playlets have A FIRST PRIZE of five hundred dollars; enced church singers, who always strive to 21126 Low, Like a Little Cradle....Braun 3597 Bird’s Lullaby—Read . 1 20321 Old French Christmas Carol Those who have in charge the entertain¬ struetion by adults. done much to revolutionize the program second and third prizes of three hundred dol¬ possess a comprehensive library of devotional 7145 A Little Ray of Sunshine. With 21175 The Virgin’s Cradle Hymn‘“““‘ Gevaert-Smith ns anil civic Stud^ents who have completed the Grown- presentation of pupils’ piano recitals. In a lars each; and fourth, fifth and sixth prizes solos, will be more than pleased with the Words—Spaulding . 1 (3 pt.) .Beck-Peery ments in educational institutions and 20903 While Shepherds Watched Their 10720 Silent Night.Gruber-Camp of this book Be9mrfers Look by William M. Felton, Candy._o Shop and From Many Lands havi f one hundred dollars each, all are offered contents of these two fine collections. 8573 Fairies. With Words—Rowe .. 1 21109 There's a Song in the Air....Nevin s Dook Qr any 0tber adult method, wdl find in this .1- 1 1->1.1 .1- -*:-j—1 24325 By the Fireside— Ketterer .... 1 Flocks by Night (3 pt.)..Ruger s°xvkjlkss * « this shown teachers that these sometimes drab by Ginn and Company, for songs suitable In the first place, there is a wide variety 19655 Calling Kitty—Cramm . 1 's, postpaid, and their copy will volume now in preparation ■the affairs may really become colorful entertain- for school use. Only native or naturalized in the texts—one may find something suitable 9835 Signs of Spring. With Words— schnical work to help them cope successfully raents, enjoyed by the students for any season of the year. Then the music -THEODORE PRESSER CO.- with the demands of standard compositions ents and friends the f will be selected from the compositions of the 1712 CHESTNUT ST., PHILADELPHIA. PA. in the intermediate grades. serving to show to advantage the musical 70 Fifth Avenue, New York City. foremost standard and contemporary writers Sacred Choruses For Men’s of sacred songs. The voice range will be a fully selected from the most interesting and Here are vocal solos for'children! «. music*, moderate one in both the high and low vol¬ Voices useful etudes by such writers as Czerny. Heller, recitation, solo dances, a violin solo, a rhythmic THE EMIL HERTZKA PRIZE for 1936 umes and the accompaniments, suitable for STATEMENT OF THE OWNERSHIP, Etude Premiums Make Fine The best undertakings in life ere „ Durgmiiller, and Rhemhold, with special con- orchestra piece and a piano duet and trio in is open for international competition for a playing on either piano or organ, will not be „The bestDesl undertakings ini life are those sideration for the capabilities of the adult hand addition to the niano rupees Pi«« ik. MANAGEMENT, CIRCULATION, ETC. Holiday Gifts offering opportunity for development. Not and mind anaiuon to tne piano pieces. Pieces from the musico-dramatic work—opera, ballet or pan¬ beyond the ability of the average accompanist. tomime. Manuscripts may be submitted till Singers may order a single copy of these REQUIRED BY THE ACT OF CONGRESS Thousands of music lovers do much of their January 1, 1936; and full information may albums now at the special advance of publica¬ OF AUGUST 24, 1912 together TTuni? bu^Kn^ ^ubficYti™ "^^40^ - —----staging“d — of ly Birthday—Mana-7.ua Christmas shopping every_ year without jj a group of young men in church or Sunday postpaid, this play may be simple and inexpensive. be had by writing to Dr. Gustav Scheu, tion cash price, 30 cents each, postpaid. Of The Etude published Monthly school organize a quartet or chorus; - While this playlet is in preparation single Opemring 3, Vienna 1, Austria. times when they have not been able copies may be ordered at the special advance Advance of Publication c^mtv^fphiladelBhia 1 SS’ quaintances, many of whom may not be fa- of publication cash price, 25 cents, postpaid. c Before me, a Votary PuNie In and for the miliar with The Etude Music Magazine, sing parts. Then from individual as well as When Voices Are Changing Offers Withdrawn group development they have progressed from THE ELIZABETH SPRAGUE C00L- State and county aforesaid, personally ap¬ r what it means to the lover and student stage to stage, eventually gaining ability in Chorus Book for Boys Evening Moods IDGE PRIZE of one thousand dollars is This month we withdraw two special ad¬ peared David W. Banks, deposes h’and““" °f music. Knowing the value of The Etude the effective rendition of well arranged hyi Album of Piano Solos offered, in a competition open to composers vance of publication offers from those that tire Theodore musically, talk to these friends and it will not and gospel songs. Such numbei " of all nationalities, for a chamber music work have been listed and described in the notes f The Etude be difficult for you to convince them that they t the folloi of the Publisher’s Monthly Letter. These dedge and belief, t LP„„.r!!V “f tiJ| should subscribe. The price is only $2.00 a , rsaS-t■ztris-ss sr«i.-w'stsx aV&rJsstsi works are now obtainable at any music store ownershfp,nership, management, etc., of th< 1-esaid year and a one year subscription represents at a fair market price. Copies have been publication for the date shown in — —above one p0int credit on any gift you may select. ” , . ----- ...... i^oouage rounaatio caption, required by the Act of August 24, selections. There is, however, among capable changing voices. The vocal range of the boy of it can be used in connection with religions w°° da 110n' L,brar>' of Congress, mailed to advance subscribers. Anyone wish¬ 1912, embodied in section 411, Postal sfLaws The collection of gift articles offered by groups a need ior including in the repertoire limited' and' the rendition of the services and, as is the case“in 'this bodk°l!t ^asbinSton> C. ing copies for examination may obtain them Grade 8—Mathews ..$1.00 and Regulations, printed on the reverse of The Etude is so varied that any member of some numbers of anthem proportions. It is numbers in this book will demand neither high gives something to play that pianists of mod- *•-► from the publisher. this form, to wit: . , your family, or any friend you may wish to supply a complete and useful and satisfy¬ Christmas Carols for Treble Voices, as an¬ 1. That the names and addresses ofi uubi-the remember, will be pleased with some one gift jtenors nor low basses. Also, special'' care Is‘ —..' j^hnical attainments~^UIIUCULS alluand true music THREE PRIZES, of One Thousand. Fire $0 60 publisher, editor, managing editor, and busi¬ ing selection ot such numbers that this nounced last month, has been delivered to ness managers are: in our premium list. It is impossible for us volume is being prepared. All directors of those who ordered copies in advance of pub¬ Publisher Theodore Pt Phila- adequately to describe these gifts, but below .. .. delphia. Pa. men’s quartets or choruses will be making a young lication. For the benefit of those who may Cooke, Philadelphia, Pa. you will find a brief list of attractive articles good move in assuring themselves of not have read previous announcements, this Managing Editoi which you would make no mistake in securing. of this work at the low price of 30 w ....._ -m* is a collection of 15 favorite Christmas carols 2. That the owners are : including those best adapted for arrangements Theodore Presser Company. Philadelphia, Pa. ROLL TRA V—As a gift, or for your own placing an order in advance of publication this specialiFXJ&AsxL classification, s rsssriaSSSfi Sw'r Estate of Theodore Presser, Philadelphia, Pa. with delivery to be made as soon as ready, that there are a great 1_ The, competition Coses for treble voices. These are for singing in James Francis Cooke, Bala, Pa. table, this panelled-design Roll Tray is highly educators who |will be interested__ securing demanded._ February 29, 1936; and fun particulars rr_ . two-parts. An accompaniment for piano or $0.75 The Presser Foundation, Philadelphia, Pa. recommended. Size 12% inches by 6% inches. organ is given. Price, 15 cents; special dis¬ 3. That the known bondholders, mortgagees, Your reward for securing one subscription. Ten Tonal Tales a copy of ll’Aen Voices Are Changing'tor 'Although, at the time of this 1 be had fro™ the XationaI Broadcasting Com- .60 and other security holders owning or holding their own reference library at the special ad- a few weeks W elap^d sm^ the ^lar^ Pan>'’ 3° RockefeIIer PIaza- New York City. count on quantities. Melodious Studies for the Development of The Second Period at the Piano by Hope SHEET MUSIC—VOCAL DUETS, SACRED mortgages, or other securities are: None SWEETMEAT DISH—The unusual design Style in Piano Playing || nouncement of this book’s forthcoming ap- -► Hammerer is a “follow-up” book to the 15431 Jesus, Still Lead On. Sop. and Bar.— 4. That the two paragraphs next abovi of this chromium-plated, three-compartment Hosmer .$0.40 S'ving the names of the owners, stockholders By Harold Locke a conv at tho enmlil Pj^j-V1 thfir order forIor . THE WESTMINSTERu co 1 .111AM 6K CHOIRLHUIK SCHOOLaLtlUUL author’s immensely successful The First s-1 ‘“t, .-• ’ Sweetmeat Dish makes it especially attractive cash^Drice 30 m,i adva'.1?e of publication invites American composers to submit corn- Period at the Piano, adapted by many teach¬ the UstUoftystoc1kholdeFsaand security holders and desirable. Diameter 7 inches. Your re- The second year of study represents an im¬ cash price, 30 cents, postpaid. positions for solo instruments, ensemble “-ipear upon the books of the company ward for securing one subscription, not your portant phase of the pupil's music career as Presseds Manuscript Volume ers for class and private instruction. The use groups and for a cappella chorus, to be per¬ but a Iso,'inIn cases where the stockholderstockhi or own he is helped to gain facility in various phases of this book need not be confined to follow¬ security holder appears upon Composers„„mi. and advanced students of har- Singing Melodies formed at a Festivalrc5llVai to10 bedc heldnei in May. 1936. ing The First Period however; it can be intro¬ the company as trustee or m «u, vine, SAVAGE OVENETTE — A practical of elementary technic.c. This folio IS’ planned mony and composition often have sketches A Collection of Piano Solos With Words The worbs will be broadcast to fit in nicely at such broadcast over a national duced at the completion of almost any pri¬ SHEET MUSIC—VIOLIN AND PIANO fiduciary relation, the name of the person or kitchen utensil—bakes, roasts, toasts perfectly 1 a period since it gives and manuscripts that they wish to retain in In the musical growth of Di-mo si ml . ho°k-up. will be recorded, ai mary instruction book. Easy settings of corporation for whom such trustee is acting, ten attractive pieces HHL_ and will be used Grade Is given ; also that the said two paragraphs on any cooking burner—saves fuel—cooks folk tunes and excerpts from the classics 518 The Happy Dancers—Franklin 1 $0.: without overheating the kitchen. Approved real pleasure.^ They wimre^minwill serve as supplemen-8 1°“?Iocaf bookbinder is quite(T °expensive. take -theSe rt0 3 ?ere comes a time when melodic linesman,! “ the concert repertoire of tl contain statements embracing affiant’s full rv ^material will serve as supplemen- local bookbinder iisS quiteQuite expensive.exDensive. ItIt is harmonic structure'.;_ are^nTirteliiaX-r n • . ...n.. are indeed pleased to acquire the publishing 25993 Paean Exultant—Smith . 4 reason to believe that any other person, asso¬ 30103 Venetian Love Song—Nevin- ciation, or corporation has any interest direct subscription, not your own. notes^’ tZZ ‘"P1^-rendering repeated the best quality music writing paper. There in developing the rhythmio se, se J,.l ; ^ A 0XE HUNDRED DOLLAR PRIZE is rights for U.SA. of this modem piano in¬ or indirect in the said stock, bonds, or other TELEPHONE INDEX—This Telephone notes and grace notes, and in perfectmg the wdl be about 80 pages in the book. ing prop=rIv This ,* ■ 111 Pbras- offered bv the South Side Women's Thoru- structor. Price, 75 cents. securities than as so stated by him. (Signed) David W. Banks Index combines beauty with utility. It is staccato and legato touch. This volume be- _ While it will sell, when published, at a eon- variety of p^iano pit “ ^ a gQod of Chicago, for a setting of Alvin Winter Gil- CHOIR AND CHORUS BOOKS bound in genuine leather, blue or red, and longs m the permanent reference library of siderably higher price, Presser’s Manuscript beginners. ^Numerous for •vounff more's poem. Spring Jour nr v for three part The Cathedral Choir . For Publisher G Clef. Two-Part Chorus Book . Sworn to and subscribed before me this 23 includes a removable memo pad and a pencil. Send to Theodore Presser Co., 1712 Chest¬ day of September. 1933. One subscription, not your own. nut St., Phila., Pa., for catalogs giving sug¬ seal John E. Thomas. Notaryj.Send Puf post card for complete list of premiums aalilg gestions in Christmas Gifts for Musical Folk. (My commission expires March 7, 1937) offered by The Etude Music Magazine. dent, 1533 E. 66th Place, Chicago. Advertisement NOVEMBER, 1935 691 V

JUNIOR ETUDE- (Continued)

Around the World in Music Junior Etude Contest (Continued from previous page) The Junior Etude will award three Pa., before the eighteenth of-November. pretty prizes each month for the best and Names of prize winners and their con¬ 11274: orchestra Nos. 7087, 7090, 9598, Humperdinck’s Hansel und Gretel selec¬ neatest original stories or essays, and an¬ tributions will be published in the issue for 7316, 6751; concerto for two violins, Nos. tions are on Victor No. 7436. swers to puzzles. February. 7502 to 7504; choirs on Nos. 11285 to (This is a very large selection of rec¬ Any boy or girl under sixteen years of Put your name, age and class on upper 11296, 11181; and the great B minor Mass ords to choose from, and perhaps you will age may compete, whether a subscriber or corner of your paper, and your address on on 9955 to 9971. Preludes and Fugues not, and whether belonging to a Junior upper right corner. If your contribution from Well Tempered Clavichord on Co¬ Club or not. Class A, fourteen to sixteen takes more than one sheet of paper, do lumbia, Nos. 67823 D to 67826 D. years of age; Class B, eleven to under this on each sheet. Handel—orchestra, on Victor Nos. 6648, fourteen; Class C, under eleven years of Do not use typewriters and do not have 4220; song, on 36043; choirs, on 19822 age. any one copy your work for you. and 35767; Hallelujah Chorus on No. Subject for story or essay this month, When schools or clubs compete, please wwionj v-Qii pui.li UM as ,ai OO aSSOClUICU Will* lire. - “Why Music is Necessary.” Must con¬ middle ages for the beginning of her promi- Austria, but his compositions were so 35768. have your own preliminary contest, and tain not over one hundred and fifty words. nence in music and she continued to hold powerful at the time, that his influence was Beethoven—all the symphonies, espe¬ All contributions must bear name, age send in the best five papers. that place through the succeeding centuries, felt in all countries. He was born in 1770 Charade cially the Fifth, Victor Nos. 9029 to 9032; The Piano’s Hallowe’en Sonatas on 6391-6397; string quartette on and address of sender written clearly, and Competitors who do not comply with all The Troubadours spread into Germany and died in 1827. Bill Eley (Age 9) must be received at the Junior Etude of the above conditions will not be con¬ By Carmen Malone and there became known as Minnesingers Then came Schumann (1810-1856), not By Nos. 1218 and 1219; piano concerto on Office, 1712 Chestnut Street, Philadelphia, sidered. and Meistersingers, and you know from only a composer but also a journalist, who Nos. 7661 to 7668. Violin concerto on Place pumpkin-jack-o’-lantern a your history that they were sort of wander- did a great deal through his essays, for the Columbia Album No. 177. So its grin will light your keyboard ing minstrels who went from town to town cause of the type of music then considered Schumann—piano concerto on Victor And immediately you'll notice such a Nos. 6978 to 6981; piano quintette, Nos. and from court to court, telling tales of modern. change! Sight Reading Sight Reading chivalry and singing songs, giving the days Mendelssohn, a gifted composer (1809- 8092 to 8095; Scenes from Childhood on Nos. 7705 and 7706; Carnaval is on Co¬ (Prize Winner) (Prize Winner) First, a row of spectral figures news in this way. Hans Sachs was one of 1847), besides his own compositions, lumbia, Album No. 145. To be a good sight reader should be One of the most outstanding qualities of a Clad in white, like ghosts and goblins, these famous German bards, and Wagner brought to Germany a renewed interest in of every well trained musician’s educat truly brilliant musician is the ability to read made him one of the chief characters in his the works of Bach, and through his con- Mendelssohn—Fingal’s Cave is on Victor though this may be unduly stressed i music fluently at sight. Even at an early age Will appear, instead of plain white keys— No. 9013; the Violin Concerto is on Co¬ - mv_ ~i.~ -<■ a good musician if the student should strive persistently until opera Die Meistersinger. These Meister- ducting, brought forth many of Bach’s cases. The aim c how strange! lumbia, Album No. 190. terpret music accu.~...... that difficulty is mastered. ■ singers formed guilds, or clubs, and were great compositions that had never been rather than to be able to read anyth) Before playing a new piece, the student Wagner—especially Nos. 6791, 6245, Then, sly witches on their broomsticks, probably the originators of the Music Club heard since his own life-time, lessly at sight. , should note carefully the marks of expression, 9027, 9028, 7105 and 6858 on Victor; and A beginner should not do an excessive — 'ime and meter and key signatures. Black as bats, and cats behind them, idea, so popular today. They also held Von Bulow was a brilliant musician of amount of sight reading, as the greater part Album No. 79 on Columbia. Will appear in rows upon the black-key large contests and gave prizes to the win- the nineteenth century who did a great STATUE OF MENDELSSOHN IN LEIPZIG of his practice time should be spent on care¬ ,__„_n. He ■ Brahms—piano concerto on Victor, Nos. ful work. Thus he gradually increases his : vast improvement he ners; so, the next music contest you enter deal to champion the cause of Wagner, reading. 7231 to 7234; violin concerto on Columbia, have no trouble borrowing some of them ability to sight —J “* -—“ **”“ you can remember that the idea was started considered so modern by his contempo- -fshabits of acaccuracy icy. It is the teachi :r’s duty to furnish less dif- Should you wish to break the silence Album No. 140. Symphony No. 1 on Vic¬ from your friends, teachers or parents.) “ older h ficult pieces to m ore advanced students, pur- in the fifteenth century. raries. 1)1 poscly *- •——,-their sight reading. Cast upon these phantom figures, My whole is a study tor, Nos. 6657 to 6660. (No. 6 of this series, Italy, appeared in ■ade's leiow his ability to perfoi During the sixteenth and seventeenth Wagner was born in 1813 and early It will help greatly to look over the composi¬ . je should always remember that the ability An exciting way to do it is to play; I always will like. Strauss—Victor Nos. 9271, 9114; and the April issue.) tion before playing, noticing the keys and time to sight read well is a large part of the foun¬ centuries many musicians came to Germany became interested in the composing and (Answer: MUSIC) signatures, accidentals, repeat marks, etc. dation on which success is built. from the Netherlands, teaching the higher producing of operas, showing many very Although sight reading has its place in the Jeanette Higgins (Age 13), musician’s education, it should not be an aim South Dakota. forms of music, while the peasants were original ideas, which his friends consid- Be Prepared in itself. developing their own beautiful folk songs, ered very revolutionary. His principal Betty Sharper (Age 12), Michigan. Sight Reading so that by the time of Bach Germany had operas are: Die Meistersinger, Tannhauser, (Continued from previous page) (Prize Winner) become a nation of music-loving people. Lohengrin, Die Walkure, etc. He died Puzzle Bach’s music, of course, still stands su- in 1883. Music and Food I want to get all I possibly can from my to give exhibitions of sight reading ability. preme. He excelled in the art of poly- Then came Brahms (1833-1897), who is Dorothy’s performance was perfect— mental discipline. We shall call this "first By Annette M. Lingelbach music while I have a chance to take By Vern Orr phonic music and fugue, wrote masterfully considered by many to be one of the great- lessons.” slow pieces and scales and reading. Sara’s for the organ, as well as for voices and est composers. Opera did not appeal to Food makes you grow. It helps you to After Dorothy left, Sara thought about heart sank and her knees felt weak. She Answer the following questions; take inefficient. In this case we are inefficient But beware of striking goblins. instruments and he is still the giant ip him, but his songs, chamber music and grow today, while building up your body her practice, and wondered if she should played badly, for she had practiced fast the first letter of each answer; rearrange musical history. (His dates you know symphonies are outstanding, And beware of tapping witches— for tomorrow. do some slow practicing. “Oh, why so long she could not slow down. Her these letters to form the name of a well- particular r xecution. If Do be sure to signal them the proper way. were 1685-1750.) Next in order come Richard Strauss, Music helps your mind to grow and bother,” she said to herself. “I know those scales were full of stumbles and she was known oratorio. (Sur-names of composers Handel (1685-1759) wrote many com- and Humperdinck, who wrote the charm- pieces and that’s enough. I’ll let it go at a miserable failure. are used.) successful. Should you start to play them badly. positions in the same style as Bach, but ing child-opera. Hansel und Gretel; while that.” After the contest she said to Dorothy 1. Who wrote the “Unfinished Sym¬ For instance : suppose we are asked to ac¬ company some one who has a beautiful voice. They will scream and screech in discord. later became interested in the composition prominent among the modern composers The contest finally took place and the “At least I can be a good sport and con¬ phony” ? We may be commendable, as far as sight read¬ For the spooks are temper’mental, so they of operas, which did not appeal to Bach, are Schoenberg and Hindemith. hall was crowded. It happened that, gratulate you. You deserved all the hon¬ 2. What English composer wrote Salut ing is concerned, but what a’ say! Opera was further developed by Gluck The influence of all these great German among all the contestants, Sara and Dor¬ ors, and I appreciate your warning me, d’Amour? (1714-1787) and then the romantic genius, composers has been felt throughout the othy tied for first place. The judges con¬ even if I was too conceited to pay atten¬ 3. Who is known as the “Father of the o prove our ability in sight reading we n von Weber, fond of fairy stories, who world, and their compositions are con- ferred and decided that they would ask tion to you. And now I know what the Symphony” ? Myrtle Roy (Age 1 wrote operas more as we have them today, stantly heard on orchestra and concert pro- them to play their pieces once more, this motto means. After this I will really BE 4. Who wrote Traumerei? Mis! Be Prepared Meyerbeer was the next great German grams today. Practically all of them may time slowly, and to play some scales and PREPARED.” 5. When a musician plays something that has never been composed nor played By Frances Gorman Risser °P(Haydn,erMozart and Schubert will be flon^but ^Mltwinrare^commendH • futme UpIyour.professions or hobb7 f°" the before, what is he doing? included in the chapter on Austria.) Bach-^rgan, on Victor Nos 742l' [n Twifle ‘° aPpreciate, *** Sara and Dorothy were playing their 6. What term is given to sharps, flats or Beethoven, though born in Germany, be- (Continued on next page) ’ other peopled lives ^ P* yOU l° understand Dear Junior Etude: naturals not appearing in the sig- pieces to each other—the pieces they were Answers to June Hidden I took music lessons for three years and going to play in the annual- contest. Food gives you courage and cheerful- Composers Puzzle: have practiced by myself for four years since. I play first clarinet In our city band but the 7. Who wrote the Magic Flute? “You play your pieces beautifully,” ex¬ ness- It revives drooping spirits and makes Bellini piano is my favorite instrument. I have ac¬ claimed Dorothy, “but don’t you think you y°u see things through rose-tinted specta- companied choruses for school and church and Mozart sing tenor in our glee club. ought to go over them slowly once in a Palestrina From your friend, The Scale Race Game while? And I have not heard you play Norman Fisher (Age 14), Balfe North Dakota. By Gladys M. Stein a scale for ages!” _ . spirit. It makes your spirit sing". It helps Chopin “Why should I do them slowly, when I Dear Junior Etude : Arrange the players in a semicircle >’fm to "lake friends and gives you interest- Handel They call me a little fairy and I hope to be know them so well I can go lickety-split Elgar as dainty, smart and sweet as they are. around the piano keyboard, and set a through them all ? As for scales, why I am eight years old and I walk to the high Metronome ticking at a moderate rate of Food develops muscle and endurance and Verdi. school, which is over a half mile, to take niy bother with them?” music lesson. I play at least twelve pieces “Well, I do not mean to criticize, but I and ten duets, second and third grade, and Have the player nearest the bottom of Prize Winners for June have been taking lessons about ten months. do think the runs in your Etude could go the keyboard begin on the lowest “C” of Puzzle: Santa Claus brought me The Etude for Christ- smoother.” the piano and play the C major scale (any Venant Cauchy (Age 11), Ontario. From your friend, “Oh, you are just an old fuss-bug like Ina Merle Watson (Age 8), scale may be used) upwards one octave Miss Wells,” complained Sara. “All I Virginia Kaufmann (Age 11), New with his left hand. Then the moment he hear from her is scales, scales, scales, and York. strikes the last note the child standing at Honorable Mention for June Honorable Mention for June slow practice and sight-reading. She is Ruth Jones (Age 14), Oklahoma. his right takes up the scale on the next Essays : always looking on the dark side. Take Puzzles : key, and continues it for another octave. that motto hanging on the studio wall, Ruth Messick, Ben Cahill, Mary Lois Alen, Jean E. Heisler. Vera Pennekamp, Althea The children keep playing the scale up Rose, Mildred L. Austry, Jimmie Wilton. Vir¬ ‘Be Prepared.’ I’m prepared and that’s Daisey, Mary Rita Chamberlain, Gwendolyn and down the keyboard until some one ginia Tate, Burke O’Neal Esaias, Vera Penne¬ enough.” Jackson, Mary Hill, Anita Huff, Beatrice kamp, Keith Mahan, Mary Emily Greenway, Berns, Augustine Hillyer, Anna Bell Gaston, makes a mistake either in fingering, notes, Hortense Mason, Marilla Lawler, Gertrude “But you might need something besides Gloria Swanson, William Anderson, Marianna or loses a beat with the Metronome. Paxon, Marie L. Potter, Grace Allman Bonner. those pieces you think you know so well. Murdock, Estelle Harris, Eleanor Johns, Ver¬ Emily Hausman, Carolyn Deeterman, Edith non Alexander, Josephine Stevens, Merle An¬ When this happens that player is dropped Woolman, Anna Marie Masters, Mildred I am not working for the contest alone. drews, Helen Babcock, Isabel Jones, Phyllis from the game, and the scale started over Hauptman, Emma Linderberg, Katherine (Continued on next page) Amderton, Hilda Roland, Lillian Peterson, again. The last child to remain in the Miller, Muriel Cook, Josephine Edwards, How¬ BACH’S BIRTHPLACE IN EISENACH, GERMANY Thus music is a necessary food and Frances Keating, Gertrude Ferguson, Roberta ard Pitts, Aloway Hughes, Patsy Jamison, should be ; B SHARP MUSIC CLUB, TRACY CITY, TENNESSEE Howland, Ernestine McDonald. circle wins. 692 part of every one’s daily life. Anne Stryker Collins. THE ETUDE NOVEMBER, 1935 693 ly short than long. When long, before to about the year 1800, should be performed, Musical Embroideries at the Piano notes divisible by two, they take one-half, as regards ornaments, exactly as directed and if divisible by three, two-thirds the by C. P. E. Bach and Clementi. After that time, two changes are noted. Trills (Continued from Page 643) value of .the main note. The main note following a long appoggiatura should be of some duration start on the main note, W DITSON PUBLICATIONS taken rather softly, that is, the stress is to and the bebung (a vibrato reiteration of a note with a regular change of fingers with often played a the use of all but the most common orna¬ be given to the grace. ’ increase and decrease of sound and speed, quintuplet. ments. His shakes may be begun with the Bach often incorporated many ordinary with use of pedals) is introduced. main note as often as with the upper acces¬ ornaments in his text, particularly when Chopin (1809-1849) was brought up in sory. He uses the slide as well as the there was a likelihood of a player taking IMPORTANT ADDITIONS TO MODERN PIANO PEDAGOGY acciaccatura. them too quickly or too slowly, or to in¬ the classical school, which is a vague way George Frederic Handel (1685-1759) troduce questionable accidentals, or to mis¬ of saying that he was strictly conservative used comparatively few signs. His trills apply them. in his rendering of ornaments and in full may sometimes, but not as a rule, be begun Gluck’s (1714-1787) ornaments are of sympathy with C. P. E. Bach’s distinctions, FOR THE PIANO An inverted or back turn is indicated by on the main note, in the Italian manner. the simplest—long and short appoggiature, and any doubt as to rendering his orna¬ a line drawn through the sign ofs, or by The dot, with Handel, has but an approxi¬ trills, slides, and the combination of short ments which are expressed by signs, dia¬ the usual sign used vertically %. The mate value; and, after short shakes, it often appoggiature from aboye or below with tonic or chromatic notes required, their same rules may be applied in playing them stands for a short rest in execution. trills. * rhythmical position and details of arrange¬ ment in the time of the measure may be ROBYN ROTE-CARDS as to the uninverted turn. They should be Johann Sebastian Bach’s (1685-1750) Haydn (1732-1809) was very careful to started generally on the lower auxiliary ornaments are diatonic, that is, sung or follow C. P. E. Bach’s directions as to solved by reference to him. All traits of note. Accidentals affecting the turn are played with the notes of the scale. Chro¬ ornaments. small graces, fioriture, usually written by TEACHING MUSICAL NOTATION WITH PICTURE indicated by placing the signs for them matic notes are permitted only when Mozart (1756-1791) generally followed Chopin under a slur, are to be piano or either above or below the sign of the turn modulating, or to avoid abnormal intervals. the practice of his father, who in turn de- pianissimo, regularly, with little nuance SYMBOLS AND STORY ELEMENT itself. of tone so that the whole may turn in a It should be pointed out that the musical sort of aerial way toward the main note, “Tell us a story” has been the cry of humanity since the world began. The greatest world is greatly indebted to Carl Philip the prevailing movement being hardly inter¬ delights of childhood are fairy-tales, story-books and the endless sagas of the “funny parts.” Emanuel Bach for nine chapters on mani- rupted. Trills, prolonged ones especially, But when pre-school children face the abstract facts of musical education, they are bewildered. begin with the upper accessory (the melodic eren (graces) contained in his “Versuch.” Only by turning this dry, abstract, technical knowledge into story form can the child-mind Familiar with the music and musicians of outline not to be disturbed) and there is grasp them. Uninteresting facts can only be understood by the child through the opening the world of this time, he was a cosmop¬ * Next Month a fondness for chromatic closing notes. olite and with the best of judgment and Graces preceding the main note, that is, of that great shining door, the imagination. taste selected the most useful graces and THE ETUDE for DECEMBER 1935, Will Be Another Memorable Christ anticipatory in their execution, are compar¬ This book, the system of Robyn Rote-cards, is based entirely upon pictures with story atively rare. formulated rules for their execution which element. Each rote-card has a definite and individual story behind it, and each story is based represent the best practice up to his time. With Mendelssohn (1809-1847), as with Moreover, most of his observations are Scarlatti, signs are few and simple, and his on a different and necessary musical notational fact. equally applicable to modern music. He notation is always clear. In his extraor¬ says, that “Though manieren are very use¬ JOSE ITURBI dinary vivacity, Mendelssohn recalls Scar¬ BY ful, they may do much harm if they are Jose Iturbi, whose art and Latin verve have latti at the harpsichord. Many of. his ill chosen or employed too frequently and made him one of the most prominent pianists effects in piano pieces are obtained by a LOUISE ROBYN in the wrong place. . . . One ought to and conductors of our time, writes on “Honesty rapid succession of notes without pedal. in Plano Playing.” learn to distinguish between good and bad In Schumann’s (1810-1856) music the manieren and to execute the right number state of things is much more complicated. .75 of good ones correctly and in their due SAM FRANKO His piano music has little in common with places.” A few of his rules relating to that of the harpsichordists and cannot be embellishments may be given. Sam Franko, whose services to the art of play¬ played without very free use of the pedal. 1. Key signatures apply to the notes of ing the violin have produced scores of men who have found places in the greatest orchestras of Many details in his early works, intended an embellishment, unless accidentals are America, writes a charming article on “A Fiddle to do duty for embellishments, are pedal THE ADULT APPROACH used in conjunction with the notes com¬ Box of Memories." effects. - Sometimes they are novel and prising it, or with the sign; or when a telling, at others almost crude. Schumann melody is modulating into another key. LOTTE LEHMANN was exemplary in his notation of any sub¬ 2. Embellishments should be taken at a tlety or outright innovation, and in such TO THE PIANO proper rate of speed, having due regard Lotte Lehmann, dramatic soprano of the Metropolitan Opera, writes on cases left little doubt as to his real inten¬ to the value of the main note and the pre¬ "Let Nothing Discourage You.” A thoroughly brilliant article that will tion. He often uses an anticipatory acciac¬ give valuable counsel and encouragement to many a young singer. MARY BACON MASON Price, $1.00 vailing sentiment of the piece. Those com¬ catura (a short appoggiatura before the posed of many notes can be applied only to beat) when a pedal effect is intended. proportionately long notes, whether due to MANA-ZUCCA Sometimes the two are used in different their actual value or the tempo of the piece. parts side by side, and his arpeggio is fre¬ The ADULT APPROACH TO THE PIANO is a method and Mana-Zucca, composer of the most sensationally successful song of the 3. Brilliancy of effect should not be quently anticipatory. marred by undue prolongation of the main hour, “I Love Life,” furnishes a fascinating article upon “Music of the New Day,” the sort of music which Is to survive and to be heard in the While it would be impossible in the space not merely a collection of pieces for older beginners. It combines note, nor clearness sacrificed by playing of a short article to treat the subject of certain kinds too rapidly. Thus they are ornaments as it deserves, enough has been method and good musical literature adapted to the purpose, carefully more serviceable in slow than in quick THE MAGIC CARPET OF RADIO said to enable the student to judge of the tempo, and more frequently used with long importance of a correct rendering of them, graded and designed for quick development. than short notes. They are more suited to In this notable article, Gustav Klemm, composer and fora and to give guidance in a general way in cases where a melody comes to a climax, executive, reviews the marvelous development of the radio anc their interpretation. or when the sense is either partially or in bringing about the present great revival In music study. wholly determined, as in a cadence, semi¬ cadence, on a caesura or a fermata. CHORD GRAFTERS 4. Manieren of tiny notes always belong OTHER INTERESTING ARTICLES by distinguished t, to the following main note and take from its LOUISE ROBYN Price, 75 cents value. They never take from the value of a preceding main note. Music Extension Study Little attention has been directed to the subject of fundamental chord playing in the piano literature for the beginner. CHORD 5. Graces must begin with the bass or Course CRAFTERS will for this reason take its place as the first other parts and delay only the note to book introducing the EIGHT FUNDAMENTAL CHORD- which they are attached. They form a Ornaments belong to the time of the main pended upon Quantz, Marpurg and C. 1 (Continued from Page 648) ATTACKS with full explanatory material and technical exam¬ legato connection with the main note; the note and are subject to the beat, that is, E. Bach for guidance. In the case < ples for both teacher and student. legato is obligatory. they must be treated as, melodically, a Mozart, the trouble has been that engravei with the other right hand passages, will The author has in CHORD CRAFTERS adapted the complex 6. All manieren should be practiced with part of the thought. Occurring at a pause, have been careless in the use of signs. F< principles of chord technic to the plane of the child’s under¬ both hands separately and with all sets of develop finger legato if played exactly as in a final cadence or in recitative, they may example, appoggiature, whether short c marked. standing and interest. The Eight Fundamental Chord-attacks fingers, in order to acquire dexterity and be taken at pleasure as regards speed and long are written short, and the meanin are introduced with adaptable story element and attractive pic¬ facility. This is especially important in duration. Prolonged trills generally start of signs for turns and other graces intei tures, each technical principle embodied in short exercises and WILD FLOWERS etudes which will interest the young student and also simplify compositions in which imitations occur. with the upper auxiliary, especially if the preted by means of tiny notes, which a main note has been touched upon just be¬ By Louise E. Stairs chord principles for the teacher. Many Minds most never show the rhythmical arrang, fore the shake. This traditional rule may ment intended. In this simple waltz the theme alternates CHORD CRAFTERS is designed to fill the needs not only NATURALLY, ornaments should be be set aside when the trill begins after a between the hands. The melody is in the of the child but also of the older student at the piano. executed on the modern pianoforte, pause or where the melodic outline would The Piano an Influence right hand for the first four measures, and as nearly as may be, in the manner of the be blurred if begun with the upper note, the left hand takes the theme in the an¬ BOUT THE MIDDLE of Beethoven individual composer, whether he be classi¬ as when the preceding , note is one or more A swering phrase. This alternation continues cist or romanticist. For that reason some - (1770-1827) career, the piano ha degrees higher than the note on which the everywhere superseded the clavichord an throughout the first theme which is in the ANY OF THE ABOYE LISTED WORKS MAY quotations are given from Dannreuther’s key of F major. shake occurs. Trills on a dotted note stop the harpsichord. The greatest plaver c authoritative work on “Musical Ornamen¬ at or near the dot. The closing notes of his time, brought up on C. P. E Bach1 The second theme is in the dominant key tation,” to indicate in a general way some ON APPROVAL FOR EXAMINATION FROM YOUR DEALER OR THE PUBLISHER a turn, when not specifically indicated, may “Versuch” and the greater Bach’s “Pre of C major and in this section the melody of the differences that may be found and be added or omitted as the player chooses. ludes and Fugues,” his touch was rathe lies entirely in the left hand. The melody to suggest that in cases of doubt the student Traditionally, they are required at the end parts are to be played with deep pressure refer to it. finger than wrist and implies legatisswu of an air, or an instrumental piece of pre-' Whereas many executants give him only touch and the accompanying chords very Domenico Scarlatti (1685-1757) avoided tension. Appoggiature are more frequent- lightly. Pedal may be used at the discre¬ questionable legato. His compositions u tion of the teacher. 694 OLIVER DlTSON COMPANY, Inc., 359 Boylston Street, Boston, Mass, s?‘;l5 srdlS^sirc.' CANTATAS INSTRUMENTAL NUMBERS

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