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

3-1-1935 Volume 53, Number 03 (March 1935) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 53, Number 03 (March 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/831

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MARCH 1935 Page m

CAlways Enjoyable to (Pianists ! HERE’S A BOOK Everybody and to CAudiences for Whom d'hey ddlay— Has Been Hopefully' The Playing of PIANO DUETS Expecting

FOUR-HAND CONCERT DUETS A NEW BOOK PIANO STUDENTS should be EXHIBITION PIECES Favorite encouraged to use this inter¬ Price. $1.25 for esting medium for the rendi¬ tion ci delightful music and Efficient pianists will find these Four-Hand Pieces 14 duets worthy of their capa¬ THE ADULT lor the continued development (SHEET MUSIC) oi their pianistic abilities. bilities. They furnish superb material for real recital or con¬ Title and Composer Price BEGINNER For AVERAGE PLAYERS, iour- cert work. Needless to say, Grade 1 hand numbers provide a good pianists also will get much Sing, Robin, Sing. .Spaulding .35 splendid lorm of diversion pleasure in their use in private Grade IVi and serve as welcome enter¬ recreation. A fascinating instruction book for the pi taining features for home, Tommy's New Drum (March) community, church, lodge or ORIGINAL Preston 250 written for older pupils. Contains, in - - - other social groups. Grade 2 illustrated by easy-to-read charts, the rudiments of music, including FOUR-HAND PIECES Water Nymphs (Waltz) scales and simplest rules for building chords. Also a wealth of PROFICIENT PIANISTS in ioin- Price. $1.25 Anthony .40 ing forces to play piano duets While not extremely difficult, Jolly Darkies.Bechter .40 favorite melody gems, such as, Nevin's R0SfRf give their programs variety these 26 high character piano Pride of the Regiment (March) SERENADE, CARRY ME BACK TO OLD VIRGINNY, ROSE and a touch of the novel. It is doubtful if any collection of substan¬ duets, for an adequate rendition, tial piano duets approaches anywhere near Crammond .40 OF TRALEE, VIENNESE MELODY. SILVER THREADS PIANO DUET MATERIAL is require performers of some abil¬ this compilation in popularity. There is Gathering of the Fairy Folk' AMONG THE COLD, 0 SOLE MIO, ALOHA OE, etc., etc., here suggested to meet the ity. They are not arrangements. quite a variety and these duets are attract¬ Mathews .40 The Wide World arranged effectively in simple keys, easy to play. needs of players from the All are original writings for two ive and impressive, yet players in grades A May Day.Rathbun .60 youngest student up to the players at one piano. three and four may handle most of them, Little Indian Chief .Strickland .30 Write for your copy of THIS WONDERFUL BOOK recital pianist. although several are a little more difficult. Little Festival (March) Wright .40 CELEBRATED Grade 2V4 PREPARE NOW FOR SPRING LIGHT OVERTURES The Camel Train.Baines .60 at YOUR Door Under the Mistletoe (Waltz) John M.Williams' AND CLOSE-OF-THE-SEASON FOR PIANO. FOUR-HANDS SOUSA Every copy of The Cliristian Science Moni¬ RECITAL PROGRAMS Price. $1.50 Engelmann .60 A Spanish Dance_Ketterer .50 “FIRST BOOK FOR THE ADULT BEGINNER” tor which the postman leaves at the door Extremely interesting piano four- ALBUM Rose Petals.Lawson .30 hand arrangements of favorite contains a full-length picture, in true per¬ Grade 3 124 Delightful Pages - - Price $1.00 light overtures are given in this spective, of the world of that date. I his is .VERY volume of 170 pages. (It may be Salute to the Colors (March) well here to note that this same Anthony .60 THE BOSTON MUSIC C

1712 CHESTNUT ST. music publishers ^HEODORE PrESSER Co. ’SVsss . Price of regular Monitor subscription Philadelphia, Pa. □ 1 month .*®-75 □ 3 months . 2-25 HEADQUARTERS FOR THE PUBLICATIONS OF THE JOHN CHURCH CO. □ 6 months . *.50 eciai offer. O 6 issues .. AS THE ETUDE Page 130 MARCH 1935 Information for Editor Etude Readers & Advertisers Copyright, 1931, by WHERE SHALL I GO JAMES FRANCIS COOKE TO STUDY? THE ETUDE MUSIC MAGAZINE THE ETUDE The Etude Music Magazine Founded by Theodore Presser, 1883 Associate Editor Published monthly by EDWARD ELLSWORTH “Music for Everybody” THEODORE PRESSER CO., Published Monthly Philadelphia, Pa. HIPSHER By ; Private Teachers j Entered as second-class matter January 16, r L. F. I ! Pianoforte — Repertory — Appreciation [ Remittances Happenings and Activities Pertaining to Things Musical Everywhere 230 WEST 59th ST., Wcto"j.CGmbel Frederick WWwLlell __ch< ALBERTO JONAS ; United States THE MUSIC TEACHERS NATIONAL MARCELLA SEM- < Celebrated Spanish Piano Virtuoso [ William M. Feltonflditoro/ MuSc Sion of The Etude JOHANN STRAUSS III A RICHARD STRAUSS FESTIVAL, in BRICH, one of the greatest honor of the seventieth anniversary of the ASSOCIATION met in Milwaukee from De¬ made his first appearance in cember 27th to 29th, with eight hundred vocal artists of all time, . ___ . 19 WEST 85TH STREET, NEW YORK CITY America when in December composer’s birth, was held lately at Amster¬ , Tel. Endlcott 2-2084 On Wednesdays in Philadelphia a dam, Holland, when the composer was pres¬ present. There was enthusiastic discussion passed away on January JT-TtT CONTENTS he began an engagement as of many live problems connected with the 12th, in New York. Born §“Ch Johann leader of an orchestra of ent to conduct a performance of his latest World of Music. profession, by some of its most eminent February 15, 1858, at Wis- ; LaFORGE-BERUMEN STUDIOS l ?aid. * PP* Strauss III thirty-five musicians, at the opera, “Arabella,” as well as of some of his niewczyk, near Lemberg (now Lwow), Po¬ Etude Historical Musical Portrait Series. symphonic works on the programs of the leaders. Frederic B. Stiven, of the School of , Voice—Piano J French Casino of Chicago. He is a grandson land, as the child of a musician-father, she Manuscripts Concertgebouw. Music of the University of Illinois was * Frank La Forge teacher of Lawrence Tlbbett „ What I Learned from Broadcasting.A- Martin, ldn of the original Johann Strauss, who made his elected president, and D. M. Swarthout, with had piano lessons at four, was soon studying Manuscripts should be addressed to The •a-f < since October 1922 * Relaxation Rather Than Contraction.II. II. Price 13b Viennese debut in 1826, and a nephew of THE THIRTY-FIFTH “American Com¬ the same position in the University of Kansas, the violin, and in 1869 entered the Lemberg ' 14 WEST 68TH STREET, NEW YORK a Short Memorizing Course.A. M. Harrington 1.17 Etude. Write on one side of the sheet Johann Strauss, the “Waltz King” (son of Conservatory. At sixteen she played a Hun¬ J Tel. Trafalgar 7-8993 a Why Retain Music in Public Schools.J/. //css 138 posers Concert” was presented on December continues as secretary. An invitation of the the former), with whose immortal On the fifth, by the Rochester Symphony Orchestra, Philadelphia Music Teachers Association, garian Rhapsody of Liszt for that master, fol¬ Beethoven's Estimate of His Contemporaries./. Bengis 130 Beautiful Blue Danube he introduced his first : RICHARD McCLANAHAN The Very First Lesson.A. A. Wlhtol HO with Dr. Howard Hanson conducting. Com¬ through its president, Edward Ellsworth lowed by a difficult fantasia for violin, on < Representative TOBIAS MATTHAY ] Pupils Everywhere.A. E. Ahaire 141 American program. posers, represented at the event, were Herbert Hipsher, to meet in that city in 1935, was Polish themes, by Wieniawski, and then sang ; Private-jesson^classdessons^n Fundamenta s A Little Bach Program Recital.L. llinman 142 Inch and Marjorie Truelove MacKown (with unanimously accepted. for him, eliciting his historic “Sing! Sing for Do We Listen Creatively?.H- E. Enders 142 Advertisements THE “CASTOR AND POLLUX” of works in their first performance), Timothy •a-s> the world, for your voice is that of an angel.” . 806 STEINWAY BLDG., NEW YORK CITY J Widor, Grand Old Man of French Music.M. DumcsnU 143 Advertisements must reach this office Rameau is the work chosen this year for M. Spelman, Paul White and Dr. Hanson. HENRY HADLEY has resigned as presi¬ Having studied singing in Vienna and with Debussy and Pedal Blur.C. Lucus 145 not later' than the 15th of the second presentation in the remarkable series of re¬ Lamperti at , she made her debut on : LAURA STEINS RHODE : dent of the Musician’s Club of New York Nuggets of Piano Wisdom.II. E. Eycrs 140 month preceding month desired. Rates on vivals of early classics Of the musical stage,' HANDEL’S “MESSIAH” had a rather May 5, 1877, at Athens, as Elvira in Bellini’s Records and Radio./’.//. Reed 140 application. City, a position which he has filled for a long ", PIANO, Beginners or Advanced [ by the Oxford Opera Club (England). In his unique performance on December 23rd, when period. The position makes rather heavy “I Puritani.” Her American debut was on « Instruct1 on in Accompanying Band and Orchestra Department.V../. Orabel 147 The Overture to “Der Freisehutz".V.J. Orabel 147 Advertising Representatives score Rameau is said to be less passionate given at Long Beach, California, by the Long demands upon the time of its incumbent; and October 24, 1883, at the J VOICE, Coaching and Tone Production « than Monteverde, his predecessor by a cen¬ Beach Civic Chorus, with the Long Beach Music Study Extension Course.J. Thompson 148 Eastern Western this time Dr. Hadley desires for his personal House; and for a whole generation she was a Studio: 34 Charlton St., New York City ’ Teachers' Round Table.C. 0. Hamilton 149 Spencer Young Co L. F. McClure tury, and less human than Gluck, who came Municipal Band filling the role of the usual work. one of the brilliant stars of that vocal con¬ “Funeral March” of Chopin.II. Rosenthal 150 280 Madison Avenue 919 N. Michigan Ave. twenty-five years later. orchestra. Herbert L. Clarke, conductor of -3-i- stellation which included Patti, Nordica, * RALFE LEECH STERNER I New York, N. Y. Chicago, III. ,

“(TTF MUSIC be the food of love, play on,” pleads the / Du\e in "Twelfth Night," with the keen, unerring (Jx acumen of the first citizen of Stratford. Tins was no new association, for ever since there was music it has been the companion of love. Whether music fosters love, or whether love fosters music, is not the subject of these paragraphs— merely the immortal relationship. Dryden, in his “Ode to St. „inly one of the mm moving of ta »

of the haircloth sofa days is peppered From harmony to harmony. Through all the compass of its notes it ran. The diapason closing full in Man. tTthe Vung^adiJof thf tune, who, for the larger part were .life than that of being lg but a figment of music, it is only rely moored at a matri'

a commonplace; and the home, in thousands of instances, instead of being a tightly knit community of devoted interests, has been dis¬ sipated by many distinctive factors. The fortification of the

“Lor me! How music does ma\e me affectionate! Faith, love and music are t When I hear Annie Laurie and the likes, my heart swells man, any priest, any rabbi. Girls Blessed soul! The greatest of romances are ofttimes those music with a view to manufacturing matrimon which have never left the bounds of the imagination. The are thinking beyond the altar. “What will dream is always finer than the consummation. Love is the music mean in keeping my future home together? What will realization of the loftiest of human ideals—and, the higher it mean in my relations with children; in my later life?” the ideals, the finer their realization. With the ephemeral music of yesterday—the era of Sidney Certainly our foremothers in the Victorian era were aware Smith, Brinley Richards, Leybach and Gustav Lange—it could of the potency of music in love, as doubtless have jjeen all the mean but little; but with the permanent and beautiful litera¬ daughters of Eve for all time. In that day, when girls, who ture of the classics, the young woman acquires one of the “did not have to work,” were quite necessarily chattels to be greatest assets of life, which, if administered properly, may disposed of via matrimony, music was looked upon in many become of priceless value to every member of her future house¬ homes as one of the desirable baits for the marital trap. Clari- hold, enriching the lives of all. Notwithstanding her recogni¬ bella, or Sarah-Mirella, or Lucy, did not study r tion of this new dignity of music as a necessity in the home, the for art’s sake. When they struggled ' " girl of today knows, as have all of her ii Her Bright Smile Haunts Me Still; Moo „ er the t or Come Back to Erin; they were thinking of a very definite s of life, which is r : the pe: audience of one mustached and burnsided ^individual who would of a lovely fl be so suffocated by emotions aroused by the said musical mas- The sweet young sophisticates of today are by no means

Many a maid of those picturesque days frizzed her hair, tight¬ it instinctively, just as a butterfly finds its way to the blossoms ened her stays, turned down the gas, and then (with proper with the sweetest honey. Many of them may be guilty of turn¬ dignity of course) materialized Cupid to the strains of Sweet ing on the radio at the appropriate moment; but a program Alice, Ben Bolt. “Sweet Alice” was usually infallible. It was of jazz may produce anything but a romantic atmosphere. Some

THE ETUDE MARCH 1935 Page 133 MARCH 1935 THE ETUDE What I Learned from ^Broadcasting "NOTHING IS IMPOSSIBLE” of the girls of the present certainly know that the very picture

Musics Influence Upon Mankind

P>y Maxwell Hess

FROM AN ADDRESS DELIVERED BEFORE THE WEST VIRGINIA FEDERATION OF MUSICAL CLUBS

man with a musical training is sometimes had in his mind when he gave twelve mil¬ education for students in public schools. able to think all around the other fellow INCE the depression some taxpayers lion dollars for a music school in Roches¬ S Dr. Philander P. Claxton, formerly U. S. and legislators who have not thor¬ ter? No hard-boiled business man would muscles and your mind to hit just the right Commissioner of Education says, Music oughly investigated the educational invest such a fortune in something unless in a business deal. has the greatest cultural importance of any value of music, have suggested that we take he thought it had more importance than a Music makes for accuracy. When you other subj ects; it has a practical importance this important intellectual and sociological mere pretty accomplishment for girls. have to play thousands of notes, one after force out of the public schools! as great as reading, writing and arithmetic.” note with the right force at the right time, Herbert S. Weet, Superintendent of Herbert J. Tily, President of the great Our public schools are the most important Strawbridge and Clothier Department Store another, you have to train your nerves, your institutions of the country, as upon them Public Schools of Rochester, New York, ness activity, and think what it means. The says, “Music is essential in the develop¬ of Philadelphia, and for two years the our future citizenship depends. While they liveliest President that the Retail Dry Translate this drill in accuracy into busi- naturally represent a great cost or outlay ment of the aesthetic life and the emotional training in memory that one gets from life, and is just as important in the school Goods Merchants’ National Association, of public funds, they are indispensable to with three hundred thousand members, ever music is unsurpassed. If memory is valu¬ the life of a self-governing people. They program as arithmetic.” had, and who has a degree of Doctor of able to the business man, this training alone are a vital factor in the development of Dr. Russel J. Condon, Superintendent of Music and composes music that is in popu¬ is worth while. those mental habits, traits of character, and the Cincinnati Public Schools, says, “Music lar demand, plays the organ every Sunday, Poise is another thing that music culti¬ social and civic ideals, which contribute to is the great big driving power of life; and and has conducted the Store Choral Society vates—the ability to collect yourself and the development of an industrious, useful, the school system which does not make make yourself do what you want to do at large provision for both vocal and instru¬ for twenty-five years, is an emphatic be¬ happy and desirable citizenship. If char¬ command. That means self-control. It mental music does not deserve the name.” liever in the practical value of music in acter building is one of the objectives of gives you confidence to face any emergency These statements were made by members life. the public schools, then this can be accom¬ that calls for quick mental action plished in no better manner than by the in¬ (school superintendents, not musicians) at the annual convention of the Department of Musical Patriot-Statesmen fluence of music, combined with constructive A Tonal Tonic work in character building. Superintendence. The speakers all ex¬ AT THE BEGINNING of our republic, pressed the deep conviction that music is il men like Thomas Jefferson, Michael IN ADDITION to all this, the study of Music a Vital Force a vital part of. living and should count as Hillegas, the first United States Treasurer, music gives you a means of refreshment IT IS THEREFORE of primary im¬ one of the fundamentals, equal with other and Francis Hopkinson, Judge of the United and recuperation in your leisure time, which portance that the schools have a care¬ basic subjects of the school program, as States District Court, all were excellent is one of the most interesting and delightful fully planned program of ethical and cul¬ shown by the sentences from some of the musicians; while Washington, Franklin and experiences in life. When one is playing, tural activities, activated continually by the resolutions which were unanimously passed. others took an immense interest in practical he thinks of the music and the music only. giant inspirational force of music. Music It reads thus: “We the Department of music. It takes one's mind off the daily grind. is the greatest emotional stimulus available Superintendence therefore, resolve: Mr. Charles M. Schwab, President of the When one knows music, everything heard BEETHOVEN IN THE FIELDS in public school education. That is, the Bethlehem Steel Company, America's Steel at the theater, at the opera, at the concert, child who is presented with an ethical, “1. That we favor the inclusion of King, started life as a professional music and over the radio takes on new interest. character forming principle, while under music in the curriculum on an equality teacher and organist. He has never ceased Dr. Frank Crane said of music, "I am the powerful influence of music, is far more with other basic subjects. We believe to state his gratitude for’the mental drill he glad that when I was a boy I studied piano strongly impressed than without music. that, with the growing complexity of received through music, a drill which has playing persistently and enthusiastically, for Estimate of His Fellow ‘Musicians Thousands of practical educators will tes¬ civilisation, more attention must be helped him in all his great work. it has meant to me infinite pleasures in my cBeethoven’s tify to this. There is no other force which given to the arts and that music offers Did you know that many of the greatest grown-up life. ,1 never had the talent to can sociolize, energize and guide the emo¬ possibilities as yet but partially realised statesmen in the world have had a practical make a musician, but that is not the point. tions of masses, from childhood to maturity, for developing an appreciation of the musical training? Among them are Bal¬ The point is that those early hours at the Py Jerome Bengis like good music. finer things of life. We, therefore, four, former Prime Minister of England; piano have been the cause of many and If the general education of the American recommend that all administrative offi¬ Benito Mussolini, Premier of Italy; former many another hour of pure happiness in child is to attain its highest goal—ideal, cers take steps toward a more equitable Premier Painleve of France; Edouard Her- later life I’' E HAVE HEARD enough about sions were of those men who were all more already given up all hope of being cured the hero of his own highly romantic opera. responsible, capable citizenship—it cannot W adjustment of music in the educational riot, former Premier of France, and Pre¬ Edgar A. Guest, popular poet of the the world’s impressions of its or less misunderstood in their own day. from his fatal illness, he writes: “I am dispense with the need for stimulating an A Big Nature program, involving time allotment, mier Paderewski of Poland, one of the people, in commenting upon music has said, great men, impressions which beyond hope. If anyone can save me, his appreciation of music and beauty. number and standard of teachers and greatest pianists of all time. "It is the utterance and expression of the often were degrading while the great men The Twin Titans name is Wonderful.” This was Beethoven’s OF HAYDN, Mozart’s great contem¬ In 1921 The Etude Music Magazine equipment provided. Vladimir Karapetoff, one of America’s soul—no race can live without lived, but which became exalted by the IRST in line stands Bach. This master last touching reference to the “Messiah,” porary, Beethoven always spoke well, launched a far reaching movement known “2. We believe that an adequate pro¬ most famous electrical engineers, is a prac¬ time those same men were turned to dust was reprimanded at the Weimar court and he was referring to that part in the though it is unknown whether or not he as “The Golden Hour.” This movement gram of high school music instruction tical musician and has given many public Our race goes bravely forward, in their graves. That is the way of the for his innovations on the organ, and it was text which reads: “And He shall be called bore a grudge against him. The late d’lndy is now historic, and its need seems greater should include credit, equivalent to that recitals as a virtuoso on the piano and on Head erect, and clean and strong. world; and, if Beethoven and Sphor were not until two years after Beethoven’s death Wonderful! Counsellor! The Mighty God! disagreed that Haydn slighted Beethoven and greater in these days of racketeering given other basic subjects, for properly the violoncello, and is still giving recitals. In the fellorvship of music both alive today, the latter would still think that Bach’s “St. Matthew Passion” was The Everlasting Father, the Prince of when the latter was a young man and a and super-crime. It was simply a non¬ supervised music study carried on both Alfred Einstein, the most famous of Euro¬ And the brotherhood of song.” performed for the first time since its Peace!” newly arisen artist in Vienna. Neverthe¬ sectarian, non-organized, non-partisan ideal the “Ninth Symphony” the creation of a in and out of school. pean scientists, is a capable violinist. Ralph creator’s death, under the direction of Men¬ less, it is said that he taught him nothing of devoting one hour (more or less) each madman; and, if Chatterton were among “3. Recognising the great interest Modjeski, the greatest of American bridge delssohn. Beethoven, who was not even The Salzburg Nightingale when Beethoven was his pupil, and that, day in the public schools to the development us, he would have to fire a bullet into his manifested at this meeting toward mak¬ builders, can play a Chopin concerto or a any too well acquainted with the master¬ ND NOW we come to Mozart, of having first reprimanded him for some of character building, with the background head all over again. The world does not A Beethoven sonata at request, and he still pieces of Bach, nevertheless saw in him whom it may truthfully be said that original touches in his first trios, he later of a musical program. It must be obvious ing music a more vital element in edu¬ always profit by its errors; and that is cation, we recommend that this subject practices regularly two hours a day. Do supreme greatness and called him “The God he was not a child of music but rather demanded that those same trios be dedi¬ to any clear thinking person that this must Scales for Little ‘Pianists well or else, if we became perfect too soon, you know that four of America’s best of Harmony.” music itself. This rarest of nature’s phe¬ cated to himself. Moreover, it is told that, be the chief goal of any system of educa¬ shall continue to receive attention of we might all die from sheer ennui. the Department of Superintendence, and known authors—Owen Wister, Upton Sin¬ By Marie Stone In speaking of Handel he was even more nomenal wonders had been showered with when Beethoven as a young man met Haydn tion demanding public support. The “ideal” In his own day Schubert was obscure clair, Rupert Hughes and John Erskine— generous. Having read the “Messiah,” he honor when a child, but had suffered great¬ on the street and asked for his opinion of in 1921 had the endorsement of many of the be included in the discussion groups of and penniless, and one critic said of him are practical musicians ? Do you know that A simple, but very effective way of teach¬ said of its author, “He is the greatest ly in his later years, and had been buried his latest work, Haydn replied, “I am sure foremost Americans. It was aimed to point its annual programs.” that he was a young man who was spoiled Cyrus H. K. Curtis, most famous of Ameri¬ ing scales to young piano pupils is shown composer that ever lived. I bow my knee in an unmarked grave. He too had been you will never write a ‘Creation.’ ” out to America that no matter how vastly by too much praise. Mozart wrote music can publishers, was a practical musician, in the following example: to him.” Today there are some who think a prophet, just as Beethoven was to be If all these anecdotes are true, Beethoven our penal system (police and penitentiaries) Art in Business at five, and went to a pauper’s grave at and that his daughter, Mrs. Edward Bok, this dictum wrong; yet, if Handel is not after him; for it was he who had foretold must have had a stout and noble heart, and is increased and improved, unless the evils UR SO CALLED hard headed leaders thirty-five; while Beethoven, who was O has given twelve million dollars for musical the greatest composer of all time, he is at that master’s future glory with the words, a soul free from all malice and jealousy, are corrected at the source, by making in business and finance have awak¬ famous enough to draw a crowd of twenty education? These famous citizens and hosts least one of the three or four greatest; “Listen to him. Some day he- will make to be able to say of this same man, when citizenship and character the foremost edu¬ ened to the realization that art is ‘vital in thousand people to his funeral, was known of others have time and again emphasized and we must all agree that even if Bee¬ a noise in the world.” And Beethoven in a picture of his birthplace was shown him cational subjects in the public schools, our human life. Since the war and during the not only as a genius, but as a madman as the fact that the training that one gets turn saw Mozart’s greatness; for once, on on his deathbed, “How great a man was millions for education might be wasted. depression they clung hungrily to the one well. Today Schubert, Mozart, and Bee¬ thoven did overestimate Handel, at least through the study of an instrument is of he did not overestimate the “Messiah” in hearing a passage in one of his quartets, born in so humble a place!” There, in Experts in the work of trying to rehabili¬ thing that wars and depressions cannot take thoven have arisen from their tombs in priceless value in any life work. It seems considering it the most inspired oratorio Beethoven said, “Oh, God, I shall never do those very words, lay Beethoven’s estima¬ tate prisoners and bring them back to useful from us—art. Business men everywhere genuine splendor. Bach and Handel have mighty significant that men of this type, tion of his fellow artist, Haydn, and noth¬ citizenship usually conclude that it would are turning to art as a recreation. It was arisen as well, and so have Weber, Chopin, that was ever written. On his deathbed anything like that.” Thus spoke the creator with a musical training, have risen to the ing more need be added. be far better to attempt to prevent young a real awakening. Now they, some for the Then reverse the work, beginning with Brahms, and Wagner. Standing among Beethoven spent many hours poring over of the sublime “Eroica,” and his hands were very top. the right hand. his contemporaries is a man, short, pock¬ the complete edition of Handel’s works, uplifted as he said those words. men and women from getting into trouble first time, begin to consider art as some¬ Slightly Lesser Lights than to try to help them after they are in thing real and vital to life. They have seen This method teaches both the ascending marked, and ugly-looking, but in whose which had been sent him from ; and But yet Beethoven, the strict moralist, trouble. One of the greatest preventives is that art remains when all the other interests A Mental Gymnasium and descending fingerings and prepares the eyes shines the divine light of a prophet. we find him saying—this man, who, as was displeased with the “immoral texts” THAT BEETHOVEN placed Gluck Bettina Brentano said, was not less aware among the foremost of German “The Golden Hour,” which is being adopted perish. Our financial men are intensely in¬ HEN MASTERING a course of pupils for playing with the two hands to¬ That man is Beethoven. It was he, who of Mozart’s operas, and he did not hesitate W gether. in various forms in many public schools. terested in all the arts, even though they training in music, the mind is forced without malice or grudge, saw his fellow of his power than an emperor—that “From to say so. He preferred the text of his geniuses is a well established fact, men¬ may lack a technical understanding. to think about four or five times as quickly artists as they were, and who dared speak Handel I can still learn.” Again and again own “Fidelio,” with its noble theme of a tioned in one of his letters; but he is said not to have spoken of him frequently. Of Words of Wise Ones Who was the leader of the photographic as the ordinary man’s. The playing of the truth about them. Today the world he bursts into floods of praise, now lauding woman’s devotion and sacrifice for the “The art of music possesses two forms Handel’s melodiousness, now his simplicity. man she loves. Perhaps—who knows?— Weber, the father of the romantic school, WE GIVE herewith a number of industry? George Eastman, unquestionably several thousand notes in the course of a agrees with all he has said, and he is con¬ of expression excelling all others in beauty, Even in his last agonies, the power of that this bachelor, who always dreamed of the his praises were more profuse. So great representative opinions of educators one of the great business men of this age. few minutes, drills the one who does it into sidered no less a prophet than a musician. in my opinion; first, the orchestra; and But let us see precisely what his impres¬ master is still upon him; and, when he has ideal in womankind, pictured himself as was his enthusiasm on reading “Der and business men, upon the value of music What do you imagine that George Eastman a kind of super-mental state. The business second, the string quartet.”—Louis Bailly. THE ETUDE MARCH 1935 Page HI

Page IJfi MARCH 1935 the manuscripts and studied them thorough¬ Understanding Immortals ly, praising them highly and marveling at Freischiitz” that he rapped his knuckles father had applied some blows ad posten- AST AND MOST touching of Beetho- ora.” And when Beethoven found his own L their unending flood of melody. Schubert against the score and lauded it again and J ven’s criticisms was that of Schubert. works being neglected because of the popu¬ came to Beethoven for the last time when again. Today we think no less of “Der- The story is told that when that great lar taste for Rossini, he said calmly, In it was already too late for him to hear the Freischutz” than did Beethoven then, and lvricist came to Beethoven, the latter the future, he, and no one else will rob me great master’s praise, and Beethoven died we all agree that this epoch-making work pointed out'an error in one of the manu¬ of my place in musical history. soon after. But his last words of Schubert was the beginning of that sublime influence scripts that was brought to him, and that cPupils Everywhere Of Cherubini he spoke more favorably. had been, “A divine spark dwells in Schu¬ which brought Wagner to his highest Schubert burst into tears and hastened out He ranked him as the foremost operatic bert. Some day he will be famous.”’ And achievements. of his house. This is untrue, if we are composer of his day. Today, when Rossini today he is so, and he stands in the com¬ Toward Rossini, Beethoven was not quite only to believe Schubert himself, who utter¬ A Letter from a Practical Teacher Who Looked Depression Between so generous, though he admitted his value is more in accordance with the popular pany of him who spoke those generous taste, and when “Les deux jurnees” is ly denied the whole tale. It is true how- as a composer of light operas. “As long ever, that on a later occasion than the one words. the Eyes Until Depression Smiled Bac\ with Success never played, we wonder whether Beetho¬ Thus it was that an obscure, poverty- as you continue to write light operas,” he already mentioned, Schubert did visit Bee¬ ven was just in his opinion. But we must stricken lark had mounted to the abode of said upon meeting this melodist of Pesaro, thoven, only not to find him at home. He not allow popular taste to interfere with a brooding eagle, to receive from him the “you will be successful. You are unfit for left some manuscripts for the master s our private opinions; and then again, what word of praise which had been denied him anything else.” On two other occasions perusal and dared not even hope that they cBy Albert E. Abaire he poked fun at him. “Rossini peddles his appeared superior in Beethoven’s day may on this earth. He received that precious would please him. melodies around like a farmer with a sack not seem so in ours. Standards of appre¬ word, and, enclosing it in his poet’s soul, ciation and of judgment have greatly The outcome, however, was more than of potatoes”; and then again, “Rossini Schubert had expected; for Beethoven read he flew at last to his Promised Land. would have been a great composer if his changed. Editor’s Note rHIS IS the old story of a practical initial recital in the Town Hall. This was Music Club usually gives a party. On man who forgot self and devoted the program: Christmas the club has a tree and a real all his labors and attention to his actual seasonable feast. We have a Christmas 1. Connecticut March Nassann music program and at the end we ex¬ teaching problems. Having settled in ALBERT E. ABAIRE 2. The Young Cadet March Held change gifts. a small New England town and ad¬ Orchestra justed his abilities and materials to The student who was Treasurer of the One Wray to Start a Pupil at the Dery First Lesson 3. Largo from “Xerxes” Handel club when it started, has held every office lessons. Here is one which each violin the needs of the community, he attained Bronie Shatas in the club and is now a Freshman at Har¬ pupil receives: results zvhich could not have been 4. Waltz—Rosamond Held achieved in any other manner. Mr. vard. X. VIOLIN SCHOOL 5. Novelette Held The club has been a great help in secur¬

ichord,” and mapy works by Chopin, Little Prelude in D a year, to study under the direction of years of his office at Saint-Sulpice, we find SINCE February 24th, 1934, Charles Schumann and himself! These were for Little Prelude in C minor Lemmens, the great organist through that one word seems to sum them all up HESE are days of many problems Marie Widor has been at the same Widor extraordinary hours, of which he T whom the works of Bach finally penetrated adequately: clarity. One of those listen¬ March in D time ninety years old and “organist for music teachers—days demanding ers once described his impressions as: keeps the most profound and reverent rec¬ My Heart Ever Faithful (arranged by of honor” of the church of Saint-Sulpice, Belgium and France. It will interest stu¬ resourcefulness of a high order, but "He seems to pour out a marvelous ollection. Lavignac) a title never before granted, and confered dent readers to know what kind of a sched¬ not without their opportunities. By taking shower of light, from the organ loft down Prelude (English Suite in A minor) upon him by His Eminence Cardinal Ver- ule Widor followed during that stay. Every stock of one’s assets and utilizing them to An Organ Treasury Sarabande (Sixth Sonata for Violon¬ dier, archbishop of Paris. The master day he practiced from eight A. M. to six onto our heads!" good advantage, liabilities may be complete¬ Indeed Widor’s technical mastery was, cello) probably would have continued his active P. M., with barely an interruption for din¬ HE TEN “Symphonies” for organ, ly offset, if not indeed annihilated. and remains at the present day, astonish¬ T Sarabande in E minor service, had it not been for the many steps ner, on the old Mercklin organ of the of Widor, we have mentioned as the A certain undertaking by a teacher in an ingly clear. His prodigious brain is served This program might be varied to good of the primitive, steep winding staircase Ducal Palace. Then, from six to seven, greatest monument of the literature since enterprising city of the Middle by hands which, without being apparently advantage by singing some of the Chorales which leads to the instrument built by he played for Lemmens, either a large Bach. Yet when they were written they be of help to others, so a very large, are capable of wide stretches. harmonized by Bach and by the use of Cavaille-Coll in 1862. However, since the fugue, a prelude, or a chorale, which he aroused much discussion. Many could not passed on. The strictest legato is therefore an easy something for the violin. access to the organ loft of most of the had worked up during the day. Before understand how a symphony could be writ¬ With a reputation for high ideals in n matter. Add to this an amazing sureness The foregoing recital took place on a Parisian churches remains something of retiring at night he wrote a short fugue ten for one instrument only. They would as well as success as a teacher, this of the pedal, a vision of orchestral effects night when there were several conflicting a gymnastic problem, and the installation in four voices, which he submitted at seven not consider the organ as an exception; came into possession of a class with in the registration, vivid tonal coloring; siderably less talent than had been usual. engagements, such as graduation, plays, of an elevator appears in the light of an of the next morning to Fetis, the composi¬ and, of course, at that time it had not Catering to the popular demand for com¬ and the like; yet the audience numbered architectural impossibility at Saint-Sulpice, reached the tremendous sonorous and poly¬ positions showy, but of no definite value, about two hundred, including friends of the the great composer-organist, though still phonic possibilities discovered later on. satisfying only a desire for display, she students and of the teacher, as well as attending the services punctually every Sun¬ Widor’s genius visualized these, however, knew would lower her standard and pro¬ representative musicians of the city. Being day, now has to limit himself to being a through the instrument of Cavaille-Coll, duce no lasting results. Something, she a unique idea, the local papers had given listener and to enjoying the supreme art which became an excellent field of experi¬ knew, was expected in the way of a demon¬ it splendid publicity and the programs got¬ of his successor, Marcel Dupre. ment for constant investigation of the re¬ stration at the end of the year; and it must ten out in advance proved welcome invita¬ Widor’s figure towers through the con¬ sources capable of helping create a new be worth while to the teacher, the student, tions to those who like to be personally re¬ temporary history of the organ. For over technic. The result exteriorized itself and interested listeners. So it was decided minded. fifty years he has been considered as the gradually in the first eight symphonies. We to give a Bach Recital. Bach—because the PROGRAM RECITAL The day following the recital the teacher foremost virtuoso in the world, because of find, in them, a long string of gems which music of the Leipzig cantor is “unsurpassed took stock of the work done, the coopera¬ his phenomenal technic coupled with bril¬ every organist should possess in his reper¬ for cultivating both a mental and a tech¬ tion, the remarks made in her presence, and liant, original gifts for improvisation. It toire : the Pastorale, the Marche Pontificate, nical command of the piano and has, there¬ can be truly said that his series of “Sym¬ the Finale in D major, which was a great The Tale and let me draw the veil of time so that decided that it was a success. One said, fore, become a necessary part of every you can see and hear children playing your “The compositions were lovely—it was all phonies” for organ is the greatest contri¬ favorite with Rossini, the Prelude of the T A small table set with red tablecloth pianist’s equipment;” and because his sin¬ A wonderful thoughts.” so different from any recital I ever have bution to the literature of the instrument, “Third Symphony,” the Schcrao of the . and quaint blue and brown dishes, sits cerity of style appeals to young and old At this point Bach disappears in the attended”; another, “The atmosphere was since Johann Sebastian Bach. The famous “Fourth,” the Variations of the “Fifth,” Johann Christoph Bach, older brother of (public opinion notwithstanding). darkness. The curtain is pulled aside to perfect”; others, "It was interesting, origi¬ “Toccata” has carried its author’s name to aqd the sumptuous Allegro of the “Sixth,” Sebastian, attired in a simple black frock, disclose a second piano, making it possible nal, artistic” ; "The children will never for¬ every corner of the world; and, wherever a marvel of harmonious proportions, of and apparently in great perplexity. His Competent Preparation to present a program interesting and varied, get what they learned”; "Your shidents get pipes and consoles stand, it has become the shining brilliancy. wife, Frau Christoph, in cap and apron, HE TEACHER had visited Eisenach, including arrangements made by the teacher touchstone of the aspiring organist, the most The “Ninth Symphony,” the “Gothic,” T comes into the room carrying a lighted something the rest of us teachers cannot the birthplace of Johann Sebastian of famous melodies of Bach for one or effectice “war horse” of the concert reper¬ was written in 1890. Widor had gone to candle from which she lights the other get”; “You are going to have lovers of Bach, one of the musical geniuses of all two pianos. The program follows. toire. In short, and although Widor’s Rouen to inaugurate the organ of the great white tapers about the room. From a Bach” (local critic) ; “Even the tiniest ones time, and had brought back many interest¬ played with perfect assurance”; and one, production has been quite large and covers Saint-Ouen Cathedral, that wonder of ing postcards. Among these were interior brown pitcher she next pours the milk for Bach Piano Program all fields from chamber music to opera, his wonders of gothic architecture. their frugal supper and then proceeds to leader of the Chamber Music Society, views of the Bach Haus, one showing a *Avc Maria (Prelude in C) wrote, “I think your idea was splendid. organ compositions can be considered as “This is an organ in the manner of berate her husband for taking the child to his most significant achievement, perhaps replica of the little crib in which the master for two pianos.Bach-Gounod Thank you for the invitation and we hope Michelangelo,” he said to Cavaille-Coll. slept, another the desk upon which he wrote raise. “I don’t see why you could not have even more so than those of Cesar Franck, These words came back to mind on the left the boy in Eisenach where he was (This may be had for four hands you will do it again.” his famous “Well Tempered Clavichord,” Had the teacher underestimated her whom he succeeded in 1890 as teacher of night of June 28th, 1933, when, in the One corner of the bed room contained an born,” she -complains. organ at the Paris Conservatoire. He re¬ huge nave filled with four thousand at¬ *My Heart Ever Faithful— students’ ability? Possibly so. Certainly THREE FRENCH MASTERS old Nuremberg stove, of which there was How a step is heard and the pair, after tained this post for six years, until his ap¬ tentive listeners, and after the touching for 6 year old child such talent was not inferior. also an interesting close-up view. There blowing out the candles, slip stealthily into pointment to the class of composition left From left to right are Maurice Dumesnil, Bourree (simplified) .DeWitt and fervent episode of the “Prayer of the were pictures, too, beautifully colored, of the background as the boy prodigy tiptoes vacant by Leo Delibes’ death. Charles Marie Widor and A. Barthelemy Musette in D Little Flower,” the majestic chords of the the famous Wartburg—where Luther trans¬ into the room; unlocks his brother’s desk Alle Menschen Sterbcn .Quaile Magnificat in Evangeline Lehman’s strik¬ lated the Bible, and at one time the prison and takes out the coveted manuscripts to A Suave Personality Gavotte from French Suite No. 5.. .Quaile ing oratorio, “Ste. Therese of the Child of St. Elizabeth, immortalized by Richard copy, is graphically portrayed as the play ONE OF the qualities of Widor as a tion teacher. It required nothing less than and all these, coupled with the splendid Jesus,” crashed forth under the fingers progresses. Finally Sebastian is admonished Minuet in G Wagner. These made interesting material y Clarence Lucas Widor’s caliber, friendship is neither an houette of the Louvre and of Samt-Ger¬ structive ; destructive of its traditional Prix de Rome, for the first time in history: investment nor a calculation, and he ex¬ main l’Auxerrois, the church of sinister character, which is primarily noble and Miles. Fleury and Nadia Boulanger. Nearly memories where the bells tolled, calling the sacred; destructive of the interpretative a score of our directors of Conservatories pects no returns from it. mobs for the massacre of St. Bartholomew. side, which may be lured to trespass the T5he Lure of “Atmosphere” and How It Is Produced in the provinces have passed under his Owing to the prestige of his name as the Widor loves to look out on this landscape limits set by the above-mentioned funda¬ guidance. All are serious, capable musi¬ highest official musician of France, Widor mental character ; destructive of the tonal cians, educators of wide knowledge and ex¬ receives hundreds of letters from all parts he adores. On certain days of spring there of the world. Up to recent months, he beauty, at last, owing to the ever increasing I often find passages which sound to me strike them and they are blended into a perience. Notable among his pupils was is a light all its own, when the sun already O YOU PLAY the piano music of noble? Just now the new manner finds made it a point to answer every one of invention of new stops, leading to “fake" D like some one preluding on the piano—the vague blur of harmony by the pedal. That the lamented Gabriel Dupont, prematurely asserts itself in a bright sky of azure blue. Debussy? Would you like to play more favor, and I endeavor to pursue the ' them personally. The small table of his registration, to the seeking for picturesque player knocking at the door of every key description will do very well for the gen¬ carried away at the age of thirty-five, just And in the autumn, when the days decline, it? If so, you ought to study very middle course between the two schools, by Institute studio was filled with mail through effects and similar tricks tending to turn and clef to find if any melodious sounds eral effect of Debussy’s compositions when as he had given us the powerful lyric when twilights are short and the trees carefully the nature of that music and to never shrinking from any difficulty, never which he went carefully, day after day, he played them himself. drama of “Antar.” Had he lived, Dupont have turned golden, “the tugs and the the religious, dignified instrument into a despising the new effects, and withall re¬ are at home.” find the style in which the composer meant If a great pianist like Moscheles could In his best period, and before he gave up probably would have been the greatest finding for each correspondent a satisfac- “growling owl or a dancing elephant.” taining the best elements of the old tradi¬ it to be played. Merely learning the notes not understand Chopin’s music until he playing the piano to a more or less re¬ operatic composer of today. Henri Biisser will not do. You may play every note tions.” He could not have played Debussy stricted public, his piano sounded very calls him “a luminous genius, one of the A Difference of Opinion without casting the old traditions to the heard it properly played, how can a piano correctly, at the required speed, and still student, or a pianist of moderate experience, often like a wind-swept Aeolian harp. most vital musical forces our country has winds. A CONVERSATION, of some twenty fail to make it interesting. In fact, if you understand Debussy before he hears .that The most practiced ear could hardly dis¬ ever known.” On the other hand, it is in¬ years ago with the eminent Hungarian played it with that clearness of outline and The Chopin Technic music played? Our system of musical tinguish the divisions between the harmonies. teresting to note that among his most faith¬ musician, Emanuel Moor, is recalled. He absence of blur so necessary in playing the One chord would melt, so to speak, into HE BROADMINDED Moscheles, notation gives us the'means of putting the ful disciples Widor counts Darius Milhaud was the inventor of the Moor double-key- interwoven counterpoint of Bach, it would another chord, by a dexterous manage¬ and Arthur Honegger of ultra-modern, like Moses, the venerable leader of his exact notes on paper but does not show board piano, and in younger years he had sound absurd, even disagreeable, at times. us whether we should play Bach with the ment of the pedal; and the chords were polytonal, discordant tendencies; which been a splendid organist, imbued with the The sonatas of Haydn, which were begun race, was enabled to look into the prom¬ never loud. Nothing was less like the or¬ ised land without being permitted to enter tempo rubato of Chopin, or Beethoven with only goes to prove that the tuition of a genuine traditions of the Praag school. during the latter part of Bach’s life, can¬ chestral effects which Moscheles said the master with broad ideas can open before it. He says: “At Leo’s I first met his the delicate blur of Debussy. These dis¬ His views were in perfect harmony with not be played in the Bach manner. Haydn’s German school of his day demanded. young minds new and unexplored perspec¬ friend Chopin, who had just returned from tinctions have to be made by words printed Widor’s; but he expressed them with typi¬ themes, mostly in the right hand, are meant Moscheles would have condemned Debussy tives. And this is worth while, even if the country. He played to me in compli¬ above the music. These words are by no cal Magyar impassioned violence, and espe¬ to be accompanied by less important pass¬ mercilessly, for his continual employment the result turns out to be, sometimes, ob¬ ance with my request, and I now for the means so precise and clear cut as is the cially his indignation about the way in ages and broken harmonies in the left hand. of the pedal. The pedal was as important jectionable and undesirable for those not first time understood his music, and all the musical notation. That is why it is so which the organ was treated in the moving A harpsichord or clavichord student of a part of the performance as were the enlisted under the banner of cubism, dada¬ raptures of the lady world became intelli¬ difficult to convey to the interpreter the picture houses of America. He thought that Bach’s day would find Haydn’s piano music fingers. In fact no pianist brought up on ism and other such crazy conceptions, gible. The ad libitum playing, which, in style in which a composer intends his jazzing, those little chromatic slurs, and something new, which could not be in¬ Bach, Haydn, Mozart, Clementi, Hummel, which, born of snobbism, come and go sea¬ the hands of other interpreters of his mu¬ works to be played. Even the great Men¬ the use of the fox-trots, all were an out¬ terpreted in the Bach manner. This Haydn Cramer, and Beethoven, could ever learn son after season, in spite of the indifference sic, degenerates into a constant uncer¬ delssohn—a composer, and at the same rage. an insult, a desecration! manner continued through the Mozart, from those masters how to play Debussy. of the public at large. tainty of rhythm, is with him an element time an excellent pianist—formed a wrong Without going to any extremes, Widor Clementi, Cramer, Hummel and Beethoven This statement does not imply that Debussy of exquisite originality. The hard, inartis¬ estimate of Chopin’s compositions. It was thinks that too much evolution from the period, with many modifications, of course. is greater or more advanced than his The Ready Wit tic modulations, so like a dilettante—which only after he heard Chopin play that he once accepted and recognized standards is Then we come to a new style of piano predecessors. He is different from them; WIDOR is a splendid raconteur, whose I never can manage when playing Chopin’s wrote to his sister: “Chopin produces new dangerous. He believes that such an evolu¬ playing which puzzled the old performers that is all. He must be played in a manner sparkling, caustic wit is well known music—cease to shock me; for he glides effects like Paganini on his violin, and extremely. suitable to himself. His music demands in artistic circles. tion might become harmful to the very over them almost imperceptibly with his accomplishes wonderful passages, such as style of organ music in the future. He con¬ a pedal blur which would be intolerable Some seven or eight years ago, when A Changing Technic elfish fingers. His soft playing being a no one would formerly have thought prac¬ Paris was so overcrowded that an apart¬ tends that the electric system, while prob¬ in Bach. His unsteady rhythms would HE GREATEST pianist, between mere breath, he requires no powerful forte ticable.” ment was a thing almost impossible to find, ably less expensive, is not reliable on ac¬ T make Beethoven sound flabby and exasper¬ what we may call the old school of to produce the desired contrasts. The con¬ he attended a dinner party and the conver¬ count of so many risks, interruption of The Debussy Style ating. Ilummel and the new school of Liszt, was sequence is that one never misses the or¬ sation evolved around a certain French current, short circuits and their danger of ORTUNATELY, we possess a whole Ignaz Moscheles. He was born in 1794 chestral effects that the German school diplomat, not over-capable, who had just fire, as has just happened, at the time of literature about Chopin. Unfortu¬ The Composer Speaks and died in 1870. In his youth he was demands of a pianoforte player but is car¬ been appointed to the Embassy near the writing, in the mediaeval church of Saint- nately, we have very little about Debussy. PARISIAN pianist who died some praised by Beethoven, who entrusted him ried away as by some singer who troubles A Vatican. “I wonder if he is successful,” Nicaizc at Rouen, entirely destroyed. He three years ago related to me his ex¬ with the transcription of several composi¬ himself very little about the accompani¬ His ill health and the dreary period of someone questioned, “and if he will be believes that a good mechanical action, if the World War shut him off from inter¬ perience of playing many of Debussy’s com¬ tions; and during his long life he met all ment and follows his own impulses. able to do anything ?” kept clean and dusted off occasionally, will course with the famous musicians of the positions to the composer himself. Said the eminent musicians of the period. He Enough; he is perfectly unique in the “Certainly,” retorted Widor; “he has outlive by far any kind of wiring system he: “I played one piece after another for was, moreover, the piano teacher of Litolff, world of pianoforte players.” period, such as Chopin enjoyed. But we done something already. Even in such submitted to changeable atmospheric con¬ nearly an hour before Debussy said a Thalberg, and Mendelssohn. Surely he is A player of the modern German school, know that Debussy produced new effects, critical times as these—he has found an ditions and the corresponding gradual de¬ word. At last the weary and lethargic worthy of our respectful attention when brought up on the robust music of Schu- or, at any rate, relied on certain Chopin¬ apartment 1” cay. ... .mann and Brahms might describe the play¬ like effects which are subordinate in other composer, suffering from the malady On another occasion, while he was at he speaks about piano playing. But what “I have heard,” he says, “that in America ing of Debussy in exactly the same words composers. Take, for instance, the little which was soon to carry him off, roused the church, Widor received the visit of an has he to say about the new school? the electric action is universally adopted. which Moscheles wrote about Chopin. groups of small notes which precede each himself sufficiently to say, “That is not my elderly English lady, who insisted very “A good player must only rarely use Therefore, no other country could furnish In another place Moscheles writes: note of the melody in Mendelssohn’s idea at all. You have too much virility. much that he should show her the exact the assistance of either pedal, otherwise better information on a point which I wish “Seriously speaking, one may learn a great Spring Song. These small notes are to be My music must be played softly with con¬ spot where Manon had reconquered Des he misuses it.” Speaking of an excellent to investigate. Could anyone over there deal that is good by listening to Chopin’s played very lightly and made altogether siderable blur from the pedal, and without Grieux and the chevalier had fallen into pianist he said: "I wish he had not his tell me where, and which is the oldest playing; but in his compositions Chopin subordinate to the sustained and louder marked rhythms.” her arms. The uniformed “suisse” of Saint- feet so perpetually upon the pedals. All This kind of playing - would be con¬ electric organ in the United States, still in effects now, it seems, must be produced shows that his best ideas are but isolated. notes of the melody. The fingers hardly Sulpice happened to be walking back and sidered bad playing by the teachers of use, and after how many years of use? by the feet. What is the good of people forth just below the organ. Widor referred This means, of course, without any over¬ young pianists. Of course it is bad play¬ having hands ?” her to him for information. This simple hauling or putting in of new wires, con¬ ing if applied to Bach’s inventions or minded man, who evidently had never read nections, and so on, but only the cleaning When Doctors Disagree fugues. It would be detestable in the the Abbe Prevost’s book nor gone to the jobs which are necessary as a matter of classics. Yet the classical style of play¬ Opera-Comique, did not understand the ONE HUNDRED years later, Moriz normal upkeep.” ing, of which Moscheles was probably the meaning of the question. As the lady in¬ Rosenthal, a pianist with a greater I promised to propose the question last great exponent, was equally unsuitable sisted, he became furious, and yelled that This impressive picture of the Saint Ouen Cathedral at Rouen taken during technical skill than Moscheles ever knew, through The Etude; and information will for the new music of Chopin. And “such infamous things never happened in the performance of Evangeline Lehman’s oratorio, “Sainte Thercse of the Child expressed a different opinion about the be welcome either by M. Ch.M. Widor, Debussy is an offshoot of the Chopin the sacred building, and that, besides, there Jesus," shows the magnificent structure u’hich today remains an unparalleled value of the pedal in piano playing. Mos¬ Institut de France, 25 Quai Conti. Paris, school. His music might be described by were no parishioners by those names!” He marvel of Gothic architecture. cheles would read with disgust the words or by the writer of this article, 86 Rue Longfellow’s lines: even got so shocked and irritated that he of Rosenthal: “I consider the discovery started chasing her with his halberd, and Cardinet. of the syncopated pedal the most important A feeling of sadness and longing. a scandal developed; while Widor, from torily adequate answer. His apartment is barges trail scarfs of grey among the Another point on which Moor’s views event in the history of piano playing. It That is not akin to pain. up above, watched the scene rather anx¬ located on the second floor, in the western watered lights.” coincided fully with Widor’s, is the ques¬ constitutes the high water mark between And resembles sorrow only iously and with fear that his little joke wing of the former old college of the Four Downstairs, in the salle du Musee De- tion of tempi. In the Bach original organ the older and the present school. No more As the mist resembles rain. might end in a tragedy. Nations. Widor uses the main parlor and caen, Widor has installed his own private and all the old instruments, the coupling of painstaking legato playing of chords by Leave the bright-and sunny Italian land¬ its grand piano very little. He prefers two-manual organ which was formerly in the three keyboards made the action harder, dint of fingering; no more dry playing scapes, the stormy mountains, tempests, The Grand Old Man to work in the small studio, where an his home of the Rue des Saints Peres. and this acted as a safety brake to check without pedals in order to avoid blurs. The and moonlight tragedies, to others. Debussy INCE 1914, Widor is Perpetual Secre¬ upright Erard stands by his desk. One When he is not in his studio upstairs, he the impetuous impulses of executants carried syncopated pedal was the emancipation of S loves mists and twilight. That is his style, tary of the Academy of Fine Arts. of the window glasses shows a small hole can be found there, practicing or trying away by their virtuosity. If their brains the wrist and arm from the keyboard.” at his best. He, and his contemporary The independence and the dignity of his surrounded by many cracks: this is the out new organ music. A small interior were unable to control their tempi, the key¬ What a gulf separates the older and the Corot, both had peculiar styles of their character, apart from his musical stand¬ place where a fragment of a shell from staircase connects the two abodes around boards at least controlled their fingers! newer schools! The music of Debussy, ing, designated him for the choice of his “Big Bertha” made its way, one afternoon which the musical life of the master is This remark is opportune. So many organ¬ which is written entirely for excessive use own, which have their charms but which colleagues. It has been said that Widor, of 1918, and whistled past the head of centered. ists forget all traditions and rush through of the pedal, would have baffled Moscheles are unsuitable styles on which to found had he not been a great artist, could have the master who was peacefully seated at the Bach fugues at full speed, sometimes completely. In 1838 he wrote: “I play all schools of music and painting. been a great diplomat; but a diplomat in his table attending to the correction of Sensible Conservatism even “registering” them in objectionable the new works of the modern heroes— Now and then Debussy wrote a noisy the highest sense of the word, since he proof sheets. He never had the pane re¬ URING THE PAST few years, a fashion and discarding the sense of unity Thalberg, Chopin, Henselt, and Liszt. WHERE DEBUSSY WAS BORN piece, like the Engulfed Cathedral, or the never mixed in any intrigues, never was placed, but pasted a piece of paper over conflict has developed among organ¬ which ought to be preserved and which With all my admiration for Beethoven, I The picture on the left shores the house in the Rue dn Pain (Bread Street), Wind of the West. Those pieces will not part of any small “clique,” never “played the hole; and so it remains for recollec¬ ists as to the very principles of organ never admits of any modification, apart cannot forget Mozart, Cramer, and Hum¬ St. Germain, as it was at the time Debussy teas born. The other shows the same endure as the best examples of the com¬ politics” in order to have his works per¬ tion’s sake and as a souvenir of those dark building and the opportunity and the ad¬ from the adequate shadings. mel. Have they not written much that is house, with the tablet, as it appears today. poser’s style. They no more represent the formed nor to gain access to an official visability of further modernization. Elec- (Continued on page 192) MARCH 1935 Page U7 THE ETUDE THE ETUDE Page U6 MARCH 1935 real Debussy than Beethoven’s Polonaise elements of an education. But he remained represents Beethoven. unlearned to the end of his days. His biographers say that his friends shut their RECORDS AND RADIO The Mills of the Gods eyes to his bad spelling and ungrammatical Band and Orchestra Department T IS VENTURING on unsafe ground to talk about the future of this music. By Peter Hugh Reed Conducted Monthly by The generations which come after us will Rooted in Fertile Soil decide that matter. for themselves. We IS NATURAL ability in music was H however if this fact will materially in¬ know from the reading of history that strengthened by a long course of HE advent of Geraldine Farrar, as VICTOR J. GRABEL T crease its value. prophets are often wrong. Moscheles study at the famous Conservatoire, and it interpreter between the acts of opera FAMOUS BAND TRAINER AND CONDUCTOR In the Columbia recording of the duet thought that the music of Field was shal¬ is well to note that before Debussy took broadcast from the Metropolitan between Brunnhilde and Siegfried from low, pretty stuff with no enduring qualities. liberties with all the classical roles of har¬ Opera House this year, is indeed an aus¬ the first act of “Gotterdammerung" (three He would gape with amazement to find mony, he mastered them and became an picious one. Heretofore, the entractes that all the world knows Field’s B-flat excellent contrapuntist. In this respect he have been filled in by too much talk about sides of discs 2131 and 32M), although we Nocturne, and nobody remembers a note of was again like Corot, who mastered the the opera in question or in publicity stunts encounter a thoroughly communicative per¬ Moscheles. Moscheles, the popular com¬ severe art of a portrait painter before he —such as interviewing celebreties, in a formance from two competent Wagnerian poser and great pianist, as well as eminent gave himself to those gray-green land¬ manner which frequently proved unfavor¬ singers—Margarete Baumer and Walther Dhe Overture to ‘“Der Freischutz” conductor, could not help sneering at the scapes of blurred outline and mists. able to them. With Miss Farrar’s advent, Kirchhoff—the orchestral side is not on a “lady’s world" for which the “fragmentary The scourge of cancer was the cause of however, a new and unusual precedent is par, since it is both stodgy and confused. Required for 1935 Rational High School Orchestra Contest and undeveloped works” of Chopin were his untimely death at the age of fifty-six. advanced which no doubt will prove more The modest price of these discs recom¬ written. What would he say if he could The malady affected his nervous system mends them however to the attention of all. came to pass that the orchestra of the im¬ interesting to the greater number of lis¬ to the heart of Caspar and then carries off hear the great pianist, Rosenthal, say that and made him abnormally sensitive to noise. teners. In an “informal” talk, one of the The fourth side of the recording is taken CARL MARIA VON WEBER was perial opera (certainly one of the finest his victim. Max is now forgiven—and all he would rather have composed a certain Even the softest music was loud enough for most gracious personalities of our day up with the Oath Scene from Act 2 of the born on December 18, 17.86, at Eutin orchestras in existence) were surprised at four of Chopin’s mazurkas than the four his too delicate ear. Sometimes he would same opera, wherein the same singers are (Oldenburg) and died on June S, ends happily. iny demands regarding the execution of this speaks about singers, the opera, musical The overture opens with an impressive symphonies of Brahms? What would compose in a kind of fury, walking rapidly ably assisted by Alfred Goebel, basso. 1826, at London. “Der Freischutz” was piece. It appeared at once that the adagio themes, and even sings for our edification Adagio. After nine bars the celebrated Moscheles think of Godowsky’s dictum from room to room, rhapsodizing on the Roy Harris, the Oklahoma musician, his eighth opera. Begun in July of 1817, of the introduction had habitually been and enjoyment. Radio has always been a horn quartet is introduced, with a quiet that the two composers who will live to piano, humming, beating time, and writing who is one of America's most vital and it was not completed until 1820, the over¬ taken as a pleasant andante in the tempo source of novelties, but none has intrigued accompaniment in the strings. The original represent our times in the distant future are with painful slowness. Then he would pass original composers, in his work “Three ture being written last. of the ‘Alphorn’ or some such comfortable us so completely as the novelty of the in¬ orchestration provided for two horns in F Bach and Chopin? And, while Moscheles months in idleness—dreaming and taciturn. Variations on a Theme for String Quartet” On July 18, 1821, in , the opera composition. That this was not ‘Viennese troduction of Miss Farrar’s dominating and two in C—the object being to utilize was decrying the compositions of Chopin, Paris has recently unveiled on one of its —notably performed by the Roth Quartet received its premiere—the entire work be¬ tradition’ only, but had come to be the and perennially charming personality be¬ as many open tones as possible. a younger pianist, Franz Liszt, wrote that new boulevards, an imposing, if unattrac¬ tween the acts of the major opera-broad- in Victor set M244—reveals himself as a ing tumultuously acclaimed. Weber con¬ After a crescendo, extending through a universal practice, I had already learned at ducted. Frenzied applause followed the syncopated passage in the strings an ener¬ Chopin would be more highly esteemed tive, monument to his memory. The house casts on Saturday afternoons. careful and conscientious workman. One Dresden—where Weber himself had con¬ by his successors than by his contem¬ of his birth in Saint Germain was marked, Since Miss Farrar, along with Enrico questions however the spontaneity of his conclusion of the overture. Weber bowed getic subject is presented fortissimo by the ducted his work. When I had a chance repeatedly, then endeavored to proceed with poraries. And Liszt was right. a few years ago, with two tablets by some Caruso, occupied a most conspicuous place creative impulse, for, although the music full orchestra. The subject matter of this to conduct ‘Der Freischutz’ at Dresden— the opening scene of the opera. The audi¬ section is drawn from the Incantation scene But no Liszt has as yet come forward English admirers. And in July, 1933,_ a in the history of recording and opera in moves logically enough it does not at the eighteen years after Weber’s death—I ven¬ ence, however, persisted in its approbation to proclaim the merits of Debussy. It is small public garden with a commemorative this country, we wonder why it is that same time seem to develop convincingly or in the Wolf’s Glen. tured to set aside the slovenly manner of and finally Weber yielded and the entire futile, therefore, to judge of the permanent monument was opened in his native city. Victor has not re-issued some of her early unconstrainedly. Particularly is this Hue execution which had prevailed under Res- overture was repeated. value of Debussy’s compositions. Probably The mother who wished to make a sailor recordings similiarly revitalized like those in the third movement of the present work, siger, my senior colleague. I simply took A second performance of the opera was many French critics place him too high on of her son could hardly believe her eyes of Caruso’s that have recently been put for here the music persists but does not the tempo of the introduction to the over¬ given two days later and a third, four days the list of the great composers. No Ger- , if she returned to Saint Germain and saw out. Should they decide to do this, we freely grow. Nevertheless there is notable ture as I felt it; whereupon a veteran mem¬ later, and by the next year it had found man musician considers him the equal of a marble monument, neither to King Louis nominate for a first recording Miss Farrar's strength in this work, and rare inherent ber of the orchestra, the old violoncellist its way into the principal opera houses of Brahms. And the world in general will XIV who was born there, nor to King thoroughly artistic and communicative in¬ beauty—especially in the slow movement. Dotzauer, turned toward me and said other lands. It became so popular in Lon¬ hardly subscribe to the verdict of the en¬ James II of England who died there, but terpretations of Mimi’s two arias from The violoncello is a true singer. There¬ seriously: ‘Yes, this is the way Weber thusiastic writer who calls Debussy the don that three different theaters were per¬ to her unlettered urchin, Claude Debussy. Puccini’s “La Boheme.” fore, the fact that the best of Schumann's himself took it; I now hear it again cor¬ French Wagner. It is enough that Debussy forming it at the same time. Organ recordings seem inevitably to in¬ “Concerto” for this instrument is songful, rectly for the first time.’ Weber’s widow, wrote music which cannot be mistaken for The overture had been presented to the cite controversial comments. Some are coupled with the fact that the performing who still resided at Dresden, became the music of anybody else. Those pianists SELF TEST QUESTIONS ON public in advance of the production of the highly regarded, while others are con¬ artist is the admirable violoncellist Piati- touchingly solicitous for my welfare in the who attempt to play this music must learn opera. The first presentation took place MR. LUCAS’ ARTICLE demned for “echo,” imperfect projection gorsky, surely makes the recording of one position of capellmeister. She trusted that that it has a style of its own, which is as at a concert in Copenhagen, October 8, of various stops, and so forth. The fact of Schumann’s less valued works a worth¬ my sympathy with her deceased husband’s difficult as any other style to master. 1. What was the type of pedal use as 1820, under the direction of the composer The horn quartet does not occur in the is that the organ, although a most difficult while adjunct to the music library. (Victor music would bring about correct perform¬ Claude Debussy was born in the aristo¬ favored by Moscheles? who was making a concert tour through opera—it was evidently meant to signify instrument to reproduce perfectly, still it, set M247). ances of his works, for which she had no cratic suburb of Saint Germain, near Paris, 2. What was Rosenthal’s estimate of the northern Germany and Denmark. the tranquility of woodland life. At the on the whole, records more satisfactorily If anyone doubts the genius of the youth¬ longer dared to hope. The recollection of in 1862. But he was anything but an The libretto of the opera was written close of the quartet a sinister passage is pedal? than its detractors would have us to believe. ful Mozart, he need only turn to Victor this flattering testimony has frequently aristocrat himself. His parents were humble by Friedrich Kind, and is based upon a introduced in the strings—a tremolo in the 3. What are the characteristics of the Its reproduction, however, in order to in¬ set M246, which contains that composer’s cheered and encouraged me. At Vienna I shopkeepers who lived over the shop. They German legend. According to this legend, violins, low pizzicati in the basses with Chopin technic? sure an equitable degree of verity, depends “Adelaide Concerto” played by young was bold enough to insist upon a proper did not think that education was of any told among huntsmen, whoever would con¬ tympani beats, and a melody of diabolical 4. What is a distinct limitation in our sys¬ more on the fidelity of the reproducing performance. The orchestra actually studied value to a working boy. Debussy’s mother, Menuhin, to disperse his skepticism. This sent to sell his soul to Zamiel, the Demon portent in the violoncellos. This extract tem of musical notation? unit than do most instruments; which can .wholly charming work, written for the the too well known overture anew. Dis¬ in fact, meant to make a sailor of the lad. Hunter, would receive seven magic bullets is taken from the second act scene of the be credited in part to its excessive rever¬ A relative of the family, however, took 5. How is the pedal to be used to create daughter of Louis XV in 1766 when Mozart which would always hit the mark, regard¬ Wolf’s Glen wherein Caspar invokes the creetly led by R. Lewi, the cornists (horn- berations and its less perspicuous overtones. was ten years of age was recently discov¬ ists) entirely changed the tone of the soft charge of the neglected boy and was in¬ the style and atmosphere of Debussy’s less of the inexpert marksmanship of the aid of the Demon. Max in the second act of the opera. This compositions? Among recent organ recordings, which ered, and wisely given to Marius Casadesus, is soon followed by the principal theme of wood notes in the introduction, which they fluential in having him taught the simplest hunter. And for each victim whom he Bx.2 although not entirely perfect, nevertheless the eminent French musician, whose fa¬ could succeed in securing for the Demon, the overture, a beautiful cantilena which had been accustomed to play as a pompous stand forth as realistic reproductions of miliarity with old music and old instru¬ his own life would be extended and he is taken from Agatha’s Prayer. show piece. The magic perfume of the that instrument, are Columbia’s issues of ments unquestionably established his right would receive a new supply of the charmed Ex. 5 melody for the horns was now shed over Improvisations written and played by Louis to orchestrate it. Why Paul Hindemith bullets. Hence the title “Der Freischutz,” the pianissimo indicated in the score for Nuggets of ‘Piano Wisdom from Deppe Vierne (disc 7300M) and that glorious was asked to write cadenzi for the work which might be freely translated as “The J the strings. Once only (also as indicated) fanfare of Bach’s the Toccata in F played however is something we cannot compre¬ Freeshooter”—one who uses “free” or the power of their tone rose to a mezzo- by Anton van der Horst (disc 68229D). By Hester Eastwood-Eyers hend for his whole musical outlook and charmed bullets. forte and was then gradually lost again Szigeti’s record of Tartini’s “Sonata in thought are completely opposed to Mozart's without the customary sforzando, in the G” (Columbia discs 17036 and 37D), we time. This is the only anachronism how¬ The Story delicately inflected Though he never rose to eminence as you were going to ask a blessing. This is understand, is a revitalized one. Orig¬ ever in an otherwise perfect set-up. t particularly the case with a wide interval.” Jl/TAX AND CASPAR, two excellent either virtuoso or composer, still Ludwig inally issued several years ago in England, An important record release is that of 1VA marksmen, are employed as forest Ex. 6 Deppe (1828-1890), as the teacher of a “Sit low—not higher than a common this competent performance of a wholly the “Fifth” and “Sixth French Suites” of rangers on the estate of Prince Ottokar, There ensues the usual development and group of leading pianists of the last gener¬ chair. One may have the soul of an angel, // charming work of the distinguished Eight¬ Bach (Columbia set 200). These two a duke of Bohemia. Max, an honorable = recapitulation—the latter not presenting the ation—and notably among them our bril¬ yet if she sits high, the tone will not sound eenth Century violinist and composer was works are played by the competent and young man, is in love with Agatha, daugh¬ second subject until the Coda is reached. A liant Amy Fay—left a great heritage to j® undoubtedly neglected because of feeble craftsmanly pianist Harry Cumpson, who ter of Cuno, head forester. The hand of nn «P? A- marked diminution, during which there is better, and especially more musical, piano “Do not strike, but let the fingers fall. the violoncellos similarly reduced the usual recording, which Columbia apparently has earlier gave us a thoroughly musicianly Agatha has been promised him upon con¬ again introduced the sinister music of the playing. “To strike chords, learn to raise the heavy accent rectified. performance of Bach’s “Italian Concerto" dition that he prove himself the best marks¬ Demon, leads to a pause, after which the We give some maxims of his methods, as hands high over the keyboard; and then let Whether one admits Varese’s Ionisation W * S * (Columbia discs 68192 and 93D). It is man at a forthcoming contest. Max seems Coda sets in with energetic chords. culled from his disciples—especially from them fall, without any resistance, on the This closes the Adagio and the main for Thirteen Percussion Instruments (Co¬ said that Mr. Cumpson has made a careful to lose his skill and is defeated by Kilian, Miss Fay. chord, and then sink with the wrist. Take movement of the overture opens with an The Interpretation lumbia disc 4095M) as absolute music or study of the problems of piano recording, “The principles of the chord and of the up the hand exactly over the notes, keeping a peasant. agitated theme in the minor—Molto vivace, not, he, perforce, has to admit it is an Caspar, who is in the power of Zamiel, FOR ADVICE concerning the proper scale are directly opposite. In playing the the hand extended. When you once have and that he adjusts his playing to meet alia breve. Although marked vivace, care ingenious experiment in unusually con¬ now recognizes an opportunity to extend interpretation of the overture I can do scale, you must gather the hand into a got this ‘knack,’ the chord sounds righter conditions. The choice of these two works should be taken to see that the tempo here ceived sounds. Very likely, it will remind his own days of grace, and advises Max no better than to quote the trenchant re¬ which was now heard above the tremolo nut-shell, as it were, and then play on the and fuller.” from Bach’s “Keyboard Suites” was as¬ does not exceed a speed of 108. one of a power house, a locomotive starting to seek the magician and secure some of marks of Richard Wagner: “Has not every of the violins like the delicate sigh it is finger tips. In taking the chord, on the “Listen to your playing; let each tone suredly a happy one: for, in the case of the into action, or chaos in a steel foundry; the magic missiles. Ex. 3 m German heard the Overture to "Der Frei¬ intended to be, and which finally gave to contrary, you must spread the hands as if sound conscious.’’ “Fifth French Suite,” it is doubtful whether for it deals primarily in noise such as is Max is persuaded and meets Caspar in schutz” over and over again ? I have been the fortissimo that follows the crescendo encountered in all these cases. A record¬ he ever wrote, as Parry has remarked, “a Wolf’s Glen where the magic bullets are told of sundry persons who were surprised that air of desperation which properly be¬ ing engineer points out that this particular work more completely serene, happy, and cast amid scenes of horror, while the to find how frequently they had listened to longs to it. Having restored the mysterious record very likely contains one of the sparkling,” and the “Sixth Suite” is cer¬ Demon hovers near. Max is returning with this wonderful musical poem, without hav¬ dignity of the introductory adagio, I al¬ widest range of “highs” and “lows” of any tainly a most eloquent and expressive com¬ a stag he has killed when he meets the ing been shocked when it was rendered in- lowed the wild movement of the allegro “The value of music in our schools can hardly be overestimated. Prob¬ in existence. Be that as it may, we doubt panion. prince, who asks him to shoot a dove. He the most trivial manner; these persons were to run its passionate course, without regard ably after the three Li’s music is of greater practical value that any other complies and barely misses Agatha, who among the audience of a concert given at to the quieter expression, which the soft subject.” has come to the wood in search of her Vienna in 1864, when I was invited to —Dr. John J. Tigert, Truth is the means of art, its end the quickening of the soul.”—Madox- lover. Zamiel directs the bullet, instead, conduct the overture. At the rehearsal it (Continued on page 179) V. S. Commissioner of Education. Brown. MARCH 1935 Page U9 THE ETUDE THE ETUDE

Page 148 MARCH 1935 T/~ C^fW TR CT7 The Standard Music Extension Study Piano Course The Teachers' Round Table for Teachers and Students Conducted Monthly by A Monthly Etude Feature of Great Importance tBy Dr. John Thompson PROF. CLARENCE G. HAMILTON, M. A. PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE

AH f * M- b D. n-P- - K ‘ *»'*'“''1 J - Mr. Rosenthal’s ideas and interpretation ee,ei and tossed off with ■ measure of change m .I™“W ™„™Tof tf'ihfe immortal composition ALBA No question will be answered in these columns unless accompanied by the full name and address of the writer. Only initials, or a furnished pseudonym will be published. Ethelbert Nevin’s Alba is taken from toQ fagt as measure eleven introduces a These combinations of the “By vG.got F.ft HandelL'L g the ever popular suite “A Day in Venice. lyric sectiorii B-flat major, with the melody wrists or anns blending which The Gavotte is a dance which attained Alba offers plenty of opportunity for ex- lying fa the tenor voice. The melody in tiiree—tend towara ^ melodic line. thc height of its popularity in the time of in and out the slightest bit: or (2 gestions seems sensible—level hands and to plav by letting the thumb in to Speed Limits in Playing pressive piano playing. One must first this section is legato throughout and should gives file an y ^ alike, Handel. It is said to be French m origin A Wrong Way to Practice curved fingers. As to striking the keys— ward the keyboard, and sliding th summon a lovely tone for the melody then haye p,enty o{ resonance. An accelerando No two ln<“Jia“? of these principles and to have been derived from the Gavots Please tell me how to work with this doubtless helps to give command over long fingers out toward the tips one’s best sense of rhythmical control, and begins at measure 19. Here also the vol- therefore the sharp a race living in Dauphine. It was unlike one of my pupils. I go over the les¬ the keys, as prescribed in “key the finger muscles; but why strike, when justment” methods? This sec finally the discrimination to phrase cor- ume of tone increases until fortissimo is will vary with e p jg an absolute poplIiar dances of that by-gonc day because son thoroughly with her ; but when she returns home to practice, instead a simple pressure produces plenty of tone? method has been shown me by a • rectly. Given these the composition con- reached at measure 28. Following there mtelligen ambitious student who in the Gavotte dancers actually lifted their of referring to the notes, she picks servatory teacher - - ' Striking, too, tends to emphasize the un¬ tains genuine sentiment and character. , . a brilliant passage in sixteenths played necessity t control feet from the ground, whereas up to that —t the piece on the piano in a key " - in t-’-*-'- “ !~ musical noise of hitting the key surface. Without them it can be a sort of sac- m jubilantly. After a short pause hopes to Huerter’s numbe the melody in time they had simply walked or shuffled Turning now to the position of the wrists, Can we not adopt a position of hand and charine hash revolting to good taste the opening theme reenters followed by a ™mthelower voice of rhythmically. t without result.—L. M. The first fifteen measures in the form of ncw theme in c major played at slower the first section lies m me iow ■ • I should prefer to keep them rather above arm which represents a compromise between the right hand, while in the D major sec- Examining this music charmed these two extremes? A level hand is a an introduction announce the gentle break- m0sso. Agile fingering Spend a good part of the lesson time in than below the key level, since the latter temp0_^ieB0 i which follows, the melody is in the anew with the simplicity which abounds good thing, especially in light playing; but ing of the dawn. Marks of expression are rcqu;red jn the section beginning measure showing her just how to practice, what the position tends toward a heavy and over- the works of the old masters, for heavier or accented passages, rotation be found in almost every measure, and 59‘ The sltlrred octaves at measure soprano voice. Note that there is appre¬ items are on which she is to work, and how legato touch. ciable increase in tempo in the second see¬ truism that all great things arc basically As to “throwing the hands at the piano,” to right or left, or up-and-down motions the interpretation can scarcely go astray w;p repay a Httle attention and study, simple. The truism applies particularly to much time she is to spend on each. Have if these are followed. Note that senza nt gesyes its possibilities as a novelty for her then actually practice her lesson in your I believe that it is well to play in the piano of the wrists are often productive of better I am inclined to believe that if you timed those masterpieces which so gallantly ride results than vain attempts to produce the (without ritard)' is indicated at several Spr;ng pr0grams this piece will be found presence, occasionally criticizing what she keys, rather than at them. As far as pos¬ the great virtuosos, you would be surprised MILADY DANCES out the storms of time and changing musi¬ desired tone with motionless muscles. Only points. This is to warn against the “drag- helpful as a stucly ;n the development of does. sible, keep the fingers on the keys, throw¬ to find that their speed as a whole is less By Stanford King cal conditions. For example, this little avoid exaggerated movements as far as pos¬ ging” so often introduced by players who style It would be a good thing if her mother ing the fingers a little upward only when than you would naturally expect. The .HRRRMRMH—- - Gavotte of Handel. There is nothing com¬ sible, so that your playing appears natural feel that such procedure is “soulful.” All roTwriT T\TF DAYS Mr. King presents this month a com- could sometimes be present during the les¬ necessary to produce the proper fluency of reason for this is that what is taken for position which harks back to colonial days plex or profound in its measures yet it gracenotes are to be played lightly and CRINOLIN posmon mum .bu« «< >'. ' . . • ■ , son hour,, so that she would know what touch, or to keep them from hindering each and unforced and your hand and mind unusual rapidity is often really the vitality qleanly By Gerald Frazee for inspiration. Tempo as indicated in manages to sing its musical message seems occupied with music rather than with for inspiration. Tempo as indicated f" C"’ thirty-nine and. measures forty- represents the gentle swaying of the gon- Puck; Grieg, Ballade; Griffes, The Night last August, Mr. George Anderson, of By Rudolph Ganz five. to forty-seven). While the rhythm dola Tbe peda^[ can^ . be used to the best with a largamcntc and ritard at Fine. ready very familiar; but she always carries and have her learn to play the accompani¬ Winds. Juneau, Alaska, contributes the following away from it added enthusiasm for her ments, while you play the tune on the A short but very descriptive piano piece mUst be well defined it should be daintily effe(!t i{ appbed as indicated, once to each In the Chopin Etude, for instance, (which additional information: ; Mr. Ganz’ contribution to the March marked and not too vigorously accented SWING SONG work. Each month there appears in The upper keys of the piano. Eventually, per¬ 111 ~U ' J ~“J |H jg) -1” measure. Simplicity is the important thing is quoted also by G. Kritzler, of Long Etude. Bells of the Swiss Alps chime So that the mood invited by the title and By Hester Dunn Etude advice from experienced piano teach¬ haps, she may be able both to play and to 1. In pianos having three pedals, in playing this little boat song. Island and James A. Carson, of Illinois), the middle, or “practice pedal,” is with a special meaning for the composer redolent of a gentler age, may invest the ers and performers. Study these ideas care¬ sing some of her songs! First on the Junior’s program this month nearly all of the measures are made up of for very soft playing. who is himself of Swiss ancestry. performer. fully, and see if they can be applied to your 2. A cabinet grand (upright) piano CROCUS BLOOMS is a little Grade One piece composed of two groups of triplet quarters in the right has the inner construction of the Sunday morning bells with their resultant own needs! Potation on the Plac\ Keys By Enid Johnson finger patterns which make it useful either hand against two groups of four eighths in grand piano, but" in perpendicular echoes are heard throughout this little MELODIE POETIQUE piece or reading exercise. Direc- I am quite interested in the Open this waltz at rather slow tempo— the left, as in measures nine and ten: method of beginning piano pupils on not derived from any peculiarity of number. It would seem superfluous to re- By Charles Huerter Various ^Methods of Vechnic its action, but rather from the scale- I3*fc the3 quarter?1 Should'belayed ar?.. pr'",cd for.. the black keys. Is it practical for mark that care should be taken to make Charles Huerter offers music this month , . . . -I tiowhich™ will aid in readingpnpU or ^Zmemorizing. very young children ? What materials draughtsman having done his best, are available? Is there a book I can within restricted proportions, to pro¬ the tones as bell-like as possible. The di- wbich is essentially lyric in character and ype ui eum- There are also instructions for a nice little read on the subject? duce a grand piano in upright instead piano with fingers curved, hands and I have a bright six-year-old pupil of in horizontal form. vision between the hands of the opening wberein tonal values are consequently para¬ position. The announcement is made in the YtHm drill, wrists level with the arms: then phrase is no doubt indicated with this idea mount raise the fingers and strike the keys. almost through with “Tunes for Tiny soprano and answered in the eighth measure SCAMPERING SQUIRRELS Some methods require the fingers Tots,” by Williams. His hand posi¬ in mind. Be careful to apply the una corde Among the most difficult tasks in peda- to be curved, with wrists helow the tion is very bad, and I have won¬ Essential Piano Studies (soft pedal) as directed remembering that . by the lower voice which should have vior By Berniece Rose Copeland keyboard. The attack i: dered about using this method for softer g0gy is ** °f traiTg ttheasPir”S Pi“ist loyncello4ike quaHty. The second section pupil c 0 has had him. Please tell me how the transi- this procedure not only furnishes a softerSOIie pupilpupu totQ listenlmen intently xoto thexnc atlualactual luucs - - - four brighter in tempo—pin mosso. Miss Copeland gives us a short second Dr. W. L. Davis, of Ohio, cites another pianissimo but changes the quality of the hi h he is playing. He begins usually by obserye fnoliQ nt 40 after £rade piece in the style of a sehersino. raugnt ner to tnrow ner hands at the at measure example found in Brahms’ Variation No. tions,” and Chopin’s "Etudes," what 5 well. The chord progression Written in four-eight time it is in the key The method of which you speak is advo¬ other collections of piano studies JET Z which resume the piece a tempo. thpiease° criticize these methods for 24, on a Theme by Handel. He says fur¬ would you consider as being in the the end will please the ears of young enougb t0 stand out over the accompani- of E minor. The right hand consists of me. I have been teaching two years, cated by Tobias Matthay; and for a com¬ "indispensable class?”—A. D. America, since it contains harmonies which ment ;s adequate for every purpose. Of and I strive to keep up with new ther: plete description of it and its use with FUNERAL MARCH short legato groups against left hand stac¬ methods, even though I think that An example of four notes in the haye found favor in many popular presen- course such is not the case nor is a beautiful catos which lend variety and contrast to some of the old methods are prefer¬ right hand against five in the left children, beginning with the youngest, I Beginning in Grade III. and proceeding tations over the ether. tone sufficient in itself. As a matter of By Fr, Chopin able.—Mrs. E. L. B. hand may be found in Kachmaninoff’s refer you to his brochure entitled “The in general progressive order until the final the lively first theme. The second theme Prelude in O, Op. 32, No. 5. fact it is comparatively simple to produce This composition from the “B-flat Minor is in the key of C major and furnishes trills There indeed seems to be no end to t Child’s First Steps in Pianoforte Playing.” Grade X is entered, I may suggest the COMING OF SPRING a beautiful tone on a really good piano. A Sonata” of Chopin is one of the most in each hand. Fingers should scamper ways advocated by different teachers .and May I return thanks to all of the above According to this book, the pupil begins following list: By Georg Eggeling beautiful piano is like a beautiful v monumental works of the master, and has the keys a la Mr. Squirrel, giving to theorists for making connection between readers of The Etude for their able assist- the study of forearm rotation by doubling Heller, “Studies for Rhythm and Expres¬ There are teachers planning seasonal that the tone is already there. The real been arranged for band, orchestra, organ tbe composition the freedom of style it the keys and the tone of the piano. Modern up his fist, and rolling the hand from side sion, Op. 47 and Op. 46;” Czerny. “School programs at this time who will doubtless difficulty is to produce a variety of t and almost every conceivable combination demands. teachers, however, are pretty well agreed to side on the three adjacent black keys. of Velocity, Op. 299;” Cramer, “21 Selected welcome this piece for their special pur- This demands concentration and consistent of instruments. The Etude presents i that that method is most desirable which Arm ‘Position with Arpeggios I think it would be well to try this sys¬ Studies (von Bulow) ;” Moscheles. “Char¬ poses. It opens in true scherzo style and practice on the part of the pupil. One this issue a Master Lesson on this work results in the most ease and fluency of tem with your young pupil, since it in¬ LITTLE ROSEBUD WALTZ Please tell me which is most ac¬ acteristic Studies, Op. 70;” Schumann, should be handled playfully. should keep in mind that a melodic line by one of the greatest living pianists Moriz execution, combined with command over volves the desirable conditions of loose and “Symphonic Etudes, Op. 13.” By Walter Rolfe ceptable in playing arpeggios, (1) to Use forearm attack and let the staccato is constantly changing in “thickness” and Rosenthal. Readers of this department are the various qualities and shadings of tone. play with a strictly horizontal car¬ high wrists, also of free sidewise action Also selected studies by Henselt, Liszt riage of the arm, passing the thumb, chords be brittle. The short groups in that the most beautiful tone becomes monot- urged to avail themselves of the unusual This miniature waltz in F major has two For a start, the first of the above sug¬ and never allowing the arm to move of the hand and forearm. and Rubinstein. thirty-seconds should be rolled, not fin- onous unless it is constantly subject to opportunity to acquaint themselves with (Continued on page 184) MARCH 1935 Page 151 THE ETUDE THE ETUDE FASCINATING PIECES FOR THE MUSICAL HOME Page 150 MARCH 1935 ALBA me “Funeral March” of Chopin DAWN Nevin’s imagination blossomed incessantly like roses on the Riviera, Never did it rise to more delightful and graceful melodic heights than in this A Master Lesson by the ‘Renowned Pianist ingratiating barcarolle. . ETHELBERT NEVIN, Op. 25, No.l Grade 4. j^n^ante, quasi“dolce far niente” m.m. = i Moriz Rosenthal

(there are none of the chromatic passages tween Introduction, First of the formidable competition of two such usually connected with wind and storm) he MOST FAMOUS and popular Second Theme never before was witnessed T musical heroes as Beethoven and Wagner. but a demonic round of whirling specters funeral marches of the classical and in a sonata. The second movement This can be explained by the sincere mourn¬ excluded from the tranquillity and the joys romantic periods are: the Funeral (Scherzo, in E-flat minor) materializes to ing, the most poignant grief, contained in of paradise. Childlike hope for another March from the “Sonata in A-flat, Opus a more realistic battle, a true war battle the outer parts, whereas the middle section and better world, expressed in the D-flat 26,” by Beethoven (bearing the inscription, interrupted by an enchanting vision. No shows the most charming and naive chil¬ section of the Funeral March, gives way sulla morte d’un eroe—on the death of a doubt a hero is depicted fighting for his dren’s faith in another world where we may to utter despair. The sonata turns to hero) ; the Funeral March from the fatherland, overwhelmed by sweet memones meet again our lost dearest. tragedy. “Eroica Symphony” by the same composer and hopes before he succumbs on the battle- Chopin composed this mighty work amid aimed at the gloomy future of Napoleon A Personal Program tropical surroundings, at Las Palmas, the Buonaparte, then emperor of France and fi6And now begins the third movement, the FEW WORDS about the “Sonata in capital of the Spanish island, Majorca, in almost of ; the Death March A Marche Funebre, of the sonata, where the B-flat minor, Op. 35,” where the the autumn of 1838, or winter of 1839. (Trauermarch) of Siegfried, in the Got- hero is borne to his grave. And as soon Funeral March forms the third part (move¬ Much earlier, however, he had discovered terdammerung” by Richard Wagner; and as the marche is finished the Finale (Presto) ment), and the role it fulfills, may not be the "South of music.” the Funeral March by Chopin, forming the begins. It is the most enigmatic of all superfluous. This sonata can be considered In November, 1838, he left Paris and third movement from his “Sonata in B- pieces! The great melodist feels that he as partly autobiographical (like the Sonata went to Perpignan in southern France, can evoke fear and shudder with a single flat minor, Op. 35.” in A-flat, Op. 110” by Beethoven). Chopin where George Sand awaited him already Chopin is credited with having written voice, without accompaniment, with a sim¬ was not only with Wagner the greatest with her two children, Maurice and two funeral marches, the one already men¬ ple unisono and sot to voce in both hands, musical lover, he was also a fighter, a Solange. From there the amorous couple tioned and another in C minor, which was without crashing chords and thundering sf^ cresc.molto e^jressivo warrior. The fate of his fatherland, which went to Barcelona and took the ship for portamente composed very likely by Fontana, a much accents. Anton Rubinstein, the great one, then seemed hopeless, when Poland was lesser light, of course, but Chopin’s pupil characterized the movement as the wind Majorca. At Las Palmas Chopin fell des¬ subjugated and divided among Russia, Ger¬ and devoted friend. Surely one cannot be¬ over the grave. Chopin himself, who dis¬ perately ill. Tuberculosis declared itself many and Austria, moved him to frenzy. y 1 i jp ^ lieve that this C minor March should origi¬ liked every program, confiding in the musi¬ manifestly, he suffered from hemorrhages In any case, the first movement of his nate from the same illustrious pen which cal power of his ideas, answered jestingly of the lungs, but his iron will proved in¬ “Sonata in B-flat minor” shows (First surprised the musical world by an almost domitable. He composed at this critical ' !\dolce Theme) the terrible fight between a seem¬ a pupil, who asked him about the meaning uninterrupted chain of masterworks. Re¬ of this Unisono-Finale: “There is gossip time his most forceful works, like the cantando\ je; 2Q~===jE;==~ ingly inexorable fate and the (Second garding, however, the March from the “Sonata, Op. 35,” his "Preludes" his terrific Theme) noble pride and greatness of the between the right and left hand.” In my “Sonata, Op. 35,” we are easily seduced to “Scherzo in C-sharp minor,” musical hero- hero. The “working out” part grows still modest opinion, there is no gossip between compare it with those highest efforts by deeds which defy change of times and are b-t j 1 i j. F'=* more volcanic. Such a savage fight be¬ the two hands, no wind over the graves -m-. Beethoven and Wagner in order to form a not yet understood by some dry virtuosos 5t> better judgment on its merits. We have who are not musical enough to feel the full to take, of course, into the consideration, greatness of Chopin, this “classical roman¬ that the marches by Beethoven were com¬ ticist,” as von Bulow used to call him. ^^ ^ posed around twenty-five to thirty years After having established these historical ,.y ^-| before Chopin’s; the Death March by Wag- facts, it remains to show the technical and ner, around thirty years after the. work of interpretative possibilities of this march. the Polish composer. The first thirteen and three-fourths meas¬ ^ vibrato—- ures are built on a bass of two regularly 25^- Marches in Contrast intermittent chords, both belonging to the 3= THE MARCH from the “Sonata in A- B-flat minor family. flat, Op. 26” by Beethoven is hardly to be counted among the highest efforts by this great master, inasmuch as the pathetic and heroic character seems almost absent from this work. To me, at least, it sounds h t rfr rather “military.” There is much of the In the famous edition, by the publishers of pomp usually connected with military The Etude, there is left no doubt that the parades. One might imagine trombones pedal should change at every chord (at and even cannon shots. As to mourning, every quarter note). It should, of course, iL 35 grief or despair, there is not more to be be borne in mind that the foot should be —n .. /--r- _it_ found in it than a file of valiant officers and raised from the pedal at the same moment *0 ’ 7- 7 f soldiers is supposed to show, when they that the hands strike the chord, that, on -Ltr^ the contrary, the foot should be pressed bury their dead comrade. From a more 1 * colossal mold appears to be the Funeral down at the very moment when the hands ' ' V 'r A l-j-- March from the “Eroica.” The first twenty- are lifted from the keys. Only this in¬ L 4 four measures, and especially those from verse operation assures a long, uninter¬ % jr )f t|| T1— the seventeenth to the twenty-fourth, show rupted and unblurred sound. Most im¬ a grandeur which makes them more than portant is it also that the sixteenths in the vfTM-y- worthy to conduct the greatest hero of all right hand should get their just and full time to his grave. But this exalted height time. Nothing spoils more the grave is not maintained in the second part of the majesty of this pathetic melody than too 40_- ^^pp march. The Maggiore (C major) cookoff short sixteenths, which are apt to create an r ft Pl»- to a more conventional kind of music—“wo atmosphere of levity. The metronomic pre¬ man weder die Grosse des Saengers, noch scription of our edition (Chopin, himself, des Besungenen fuelt (where one feels the abstained in this whole sonata from metro¬ i -t. w' 1 si r l full greatness neither of the singer nor of nomic signs) is: MM.J=80. I confess the one sung about.)” however that I have a weakness for a Turning to the march of Wagner, we feel slower tempo in this march and that my immediately the superhuman greatness of the metronomic design is J=72. Regarding dead hero, who succumbed to human per¬ the fingering, I prefer the following: fidy (Hagen), but not the full greatness of Wagner himself, inasmuch as he falls back Ex.2 >' » a s ‘ •' on all those leitmotivs which accompanied Siegfried on his long way through the score of “Siegfried” and “Gotterdammerung.” Alas, it must be confessed that Wagner does not take, for this occasion, the pains of creating some new of his harmonic and * rjj pLirL melodic wonders, but simply repeats himself. From all of those marches the one by International Copyright Chopin became the most popular, in spite CHOPIN DREAMING HIS “FUNERAL MARCH” (Continued on page 173) Copyright 1898 by The John Church Company MARCH 1935 Page 153 THE ETUDE THE ETUDE

Page 1,2 MARCH 1935 COMING OF SPRING GEORG EGGELING, Op. 157 SCHERZO

Georg Bggeting’s V .«*. “ "* Played vivaciously and exuberantly it has all of the atmosphere of the coming springtim J T7' trerkTlT\n M M J . -84

Copyright 1912 by Theodore Presser Co. International Copyright secured MARCH 1935 Page 155 THE ETUDE THE ETUDE STANFORD KING Page 154 MARCH 1935 MILADY DANCES CRINOLINE DAYS Stanford King has caught an individual flavor in this ColoniaJ-Iike dance for the pianoforte. Be sure to sustain each note for its proper vaJue^ Grade 3|. Andante moderato M.M.J = 69 AN OLD-FASHIONED WALTZ and swirl in the lilt of Crinoline Days. Just catch the rustle of taffeta skirts and goodness knows how many silk petticoats as they swing Although this composition is essentially a piece.it makes an excellent study in rhythm. GERALD F. FRAZEE

■S- r r 77lf‘ 15 p a tempo - _ i j ^.

35 A 5 3, > 1 ^ j~- 1 ^dolce "T > 1 > -r ^ J. c rm i

§1 vb — f H fur 35 p a tempo a~j i-^Yr

3 jv ~ — 3 X, nfpPx j—t-j , jtp

TO) 40 p a tempo P f 45 tlf P ^—r11

o

British Copyright secured Copyright 1934 by Theodore Presser Co. Copyright 1934 by Theodore Presser Co. Page 157 THE ETUDE MARCH 1935 THE ETUDE Page 156 MARCH 1935 MELODIB POETIQUE■ ^]e will find in pieces of this type,in which the mel- Teachers Who are hurting for material to help pupils createltKj,‘omp™Slrt,™” uertul study opportunities. Mr. Huerter, who has a eharm- CHARLES HUERTER

Moderato M.M.J= 76 Molto espressivo 5

Piu animato M.M.J = =116 \_ 2_ ^3,_ £. 4r1 J 4| a

'3 7 P 7 7p 7 ||jr 7 jr 7 fTf L~"J 15 7 j[7l7 J-7[ji 7 ...n z^ ftp— 5 1 's 4 a'-- ° " rap i argument v

j T~ > at^x> i—± u

4 * 2 a a 5 - i, *l 2 5 4 f 3 1 *'—

i- iff ^ a tempo r'!;; 30 1 1 cresc. If? T^F rit. A

1 4 4 *>-- -nu—- Piu mosso

- > r'-- , * .Last tiime only ^ Jt J"n-^1-r t a t 1 1 «! yeT " i ibqft. i,^ f- —~ hCj/LLJ - j£- * 7 j / y ar tempoJ g^==- 1 20 -35 ^ (gn*; u pr ■ p U=6^ Copyright 1934 by Theodore Presser Co. British Copyright secured Copyright 1934 by Theodore Presser Co. t Emphasize the graceful, gliding rhythm of the boat-song. British Copyright secured THE ETUDE THE ETUDE MARCH 1935 Page 159 Page 158 MARCH 1935 MASTER WORKS

See lesson on this piece in this issue funeral march by Moriz Rosenthal. MARCHEIVI *---FUNfeBRE * v. «« t ’’Or, nublished in May, 1840.Chopin used two minor triads in this great work to pro- The Funeral March is the third movement from the Sonata, Op.35,p / . ^ bells The great polish critic Karaszowski said of duce the effect of the heavy-footed mourners keeping step with the somber *01^ ^ play it^as the great Rosenthal suggests *" *'•“ this impressive March,“It is the pain and grief of an entire nation’.’ Thousands of pianists P y _ ^

master lesson in this issue. ZRXHOPIN, Op.35

M.M. J =80 -- -.

Handels facility for writing charming dances in the prevailing style of his time has been remarkable in that these compositions,played in the proper spirit,seem to have a present day timeliness which can only be ascribed to genius.

3 Tempo di Gavotte m. m. J = 126 -- __5 "X1- G,F* HANDEL MARCH 1935 Page 161 THE ETUDE THE ETUDE OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES Page 160 MARCH 1935

Words and Music by THE CLOSE OF DAY GEORGE LAVAIN Andante con moto THE ETUDE MARCH 1935 Page 163 THE ETUDE

Page 162 MARCH 1935 ten. fr r ft.

view,_ To dream, while sil -ver moonbt iams s teal,- of ycm, sweetheart, of you-- M teT- S

1 -ft // - ff *Pf4=

♦ ten. -r- con espress. * p r i-m The fra-grance of the dew - kissed— ? fZrfii g g Nh j^f P * Jj* * !* P

SOMETIMES,WHEN SILVER MOONBEAMS STEAL 5 , > .

rnsft _ Whose pet - als sweet - ly glowr > A haunt - ii ig strai n of mel - o - dy, From

y ' p jj 7 * P r 1 K ?f ^ i J- 1 3 ?

ft vM--1- 7- i | j --^n -T-h—hr- -fs-r --» . "Ki 1 r) jrJ -- £= J 1^ p p p.^1 out t he long a - go,,- Calls to my heart, each plaint-ive iiote, In dre ams, in dreams of 1— -I—I-rl- H—F=h

?irmw H f H r

CC m molto espress. ten. k ^ A Ll > ===:1 f ? ■ —

ec-sta-sy, To sing, while silver moonbeams steal [,_ Love’s song of mem - o - ry- ten.}Um^ | — - J ■ J ...!»• PPf It r~j bJ ihJ jTi J- i)i BXfL l *s \w=fm ;; P^ tr^ff

fgqKlg fff ff =35 sm .L|V •P^—4 11 1 1 * 1 1 lj i :

Copyright 1934 by Theodore Presser Co. British Copyright secured the etude the etude MARCH 1935 Page 165

Page 164 MARCH 1935 IMPROMPTU RELIGIOSO autumn song

CODA

British Copyright secured Copyright 1933 by Theodore Presser Co. THE ETUDE Page 166 MARCH 1935 THE TOP O’ THE MORN IN’ JOhn prindle scott

British Copyright secured THE ETUDE Page 169 the etude MARCH 1935 page 168 MARCH 1935 PROGRESSIVE MUSIC FOR ORCHESTRA LITTLE BRIAR ROSE -4 ^ FRANZ SCHUBERT 1st Bb CLARINET FRANZ SCHUBERT LITTLE BRIAR RObL Orchestrated by HUGO FELIX With charm

LITTLE BRIAR ROSE franz schubert TROMBONE or CELLO LITTLE BRIAR ROSE FRANZ SCHUBERT MARCH 1935 Page.171 THSstvds THE ETUDE Page 170 MARCH 1935 t,TTrnFQ FOR JUNIOR ETUDE READERb LITTLE ROSEBUD WALTZ DELIGHTFUL PIECES_FOK

S WIN & ® kept in position 0VBr *be ^ Recite measure This piece is written for the first, second, and third fingers of each hand. Grade 1. fount “l-o-uv sections (notes and fingering) before flaying as an aid. in reading alternately on the first beat of eve y • > orsingthe Rhythm Drill: Place palms of hands together and swing arms to righ an HESTER LORENA DlJNft words. Moderato M.M. J = 108 _ 1 _nji_ - 1 r. h! h)

ALICE C.D. RILEY MY SHADOW JESSIE L.GAYNOR

). SCAMPERING SQUIRRELS i. BERNIECE ROSE COPELAND I Allegretto m.m. i’ = 144

Probably the most played of all Chopin preludes. This arrangement,while slightly simplified,retains the^ajesty of the original. Use synco- patedpedaJingwith it. Release and put down the damper (right) pedal just after t he chord is struck, not with the chord, and the effect will be con-

3 3 2 --- -- 1 4 6

^ mV 20 fLflfL + M.

— 2

Copyright 1934 by Theodore Presser Co. British Copyright t THE ETU

Page 174 MARCH 1935 Opening the Voice CLASS PIANO INSTRUCTION By Gurdon A. Fory

Adequate equipment is essential to the most successful class piano in¬ STRIKE a key on the piano, and a less to make the tone seem to go “out.” It THE SINGER'S ETUDE string is set in vibration and pro- will go out of itself, because there is no struction. The Ross Multiple Piano supplies this need. This equipment duces a tone. Now lift the dampers place else for it to go. Edited for March by will revolutionize and popularize piano instruction. Teachers with and strike again. A series of tones above The same closing will take place if too EMINENT SPECIALISTS the one struck comes into vibration, and much emphasis is put upon singing “for- courage to pioneer and with ambition to grow will find this equipment by listening .it will be heard that the tone ward.” The tone is forced to come “for¬ is enriched and amplified by these “over- ward” by giving less room at the back, most valuable to them. „ „ *. o. THE ETUDE » "A ^^ tones,” which vibrate in sympathy with the and so it becomes “white” or shallow, with fundamental tone. This is an illustration insipid, callow and colorless quality. Do Ask for full description, price and terms. of what is meant by the expression, “open- not try to drive but try to fill. Give the ing the voice.” overtones a chance, by taking the dampers In the correct effort to open the voice off them or, in other words, by opening the WEAVER PIANO COMPANY there will be a use of the cavities and sur- voice. faces whose resonance adds to the funda- Trying to open the voice also helps won- 127-137 Broad Street, York, Pa. Vhe Maintenance of Vocal Integrity mental tone the overtones needed to enrich derfully to counteract the all too common and amplify it. tendency to contract the throat. It also Makers of Fine Pianos and the Ross Multiple Piano. tBy Albert Lushington This opening can be done in a general helps to prevent the tendency of the larynx way only. One canrtot say, “Open the to rise as the upper register is approached, pecially for those suffering from ex antrum” or “Open the sinus.” But if one when it needs, if anything, to be lowered, cords. It is the overactivity of these TINDALE Ever SINCE the study of the voice Mario used cigars. glands which causes the symptoms of cessive catarrh. thinks, “Open the voice,” there will be an This “opening” affords an immediate sense (e) Of great importance, too, is the I assumed the full dignity of an art, Now from cucumbers to soda water, and “phlegm” and “catarrh” and induces the opening of whatever needs to be opened to of relief as the higher tones are neared, Music Filing Cabinet attempts have been made to discover habit of thoroughly cleansing the I give the tone the added color and richness as if obstruction were suddenly removed or Needed by every Musician, lemonade to sardines, is a wide and vague harsh “couac” which dislodges it. Ac¬ * * lie Student, Library, and to offer to its votaries, some panacea latitude, even allowing for all the idiosyn¬ companying this condition, the turbinated mouth with dental floss and salted desired. This opening is more like yawn- interference taken away, One of water after meals. This will obviate I whereby the instrument, upon which the crasies of “artistic temperament.” bones behind the nose are usually swollen. ing than anything else to which it can be The golden ringing quality of the great ^NEW YORK’S nicest HOTELS practice of their art depends, might be Whilst these conditions exist, it is posi¬ excessive secretion of saliva, due to j compared; and yet it is not exactly the voices comes from the utilizing of all maintained at the highest possible standard The Fragile Instrument tively dangerous to attempt the study ot portions of food lodging between the same. Try before the mirror and it will resonances, not of one particular resonance, A charming home in quiet of efficiency. IT IS an incongruous fact, that notwith¬ singing; because they are apt to lead to a teeth. be found that the back of the throat can jt comes, not from an incisive and sharp Gramercy Park...conveni¬ The Greek sophists were followed by (f) The question of exercise is easily I be noticeably expanded in all directions, pointed pinching and driving, but from an standing the advance of modern science, forcing of the voice, in a search of the ent location ... serving their servants bearing some of the many and the very formidable array of “voice desired “resonance,” which is bound to be settled. Any form, which takes one broadening, widening and deepening it. Ob- opening, expanding and amplifying process outdoors and which docs not induce ! a clientele of refinement. voice preparations known as “Arteries,” books” published, vocalists seldom carry lacking. serve and try to remember the feeling of practjce(i until every corner of every cavity with which they laved their throats during the full glory of their voices beyond the panting for breath, will suffice; for grateful roominess and bigness this gives, ^ ful]y expan(ied and filled with intense Single Rooms from *2°° Daily lengthy harangues. early years of middle life. Yet it is doubly Does the Stomach Sing? singing is itself a wonderful physical when done easily and rather gently. Now vibration jf rightly practiced with pa- In Rome, Nero, subjected himself to a important that they should do so, inasmuch SCIENCE has made it increasingly clear exercise, demanding great reserve of j try to reproduce this sensation when sing- discretion, this growth goes regime as rigorous as it is interesting: energy. A “Daily Dozen,” the first as the vocalist, unlike the instrumentalist, that most of the ills to which the body ing a tone, and let the tone seem to fill up for many years before. all its possibilities “At night Nero lay upon his back thing in the morning, with deep breath¬ has to wait for maturity before commenc¬ is heir, may be traced to incorrect dietetics; this “roominess.” are reached and the voice attains its full with a thin sheet of lead on his ing always, will drive away that slug¬ Try to sing “in,” and it will be found ing to practice on his or her instrument. and this is especially true of the voice. maturity and splendor. What is overdone stomach. He purged himself with cly¬ To what extent is it possible to prolong gish feeling and will add brightness that it is from within that the tone is am¬ For there is not only the direct connection in the first five years you will lack in the sters and emetics; he abstained from the life of a voice? For an answer, we between the alimentary tract and pharynx, to the day and voice. plified. Do not try to sing “out,” for in fruit (!!) and all the dishes which need only to recall such artists as Patti, but also their nerve supplies are inextrica¬ (g) Smoking in moderation does not : so doing one must close the inside more or last ten. could harm the voice; for fear of al¬ seem to be harmful, and is even eulo- j who commenced her career in 1859 and bly interwoven and mutually affect one HARMONY BY MAIL tering the notes, he ceased to harangue was still receiving eulogistic press notices another. Because of this, every experi¬ gized by Sir Claries Santley. But, | the soldiers and the Senate. He even A practical and thorough course of 40 lessons. in 1908, or Battistini or Lili Lehmann, and enced singer knows how the state of his undoubtedly, it must not become a con¬ Small monthly payments. Send for particulars. kept near him an officer to take care of we have the most comforting reassurance.' voice depends upon the condition of his di¬ stant habit. (Mario paid for his in¬ Music composed to your words. his voice. He no longer talked save in gestive organs. In Italy singers speak of dulgence, with an extremely sensitive Price reasonable. the presence of this singular Governor, Queen and Singer Some Fundamentals “constipation of the nose,” and over here throat; and there arc those who say ALFRED WOOLER, Mus. Doc. who warned him when the spoke too 1511 Boone Court Lakeland, Fla. Simplest Method Known OUR INQUIRY involves two main we have seen the term “nasal paralysis” that Caruso sacrificed his devotion to high, or when he forced his voice; and, Most modern; complete: systematic: thoroughly considerations: used by the proprietors of a spray. the weed. By Hermione Esther Edwardes if the Emperor, carried away by some illustrated. All chords in music^hass projtreii* (a) Whether the voice be correctly pro¬ The question of diet is too personal to ^ PERFECT VOICE sudden passion, did not listen to his improviTing“peI,0tatoniorscafe. whole tone scale! duced, that is, without friction and waste admit of any stringent general rules. As Avoid Extremes blue scale, chords, tenths, hot chords, remonstrances, he made him close his Good Queen Victoria may have been to songsters were Rubini and Lablache, the MIPROVE £m)ARAHTEEI> of misdirected energy. This is dependent Bacon expressed it, “A mans own obser¬ mouth with a napkin.” ' N SHORT, the singer need not adopt an extent responsible for some of the rather Caruso and Battistini of their day. on the team-work between master and vation, what he finds good of, and what he I In modern times the sacrifices appear pupil, on the competence of the one and the life of an ascetic: but his must be straight laced formalities of the era which “That particular season,” writes Mr. hardly less heroic, and the Pall Mall finds hurt of, is the best physic to preserve a life of moderation, without those ex¬ bears her revered name; for she had most Wortham, “was unusually brilliant; for the Parties3or4 $100 the aptness of the other. f Each Part)... ^ JL Gazette of 1869, published an authentic health.” But here are a certain few ele¬ cesses which invariably exact a full penalty decided views as to propriety of conduct young Queen had been only five months (b) Our present concern, however, is the mentary rules worthy of observation: list of panaceas used by the greatest singers far simpler inquiry into the requisites for for their indulgence. under all conditions. Nevertheless, to have married.” He tells also of her youthful of that time. Here are some of its revela- efficient vocal hygiene, or the maintenance (a) Do not overeat. Upon this law Vocal integrity is as essential to the come face to face and to receive one smile pride in singing. An incident characteristic of vocal integrity. This involves two broad hang all the others; and the best way voice user as “form” or "condition is to from her good countenance was enough to of the simplicity of spirit which colored the physiological functions: of enforcing it is to stop eating before the athlete; for the vocalist must be, first dispel any preconceived notions of Her whole life of “The Peerless Queen,” hap¬ REflNAUTISTym .... GUIDE TO NEW TEACHERS send for Labbatt used two salted cucumbers: 1 rntt on TEACHING THE PIANO « C»P» you must do so. Be satisfied but of all, a vocal athlete before there is any Majesty’s austerity. She could command pened on an evening at Buckingham Palace UP WE CAN TEACH 'V A *SS§9 Sontheim used a pinch of snuff and a 1. The free and unhindered vibra¬ ^ YOUDRAW^G never satiated. possibility of his becoming a vocal artist. every deference due her exalted position, when Mendelssohn accompanied Her Maj¬ Tells how to begin, the ^equipment needed, glass of cold lemon- tions of the vocal chords; and It is only by adhering unswervingly to the and she could still be human. esty in one of his songs and a nervousness 2. The reinforcement given the sound (b) Allow at least four hours be¬ welfare of general bodily health that me One of the manifestations of this hu¬ caused her to fail to hold the last long G, I the yolk of an egg thus generated, by the various re¬ tween substantial meals; and do not Write today for Art Year Book ^ sing immediately after eating a full singer ever shall be able to play upon his manity was her love for music and even upon which she naively apologized, “Gen¬ | Theodore Presser Co., 1712 Chestnut St., Phila.. Pa. beaten with sugar; sonators of the larynx, pharynx I meal. an evident pleasure in participating in its erally I have such a long breath.” Then SCHGDI^AWSUEI? AKT \W fF i brown juice of Gam- and post-nasal spaces. instrument, “The lyre of God,” wkh that Dept. 235, 10 E. Huron St., Chicago, III. r (c) Eat a mixed and varied diet, elegance and easy assurance which «n performance. Till saddened by the death she promptly confirmed this by a second Situated within the post-nasal spaces and of the Prince Consort, who shared so many song in such a manner that Mendelssohn A beautiful new song setting Robinson used with an abundance of vegetables, fruits enable him to transcend the physical a* of WILSON MACDONALD’S poem, Malibran used a pot of porter; larynx are certain minute glands whose and salads. to enter those regions where are possible of the burdens of her office, they were fre¬ wrote home that he never had heard better sardines; office it is to supply the mucus which acts (d) Drink a generous quantity of the noblest and loftiest flights of his chosen quently at the opera and concerts, often singing by an amateur. "A SONG OF TWO HOUSES" Sontag used by Nilsson used beer; as a lubricant for the voice tract, including water and acid fruit juice: this es¬ purposely to lend their favor to the success The young Queen must have had both a JOHN V. HICKS of a struggling composer and his work. voice and a considerable technic; otherwise When participating in music at her she could not have sung for her guests the For medium voice — 55 cents postpaid “parties,” the Queen was but following— part of Pamina, with Rubini as the Tamino Prince Albert Publishers — Box 584, Prince Albert, Sask. or was she setting?—the fashion of lumi¬ and Lablache in the part of Sarastro, in cRegaining the Lost Voice naries of London society. For Lady the famous trio, Dunque il mio ben, from Normandy and Lady Williamson had won Mozart’s, “The Magic Flute.” By Gecile N. Fleming and held their leadership largely through How different from the present, when their musical accomplishments. the social leader is either too vapid to cul¬ WjPM Music Pi Not so long ago the London Daily Tele¬ tivate music seriously or apt to be looked graph reproduced, as illustrating an article THE LOST VOICE may be re¬ the treatment of this disability. prescription was three months of absolute worn and trembling. For this the remedy upon by her associates as just a little queer Shock may have caused a nerve to be by H. E. Wortham, its widely recognized gained, providing there is no physical rest from singing and from speaking ex¬ is practically the same as for the if she does so. Perhaps it would be better crossed or misplaced. This has been known music critic, a program, in facsimile, of a deformity, permanently disabled or¬ cept in a whisper. This, or no help was strained by wrong tone production. r*j if we had someone in commanding position to respond to regular practice of breathing concert at Buckingham Palace. June 12, Jb gan, or irremediable obstruction. Of any his ultimatum. Jenny Lind obeyed. Sen¬ tience in perfect rest, and then a minim ^ to set a custom of having music in the home zPkji t Engravers of these the throat specialist can give re¬ exercises. If not so in a reasonably short 1840, on which appeared the item, sible: but “what a deprivation for a of soft practice but very, very slowly other than that secured by turning a dial. liable information. period, then it should be the skilled physi¬ woman,” as she afterwards facetiously ex¬ Perhaps we may hail the day when seeing creased, is a safe cure. . Duo, Non fuuestar Crudele from Lithographers Loss of voice may come from several cian for the patient. claimed. And of Garcia she said “He pictures of themselves in a box at a sport¬ Bodily ailments are for the skilled phyf Ricci’s opera, “11 Disertore” 0 Write to us about anything in this line sources. It may have been shock, wrong Wrong practice (or, in other words, was very careful—indeed ‘cranky’ 'about ing event, or at a “political pow-wow,” will practice, overwork, or bodily ailment. Of a faulty method or tone production) is a cian’s attention. , Sung by SEND FOR ITEMIZED PRICE LIST breathing; and, for the first week when Almost every vocal ill may be prevent hold a lesser lure for our ladies of leader¬ course the first thing is to find the source frequent element of disaster. Jenny Lind Her Majesty and Prince Albert work began, I was allowed to sing but and eliminated, by careful, healthful brea ship than does the presiding over a cultured of the trouble; after that, the remedy. lost her voice through this source, when five minutes a day.” ing, and with an eternal vigilance t On the same program with the royal drawing-room. Most often it is not what to do, but what her career had been well begun. Manuel Overwork of the voice has the same re¬ not to do, that is the key to success in Garcia restored it. Nevertheless, his first there is an effortless turning of the brea sult as with the arms. It becomes tired. stream into beautiful tone THE ETUDE the etude MARCH 1935 Page 177 as in any hymn which has been first studied but notice the changes of tone quality. Page 176 MARCH 1935 in the method described. In playing on a small organ, if the A Oenuine Pipe Organ We will next try another scheme by play¬ stops in use are too loud play the chords ing twelve times the chord of C, as de¬ with less notes; and, if too soft, use more scribed at the beginning of this article. notes by duplicating voices. Begin with the swell box open, and These suggestions may be made the the ORGANIST'S ETUDE gradually close it till the point where source of more interest in playing the three notes are used on the Great by each organ; for, as was read some years ago, hand; then gradually open the swell-box “If an organist would make his playing Edited for March by till the point where there are four notes fascinating, he must learn to do three EMINENT SPECIALISTS on the Swell with one on the Pedal. Play things: first, to listen; second, to listen; this so there is no crescendo or diminuendo. and third, to LISTEN." It is the ambition of THE ETUDE to make this Organ Department "An Organist’s Etude" complete in itsel

To he Tor dining of 'Boys' Voices

By Francis Coombs A PIPE ORGAN FOR THE PRICE OF A GOOD PIANO Vhe (Reed Organ AS THE SYSTEM of training the of a Patti or a Melba. Shades of Reason 1 LAST every organist, jlianist voices of boys, known in the United _ __n OWN A And a Remedy _E ORGAN. All former prob- invest your music money wisely -4. JL- States as the English Choir School s of space, installation and ex¬ Herbert S. Morton By Method, is being used by an increasing 'HE FACT IS that many so called piano pitch. You cannot be too careful in organ music easily within , - , . n cprtions the point of division being number of choirmasters, no apologies are A authorities, in trying to avoid the of churches, schools, homes “volunteer organist” they have found &em- into two sectio po _the fifth line in the use of this stop. It is suggested that needed for its discussion in the columns of Scylla of chest tone on the one hand, have mortuary chapels, lodges, e IN THE REALM of music, in its sci¬ selves confronted with many difficulties, between /w only in solo or using the octave coupler T he Etude. plunged into the Charybdis of a false and Tone quality superb. Materials t: ence and culture, there is a wide scope (the name explains this stop), or playing So much extravagant praise has been It is hoped that the information * We now return to the right section, play le CENTURY EDITION. artificial head voice on the other. Bnest. Console built to A.G.O. Stan for individuality. The standard of the one octave higher on the keys, or in full Ittfully printed, c lavished on this system that those interested ards. Booklet on request. real musician is above social position. Some article will be a real help to them. “Moderation is always safe,” is a sound We will assume that you, as a reader, organ, should the player have this stop in k of It! Over 2.90(1 selections tc in the subject should know more of its Musicians interested in acting as eminent musicians, whose names are now maxim. Is there no middle way here? • are a good piano player, that you can play use. The same arrangement of tones and

Page 178 MARCH 1935 ORGAN AND CHOIR QUESTIONS Bands and Orchestras

(Continued from page 147)

second theme demands; for I knew that I “The good result was at once apparent, Controlling the Speed assvw-—„1/ufdress 0 e °* , " rertce between a “unit” should be able sufficiently to slacken the so that for the gradual reanimation of the “rpHIS WORRYING and driving to ight” organ t Will practice r o» a ° or"nn' w at the right moment, so that the tempo with the pulsating A death of the principal theme at the manual revw l"w"—7 ThlP}liZ$/. manual.l *mWill you pe^oryan, or would it be harmful in < proper movement for this theme might be close of a piece is a habit common to all To the bass of the: Cheat «>«»» as / scouM ^/f^ iadsr give me a list of Teed on kindly divejne console as nearly ™ Pldcrs including thane that manufacture reached. our orchestras—'very frequently indeed +h<>e organnraan to VesemUeresen. a ..nminl and pedalvedal W*.type. W...... hat arc the I “After the extreme excitement of the nothing is wanting but the sound of the 3 pajKSi reed organs builtt Pipe organs tempo allegro, I made use of the long great horsewhip to complete the resem¬ a\CwK 1 A Ai strictly “straight'’“straight organovg is ™ drawn notes of the clarinet—the character blance to the effects at a circus. No doubt Kenyan1 Guild of Organists : which each stop represents the inclusion of more ranks or sets of pipes. A "unit1 of which is quite that of the adagio increase of speed at the close of an over¬ s one in which one extended set of pipes to produce the tones for two or more I had only to give the slightest indication ture is frequently demanded by composers ; t different pitches but of similar quality, of the pace to find the orchestra perfectly it is a matter of course in those cases where Popularity! Step right into it with a manual and pedal reed organ can be MR .or the actual practice of organ music, ready to attack the most energetic nuance the true allegro theme, as it were, remains P-A Sax’. Play beautiful tunes first hut Diano work Is preferable as a technical of the main tempo together with the fol¬ in possession of the field, and finally cele¬ preparation for pipe organ study. We are giv¬ week. No failures. Learn quickly. Join C” between heeiboardl and toeboard = 2T • ing you by mull information as to reed organs. lowing fortissimo. It was not so easy on brates its apotheosis; of which Beethoven's a dance band in 90 days. Only P-A Length of playing burface 01 r at We of course, cannot name in these columns the return of the conflict of the two great overture to ‘Leonora’ is a celebrated Height of sharps above natural^ a preference for any particular builder of assures such rapid progress. Easiest strongly contrasted motives, to bring them example. In this latter case, however, the Pla&eno?’p“/-Vface of natural Keys. either pipe or reed organs. blowing, fingering; most beautiful tone. out clearly without disturbing the proper effect of the increased speed of the allegro so as imperceptibly to ease the tempo in this feeling for the predominant rate of speed. is frequently spoiled by the fact that the See your P-A Dealer, or write direct for to center, of adjacent place, where the figurated movement is Here, when the despairing energy of the conductor, who does not know how to beautiful literature. No obligation. Easy t ends of sharps : 2 Vi . dissolved into the sustained or tremulous allegro is concentrated in successively modify the main tempo to meet the various terms. You can do it. Write today, bio e 17 Vj". requirements of the thematic combinations tone; so that, in spite of the connecting shorter periods, and culminates in PAN-AMERICAN iLKHflRT,B|ND?ANA PEDAL TO MAOTJAL figure (for example, at the proper moment to relax the rate of speed), has already per¬ Left to right location : Lentraltae^L . aailiD-sharp's Ex. 9 tfhe^rennUda8%''FtoOIio‘°barto plumb-line drop- mitted the main tempo to grow so quick as pedjrom^fr?- - keys ^ to exclude the possibility of any further i“„ual on"2 manual < *3 manual console : 11* increase—unless, indeed, the strings choose "“v'prticle"; U*29% " between which renews the movement, and so beau¬ to risk an abnormal rush and run, such as of natural keys of lowest manual and I remember to have heard with astonish¬ tifully leads to the cantilena in E-flat, we , Organkrt whieli areUtaRkenefVrom Ihf1*' had arrived at the very slight nuance of ment, though not with satisfaction, from says of^ the latter 1 believe the Guild the main tempo, which has been kept up this very Viennese orchestra. The neces¬ sence of other indication, v sity for such an eccentric exertion arose in ,te^sJH!.„ra^"nTeint sp°ite of the all along. I arranged with the excellent manual ^and Ie or the other must executants that they were to play this consequence of the main tempo having been the success of the ever present modifica¬ hurried too much during the progress af theme middle E of pedal tion of tempo was perhaps shown best of the piece; the final result was simply an SU Bench: 20 %" 1 direction, clavier, adjustable Ex. 10 all. exaggeration—and moreover, a risk to s required we suggest Improved CONNQUEROR “After the splendidly sustained C major which no true work of art should be ex¬ ganists, 217 Broadway, New York, reqne chords, and the significant long pauses, by that the matter be referred to the proper posed—though, in a rough way, it may account of the tnnrtlal character of which these chords are so well relieved, be able to bear it. excerpt we would suggest for the legato, and with an equable piano, that is. the musicians were greatly surprised when Hire keeping the boss part only “However, it is difficult to understand Q. I have a new (f) antique Beckwith reed without the customary commonplace ac¬ I asked them to play the second theme organ made by the Beckwith Organ < urnpany I repeating all the other parts. In why the close of the ‘Freischutz’ overture ot°Chicago. Can you tell me whether the I measure tie over alio and tenor centuation and not as follows (Agatha's Prayer), which is now raised should be thus hurried and worried by Arm is stiil in existence, how old the organ oti-M nnd play soprano and basa pans to a joyous chant, not as they had been FREE might he and something of its possible value 1 hoot any break. I11 your second Ex. 11 .g. >_^ Germans, who are supposed to possess suggest tying over the repeabd accustomed to do, in the violently excited some delicacy of feeling. Perhaps the “y* We'tave m> information as to the firm nuance of the first allegro theme, but in BOOK or instrument. There are many reed organs fit 1 vHjii iinirTTn 11T blunder will appear less inexplicable, if it of probably similar type still in exist”"'-" *"• p-- —. the milder modification of the main time. is remembered that this second cantilena, iCONN we doubt its having any value as a antique. which toward the close is treated as a chant of joy, was, already at its very first Q. In the Feb 1 issue of The Etude Advertisements are Bulletins of Splendid Buying Opportunities Etc _..oticed an inquiry in r appearance, made to trot on at the pace of icdal-board for piano. The answer IOU were mailing the, name at 11 the principal allegro: like a pretty captive EASY tupplyinj I would also like to ha 1 girl tied to the tail of a hussar’s charger— MV name ana me price list of such kryboart Ip and it would seem a case of simple prac¬ I would like to secure a board the exact si the melody11,.1-kIv caused ly repeating and shape of that of the modern theater org , !*•■«•»& pUyln««im in(j may le varied to Supervisors of Music, tical justice that she should eventually be raised to the charger’s back when the A We do not know of any firm that makes »™id w harmony a specialty of supplying pedal keyboards for hv*„n lo play a am School Music Directors, wicked rider has fallen off—whereat, piano. We suggest your getting i~ *. ‘ gcuerall^ above tne soprano pan, finally, the capellmeister is delighted, and one of your nearby organ builders the original harmonic basis. « and Band and Orchestra to price, installation and so forth. harmonic basis If the hymn it bring saw proceeds to apply the great whip. unison. Both these methods take for FREE Leaders, known to us or “An indescribably repulsive effect is pro¬ We have been asked .„1 ....list the flee the theoretical lrni"i5'ir^Jr^0,^ duced by this trivial reading of a passage, - organs in the world and the five those who properly identify themselves as in the United States, stating the is larking the various 'descant'' ami Tjj* by which the composer meant to convey, as li. We shall be grateful if you will it were, a maiden’s tender and warm effu¬ us "an authenticnnthantin list —-K_R. S'.N. L.L ' .. S^mpnniV such. A. The listing of organs in order of size g:\ti..11 -ing t..ngmal hymn mewdl sions of gratitude. Truly, certain people brings up the question of the basis on which son. Some available collections *** • v A 128-PAGE BOOK who sit and listen again and again to a size is to be determined, that is, “power” l»e*cant Hymn Tune Hook* lone inox» »; “number of stops” or “number of pipes.” by Shaw: "18 Faux-Bourdon* and containing 124 Optional 1st Violin Parts (complete, and vulgar effect such as this, whenever and Fower is sometimes secured fi * 1 * entirely in the 1st position) to the Walter Jacobs Standard wherever the ‘Freischutz’ overture is per¬ u higii wimFpr Marches and Galops; and I or Rebuilt Band & Orchestra Instruments Tunes,” by Fry. formed, and approve of it, and talk of ‘the HONESTLY REBUILT—FULLY GUARANTEED UfewaDf 88OPSIi wonted excellence of our orchestral per¬ \\ ,]•.- ,■ | .; , ,.,1 i :> » 1 '• . instances many small pipes are included in one Q. I am enclosing specification °L?*r*j£ instruments sent upon request- Ditiribu ors King Band Instruments. stop—such as Mixtures, Cornets and so forth, for pour criticism and ad r ter. A 64-PAGE BOOK formances’—and otherwise indulge in queer WEYMANN COMPANY, Dept. E-3, 13th & Arch Sts, Phila., Pa. which increases the number of pipes. We shall containing 141 Conductor-Solo B\) Cornet Parts (full size) give our list based on number of pipes. As notions of their own about music, like the the two largest organs in the world are so 'French’compositions of the “soganTtge. from the Walter Jacobs Band Books; and for venerable Herr Lobe, whose jubilee we Make America Music Minded much larger than the third largest, there is... this criticism justified fl'ill yoa kisBl START A only doubt as to which of these ♦two «•*-» in :unlly” plain the use of the Adjusterl—I. i ■ have recently celebrated—such people, I the larger. The ti organ! a the A. We do not know the *\* the Walter Jacobs Overtures, Suites and Selections, mostly taken idealism’—and ‘to point towards that cline to give specific information about the In- would prefer .-ertaln additions. buLcra««*J of medium to very easy grade. Instrumentation includes strument, which contains six manuals. Tho the slxe of the Instrument. the.spedfiqBW Eb Alto and Bb Tenor Saxophones. Clarinets and Cornets which is artistically genuine, true and eter¬ Atlantic City organ, seven manuals, built hv go,mI anil along conventional lines- SfZts nally valid, as an antidote to all sorts of Midmer-Losch, is quoted as containing itsr, Juster Is to Ik- used In setting for Bb instruments. speaking stops and 32.013 nine” To All Others These Books Are $1.00 EACH half true or half mad doctrines and maxims.’ equalling 430 horsepower. Tt"he third largest lion ’is"1 '(’n'hdrnwPIhe"steps yiai wlskj0 s’ that iii me c ameo •«1 t>».—Ger- Please supply your permanent address and present school “As I have related, a number of Viennese r, built by G. F. Steimei r and t anpany. adjuster, holding it while v,.u

Page 180 MARCH 1935 without unnecessary shifting or crossing of It is unfortunate for violin students (not strings. coming in contact with competent teachers) The plan was to select for a given key, that the third and fifth positions have been ^ A Charming, New Composition positions which would cause the second or so much overworked; and we cannot con¬ Immediately Selected by fourth finger (while playing on the E ceive of anything more disastrous to a the Celebrated Dance Artists, string) to fall on the key note. The fol¬ promising career. THE VIOLINIST'S ETUDE lowing examples will make this more clear: The whole trouble lies in our faulty MISS FRANKLIN CRAWFORD method of reading violin music—having a and MR. JOSEPH CASKEY, Edited by separate system of fingering for each posi¬ for their repertoire, tion instead of treating all the positions as “one musical unit.” In other words, we • have been taught to read fingers instead of MELODIE RUSSE (piano solo — tones; which latter is, in reality, the only By ELLA RIBBLE BEAUDOUX scientific way to read music. When it is thus read (by sound) it matters little which position is used. Take for example: “The Star-Spangled Banner,” which any violin¬ ist no doubt can play without note in any Just Intonation in Violin ‘Playing key or position without much scrambling around to find which finger to put down , ukii you tones are not the same tones, altbougtj TTvIRST OF ALL you must tune your too closely. If they are greater, then you ent notes. Another beneficial result of this ensemble Come down and get your violin accuratelV.’ starting as usual with <»»>' have to push one finger out of the way mapv of OUT musical dictionaries will « After the class can successfully play playing, from the standpoint of the teacher, bearings at Chalionte-Had- the A For our experiment the E may be to make room for the other. 1 am speaking you that they are the same piten am duets, it may take up music arranged for is the social side. Pupils enjoy meeting don Hall. We'll give you a neglected, though it should have some ten- now of intervals of a small half step. cntly notated. The above is suwnn three and four violins. A trio or quartette one another and making new acquaintances, new horizon and a renewed sion. The D should be tuned a perfect fifth The "ext step is to place the third finger simply as an experiment, v "'"n,sV . of violins produces rich and pleasing effects. as new pupils are added, and as occasional appetite. Outside there's golf, from the A. When tuning, always draw the D string to form G, second line of not be expected to cover their huger * Then the class might try trios for violin, visitors and the relatives of the pupils drop horseback riding on the sand; Physicists tell us that G-sharp is lower violoncello and piano, and eventually string in to hear the rehearsal. The result is an ice hockey in the Auditorium. than A-flat. Perhaps they are right. They the bow smoothly and slowly without much the staff. Sound this with your open G. with a lot of pencil marks to guide ,hcn’ quartets—first and second violins, viola and esprit de corps, which means the “animating Inside: cozy lounges, health actually prove it, mathematically. But, if pressure. Do not tune by twanging the your huger and eliminate all pul- r violoncello. The teacher could no doubt get spirit of a collective body.” All of this baths, fine food and varied they are right, then our way of spelling strings with the fingers. Listen, while tions, and then mark the location. Letter than this, entertainment. Also sunny viola and violoncello players from other results in great benefit to the teacher from chords and writing melodies is all wrong, drawing the bow. to the interference of Ocean Decks. Rates are mod¬ and the example should be written this way: sound waves. If you hear pulsations, a sort sources, if none of his own pupils could a business, social, and artistic standpoint. erate on both the American of oo, oo, oo, coming at regular intervals, rr> ^ m play these instruments. Amateur viola and Many new pupils will want to participate and European Plans. Special Ex. 2 the strings are not in perfect tune. The “et ‘Positions violoncello players are often glad to play in the advantages of such an ensemble, and weekly rates. faster these pulsations are, the greater the _ in an ensemble for the practice it gives jiupils will keep on studying much longer, Leeds and Lippincott Company discrepancy. Tighten or loosen your D By 1. D. WILLIAMS them. There are also other combinations because they enjoy the ensemble work. string very slowly while drawing the bow which make very fine ensembles. The teacher can well afford the hour or and listening, and notice how the frequency One of the greatest drawbacks to a Many years ago a violinist (not Later on, using his violin pupils and the two of extra work, because all in the group Chalfonte- other string players as a foundation, the of the oo, oo, oo changes. Sometimes it violinist is undue preference for one or two ever, of the orthodox type) called W can be taught at once, and pupils and their gets so rapid it becomes a flutter. The favorite positions. Many players feel “so tention to this almost universal „• teacher could add wind instruments, and parents will appreciate the extra instruction never to come to the piano without wash¬ slower it gets, the closer you are to exact much home” in their favorite position suggested a plan whereby one might make a full orchestra from the original Haddon Hall The musical theorist, however, feels it, - - a pidli w.ivivuj -- - tnfrl they are receiving without additional cost. ing your lumds?” tune. When you'- find. the precise.,77 spot. where, - that- it J like‘"T pullingi,ml“uK teethlceln to‘ 'induce ' them which positions wcrc best adapted tocerra" string ensemble. and the true musician always plays it in The pupil who has only one half-hour lesson “But Ma, in the piece I’m learning this: LAN.TIC CIT all pulsations cease, then you will have the to try any- of the— others-. ; preferringfuamig ratherratner 1keys. "The~ object of this was to simple If our teacher has only a few pupils the manner shown in Ex. 1. If either ex¬ a week, will get, in this way, an hour and week, I -only have to play on the black ample is played on an instrument of fixed string vibrating exactly twice to to destroy the symmetry of their work by thellIC performance^ lurmiultc of certain “note gtooP* . at the start, he could invite several other a half or two hours instruction. keys!" tones, one key or tone must do service for every three vibrations of the upper string ungainly shifts and unnecessary crossing bv placine the hand where it could covtf players to join the ensemble, even if they both the G-sharp and the A-flat. If Ex. 1 and you will have a perfectly tuned perfect of strings. the 1greatest number- of• notes in any— ~S™rrM*1 MARCH 1935 Page. 183 THE ETUDE the etude Page 188 MARCH 1935 Question and Answer Department VIOLIN QUESTIONS Conducted by Harold Flammer, t Karl W. Answered Why should JstaJs tkis summer? 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SCHOOL OF MUSIC OFmmsM THE UNIVERSITY OF MICHIGAN

l 1 MARCH 1935 Page 185 THE ETUDE the etude Page 184- MARCH 1935 Music Study Extension Course VOICE QUESTIONS (Continued from page 148) Answered Two Great Musical By Frederick W. Wodell . Th, first in the key of the on the last half and released on the first short themes. The first * nd the half of each beat. This may be done with- No questions will be answered in THE ETUDE unless accompanied by the full name Institutions Combined AMERICAN tonic is played in wa‘tz dominant—C out interruption from beginning to end. and address of the inquirer. Only initials, or pseudonym given, will be published. second in the keyof second Some teachers like to call this Prelude “The major—is played ontmal ■ assage March of the Giants” which is not a bad Full Voice anil Vibrato. few dror.-npound tincture of b Distinguished faculty of 140 >™ been added. Be careful nut CONSERVATORY theme presents a dnl d studyPiece title for young students who find it n I am interested in some things I have . , t. Stop singing for i teaching all branches of for the right hand. A g stimulus to the proper atmosphere, been hearing about the importance of getting .... yodeling, if you exp Music and Dramatic Art. a vibrato into the voice. I do not quite un- lost of yourself as a solo for second graders. Her stand, because my teacher has always told Fully accredited courses lead¬ me that the voice should be firm and steady. ' help --4'*—' MY SHADOW COCK O’ THE WALK Then this idea of practicing loudly rather ing to degrees of Bachelor OF MUSIC than softly is something that seems to be By Gaynor-Blakf. f By Gustave Klemm against the ideas I have been taught to be¬ it done by a first class in and Master of Music. Two1WO well knownlei.nvv..- writers of children s Play1'«J Cock “0’ the.. Walk . in March style lieve correct. I am young, have a soprano The Troublesome R. pieces present a short but very tuneful ski: with pienty of accent, keeping a tight voice of long range and good power, and do Q. 1.—I would apprei ——* cotcg and hut explain the consonant r Public School Music, O. E. Robinson; Offers Accredited Courses in piano,vocal, violin, or^n :and all for, first. graders_J_dovplnns which develops both Stac-.for rhythm, _„ll at all times. InT„ the,i,„ firstc..* section „„ 1.0, • isle anyth...... A Taking your second question fii formatio- r ■ j| other branches of Music and Dramatic Art leading to cato and legato playing. It may be used the melody, lies in the upper voice of the ague. I Piano Normal Courses, Edgar Brazleton; number of prominent instructors folloi ..._le of the, o. rolled r, hut I nicely as a sight reading exercise also, right hand while the second section has nlan of having students practice at wl interested in towing how r is formed Special Repertoire and Interpretation DEGREE—MASTER OF MUSIC since the left hand has little to do. the theme in the left hand. In difficulty called “full voice.” Charles Lunn, an ad¬ .—I wonder if you have mirer of Garcia, and himself a pupil of , ints. on the Classes, Glenn Dillard Gunn and Edgar this piece will be found about grade two, Cataneo, of Italy, in his book, “Philosophy of ?* DEGREE—BACHELOR OF MUSIC PRELUDE IN C MINOR vuitc .-cneb an mannermariner of study. vuwil. or two and a half. _ /—Miss8 GHWP(l**' Nelson; Special . Voice Production and DIPLOMAS—TEACHER’S CERTIFICATES By Fr. Chopin The late Madame Marchesi of Paris has ’- A. 1.—The letter Is made with credited with similar id<_„ and“ ’ practices ; Repertoire Classes, Frank Laird Waller; This Prelude, one of the smallest and yet „__ _ vocalists of standing the tongue. Some tr Under Authority State of Illinois one of the mightiest of Chopin preludes is SPRING IS HERE found the work rather strenuous. It is true Band, George De Witt; Dramatic Art, By Helen L. Cramm that certain “vocal muscles” involved In tone here arranged to fit small hands. It should production, like other muscles, need exercise phonologist Class Piano Normal, Theory Classes, under Thorough preparation for concert, opera and teaching positions. be played Largo with all possible resonance, A grade one piece employing both hands. in order to acquire additional strength. But heard, has > sounds: _ (The Many special features, weekly recitals, concerts with full orchestra, we do not ask from the pony the work we f;, italics are the heavy th as in the direction of expert teachers. following dynamic marks as indicated. It will be found effective as a sight reading lay upon the grown packhorse. It is a matter SL, ® lectures, school of opera, training in students symphony orchestra, the vowel sound ea as repre- Aside from the value of this music as »" piece or as the always wanted little tune of good judgment on the part of both teacher then, A1 bureau for securing positions. and pupil. As to the vibrato, do not worry sented in addition t the repertoire it affords valu- for an elementary pupils recital. It lies about it. Get your tone production upon a soft y trilled sound, or with t the use of the syncopated a singable key and words are provided s< right basis, a clear start of the tone upon sotuy " ^e“rst°rilL It should THREE SUMMER TERMS pedaieXTheepedal,,IhouMUbe'p'ressed'down that it may be used as a song if desired. the exact center of the pitch■ andl with accu thessoft r is appropriate in_ _ connection, _ is called for else- (Six weeks each) SUMMER MASTER SCHOOL sound °with ^regula'ted well71 denounce7 ' a thieving ' " while you First Summer Term—May I3-June 22 Three Summer Sessions—May 16 to June 26, Si iai aw._ resonance resources of the voice. Meantime. n thig dowyny piu0w,” or sing of the “sym- Major Summer Term—June 24-August 3 June 27 to August 6 and August 8 to September 18 A Short ^Memory Qourse if you have in you a strong appreciation of the p£thizing tear-r-r.” We sing so as to be under- emotional content of words and music and a s*-ood? Then we must give each elei Third Summer Term—August 5-Sept. 14 genuinedesirehto P^ttover^your messagemessage, such «tood^language its rightful glace. Remei 1 One Hundred Twenty Artist-Teachers a degree of the vibrato a -- togyvytr may be 5i'ne softlyT as well Fall Term Opens Sept. 9 (Continued from page 137) —doubtedly com- '"<•<' vonyour singing. But lie- ran insidious and dis- harshly. Adapt the means to the end. Other Special Summer uiuidcb xu a uuuv, mvuww ““—”* ”' "7pi £ opinions follow. Dr. W. A. Aikin London, faith in yourself; strengthen that faith by be found in back numbers of The Etude crous fault. “The Voice,” says: “The ‘. of the~ tip" of of Acting, Children’s Musical Training, Class Piano Method (Oxford), me luusuu Hilou the hard palate in the Write for Catalogue A and Theatre Organ Playing affirming to yourself your ability to do as follows: front of the mouth which corresponds to the 25E.JACRSON BLVD. complete description of courses. what you have undertaken; banish confu- l,_What is a good definition of sing- forward pronunciation of r, is also vocal and Send for free catalog. Address John R. Hattstaedt, Manager continuous. In the case of r the roll prac- sion and distracting thoughts by concen- Agnus Dei.June was —Explain the different --Lggf. ~\th the vocal note. The drop- CHICAGO * ILLINOIS pt when it is followed by a AMERICAN CONSERVATORY OF MUSIC trating on the music to be performed; cul- Cradle Song, Danse Grotesque vowel, is practically an accepted fact in Eng¬ Chicago Conservatory is a Pro¬ tivate repose: and you will find that your and Canzone Amoroso...April 1931 A. l.—To sing is to emit tones w lish, and the sound must therefore be treated 575 Kimball Hall, Chicago, Ill. consistently musical, to sustain and accordingly.” Wm. Shakespeare, London, in visional Member of the National efforts to develop memory powers will be FortsI Flowers .January 1932 tones (the' sostenuto and the legato] “The Art of Singing”: “Although the r is brought to a successful and pleasurable Eplien and Doum lht manded by the composer with„ regard_ _ pitch, trilled or rolled when it precedes a —1 Association of Schools of Music rhythm and phrasing .. make the words (except in Scotland and Irelandind) J it i culmination. „ t , Bayou .April 1932 igible to the listener, and to express :u rolled otherwise, but takeu--■s the sou with fidelity and fullness the content of words „ (the sound of u in “but”). Dora Di Selections referred to in this article may Thorn Rose.September 1932 ami music. , . Jones,.m J‘The Technique ^ SUMMER MUSIC SCHOOL 2.—“Philharmonic,” as applied to an or¬ • should u Musicianship and ^Pedagogical Music Course chestra, is merely a name or title. A sym¬ speech e: opening on a H armony & man phony” orchestra is generally .understood to lr „ — —isonant, the A professional school mean a body of players organized in such a enfl of a phrase> ’labored and Composition by Correspondence manner as to provide the type and number harsll articulati( in a University environment of instruments required to do justice to tne * left mil last h a. her. and hare el PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ National Reputation. Artists’ Concerts a J wonderful old Italian proverb which runs, d throat study.. alone._. Tr have selected the"><■ Sbriglia ING, DRAMATIC ART AND DANCING ival. Moderate Tuit School of Music excellent merchandising oppor¬ parent receives a letter telling just how age, should it not I Ho ’ Method, discussed in the January, 1933, issue the child has progressed. With this “II mondo e di chi ha pazienza (the world t’when they have been strainedf—H. M. Method, dlst What do you think about it? " 'Ti’dSu“tBPP"Cat,0Atlauta,Ga. Courses leading to Music Degrees tunities which ETUDE Advertising A. Voices vary much as to the length of of TH* Eti it advisable for me to study r N. Irving Hyatt, Dean report card. is his who has patience).” mes required for the change.change, . A strained fstap fompletrly and wait Some teachers seem to take the attitude voice, so called, indicate- r Hall, Bloomington, III. Columns offer you ? vocal apparatus. " 1 - until I ean afford a good tcacherf The Etude Business'li\e Methods that there are no pupils anywhere. The ---unexpe<• ' ation, liabh __.iks, shot. - is— a- _real friend to me and its arrival every ESTABLISHED 1857 a breathy, sometimes a husmsky . quality and is month- a- pleasure. I feel lighter and r AM VERY careful in keeping record attitude to take is “There are pupils ever)' generally unreliable.__ditional Additic difficulty is happt— after~ readingJhending it .—I. B. of all appointments and see to it that I where and it is my purpose to get my share cperienced in the use of. the higher glad that The Etude brings range ” of pitch. Nasal obstructions ai PEAROnV CONSERVATORY invariably on time. In addition to this, of them.” fruitful cause of undesirable qualities of Zre thore'Sa So “Fexi-book”"pf the Sbriglia Qlbbf lattii Jnatitulf of (D«atr and especially ofoi uimcunydifficulty, inm siugiugsinging. ‘Method.”--, It is^said t’ TEj/\DvJl-f 1 BALTIMORE, MD. hiffhor nnte<; Tt i« n had sien when a singer Reszke, in his day .. OTTO ORTMANN. Director Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma "has a cold all the time.” See that your diet Metropolitan^ is right and your bodily habits arr —oa One of the Oldest and Most Noted Music Schools in America. Public School Music Course in conjunction with Western Reserve University Build up what is known as resistan BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio. ease by eating and drinking wisely, advice of a good teacher are needed .by the CONSERVATORY good elimination and avoiding all excesses. student. It is well that your mind is fixed OBERLIN Keep the nasal passages clean by the daily “Music is a friend of labor for it lightens the task by refreshing the u«o«* vw„che. Put - — upon good quality of tone as the important thing in singing. “Plain Words on Singing nerves and spirit of the worker. It tends to make ivork pleasurable as well '[>• •< 'i_if ill »ach of boracic acid and^ bv Wm. Shakespeare, is a safe and helpful Tell your Music Loving Friends about THE ETUDE and ask them to give of MUSIC book for such voice students as yourself to as profitable and adds to the enjoyment of leisure time." you the privilege of sending in their subscriptions. mixture in the douche. Gargle with the same mixture daily. If the mixture seems-ms to read. It might be advisable for you to consult —William Green, Ask for Catalog of Rewards for subscriptions you send he too strong, use less of the salts. 'Inhale a good doctor regarding the su1bjeot'- of your President, American Federation of Labor. THE ETUDE 1712 Chestnut Street Philadelphia, Pa. steam from a quantity of hot water which postscript.

_ MARCH 1935 Page 187 THE ETUDE the etude Page 186 MARCH 1935 Music Study Accomplishmentr Little Tales of Publisher’s There was always a feeling of disappoint¬ ment in myself, because 1 could not memorize ; EASTMAN SCHOOL OF MUSIC Ta\e Tour Choice but I played anyway. No-’ what.t aa"trial trial it was "to play with my music* in T0WTlfat wouU you rather ^ave^^usic^or view. Improved health, however, brought baca my memory : and my first rendition with¬ blues seldom linger wheni there Js out notes was like a second graduation. And of • 4- Cfretain,.nJri'ntolh7’flMist's business. When I like to wo —Edith Josephine Benson, blends asked him whyjredid no s »

hated'pteying Ptufacma^ori^ucceSf “l as a To Interest Children in Piano Lessons A SPLENDID RECORD- The Cover For This Month The University of Rochester To The Etude : . , . hi luKibfaTn1edvehragVieye%n No matter what method of teaching is fol¬ One of the most be¬ Howard Hanson, Director alone with my music. Then lowed, or what means are used by parents and • What finer possession can an institu¬ loved and most color¬ on: wner teachers, to induce children to practice, it is Raymond Wilson, Assistant Director b my heart’s content and forget the difficult to obtain satisfactory results unless Advance of Publication tion have than a loyal friend of many ful characters of those “blues ” the pupils enjoy the music given them. Musi¬ whose works made juvJn'if you cannot 5®.aTQ°”Cownaenhjyment! cal pleasure is the real secret of interest in years? Mrs. E. Louise Williams of Oak¬ them outstanding Courses lead to Degrees: Bachelor of Music, Master of Music Mast“ Offers—March 1935. land City, Indiana, writes us that she 'fig Ahnei ' in Music, Doctor of Philosophy in Music ; Eastman School Certificate (Dp ) AlSPolarememblrr?hlf! The ability to appreciate StEven If the mother succeeds in getting her music Is a priceless treasure. _Kate Mob. child to practice a certain length of time each has been a regular subscriber to The composers and in day if the child is not interested in the studies All of the Forthcoming Publications American music an¬ or pieces given him, very little progress will Etude for Fifty Years. nals was Victor Her¬ Registrations for 1935-36 and 1935 Summer be made ; his playing will be mechanical; and in the Offers Listed Below are Fully Ten Minutes a Day his time will be practically wasted. Described in the Paragraphs Follow¬ Possibly no magazine in the world can bert. Because March is Sessions Now Being Received To THB etudei: 1 remember my The best Idea, therefore, is to give the pupil ing. These Works are in the Course of boast of as many subscribers who have something rhythmical ami melodious, from the Preparation. The Low Advance Offer a month which turns verv beginning ; and, if the parents find that taken it regularly for two, three, four the child is still not Interested then there Prices Apply to Orders Placed Now, thoughts to Ireland, Information regarding graduates obtainable for positions will be SSbiwiss should be a change of music, of teacher, or of with Delivery to be Made When and five decades as can The Etude. We Victor Herbert’s portrait on the cover of this furnished on request practice pS tojrthl ^S^o^ten* Finished. month’s issue of The Etude is quite timely. piano. I was allowed in the room to listen. b°As the main object Is to get the music to are naturally very much honored by Victor Herbert was born in Dublin. Ireland. appenl to the pupil in such a way that be will Orchestras Broadcast Over NBC Each Thursday 3 :15 P.M. E. S. T. den°howShe har^b^come'such^^gooU miisiclnn. voluntarily go to his practice, the obligation is The Cathedral Choir—Anthem Collec- .Mrs. Williams’ letter which we present February 1, 1859. The famous Irish novel¬ upon the teacher to plan the work In such a ist, playwright and composer of characteristic «ra^]g|e8ofa gofng^without^ny way as to create this enjoyment in the work. herewith. Irish songs. Samuel Lover, was his grand¬ 3 —Virginia AVines Scovill. father on his mother’s side. His father died Dounis . To The Etude: , „ when he was quite young and it was at that Arthur H. Larson, Secretary-Registrar Music May Be Both Popular and Good Grown-up Beginner's Book.—For ti I am proud of the fact that I have been a subscriber to Ihe time, when he was but a lad of seven, that Little Classics—Orchestra—Part his mother took up residence in Stuttgart. Eastman School of Music, Rochester, N. Y. T°Once* inTu while I enjoy listening to orches Piano Accompaniment Etude for fifty years. His musical education began early and the trns play the new popular pieces OTer the Piano Fun with Family and Friends. I feel my musical life would have been very incomplete with¬ violoncello became his solo instrument. He of the best local orchestras. radio And, occasionally, one is played so Philomelian Three-Part Chorus Collei toured Germany, France and Italy as a solo¬ —Frances M. < antkei.l, nleely that I wish to keep It forever, together out it. If I wanted a piano piece for a pupil, and not time to Canada. with my good pieces; so 1 buy n copy. 1 only tion—Women’s Voices . ist and later became a member of the Strauss regret tiiat they are not written better for the Violin Vistas—Violin and Piano. send to Presser’s for it, there was something entirely acceptable Orchestra in Vienna and a member of the piano, so that one could r™11}’ enjoy playing Court Orchestra in Stuttgart. He also began Katherine Carey Beating III Health With Music them ns much as one does listening to them by in The Etude. The Etude began its career about the time J Successor to Mrs. Babcock's composing in the 1880’s. College of Fine Arts To The Etude: , . -ntlrt ftrwl thOne*plece of'which I nmjpartirularly think¬ began studying piano with Prof. Chase at Hillsdale College, Ill health, after a long period of Piano ami In 1886 he married Therese Foerster, Syracuse University ing is "Love in Bloom.” To me it Is a most prima donna of the Court Opera in Vienna. INTERNATIONAL MUSICAL voice study, wrecked my ambition. 1 he labor beaut If 111 piece, both as to melody and Music for the Commencement Hillsdale. Michigan. He suggested it would be a very helpful had ended in such a bitter disappointment words—one of tliose delicately beautiful pieces Shortly after their marriage, his wife was r»pcrt-ccc- Bachelor of Music and EDUCATIONAL AGENCT that I hated work and dreaded getting well. Program thing for me to take this new magazine, so I subscribed, and it engaged for German opera at the Metro¬ Degrees. Master of Music Indeed I felt so humiliated about being nobody which one cannot forget—whlch^shouhl^b^as Church Concert and School Positions Secured (in my own opinion) that, to regain self-re¬ has been constantly on my teaching piano since. politan Opera House in New York and at Piano, Piano Teacher Training, Voice, Carnegie Hell, New York Tel. Circle 7-S634 Man aYlorae He Can Ride," or "Silver Threads spect I resolved to teach, although I had not I could mention something on every page that is helpful and the same time Victor Herbert became first Violin, Organ, Cello, Harp, Composition, sat up for a continuous half-day for t\\o years. A'fIf'course'Yt must l>e played and sung beau¬ cellist of the orchestra for these perform¬ Public School Music Twice weekly I went to my class by train, at tifully. with tenderness and feeUng like interesting and my pupils are almost equally as eager to see the ances under the direction of Anton Seidl. All the advantages of a large University. Special INCREASE YOUR thirty minutes before eight evenin'* dormitory, with 42 practice pianos tor women “Juanita” and Hocthovenj^_a^Tittle^it new number as is their teacher. From then on, Victor Herbert became a INCOME ! TenDyear» after * I had stopped practicing, it music students, 5 pipe organs Easily—Substantially—Pleasantly Hvefler make^lt^more* effective, the spirit and prominent figure in the world of American was resumed, and I presented to a club an ex¬ flame of true happiness, like Innocent youth ing written With best wishes for the coming year. music. His activities were as soloist, con¬ SUMMER SESSION July 8 to Aug. 16 Take Subicriptiom for position of “The Flying Dutchman. I did it and most of For bulletin address alone, though I had a terrific headache and a not yet burdened with norrow. (»nat i mean Sincerely yours, ductor and composer. Above all, he was a THE ETUDE MUSIC MAGAZINE cold on my vocal cords. Each following pro- i« that, when dragged out alowiy, it is sorrow¬ our readers great personality, with a big heart and ever Dean H. L. BUTLER _._T irnru fV.7> tbflE ulllh llpHlTYPS a ful, instead of, a« I think it was meant » be, (E. Louise Williams) Room 35, College of Fine Arts —Write for particulars — gram that I gave for a song of happiness—like the birds will have ready to help fellow-musicians when they Syracuse, N. Y. 1712 CHESTNUT ST. PHILADELPHIA, PA. this copy of The Etude in their hands be¬ were in difficult straits. fore the Lenten Season begins, it is not too _ Victor Herbert is particularly noted for his early to start planning for the Commence¬ immensely successful light operas. He so ment Program. Every participant in the . , developed in this field that he lifted the light Commencement Exercises wishes to appear ful Easiest Orchestra Collection will be in¬ Easter Music opera to new heights. He also wrote two NEW YORK SCHOOL of MUSIC and ARTS at his or her best before relatives and in¬ terested in the announcement of this new -t;n to be torn grand operas, Natoma and Madeleine, both vited guests and the surest way to achieve orchestra book which is now in the course While...— there——- were— - stiff months to ^be torn produced by the Metropolitan of preparation. off the calendar before Easter, 310 West 92nd Street, New York City (At Riverside Drive) proficiency is to plan in plenty of time and e preparing Opera Company. Many of the vocal solos Musical Books Reviewed rehearse thoroughly. |pt>ration of and choruses from his operettas have become RALFE LEECH STERNER, Director The musical portion of the program is usually one of the Commencement high¬ lights. What is more inspiring and impres¬ KS °£ '22taSl r.'S'iK*. sSajTcoSS.”. Special Summer Courses sive than a well-rendered chorus, a brilliant, literature of works exclusively from the to be inarked oft on thep o^ndar so> th £ d publishers which today has The student of music, with * well-played ensemble number, either by the master composers. String parts will be en- should be no further delay in completing Autnors proportions since the radio In New York City and Greenwood Lake, fifty miles from New York City. The Art of Improvisation pianos, or violins and orchestra instruments. tirely in the first position, with the excep- the selection of music for E^er propan^ ^Xfpul lic^peHormances for profit have Starting May 15th Students can enter any day, six and ten weeks courses. By T. Carl Whitmeb ontrlbuti A, course including room and board. Without room and board $ i5. Cer¬ . the front cover of this tails necessary to the successful guidance of The Heritage of Music, Vol. II lections. Well-trained music clerks, many A glimpse of the contents reveals repre- with regard to numbers for the choir ha.ve Ihe portray_'produced by permission of the tificates and diplomas given. Students studying m New York School have the one with moderately developed gifts in creative of whom have more than a quarter of a sentative miniature works from Beethoven, been settled, there yet remam White Studio, 520 Fifth Avenue, New York. advantage of spending week-ends at our beautiful country schocff on Greenwood musicianship—the author has furnished a By Hubert J. Foss Bach Gluck, Handel. Haydn. Mendelssohn, and duets to be selected. The examination vvmte diuqio, guide by the continued use of which practically A series of essays on world known com¬ century’s experience, are here ready to serve Lake with no extra expense. Bathing, boating, tennis, horse-back riding, fishing all the essentials of successful Improvisation Mozart, Schubert, Schumann, Verdi, and privileges offered by the Theodore Presser posers, from William Byrd to Hugo W oil. »®° you by selecting from our immense stocks Grown'Up Beginner’s Book and mountain scenery unsurpassed. - may be acquired. It is “A handbook for or¬ introducing along the way such musita just the type of music you describe when other classic composers, yet all numbers in- Co., and its prompt mail order service will ganists, pianists, teachers, and all who desire worthies ns the Scarlattis, Couperin, jlan'W- to develop extempore playing.” you write to Theodore Presser Co. for as¬ eluded are new to orchestral players and are help choirmasters who have not as yet at- For the Piano There are chapters — -” Mendelssohn. Chopin, l.isxt and \erdi. ■»“? not to be found in other orchestra books tended to these details, The tremendous demand for advance cop- Pnilfl.” “Modrilntinn ’ these done by reliable British essaj 1st* as ■ sistance in arranging a program. Whether r belief that Coda,” “Modulation,” “The Clay Element,” II. Hadow. F. Bonn via, D. F. Tovev Cecil GW. it be choruses, a cantata, an operetta, en¬ of this grade. A great deal of care is being Simply write us, describing of this new work justifies o “Transposition,” "Imitation," “Homophonle 1- and ask "that a selection of suggested numbers many adults are interested in the study of Improvisation and Fun,” “Works to be and others including the compiler of tne semble numbers for two, three or more taken to select compositions which ai volume. , , — gef piano playing if the road is made easy for Analyzed.” “Embellishments,” and all freelv If the writings have not the spriphtltnes. <> piano players, group numbers for various hackneyed yet characteristic and interesting, be sent to you with examination privileges. INSTITUTE OF MUSICAL ART illustrated by notation examples of the work some of our American reviewers, they are tun instrumental combinations—suggestions are Certain innovations of educational value. Any unused music sent for examination them. of the discussed. A book with which one can sit of a more valuable sanity, thoroughnessi ana the nature of which will not be disclosed returnable for full credit buL of course, The adult beginner presents problems dif¬ ■ down at the instrument and have a Jolly good thoughtfulness. There is in the book m'U" . cheerfully made and copies are sent for time in experimenting with its directions. animation with return privileges if until the work is published, are planned for turns must be made before Easter. ferent from those of the younger pupil. The JUILLIARD SCHOOL OF MUSIC this book and we'feel sure they will meet We should be glad to send, free to any one older pupjl naturally will not be satisfied Pages : 73. E^glWh student S?* satisfactory. Price: $2.50. with appreciation on the part of supervisors, interested, a copy of our folder listing music with the little pieces which please the child. ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean Publishers : M. Witmark & Sons. valiml>le*addition to any well stocked library. Write today outlining your needs and, if Pages : 2UW you have time to examine them, request The ^instrumentation hi as follows: Solo for Easter, Lent, Palm Sunday and Holy nor wiH he relish the usual single note play- Thorough instruction in all branches of musical education. Private lessons Violin (ad lib.), First Violin, Violin Ob- Week. This list includes anthems, solos and ing which one gnds ;n other methods. To in all standard instruments, courses in theory and composition, normal The Evolution of the Six'four Chord Publishers :’’"Oxford University Press. also that catalogs and folders be included listing and describing new and appropriate blieato A Violin Obbligato B, Second Violin, cantatas for the Lenten season, anthems and meet tbese requirements, our staff of experts courses for teachers, methods of group training for children, preparatory By Glen Haydon Viola Cello Bass Flute, Oboe, First Clarinet solos for Palm Sunday, and anthems, solos, bas worked 0ut a practical approach to courses for children, extension courses, and manyothers. A treatise which will please those musical Reflections On Music material. in B-’flat Second Clarinet in B-flat, Bassoon, pipe organ numbers, piano numbers and bun- music study w|,jch is entirely different from Public School Music course leading to degree of Bachelor of Science with theorists and scholars who have a taste for Incidentally, we carry a complete line of “the whys and wherefores” of the tools of their By Artur Schnabel musical awards for commencement—medals, F-flat Alto Saxophone, B-flat Tenor Saxo- day School services for Easter. any heretofore available. By the use of Major in Music. trade; that class of workmen who keep us An essay in which one, who has won® J diploma and certificate forms, etc. Also phone First Trumpet in B-flat, Second Those who are making a late decision upon fam;]jar songs and melodies from the very be- Catalog on request. sanely balanced in our aft work. following as a prophet who is able to n»g TruniDet in B-flat Trombone (Bass Clef) music for a special Holy Week or Good Fri- g[nnjng> and easy arrangements of favorite The author has prepared his thesis by an and transmit the Inner voire of music, a suitable graduation gifts, such as music 120 Claremont Avenue, New York astounding amount of research : and thus he given some very personal views as to tie books, music carriers and musical jewelry. or Baritone, Trombone (Treble Clef) or day service will be interested m the new clas,icSi the attention of the grown-up be- has given to the musical world a work to nature and purpose of this tone art. Baritone, First and Second Homs in F, cantata issued this year CW., Words from ginner is kept focused on his own progress^ Which the student may go with a feeling of The author has thought ' hl*' First and Second Homs in E-flat, Tuba, the Cross by Mrs. R. R. Forman (Price, 40 Every piano teacher will want a copy of confidence. Nor does It reek with the musti- and in his presentation of these co£ltatl°n « Little Classics Drums Piano, (Conductor’s Score). cents). This is a short cantata for mixed this book at the low introductory cash price. ‘‘If yon want your singers to develop expression and temperament, let ness of bygone centuries; but out of tlieir given to the reader much to provoke treasures the writer has sifted many a bit of The special introductory price in advance voices, is easy to sing, and it will run about cents, postpaid, them at least for the first few years, use their own language as much as and to start him on the way » Folio for Orchestra interesting lore which he has presented in a for the more hidden properties of music. of publication for each part is 15 cents; for 20 minutes. Even f<” ^L ^cfrlhlarehTg" (Continued on page 188) possible, so that they may really understand what they are singing about." freshly contemporary spirit, with the text illus- Those instrumental supervisors who have Ihe Piano accompaniment, 35 cents, postpaid, group, it will not require much rehearsing. \ u & tated by copious quotations selected from the Price*$2.00 and $5.00. become, acquainted with our notably success- —Herbert Witherspoon. earlier masters of many nations. Publishers : Simon and Schuster, Inc. MARCH 1935 Page 189 THE ETUDE THE ETUDE Signs, Omens and Observations Page 188 MARCH 1935 Advance of Publication World of Music From primitive man up to the cultured before attempted. Everyone deserving .ac¬ Offers Withdrawn opose in the Publisher’s Monthly Letter man of today’s high peaks of civilization, (Continued from page 131) A FAVORITE ■ A Marvelous Bargain for knowledgment, either because of accomplish- 1 poser who, by reason of the marked f there always seems to have been a tendency ments or contributions to the art, is in- Our publication department this month Music Lovers—Stories of the WILHELM FURTWANGLER has re¬ presents two timely new works that, judging COMPOSER ■s of today hold his compositions, is enl for many humans to observe certain things signed as director of the Staatsoper and of the write composer of piano music. as guiding signs, or as omens, of good or Great Operas and Their - - ' r editors have practicaUy^com from the advance orders, will be cordially Philharmonic Orchestra of Berlin, brought welcomed by music buyers. The special bad things ahead. It would take volumes Composers jjsgSt**?’Jr-aSTS-j- about chiefly by the hostility of the press be¬ advance of publication prices at which these to discuss this side of man’s life through and biographies ui ««»“>; However, there is still time cause of his defense of Hindemith. At his the centuries, or even to consider rational Klemperer, Karl Klindworth, Louis Kohler write in for the single copy works have been offered during recent By Ernest Newman last appearance at the Staatsoper, on Decem¬ Wallace A. Johnson things by which man today seeks to chart t the special advance months are now withdrawn and copies will his course or make his judgments, extending For enjoyable reading as well as for ready ber 23rd, when he led a performance of be available for examination at our usual reference, this over-a-thousand-page-volume =r^tpaid. as they do into the scientific observations will not be for many months to come, tne w F “Tristan and Isolde,” the public gave him liberal rates to active music workers. ville. is a storehouse of information that will add Will not De iur ixiauj immauo - -> „ such an ovation as to leave no question of aided by all kinds of instruments. thousands who have followed all the way Among the Birds, an album of piano begai In the music business, there is one mighty to cultural knowledge as well as make pos¬ Fundamental Technical their resentment of the chastisement the pieces in the early grades, appears just m sible a more intelligible and more thorough will have an enormously enriched musical iii me canv giauw, opp-am *** public performance as a child I important observation made by those con¬ background and, if copies are saved, an in¬ Studies great conductor had received. for the Spring Recital program. Of before having received any mus understanding of operatic performances, or course, this book may be given to young sons. At seven a local teacher to cerned with music publications. That ob¬ valuable reference work. ,, •3---*■ servation is as to whether a music publica¬ arias, or excerpts from operas heard in the For the Young Violinist students at any time during the year and, opera house or over the radio. If you are a new subscriber and would THE FORD PROGRAMS, which this last tion ever comes up for reprinting. It is a like past installments, or if you are a teacher By D. C. Dounis because of the natural love children have ir long. At the at_ - Prior to the publication of tins splendid Rapid strides , have _ been made jn ^violin summer were such a feature of the musical Higed to start working and^the sure sign that music buyers have found or student aimand wishwa>*. P—extra «~icopies™~ ,-of any- Rapid strides nave for birds, it will surely attract favorable isfying merit in a publication when an edition is volume, this work by Ernest Newman was activities of the Century of Progress Expo¬ attention. But now, when teachers are pre¬ issued in three separate books, each of the sition in Chicago, are to be continued from pace here does not permit listing all sold out and stock must be replenished by paring recital programs, this collection of ykhtK£hoe eSrL ..v his numbers, but below is a selected three volumes listed at $3.50, or a total of Orchestra Hall of Detroit, with Victor Kolar loved5 to Bridgeport, Connecticut tak- a new printing. $10.50 for the whole work. This now com¬ bird pieces offers invaluable suggestions for lg up the study of pipe organ and began thei It is for that reason that here each month conducting. They will be broadcast each program material. With the exception of “Sho Sow6 hit gp0opduraarnen^mberhs6 iSfVKSSS plete in one volume edition is a handsome 2xwhi“ “ “* p'i" 5 “““■ w Sunday evening, over the coast-to-coast caching career. He had been about twenty ; Band La Ninita, Love’s Melody, Sabbath Morn, some of the more outstanding items from tofore has been consideredconsiucieu ^cessa^y... t an easy, playable arrangement of Schubert’s :port when ill health the past month’s printing order are listed cloth bound book in red binding with the proper development of technic in violin Columbia network, at eight o’clock Eastern le California climate. California Hark! Vesper if.^and expect to back that is exposed on the book shelf gold The Cathedral Choir Hark, Hark the Lark and a very —M H| ~,™“- - -.’sinceTtjoi; since we feel that many teachers and other Standard Time. of the Mocking Bird all of the pieces stamped in neat but good sized lettering A Collection of Distinctive Anthems aistmgulsneu .-violinist and--, active music workers desire to keep .ac¬ supplemented by an attractive design decora- are by modern composers, numbers not to Compositions of Wallace A. Johnson quainted with moving publications. Theo¬ for Chorus-Choir ^he g Domlis, author of the widely be found in any similar collection. Price, Of particular Technique d' Artiste du Violon DR. H. A. FRICKER, who has won inter¬ PIANO SOLOS dore Presser Co. always is glad to send 'Tts111 contents give short biographies of 50 cents. any of these numbers for examination. interest to those compressed in this small volume a great national fame as conductor of the Mendels¬ ,, Cat. No. Title _ . _ . Grade 24427 Little Eh Richard Wagner, Wolfgang Amadeus Mozart, choirmasters for- ^ of *'he technical principles necessary for sohn Choir of Toronto, Canada, recently cele¬ The Moon Maiden, 19576 All in I.in :. Playing $0.25 22568 Love’s M Ludwig van Beethoven, Gioacchino Rossini, brated the semi-centennial of his entry into a new operetta with ^ c^\ss( .50 23037 Mi SHEET MUSIC—PIANO SOLOS tunate enough foundation in the first position. The mblyV March Patrol 3 24425 My First Dancing Lesson. Carl Maria von Weber, Ambroise Thomas, to have under ^ short studies presented strive to the musical profession. In honor of the event, book and lyrics by 23079 Chapel Bel Cat. No. Title and Composer Grade Price Giuseppe Verdi, Charles Francois Gounod, y Band. Character- Waltz ... 8400 The Contented Bird (With their direction a Uivate balance between the fingers of the leading organists of the city held a dinner on Elsie Duncan Yale 18455 The Counti 23212 La Ninita. Spanish Dance. Words)—Howe. 1 $0.2i> Georges Bizet, Jacques Offenbach, Engelbert October 3rd. Born in Canterbury, England, and music by Clar- ,5840 ChristiMsilclls^T. ..'■'■■■ ^3 24601 A Little Bout Song—Ket- ^ Humperdinck and Giacomo Puccini. These competent choir { hand illdependence of the fingers through Intermezzo .•••••• with solo quarr iateral movement, and smoothness of he was at sixteen, deputy organist of the ence Kohlmann, pre- 24418 Dainty Dewdrops. Carol ir. 2 24139 Our Conquering Hero. Marc 7110 The Haunt if the'Fairies— excellent biographies, however, are only in¬ tet is this new and evenness of tone in crossing famous cathedral; and, before called to sents opportunities 18035 A Day at the Beach. Marcli.. ... 3 25844 Parade of the Grasshoppers.. Crosby . 2 .2o cidental to the book’s task of telling the for unique staging WW3 Dole's Birthday Party. Waltz. 2 , . . . compilation of strings with the bow. . Toronto, he had been organist of the great 25841 Peaceful Meadows . 19302 Little Indian Chief—Strick- ^ ^ stories and analyzing the music of the out¬ andnnJ amusingorvmcintf Olllpf-enter- 2503424426 UOllyS U « '*'***/»."Lullaby Il« ?4710 Playful Butterflies . standing operas—Tannhduser, The Master- larger anthems for chorus-choir. Those teachers who want to impart to Leeds Music Festival, conductor of the Leeds 19774 Pretty Little Wildflowe 9744 The Elf's Story — Arm- ^ Our successful anthem collections of the ^ pils the elementary principles of Philharmonic Society, and of the Leeds Sym¬ v tainment that will be Sony . singe::■ of Nuremberg, Lohengrin, Tristan 2% 6863 JingleTlelis—Lawsoni'.!!! 2% .25 and Isolde, , The Rhinegold, The past have been prepared primarily the vi0]in playing in a more scientific and ra- phony Orchestra. *•** * appreciated.by those ^'H^Spanilhlniennczco Bells.. volunteer choir without solo voices and have tjonaj way w[\\ take advantage of the special who have m charge chimes. '.25 19775 Ring. Ea; 13139 Dance of the Jesters (Schot- Valkyrie, Siegfried, The Twilight of the Gods, 4-* the producing of operettas by amateur 2S84S Fairy Bells..•••:•• .25 25959 Rinj " ' tische)—Anthony. 3 .25 The Flying Dutchman, The Marriage of been limited to music of an easy grade. adyance of publication cash price, 15 cents 22669 Rita, j um, 23020 Priscilla—Bliss.3 .30 With the development of choir standards in Dostpaid, to acquaint themselves A HEBREW OPERA, “The Pioneers,” performers. The music is especially tuneful 16821 Fey ns and Flowers. luisc .50 15090 Sabbath M< 19903 Sonia (Polish Dance) — # Figaro, Don Giovanni, The Magic Flute, and easy to learn and the plot is sure to *an'wV;V. *u.i>h riai«- .. [ Waltz.'.'.'. recent. years,- however,-- --confident---- that- ®with J this ***modern work.work. with its libretto and music by Jacob Wein¬ 23948 With Muted Strings — Fidelio, The Barber of Seville, William Tell, berg, was given concert performances on hold the interest of the audience. The price . Der Freischiitz, Mignon, Rigoletto, La Tra- there will be a demand for a more advanced Song Without ift! Ipirit SofdS the6tUHour. Gr tloelck . 4 .50 collection of our very best high grade November 25th, 27th and 29th, in New of the vocal score is 75 cents. March ... 24120 Souvenir de la Danse viata, II Trovatore, Aida, Otello, Faust, Violin Vistas ^Springtime. (Tempo di Value) — Carmen, The Tales of. Hoffmann, Hansel and anthems. York City. 24287 Firsl Dupre. 3% .50 Our editors have been able to find many For First Position Platers Splendid Rewards for Etude ^18893 Flow__ _ Gretel, La Boheme, Tosca, and Madame 4-s> 23689 Follow bTA- 25825 Dark Eyes (Russian Gypsy excellent numbers from which to choose the (With Piano Accompaniment) atasnaiyscr: Air)— An-. Peery. 5 .50 Butterfly. contents for this book, by such well-known DMITRI SHOSTAKOVICH, the young Music Magazine Subscriptions §*g cSwn»::: Little Church m the Vail Everything is told lucidly for the layman, In violin instruction, as in the teaching of 19367 Treasured Memories . SHEET MUSIC—PIANO DUETS composers as Roland Diggle, Sumner Salter, Russian composer (he is said to be but twen¬ Every reader of The Etude has musical 19733 The Y^HapJ^^Ron'da! !' yet with such authority and insight that the R.I1'sUSStoughton, Alfred 6*Wooler, Cuthbert piano and other instruments, alert teachers ty-eight), seems to have won favor with the gSBC^=::i:. 7372 Flying g Doves a solid brass tray, a glass cigarette holder 24g35 Easter March, with the full flavor of the mature man of and ash receiver, trimmed in brass and a PIANO COLLECTION the__ entertainment chairman,_, you„ . will. — vvane student. As much of the violinist’s future COMPETITIONS Modern Drawing Room Pieces. $1.25 letters. _ this book. Incidentally, knowing the task pleasUre is to be derived from playing with brass match box holder. Your reward for 24971 Li The amazing thing is that Theodore of getting entertainment ideas into practical others, this is the logical method of getting THE FONTAINEBLEAU SCHOOL OF seeding one subscription. : — SHEET MUSIC—VOCAL SOLOS Presser Co., 1712 Chestnut Street, Philadel¬ MUSIC, regardless of reports to the contrary', form, you will appreciate the great under- him accustomed to ensemble work, Portable Clothes-line Reel: This unique Save 50c on a Year’s Subscrip¬ 19755 Sleepy Hollow Tune (High)— n Rn phia, Pa., is able to fill orders for this book will be open as usual this coming summer. clothes-line reel may be hung in the kitchen, Beware of Fraud Agents taking of the editors and therefore will bear Our new album Violin Vistas, most aptly 30015 On the Itoaii to Mandalay for the nominal price of $1.47 a copy. with them patiently a little while longer until named, will contain a generous collection of Information may be had from its American bath, laundry, back porch or garage. A tion to The Etude Music „ „ ,,, (Medium)—Speaks . R.60 (Postage is additional. The book weighs 3 Secretary, Francis Rogers, 119 East Nine¬ 1AU Daily reports from various sections of the the editorial work is completed and the book first position pieces, selections by modem real household necessity. Finished m color MAGAZINE United States and Canada show that fraud pounds and in the various zones from Phila¬ placed in the hands of the printers tot_ get composers and sparkling new arrangements teenth Street, New York City. and comes with 18 feet of stout tubular VOCAL COLLECTION delphia postage would be as follows: Zone 1 it on the road to delivery to you if you have 0f favorite compositions. The book is now braid. One subscription. Until March 15th we will accept $1.50 for magazine agents are very active. They will Famous Songs (Tenor)—Krehbiel. $1.50 (Philadelphia), 9 cents; Zone 2, 12 cents; a year’s subscription to The Etude. Me pr0mise almost anything at a reduced price, ordered a copy, or intend to order a copy »so well along in the course of preparation and Savage Ovenette: A practical Kitchen ORGAN COLLECTIONS Zone 3, 15 cents, Zone 4, 21 cents; to other that you may have the advantage of the this probably will be the last month during THE WALTER DAMROSCH FELLOW¬ are conducting an intensive campaign among p0eket tbe money and then disappear. Me points in U. S. by express, 26 cents.) SHIP in the American Academy in Rome is utensil—bakes, roasts, toasts perfectly on Organ Melodies—London . $1.50 advance of publication cash price of 60 cents -which it may be ordered at the special ad- anv cooking burner—saves fuel.tuel. Cooksoooks music lovers with a view of stimulating cannQt ^ responsible for the work of swin- The Chapel Organist—Peeru. 1.50 Unfortunately, this book arrived too late a- copy, postpaid. of publication cash price, 40 cents. open for competition. It provides for two without overheating the kitchen. Two sub- mterert m nrawc through dlers. Our own representatives invariably Organ Music by American Composers.. 1.25 for the Holiday gift-buying season, but every years of study at the Villa Medici of Rome music lover should have this book for his with six months of travel each year, for visit¬ seriptions. Sscnbe.“ m,leuTelf'your your ^musicalmusicm 'friends^and also carry the official receipt of the Theodore VIOLIN INSTRUCTOR own possession, and those who are looking playing ability and a piano at hand to liven ing leading music centers of Europe and mak¬ Attractive Three Piece Console Set: In- remind_;.,q them‘that‘that the closing date for ac- Presser Company, publishers of The Etude Rob Rov Peery’s Very First Violin Book forward to giving prizes or awards or gifts First-Grade Piano Collection ing personal acquaintance with eminent com¬ 1^.? cepting subscriptions at this low — (Fiddling for Fun) . $1.00 up a group and make it a jolly party for all. and candlesticks to match. The bowl curves during the graduating season ought not to The games, stunts, et cetera, are suitable for Work i this new publication posers and musicians, along with opportuni¬ s March 15, 1935. overlook this present opportunity to secure gracefully to an oval, is pierced around the MUSICAL LITERATURE young or old. Among those who will value gressing most satisfactorily and in ties to conduct his own compositions. Open Child’s Own Book of Great Musicians this splendid and substantial volume at so ./ill be in a position to announce to unmarried male citizens of the United edges and has hook handles. Length 13 (Chopin)—Tapper . $0.20 wonderful a bargain price. inches, width 9 inches. The candlesticks definitely the publication date. The advance States, not over thirty years of age. Further Used Nation-Wide in Music Class Instruction subscription has been exceptionally large, particulars to be had from Roscoc Guernsey, are 3 inches high and have a base diameter OCTAVO—MIXED VOICES, SACRED The Etude Historical Musical Philomelian Three-Part proving that teachers and pupils appreciate 101 Park Avenue, New York City. of 3% inches. The set is your reward for 10733 Ho! Every One That Thirsteth securing six subscriptions, or you may have Standard t —Marlin . $0.12 Portrait Series the economy of obtaining a large quantity 4-S’ 95 Fairest Lord Jesus — Batiste- Chorus Collection of pleasing, easy grade piano pieces in one your choice of the bowl or the candlesticks By Jame Brackctt .06 The highways joining our great cities are Women’s Voices book. And, at the special advance of pub¬ A SCHUBERT MEMORIAL OPERA for three subscriptions. dotted with hundreds of small and relatively PRIZE, providing for a debut in a major AN ENTERTAINING and authentic OCTAVO—S.A.B. CHORUS, SECULAR There has been a remarkable increase in lication cash price, 35 cents a copy, post- Candy Dish: The colored glass base of unimportant towns and villages. These same _paid, these pieces cost less than one cent, role in a Metropolitan Opera Company per¬ this new candy dish makes it especially at¬ record of the growth and develop¬ 20790 Sleepy Hollow Tune—Kountz. . $0.12 towns and villages nevertheless are all part chorus singing during the past few years. formance, is announced for young American ment of music. The various periods made understandable in a clear, concise Of course, this is due i»-’part to*“ the**■- splen- each. wiU probably be |the last month tractive. It is sub-divided into three parts OCTAVO—WOMEN'S VOICES, SECULAR of the great picture of our national life, singers. The contest will be held in conjunc¬ and may be had in either blue or ruby- and different schools are covered and, manner and everything is presented each one contributing something to com¬ did "efforts being put forth by"the“ musical *umg which this work will be offered at in their proper places, a whole chapter Parts directors of our schools. But community this special low price. tion with the Biennial of the National Fed¬ shade. The cover is chromium plated topped simply, yet in an engaging and interest¬ 20208 'Tis of Summer We Sing— plete the whole. is devoted to each of .the master com¬ , mothers’ clubs, parent-teacher asso¬ eration of Music Clubs in 1935, at Philadel¬ by a knob of novel design. Diameter 8V2 ing manner. Teachers will find this Wilson . 2 $0.08 The same is true along the road of musical phia and conditions of entrance may be had posers. Many other composers are 20327 Serenade — Schubert-Bllss 2 .08 ciations, women’s club choruses and mens’ Good News for Flower Lovers inches. Three subscriptions. work lays a strong foundation for fu¬ 20406 Dreaming of My Old Home, history. Between the great—the Bachs, from Mrs. John Alexander Jardine, Presi¬ introduced. The chapters make ideal ture musicianship and music lovers not Sweet Home—O’Hara... 3 .10 Beethovens, Chopins and Liszts—there are glee clubs are being organized everywhere Compact Sewing Kit: This emergency lesson divisions. Review questions ate and many men and women, heretoforeeretoiore con A ^'S11 dass seedsman has arranged to dent, 1112 Third Avenue South, Fargo, Sewing Kit includes a thimble, pair of conversant with the subject will be 33109 There's a Lark in My Heart hundreds who claim no great fame, but who, North Dakota. given. Substantially bound in cloth, —Spross . 3 .15 like the small towns, are deserving of recog¬ ..... merely to listen, are now becoming ac- ^ s^ds'or vegetaWelKds^ ?Ve°™ scissors, assortment of pins and needles and gold-stamped. 280 pages. 150 illustra- greatly enlightened through the self- 35038 The Green Cathedral—Hahn 3 .15 nition because of their worth-while contri¬ tive members of these cultural organizations. eithedr’of thesfe ^ packaRes ££ 4-> darning and sewing thread. Your reward study that can be done with this book. tions. A musical map in colors. OCTAVO—MEN’S VOICES, SECULAR butions to the musical picture. A considerable degree of proficiency has subscri tion to The Etude (notTour own) THE EMIL HERTZKA PRIZE for 1936 for one subscription. Price, $1.50 Price, $1.25 20195 Song of the Vikings—Panina. . . $0.15 In the Historical Musical Portrait Series, is open for international competition, for a Send post card for complete catalog show¬ 10790 The Long Day Closes—Sullivan .10 The Etude takes you step by step along cieties and there is «£y~ XT* >? >■*« musico-dramatic work—opera, ballet or pan¬ ing all premiums offered for subscriptions to SER Co., 1712 Chestnut Street, Phila., Pa. “Musical History Highway.” With pictures new and worthwhile tomime. Manuscripts may be submitted till The Etude. The merchandise is of excellent Theodore Pr EASTER CANTATA arrangement seems most satisfactory m and brief biographies, 44 each month m both collections, no extra cost totr> you. January 1, 1936; and full information may quality and fully warranted by the manu¬ Rabboni (Mixed Voices)—Loveland ... $0.75 alphabetical sequence, this unique serial is treble voice arrangements, it being fuller be had by writing to Dr. Gustav Scbeu, facturers. (Continued on page 189) Advertisement covering the “Musical Highway” as never than the two part song and does not require Opernring 3, Vienna 1, Austria. Advertisement MARCH 1935 Page 191 THE ETUDE

JUNIOR ETUDE -(Continued) JS

Everyone’s Favorite Subject Junior Etude Contest

By Ann Meredith The Junior Etude will award three ■the eighteenth of March. Names of prize pretty prizes each month for the best and winners and their contributions will be pub¬ lished in the issue for June. the first type of music? How did the use neatest original stories or essays and an¬ “Susan,” said Miss Miller one day, when Put your name and age on upper left Susan had brought some of her friends to of notation come about ? When was the piano swers to puzzles. Subject for story or essay this month, corner of your paper and your address on visit the music class, “why don’t these friends invented? Who was Bach?” And Patsy started to smile. “When I Grow Up.” Must contain not upper right corner. If your contribution of yours study music?” over one hundred and fifty words. Any “They do not like it,” answered Susan. “And music is just made up of grammar. takes more than one sheet of paper do this Ruth. What is a musical phrase ? What is boy or girl under fifteen years of age may on each sheet. “Jo Ann’s favorite subject is geography and compete whether a subscriber or not, or Beth’s is arithmetic, and Patsy’s is history, the structure of a major scale? How many Do not use typewriters and do not have belonging to a Junior Club or not. and—” chapters or parts in a sonata ?” any one copy your work for you. And Ruth started to smile. All contributions must bear name, age Competitors who do not comply with “And mine is grammar,” said Ruth. and address of sender written plainly, and “And mine is language,” said Helen. “And even spelling. Who can find the ALL of the above conditions will not be letters on the keyboard that spell baggage, must be received at the Junior Etude Office, “Well, Jo Ann, you know music has 1712 Chestnut St., Philadelphia, Pa., before considered. geography, too. Where is middle C and or fade, or efface, and lots of others ? How what are its boundaries ? Can you make a do you spell the major triad starting on C- many necessities to be bought, but it does With one eye on the clock Bill finished map of the keyboard? What composers sharp ?” seem a shame, when you are so keen about Musical Alphabet playing the Happy Farmer, rattled through lived in Italy ?” “Language? Who said they liked lan¬ music. And after all, I suppose you really Tbhe (grossing ‘Point a few more pieces, then threw his music Jo Ann started to smile. guage? What does andante mean? and do have to hear some good music once in By James Neill Northe on top of the piano and rushed out of doors. “And Beth, arithmetic is certainly in diminuendo? And music, you know, is a Great Artists of the Scale a while if you want to succeed, and you universal language, loved and understood by Great Artists None of the pieces had been well played, SPACES music. How many eighth notes equal one (Prize Winner) By Susan Bell Bryan don’t get much chance around here, bo all the world.” (Prize Winner) he knew, and his lesson came the next day; The TREBLE spaces that I see quarter note? Into how many sixteenth As one reviews the history of music, he still, the sun was shining and his friends you go ahead and I’ll fix it up some how notes is a dotted half note divided? Do So now the girls are better friends than Thanks to Providence, we of today have It is easy enough to play the scales of “Hip, hip,” cried Bill, “but you would Are F and A and C and E. recalls the incessant labor of music lovers were out playing ball and he was missing you know your table of intervals?” ever because they have the same favorite inherited from the past rare gems from C, G, D, A and E, hands alone or in con¬ that have given us some of our finest in¬ all the fun. So he thought his practice not call it wasting money, would you. And Beth started to smile. subject, music, only they all see it from centuries of toil, the works of great artists! trary motion, but when the beginner starts struments; of the great composers who Because I’ll promise you it will not be “And as for history, Patsy, we have different angles and they never knew before Their inspired work, each in his own field, to put hands together it becomes a bit con¬ could wait. have given us some of our finest music; of However, he no sooner thought this than wasted. I wish you could come, too.” ancient, medieval and modern. What was how interesting it could be. has left to succeeding generations abundant the great performers who have given us fusing. he began to feel ashamed. It was he him¬ So Bill went to the concert with Mr. material, immortal in beauty. Clayton, and on the way they talked about The spaces in the BASS will be Those who paint in harmonizing tonal some of our finest interpretations. self who had begged for music lessons, and Where would we be without the great his parents consented, although they were the program. An A and C and E and G. colors from out of the fulness of divine in¬ “There is a competition in connection performers? What good would a fine in¬ hard pressed for money and wanted him to spiration, and produce, or achieve an effect, with this concert, Bill, and I want you to satisfying and even enthralling to the sen¬ strument be without a great artist to per¬ wait one more year. form upon it? What good would a great “I guess it is up to me to make good, enter it. All you have to do is to write sitive eye and ear, are indeed great artists. composition be without a great artist to after all,” he told himself, “and if I am’ an essay on your impressions of the concert Great artists may be found in many fields, ever going to get any where I’ll have to and submit it to the conductor before the LINES but those of whom we would think are interpret it? Of these great artists, perhaps the one work in earnest.” Bill was a very honest first of the month.” those who paint either word, musical or The Lines upon the TREBLE clef Dear Junior Etude who ranks the highest is Paderewski, the boy, and realized that if his parents made “But I do not know much about sym¬ jr of the Crescendo C brush pictures. Are E and G and B, D, F. Polish pianist. At seventy four years of little sacrifices to pay for his lessons, it phonies, and things like that yet,” said musical activities anyone could _ Great artists are the inspiration for an We have a sixteen piee»ce ’Sandraoanu, “a 1 sixteen“• piece*»* age, the fingers of this great artist still really was up to him to do his part. BiU. , . , c club. I play the b six. I8 have my own way of playing the G otherwise materially minded world. They orchestra and a gle- ™ scale, using four tones of the sar--- He swung around on his heel and re¬ “You have a try at it. It is not technical drum,_t the|L cymbals_ and the triangle and I are the beings who completely remove our thrill thousands as they move delicately up is not anv harder for me than ten and down the keyboard. Yes, where would turned home. Out came the music books knowledge they want so much as a genuine alOuragleeP1club Inputting on an operetta to but I think it is original. I i minds from earthly things to realms of hear if any one has ever done it in tnis way. we be if there were no Paderewskis ? 8 working differently, but they really work and the practice period began in earnest. musical appreciation, and you can qualify raise money to buy unifoms for our band and Sometimes I play a piece in all of tluM welve transcending beauty. They are the stars in that, I know.” And now the BASS lines I will say— when we get them I will send you our pho- Maurice Ernest Israel (Age 13), together in three sections, thus— It was too late to play ball, anyway, he tograph. that cause wearied ones to look up, to Two weeks later Bill walked into the They’re G and B and D, F. A. jjroiuFrom your ixicnu,friend. play all8™8 the6major anl minor scales, using aspire, to continue in spite of seeming New York. consoled himself. Leslie Jewett (Age 14), California. four octaves. When playing chromatic scales At the first sound of music his mother dining room as his family were assembling 1 IPenjoy which in the full orchestra, appeared happy and glori¬ content with wearing these distinctions score might be mistaken for a timid and groups in our great cities, but also senseless accent, as a mark of diminuendo fied.” morally. to the entire country.”__ Teachers Throng to Presser’s for Educational Musical Material of All Kinds because HEODORE the policy of the Company, from the T RESSER beginning has been directed by P Practical Music Educators O. ” C CHESTNUT ST. who know that the best music works are those Philadelphia, pa. that attract pupils and thus become positive aids to the professional success of the teacher.

Successful Teachers have used Hundreds of Thousands of the Works Listed on This Page J _ _ mcrniiNTt granted TO MUSIC PLAY FOR EVERY DAY DISCOUNTS GRANTED TO EXAMINATION PRIVILEGES THE GATEWAY TO PIANO PLAYING THE TEACHER OF MUSIC EXTENDED TO TEACHERS An Irresistible A ^hatU \?i'. TUNES FOR TINY TOTS Appeal to umph among all M. Williams Price, 75c Juveniles for‘u-aching b°hil- popular little book really is a #re- dren from five to eight years of ide for the youngest begin- Thi jor portion of this book is tlfe SilMS wUh°game3like^pro° to attractive short pieces which : the notes up and down from fngln'ustrTtion^aSdc^mi^meTo-

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