Volume 73, Number 10 (October 1955) Guy Mccoy

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

10-1955 Volume 73, Number 10 (October 1955) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 73, Number 10 (October 1955)." , (1955). https://digitalcommons.gardner-webb.edu/etude/99

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October 1955 / 40 cents

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THREE CHORD S IN THREE KEYS * Logical follow-up to "ONE, FOUR. FIVE" with more familiar folk and nursery lunes accompanied by the three principal chords of C-major, F-mojor ond G-mojor. Encourages early study of harmony and” RM0N S "IS !^ S(, alented Head IJbrari rersity in Nashville,

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MARVIN KAHN'S "THEORY PAPERS' trumpet in dance balk- Bobber finally returns to granddad and peace and hap-

plicily and beautiful «ord cadence Hi, granddad admoni»hes: “A bom mins music, me Houghton Mifflin Gimpany ETUDE—0CT0HEK »« ETi UK—OCTOBER iiiiiiiiiiiiiiimmiiiiiiMiiiiiMiiiiiim his symphonies had a lew scattered and then vanished chorus went like this; Town C&iuxttitj performances & from the concert halls. Indeed, a Odorous melts in the dells

whale might well hare swallowed AU our nostrils greet, by GULBRANSEN (Item as far as the musical public of The opera was reported in a New

“The Unutterable Compound hv The Paris musical press of 1881 Jerome Hopkins Under a Toothsome Title Scores a Failure." But Hopkins vincial orchestra gave the following would not be downhearted. He put instructions to his players: "In order on another production of “Taffy, and to give every musician a chance to Old Munch" two years later in New play all the notes in their parts con- Rochelle and published the following SLONIMSKV ! By NICOLAS scientiously, the orchestra is to keep invitation in the local press: “Unless a rendez-vous in the last bar of each people are educated lo enjoy any- thing. from a toothpick to a tomb- s A COMPOSER, Anion Rubin- rive at the end before the others are stone, they will not pay for it. The A stein is chiefly remembered by to wail until everyone else finishes only sensible way to educate a com- bis slmrt Melody in F. but be was playing; then at a signal they are to munity in an art is to begin with the also composer ol the longest sym- ride of sodium, to which the bassoon the strike the final chord together." young. Come and hear your own dear phony, "The Ocean." The musical responds with a faint groan. Finally little children in a work of musical world was divided between unbound- {risolulo e marcala) a bold sailor Richard Strauss was not the art Tickets are at Johnson’s drug ed admiration and scornful condem- offers him fried pork, swimming in only Strauss to quote himself in his store and the more you buy the bet* nation of this work. The German gravy, with plenty of molasses. With musical works. Johann Strauss ter will he the Festival of my Opera, music, historian. Ambros, compared a vehement passage nl explosive quoted the “Beautiful Blue Danube ’Taffy, and Old Munch'." force, the conies to • sud- it with Beethoven’s "Pastoral Sym- movement Wain” in his operetta "Cinderella." phony.” “With real joy.” he wrote, Wittily, lie gave the tune to an organ Long he/ore Admiral Peary, [he Symphony” was Ru- “do I greet the ’Ocean Symphony.' Tbe "Ocean North Pole was discovered by the What flowering invention, what flne binstein's favorite creation, and he authors of an operetta entitled "Arc- development of musical thought! kept adding new movements to the 'I 'I IE EASIEST opera ever written tic, or The North Pole Expedition," COMPANY Rubinstein here approaches the sun score. Complete performances of all GULBRANSEN A was “Samuel" by the eccentric with music by a Portland organist of Beethoven. Indeed, the progression American composer Jerome Hopkins, named G. W. Conld, who conducted of ideas in the 'Oeean Symphony’ is the critic of "Tlie Metronome” wrote iiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii who guaranteed tiiat it could he pro- it: first performance in New York on For Real Inspiration fully analogous to that of Beethoven's after the Boston performance under duced as an oratorio in a week by November 27. 1882. The libretto was ’Pastoral Symphony.’ I see Rubin- Rubinstein himself on May 21, 1873, any group of amateurs or school- simplicity itself. An Arctic explorer 'n leaning over the ship's side, lin- that "the hour consumed seem'd boys. and in three weeks as an opera. is in love with a Yassar girl, whose hardly a quarter that duration ol Sad to tell, when it was finally pro- father is a honker. The banker will ing with father Ocea time.” And the "New York Tribune" duced, it was a resounding failure. not give his daughter in marriage But a London critic wrote: “Hu* declared in its issue of April 1. 1873: Hopkins was probably tlie most ex- unless the groom proves his charac- "Rubinstein conveys in the broad pas- asperating musical individual who ter by discovering tlie North Pole! only a whale to be complete. Perad- su ges of this superb work the illim- ever lived. He antagonized friends The explorer appeals to the Hon. W. vcnlure some artless leviathan might itable expanse and depth of the sea. and foes alike. He picked fights with Malone. Secretary of the Navy, who swallow the last copy of Mr. Rubin- To hear these splendid conceptions everybody, even with the Society for shows interest in the project and also stein's symphony, but we venture to interpreted by Rubinstein's own ba- Prevention of Cruelly to Children. in another Yassar girl in the cast. predict that the fish would disgorge This particular fight was a result of Tlie ship is launched; the hero it more quickly than the original rciTicmhered. We the production of a children's opera reaches the North Pole, returns in whale cast up that more toothsome slnte the enthusiasm of the audienie. “Taffy, and Old Munch." for which triumph and receives the hand ol the morsel, the prophet of old. Neither It broke out after each of the move- Hnpkins wrote both the libretto anil banker's daughter. whale nor man could retain the ments; it was redoubled alter the the music. It was performed in 1885 'Ocean Symphony’ for three days and scherzo; it was quadrupled at the at Steinway Hall, New Y'ork, with The scale of alternating three nights and yet live.” end. whan Rubinstein was retailed tones and children os actors and singers, which semitones was first explicitly used An American rritic developed the again and again.” by aroused the objections of the Society Rimsky-Korsakov in his opera-ballet program of tlie "Ocean Symphony” Rubinstein's "Dramatic Symphony'' for Prevention of Cruelly lo Chil- “Mlada." The score includes still more explicitly: “The opening was greeted by similar expressions of an dren. In the program. Hnpkins de- ocarina tuned movement pictures the unfortunate enthusiasm. The "New York Post in this scale. Then the clared in victim his characteristic fashion; scale was discovered again and again, boldly committing himself to said on March 21. 1887: "Rubin “Twenty-eight years of New York by Felix Petyrck 1 1892-1951 1. who steins ‘Dramatic Symphony' is one musical life have so soaked me with imagined that he constructed foreshadow that lie is getting himself of the greatest works ever written. it for nastiness that my very bone# cry out ii to a the first time; hy Ludomir Rogowski pickle. The sea begins to swell; What a wraith of ideas, what happy fur something pare and innocent in buder (1881.1953). who called it a Persian recollections of the solidity of contrasts, what abundance of animal the personnel bs well as in the senti- dty land arise; scale, and others. There is. of course, another swell, and spirits! It is to he hoped lhal the New ment of my opera.” However, the nothing different thoughts allow new in this scale. It is simply and thing* Ivcgin Y'ork Philharmonic will never critics found that Hopkins to arise. added only a broken diminished-seventh chord, By a neat inversion of the another season to pass without at more nastiness principal theme, in his children's with passing notes filling the inter- Rubinstein intimates least one performance of the 'Dra- opera. The story was indeed nasty: stices of the component minor that the passenger is turning inside matic Symphony’." thirds. in it Old Munch fed little Taffy live out. In tlie Scheno. THE END the sailors have After Rubinstein's death in I89h ETUDE-OCTOBER ETUDE—OCTOBER WSJ 19SS

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An interview with Governor Sherman Adams, The Assistant to the President of the United States Secured especially for ETUDE by Rase Heylbut d I 1

A noted pianist and teacher offers valuable suggestions toward

Solving Piano Problems

From an interview with Edwin Hughes Secured by Gunruir Ash-tund

t Among the most distinguished of more profitable, but easier. ment, and tic will soon be eager and To illustrate, let us consider the willing to master the elements which noted both as a pianist and as teach- a problem of practicing. Most piano will nuke the |ierlurmance of his er. He studied with S. M. Fabian, then students form tlwir practice habits at pieces easier and more pleasurable. with Haf art Jose)r in \ete York, final- the very time that they go to grade Thc proper presentation of tccll- ly going to Vienna for three years to

school, or high school ; and the prob- study under Theodor Leschetisky. be- lem of working in the necessary Iwo coming one of that great master's assist- hours or more of earnest practice can

pearing as recitalist and orchestral became a vexing one. It is the stu- n the fundamen- instruments began appearing all over soloist, after which he returned to dent's uwn responsibility. If he is tals of technique—clear, well articu- Europe during the &b century. But it America. He continued his soloist's ca- talented and meets the situation with lated scales, arpeggios, octaves, trills. wasn't until the Crusades in the 11th reer, in addition to leaching and piling lav-piano recitals tilth his talented century that the passionate musk of notes, etc. Also he helps himself uife. feuel Hrthany has Comes into its own to Hughes. He the East really entered Europe Turning to problems of technique, greatly if he works at these w-ilh the stay: the crusaders had brought back many colleges and universities ; for the “ The guitar is a marvelous instrument with them an improved version of the that finger facility is but a means Without constant checking with live Music Teachers National Association, ancient Greek pandoura, the kithara. metronome, the student is in no posi- which jew people understand.” of which he was President for two The gnitar developed its present years; for ten State Music Teachers it is an important means of unlocking tion tu evaluate his own progress. A by W. Charles Lekberg form mostly among the Spanish alter Associations .- and for countless local the secrets of music. There is a theory scale technique of only 100, four Roman merchants brought them the associations and clubs. Mr. Hughes pre- in circulation that, since technical notes to the lieal. is rather primitive: pared the article Piano Instruction kithara some time before the Ball on study is sometimes difficult or dull, it a scale technique up to 144 begins to wrote once Europe, for the Encyclopaedia Americana. FRANZ SCHUBERT South Africa, the United century. The stringed instrument of He can be avoided; that the student can sound like velocity. Let the student * thul “the guitar is a marvelous States, is President of “The Bohemians," Near Australia and Japan. Japanese the Moors, at u or “the wood, gamer technique by playing pieces. set himself the goal of trying to de- instrument which few people under- devotees York's celebrated musicians club, is of the guitar even have their which entered Spain about that time, The only thing wrong about this the- velop a scale speed of 200 or better, Executive Secretary the stand.” This was probably pretty own bi-monthly of National magazine. “Armenia” was generally regarded with disfavor o.y is that it docs not work. A student all the while understanding that the Music Council and serves on the Music much the case in the early 19th cen- (Harmony). would not expect to write poetry by the Spaniards. The ad. however, Panel of the American National The- 200 means little in itself, but much tury when poverty-stricken Schubert Why the classic, or Spanish, guitar, spread to Western and Central Ea ater and Academy.—Ed. Note without knowing how to spell and as a preparation for easier passage had only a guitar on which he did which lias been known to Western rope in the form of the lute and punctuate: nor would he expect to work in the pieces he studies. If he most of his composing. His guitar Europe more or less in its present gained some popularity. ap- ear as an actor on the stage w ith- can manage good, clean scales at 200, even hung above his bed and he form since about ANY years of experience have out mastering the 13th century, In the 16th century, the eleven- the basic technique- of passage work at 144 will present few played it every morning before ris- has taken so long to become taught me that the solution of pronunciation and declamation. The recog- stringed vihuela became the instru- M difficulties. ing. nized as a distinguished most piano problems depends on two same is true of music. instrument, ment of elegant and polite Spanish The meaning Working with metronome can help But in recent years musicians all puzzles lovers of guitar sets of factors. The first covers peda- of music cannot be released without music. society. But the guitar, which then to ret definite goals, which can he over the world have been finding out Perhaps its long-delayed gogic presentation by the teacher. the basic techniques for releasing It. adoles- had only four strings, remained the just how '‘marvelous'' an instrument cence as a folk instrument The other takes in the attitude of the And I find that the student does not work prevented instrument of the people. scale at 60, let us say: by the the classic guitar is. And guitarists its acceptance into the student himself. If the latter steers rebel against technique if the matter next lesson, more distin- When the fifth string was added In bring it up to 72; then are doing a remarkable job helping guished music circles. away from the idea of “pelting by,” is properly presented. l-et him under- the guitar about the middle of the to 96, and gradually higher. In this them understand it. The lyres of Egypt and if he sets himself high goals and stand that technique is not drudgery, way, the student Babylon, 16th century, the instrument Iwgan has something defi- The appeal of the guitar is now the pandoura of ancient pursues them devotedly, if he learns nite to work towards, Greece, and to be called the “Spanish guitar." ami and. he will ap- universal. The International Classic the three-stringed tamboura to look upon problems as challenges that his own musical progress will proach these of Tur- from that time on the vihuda began increases in speed with Guitar Association, formed in 1052. key rather than obstacles, be lias it in his be and India were all precursors accelerated as the result of de- real interest and will develop growing of to disappear. By the 17th eenlurv ii drows its support from almost all of the modern guitar. power to make bis studies not only veloping a sound technical Wandering mu- was equip- confidence in I Continued on Page 60 ( Continued an Page 561 ETVDE-OCTOBER 19SS ETUDE—OCTOBER I9S5 > )

Hollywood Bowl’s Strange Story

THE BRASS SECTION- An intriguing account of the history of a famous outdoor concert haU. STRENGTH OF THE ORCHESTRA by Weldon D. Woodson An authoritative discussion of the role of this section of the present day orchestra

INCE the first concert in 1922, abandoned ranch house in its midst. wll stage- by Ralph E. Rush S more than 8,000,000 people have Noted, too. was a large pepper tree, omen mothered the Bowk Hollywood Bowl's which attended “Sym- legend says served as gallows Coming to Los Angeles Iruin Phila- BEFORE the introduction of valves strument within its upper register ndcr the fur phonies l Stars." They and horse thieves in the '80s. Removed delphia. Mrs. WetlieriD Sirs noon at a limited dynamic range and made Pennsylvania, was first settled, and the general public conceive of the in 1940. stood it by the old box office remembered seeing in 1916 "Julius three different methods used for the horn a melodic instrument of may still be heard there during reli- 20,000 seating capacity outdoor built more than a quarter century Caesar" in Pennsylvania's Beach- bridging die sounds of the natural great service to the orchestratur. The gious holidays. Some effort was made amphitheater as where the great mu- ago of lumber from stages used in wood Canyon. Inspired by this, lur harmonic series of the horns. In effectiveness of this hand technique sicians have performed Scliumann- the — production of Charles Wakefield 35 nights she staged near l-o* Angeles general principle they follovred one can be verified by the fact that adop- horn but nothing came of it because Heink, Calli-Curci. Horowitz. Heifetz. Cadtnan's Indian opera Arnold's “Shunewis." a dramatization of Edwin of the following: 1 1 1 "stopping" or tion of valves on the horn came last the stopping method had already- Rachmaninoff. Markova, Flagstad, In recent years, a new ticket booth poem "The Light of .Asia." The The- inserting the hand into the Ml; 1 2 and well after 1850. produced such satisfactory results. Rubinstein, Menuhin. Melton and a replaced it. Pepper Tree Lane lead- atre Arts Alliance which she headed lengthening the lube by means of a Stopping was less effective on the The slide was adapted to the trumpet, host of others. In fact, almost every ing to the Bowl resulted when peppet discovered the Bowl site as a home slide: or 1.3) covering holes in the trumpet since the choked quality of and for some time in England, slide contemporary artist of world renown tree fence posts took root anil for similar plays. Aided by ' tube by keys much like the present- stopped sounds destroyed the char- trumpeting flourished as a highly has appeared at least once in the Its first stage consisted of i day saxophone. acteristic brilliance and ring of the skilled art. mammoth arena. The early history carded barn door from which, and held it until tbe AUianrv The stopping device was most suc- trumpet tone. The use of key-holes or finger-holes of the 69-acre property, however, to 1920. the late Hugo Kirch- could pay for it. Now the County of cessful when used on the French The lengthening of the slide had pierced into a lube played by means never hinted it would become a niecca hofer led community singing. Those Los Angeles owns it, subject to a long Horn and has been used for solo been used since the fourteenth eeo- of a cup)ted mouthpiece was also a for cultural the minded. who came for it and the festivals of lease by the civic, non-profit Holly- playing from about 1750 on. By tury as a most essential part of the Originally a part of the sage-cov- Thanksgiving Day and Christmas wood Bowl Association. Mrs. Artie partially stopping the hum with the trombone. The sackbut (pump) was leather-covered cornetto family (Zin- ered Daisey Dell Valley, cattle grazed sprawled on the naked slopes. In Mason fiarter originated the idea ol hand in the ML ail the overtones common in England, and had occu- keti in Germany) had been used in upon it. Its owners included Creek 1921. the first sunrise Easier service “Symphonies Coder the Stars." between tbe sixth and sixteenth par- pied in Germany a very important several sizes varying from the old George, the camel merchant, occurred Don here, and the throngs con- stood The first of the concerts was liats could be produced without much position in civic organizations. It was cornette to the larger serpents, but Eugenio Plummer and M. Bonoff, the high in the hills to welcome the dawn. ducted by Alfred Hertz on July 1L loss of quality, and tones that were the trombone choir, including alto, lliese became olisotete before the end Russian fur trader. Even when music Each Easter Sunday since then thou- 1922. under the guidance ol Mrs. out of tune could be altered easily tenor and bass trombones, that played of the eighteenth century. Keys were lovers first considered the dusty hol- sands flock to the Bowl, hut now Carter. needed for light- by adjusting hand bell. chorales from church towers low The 13,000 the in the on holi- tried on horns and trumpets but with for summer symphonies, it was seats accommodate them and they ing equipment came from the pro- This "stopping" provided horn play- days for many centuries in Germany. little success. a patch of sage and cactus, with an listen to the choirs, soloists and tnin- 4SI ceeds of the I Continued on Page ers with practically a chromatic in- This old Moravian custom was In May, ( Continued on Pago 51

ETUDE—OCTOBER I9S5 ETUDE—OCTOBER —

CHORAL DfP 'RTHf VT

Current Trends in School Choral Music At Home with An authoritative appraisal of present conditions in the Ernest Bloch school choral field with hints concerning what may

be expected in the days to come. An intimate word picture ot the distinguished composer who in

July observed his 75th birthday by GEORGE HOW ERTON

by NORMA RYLAND GRAVES L” VERY PERIOD of lime may jus- whether particularly gifted or not, some situations, one semester of mu- Tj lifiably he said to lie one of at the same time groups should he de- sic Is required in the seventh mid

veloped which have for their aim tile eighth grades; in many places stu- IGH on a hilltop overlooking llie received his honor and the very quality of living implies finished pcrformum-i- of fine litera- dents may elect music or art for one H broad Pacific at Agate Beach. surrounded by his movemont from one cultural pattern ture. These groups will necessarily semester or more in junior high. By Oregon. Swiss-born Ernest Bloch family. His sun. Con- into another. However, tlie present draw upon those individuals whose and large, music is not customarily one of today's greatest composers sulting engineer Ivan day b one in which changing Ircnds talents are of a special order and required in the senior high school. bos found an ideal retreat for his sun- Bloch, flew down are particularly observable. It has will demand of them the greatest de- H. Assembly singing, it is gener- set years. In the midst of rugged from Alaska. His art- been said that in successive historical gree of excellence of which they may ally fell that this activity should he beauty that is both an inspiration and ist-daughter, Lit- periods, changes tend to come with source of quiet, uninterrupted Honrs greater rapidity: consequently, as D. Sclloid music experiences should should be given to it and that tile he lives with his music, for life to the time goes on. shifts in emphasis inav be continued into post-school life. general quality and character of as- 75-year-o!d composer can be occur with greater frequency and the There should lie a definite link be- sembly singing might well he raised preted only in terms of music. During forma. Two members trend of the current appear to lie tween the school music groups and at the present time. unable to attend were deflected mure often. those groups in the community which C. Integration of music with other his daughter Suzanne, a distinguished down to the day's real stint. Close I. Some particularly obvious em- afford musical experience to the in- subjects. This matter does not appar- of musical literature varying in scojie lulenist whose professional commit- at hand is his piano, hut he is not phases in the present-day school dividual after hr has completed completed hb ently meet with loo much enthusiasm. from his recently “Sym ments held her in New York, and the dependent upon it. choral program may he summarized school career. School music should The so-called topic project plan which composer’s wife, confined to the fam- Ernest Bloch is probably best so function that through it the stu- 1 19St) . to "Four Wedding Marches' ily home by illness. known for his “S-helomo Rhapsody,” A. Singing is to be carried on as dent is introduced to musical per- years does not appear to be consid- Bui no matter how many honors “Israel Symphony" and "Three formance in such a way that he will ered particularly effective liv most are conferred upon Ernest Bloch, he Poems." although his published works mmt. While the public performance continue participation long after he the outside world have been sporadic finds music teachers. Tile principal criti- his greatest happiness working number close to a hundred. Among is stili maintained as an important has graduated front his school nrgani- cism due to his reluctance to interrupt his in seems to hr that the topic project the peaceful seclusion of his Agate- them are orchestral and chotal scores, aspect of the total program, never- only work schedule. “There is so much to makes a superficial and scanty Beach home. Chances are that if you chamber music, string quartets, com- theless there b evident a swinging siderrd not as an ultimate end. hut integration do and so little time,” he says quietly. were to and docs not provide any call upon him early any morn- positions flute, lor piano, ior violin, away from an earlier attitude, where Very frankly he tells you that he is ing you really basic link between music ami would find him in the spa- viola, cello, songs, lor organ pieces it was often apparently regarded as whole field of musical experience; not a "rapid” composer: that he has cious it the oilier subject fiehh whatever it living room, seated before his and also pianos. music b for two His the controlling factor in setting up •hould open up for the individual worked eight months on a symphonic Steinway grand, pencil in hand, white distinctive, filled color and pas- with a particular year's work. It now be- avenues of expression whieh would poem "that can be played in 25 inin- hair rufled out D. A cappella singing. It is fell hv frequent finger- sion in which vivid rhylhms and comes less an end goal in itself and otherwise he closed to him. These that a capclla groups ings. Music and books should he main- fill the room, novel harmonics arc skillfully fused. more a motivation for the develop- avenues should serve him throughout tained. At the same time, However, he has taken time out for and it is against there is such a background In 1953 honored lie was especially ment of a wider experience and an all his life, uni merely for the time such major events as a trip to Rome that you are widespread and growing interest in more keenly aware of when he received two awards given advancing technical skilL the to assist in the 1953 production of his vibrant personality. maintenance of a favorable bal- by the New Critics' Cir- York Music B. Notation and sight-reading are II. The following matters in school ance his opera “Macbeth" t first staged in between accompanied repertoire He is a small man little more — cle for his “String Quartet Number to be detelnysed ns means for in- choral w ork are consider- 19101. He also conducted his "Con- being given and that which is sung without ac- than five feet in height—moving with and his “Concerto Groaso Number creased enjoyment. Ability in sight- able attention at the present certo Symphonique” at the 1949 Ed- lime. companiment. While experience is to a littleness unusual for one of his —the fi reading is cultivated but not inburgh Festival, and the following over- lie provided with a cappella literature, years. He exudes a certain youthful o awards the same si emphasized: it is There is year motivated the regarded rather as apparent no uniform agrcc- it is felt that six-day Bloch freshness, redolent of the the singing experience great out- a tool Festival Chicago. than as a finished product. should at Recently lie was doors which he so passionately not he confined exclusive)!' to loves. Mr. Bloch feels that imagination b C. Special awarded an honorary doctor of letters choirs are to be pro- a required course or not. Require- While he may start unaccompanied literature but should work in the one of the important composer's most vided for the particularly gijted ments range 1 1 degree by Reed College in Portland, from 1 no required he extended to include living room, lie soon transfers at the same to his assets. “Bat he must also have inde- singers. While opportunity for par- music beyond the sixth grade, to (2) time some of studio, a detached unit formerly the fine works in which used pendence of thought," he emphasizes. ticipation in choral experience to In a way, this latter event is is required courses continuing through- the typ- as a guest house. Here, accompanied accompaniment is an important “The young American composer be provided for all student ical of the composer's life today, lie the body. out the junior high school career. In element. by three morning pipes, ( Continued on Page 39> he settle* should not (Continued on Page 45i ETUDE— 16 OCTOBER ETl'DF.—OCTOBER <*53 RADIO-TELEVISION

Kevpinu Rare iritli Radio altd TVMusu-

by Albert J. Elina

lish has made them more mruniaelul feci dial the television industry to people all over the country. The is still young und pioneering, lew could deny that one of the projects to hearing the Metropolitan Orera

which has uheadv reached full ma- broadcast*—which amounts to heat- turity is the NBC Television Opera

Theatre, which this month begins its tirat they see opera and, with -tut

seventh season. Directing the enter- translation, understand it, write u.

operas appealing to music-lovers and so do viewers who have never before

non-niusic-lovers alike—Peter Her- seen or heard an upera; the; ire

man Adler. delighted to find it not as utt-uttda- “Take Lukas Foss* new opera, stamlablr as they were hrouglit up 'Griffelkin,' which opens our season to think, and amaied how oar nprrj on " Course Sunday, 6," Studif for the Clurinvt November soys Adler. is so much like a Broadway show “It is the fairy tale story abuut a With millions seeing each of NBCr Suggestions to the teacher or student looking for the young devil who is sent to earth to productions ralltrr than lire three or prove his worth best study and solo material for his chosen instrument. as a deviL does a four thousand who can squeeze into good deed, is expelled from Hell and by William D. Revelli ends up being sent back to earth in •ingle performance of live opera. Ad the form of a little boy. Even if it ler thinks "it's say were safe to TVEVER in the history of music has “prescribe" proper remedial treat- als for die clarinet than for any other didn't have first class music, we have tested -t the response of American- ! * such an abundance of instruc- ment can hardly possess the qualities of the wind instruments. enough material there to make a good all kinds of opera to a very large tional materials ami performance lit- of a highly successful doctor. Only Undoubtedly this outline will not degree." schedule. Ad- This season's erature been made available to teach- recently. I observed the leaching tech- meet with the complete accord of all One of die advantages of working ler points out, is typical of the varied ers. artists and students. niques of a young and inexperienced students or teachers; therefore, please un television. Adler was saving the selection of the pre- operas company Although the quality of these new teacher who was quite skilled in the hear in mind that it is merely sugges- other day, is that if you run across sents. Besides the Foss work, the publications has dot always kept pace techniques ol presentation, though tive represents o|iera and one. rather than an with an interesting libretto Opera Theatre Ira* slated the siuld with the quantity, no teacher, who totally oblivious to the fact that his the one outline. On the oilier hand, premiere of another new American is desirous of making a thorough materials, that Ls, his “medicine,” Opera commissioned by NBC Stank; search and evaluation of available were quite lacking the ingredients so are representative of the most worthy out of it. While i.. ^ Hollingsworth's “La Grande Bre- materials, should experience any dif- necessary to the students' pie arc progress literature for the instrument and have used only to using their ears terhe,” based on the Balzac story ficulties in establishing a worthy- and development. heen selected after an exhaustive •m television they have become ac < Rat course March 251 : Puccini's “Madam of study encompassing the ele- study and survey of methods, solo*, customed to looking with their eyes lerfly” annual i November 27 1 ; the mentary, intermediate and advanced single instructional text has yet heen as well ensemble and supplementary- text* as listening with their car* presentation of Giun-Carlo Metiolti i stages of the student's development. designed llial will fulfill the needs of which appropriately lend themselve* 1 think our Opera Theatre has done “Amahl and the Night Visitors' De- To complete such u survey and every student and teacher; yet die to die student's complete training and a great deal towards giving back tc cember "The Magic evaluation will require considerable fact remains, today's teacher opera the 251; Mozart's has an performance capacities. show, the visual element. Flute.” itt a new English version by endless variety of materials from The materia) is divided into three And we ve done so by building our efforts M . H. Auden and Chester Kalhuar such will undoubtedly result which he may select those that most classifications in accordance with operas from the ground up. We find (January Tchaikovsky's “Eugcn in the establishment of a program of effectively meet the needs of his par- their and train 151; degree ol difficulty: name- singers for each role, sing, Onegin.” by study that is geared lu the student’s ticular students. ers who look in a new translation ly, ' 1 1 Elementary: approximately their parts, sing well Ceorgejind April Wi. musical development. With these facts in mind, let and act well. Phy llis Mead I us grades one and two; < 2 • Intermedi- Our sets, like the camera To know how teach is proceed to work and to not die development of a pro- ate: grades three and four; (3) every phase of the produc actually in a better portion to do them enough, tor our modern teacher must posed graded course of study for the Advanced: grades five and six. lion, are planned and carried out so be as equally informed on what to clarinet. There that they than anybody else in the country." is perhaps a greater An attempt to classify a composi- help tell the storv in the tlw teach! A physician who is expert quantity published simplest Adler avers, “Modern operas, if an of instructional tion by a definite grade is likely to and handsomest term*. Most diagnostician, hut who is unable to as well as solo important, domg don't keep people away Irom the opera and ensemble materi- lead to {Continued on Page 50) our operas in Eng- house, often < Continued on Page 48* ETCDE—OCTOBER 19SS £Tf PE—OCTOBER I«S

L ;

the footlights. Without this ability the

greatest talent will remain fictile,

from the standpoint of concerts. If you consider the great artists you PIANIST’S PAGE have heard, beginning, say, with

Schumann-Heink, you will realise

that in every cose you fell uilh the artist as he performed. Schumann- Reminders for the Heink could make you actually sec the child, the father, the Criming. Other contraltos may have had wire* New Teaching Season as great, but in her day there were teaching none that projected their voices as With comments on various procedures

she did. That projection was the first element of her greatness. Put in an- by GUY MAIER other way, she always shared with

you her feeling for music, sire in- T A RECENT class I asked a young Those Long Afternoons and should lie started right from the sisted that you must share with her. A fellow about ten years old. beginning of the season. Site did uol merely offer it, she com- As to those afternoon-evening “When do you take your piano les- MIRACLE leaching sessions: Be sure to give no Class Lessons "This quality of sharing is one of pupil overtime. If you do, it s a con- “Wednesday mornings, seven Those of you who are still fright- the qualities of Loilt Lehmann's fession of weakness. After forty-five o'clock." ened by class piano teaching could OF greatness: in a quiet way Emmanuel minutes of enthusiastic teaching, you, “Wow! Don’t you hale to get up start out your season by compelling as student, should be Hey has it ffor an accompanist must as well the groups of four, six or eight of your ready to stop. Even If the pupil seems “No, sir, because I like my piano students who need similar technic able to concentrate longer he will not SUCCESS When you attend a concert where this teacher so much. She always looks so drill (“Thinking Fingers," Books 1 be able to digest what you give him quality i» tacking you go home little and 2, “Eludes for Every Pianist," consequently, the extr8 lime and moved, emotionally. This is not so Good heavens, I thought, how can etc, I to eolne together in classes for energy will be wasted. When I give anyone look "nice” at seven A.M.? a niuullt, instead of taking private The. sensible artist must realize that, the selling of his lessons even to an advanced pianist, ter of humanity, of loving people, After questioning many teachers I lessons. Many teachers have been one hour is about the limit. He can’t perhaps you might say. The young wares goes hand in hand with the making of music. learned that most of them find it doing this with great success. take more: he leaves the studio gladly artist who lacks this quality will also necessary to teach not only at seven Or. if you want students to study (but happilv. I hope). lack success, and from tile beginning A.M. hut at seven P.M., loo, and From an interview with Ruth Cowan So, no overtime, please! he should realize the fact often later in the evening in order Secured by heRoy V. Brant to get in the lessons which their school Brahms. In a class of four or six you Artiat-Managrr Relationship Those Even children require. This leaves them could have eight or ten Brahms pieces “The young good artist must find a Iree lor part of the mornings. Then Isn't it possible for you to teach THHE MAN or woman who *-11? the Louise Homer and SchuMann-lfeink. matter manager. Here, f think, is a they have noon lessons until one- could play short excerpts from these services artist of I tic should know For many years she was with Arthur little understood. Booking artists is thirty; then again a space until three wet-k. especially if you have a husband compositions and discuss Brahms and Judson, a giant in the field of artist- an extremely highly sperialiied field. or three-thirty, followed by the hard or family ? What do they do when you his pianistic style. (Think how much what the artist should offer for sale. management She organized and for The youngster who would set the afternoon drive often until nine desert them four or five nights a good this would do you I I The concert bureau manager is the three and a half years was the man- world on fire often thinks that bc- o'clock. week? if you teach every day and Or. some teachers like to begin one who does the selling: he or she ager of the Utah Symphony. She was What a day that is for any human several nights a week there's probably the autumn work with copious sight invited to leave Salt Lake City to be- is necessary. But much more is ncces- something wrong somewhere. You reading. This can be done admirably of the artist's offering. His opinion in come the executive secretary of The such ridiculous hours? Only their the matter of saleability and the ap- Music Academy of the West at Santa that one has appeared on the horizon love (or music and their zeal to teach trying to escape from living a full, proach to selling is worthy of every Barbara, where is gathered a corps who has a torch, ff the public is un- drives these wonderful piano teachers. well-integrated life, you arc feeding ducting." At each period, loaned out consideration on the part of the as- of great teachers such at Piatigorsky, aware of a torch, it will not buy one. When, recently, I saw one hundred an inflated ego. or you are letting reading assignments are given to the pirant to a life in music. Lotte Lehmann, Darius Milhoud, and If it does not buy the privilege of of them at a tea party, looking young, students fur the next lesson. Such 1-el there be no criticism of this others of like caliber, who lead y oung aeeing the torch, the owner of the chic and very smart ‘quite unlike Do you think it is hopeless in your reading is always done quietly, with realistic approach to the matter of an America into the paths of the making torch will not be able to eat, the torch the piano teachers of the last genera- town to secure permission for your no “expression." no pedal and. above of great music. Her knowledge of the will burn itself out for lark of fuel tion!, I asked them, “Do you ever students to he excused from school ail. no halting in the reading. before he can sing nr play or com- things for which concert management replenishment, and another tragic dress like this when you give les- for their onc-hour piano lesson each One good way to offer help to the pose. Without money he c-nnot eat. cries fits her to help young musical chapter about torches will Mol the sons?" They indignantly answered, week. Good piano students almost al- readers is for the conductor always to It has been many a long century since America concerning points regarding pages of musical history. “Of course not!" It seems to roe that ways lead their school classes in high count a measure las he conducts) the ravens fed Elijah. Today the sen- managers, points which artist teach- “The manager is the one who ac- the teacher is wise who dresses stylish- while the pupils silently look it over; ers rarely discuss, possibly do not quaints the money-holding public ly for her lessons, and who looks go to the principal to request that then without pause as he counta ilis wares, and that the selling of them even realize exist. Certain of her with the fact that a new torch has especially “nice" for those early hour for lessons. If you could fill up again, the students play the meas- is a profession just as honorable and thoughts follow. been lighted. Th; public is apa- morning young people. When young- the gaps iu your morning or early ure. Then silence as he counts the useful as that of the making of music. sters start out with lift afternoons, your teaching hours thetic, apparently, but not so reallv. the kind of next measure, alter which I no break The two. in fact, go hand in hand. Elements of Suceeaa would he much better regulated. in counting! i RuthCowan But it is engaged in making a living the students play it, managed the last South- “At Ibe top of the list of qualifi- for itself, and must be reminded often tone for their entire day’s experience. So many teachers tell me that they etc. Any short piece can be read con- ern California tour of both Paderew- cations necessary to a concert hold out two days for artist and torch is So, let's look our very best at seven themselves. fidently in this way. Furthermore it ski and loudly that this new Rachmaninoff. She booked is the ability to project himself over A.M.: and. if necessary, just to No lessons are ever given those available for ( Continued on PageMi\ go on compels the reader to take in the

bed again for an hour or two at nine. I Continued on Page 621 ETUDE—OCTOBER WSS ETVDE—OCTOBER 1

ACCORDIONIST’S PAGE

The Accordion and the Teacher's Roundtable Symphony Orchestra Maurice Dumesnil, Mus. Doc. discourses on The Value of Scales, Turina’s Piano Music, Recital Etiquette, and other matters.

THE VALUE OF SCALES know about his piano compositions, and also a little about him. Do you I have ever known, and its languid There teems to be quite a discus- consider him as ranking with Alberti:, charm is bound to cast a spell upon sion at present concerning the value Granados , and de Falla? Thank you oI teaching scales to piano students. very much for the information, What is your advice to a piano RECITAL ETIQUETTE R. IP. II., Florida teacher? I thank you. IThat is the proper etiquette for (Mrs.) C. T.. Pennsylvania I certainly consider Turina as be- a debut recital in a city of otter fifty ing in the same doss as those three thousand? I consider this to le a My advice is, unreservedly: teach great Spanish composers. The con- problem for many teachers and ilu- scales! I know there is a discussion stant inspiration of his music, its dents alike. Are flowers for the cage on this subject and it has been going melodic flow, and above all its won- superfluous? Must programs he on for some years. Some teachers derful local color, place him at the printed or is it \iermissiblr la hare

lop, and not only in his native land them neatly mimeographed? Is It acquire technic through “getting it out of the pieces." However, experi- but in all Europe. For ten years he correct to present Use laacher at the lived in Paris wliere he studied com- end? Must young men near Utsedos ence and observation indicate that it - position at the Schola Cantorum I La not so. There is a vast difference sometimes they can lie eery unram in the playing of those who work fortable I ? Is there any reason why Mosxkmvski. It was my privilege to concert pianists use a piano with an assiduously on technic in all its It is truly significant to note the ever-grouing number of appear- branches—scales, arqieggios, octaves, know him then, and I found him a ebonued finish rather than one in diitinguisbcd. ances virtuosi with our major symphony orchestras. double thirds and sixths—and others affable and modest walnut or mahogany? of accordion who are satisfied with the repetition gentleman. I 'pon his return to Madrid Thank you in advance. of a few passages out of sonatas or he took part in many musical activi- P. f. ft, loan by Theresa Costello concertos and rely on this to attain ties. taught at the Conservatory, and month's accor- produce, accordion parts could with various or- notable results. To a trained ear that occupied the post of music critic for The matter of proper etiquette is S STATED in last many forming symphony the important newspaper De- A dion article, there are many be included or written in the scores. chestras and recalls with great satis- difference is obvious: the student who "El entirely one of personal iadhialiou. inclusion ol accordion adopts the latter course lacks smooth- There is no set rule eitlier bir the people, among them fine musicians In all instances the an faction his playing the part ness. control, in one word, quality; Turina's -tile combines happily dress or the decoration of tbs plat- and music educators, who in apite of accordion part would add color to in Virgil Thomson's modern opera whereas another student who has been the romantic and impressionistic ele- form with shrubbery. the accordion's progress still refuse the orchestra section. entitled "Four Saints in Three Acts." ments. Notwithstanding this fact, the last queried about bis opinion and remains faithful to his daily tech- It is always descriptive in If the debut recital is a formal one. When ol character few accordion, nical "gymnastics" performs with and depicts many aspects a young man can wear either full This is especially true when consider- years has seen much prugress the Mr. Thomson replied clarity, color, assurance and a gen- and scenes of Spanish life, Andalucia dress or tuxedo. No decoration what- ing the accordion in relation to the towards this end. Slowly but surely, that lie though! the accordion a must eral feeling of musical and physical and his native Seville in particular. orchestra. That many conductors re- the accordion has been featured with valuable orchestra instrument useful relaxation. His production the London, Philadelphia, Detroit. in soft passages and incomparable for the piano is con- just the opposite if the performer fuse to recognise the potential- of the for siderable and Denver. Rock other Undoubtedly the scale-less theory reaches around one is a young lady, and flowers, shrub accordion in the orchestra can only Eagle and sy in- string accents. It blends admirably to hundred fifty specific, in has appeal some students and their and numbers. Among bery and decoration are in order. be due to the fact that they have not phony orchestras. To be with strings and the harmonium. parents. wonder then them I might single out: ,Soir 1953, the well known accordion vir- No that it has dele I don't think it advisable to intro- taken the trouble to analyse the in- adopted sur la terrasse been by a number of teach- (Summer Evening on duce the teacher to the audience at tuoso, Andy Arcari, played with the use the accordion in orchestrations is ers. But just the the Terrace 1. his same. I can only re- from the suite "Coins the end of the program. This would Today’a accordion baa been devel- Philadelphia Symphony Orchestra di- Alban Berg, who in opera “Wox- Seville" peat once more: get more technic ont de (Deinets. l the oped into multi-switch instrument, rected by Eugene Ormandy in a xeck" included part for the accor- Facing . grade lessen the professional aspects o( a a of your pieces, but let •5: “Le Cirque" this be in addi- (The Circus I suite thus allowing for a variety of tonal performance of "Arcadian Sketches," dion. Alban Berg used tbe accordion tion to the real drills for I Associated Music Virgil which there Publishers), grade In all eases printed programs are possibilities. It is these tonal possi- composed by Thomson. While as a time color, which blended with are no 6 : , "" substitutes. The results will Kn ISalabcrlt. grade 5: "Se- class bilities that allow the accordion to the composer in this instance did not the string and brass sections sur- . preferable, for they give a high speak for themselves. villa” suite (Demets, Eschigl. grade touch to tbe occasion which mime- blend so beautifully with all orches- write a special solo part for the ac- rounded by bassoon, English horn 7- Sacro Monte TURINA’S PIANO MUSIC iSaluherti. grade ograph) doesn't convey. tra instruments and also allows tbe cordion, tbe accordion w-as here used and cello. 4M>. As to the black finish of concert accordion to substitute most satisfac- to increase the variety of effects of Mr. Biviano also played the ac- / recently purchased a Westminster Any on this list will be a valuable grands: they all came that way. torily for numerous instruments. It is the attire orchestra, cordion part at a recent performance recording oj works /or orchestra by addition to recital programs. equally more arrangers Joe Biviano. one of the outstand- work My fa- Would it be because black is consid- true that if of this by the New York Phil- Innquin Turinn and am perfectly vorite among them is probably the erer more formal and dignified than also were aware of the various color ing accordion virtuosi of today, has harmonic Orcliestra. Biviano reports fascinated by them. I would like to first mentioned. Summer Evening, combinations that accordion can had considerable experience in per- it f Continued on Page 62 an (Continued on Page 57)

ETl'DE—OCTOBF.R fOtf ETVDE—OCTOBER 19S5 VIOLINIST’S FORUM ORGANIST’S PAGE To Fit a Bridge New Careers by Harold Berkley for Organists

by Alexander McCurdy

STUDY BOOKS FOR BEGINNERS the third position lie postponed until he can hear accurately his playing in the distance should be between string “Please recommend violin study the first position. If a pupil cannot and fingerboard at the end of the boohs for young beginners. I lim e a placing the initial order In play- appeared in this ahove-average as performers. As a from be relied on to play B and D in turn- ECENTLY (here fingerboard? I have to the bridge young pupil who is now in IFbhlfakrl ing the dedicatory recital. fit U space an article describing op- matter of fact, it is not unusual for on the A string in the first position, myself, as there is no one in this Op. 45, first booh. Please suggest instrument to This man has made himself in- portunities in ihe pipe-organ field for Ihe man who sold the he certainly can’t lie trusted to play organist-choir- play the dedicatory recital when an valuable in supervising the installa- persona other than to follow fFohlfahrt. gratifying and much organ installation is completed. tion of pipe-organs. An instrument ing to the third |msition with the inasters. The u recommend work tnen know instru- can be superbly designed, and buill appreciated resjKmse in the way of In addition, these ? And should first finger. In general, however, as materials with the skillet! letters to this department suggests ments and their construction inside of fine soon as intonation is fairly solid in I use a scale booh almost ferocious that the subject is one of general in- and out. Many hove sps-nt time at the craftsmanship and the first position, the pupil can lie to a friend of mine who is perhaps the the instruments integrity characteristic of organ- factory observing how given the third position I followed by leading violin expert in New York. Mr,. J the installa- The previous article, for the sate are built. The result is that when it builders: yet in actual the second), while additional fluency I cannot do better than quote his demonstration, tion of so a piece of machin- of conciseness in covering a broad comes to setting up a complex is gained in the first position by the letter almost verbatim. He wrote: The first book of Wohlfahrt » topic, omitted mention of one of the they know how to make an instrument use of more advanced studies. “Bridges must be fitted by someone usually followed by the first hook most interesting and remunerative put its best foot forward. appear. Scales? Of course- -and accom- fairly expert with a knife. They eome of Kayser. Op. 21). If the student has York experienced trouble-shooter, our fields of all. This is a career in selling. I have in mind a man in New An panied by their related arpeggios. Alt in standard blanks, and first the feet done good work on the Wohlfahrt some readers are from his salary as an or- is on hand to make sure that It may be that .State who man tlie better Methods include scales must lie fitted to the belly of the studies, he should lie ready, when he .saved to his flaws are corrected, possibly to put off by the terms “salesman" and ganist up enough open such almost from the beginning, and real violin, and after that the bridge must comes to Kayser. to start on the posi- other things correcting "salesmanship." One may object: own music shop. Among lend a hand himself in use should he made of them. For one lie cut down to proper height and tions. For this I would recommend obtained the franchise for cer- them. pains taken in this re- he a Extra thing, the study of scales teaches Ihe properly curved. Furthermore, for Many of us have an oddly stereo- tain make of electronic organ, and result in pleased customers, who gard relationship of each scale-step to tlie best tonal results the bridge must be piemen! I of Ihe Lanurcux Violin typed idea of what salesmanship now has competitors green with envy. to others. Such recommend our man Ionic: for another, working on scales thinned according to the require- Method. Kayser I and Laonreux II means. We picture the salesman as a In making a demonstration, he men are in constant demand. I am ments of the particular violin. All of can be studied together. If the pupil brceiy, hearty, back-slapping extro- teacher who sure I am not the only wav for a student to learn the key- this is a rather difficult operation, anil practices only an hour a day or less. vert of the “live-wire” or “go getter” with great care. He lias no hesitation is always being asked where s good signatures. A third reason and cer- that is why repairmen make a charge — type. He is equipped with a pocketful in altering factory specifications— demonstration organist can be found. tainly not of less importance is for fitting a bridge- There are no pre- well be assigned alternately—one — of cigars, an unlimited fund of Pull- putting in a larger amplifier, for The demand, moreover, shows no lesson next Laotirrux. By that careful work on scales and arpeg- stories a fit ones that are satisfactory liecause Kayser, the man smoker and line of example if he thinks it necessary. of diminishing. Recently I at- — sign gios promotes good intonation and to there are no two violins that are quite Ihe time the pupil has worked through “sales talk" designed batter down He is careful to play a program of tended tlie annual Music Trade Fair an even, strong finger grip. alike. Kayser I, he is usually far enough music suited to the instrument and to ir. Chicago, at which a spokesman for all means use a book in lire “The normal distance of the E along to do Kayser II. skipping By mortals (eel themselves incapable of the use for which it is intended. the electric and electronic organ in- leaching of scales, particularly after high-pressure string above the end of the finger- Wohlfahrt II: though if there is any such operation. Since he is thoroughly familiar with dustry made a forecast of the indus- the pupil has begun to shift Rote Without going into the question board is about 3V. mm., which is doubt in the teacher's mind about the of the instrument's strong and weak try's total sales for the coming year. teaching is all very well in its place, whether this is on approximately 3/32 of an inch. The student’s readiness for the second accurate picture points, he is careful to emphasize The vast sum he mentioned so stag- of then some of the hut its place is not the private lesson of salesmanship in general, it can the former C measured in the same way should hook Kayser, rather than the latter. gered me that 1 forgot to write it lie studies in II are indicated. he stated that it definitely is not a result, about 5Vu mm., or about 9/32 of Wohlfahrt As the electronic organ down: but it is clear that the indus- any point that needs extra attention. representative of the organ field. After Kayser If comes, perhaps, tlie which he represents, demonstrated try is in flourishing condition. For the pupil who is beginning to The most successful men have almost In other words, fitting a bridge is in competition with others poten- And this, contrary to the views of shift into the positions, the lies! scale quite an undertaking. I think you and some studies from Mazas I (tlie tially every hit as good, makes a many gloomy prophets, has not been hook, in opinion, is Schradieck’s stunning would be much more satisfied with Special Studies!. With these, some my impression. achieved pipe-organ build- by putting Scale Studies, published by demonstrating. the lone of your violin if you sent it work on Sevcik Op. 1. Book III is by C. This man tells me he uses almost ers out of business. As mentioned in Sehirmer. New York. The chromatic Now it is obvious enough that if nothing in the to a responsible repairman than if always good. way of “sales talk.” a previous article, there is hardly a approach leads the pupil into tlie one operates a typew-riler will) two instrument you tried to fit the bridge yourself. You ask how soon I recommend Ihe speaks for itself. builder in America who can prom- higher positions almost without fingers, one is not able to display I hove watched experts fitting bridges, work in the positions: uiv opinion is, his A man in the Middle West resigned ise delivery in than year: and less a being aware the typewriter's full potentialities as his organist's and the time and enre they sjiend in the sooner the better—always pro- of it post to serve as repre- many have a backlog of orders suf- Your questions were well as an ex|>ert who types 120 words sentative getting the feet to fit exactly on the vided that the student has a good really very in that region for a pipe- ficient to eighteen keep them busy constructive. a minute. In Use same way, an organ organ builder. top of the violin is an example of ear and listens to himself critically. He underwent an ap- months to three years. will sound belter played by an expert prenticeship at the factory, patience and conscientiousness. But For Ihe inattentive student and for learning Consequently, the sales side of organist * PROBLEM OF SMALL HANOS that: with a duffer at the in detail every aspect iu decide to do the job yourself. one whose car is dormant or almost of pipe-organ the industry is a wide-open and “ construction. Today he lacking. I would suggest that visiting May I I Continuedon Page 52) is able to growing fieltf in which qualified men Accordingly, Ihe best salesmen are “follow through” on an installation are always [Continual on Page 44) ETUDE—OCTOBER I9SS ETCOE—OCTOBER ' !

Grad 1 Siciliano Sicilianisch ROBERT SCHUMANN

SehaUthaft Allegretto Bcherzando m.m.J.= 8«

P 1 |H||

v : r

r pr- ’ V " CmC 3Iusie in Tokyo, Part Two P f

operatic performances, radio broadcasts, children's concerts, street musicians Japanese * *\ * V'- J-rt * and other interesting items are discussed in the concluding section of this article, •

by Irving Cheyelle

TN ADDITION to its subscription in music is so great that every con- series, the NHK Symphony Or- month, directed overseas by short cert of the Subscription series in chestra broadcasts “Symphony Hall," wave. It is our^grealest joy and pride Toyko and the major cities of Japan • 1 a one hour program every Wednes- is completely sold out, and that not f~r fine day evening. “This is an hour of seas listeners contemporary Japanese even standing room is obtainable at highest delight to music lovers music together with Western classics times. New would-hc subscribers find

throughout the country and this pro- played by the NHK Symphony. that it is as difficult to enter a sub- gram is judged to attract the greatest 5* 4* “On special occasions, NHK makes scription as it is to find a diamond on number of listeners among all pro- a point of supplementing the studio the streets. A subscription seat has grams devoted to Western music. broadcasts of the NHK Symphony- assumed the nature ol a precious L'istess Classical as well a* modem works are Orchestra by relay broadcasts of presented in these broadcasts, and public concerts. On these occasions, dered on the public market, but to be the compositions by Japanese mu- enthusiastic listeners are afforded the renewed season after season.”

opportunity of appreciating the or- When we add to lire work of this sible. Among the featured soloists chestra’s performances broadcast di- fine group the performances by the * both Japanese and Western artiste . rectly from a public hall or theater. Tokyo Symphony Orchestra and its t 1 play with the orchestra. For burgeon- At times, these special int-lnding r 1 broadcasts are series of guest conductors, M uJ given as part of NHK’s social service. such eminent musicians as Jean Mir to perform with the NHK Symphony tinon and Sir Malcolm fiargenl. the ri Cuniiuuiiilv Chest, the Olympic Fund Tokyo Philharmonic and the Konoye Symphony, we can sec that there is gulden chance for their future "Besides the regular performances « /T\ Some of these broadcasts are in Tokyo, a vital part of the nrches- sic available to meet this hunger for open to the public: one can readily Western music. see when ‘Studio 1’ holds such an presented in the larger cities through- This season has brought operatic open evening by the long lines of out Japan. Fortunately, among the performances of “Madam Butterfly.” patient music lovers that wind devoted ‘fans' the orchestra finds that “La Traviata,” “I Pagliacci,” “Tos- around the NHK building long be- there is a generation of new music ca,” “Carmen.” and a new Japanese fore the doors are scheduled to open. lovers developing alongside the ef- story opera baaed on an ancient P C. of Pine trust replic, “Far beyond the shores of Japan, forts of professional performers. It which has been popularized in Ka- the NHK Symphony Orchestra augurs well for the future of music in buki plays. ".Shu ten ji Monogalari reaches out to a world audience in Japan. In fact, the hunger for From “Album for the Young Op. 68 andS enes from Childhood Op. 15” by R. So humanu the best by Osamu I Continued on Page 43) ETUDE- OCTOBER 19 SB 27 ETUDE—OCTOBER I9SS

L Sonata IX, in F minor DOMENICO SCARLATTI

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From "Highlights of Familiar Musie" for the Hammond Spinet Organ, arr. by Mark Laub Copyright MB# by Theodore Presser Co. ETVOE - OCTOBER MS ETITOB -OCTOBER 1955 35 thci

Bring

May tTVDE—OCTOBER 1955 '

An illustrated history musical notation through

years.

Musical Autographs from Monteverdi to Hindemith

by Emanuel Winteniitz

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music. There exist in the neat, metic- bies, of which he has several. Invari- o! compose music that Lynwood ably has "But it was to be. I would ulous manuscript of Farnam he his walk on the beach. to drama; anil to the Japanese. Kabuki is would bring happiness and peace i.cnly-fivc choruses of the Missouri no pipe then," he smiles. “The air has been an ancient form of their op- performed by Dr. Farnam and much too fine." mankind. Ktlg, a s eratic art. It is only recently that thev Although composing and conducting His musical education proceeded in Concerts The work of young written out at the earnest solicitation lutre become interested in Western Children's Japanese srtin, he was studying op- students. unforgettable are facets of his professional career best orderly fashion. At 14. being recognized „| his An guidance and initiative of is in the nmriral of his birth Under the known to the public, he is equally at violin in Geneva. Ihe city capitals of the world, memory of hearing Dr. Farnam play erate multilinftual performance* Eloise Cunningham, an American inch young peo- sixteenth year of Miss on the third (July 24, 18801. In his Kai, Jazz tunes ol the Twenties opera without being devotee of fine music, ple as .Naohiko who woo the celebrated the least disturbed. who is an avid devoted much time to compiling and he became a pupil of the has been Premier Prix with hie violin a series of children's concerts sonata ra Ysaye at the Brussels Conservatory, ol the Holy Communion, alter editing his own [ledagogical studies. dramatic years. The or- the com|Msition division of the dutch action rather than to the in progress for several Cun- years that Ernest studying composition and theory at the having played a Bach recital in the in the more than 40 composed of performers from : de Paris; Mivs Yoko Kono wrote chestra. Bloch has been composing, he has fol- same time. During these years he the Tokyo Symphony under the baton pieces, songs, a cello who turned to lowed a course mapped uul in early boy- piano solos, violin awarded the Many fine organists Radio Broadcasts of Masashi Uyeda. performs monthly on Grand Prix n sonata and a concerto lor violin and topped their vmcers with hood. "I don't believe 1 was more than ol the International Piano veiling have Tire music heard on Japanese sta- a Saturday afternoon, and children Concours held orchestra. At 19. he weill to Frankfurt at Vercelli. July, in October the public schools are Ihe invited guests. 1954: Mis* for further study followed by short companies. William E. Zeueh. what I would do." he recalls. "Certain Chieko Horn, pianist, Teiichi liuitdmg recorded serious music than is normally The comments for the program are and Nika Continued an Page 63 one I baritone, twite retired, in Iris early years was heard in the United States via the same prepared by Miss Cunningham and yarna, who held their recitals Chicago. in Paris and of tlie best organists in He medium. translated into Japanese, when they are Munich respectively: Miss KEYBOARD became the star salesman ol the IF YOU TEACH ANY A run-down of a typical day's Mirhiko .Sunahara. a full-time member nf the Opera Comiqur Aeolian-Skinner Company, ami finally leader Yoshisuke Shimizu. Every per- in Paris, thr lira INSTRUMENT, YOU CAN TEACH THE formance is broadcast, and every pc: Japanese soprano to play the puma company. The late Frank Taft, A.M. donna in Bizet's “Pearl Fi.het." and the Debussy's president ol the old Aeolian Company's 8:05-9:00—Piano Quintet in F minor “Pelleas and Mehsande": Tosliiya violinist division, was in his day an organ- I Brahms t . Jorg Demos the massed of all tile children Eto, now appearing otgan and Vienna chorus in Organ and salcs- WurliTzer lit no reputation, a Konzerthaus Quartet; Brahms Linder: various parts of the world ander the ol mean Annie Ferbermeyer (soprano l. Ma- management of Sol Hun-k. thilda Dobbs, soprano. Tokyo l diversity of Arts Tlte work and recognition of these — organ- 9:15-10:00 "New World" Symphony. Concerts I.f the best men coming up in the ore lather good Dvorak. Kubelik and Chicago Syro- The School of Music of the Tokyo Iwiililing world today University of Arts, with which ecltool 10:00-11:00—Violin Recital by Shigent the author was affiliated, maintains a Watanahe. fine symphony orchestra of 75, a chorus among the greatest Using playerw- 1 1 :15-l 1 :20—Popular Music. Victor of 400. and a symphonic band of 125. Tliiu, 1 think, is as it should lie. since All-Stars, others. During Ihe fall semester, concerts were to be successful an organ builder must P.M. presented by the University Orchestra lave something more as a goal than 111:00-1:00—Favorite Classics on rec- merely pulling some pipes together and week tour; the hand presented a splen- or earalirt performances, you ran hear making them play. He most want to did trumpet instrument program of music at Bibiya Hall: performance that sound, like build a fine musical on the and chorus presented the Bach II Harry James, trombone like Tommy which music at every period can be Minor genuine Moss with orchestra; Handel's Dorsey, clarinet like Benny Goodman, played. It is good if he has a 6:00-6:55 —Portcitn Music: "Messiah" liettcr Orquodta with orchestra: and appeared and tenor sax like the best in America. zpprecialinn ol music ; it is even Tipica Portena. ' with the NHK Symphony in a per Tlte boys 8:00-8:1.5—Schubert Under. forttwnce Elisabeth of the Beethoven Ninth Svm- the organ and play it well. Schwarzkopf tHopranol. 9:4OI0:0O-Light Music:Tokyo“Pops" When Sir Malcolm Sargent appeared building field is. I think, a healthy sign. as guest conductor make with Japanese or- I believe these men are going to 12:00-12:30—Classic recordings by chestras in a Mi- tour of the larger citiea f the finest in Oriental or significant contributions to pipe-organ tropoulos and others. maintaining such groups, he com- Occidental listening. Evrn the cnSee building in tin. country. THE END 1:05-2:00—Symphony on a French mented as follows about their per- houses frequently have good re- Mountain Air hi-fi (D'lndyl, and other formance: Wurlitzer Organ is a stand- rhe instruction material is required. cording machines and yon can listen The chamber works. "f more, you'll find both plea- am amazed at the high artistic ard keyboarJ instrument — the music What's This again reflects the tremendous in- -l“I’»»cse recognized sure profit in giving Wurlitzer orchestras. ... WITH for it employs standard, and terest evidenced IfJ.l °J The AT HOME by the Japanese in MIK •'symphony lessons Ordinarily they gave a wonderful per musical notations with which you Organ com- hearing fine recordings over formance the radio of Beethoven's Seventh Sym- ERNEST BLOCH arc already familiar. A new Wurlitzer mand a higher fee than other music since recordings are very expensive phony. to a performance that would com- Organ instruction course provides a teaching. More adults are attracted own and iContinueil from Page 16) recording machines are almost pare well with many students. Students advance „f lhc | raiii NEW CAREERS recognized method whereby even as prohibitive in price for the average orehestras ol the West." try to follow this school or that. Cer- beginners rapidly achieve musically quickly, maintain their interest, need Oo the other FOR ORGANISTS hand. Julius Katchcn. taialy be should not over-emphasfcie the satisfying results. no urging to practice. And because distinguished young American piam-t modem. Too often he steers a course Thus, to teach the Wurlitzer Organ of the Wurlitzer Organ's restful and Ballet who appeared here in a three week welcomed made easy by scholarships and grants. you need no special training, Itave relaxing tone, your lesson periods Excellent ballet recital- whole hcartedlv. performances arc '?“/ i n several of the larger One's Only by getting down to earth—strug- basically nothing new’ to learn. Only will be welcome moments in your presented frequently, sometimes qualification*, in addition to in con- gling to follow his ideals, to be true period of familiarization with teaching schedule. skill as a performer and knowledge ol a short to himself—will lie actually feel the as when the ballet “Culturally. I think “Giselle" by Adolphe there i. more tillty. One afaoold ol demon- Adam was performed as intellectual curiosity than be capable Ihe first half any great tin- idiom. has countless opportunities strating any sort Irom He of a program followed derstanding-m the sense ol instrument. by a perform- of f„||, here in America far than abroad elaborate installations down to enter- — more ance of emulating and feeling “I Pagliacci." using the same music from wilh- tainment-type electronic gadgets de- orchestra for both, but Japanese audiences listen more frequently whit ' ' Under ordinary circumstances the intense signed for musical t eonrenlralion rather ce. than with composer's routine varies hot lit- The great knowledge some musicians w daily graceful, and tradition as in talented and at- ease the tle. Following a light lunch he works of Western listeners. d the music . . I was de for devotes the is invariably Here | will which may a short lime and then l.gh.ed to work with Japanese say something orrhev shock remainder of the afternoon to his hob- tros. it was oimc readers, namely: Shy not? astonishing to see how It doevn't hurt us to play all type* ETUDE—OCTOBER 1955 ETUDE—OCTOBER 1955 :»£s£=s S£S£-HS rSSS £3J“: 5«w r£~SS E&

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