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

9-1-1943 Volume 61, Number 09 (September 1943) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 61, Number 09 (September 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/224

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. daderewski greeting SCENE FROM SOUND FILM the new generation THE MOONLIGHT SONATA * THE GOLDMAN BAND had one of the most suc- cessful summer seasons of its entire history, with record-breaking crowds in attendance, both at the concerts in Central Park, New York City, and in Prospect Park, Brooklyn. The programs Wali.ingford presented set a new Riegger high mark for band concerts, and spoke volumes for the public appreciation of good music. A Bach -Handel program about midsummer looked more like that ad- of an orchestral concert—truly an vance since the days of “Poet and Peas- ant” and a “Hunt in the Black Forest. HERE, THERE, AND EVERYWHERE A highlight of the season’s music making of orig- IN THE MUSICAL WORLD was on July 21, when a program the inal band music was presented under sponsorship of the League of Composers. Sam- Represented on the program were THE FIRST ANNUAL Riegger, Henry uel Barber, Wallingford PIEDMONT FESTIVAL of Wanda Lan- er conditions Cowell, William Schuman, Music and Art was war Copland, Paul Creston, dowska, Aaron held in Winston-Salem, Goldman, and Pedro year of njorf tha: Richard Franko North Carolina, July 22 Sanjuan. conductor of to 25. With the musical His works cover a wide range JULIUS PRUEVER, former in singing. events of the festival has music, or- the Berlin Philharmonic Orchestra and CHICAGO MUSIC FOUNDATION -—operas, cantatas, chamber THE faculty of under the direction of in the songs, and since 1940 a member of the disposed of its controlling interest chestral pieces, piano pieces, Music, died in George King Rauden- George King in 1931 by the the New York School of Civic Opera Building, built choruses. bush, conductor of the Raudenbush New York City on July 8. In 1914 he late Samuel Insull at a cost of $23,000,000. Harrisburg Symphony became the first conductor and director this transaction the Music W. BOK, philanthropist pres- As a result of MRS. EDWARD and continued in Orchestra, the program included a $266,000, a daughter of of the Breslau Opera, Foundation will realize about and fine music connoisseur, of Flotow’s “Martha in Eng- post until 1924. From 1924 to 1933 he entation available for financing opera publisher, Cyrus H. K. Curtis, this more than a sum to be the famous at the Berlin lish, by a company of years. Edward was professor of conducting in Chicago for the next ten and widow of the eminent editor, hundred; a concert by the Festival Sym- State Academy of Music. Among his W. Bok, was married to the interna- phony Orchestra; and the singing of concert sea- Efrem pupils was Antonia Brico. THE ROBIN IIOOD DELL tionally renowned violin virtuoso, Haydn’s oratorio, “The Creation," by a the Mrs. which closed on August 6, was Zimbalist, on July 6, 1943. In 1924 hundred voices with the son, EARLE NEWTON, director of chorus of two of its entire history. In established and munificently DR. JOHN in the cast most successful Zimbalist Jersey festival orchestra. Included „he the Department of Music at New spite of difficult traffic conditions endowed the Curtis Institute of Phila- John Toms, tenor, for- Women, New Brunswick, died of “Martha” was was far above previous fig- in memory of her father. The College for Philadelphia Opera attendance delphia of mer member of the one in that city on July 7. He was a native ures and was a remarkable demonstra- Curtis Institute of Music has become Company. Hill, Ontario, and before ac- appeal of good music with the great music schools of the world Richmond tion of the of the Col- July 31 al- cepting the post at the New Jersey general public. At the concert on and through its successful graduates violoncellist, Women in 1923 he was on the ALFRED WALLENSTEIN, was Zadel Skolovsky, pianist, ready has made a splendid contribution lege for the soloist Conservatory of since 1935 musical director of Radio 1943 Robin Mr. Zim- faculty of the Toronto and of Los Angeles, winner of the to American musical history. appointed per- University of Toronto. Station WOR, has been American Artists Com- at the Curtis Institute Music at the Hood Dell Young balist has taught manent conductor and musical directoi petition. The high mark in attendance for many years and in 1941 he became Orches- prac- of the Los Angeles Philharmonic 16,000 MUSIC IN INDUSTRY was given a was reached on August 5, when director of The Institute. of which, be ac- tra, the same organization Dell to hear an tical demonstration of what can people were inside the years ago, he was first violon- being the ”h along this line when on July 4 twenty-five all-Viennese program, conducted by the COPLAND’S suite from the bal- complished has AARON cellist. Since 1929 Mr. Wallenstein Stolz. “Victory Sing” and Stephen Foster Fes- noted composer -conductor, Robert “Billy the Kid,” received its first a York Phil- let, Choral Club been a member of the New attracted the second when early tival were presented by the Judy Garland Chicago concert performance, harmonic-Symphony Orchestra and is being ad- of the and Band of the J. A. Jones Construction largest crowd, with 15,000 in July it was on the program musical director of Brunswick, Georgia, in widely known as the many more being turned Orchestra at the Ra- Company, Inc. of mitted and as Chicago Symphony Firestone Radio Hour. For six years Mel- collaboration with The Brunswick Choral the away. Margaret Speaks and James Festival, under the direction of of the vinia Vrionides. prior to 1929 he was a member an audience of between Society, directed by Christos ton attracted Pierre Monteux. Chicago Symphony Orchestra and for two George Szell and Pierre 14,000 and 15,000. years was head of the Violoncello Depart- were the outstanding symphonic Monteux ment of the Chicago Musical College. It conductors. the only is reported that he is at present C^oinpetilioni American-born conductor of a major ARTHUR FINLEY symphony orchestra in the United States, of NEVIN, composer, teach- since the Kansas City Orchestra, THE CHICAGO SINGING TEACH- has er, lecturer, and author- CLOSING DATE of the Patriotic which Karl Krueger was conductor, THE ERS GUILD announces the seventh an- ity on Indian music, died Song Contest, conducted jointly by the been disbanded. nual prize song competition for the W. W. at Sewickley, Pennsyl- Federation of Music Clubs and National Kimball Company prize of one hundred vania, on July 10. He was National Broadcasting Company, has BLEDSOE, Ne- the dollars. Manuscripts should be mailed not JULES of Ethelbert to October 31. All details musical a brother been extended earlier than October 1, and not later than gro opera and be secured Nevin and was born at concerning the contest may October 15. Full details of the competition comedy baritone, who miuminatioNAL 57th 4 CHRISTIAN Edgeworth, Pennsylva- from Miss Rhea Silberta, 200 West may be procured from E. Clifford Toren, won world fame with his Arthur April 27, 1871, Street, New York City. 3225 Foster Avenue, Chicago, Illinois. Man River Fini.ey nia, on singing of OV Nevin and studied at the New in “Show Boat,” died CHORUS AWARD THE NATIONAL BOARD of Delta England Conservatory of Music, and in THE EURYDICE suddenly on July 14 in ochOols of Religion compositions Omicron, National Music Sorority, an- and Fine Arts years he was engaged of 1943, to stimulate choral California, Berlin. For many Composition Contest Hollywood, women’s voices, is announced by the nounces a National and composition in Edge- for while on his way to his in teaching committee, Miss Susanna open to women composers. The award the chairman of the worth. In 1903-04 he lived among hundred dollar War Bond. Jules home state, Texas. He Dercum. The award is for one hundred will be a one Bledsoe of Montana, securing in solo voice, but recently com- Blackfeet Indians dollars, to be given for the best composi- Unpublished manuscripts had basis for his piano, organ, and in the in- material which formed the tion of three or more parts for women’s string, woodwind, brass, pleted a tour of Army camps for many lectures on October and small instrumental ensembles will be ac- He was born in ress Dr. Bo opera, “Poia” and voices. The contest closes 1, terest of War bonds. opera, The closing date is extended to Indian legends and music. His full details mav be secured from the cepted. Waco, Texas, December 29, 18S8, and Chorus Award September 1; and full details may be Cleveland^ “Poia,” was given at the Royal Opera in Chairman, The Eurydice studied in various colleges, including Philadelphia Art Alli- secured from the chairman, Mrs. L. Bruce first American opera to have Committee, c/ o The He received his Berlin, the Drive, Chicago, Columbia University. ance, 251 South 18th Street, Philadelphia, Grannis, 219 Lake Shore this distinction. During the First World Bachelor of Music degree from the Chi- Pennsylvania. Illinois. War he was active at Camp Grant in Page 608) ( Continued on soldiers Illinois, where he drilled 41,000 WITH MUSIC” 533 'SEPTEMBER, 1943 "FORWARD MARCH 5 l y —

Editorial 1

6 f^eSponl<\e3ponJ ffounff mU.ALC (J3eginneu fl 'lAJliitman 1XB{B@3(B ffiQ ® g7 ® 2? GQ (S> %Vlien lAJaft 3JheSe special to the ^3ppeai of PUBLISHED MONTHLY 1 BY THEODORE PRESSER CO., PHI LADELPHIA, PA. in ^l i jci teelci l . . • editorial AND advisory staff 3Jeach (j DR. JAMES FRANCIS COOKE. Editor Editors '-25 Guy McCoy and Ava Ycarttain, Assistant • THIRTY RHYTHMIC PANTOMIMES. ... UST WHY it is that music, of all the arts, is the one S. Fry GcorccGeorite C. KrickKritk Dr. Rob Roy Peery For Home , Kindergarten and Pre-Piano Classes Robert Braine Dr. Henry Karl W Gchrkcn. Blanc he Lemmon Pru r Huah Reed which the public seems to believe may be indiscrimi- By Alice C, D. Riley, Jessie L. Gaynor, and Dorothy Gaynor Blake Pkoo Ddro Nicholas Douty Elizabeth Gc« Dr. Guy Maicr William f». ReveUi has selected Dr. From the celebrated Songs of the Child World volumes Dorothy Gaynor Blake Paul Kocpkc N. Clifford Pane criticized by anyone whose musical training may draw- Edna Fort nately for this book thirty most attractive songs. Accompanying each are clever match-stick J ings which show the rhythmic action for young people. Besides the rhythmic consciousness deeper than the ability to pick out “Chopsticks” on activity work. 1883 BY THEODORE PRESSER be no developed, the child thus is given early training in music appreciation and group -FOUNDED the Mothers, too, can use these rhythmic pantomimes and songs with pre-school children in the piano, is a question which bewilders professional mu- home. Suggestions for use of the rhythmics with other songs in the original volumes also are given. Complete texts, of course. sicians. Since nearly everyone needs music and enjoys it, born with heaven- • SONGS OF THE CHILD WORLD 13 Vols.l Each, 1.25 the average citizen feels that he was By Alice C. D. Riley and Jessie L. Gaynor (Contents for September, 1943 given musical critical acumen, whereas the intelligent un- The most popular collections of children’s songs published. For years these have been used in call for a very high the home, in the kindergarten, in primary classes in public and private schools, and in juve- derstanding and appreciation of music • nile clubs and societies. The songs ard classified for various seasons and occasions, for various VOLUME LX1, No. 9 PRICE 25 CENTS activities in the life of a child. They are educational, recreational, yes, and even devotional, degree of mental effort and schooling. as several sacred songs for Sunday school groups are included. WORLD OF MUSIC 553 America has developed some music critics who have been • A METHOD FOR THE PIANO IFor Little Children) .... 1.00 EDITORIAL not only capable musicians, gifted writers, and cultured By Jessie L. Gaynor 555 When Walt Whitman was a Music CrlUc cases distinguished composers and printed page observers, but in some Published late in Mrs. Gaynor’s career this book really is a transcription to the MUSIC AND CULTURE of her successful plan of teaching by which little children quickly comprehend the beginnings Their labors have become a proud 556 learned musicologists. of piano playing. Includes interesting pieces and teacher and pupil duets. How to Become a Better Pianist • F'"- .S'meterltn Opera for the Millions Milt. i J. Cross 557 part of the international musical critical literature. On the • FIRST PEDAL STUDIES FOR THE PIANO 60 Claude Debussy. French Patriot Mourtre Dumeinil 559 Musicians in Khaki Oa , Pedrick 560 other hand, we are quite unable to grasp the singular busi- By Jessie L . Gaynor Among the Composers (Lily Strickland, Anne Mathilda Bllbro. 561 permit This is probably the most frequently used of Mrs. Gaynor’s educational works for very young and William Baines) ness attitude of American newspaper publishers who piano students. It gives the juvenile the fundamental work in pedal technic which must pre- Natural Power in Piano Playing A r )i nice 563 slip pare for the further study as an advanced student and does so in an understandable manner, a very remarkable musical commercial opportunity to interesting to the pupil. This book may be taken up in the second grade. MUSIC IN THE HOME musical criti- Fall Novelties in the World of Records Peter Hugh Reed 565 through their fingers by assigning important 566 • SONGS OF MODERN CHILD LIFE 7.00 Eminent Symphonic Enterprises In Radio Al/r.-d / T urffan agricultural expert. The Etude Music Lover's Bookshelf B. Mervi r'i C'udmon 567 cism to anyone from the office boy to the By Jessie L. Gaynor and Dorothy Gaynor Blake careful analysis of the This book, the last work of Mrs. Gaynor, has groups of juvenile songs devoted to health, MUSIC AND STUDY If the publishers should make a safety, science and invention, the home and community relationship. These were suggested The Teacher's Round Table Dr G Maier 568 of revenue passing into the cashier’s office by the Council of Public Safety and the Child Health Organization of America. Grieg—Nationalist and Cosmopolitan Percy Aldn. Grainger 569 various streams 570 The Three T's Erich ii.ctnsaorf through channels dependent upon music, musical instru- WHITMAN SONGS AND SHADOW PICTURES for the Child World. .75 Communicating the Song's Real Message Crystt,it Waters 571 WALT ’. 572 Does Your Musical Memory Function? Margucr . L'liman concerts, theaters, movies, By Jessie L. Gaynor 573 ment makers, radio, records, unchained, scour- Two Approaches to Organ Tone firm. st White "Whitman was a large, shaggy dog. iust A little art-music book of songs for children. The verses were contributed by The 574 Rachel Barton Basic Seven William Ir> ReveUi advertising, books in general, and de- the beaches of the world, and baying at the moon." Butler and the shadow illustrations are in opera, educational ing picture free-hand paper cutting by Susanne Fenimore The Fascinating Woodwind Ensemble Louremcr Taylor 575 Louis Stevenson Tyndale. Makes a most delightful gift book for youngsters. Robert Technical Training of the String Orchestra 77a ml.'i Berkley 577 partment store advertising, to say nothing of the collateral Questions and Answers Dr. Karl W C.ehrkens 578 579 I Why Don't You Like Modem Music? Jam B F.aman cosmetics, and other commodities FINGER PLAYS Elemental Hand and Finger Exercises I . .60 lines, such as clothing, Music in Iceland Horn Butcher 580 boners” and side-stepped “high- By Jessie L. Gaynor of the 603 mation. He “pulled no Technic . < . •/ that Month—Minuet in E-flat major" by W.' A. Mozart Maier influenced by opera and concerts, they would realize half dozen games, with interesting and descriptive A verses and charming tunes, for use in falutin’ ” words. hand position and finger movements. MUSIC great public teaching Numerous illustrations accompany the music is one of the leading industries. The descriptions. Classic and looking over the musical criticisms of .. Contemporary Selections concert We have just been To a Grecian 581 never get inside a modern opera house or a Princess Frederick Schlieder may smaller cities. Some are Finale from “Symphonic Pathetique" Gotrox half a dozen papers from various 582 is thrilled by hearing what Mrs. P. I. — I.et ine hall, but Mrs. Public . _ Tschaikowsk Arr. by Henry the Slow Movement,, 584 indicating that the writers had from the ''Moonlight Sonata". .L. ran B. that music is altogether worthy, Shadows 586 the opening, and Mrs. Public knows of the Night Irina Podeska wore at and biased, Autumn Gold 588 requisite musical training. Others are pedantic y rn , signifies culture and the finer 0”1 is Mindful 589 an indefinite something which Smokefm^rf of His Oum.'.Feitx Edited' bu N the critics had little consideration of the re- Dreams Ralph Federer 590 should be recognized as a com- showing that Hawaiian Echoes Hopki ns 591 way of living. That in itself I'.'.’.’.'.’.!'.'.'.’.'.". H P reader and are concerned The Star-Spangled Banner Smith 592 stricted musical knowledge of the (Piano Duet) .John Stafford mercial, journalistic interest which would warrant the ^ 1 and Instrumental Com positions principally in exploiting then own musical omniscence, Idyl (Organ) 594 critic who can do more than play Richard Purvis newspaper in employing a worst, how- an pian°) .Albert Berul 595 filled with misstatements. The ThiPnt r-Ylf'i" , 1 still others are i r 1 ! (Low Voice) C. Steere 5% few tunes on an ocarina. - William a With rSwi? K' s? 598 from well meaning rhapsodists, his long and ever, are probably those Delightful The late Henry T. Finck never forgot, during Pieces for Young Players barrage of ill-applied Our Schpol Band 599 who set out to be eloquent with a —March Walter Rolfe career as the musical pantologist of the New York Little Hop Toad Stairs 600 laudable informed . Louise E fail to give the musically Gretclien Dances 600 adjectives, which cannot B exclusive and intellectual following °® to Fair *£' 601 Post, that even with the c5ffi3 person the impression that the critic is simply talking I echmc of the Month which honored that remarkable newspaper in its heyday, Mmuet Guy Maier 602 through his hat.” A. Mocari Arr. by thousands had not had a musical training and therefore THE JUNIOR ETUDE 618 Boston Public Library for February Elilabelh Gcst he never The Bulletin of the knew little of the professional nomenclature. Thus miscellaneous year contains a rare article by Hans Nathan upon verbal boundary, so that everyone of this 558 went beyond a definite Band.” The article is 562 “Walt Whitman and the Marine wanted to know what . 564 who bought a copy of the Post and and finely documented. The United States Maiine 576 on the night before, was able to scholarly 605 had happened at the opera oldest mu- Band, as musicians generally are aware, is our 607 idea without consulting a musical 609 get an understandable zenith of its mu- sical military organization. It reached the 610 other hand, Mr. Finck’s musical knowl- 613 dictionary. On the Lieutenant-Commander sical prestige under the baton of 615 his criticisms met with the high appre- 616 edge was such that first heard the Letters from Esther Dixon Philip Sousa (1880-1892). Whitman Etude Friends'. 624 musicians, as they always were John ciation of the professional Lincoln’s levees. band in March 1865, at one of President U u r an, authoritative musical infor- l6 ‘ IM4 J" and ‘ *’ “” understandable f/r 'ZlZfMZa n ,ht p - °- “ ?h,U - Pd filled with Continued on Page 604 ii%,9 " Cc ° J £ p>"& h ‘- ‘fd). . A. The John Church Company and Great Britain. h Thtodare P„ ter < for ( S.

Theodore Presser Co., Distributors, 7772 Chestnut St., Philadelphia, m OS S''‘ 0 S p Rica, ' Bolivia. Bn;. Colombia, Ci*ta a Cuba. Dominicj^Rp^l,r v r I, EI Paraguay. Republic Sllv><)o '- Guatemala, Mexico. Nicaragua. \V/ oi r35, „ 555 foundland, Ptru and Uruguay. and New- SV i $2 75 a year All Canada yeat - u,l,cr § “antnes. *3.50 a year. Single copy. Price 25 ten's SEPTEMBER, 1943 554 "FORWARD MARCH WITH MUSIC" THE ETUDE develop his abilities. The question etude he must often study one which abilities shall you precisely be gi find out arises- Ven Music and Culture of Chopin’s, We know that everyone who Culture twen- first attention? ap- Music and the other is equipped what proaches music at all with varying to say. ty-six have which show themselves in extending aptitudes varying Only by Some pianists degrees of excellence. are born general person- one’s natural facility and are stronger on of music with the al knowledge almost without effort. ones technical side Some read can one deepen have tremendous more easily. Some difficulties Millions powers of interpreta- pera for the reading—or both!— with technic or but find their tion. unconsciously into musical said way almost meaning. “It has been is the pianist to chart his can How, then, way of that only a Pole Analysis of the Popularity of Opera progress among these varying skills? First of An the full mean- all, express find out, by I believe he should careful self- ing of Chopin’s most exploration, exactly which point of musical strongly national ap- proach is his strongest. In second place, then, he Interview with works, the mazurkas. An should develop this special talent—but not quite Although I am a Pole so assiduously as he develops his points of weak- myself, I do not think ness. If the hypothetical student is gifted with that the statement is mtlon j. &OXX and fluent fingers, he may assume that his accurate. Any truly fleet hand-structure will not change, and safely devote Network musical person can Distinguished Announcer of the Blue mazurkas himself to perfecting a skill which is not quite express the Opera Broadcasts, developed, In order to secure ultimate Announcer of the Metropolitan —provided he knows so strongly musical balance. And always, he must read! Air, and what the mazurka is. the Metropolitan Auditions of the The printed page of Importance of Reading Metropolitan Opera, U. S. A. a single Chopin Ma- “While the ability to read fluently Is. to some zurka will never give extent, an inborn gift, it can be vastly Improved CROSS AT THE MICROPHONE JAN SMETERLIN him this knowledge, MILTON however. First, he by assiduous practice In reading Also, It can be SECURED EXPRESSLY FOR THE ETUDE BY MYLES FELLOWES there took “ TT IS NOT POSSIBLE to teach piano playing N CHRISTMAS DAY of 1931, a milestone without stressing the purely mechanical place an event which marks American musical prog- equipment necessary to convey its meaning; O in the history of deliberately at stimulating interest in the aimed the first broadcast of a com- on the other hand, it is a mistake to overem- ress. On that day, Saturday opera broadcast. That is to say, mem- the Metropolitan stage was sent invited phasize mere technic. We have all had the ex- plete opera from bers of the coming Saturday’s cast were the entire country. The work was “Haensel arias from perience of listening to a magnificently equipped out to to prepare a condensed pre-view of with cast that included Queena pianist who leaves us cold, and then of listening und Gretel,” a the coming broadcast of opera. This year, how- even make mistakes in Mario, Editha Fleischer, Dorothee Manski, and both the mid-week to an amateur—who may to Become a Better Pianist ever, it has been felt that How Cross as an- with Milton J. note sequence! —whose very touch upon the keys Gustav Schuezendorf, opera program and the broadcast itself can stand Since that day, over twelve years ago, pre-view assures us that here is music. Each of these per- nouncer. on their own feet, so to speak, and the weekly broadcasts of Metropolitan formances lacks something, and consequently the regular stimulant to interest has been done away with. A Conference with become a national institution, in more as- neither is completely satisfying. Of the two, how- Opera have Instead, the mid-week program consists of one. Not only are they the means of the ever, the latter evokes the warmer response. It is senses than sorted operatic selections, without relation to towns and hamlets all over the always pleasanter to hear music than technical carrying opera to Saturday afternoon broadcast—and without loss States that would never hear it otherwise; this is of display. It is the sheerly musical values of his United of public interest in either one. To me, the only gauge of opera’s popularity. first, playing, therefore, that the student should cul- they serve as the greatest possible significance. It means, Internationally Distinguished Polish Pianist audience that attends the opera over tivate. The visible that the regular Saturday broadcast can go historic “Met” on Broadway or dur- “How to accomplish this? For one thing, as (either at the without any advance stimulation whatever; and, opera tours) could never stand as soon as he is able to read notes at all, the ing the annual second, that the public taste for opera has in- student should read as much music as possible. the measure of the nation’s appreciation of opera, where an additional half- SECURED EXPRESSLY FOR THE ETUDE B> ROSE IIIM lit T creased to the point conditioned by nearness to the He will thus extend his knowledge of music, of since its size is hour of opera arias meets a definite need. form, of types; and by so doing, he will broaden opera house and ability to pay admission . . . desire his avenue of approach into music itself. I am neither of which has the least to do with a A Special Event a vigorously opposed to the practice of learning a to hear music-drama. And since no one is in are other means of gauging Jan S meterlm, one of the most eminent “Of course, there of present-day piano virtuosi, has demonstrated to audiences all over national few pieces as lesson assignments. What happens better position to estimate this desire in opera. By no means the the world his belief that piano playing is a the public’s interest in matter o I individual musical expression more than o' keyboard has asked is given prelude of Bach’s, manipulation. A native of Poland, terms than Milton J. Cross, The Etude special event given when a student a an Mr Smeterlin is famous for his for least of these has to do with a distinguished and originol interpretations, “opera his thoughtful analysis of musical problems, for his him to analyze the nation’s reactions to the Metro- etude of Chopin’s, even a sonata of Beethoven’s? sparkling sense of humor, and lor his well-developed hobby each year in Cleveland. Just before of cooking. He is perhaps the only musical celebrity to have piano the millions.” The chances are that he will apply himself to published o cook book! In his opproach to for politan visits that city on its tour, we give an playing he stresses musical, rather ty than dexterity, and, in means with the mastering his assignment as capably as he can, the fallowing conference he outlines the “No one who has had anything to do the great auditorium, at which whereby greater musicality may be achieved.— Opera Concert in Editor's Note. breadcasting of opera can have any doubts as to and letting the matter rest there. Then he will the Auditions of the Air winners are introduced. increase in enthusiasm that has shown itself go on to learning his next new piece, paying no the The hall accommodates about ten thousand, and such broadcasts began. This is evident in a chiefly, more attention to the other music of the first since every available inch of room is jammed— number of ways. The most practical estimate of the gen- composer or the other music of that particular I am glad to say, by young people. Yes, hold which opera has taken on the American chiefly in period than if it did not exist. the eration that is believed to be interested is the fact that the elaborate and costly must have seen a public swing,’ manifests a genuine and enthusiastic mazurka danced to know enoU ’ ‘hot Expanding the Horizon lost through lack of such practice. Oddly business of sending opera out over the air-waves rhythm, its Jj for opera! accentuation, its form. And in sec< har desire the more conscientious student is, the continues. If there were not a tre- “Such a method might be compared to reading place he must a once a week fan mail is a fact. I am often asked have read through at least ten must “Opera will he find really reading! It . for it, it would doubtless go the a single poem of Scott’s in a schoolbook an- twelve of the Chopin fluent mendous demand whether people really write in their reactions to group to realize the difl difIe e" clearly understood reading is very of other programs that begin as experiments this thology and remaining ignorant of the Waverley ences and flexibilities that way The answer is—they really do! And in to be found there. Learn boo^ f opera. from practicing just as looking over a and end as failures! The fact is, however, that of the solicited novels. No matter how carefully the pupil studied one mazurka, as a ‘lesson,’ — connection, I am not speaking will produce, at b study single poem, he could hardly be said poems for pleasure Is very different from the opera broadcast itself is not enough to satisfy letters offering questions for that to have a series of notes without errors; mail, such as the at worst P* of literature. Exactly and memorizing poetry. has its place public demand. Two additional ‘all-opera’ broad- staff of trained ‘an- a grasp the same is true of us not think of it! But Each the between-act Quiz. A a wide acquaintances t single piece, unfortified by vided that the understands what casts have developed, to supplement the Saturday reading and sorting and music. A a deeper with the mazurka form will student alyzers’ is kept busy transform the ‘les ve a nation with acquaintanceship with the other works of the place is. In reading, the chief goal is to gi afternoon program in providing the ELEANOR STEBER letters that come in, quite spontane- assignment’ into a work of thoughtful filing the and me goallS it wants, operatically speaking. One of these who have their composer and the age in which he lived, means ingful a whole, unified effect. In studying, the what of the American audition contestants those who love opera, offer continuity—and will the Typical ously, from greatly enlarge sends out op- Metropolitan Opera House. it becomes the give back 0 is the Auditions of the Air, which become prima donnas at the for information about it. very little. Thus, business of the musical horizon, into the the fullest, deepest meaning reactions to it, and ask bargain. ir that it affords music student to read ten times more music. is en eratic selections at the same time letters from groups of people than he “Widening musical Consequently, the approach nature of this latter Many of these come knowledge, however as inside view of the selection of new “A recent change in the actually studies. If you are assigned one prelude naturaily m different. If to read the public an who have organized themselves wait until the the pianist attempts interpreted, I believe, as a con- chiefly women— student has r is the Metropolitan program may be of Bach’s, go through the entire volume learned would f° opera singers. The other all over the country, and who and master the language of study, he finds himself brooding desire for opera. For into Opera Clubs the piano. He musTle ov broadcast, which introduces younger crete example of the nation’s learn the meaning of all the other preludes. If to read, hour over why the Opera-USA amazing amount of preparatory work in he must master some a single measure. That is this supplementary program was do an technical • operatic selections. some years skill, conscientious Po.Qe members in a program of student ( Continued on .556 53 7 FORWARD march "FORWARD MARCH WITH MUSIC” with MUSIC’ THE ETUPt SEPTEMBER. 1943 Music and Culture

three hundred aggregate of about performances auditions winners are, its shows that the in. reactions through ''typical' This of and valuable members of Music and Culture mvseli deed necessary the amused W hypothetical too, that the talented ThsP it shows, begin- American opera fan. in company; write chance to develop himself can have a in being is a woman by ner To those who ^JSSS^omputed despite the fact that we are studying the operas to be broadcast. her age is a American opera, sup- men) ; see the than schoolgirlssen in opera, it is most encouraging to that come tiom lack opportunity for allowing the young Patriot believe averaging the letters & posed to Debussy, French that goes further than ^ ^ ‘rub off the corners’ in Claude sort of public interest native artist to active, itself to the point mention mere listening, and develops professional stage work. To but a few personal, participative action. of wanting to take these auditions winners, Eleanor Steber, information have to do of Most of the requests for Warren, Arthur Carron, Anna Kaskas, independent nature! “Life here is a mixture composers, Leonard ^£)umedni(umednii his with the style of various operas and Saturday a Dickey (now abroad, singing bij Ifl/Jaurice public high school and an otherwise empty her and Annamary to of cosmopolitan hotel, about books for deeper study, and to sit before n Finally suggestions ‘dates’ in order of the armed services) can well stand as barracks,” he wrote to a friend. singers she gives up into the men Pianist-Conductor military questions about the background of the the radio with her promising young Noted French arrived in Paris radio often she carries an inspiration to other singers. he resigned, boarded a train, and is a refresh- who have made an impression. There nursery, thesewing-roQm of radioed opera of Dreams great peace filled his the kitchen, the “Perhaps the real ‘stars’ are Author of "Claude Debussy, Master the next day. At once a of superficiality about these ques- deprive her of her ing minimum necessary duties need not sound engineers who make it possible than mere requests that the expert tions—all of them go deeper to a to London. Here he W r t people all over the country hear tonally Later on, Debussy went and so on are people of for for autographs, listeners, of course, but in a, surprising “Many of our balanced performance. A microphone rigged up felt somewhat more at home, who have had the background and culture chair would not transmit the the music-halls, the Empire and Genuine Appreciation musical in an orchestra to spend another sum- way: it was flesh and who, i was under ing year he went to Russia taste of opera ‘in the auditor sitting in that RAGING, and Paris which he enjoyed most. He admired purely their first same effects heard by the AR WAS family, and crossed Ger- Alhambra “Of equal though different interest is the opera-less commu Debussy died mer with the von Meek of the color- life have removed to auditor, seeing the stage action, bombardment when Claude their excellent clowns, the swiftness simply write in later same chair. The on his way. As the train stopped at the personal reaction of persons who by far are plain, average, years ago without seeing the many other hand, the English ties. But ’the majority unconscious adjustments in his reception twenty-five and order ful spectacles. On the about opera, without requesting attended an makes W were border, he was impressed by the law their feelings Those a ‘folks,’ who have never footlights his beloved country wearing checked suits and caps was American If the soprano leaves the for a final victory of from the cleanliness custom of in the armed forces have wi ) of tone. which reigned everywhere, anything. Many men performance (and possibly never the fateful first months 0 conception of strict elegance, and he just operatic dramatic action at the rear of the stage, dark hours: during the way in which the shock to his which enable us to estimate it and bit of of the station itself to sent us letters have made acquaintance with reached Paris; the enemy general lack of comfort, above all the has but who auditor sees her move and accepts her next 1918 alarming news were kept immaculate and shin- criticized a much of an influence broadcast-opera radio. That the the had suc- officers’ uniforms sheets which how come to love it entirely through The microphone strong offensive an^ inhospitably hard beds with their instance, wrote that tone from a greater distance. had resumed a at once he felt antagonistic: it was young sailor, for the millions . ing. But in a been. One of such listeners extends into the Allied lines on the Somm always impregnated with moisture town number reflects two tones of different intensity. ceeded in breaking stifling of personality, he were life he has been in a small Southern reward simply suf- regimentation, a all his the richest and most encouraging disease from which Debussy He had listened is Thus, the chief accomplishment of broadcast The incurable Every- where ‘live’ opera never comes. the worse; but one thought. possible. of tones that suddenly took a turn for broadcasts regularly, however, opera is the mechanical balancing fered thing was “verbo- to the Saturday Auditions of the Air program has its share the shadows which over the “The complete acoustic per- of his last perceptions, among his first acquaintance with opera During affords the vast audience the ten”: forbidden to making in radio’s contribution to national opera. enveloped his mind, was to such an last analysis, it is due to this that more and more air and developing his taste for it of 1942-43, spective. In the pouring lean out of the the first sixteen weeks of the season the American troops were leave, while being sent has become literally entertainment for the thought that car win- extent that he asked for artists who had entered opera freshness to the railroad the twenty-four young bringing a new element of one training base to another (his first trip millions." in dows, forbidden to from the MetroDolitan as auditions winners sang an warriors. The newcomers were to attend a perform- weary french from his home town ! ) , step out before away gallantly near Chateau-Thierry “Marriage of Figaro” at the Metro- already fighting came to ance of the more good news the train in service in Mont- and Saint Mihiel. As politan! Another young man smiled faintly. a complete stop, still understood, and time from his forty-eight hours’ ceived, Claude dis- real took the Use the Mirror in Voice Study raw wind blew outside, forbidden to York, hear a single per- Then one day, as a cold, leave to travel to New seemed to regard the cus- the half-closed shutters, he formance at the ‘Met,’ and rush back to his family shaking pidors, ash-trays, world. He was but a shadow had his operatic initia- iu Iseatrice 1 Uainwrialt lose contact with this in Canada! He, too, had emaciated, his and other gadgets. his face was frightfully tion by way of radio. Another letter that pleased of himself; Instinctively he These out, his hands had taken middle-aged man in one fre- soprano, alto, tenor, baritone, or boss. hair had rapidly thinned me very much came from a “ £-AHE SINGS like a bird” is a phrase the felt like doing just coloratura, of old ivory. In the afternoon immediately, after having that the singer is voices may again be classified into on the shade Vancouver. He wrote quently hears, implying no more and the opposite, in a only ^ the soprano. The came, but science could do “Siegfried,” and said he matter lyric, dramatic. In the case of doctor heard a broadcast of ^ a natural, untutored vocalist. As a or evening, spirit of contra- and dis- near. It came in the listeners could have heard it in singers who reach the concert timbre of the voice Is equally Individual the end was drawing wished the other of fact, very few one of th diction. But he tone is of ten o’clock. Thus the cragged majesty of those aloof, apparently sing with unconscious tinctive, and reveals itself as the true with the striking his setting— stage and history came prudently re- him supplied the spectacular careers in musical snow-covered mountains about fluency, acquire this state without conscious developed. most frained, scared by looking at them while naturally endow® to a close. . finest possible atmosphere; effort at first in overcoming certain habits and There are some voices more again what might hap- of a century has passed, and to the music, his imagination traced nervous inhibitions until the proper vocal poise for producing beautiful tone from the beginning A quarter he listened these years the pen in a land in- more vividly than if he had Immeasurably im- the world is at war. Through the action for him is attained. In doing this, the teacher must have of study, but all voices can be popularity, habitated by peo- in Debussy has steadily gained been watching the stage! This letter, incidentally, the incessant cooperation of the pupil. proved and even those that give little promise name of whose charac- recognized as one of the great ple as an answer to the frequent question as means of accomplishment, the right train- and now he is serves As a many teachers their untutored state can, with which covered his teristics were so of visual action mars the service. musicians of all time. The veil to whether an absence have found that the use of the mirror is very ing, be made to give real pleasure and to him. lived in comparative seclu- strange of the broadcast. r°le private life while he CLAUDE DEBUSSY AT HOME pleasure valuable in acquiring what may be called the Here again the mind plays its important this In Russia he was lifted. It is appropriate, on intangible quality of tone production, instruction. In t sion has been demanded the intelligent application of to em- not happy, despite Hypothetical Opera Fan wi and at this particular time, The by the correct mental concept of a vocal musical attitude anniversary manner. development of tone, the mental personality which is not the great luxury aggravating and discomforting as come to us, practic phasize one side of his was too great, most “From such varied reactions thought. To this end, study of the vocal mecha- prove of great aid to the student. The which surrounded him. Everything Bayreuth took place at about known: Claude Debussy’s intense depress- A pilgrimage to deduce as to the popularity of the nism is essential; concen generally hardly stand that what do we otherwise it takes a greater of deep breathing is excellent to acquire immense. He could was accomplished with too could the same time, and it in opera? I should say that the length of in patriotism. sky. Too, how various elements time to realize the meaning of such tration. Standing erect, without tension, vastness, that colorless there was the annoy- ing the reverence and devotion. But important ingredient is the cast. Many au- technical terms as head resonance, poin understand the intricacies, as- most relaxation of deeply and comfortably, never to the Debussy's Nationalism a true Parisian in an overcrowded city and preference for Nostalgic ance of being ditors, of course, show a marked the throat and jaw, breath control, the ham of the Slavonic soul? house with and tone straining. Then exhale slowly, holding of French cul- complications a small room in a private opera, Wagner, tragedy, Debussy was a genuine product was happy to signed to ‘types’ of opera—Italian placement. Charts illustrating the vocal cords, the v0 u overpowered him, and he cup of thick before the in order to gauge , beau- feelings the night, and a in mouth other place in the world, however a hard bed during opera bouffe, and so on—but all seem to unite oral cavity, the lungs, bony structure as ture No those and reso- of breath which should be the C 1 in the morning. And that are being emitted, could suit him. He adored Paris and home- and tasteless coffee finding greatest pleasure in those operas nating cavities of the head will times tiful, Debussy felt frightfully Schau- prove most helpful as possible. Doing this exercise several which stretches °Even hf’Rome invaded the restaurant of the (I suppose this chosen land City, crowds who cast with great and popular singers. to both teacher and pupil in the Repea Ile-de-France, art treasures of the Eternal gobbled up, early lessons, day will soon improve breath control. miles between the sick despite the during intermissions and own student days, I re- around the capital some thirty incomparable master spielhaus that’s natural—in my giving a comprehensible idea of the human opportunity of admiring incredible conglomera- voice exercise ten times at each session. . Marne, and the Oise. The harmony of the churches with loud noises, the most member, I used to save up, not for a special opera, instrument to be trained. con Seine, the acquainted m the con- These also help to clear In order as possible, rolling hills paintings, of becoming of all sizes and colors! The could rejoice in hear- to achieve, as soon horizons, its valleys, rivers and impossible to hear tion of sausages but for any work in which I away the mystery and ignorance prevalent 0 its kind of religious music materialism and the among of the mechanics of singing, it is essential these lovely landscapes he with a trast between such coarse Gadski, Caruso, Homer, and Scotti, all in the many people regarding enchanted him. From he get used to the be o ing the voice. In singing, as a mirror ourselves as 0 elsewhere. Never could atmosphere in the theater shocked his The ‘most popular’ opera, for guidance to “see was to derive his best inspirations. established by fervent same performance!) in other subjects, there are three basic no 1 Medici, that foundation less than the influences see us.” In the beginning, students have man he went to Switzerland, the Villa sense of congruity, and nothing on the stage and in the broadcast, seems to These comprise the When as a young where Prix de Rome win- both mental, physical, and spiritual’ the van long until the French government, followed could make him how they are using and controlling by Mme. von Meek, it was not years, free divine music which ‘Aida,’ with ‘Tristan und Isolde’ as a close sec- The writer believes all invited compose for a few be three of equal value in whic nationalism. ners can live and parts of the vocal instrument, some of became aware of Claude’s strong be- forget it. ond. Wagner is immensely popular—much more their application to the she He was unable to write art of singing, - material worries. lands, Debussy but the the lips, the j aW to Tschaikowsky, “has of these journeys to foreign suppose after listening to facial muscles, the tongue, “My ‘musikus’,” she wrote its regula- From so than one might mental is listed first, as the other the Villa was run too rigidly and for his borne two are con- the throat. observed with ideas. I think I can define cause came back with a greater love ‘Wagner is hard to understand’ trolled All these may be indeed strange musical of the hours always statements that by the mental concept or r were too drastic: observance on Page 614) image. use of of the t his whole being is an tions not Paris ( Continued don’t know much about voice a mirror. Only the exterior him in a few words: were too much for city. Was and that ‘Americans The is the most personal 0” compliance with discipline of all musical is considered of the to Paris boulevards.” The follow- and the melodious Verdi still stands first instruments, being here, but any tension emanation of the opera’! but an integral part of thro^j 559 each in- or jaw is plainly visible effect on the in the preference of the general, national public. dividual. The type of in its MARCH WITH MUSIC” voice is already established harsh a "FORWARD public’s own statement and produces a tone that sounds SEPTEMBER, 1943 “Basing myself on the in the body; that is to say, whether it is a strained. "FORWARD 558 MARCH WITH MUSIC the etude .

Music and Culture Music and Culture

orchestra of ECENTLY I took a symphony soldier musicians to a big camp fifty-four man R theater “somewhere in Britain.” Every trained soldier. in that khaki-clad orchestra was a “Sym- Khaki the Composers They played some Mozart and the Haydn Musicians in Among violinist phony in D,” and then a neatly groomed the sergeant’s triple stripe rose from with the concerning “Concerto in G a keen interest and curiosity leader’s desk and played the Hntun:; Annies Every music lover naturally has Max Bruch. Behind him sat a private, Music Thrills whose works he plays. The Etude has had in minor,” by of Victory in the lives of the composers musician of high standing before A Vision these present day a professional a long time a series of articles about badly shell- preparation for the war. He came back from Dunkirk, Urrlmutr.i-, We also of Symphony whose compositions are widely performed. alone saved his health, the doctors Story and recent writers shocked. Music The Amazing opinion upon composers for an expression of personal say. have asked these . . contributions w,ll be panted visited takes pride in showing and Men in general, and these timely The camp we Made Up of Officers compositions its theater: every week there Inaugurated department. the best movies in from time to time in this newly probably a first-class is a smart stage show—with the comedian, snappy sketches, and dancing. But Symphony Concert drew a greater audience of or women in uniform than any movie rick composer, not only of men and L (jah Peel Mr. Baines is a prolific variety performance of previous weeks. but also of anthems, can - LILY STRICKLAND Strickland melodious piano pieces, the sergeant who played the Max Devonshire Beqimenl. British Army Lily students every- Next day, Major. tatas, and school choruses. Piano job—training drivers for pieces Bruch went back to his where have found special delight in such anti-aircraft units. The able flutist—an- “Makers of Music” Review; Cabin heavy as The Camel Train; The King’s instructor of Signal. The Mount, other sergeant—is an Dance; Tripping the Meadows; The Guard with the oboe is a quarter- and a background. and field of brisk, plump fellow with good taste, knowledge, STRICKLAND, Mus. Doc., composer, and Mr. Ming. His compositions in the just writ- public knows little about. ILY horn-player, a gunner, has is something the task of bringing South Caro- volunteer master. The this do we go about the writer, was born in Anderson, church music are much in demand by clarinet Kingdom musicians in How ten a symphony of his own. That tall Everywhere in the United troops? The finest way of years music had a effective anthems as hours classical music to the 1 jina From her earliest choirs; such melodious and sergeant engaged on music in their leisure at player is a Pioneer Corps uniform are making those who can play already her life, and in her studies The Lord Reigneth; Love Council all is to encourage prominent place in Ride On in Majesty; airfields for American aircraft. the spirit of the Army of them- field oi Lord, constructing and interpreting good music for the enjoyment College she specialized in this Divine, All Love Excelling; O Sing Unto the have been desirable that as to make Converse At intervals of two months they which says: “It is of course, music studies at the the Mountains are Instruction selves and their comrades. Instruments, art Later she continued her and How Beautiful Upon to play classical provide its own for ten days or so possible the Army should musician in and follow- choir organiza- assembled far as be provided. Your professional of Musical Art in New York, regularly in the libraries of many Experts will wonder must Institute music for their comrades. violin or William F. are “The entertainment.” will In most cases take his she had instruction from tions. His most widely used cantatas achieve with such limited uniform ing this, what results one can frequently asked: “Do the troops want possible. But First World War she served and “The Manger I am his violoncello with him whenever Humiston. During the Awakening”; “The Dawn”; rehearsal. The answer is that they place can time for music? If they do, then what instruments required, entertainer at Camp McArthur m operetta, “Vision of Scrooge,” has a to ‘good’ there are other expensive as a volunteer Child.” An broadcast successfully , were good enough to life of parades, Officer Anderson, season. one find for it in an exacting Entertainment where her husband, J . Courtney wide appeal at the Christmas Hess’s famous con- and here the Command Texas, play at one of Dame Myra and the thou- disposal on Page 562) lectures, guard duties, maneuvers has at his Educational Director. Mr. Baines has very ( Continued to be invited comes into the picture. He was Army certs in London’s National Gallery, life? What went with sand-and-one distractions of camp be spent on buying ui- Following the war, Miss Strickland Palace, and tc impress the ex- public money, which may to Buckingham classical music if it equip- India, where Mr. An- is the use of broadcasting providing stage her husband to Calcutta, hard-to-please music critics. struments, hiring music, tremely on a casually adjusted receiver in business for an American can be heard only ment and so forth. derson was engaged Is a of this far eastern Mathilde Bilbro amid the din of a canteen or barrack-room? Headquarters there works firm. It was while a resident Anne A Love for Great Music At iach Command extensive re- the educational and it is Strickland made it not a mistake to overdo distinction whose duty country that Miss symphony orchestras have been musician of some the results Other full-scale angles—the old class-room idea that you and into the music of India, and Technic of Writing Music” uplift visit units, form choirs and orchestras, search “The in Britain’s Home Commands. Their in a series of highly formed must have something because it is good for you?” phonograph-recitals. of this study were reflected the man-power question. Policy give lectures and especially for future depends on problems to be tackled by Forces^ oy articles which she wrote These and other have is lent to the interesting con- release of trained men from their This official, a civilian, MATHILDE BILBRO, who has forbids the entertainment of ai NNE the . \ with Enter Etude. . those of us concerned of National Service The music study duties. Apart from regimental bandsmen the Department of her origi- A tributed much toward making normal fighting services. ai She also has attempted, in some no full- the This Music Advisor, as he is termed, was born in Tuske- and certain exceptional cases, the Army has ment. interpret the eastern idiom attractive to the young, i ® nal piano works, to uniform to fight. I have all the proof needed that “good” music by the Entertainment Officer, has a clear parents were Judge James An- time musicians. These men are in impressions sufficiently westernized gee, Alabama. Her have to be fed to Britain’s soldiers, particular s ‘ ce in musical Bilbro, and her units of the Armed Forces does not the talent available in that This is Bilbro and Francina (Mason) It is in the smaller be acceptable to her native country. drew although sailors, and airmen. They can take all the the requirements o to were prominent figures in that love for great music is revealed, Britain. These two know “Himalayan Sketches. grandfathers, who also training-centers apparent in her Chancellor Wylie entertainment dreds of battalions, batteries, has public life of Alabama, were w For the past few years Miss Strickland the officers can give business to know John B. Bilbro. Miss Bilbro supply camps. It is their - Mason and the Hon. been living again in the United States. A. them, and still orchestral player j at the age of six and her a conductor, soloist, or widely used piano pieces are began her music study conduc Some of her most in the ask for more. the forces. colleague has just 562) musical education was procured My own ( Continued on Page entire an Blind Beggar; Festival; successful One command- choir one-hundred strong in “Hiawatha, United States. She has had a most Messiah. normal classes, ing officer wrote now rehearsing "Elijah” and “The career as a teacher, and also her the other eastern and tome: “Your en- The phonograph is a great ally, and conducted in New York and cliff or attended by young couragement of of the soldier exiled on some desolate southern cities, have been well orchestras and int0 Baines to improve their methods of im- top. From a library of records, running . William teachers seeking an dis their young pupils. choirs is of the sands, classical programs are prepared parting musical knowledge to e ^ she has had highest national patched. Daily the requests come in: “Dn Composing” In addition to her musical works, many verses importance.” symphonies, chamber music, opera.” success with her literary writings, having been published in various Another de- composer, organist, and sketches ILLIAM BAINES, of her articles ha,ve ap- clared: “Thank Popularity of Opera resident in magazines. A number ^ nce pianist, and teacher, although Heaven we the past issues of The Etude. It is quite pos- can Opera has a big following. I had number of years, was born peared in America for a could have found suc- rely on music for of the first -- W sible that Mathilde Bilbro organizing presenting musical and 1(j Yorkshire, England. His who in Bradford, writing in the larger forms, but in so mental and opera in Great Britain. With a tenor under his father, Charles cess in ^ education was secured deprived young piano stu- spiritual uplift not Garden (he " teacher in doing, she would have have disgraced Covent [lie well-known organist and Baines, a of delightful material which in these days of Army a subaltern -j* addition to his dents everywhere cook) as Canto, and England and the United States. In ex- chaos.” made their music study a fascinating The men Auxiliary Service as Nedda, ‘ Mr. Baines is has Territorial eight extensive composing activities, and women in was hundred. 1 at the perience. staged by a company of a of harmony and composition the teacher pieces number well into the hundreds the llavy, Army, weeks huge audiences came to hear Boston, Massachusetts, Her piano ^ National Studios of Music, solo collections, and Air Force raised for Juvenile and she has published also piano version of “Pag.,” and $8,000 was director of the Lancaster Theatre and instructors, books of studies and technics, British Information Servirts Citizens in Welfare. piano e g04 ) Chorus of Boston. Symphony Orchestra of 60 Uniformed Men Playing in the Chester Cathedral Uniform, citizens on P<*9 Wesiern Command When the show was ( Continued MATHILDE B1LBRO 561 ETUDt ANNE "FORWARD MARCH WITH MUSIC” 560 "FORWARD MARCH WITH MUSIC” THE ^

Mtisic and Culture N THE DEVELOPMENT and control of natural power in pianoforte playing oE considered The Fundamentals I the word “power” may be nical development, and to make it as of my recognizing i Lover Is A two angles: First, it suggests a full, painless as possible. Vanity also is an im- lustration is My from and Culture A good ill' second, the full always should Music inspiration. {rom Darjeeling, Good Breathing rich, sonorous tone; portant factor—the hands Returning by natural, but often piano. The teacher Fisherman. ged the Ganges flowering of all the be beautiful on the the Himalayas^I of the ambi- by imitating piano pieces, India, in Qut of the unrevealed, potentialities can exert a strong influence children’s musical play. Of the 'WJithur -Afonzci SbiLi a the mo « . Power and river early m d and ly young pianist. In order that we may Natural the pupil’s faults, then giving a demon- the most widely used are: g sacre tious perhaps some of the broa premise, let us take The child Villagers, window upon fishing boats SINGING depends on natural breath- not have a confused stration of the correct way. Dance of the f 1 6 ood Among the Wigwams; I saw fleet ° “Power is way. a famous river, ding a artistically and involuntarily handled as a definition of power, quickly will see and accept the better Rohm Sings J be rea , The Fish I Caught; Leaf Burning; I\happ ^ mg energy, with red sails. As and being consciously controlled. strength manifested in effective All children want to play like the teacher. Skinning the Cat. Among the piano handbag G instead of Song; and used train- Visit to in singing the breath should be authority.” The same method can be m “Priscilla’s Week” and “A That is to say, Playing collections, eminent Piano full, by the same are even to-day some in child to play legato with a very successful; and to a great extent control- There ing the Grandpa’s Farm” have been governed study of in ordinary use of teachers who insist that the even tone. In teaching a little girl to con- works deserving special mention are method that is evident the of the study serious, complicated affair. to feel weight trans- “25 Melodies speaking, rather than consciously dis- music is a nect the tones and “Bilbro’s Kindergarten Book” and quite successful breath in of which has been practice hour thus becomes a kind I told her to pretend she had Training.” song and controlled. However, in the begin- The ference, for Eye, Ear and Hand tributed student is didn’t S penal period, to which the glue on her fingers. She said she remarked about her work: ye beginning of potential singers must learn to breathe con- Miss Bilbro recently great art from the ning by the teacher. do just as well? sure there “l ‘study of naturally, that the voice may sentenced as a daily task like glue—wouldn’t honey technic of writing music? To be mdependen deeply— “A disclose how completely sciously— teacher, however, seeks to start, tone must grow out of a dried formula. Each time will been devices rather than be forced The modern From the it is not by a cut and even s have to its own is; but economic and political be left pupil look forward to his les- of heaviness in the fingers. The writing technic, an social^ breathing and use of the make the feeling composer develops his own have lasted 1 means of erroneous deepest those productions which JL by sons with eagerness and the power must pour from the upper arm, go about it in the same r t there are seldom two who minds of nie g breath re- succor to the hearts and »-Jhe interest. and later from the body, through the way. sculpture and deep breathing must supersede all poems, dramas, paintings, Correct laxed forearm and wrists into the finger if I would do him novels In singing. For this “A musician once asked me in them the ^ence of superficial methods Deferring Technical Exercises about fingers musical compositions have traces tips. This eventually will be brought ‘Surely,’ I promised—with my time no must be allowed to expand a favor. verities which neither acquisition the lungs music is a far more of few simple I let him of the eternal Certainly teaching through the practice a crossed. All he asked was this: Would freely In the lower regions of the circumstance can alter.” (dilate) most interesting subject for both the pupil and exercises. Until perfect coordination of to the piano, and beginning becoming naturally look on while I went with the diaphragm years ago. and piece of chest, the teacher to-day than it was the arm and hand is established, first creative idea compose a and to succeed in from the to a great degree; This is largely nature for the exact pro- contracted It is also easier for both. until it becomes second then write it down by the that we first music and endeavor It Is Imperative overcoming serious weight, it is not did not dare this because the task of pupil fully to release this cedure which I always followed? I muscles which are to strengthen the abdominal is now deferred to a very much on indi- funny to me because I technical difficulties wise to concentrate to laugh, but it seemed the control necessary to an Dlav a great part In age, and at the beginning the child’s vidual finger action nor on perfect con- like that. William Baines later never do anything 1. steady exhalation of the breath. music weight to come adequate and interest is concentrated only upon trol. This usually will cause the “With me the melodic idea and rhythm abdominal mus- we have a good strong teaching material, there- the fingers and will create away from the piano, and they {Continued from Page 561) Once making. The be cut off from first always assisting muscles of the back attractive at all Hand develop- for coming I cularity, the other fore, is stimulating and the wrong kind of tension. their own time and place in choose composer s will find little or no trouble practice period no longer not be entirely at once jot down ideas on composing, from the ribs, and so on, times and the ment, however, should hear this melody mentally, and definite dur- right course of performance process. The Teutonic mar- certain amount must be shorthand of my own. view. assuming their a dull, tedious neglected. A the idea in a musical point of that any become a com- However, this Is not to say of the last century who boasted most children scale playing pass before the sketchy outline “Can a self-taught musician ing singing. tinets done. With Sometimes days power in t e six months lesson, I If he has, by his own of muscles has dominant, that they kept their pupils for be started around the tenth piano for reference. Later may poser? He certainly can. one 2.set may is taken to the true that we them be initial a first-class musi- breathing, but It is scales alone, before permitting and from the very first, they should and harmony, but the efforts, the ability to become control of the on alter the rhythm by firs happily exercises. the God-given gift of for correct breathing to read a single note, are now given a few short, simple finger melody line usually sticks. cian, and if he possesses begin training reason why muscles instead o This does not mean that the course chord playing, solid and broken, thing simply looks musical to me invention and expression, there is no strengthening the abdominal forgotten. Of “Sometimes a muscles technical exer- that is, if he is first some sets of ample study of profitable shapes the hand from the beginning. etching I once saw of a little Dutch he cannot become a composer; striving to strengthen like an servants arpeggios, and however, have the little girl looks gift by hard work, per- on, which are merely cises, including scales, For the first year, girl. first thought was, “That willing to develop the of the back, and so My latter ar the skilled tone, and it necessary for when the octaves should be omitted, but child think and hear tone— ’ ‘Priscilla’s Week’ followed.” and patience. Nor is the abdominal muscles like music —and severance, to at of adequacy gives these when the pupil is tone. If he can play a melody with to understand the deepest fundamentals correctly employed after being teacher more him that he can hand were 3. such exercises age to appreciate the fact pianist, a pupil of Alberto Jonas a beautiful quality of sound in one many of the great masters the use of some an Chene’e is an American-born harmony. Indeed, strengthened by Miss have tne enormously by their use. Johnson. Her public appearances accompaniment in the other, express in words the why and where- conjunction with advance himself Isidor Achran, and Harrison and a soft unable to as the following, in the press.—Editors Note. are given at all at the her enthusiastic encomiums from good control of legato and branch of musical art, but could do practices: If exercises brought and if he has fore of this natural use in singing a and a soles of beginning, they should be of such staccato, is able to play in most keys so only in their works. The student must have Lie on your back, knees flexed, Strickland pupil cannot become understanding of rhythm Lily which is right or wrong, in wlth nature that the to show some keen perception of that feet on the floor. Now pull up and discouraged. Correct study and and shading, this should be counted a be able to set it down on paper. And so I hold, but do n0 bored or and lower abdominal muscles— an does • exercises require First-year material {Continued from Page 561) divine spark ten t practice of technical good year’s work. say: one who is gifted with the may your breath! Slowly release, and repeat of skill, patience, and speed, and so the common evil, proficient composer. If he is so name y, unlimited amount lesson. They are made to not require much the Burn- hope to become a This accomplishes two things; thing for melodies from the first Little Indian Chief; To and this is hardly the rushing, is avoided. The work done to produce a Hindu Lullaby; he is blessed. and understanding, rather than one at a time: and The gifted, then truly strengthens the abdominal muscles gradually hear groups of notes, has The Young Hindu Widow; children. The child must be led full, free tone and to play softly, already ing-Ghat; dreams, all as s . little become phrase-conscious “He must be a dreamer of ready at of what is known in or, in other words, they her songs, several have found towards correction value of a dependable technic his hands to an amazing degree. Wanderer. Among respond when inspiration dictates. He sh0U to realize the the words supplied to their little strengthened s times to back.” All abdominal muscle exercises ideas with through singing vocal artists: Driftin’; Mammy ts express his growing musical favor with must hear the melody of the woods, the meadows, moveJ° order to singing back original responses to a is a progressive, working from very simple pieces, or by Harder to Teach the Talented Child Songs; Mah Lindy Lou; Spring of tone and good taste. activities Sleepy Time the hills, and valleys. He must listen to the dirge beauty the teacher. All these When into strongly contractile ones. for granted phrase given by that Roses; Love is the Wind; Older students, of course, take it vastly Of course it always should be remembered Lady; Gathered of the mighty deep, and the fairy lilt of the forest Exe of the lesson period and are Lover Is a Lying in the same position as for technical work take up most outline Moon Dreams; and My a certain amount of daily their every child is different, and for many this Twilight Dews; lake. He must drink in the song of the brook, the ches that in laying the foundation of to the , theii important Besides the “Himalayan Sketches, One, touch alternate knees necessary, and know that it will hasten of work for the first year would be purely a vision. Fisherman. bird, and the bee. He must note the changing Repeat w is background, not to mention sustaining “Blue Ridge Idy s, plenty of action and enthusiasm. playing, the attempt musical pupil either has obvious another piano solo collection, ^ musical progress. In piano much time left for It presupposes that the seasons—spring with her resurrection to life, sum- of each kn . their interest. There isn’t times, that is, twenty touchings and master the mechanical phase undisclosed musical inclinations from the is extensively used. her flowery spray, to understand nor are they very neces- or mer with autumn with her for five m pos- scale work or exercises, who is honest enough forty actions in all; then rest reveals fascinating and unlimited beginning. The unusually gifted ones often can go “Any prolific composer harvest store, and winter with her frosted beauty. alone period, unless there are unusual de- his own relaxed. Repea vast that our sary at this surprising how much to review and evaluate remaining on your back, sibilities. Indeed, the field is so beyond this point, but it is occasionally He must see wonder in the sun, moon, and stars, more fects or bad habits to overcome. he really respects only exercise about five times dally, not distinguished virtuosos still glimpse vistas can be done with the so-called “unmusical” child, works will admit that besides the blue of heaven and shadow-cloud, ^ most spontaneously abou dreamt of. Then few lessons can compositions which sprang twice in one period, with periods that we have not yet sensed or Children Relax Naturally if the interest created in the first those and be able to express it all. r full-fledged from an hours of periodic P certain pieces or etudes over the full year. This gives into being, emerging almost apart. This method some teachers say that and the teachei only be prolonged lie muou wc Uii&iuai ill ms wuiA, clIlU. COmp< Three g Most children relax naturally, moment. Studied, deliberately applies also to Exercises One and should be looked upon as merely exercises for the teacher a chance to analyze and correct some inspiration of a only for the joy of it and not for material defects in hand position by ga if the can correct any often have scientific merit and herewith. practice. This approach can be valuable of his difficulties, all the while trying to build up planned creations being satisfied with the reward of , hen the imagination from time to time. that a happy a to stre B musical per- appealing to music. In but they seldom have Another position is now required pupil frequently will revert to a some feeling and appreciation for excellence of form, contented life, and in the knowledge ^ one pupil I said, “Your hand that he 1 w For instance, with to wide and continuous the on the floor, of the piece, applying the work he has cases these pupils change entirely, are seri- plus-quality so necessary accomplished something. abdominal muscles. Kneel ^ formance little bird’s nest, and your many He must keep his b< Now music should be round like a out the public. supported and knees. done. He must never forget, though, that ously devoted to their work, and finally turn acceptance by healthy—this conducive to a fertile on the hands bird flying quickly into the nest,” forced mind a m thumb is the than one had sup- prolific composer myself, I am the back like angry cat. In this comes first. arched to be much more “musical” “Being a must think clearly and live cleanly; in an g result that in scale playing, she with the fact, St re^chin four years of age with the to the point of embarrassment these muscles contracted. Most normal children from disappear posed. almost must do that only which is right.” are reflexly ^ her hand more and made her thumb Some of my ov piano and are capable of it is harder, although cer- of judging my own work. to full arms high are eager to play the pictures In some respects problem extension with the quickly. This is only one of countless wide and lasting appeal, judging as does learning to read notes, of playing and learning tainly more interesting, to teach the talented music has had a also reflexly contracts the muscles, ^ can be conjured up to lead the young i ^ which “The hardest task 1 of counting of continued use for the last twenty years. of a singer is to find thirty to recognize chords, of clapping, and child than the untalented. The responsibility by its ing from a stretching bar. Repeat pupil unconsciously into the beginnings of tech- have had a steady but good songs and enough of them to patterns, and of playing interesting portions of my work make i each rhythmic Other period. ig discriminating. gram of interest and variety, with for ob 563 appeal to the more highly both an i the ° MUSIC’’ limited In conjunction with the use of g£ "FORWARD MARCH WITH which has been con- to the public and a high musical standard.’ SEPTEMBER, 1943 “Most of my own work exercises, we should walk briskly for a been written as a result sidered successful has each day in the sunshine and fresh air. EFVDi 562 "FORWARD MARCH WITH MUSIC THE ^

seem only to repel Music in the Home class of students another “canceled lessons." should Another thorn is The teach- PPOLITOV-IVANOV: Procession of the Sardar from that the diaphragm **££ h usually divided into so many thirty- Rubinstein: Melody in F; and Music and Culture should be Ann. T ing er’s day is Caucasian Sketches; back arms hang The sum of the fees from the Columbia are relaxe minute lessons. these I Moussorgsky: Copak; played by pulled back but ’ at im- is of gre the anticipated income direction of Howard of lessons represents of the Broadcasting Symphony, foosely. The manner singer. here he is build- or Dorothy is crowded 71464-D. teacher is much greater, for If Johnnie for Columbia disc the portance to the pianis , J using teacher. Barlow. success or failure sathethe deepdeeply,: practice enough to show has not been repre- ing something which may mean wffl town *> Ion and does not some the past year Barlow If the student y^ing time In a professional dozen excuses are available lists quite as auspiciously if the pupil wants to become holdi skill, a for in the Columbia the diaphragm and g „ pressure acquired sented the value of thorough, ative The canceled lesson pity for he has fared bet- pianist. I need not stress scientific terms, S canceling the lesson. upsets as previously. This is a a the breath, in shoulders did in the time it saves. Therefore relax thesn and income. in the present disc than he early training and which helps him the teacher’s day ter in recording important for the is created onto the^y^ we consider the ex- Fall Novelties is much more weigh be removed? There sets, and when good teacher arms and releases the can this thorn is the his symphony one. We know and How Barlow has developed child than for the average let out slow the teacher’s studio: repertoire which musical the breath is y, _ conspicuous sign in “All tensive cannot be in this Then £oul radio work, it would seem quite well that all of our pupils charged for unless notification through the years in his lessons will be is some pupils often are careless, indolent, was definitely passing up class. Talented twenty-four hours before the lesson period. that Columbia Here, too, given our belief that the and want to learn to play too quickly. up at the very fine opportunities. It is Records must be made teacher’s of Missed lessons invited by the rec- World encounters peculiarities of tempera- conductor should be in the the teacher This notice helps, but it is surpris- American with, will "ft convenience.” works. dealt record American ment which, if not skillfully e patrons resent this plan. No ord companies to psychological tbe ing how many one recordings put out by create complexes and other difficult S Comparing this disc with is S£ very happy when compelled to pay for some- ago, with later on in life. hC SS becomes heavy feels appreciation group a couple of years problems to be coped ~weight music the a Sody collapses then not received. Some teachers find a partial perform- and experiences is alm^ thing doubt that the present When the student understands keys and light piaymg the month or by we have little and inert on the solution in charging by the as those offered of drawing tone from the instiu- time to teach him ances are one and the same the sensation Of course it takes by the lesson. In a recent certain impossible. quarter, Instead of public before. Rumor has it ment in varying degrees of power, up to a made too conscious o J, anonymously to the to do this, and if he is teacher expressed himself con- the musical earnest to build up his a tire meeting one made the recordings for point, he should begin in tense and complain of that Barlow he will become have very few canceled lessons. When if not all, of individual been fidently : “I set-up, and that most, vary too hands and to be more conscious muscles which have not appreciation possess. The mood does not back. Naturally, to me I take time to explain to of rehear- fit to de works usually is, to under- student comes without the benefit Cowell seen firmness; that soon a accomplished <5 Had sewn too finger action and times, but as were +i-ian if i on records. variations are not used may feel strained at of uninterrupted acquisition Barlow, work much, and the relaxation. him the importance it speaks well for Mr. extensively, the stand the real meaning of controlled through breath- sal. If this is true, his material more work aims for symphonic struc- they have become strengthened to make each lesson so as many velop But smoothly, but the movements of skills. Then I attempt are quite as good i«e at a concerto. requires Up to this time, some exaggerated establishment of good for the performances gained greater pianist once said that it the permanent with eagerness to ture. A noted arms and ing and creative that he looks forward recordings of this music. St audi- have been employed in freeing the to play with other existent and, on the part of the posture, the student will be able and the care in presentation the sensations already the next one.” Tales of our material imagination. I hands in order to realize freedom than before. Through Cowell: certain responsiveness and more ease and is becoming the character of the tor a to gain more fluency and speed, average American city Countryside: played Grieg, there is no mentioned. Now, the power, all exaggerated The likes the piano music of except concentration of high-pressure and quack moods have little to one the body of the hand must be kept quiet and a hunting ground for by Henry Cowell will appeal. Miss Andei- movements will be gradually eliminated repetition. question that this work adjustments, and a much lighter finger Trained crews of solicitors, like (piano) with the offer in nice feeling foi for some action will be localized in the promoters. performs the Ballade with a large part of the Invade the recording is is- sen must be used. The finger tips already have destructive and migratory locusts, All-American Or- The not make as much of action alone. More and more, lateral in- lyricism, although she does finger tips its under the pa- and firmness because of the of the community and upset chestra, conducted sued But perhaps she gained strength motions will be employed, and tranquillity climax as she might have. stead of vertical— susceptible tronage of the Na- the concentrated in them. All the while, the schedules. It Is strange how by Leopold Stokow- in the concert hall. weight speed and accuracy. standard gets more out of the climax this will promote citizens tional Association of deep, resonant tone with quacks some Intelligent ski. Columbia set the level o free development over- to predatory recording is tonally good, but To-day our concert halls are literally of American Com- The growing power must go on, and, although it Only a short time ago a sensational X-235. the good of surface noise. Titans of the keyboard. prove to be. Conduc recording is too low for play, flowing with technical city posers and would seem that antagonistic forces are at swooped down upon a cultural Henry Cowell, the soave fancuilla; and Verdi. general lack of apprecia- piano teacher Puccini: La Boheme-O progress must Nevertheless, there is a the in tors. (tenor* these two factors in the technical West. He promised to teach Californian born dell’enima; Jussi Bjoerling tone the kind that is of the Middle Ballade in Rieoletto—E il sol never should outdo the tion of beautiful, resonant — gave him by and Crieg: Victor disc go hand in hand—one in thirty days. The local papers 1897, is Schymber (soprano). not by pressure nor undue force, but piano minor, Opus 24; and Hjoerdis should aid the growth toward an produced, clubs and church large an experi- C other, but each most generous publicity. Civic 11-8440. through the release and concentration of natural Stell Andersen (pi- all-around, well-balanced technic. enthusiasm. Then, as menter. Deciding Bjoerling’s voice makes groups received him with Bost Record The youthful fervor of weight. record was that composing was ano) . (Victor disc always, the bubble burst, and a bad of Rudolfo’s Narrative and Weight Feeling pro- Set BA-6. his recording Lightness piano students. To re- his destiny, he enjoyable renditions of left with the would-be Bost issues this 12039) one of the most paradoxical, light play- teachers to pursue same Although it may seem from this thorn, private ceeded love song on records. Here the move the sting set in celebration this famous brilliance and carrying sort musical composi- tenor s voice ing will be lacking in the advantages of some is apparent, but the are rapidly learning of the centennial of youthful ardor weight feeling has been estab- pro- tion in his own way. was not pres- power until the association for mutual fellowship, which disturbing vibrato in it which There- Thorns in the Path of local did not Grieg’s birth, has a lished as equally as possible in each finger. Roses and Although he He is tonally steadier tection, and promotion. place on June ent in the earlier recording. to practice velocity deliberately break took from fore, at first it is often good the ri a ® between the Duke and Gilda the roses in the path of P It is unfortunate in the duet depth of tone than would be One of ^ the laws of har- 15. Miss Schymber, pieces with more of Private Teaching time schedule r of “Rigoletto.” Bjoerling’s partner, turn, the teacher is the enjoyment of a said for admirers used in the playing of them; and, in n mony, he is freshness, but the voice is by no from restraint and disciplinary interference, Grieg’s music that has youthful full tone and power is practiced not to have learned does she suc- music requiring in the seal not of exceptional quality. Nor weight. ly ^amei U. ^Jatfior other, that he has greater freedom early the war did means softly with an easy, natural flow of them. His the characters of Mimi and he is hot so record ceed in recreating ineffective until of his work hours. Again, that Tasker permit the that Pianissimo will be shallow and fame, John manner. It is unfortunate A. M. to 5 P. M. companies to honor Gilda in a telling firmness in the finger tips can be GROUP of music teachers, whose incomes some Institution from 9 Howard tells us, than rou- weight and per o with soprano’s contribution is no more the fluctuate with the number of private a teacher wishes to attend a virt uoso’s his use the composer the retained at all times, even though most of came from aim to feature the two in his c , issuance of tine, since both duets A lessons given, were talking together. One ance when such a concert is scheduled “tone-clusters”: the power is held back. of effective manner. telephone c of his music vocalists in an equally remarked, “There are plenty of thorns as all he has to do is to make some notes more we stress a point which we consider im- teacher groups of und Leben, Opus 42; sung W Next, on records. How- Schumann: Frauenliebe we have had a good deal well as roses in the path of the private teacher.” and rearrange his lessons. struck on the key- STELL ANDERSEN Bruno Walter at portant and with which fact that Lotte Lehmann (soprano) with they began to count the thorns. thorns? Mo the el- ever, the experience. The weight should now be con- Then Do the roses outnumber the board with set 539. of a cause for re- the piano. Columbia can The first thorn was the fact that, unlike the mountain was or the flat of will give some centrated and controlled, so that the pupil med observed that moving a bow presen this set has appeared second recording which Lotte Leh- e uses these effects in the recordin g of it now This is the ease and freedom at all times, and public school teacher who finds a class waiting beyond his capacity. But, being human, the hand. He there is no other famous song- use it with oS! Se is has made of Schumann’s the private could cer catalogues. The Ballade mann thus build up endurance and reserve to play a for his service, teacher’s first problem the power of self-direction, and he available in domestic Love and Life.” The first, ac- moun employs his unusual harmonic compositions for piano. Its cycle “A Woman’s It must be literally is the building of his class. Perhaps the musician where the ^Although Cowell Grieg’s finest back- complete recital program. move himself to a place is not one of with salon type of instrumental i the work of- the com- complished background is studded with Likewise, here with “tone-clusters,” is representative lifted off the ground; it must be invested with whose lessons from could not cast its shadow on him. effects intimate character Germany at least fifteen surprisingly strai ela based upon a ground, was made in teachers is at the but instead writing; the work buoyancy and vitality so that it can be used to famous an advantage. When he private teacher finds that removing dissonant poser’s style of for the singer, the in- of the music that th of a theme with years ago. Unfortunately, emotion, light or somber, says, “I’ve studied with so-and-so,” even the high cultiva ward, considering some melody is in the form marred express every type of is a task beyond his capacity, he can The origin Norwegian background of the earlier set v ^ has previously written. a short coda returning strumental reflect all the lights and shadows conceivable school students recognize the name mentioned. rosier profession, turning every composer fifteen variations and Here, although and side of his in the form°fpmno charac- the appreciation of her singing. have precious thorns ^ sketches for this work were is melancholic m in the imagination of the performer. He may a scrapbook brimful of ness to some advantage; then the the theme. The theme better suited to the inti- expanded and developed than s the piano background is newspaper clippings solos. Later the composer sounds a deeper nOc-e value of correct posture and breathing can commenting upon his ap- lose their sting. ter, but the work the composer’s intentions, The be termed a tone poem for music. macy of the mood and contributing factor pearances. As a teacher he sets aside tea ^ them into what might most of Grieg’s piano dry and hardly be overestimated as a his role as There are advantages to private sections found in the instrument is singularly many orchestra. There are four characteristics the Bal- the tone of thing to see pianists, performer and takes on the new role of instructor. i* s piano and its Norwegian unfortunate to this end. It is a common ing. In field teacher stands on Life, an Despite overtones. This is again this the ^ Exultation, The Harp of gives it a lacking in i Tides, grandeur, which constantly appearing in public, slouch Surely, after the generous announcements his abi Deep lade owns a simple much to her voicing of even those by merits. His upon - _ character to sev- Lehmann brings future depends Reel. There is a Celtic nationalistic for Mme. their faces almost hidden from the local papers, there should be rg Country universal quality than such the woman- over the keyboard, a waiting list of satisfy his students and to achieve favora of an old-world more songs. No one has ever brought ^ eral of the sketches, suggestive these Their mannerisms and gestures are quite students at his studio door. He feels the of P songs that this singer does, view. sting of suits. The most gratifying aspect however, professes that tn ly tenderness to these ' itj flavor; the composer, and disturb the concentration of the this thorn, however, when he learns that to d P and the intensity of poetic distracting private teaching lies in the opportunity in mood and feeling. nor the subtlety of line classes are not secured work is American maturity de- audience upon the music itself. by the wave of a magic relatioi To us it some cases, the singer’s through the individual and intimate The value of this music is controversial. feeling. In pupil to sit up straight is well enough, wand. The teacher must be a tactful RECORDS Continued on Page 606) To tell a promoter between teacher and pupil, some lasting f? fascinating heard on the platform, feats her intentions; ( spine he and the--- promotion was far more but if he has a weak back or a curved methods he uses the observed, must not the unfolding life of the student. Often antics of the pianist could be these defects. He offend the type of . ster where the 565 must have exercises to correct prospective students he is c en piest memories of music-student days MARCH WITH MUSIC understand what correct posture means deavoring to reach. Methods that "FORWARD must attract one about the fellowship with the teacher SEPTEMBER, 1943 564 "FORWARD march with music THE ETUrf Music in the Home A Proud Accomplishment interested in The forward-looking American of the best-balanced public schools will find one Music in the Home serious signif- and sanest presentations of the public education m icance of music in American Etude L. The by Dr. James “Music in American Schools,” Columbia University. Mursell of Teachers College, who contemplate entering this im- For those The Radio book is obviously a “must.” in portant field the Enterprises many appropriate photo- Bookshelf work is illustrated with Lovers in Music Symphonic outline of essentials Eminent graphs. It is a scholarly school music and fills real need.

Any book here 'Music in American Schools” reviewed may Mursell be secured from 'Morgan By James L. THE ETUDE MUSIC lindiay Pages: 312 MAGAZINE at the L .Alfred price given plus Price: $2.60 postage. 1 Publishers: Silver Burdett Company materials for he Armed production of war interrupted the United Nations have give time Forces of contacts with Its many friends and Historical Angle its normal A New Musical customers. General Motors is spon- peace-time down his ideas in of assuring its the composer puts distinguished sponsor. Symphony as a mean'- When cli of such a soring the paper, he becomes imme- man country . ,rve directly blots on music l in this cannot now little e. c that radio whom it hum fact customers, performers The the com the mercy of millions of of competition in in a lar^ei way through diately at nctpd bv the spirit it is serving them If the Anyone that desire to perform that music. need hardly disturb production—to speed the victory who may merclafworld its wartime intelligent in- have given of Piano Touch countries du come into the hands of an readings which gifted interpreters The Mystery radio in European J bring a resumption of our normal notes the familiar with which will is fortunate, but with American radio has terpreter, the composer to masterworks. tone from peacetimes knows that sound like pianists elicit a better ^ associations.” , bungler, the music may Music in Performance Why do some it has> ha^SO the ordinary History of ahead. And the fact that Orchestra recently signed a “The others? Why do some pian- been far has The Philadelphia such as never entered the mind Dorian the instrument than due to the fact that it series of weeky a hodgepodge By Frederick disposal a veritable much to offer has been contract to give a wildest nightmare. apparently have at their sure there three-year of the composer in his 387 ists for advertising. To be on the Columbia Pages: methods of caressing the been an outlet Saturday afternoon concerts Dorian, in his “History of Music assortment of different advertisers favored wM Thus Frederick Price: $4.00 these various was a time in radio when series of this combe: season technic of interpre- Inc. have a taste for applying all network. The Performance,” traces the W. W. Norton & Company, keys and music was not sponsored at through April in Publisher: performance of master jazz, when good on October 2 and extend 30^ just as important as the music touches artistically in the stations to fill begin tation, which is by local 1 00 to 2 00 met an old Russian but largely broadcast programs will be heard from works? Your reviewer once has changed. The itself. mas- not sold. But the picture musical director who claimed that he had time p M. EWT. Eugene Ormandy, fifteen chapters, covers The Operas of Ioday pianist in Prague frown upon this new in- most The book, in its kinds of touch. There are some who of the orchestra, will direct the Baroque, tered over one hundred different there are and conductor of Modern Interpretation, of books in of industry and art, but Otlier guest-con- Birth decades ago the number clear that he had not terlinking concerts in the series. Classicism, Phrasing Three When he played it was sign in the devel- of the Rococo and Enlightenment, consideration of the and his others who view it as a healthy the orchestra from Victory English giving intelligent the compositions themselves ductors will also appear with Tempo and Metronome, outstanding mastered American radio and one that con- and Dynamics, were very few. The made his playing ridic- opment of will eminent soloists. Power and Vir- great operas gallery of various touches Following time to time, as of Form, Classical Romanticism, of Upton and as- our democratic principles. has been at that time were those asked for small financial forms to Biggs, the organist, who Opera, Between Two Epochs, books ulous. Later he States Rubber E. Power tuosity, Corrections, from time to time that he DR. EUGENE ORMANDY hard on the heels of the United the Columbia Correctness, Kobbe which have appeared we were obliged to admit a series of concerts on Objective Present, Historical sistance and of the Philharmonic- presenting The revised editions. Company’s sponsorship > - Gateways of Inter- in enlarged and master of one kind of touch. network for some months (Sunday The Objective Revolt, New music was a Orchestra concerts throughout the English critic, Ernest Newman, com- Symphony extended his recitals lately The American Scene. The the matter of touch in many national broadcasting of the NBC A M EWT) has pretation, and Times, whose sage Teachers approach he General Motors’ sponsorship of of the London Sunday parrot look forward to a high year, artists in performances and so masterly in critic The best known is the pany has a right to important advancement in include other noted The book is so significant analytical mind now pre- different ways. Symphony is another past sum- for all judgment and keen to imitate for the NBC Symphony Thus, during the that it becomes a must which the student is asked T musical fulfillment which confirms, as an offi- old and new music. its presentation upon opera which deals more method by programs American radio, one pI C about sents a new book tone or the year since the different occasions. Bi-.W who desire to learn more the sense of hearing the teacher’s Orchestra this coming radio has mer, upon . serious musicians great operas m by the of NBC has said, “the belief that fl ri ,„ detail with t-he really orchestra are to be sponsored cial the Stradivar in hears through phonograph records. of this famed radio listens to great the Arthur Fiedler Slnfonietta, companies of to-day. The tone which he sponsor- so enlarged the public which the bos repertory of the opera seems Motors Company. This Speyer, first oboist of Trova- approach (the physical method) by the General industry now finds it advantageous Quartet, and Louis considered range from “II Another the plans or pro- music that programs thirty operas Gray’s “Anatomy” and is ac- ship entails no alteration in ton Symphony Orchestra. Biggs’ “Otello” and “Parsifal. like a page from to address itself directly to that group.” tore” and “La Tosca” to muscles orchestra. The twenty-four-week he presents is P a glossary of names of grams of the Symphony concerts, under well devised, and the material operas have been per- companied by divided The series of NBC Probably thirty thousand or less confusing starting October 31, will be concerts are oro thou- nerves, all of which is more winter series, Motors, continues the 5:00 to 6:00 P. M., ticularly worth while. His Towers listed twenty eight and Toscanini and Leopold General Un formed. John equally between Arturo Germanic Museum of Harvard to the struggling student. Frank (EWT) Sunday hour schedule. Ben Grauer con- from the sand some years ago. as originally announced. And United same which Stokowski, announcer, and the set-up sity, now the headquarters of the story of the opera and at the more scientific is the approach the summer series. tinues as year-round To give the Perhaps Black will continue to conduct School. interesting com of the piano mech- of the orchestra remains the same except for a Army Chaplain . a time present an authoritative, begins with an investigation of the NBC Music ’ Samuel Chotzinoff, manager distinguished Dutch Pia the long ex- book by Betah few changes. The most important of these are Egon Petri, the mentary upon the works requires anism itself. An excellent new that the orchestra is looking for- morn ng York Division, says Heifetz, former solo who has been heard every Sunday writing skill which Mr. New- well-known piano teacher of New “unprecedented musical the addition of Vladimir perience and able Reeder, a ward to a year of (Columbia networ Nearly twenty of the piano in world- violoncellist with the Philadelphia Orchestra, 11:05 to 11:30 A. M.. EWT man’s work manifests throughout. City describes the mechanism under the direction of e subject achievement” continues to contribu are devoted to each opera It presents the whole reason for this who now shares the first desk with Frank Miller; for some time past, pages on the average relation to touch. conductors. There is good v- ^ scien- famous recitals by . Liberal, well chosen understanding, and Benjamin Kohen, the new bassoon player. In of the most delightful piano this voluminous work. of touch and tone from an recently remarked in this de- in comment. As we selected this collection a very seen through a fine, expei l- the new series Samuel' Chotzinoff will resume his radio. Petri’s programs are _ examples make standpoint as under commercial sponsor- £X notation tific partment, programs modernists, and 1 the music room. It is readily mind. The chapter titles rating of listener commentating role. classics as well as the valuable addition to enced well-ordered ship inevitably find a higher mu the book is as “The Char- Jr., phrasing offer to students and plan of the book, such sponsored. There are un- Alfred P. Sloan, chairman of the General pressive playing and fine understandable indicate the interest than those not Pe The work now Tone”; “The Piano sponsored Motors Corporation has already expressed his the student of the piano. Technically, highly recommended to them. acteristics of the Piano a number of reasons why The doubtedly was published of Touch ; elation over the alliance of the NBC Symphony few peers modern pianists. appearing in one volume formerly Touch-Action”; “The Types acquire greater audiences, the main among the broadcasts parallels which sold, it is said, 270,000 Tone”; “The Energetic Process ; advertising they receive and General Motors. “The American people have American history is filled with in three parts Sustaining of one being the wider is ^ of the Piano a growing appreciation of fine music,” he states, Doren. It America alone. Pedals”; “The Evolution There is also the fact that present day, declares Carl Van copies in “The through a sponsor. 1S any ambitious “and there is more reason now than ever historian Stories of Famous Operas” The work is one which find a wider outlet on a radio before parallels that this widely known “More Touch.” sponsored programs Allie may read v. ith to make it available to them in their homes. “The Newman teacher or advanced student be no question of a doubt that In stantly emphasizing as host of . By Ernest chain. There can the Sull all the the emergency of war, with its pressing demands feature of Pages: 590 profit. many radio stations cannot broadcast Scriptures,” the intermission might wish, upon everyone, it is important that we retain in- day of the Philharm Price: $4.00 good music programs that they afternoon broadcasts ^ been previously so-far as possible these cultural and educational Van Doren Publisher: Alfred A. Knopf to the fact that time has Symphony Orchestra concerts. “The Singing Touch” owing activities which have so advertisers. Many read- enriched Americans in he likes that illustra sold to local or national to select episodes By Betah Reeder different points of the all walks of life. ers have written from human qualities of the past. . Pages: 64 local stations do not “The assignments given General Motors for the to condu country telling us that their Dimitri Mitropoulos is scheduled ^ Price: $1.25 programs of the NBC Symphony concert Philharmonic- books Galaxy Music Corporation re-broadcast the of the New York Berlioz Publisher: music. Dores' famous caricature of worth-while hours of 5. and Gustav and other similar phony Orchestra on September . choir General Mo- ap directing a massed 567 large sponsor, such as Arrau, the is announced Naturally a RADIO Chilean pianist, ^ MARCH WITH MUSIC” wider outlet, since it stands Concerto "FORWARD tors, can establish a pear as soloist in the Liszt “Piano SEPTEMBER, 1943 stations previously reluctant on P<*9e to reason that many in A major.” Howard ( Continued "FORWARD MARCH WITH ETVDt .566 MUSIC THE ^ < —

Music and Study

Music and Study

Various Matters and Cosmopolitan way of explaining the Nationalist 1 Is the best Table scales Grieg— major and minor difference between Round where the interval chang to tell the pupil The Teacher’s scale as a perfect “Tlf there any such up with a Grieg eighteen years to meet single Personal Recollections of Edvard pupils begin girl. Most of us have ^VXt^melouTd the Monthly rebel like your had Uunk pieces, or do you Conducted seems i but this diffi- to study harmony, to train nothing (it instruction books enough. scales, and all our lives! I'll wager that pupil who plays easily and cult species 4. I have a Expressly for THE ETUDE by give her, but seems to Tablers are able -to prescribe Written well all the pieces I many Round pieces without want to be learning new courses or cures for your girl much bet- with her. She wants m^go ng over them of us knows that right What ter than I, but any to see "if She does them er like that. /) Wjcd nothing you can do except to would you do with a pupil 1 there is teacher of one of my PUP' 1® and the rest of the 5. A former take her off Czerny down above the major scales. "modern” Cjrainyer wrote he meant y»y Mus. Lluc. pedants and go all out for mu- Pliclridye he played in fifths.” I take it Percy the scale. Also, by "modern” I mean light, color- d, a, e, b, f-sharp up Pianist sic And c g, be played m Noted the flats he wrote, "to material; arrangements of Krelsler, over e-flat, ful Does that mean f. b-fl-b Educator Friml, Gershwin, fourths.” scale and Music Strauss, Victor Herbert, d-flat, g-flat, and c-flat up'to® NORWEGIAN MASTER a-flat. ; OF THE GREAT a book on Modu boogie-woogie and "swing.” Just re- CELEBRATION OF THE CENTENNIAL fi Please recommend even organ, IN on the wi ll taught they lation' that I can take up member that if these arc m S< each hand separately very valuable both technically instruction would you Practice with can be 7 What book of tinned study? musically to a student like your recommend for harmony . . and a piece called Kalei don't forget that just 8 I have taught Ume^ W n ornery girl. And Four idea that it is some- the thing for the Jtvst Part doscope.” I have an seeing and yei perhaps passing through a get exasperated m now she Is like a Calhope^^ lo do’ I satis thing rigW^entucky. Her parents are quite period In her development, sorrv for her. good most difficult really getting a fied7 staceshe is hook or crook, you can keep wonde - f ' 1 and if, by groundwork, but I in 1 Yes. musical and De the piano for another Mr. Grainger who was overcome her handicap up her Interest In of a most interesting article by are used. There is will ever This is the final section 2. No such terms M. W„ Maine. In the end you II be able to composer.-EouoR s Note. are a real player.-M. year or so, faster son of the great Norwegian scale, but there ( an artistic only a single major Correspondents with this DeP very laudable objectives, “to a sense natural hunt Lftte!J s attain your varieties of minor: the merit arc requested to experience I have musical founda- several and Fifty Wo* a*. all my teaching achieve a good minor, and the to One Hundred In have her minor, the “harmonic” three students with youi want to do for had only two or tion ” That's what we minor. had been “melodic” , Either they But what different in music. But girl’s difficulty. them all, isn’t it? to give Norway a world-voice minutes time should be taken exaggerat- will opine that this work— 3 A few deliberately taught excessive, must follow to achieve it. erhaps the reader one of the most from the first, to paths we quite the contrary! Grieg was at every lesson, right or carelessly per- great Joys and so frequently performed, ed, yanking downness, only one of the condition of being of men. In a tragic student in the elements of That's to disappointed and frustrated instruct the improve astonishingly m play with lazy, devitalized teacher So, I beg you, Grieg, may have led him Many of them mitted to responsibilities of a P that came to to me: “Do not make the and theory. control under prescribed regret tone of voice he said harmony finger independence and In each case I girl; you’ll never succeeded in his life’s mam whole books of new down-touch. "go easy” on your feel that he had mistake that I made. Do not 4. I’d feed her pupils it is dan- up-chords, its restrictions. For other diet of pure up-tones and swallow them. a it if you do. for the pieces as fast as she could constriction at the wrist rapidly neglect the great gerous, since the slowly and softly at first, then I’d slip in a very dif- on Every little while tense angles, and often dis- single handed but small!” This shortcoming hard to creates new, and incisively, never and would find of nature) , ficult one which she full arm freedom. time at all part, he freely admitted, the hostile elements rupts forearm and together. In no Fundamentals r his (symbolizing build up her mu- always hands Back to but which would will find many of othei his poor back to the haunts of men. digest I am sure that R.S. were playing as well as the help n»- with two stu- arose mainly out of unable to find his way stature. By all means they Will you kindly and technical as the Leschetizky be high li - sical the older schools such But watch out! You must dents. one a freshman health, resulting from severe fair blue waters the pieces she wants by students. “Fishes in the let her study all advocating low wrist. In my correctly and other a Junior high boy.’ Ik** “method” teach up-touch the all one lung during to work at them sure to teachers v ” taugnr damage to And herrings seaward win; is willing Les- > from herself , if she with an eminent previously youth I studied convincingly. For an accurate description Now they suffered when he kin, ' foundale with you afterward. extremely for show and no pneumonia Many a one greets kith and thoroughly chetizky-ite who played with back files of your tun no regard have been clearer of up-touch see the come to me: no sense of boy of about sixteen, are kin. Yes, but it would to do so, with to play much was a Yet knows not they 5 low wrist and taught me look up .the Tech- fingering. They want cycle of fifths Round Table pages, for technically “If I work played in a - r ' in Leipzig. to say “to be to say) not altogether happy material than they studying waters (I’m sorry nistory in the September (1942) Etude, harder Fishes in the fair blue doing. four hours at a himself recommend- capable of , . longer than results. Leschetizky the Teachers’ Manual of “Play- and filmf fth squirrels up on high '°6 Modulation,” by Preston or secure girl is doing fourth And /"Manual of for most students, I believe. The stretch I suffer for it for ed low wrist by Maier and Corzilius. and the boy. fou5*‘ ° mate so dear; ing the Piano” grade material a Everyone has a Ware Orem. in authority please cor- getting them b = he said, giving that as Har- (Will someone would you suggest days,” have I!” basic elementary study, Certainly get a few " Never a one 7. For rect me if I am wrong in this?) place where we can the main reason why he Beginners,” also by Orem. <«“ourag* Bo ->k for his well-known assistants A Rebellious Pupil mentals and yet not ballad may, if we wish, be mony dic- several of orr an>«tow the large-form This doom-fraught them up in your nearly forteen years of age, has both dislike scales abandoned 8. Why not look forceful issue of the low- A girl, They fate of Nordic have made a just rin manhood viewed as a lament for the tragic been studying the piano for nearly four except things that ^^' Nebraska works of his early and writ- c _ tionary? wrist position in their teaching taking lessons irregu- the world—are drowned in the years. She has been for compositions of smaller men who—all over master, Leschetizky intelli- ing. As for the great larly, every two weeks. With her killed in the wars as soldiers, begin in’** dimensions in later life. “One seas as sailors, Wrist all gladly admit that he pro- gence I felt it advisable to have her do! Get them Low himself, we I know what I'd loneliness as “boundary riders” on recitals I be- in Mathews’ "Standard Graded Course." 1 write symphonies and turned mad by of Iturbi's recent first-class pianistic results. Wheth- thoughtful, stimulating cannot At one duced in Book III. As a ested in or otherwise his hand position She is now working no stations (ranches) , came very fascinated by high or low wrist didn’t soft c operas if one is limited to four Australian sheep unusually low er he taught supplement she is studying Czerny’s nical work-brilliant and and mom especially by his bloc*eu re- or wasted through their unaccountable practice period to matter one bit! "School of Velocity"; also Presser's “Scales finger exercises. hours of work daily,” he destroyed position. In my next seem short, slow-fast pursuits. wrist and was Cadences.” She has been assigned tave dangerous and loveless observations all technical approaches, you and °c ' preference for I applied these As with scales and arpeggios and marked sadly. splendid results. The low pieces from Music of the Masters as well of for self-torture in the Nor- amazed at the must experiment endlessly to find out, seen a student of the the smaller dimensions Whether this appetite greatly improved my play as other interesting sheet music. never yet But wrist position best for you; and next, wo replete with meaning, it cast an en‘ir *f first, what is She finds her study material uninter- and girl who did not works were not dic be meaningless, or ing of Mozart and * your boy of his later Chopin Etudes that I is best for each of your students. esting and never has a well-prepared les- .challenges province of art to record ferent light on the what -a beaver to master sensible, cause of his sharp certainly is within the practice anything but the only Most of us know to our sorrow that the son. She seems to was interestingy contemplation of the forlorn there in technic—provided it of defeat. He a mood inspired by '^^woukThke to inquire whether meat” being her assignment and shows little interest consciousness investigate old saw about “one man’s presented. I mamtaffi^ persecuted of all races—surely piano method that I might exercises. and vitally bitterly insulted at the fate of this most is a position poison is only too true in all felt embraces this type of wnst the other’s Could you suggest something which enthusiastic interest m rejected of men.” This is which should that the non-performance the most “despised and is a position which fields, and especially in the might provide her with a new enthusiasm can be consistent or whether this technical flash in the pan. but this immense trifle. hand. It has been such toward her work? She definitely refused is not a creations that what Grieg has done in be natural to the matter of hand position! So, R.S., if you of those of his to my playing of b to accept an assignment in Czerny at her “hot” for years. for Male Voices, Op. 30” (settings of a "clearer-upper” the your mind as wide open as it set greatest store by and 2. “Album I believe it may be always keep last lesson. She describes it as a monoton- das he liant passages that and girl some baritone solo and men’s Yor . will finally reach the Offer your boy ^ folksongs) for should follow.—R-S., New is now, I think you ous, boring work (I might add much of mak considered to be the truest Norwegian method I which will of Grieg’s that low wrist is best for cer- her time is devoted to playing popular or brilliant pieces Here the extreme tenderness model conclusion them. ^ expression of Norwegianness. chorus. His letter is a music in her own style). Since she is the will not discourage of voices Bravo for R.S.! tain controls, level for others, and high show but muse finds in the honey-sweet sonority Just be- only pupil in my eighteen years of teach- the These were: sense and intelligence. over Pennario’s March of expression than of good for still others. ing experience who has caused smoother and more rounded with an exag- much ea 1. “Den Bergtekne” (“Taken a often plays Helen Boykin's "Concerto,” " . cause Iturbi anxiety on my part, and because I desire or ^ n0 attained with instruments. In because this or “Lost in the could have been low wrist and to have her achieve a good musical founda- “Concerto in A minor, in the Hills,” geratedly liams’ . iJ( Folly, d°esnt Coordination collection the song, It is the Greatest has benefited R.S. he Hand tion, I hoped that you might have some- Concert Waltz, Federers Hills”) for baritone, two this position young pupil weth’s , gems. say, Ergo, I have a very intelligent thing special to offer for that particular Story oi of the rarest of Grieg’s harmonic at rash conclusions and Whitefield’s The and strings; the setting is one jump ten years of age, daughter of musical par- type of pupil. She reads Dancer. , horns, to play the well at sight, for orchestra (they are way for everyone has the greatest difficulty in (Boogie-Woogie), Nevin de- 3. “Symphonic Dances” the best ents, who has a keen ear for music and is a com- Alligator s, of an archaic folk-poem hands. She reads both Tune duet by the with a low wrist.” coordinating the two prehensive student, but is wayward and American arranged beautifully for piano piano is part Inventions on . scribing a man led astray in also wrist is nat- clefs quite well, keeps excellent time, lazy the c m a low when technical side of music is of the ( Continued on Page 616) some pianists Rosalita, or any composer) . These four For scales very well several octaves with presented,. P. Mainville’s hills by “giants’ daughters” except for brief “special does — L. V., Wisconsin. a the ural; for many, both hands together, and yet after she ing arrangements of Kreisler PERCY GRAINGER unwise. A temporary of ^ it would be has apparently learned each hand a they 569 effects, All of us teachers envy you, for Your statement that or high wrist to or piece perfectly, meets her Water- we MARCH WITH MUSIC from a level study 604 ) "FORWARD change them together. Con- wish we had been lucky enough to ( Continued on Page beneficial to students. loo in trying to put wait SEPTEMBER. 1943 low is sometimes ETUDt FORWARD MARCH WITH MUSIC” THE 568 —

musical questionable and vague traditions? The he very purpose of a Music and Study have contributed to the is to communicate Music and Study personalities who prog- song a development of music in Europe have Tmessage. This message con- ress and traditional lines. poet and- the com- not bothered to follow veys how the open throat and mouth, in so far We know that Wagner treated the Beethoven poser feel about a definite human as you can, for resonance, and to singer’s respon- scores in a most personal and untraditional way; experience. The let the voice out, even if at first the spirit of sibility is to arouse these feelings the words are far from distinct. but Wagner understood Beethoven Communicating himself others. the words will and felt that Beethoven would have in Gradually, sound “Ninth How do professional singers more and more distinct as The Three T's scored the Scherzo of the Symphony” in their listeners to think purposefully reeducate the same way as Wagner revised it, had the horn arouse you the feel? In the first place, while tongue and lips to pronounce in Beethoven’s time possessed valves. The devel- and song they keep their every syllable clearly in the en- opment of orchestral instruments has led our singing a The Song’s Real Message Technique—Tradition—Typing the Artist minds completely occupied with larged mouth cavity. sense of sound and formed our taste in a new message and allow no outside To reeducate the muscles of direction. its thoughts to enter. Then they articulation, all my students find On the other hand, we have lost the ability to with utilize all the technical skill they that a knowledge of phonetics is An Interview produce certain musical ideas with the same have developed to make this indispensable. Phonetics is the effects that the composer desired. The roles of by (dpijstal llJa/ier3 message clear and beautiful. This science underlying speech sound. Violetta in “La Traviata,” and Gilda in "Rigoletto,” is much more important than It gives a symbol for each speech ddricli cjCeinddorj^ were originally not sung by a coloratura soprano, may be supposed. If a singer does sound as well as the tongue, or because this type of voice did not exist. The Conductor of the Metropolitan Opera not concentrate on the message, tongue and lip position w'hich Former dramatic soprano took the coloratura roles and his voice will not carry feeling results in the maximum of res- she was expected, as a matter of course, to have into the mind of the listener. Unless words are fond arms forever. Obviously, this is not an actual onance with the minimum of effort for each the ability to sing the light coloratura passages. SECURED EXPRESSLY FOR THE ETUDE BY ANNABEL COMFORT clear and understandable, the specific images experience. The girl would not be alive to repeat vowel; also the tongue, jaw, and lip movements Take a look at the original opera scores of Verdi which vivify the experience are not awakened. the conversation, and Death is not a talking per- which result in the maximum of characteristic and other composers. They do If the tonal quality is not enjoyable, the singer sonality. This is but an imaginary experience sound for each consonant with as little inter- _ not contain the embellish- fails to win the sympathetic understanding which which serves to communicate the message that ruption to the flow of the voice as possible. It is young conductor, Erich Leinsdorf (born February ments and notes above the The brilliant deepens and broadens the listener’s emotional Death need not be feared; and a singer’s im- well worth while to study phonetics and to apply relatively short life has had a wide 4, 1912, in Vienna), in his high C that are sung to-day leading con- aginative experience will convey that message to its principles to the singing of syllables. variety of experiences before becoming one of the reaction. protege of by the modern type of high ductors of the Metropolitan Opera Association. A Too frequently vocal students who sincerely others. Again, Moon-Marketing by Le Gallienne Before starting the daily practice, it is very he immediately at- coloratura soprano. These ca- both Bruno Walter and Arturo Toscanini, hope to sing in public waste their time and block and Weaver is a whimsy about a trip to the moon. important to spend fifteen or twenty minutes appointment to succeed tracted the attention of critics. His denzas have been added to fit Imaginative Symphony has at- their progress by singing a song over and over experience can be so poignant and limbering up the muscles of articulation. Here Rodiinski as conductor of the Cleveland the range and capabilities of giving its message. Mere realistic that it will enable you to sing are some exercises for the jaws, tongue, lips interest . Editor’s Note. without a thought to any song and traded great present-day coloraturas, our repetition accomplishes nothing. When a singer’s with genuine depth of feeling. Suppose you are which will induce the flexibility that allows the singer arranging special each mind is engrossed with the mere act of singing, singing Give a Man a Horse He Can Ride, by free action of the enunciating muscles in the passages to fit her own florid the song loses significance, its message becomes Galloway. Although you may never have been on enlarged mouth cavity. This is being personal wishes. a blank. People will not pay just to hear singing. a horse, imaginative experience will enable you all the done in performance They want to think and to feel. to communicate the deep satisfaction derived To Exercise the law often time and is an accepted fact. he TECHNIQUE of conducting is from horseback riding. Or suppose it is My Lover 1. Notice that the tongue is relaxed to the lower Tradition is reborn with stressed at the expense of what conducting Discovering the Message Is a Fisherman, by Strickland. Although you may front teeth when the mouth is closed. Stand be- concep- each generation and some- T really means. A clear, interpretative To discover the message of a song, slowly read never have been in love with a fisherman, or fore a mirror and slowly drop the jaw without with each tion in tho mind of the conductor is the basic times, one may say, the words over and over and ask yourself ques- anyone else for that matter, imaginative experi- pulling back the tongue. Repeatedly swing the ideas to personality. To regard it ence will requirement. The power to communicate great tions like these; What human experience does enable you to convey the thrill of being jaw farther and farther down with a backward mysterious qualities permanent is in love. the orchestra is one of the as something the song relate? Who is supposed to be singing? movement toward the spine without disturbing conductors All aes- of human personality which some completely erroneous. How does this character feel about this experi- the relaxed tongue. secret which Our The Singing of Syllables possess and others do not. It is a thetic values change. ence? What changes in feeling are there? Where 2. Expand for a deep breath and prolong a analyze shall different escapes our attempt to define and — sense of timing is are the changes? What does each line mean in John Charles Thomas is an outstanding ex- whispered “Ah—” without disturbing the tongue conventional generations. ample of artist we call it personal magnetism? The from that of past relation to the experience? How does the music a vocal whose rendition of a song which is relaxed to the lower front teeth. When conventional symbols of conducting are few. The Our sense of beauty is differ- amplify the feeling content within each poetic makes its message both plain and beautiful. How this becomes perfectly natural and easy to do, diagram of the beats is well known and easily ent from other generations. line? does he do it? In the first place he thinks and sing the phrases of your song with a swinging of rehearsing and mas- feels the import of the learned, but it is the technique We can present the great The next step is to think about this experience human experience ex- jaw: “ya-ya-ya-ya-ya-ya” without disturbing the important, a knowledge to pressed the song. Technically, preparing a work that is ter works only by trying until it becomes associated in your mind with a by he maintains relaxed tongue. possible as a result of a general with open throat and mouth spaces for resonance of the work made ERICH LEINSDORF grasp their lasting spirit definite experience of your own. Then dream and 3. Eliminate jaw stiffness by waggling the lower to let his voice out. As result, his musical education. the means which we know. about your own experience. Let it grow in your a voice sounds jaw around into laxness. Sit at a table, place the considered a general musical rich, vibrant, and mellow carries What should be Such considerations have imagination until it becomes an experience so and out his sin- elbows on the table, your fists under your chin. It is the education as a requisite for conducting? a different type of gesture, the gesture being a been guiding me in my work, which has taken unusual, so ideal and outstanding, that you can cere thoughts and feelings. Also, he handles his Now repeatedly swing the jaw down against the least two instruments, one of matter of the relation between jaws, tongue, lips agility capacity to play at the orchestra and place to a great extent, though not exclusively, call it an experience—like watching a storm, or and with acrobatic to resistance of your fists. string instrument and the the conductor. which should be a For this reason the gesture can- at the Metropolitan Opera in New York. I have feeling the March wind blow through your hair, pronounce every syllable distinctly in the en- one the piano; a knowledge of all the in- not be practiced, and to emphasize it is to larged mouth cavity. His tongue is so nimble To Exercise the Lips other a mistake. always felt that it would be useless if one tried or seeing a common little grey bug turn into an that in the orchestra and their technical To stand before a mirror and practice he can shake it like rug, it like struments softening perform Wagner in the style of Bayreuth, and iridescent, winged butterfly. When all your per- a make crawl a 1. Drop the jaw and extend the lips forward in problems; a study of at least four years encom- a passage with the left hand snake, stand on end, or it loop the loop. may look well, but even if it were performed in this style, one would sonal feelings connected with this experience make open circular form, then let them relax and re- passing harmony, counterpoint, and composition; it may happen in the actual What about your rendition rehearsal and per- have to add the question, “In the style of which come alive in your mind, you are ready to sing own of a song? turn to normal. Repeat ten times. and the ability to sing no matter with what kind formance that there will be nothing to Once you decide on your message, do you make soften. It Bayreuth?” It is little realized that the Festival the song. Its message must be an expression of 2. Alternately extend the lips in a closed cir- of a voice. To conduct opera, a thorough under- has been proven that conductors it sound both plain and beautiful? whose actual Management in Bayreuth engaged outstanding your personal feelings in order to carry the au- Or are you one cular form and then stretch them back smile- standing of singing is absolutely indispensable. A beat is not clear still obtain wonderful who either sacrifices beauty of tonal quality for results personalities without giving them directions for thority, conviction, and sincerity which arouses wise, and do this without stiffening the jaw or conductor trained only in instrumental music will from orchestras, because their distinct pronunciation, or sacrifices distinct pro- conceptions are interpreting Wagner’s works. When Richard similar feelings in others. disturbing the relaxed tongue. Repeat ten times. have no conception of the task of the singer. A clear; and in spite of their arms and Not nunciation for beauty of tonal quality? When hands, the Strauss conducted “Parsifal” several years ago that it is necessary actually to experience 3. Start with the lips closed lightly and puff music is profound knowledge of chamber im- communication of their ideas is clear, all the circumstances you try to pronounce your words clearly, do your and thus at the Festival many things to be revised, set forth in song literature them apart with the breath, as for the sound of is stepping stone had portant, as the string quartet a they achieve clear performances. in order to sing tones become pinched and thin? When you try “p” and the whole performance was thirty minutes with conviction and depth of as in “part.” Repeat more and more rapidly, to the symphony. I would recommend also a study to maintain an open throat shorter Such feeling. Even if you were willing to do so, it and mouth for until the breath keeps the lips fluttering con- Tradition than when conducted by Karl Muck. of the legitimate prose theater to the student who would not be resonance, do you fall down on pronunciation? differences, though not common, have always possible. Many songs relate purely tinuously, like those of a horse when sneezing. wishes to become an operatic conductor. The blind following Well, it the of tradition is one of imaginary experiences that grew out of you can make purpose of your prac- 4. Repeat the first part of Exercise 3, adding the been acceptable to Bayreuth; many a con- some basic misunderstandings and tice in the musical life commonplace happening the poet heard or read to develop the two hand in hand. the five common vowels, as pa (ah), pe, pi, po, Musicianship First of ductor who, I am certain, survive one to-day. Strangely enough would not Of course, the first essential the American is very about, but they carry a message. Consider Death is to maintain an pu. Then repeat again with a voiced sound, as act at the Metropolitan Opera in New York, has Schools for conductors and courses in conduct- conscious of the lack of tradition and the when it Maiden, ba (a) , be, bi, bo, bu. comes received its fd" by Claudius (poet) and Schu- little if the students are highest blessing. Therefore, the ing are of value not to the field of music, ' forgetting completely bert (composer) for instance. At the start, r- that tility of chasing obvious , a thoroughly trained musicians, or if there is no it was the a “Bayreuth tradition” is To Exercise the Tongue abandonment of European ' dying girl is begging traditions to one fu Death to pass her by be- orchestra available to conduct. To practice con- in the field of who has known Bayreuth, just as it is all important ideas of cause she is so young. Then Death reassuringly VOICE 1. Drop the jaw and, without pulling back the human life tile to chase any ducting before a mirror or with one or two pianos which made this country great. European tradition. tells Why then should ye Her he is her friend, and she can sleep in his lips, curve the tip of ( Continued on Page 604) worthless. Each symphony orchestra demands the American Having lived in this country for the past fi is musician be so eager to acquire years, I have 615) found that ( Continued on Page SEPTEMBER, 1943 "FORWARD MARCH WITH MUSIC” 571 570 "FORWARD MARCH WITH MUSIC” the etude — —

Music and Study Music and Study second. Try the sound on the piano. Middle C, the C above, then upward play G, C, E, G, B-flat and C. Now this spread piano chord represents the Function? range of sound produced by one note upon the Musical Memory organ. The middle C is the unison or pitch and Does Your Two Approaches the other notes influence the quality of the tone on that middle C. The piano makes this chord sound like a dominant seventh chord. Not so fflaryuerite 'UKt-man the organ. Harmonics, or upper partials, have to listen Ip be tuned to correct physical tuning—and may HEN YOU GO to a piano recital and to Organ Tone not be taken from the keyboard which has equal keyboard, do you to a great artist of the for him to temperament tuning. Equal temperament tuning wonder how it is possible the art of attention ever art memory is W 1 true of of harmonics produces incorrect color. The which you “The remember faultlessly all the music to ^ Samuel Johnson pianists to natural tuning is possible because different sets listening? The writer asked many are bu Ernest ^lAJbite of pipes are employed for each harmonic. Do not let this confuse you. The keyboard of the organ still will give our usual tempered scale—but upon retention is possible because different forms of each of the notes of that tempered scale there Then I begin to mem- once. are three unvarying patterns for every page. When I there will be many pipes producing color sounds. One orize page by First, there is the pattern Ernest White was born in London, Ontario, and studied at the Toronto Conservatory under Healey musical composition. consideration is vertical and the other is scale- bed at night I cannot Willan and Ernest MacMillan. Later he studied organ with Lynnwood Farnam. He was formerly organist go to symbols which is the musical score and is I have of of the Brooklyn Museum and of St. James' Church, Philadelphia. His present activities are as organist wise, or horizontal movement. fall asleep until the pattern of sounds recorded optically; then and musical director of the Church of Saint Mary the Virgin, New York; member of the faculty, Pius X thought through the mate- recorded auditorily; and lastly the pat- School of Liturgical Music, Manhattanville College of fhe Sacred Heart, New York. He is active also The Approach of the Classic Period during the which is rial I learned the fingers on the as a concert organist . Editor's Note. tern of motions made by This point of view—the producing of a com- hear it note for day and recorded klnaesthetically. cannot keyboard, which 1s plex tone from many sources—is the approach note, mentally. If I pattern alone can represent the music, and of the classic period. The seventeenth and through, I get up, Each think it musician, that one when one is presented to a eighteenth centuries knew no other. The pre- the piano, and find go to retention. It must be em- is often enough for OR SEVERAL REASONS the study of tone In the first instance, with the light breath, we Bach writers and Bach wrote for an organ built is wrong. out what musicians are un- phasized, however, that most is a complicated matter. The first difficulty produced a simple tone—due to the nature of the on these lines. With this complex tone the bass patterns, and when Procedures to separate these three Fis that we have no words in our language pipe construction—the most musical tone it had, was made clear and sprightly and the treble Various able physically, the musician auto- with which to express or delineate shades of tone even though there was was given weight and can close their one is presented Some people imagined matically translates that pattern into color. We may say that the tone is loud or soft, little harmonic develop- definition. The high eyes and have visual images patterns in the other sense fields. bright or dull, but further than that we are ment. With an increase pitches, when done cor- that are as clear as the printed This power to imagine sounds one never has limited to allusions and comparisons. The second in pressure the har- rectly, produced co- page. A young Canadian violin- for sounds, or to difficulty is is general standard of monic contentincreased hesion and color rather insists heard, by looking at symbols that there no ist of my acquaintance notes or a pattern of motions when one taste. We have to rely upon our personal judg- —but because of the than squeal. In places that she reads from memory as imagine heard only a melody, is one of the most useful ment—and that judgment is constantly changing. manner of producing where high pitches easily as from the score. All of has practicing musician. For want of a We grow and develop in our tonal taste as we the tone, more har- squeal it is the pipe it- us know people who have devel- tools of a shall, in this article, call t is grow in other spheres. A string quartet player has monics than the cor- self that is at fault oped auditory images and who better name we musical imagery. Imagery in this sense a finer tonal taste than has a singer of popular rect ones appeared with not its pitch. Within are able to play from memory, power the merely translates. For many music. The things they wish to do with the tone the original sound. This the last ten years the although they never have seen is not creative. It through the composition once. poorly developed are radically different so their judgment of what mixture of correct and old point of view has First, I read it is an ability that is — memorize, page by page. the notes for the music they are musicians Then I begin to For others it is a con- is good tone is influenced by the use they have false harmonics pro- been revived in Amer- playing, and may have heard and largely unconscious. mechanism. for it. The string player will be attracted to a duced an effect of ica. To understand the the composition only once. sciously used memorize. A large number Page oiu tone that is clear and clean, standing upright on harshness and aggres- need for its “revival” they ( Continued on explain just how Reproducing memorized music through such The degree of They merely play its unison as a young athlete upon his mark. The sive, unyielding quality. let us follow the history said that they had no method. until they no longer saxophone player will consider a smooth, round, In the third instance of the organ in Eng- the composition repeatedly have very def- and slightly to best—for it is best the pipe was overblown land. need to look at the score. Others heavy tone be agreement of memorizing. All are in for his purpose. These are the two extremes. so that no unison tone During the reign of inite 3.ways Dr. Johnson. (violin present, and there the gloomy with the memorable axiom of sage The difference between the two tones was and tyran- mind must During the process of memorizing, the and saxophone) is one of physical composition. was such a variety of nical government of alert. One noted pian- The in-tune and out-of- Cromwell, the English be acutely, incandescently saxophone tone is largely unison sound ac- to be as attentive as an companied by few, and not too strong, upper tune harmonics present churches were brought ist said that one has a are a few observa- partials that no musical use to a low point. animal after its prey. Here (harmonics), while the upright, brilliant The violin could be found for such buildings were stripped tions of successful pianists: tone contains a small amount of unison memory of motions. tone together harmonics, a sound. of ornament. Few 1. My memory is a with probably seven the very organs When I learn a new composition, many of which are just as telling as the unison As with the penny were allowed to it carefully. This whistle, organ pipes remain; the choral first thing I do is to finger (generating ) tone. The saxophone has a relatively practice fingering never is changed. Then I simple tone, the violin a complex tone. The usual produce their best books were destroyed until the on a silent keyboard or on a table reaction is that we are at first attracted to the sounds when blown and the Cathedral serv- While composition is memorized thoroughly. simple, smooth tone, but as our experience grows gently. To overcome the ice totally abolished. the sounds. The that the lacks painted glass I practice silently, I imagine we gradually turn toward the more interesting, fact tone The win- with sound is after I have complex form. is line with our other ex- the harmonics to make dows were broken, and first time I play This in ERNEST WHITE memorized the work thoroughly. I find this periences in growth. the single sound inter- the choristers and musi- It is kind of memory to be the most reliable. esting, we employ other cians of the established con- Organ Tone Analyzed least subject to distraction. If I become sets of pipes to produce or reinforce the desired choirs were forced to seek other employment. A right on fused in my thinking my fingers go Let us consider organ tone in relation to these pitch sounds, or upper partials, necessary. Organ finish was written to the glory of the Tudor music. playing. two types. Except for reed tone, organ tone is tone is a complex. The full set of harmonics is Organ building suffered in a similar fashion. Some spend very little present in every properly planned instrument. the artisans carpenters some old 2. I am very busy and made by blowing air through pipes closely related of turned — were practice, time at my instrument. When I do in construction to the penny whistle that most Unison tone, octave, twelfth, fifteenth, seven- and died before the restoration—but everywhere mistakes. I work at of us teenth, nineteenth, flat twenty-first and twenty- the craft was scattered. When Charles II was re- I try never to make any played with in childhood. A light breath and never very small sections of the music through the whistle produced a quiet, singing turned in 1660 there was but one reputable builder mastered. Most of leave a section until it is tone; more air gave the tone grip and power, but (Ralph Dallam) left in the whole country. King visual. That is, I see lost exile France my practice is mental or most of the ease and musical quality; further Charles had spent his largely in compositions all accustomed highly the notes. I go through my pressure made the pipe squeal—and usually at a ORGAN where he had become to a talking to you. th® higher pitch. decorated and elaborate ( Continued on Page 606) even when I am My memory is t day a memory oi motions. I it. P“ et- practice on a silent When you think you hare memorized . paP read through the composition organ or on a table until g c ’ First, I the piece is the thoroughly memor.zed. aside and write what you saw on SEPTEMBER. 1943 "FORWARD MARCH WITH MUSIC’’ 573 the 572 "FORWARD MARCH WITH MUSIC' T — . : ; ” . ,,

Musie and Study

problems found teaching in our Music and Study school music program. In reviewing of the performances even the world's artists, we have found hrough the media of the greatest it pos- and movies sible to diagnose successfully radio, the press, their The Fascinating Ensemble assets and liabilities Woodwind T America has become thoroughly musical by re- with the to the following seven initiated and duly impressed Seven ferring points: of the Basic Interest attitude importance and necessity The 1. — to the adaptation—aptitude “Basic Seven,” as they pertain Some Quintet Scores Worth Studying Interesting Selections from Its Literature of a healthy and suf- 2. Tone production maintenance E HAVE SPOKEN at length about certain ficient diet. 3. Intonation means features and usages which can be looked While your editor is by no 4. Vocabulary or range h for in a quintet score, and which can serve the merits of the Rhythm W qualified to discuss 5. contribution as an indication of the composer’s grasp of wood- “basic seven” or their 6. Technic nevertheless, wind scoring. With these ideas still fresh in mind L aurence our status of health, 7. Musicianship X to scores, which manage to illustrate that attention is the following f it is good to note Wevelli In the October issue of The Etude with rather good success practically all of our to mind as to the con- William X present the daily brought we shall elements con- are mak- points discussed previously, are suggested for ex- tribution the “basic seven” tained in each of the seven teaching Part Two balanced, amination. ing toward a properly points, and the technics of teaching diet. rationed, daily elements. This .should be though those of Buckborough, James “Sonatina” (in 2 parts) GHM* reference to the “basic While this vital interest to all who have their activities (Effective use of oboe in bringing it in and out of removed from It Mason, Daniel Gregory Divertimento, Op. 26b Wit might seem far . results? Is music field. Major Works for Quintet seven” ment^ so, is It getting centered in the school the ensemble, as spoken of above; fine use of run- represented by ^is depar uniform y P Milhaud, Darius “Suite, La Cheminee du the field which is instrumental groups show ning accompaniment on clarinet (last movement) No survey of works available for woodwind en- truth. In fact ^ve hay^ lead us to our Roi Rene” And. opposite is actually questions which good use of all instruments; good moving parts.) the These are the the semble could be complete without listing a num- 26” Imp. procedures^ the basic seve editor has found Schoenberg, Arnold “Quintet, Op in our teaching While your Colomer. B. M. Bouree CB also “basic seven.” ber of “major works” for quintet. Every really Taffanel, Claude Paul “Quintet In G minor” Imp. teaching Is “ are It ljuestions ("Solid” composition for quintet; well-knit, care- and although they seven" to be adequate. Band and Orchestra serious woodwind quintet deserves to “have a go much to ourtoiiy£ •Sic points, they contribute as unanimously agreed fully interlocked harmonic structure; artistic use diet diet that we are at” these numbers that we shall list, whether or Woodwinds with Piano, or Strings as do the ‘‘basic seven nor on the elements of moving parts in all instruments, especially fine teaching procedures number of teaching points, not they are ultimately playable by the group. U shall not be Answered moving “inner” parts.) Here a very brief word of suggestion may be daily living. An , 3 Perhaps we points to our constituting those points. Some of them would indeed be very difficult for recognize the mportance order of 0 Barthe, Adrien Passacaille Ru inserted about compositions scored for woodwinds many people fail to the proper sequential that whole in accord as to Edited by H. Voxman a school wind quintet to work up to the point of and piano. Many of these are fine, notably the derived from adherence to a shaU probably disagree in Wood or Metal Clarinet and benefits teaching points. We (Pine virtuoso, “soloistic” of the instruments; a highly artistic public performance. It has been many teachers ia are parts use Mozart “Quintet in E-flat,” K. 452 (oboe, clarinet, and sufficient diet, so do to what ingredients Do you recommend the wood or metal clarinet for some some instances, as Q. a very “open,” transparent score, dropping down a self-evident truth that the works most sym- bassoon, “Quintet, teach B . Michigan. horn, and piano), the Spohr of a well-organized are relatively tire beginning clarinet student?—K to recognize the values elements. These problems to two and sometimes a single voice playing; fine, of many of the pathetically written for wind quintet, the works Op. 52” (flute, clarinet, horn, bassoon, and piano) the daily lives importance, for beginners. It is plan. Likewise, just as is of extreme A. I prefer the metal clarinet spirited for quintet; achieves unusual dra- ng unimportant. What number which show off the woodwinds most flatteringly are the educational develop requires considerably the Glinka “Trio Melancolique” for clarinet, bas- are ill managed, so us undertakes to more durable and sanitary, and matic intensity.) people however, is that each of and to the greatest advantage, and which have or clarinet. I Udleve that a good soon, and piano, the Loeillet sonatas for flute, programs of many teachers. series of “teaching points less care than the wood Moussorgsky, M. P. “Ballet of the Chickens Ru his own systematic instrument the strongest audience appeal, have been very glaring weaknesses of in clarinet Is a much more practical Shells” oboe, and piano, the “Russian Ballet” by Pugni one of the most will enable him to achieve metal Arranged by in Their Perhaps procedures, which However, do not often the smaller, short, and unpretentious type instrumental teaching pro- possible than the wood clarinet for beginners. Clarke Kessler (flute, clarinet, and piano), the Saint-Saens the music education individual situation the finest pro- his own from a cheap metal clarinet. This of composition, often by not-at-all famous or Caprice, for flute, oboe, clarinet, and piano, of systematic teaching the develop- expect satisfaction (Fine use of delicate staccato for quintet; good use Op. 79, gram is the lack benefits derived from in our - results. The Is entirely too common of registers; use of deeply profound composers and arrangers who little uniformity of r realized, kind of instrument bassoon and horn in highest the Thuille Sextet in B-flat, Op. 6, (flute, oboe, cedures. Hence, we find these teaching procedures are ment of school bands. muted notes on horn.) have studied the quintet so carefully as to be able clarinet, horn, bassoon, and piano) the Roussel objectives. presen- , suits, standards, or through the organization and primarily, Porsch. Gilbert “Suite Modique” GHM to “orchestrate” for woodwinds in such a manner Divertissement, Op. and the Tansman Dance instrumental music teaching, as such procedures 7, of Too frequently tation of the materials which Piccolo for Band Work (Use of “color,” especially moving in “chord to “sound” immediately. consists chiefly as make them Nonethe- the Sorceress for the same. our public schools, Also, the analyzation of conducted in are certain to require. recon end for band work, blocks”; “sounds” immediately; intelligent, mod- less, these poorly selected Q. Whnt piccolo would you really serious and scholarly major A couple of works which tend more to empha- of materials; are demanded by Colorado. erate use of all attained grada- . instruments; easily of a daily reading the teaching technics which the C or D-flnt piccolo?—R. D works for wind quintet are very important; they difficulty, and other- in size the piano as a solo instrument with the ac- regard to musical value and of these “points” is certain to clarify D-flat piccolo. Its tions from / to p, and vice versa.) education the use A. I would suggest you use th. should be known to every serious quintet player. companiment of woodwinds in a more or less far as the music tn Spencer, O. W. Playtime GFB wise inappropriate as of the teacher many problems con- are superior to that of the mind intonation and tone quality And some of them herein listed have been able role “Quintet in F, Too often materials in (Shows excellent “rhythm for quintet”: all instru- subsidiary are the Rubinstein of the group is concerned. in his teaching program. more readily, particularly tained piccolo. It responds very successfully to . . . solid consideration of the C ments are cleverly arranged to form an essential “combine and Op. 55” (flute, clarinet, horn, bassoon, and piano) selected with little or no are lower register. , , scholarly musical inspiration with intelligent and 16” of the band orches- many P part of each measure’s rhythmic pattern; each and the Beethoven “Quintet in E-flat, Op. musical abilities or needs Results through the Basic Seven You must learn to transpose, since shares in setting is therebv sympathetic handling of the practical technique works ^totally in will not up the rhythm which (oboe, clarinet, horn, bassoon, and piano) We find bands performing parts are written in C; however, 'his tra The “basic seven” teaching points properly “moved along” very skillfully.) of woodwind scoring.” It is recommended that the skill of the members We time you will be able to Very effective combinations for woodwind quin- commensurate with the teacher, and mastered ficult and in a short compositions selected, presented by every quintet seriously deserves a chance to at tet and string trio or quartet are available by orchestras presenting certain very fluently. find seldom fail to achieve the desired All but one of the above scores are original least “make an attempt” at any of these works of the masters. In by the student, works such composers as Charles Villiers Stanford, Max solely because they are Through the use of these teaching tech- Reed compositions for quintet. None is of a tremen- that the director can get hold of. They are an has been given to the results. Substitute lor Bass Clarinet Reger, Josef Rheinberger, Anton Reicha, Louis either case, little thought A dously stage nics, we find it is possible to diagnose consistently pretentious nature; they have been par- important part of the woodwind literature, for of the students or to the R-flat t.'nnr Spohr. The latter’s Grand Nonetto, Op. 31, playing capacities Q. Is it proper «o use the ticularly playing capacities and faults of our students, r» ed offered for study for that very reason! whether your particular group can ever hope to group. We find, in some the as a substitute for the bass clarinet violin, viola, violoncello, bass, flute, oboe, clarinet, advancement of the 1 of prescribe the necessary material and satisfactory hav^Unnei The points which we have wished to bring out in never having ex- as well as to it difficult to secure <8dppl perform them publicly or not. horn, and bassoon is a highly interesting piece instances, bands and orchestras g^ information for further progress. Therefore, each score will be grasped the more readily from being challenged; where- used of chamber music. The same composer has also perienced that thrill of reed may be Some Really Fine Major ever- properly employed, the “basic seven” teaching A. The B-flat tenor saxophone the relative lack of complexity in the music itself. Works the constant, contributed a Septet, Op. 147 , for piano, flute, in other situations, there is the as very successfully as a substitute for Following are best Berezowsky, Nicolai “Suite No. 2, Op. 22” Mills with never an points should serve as teaching devices to sys- ^ ^ a few arrangements that seem clarinet, horn, bassoon, violin, and violoncello. “fighting” for notes, that i lasting reed. However, you must be certain to exemplify Fernandez, O. L. “Suite in F, Op. 37” AMP the beauty of a mu- tematize our teaching and enable us to evaluate _ hasing our own theories on woodwind to appreciate 'vhe” 1 opportunity proper cut, size, length, and strength. \. scoring Hillmann, Carl Capriccio, Op. 56 BHB attention the results of both teacher and pupil. e with A General List of Materials Too seldom is sufficient clarinet m°ut 11 “Kleine sical phrase. such a reed, have your bass these Hindemith, Paul Kammermusik AMP of materials for When one begins to break down the field of o t to will be our most exten- to the careful selection upon the mouthpiece Corelli -Handel-Loeillet “Petite Suite from Mills for Winds, Op. 24, No. 2” We come now what devoted instrumental you; place the reed first obligation and public school teaching into points sive list of materials for this article. This is a our music units. This is our points. the 18th Century” Holbrooke, Joseph “Miniature Character- Imp. of a success- or elements, he is indeed accepting an extraordi- istic responsibility toward the beginning (Manages to convey most of our theories—for Suite” general bibliography of woodwind material, and nary challenge. However, with skillful analysis of Horn better or worse!) Ibert, Jacques “Three Short Pieces” And. particular one of our lists that will probably ful teaching program. Transposing for French the various elements Senaille, Philip “Suite for the contained in our teaching horn. J. B. Rondo Serioso Mills James,' Woodwind CF be of most practical, usable value to the average Q. When transposing for French me (“Fat parts” . all Quintet” Self-Analysis program, it can be done. As previously mentioned, interval or 10W3' for five woodwinds . . and out school ensemble. shall try pre- A transposition be made by the ^ g woodwind We to might disagree with of a violin sonata!) Juon, Paul “Quintet, Op. 84” Imp. term is just you the elements as selected p®* sent here, pruned down as much as possible, a seem that, since the school the 40” It would prefer *>n* Durand, A. Chaconne Dit Kauffmann, Fritz “Quintet in E[>, Op. Imp. review below. You may to consider more elements A. does It make so ” yeis choice, not-too-long list which will endeavor to might be a logical time to What difference pl8 “Suite, Op. 57” this 4 (Rather light, “open” and delicate score; use of all Lefebvre, Charles CB opening, That is quite immaterial. transposition- b situation, ask ourselves a few The following seven former is proficient In his Jgcfive represent most of the types of musical composi- own individual c instruments lyrically; quartet—no horn.) Lendvai, Erwin “Quintet in A-flat, our points have proven entirely by clef. T ble on the “spot,” and sufficient for the transpose by Interval, others be a Guilmant, Op. 23” tion that can be successfully offered by the wood- Questions, place ourselves music t0 A. Canzonetta GHM Imp. procedures to transpose. I would advise every clefs- (An wind ensemble.* check on our own teaching an ^ extremely "solid” type number; endeavors to thereby to read fluently the treble, bass, alto, clefs your teach- these retain the original of the organ; all * Have you ever analyzed each thick sonority For a complete list of available woodwind quintet material, and technics. This can be achieved by playing in ” good you ever compared your BAND, ^ five instruments receive the brief theme before it the reader is referred to the bibliography appended to a ing procedures? Have ORCHESTRA familiar me BAND and ORCHESTRA Development successful daily. Playing simple and is over.) treatise on “The History and cf the Classical with the most Edited by W ill i a m D . R eve I I i preparation teaching procedures practice. Woodwind Quintet,” now in by Ralph Rush of the evaluated * Key to California. your field? Have you ever and CHORUS Publishers will be found at the end of the article Music Department of the University of Southern teachers in *** recently written those technics? Have you . j. g] your teaching Will am D. It a • v e ! I I ? n SEPTEMBER, particular situation. If "The dipnity of a profession i* 1943 "FORWARD MARCH WITH MUSIC 575 of study for your a course practice it.”— homas Tapftr .nt "FORWARD MARCH 574 WITH MUSIC" Inc. Volk—Volkwein Bros. N THE AUGUST ISSUE of The Etude we dis- Music and Study Imp. mark & Sons. Villageoise Wit.-M. Wi‘ cussed the organizing and the musical possi- Provinciali Danse Volk Tempo di Ballo imp- I bilities of the String Orchestra, touching Music and Study Scarlatti at this point to Praeludium The writer wishes acknowledge questions of tone coloring and rhythmic Scriabine Classic st le CF lightly on Divertimento m the cooperation offered by almost all Tuthill the splendid 0 f precision. Let us now consider more fully some publishers in compiling on program- domestic music this technique which must While on this subject, a brief word QUARTET: the essentials of be mastered o materials; without it, this survey could full hour’s recital list of before finished performances can be given. ming: if planning on a Horn, and Bassoon play- Oboe, Clarinet, come to pass. I would speak also woodwind music, do not have an ensemble CF never have of Directing a string orchestra is not quite the solo groups with in E-flat indebtedness to Dr. Harwood Simmons of the directing have one or two J. S. Fugue And. my same thing as a symphony orchestra; it ing all the time; Bach, Columbia the program A Cassation Dit. Department at University, and of the qualities of Technical piano judiciously interspersed on Mozart Music calls for some a symphonic Training qumte German Dance Title, New York clarinetist program of nothing but Mozart Imp. to Mr. Joseph and conductor and some of those of a chamber music full evening’s “Quartet in F” if Imp- enthusiast, who have been of inestima- deadly! Rossini 2 woodwind coach and, for that reason, often poses problems numbers could be ‘Quartet, Op. 8, No — our dis- Stamitz SC in calling my attention to some had spoken further back m Bridge ble assistance of characteristic of neither. The first problem—cer- (Since we An Old Imp. with piano, String-field less well-known foreign publica- peculiar to the string orchestra cussion of groupings of woodwinds A Gay Serenade the better and tainly not —which or er Wetzel-Muller ensemble. And lastly, the String Orchestra to point out, m woodwind not for- conductor must solve is that of obtaining of perhaps it would be well tions for the misunderstanding, that the TRIO: debt of gratitude to the members of intonation. As he must face it anew with to avoid any possible getting my good “woodwind self-sus- and Clarinet Ensemble at Columbia numbers listed below are all Flute, Oboe, my own Woodwind Uni- every program he puts into rehearsal, the sooner accompani- Mas- unsparingly of their time that is, they have no piano from the Cassic versity, who gave so in he evolves a technique for its solution the hap- taining”; Andraud “15 Trios And. might hear the greater part of will Slow practice at rehearsals is, ment.) ters” CF order that we pier he be. by ^Harold tj3erbltey Trio, Op. 87 the first means to this end; slow prac- Beethoven- “Famous these numbers. obviously, General List Langenus Ru. tice, and the rehearsing of each section sepa- Clarinet, publishers of The Etude can furnish any Standard Quintet: Flute, Oboe, De Wailly Aubade Imp. The rately—or of two sections together. In this con- in G” material available, at established Horn, and Bassoon Gennaro “Trio CF of the foregoing nection, it may be mentioned that it is a great Ronde des Lutins Correspondence is Invited. director of they will No 22 Ru. Kriens GHM rates. help to the first or second violins if they are woodwinds, and the brass choir; the an example which almost instinctively Bach Prelude and Fugue, Scherzetto Imp. Olivadoti Bar. string orchestra has only the tonal resources follow without further exhortation from the Aubade Scherzo paired with the violoncellos—always provided a Barthe Tustin Tarantelle ; Ru. the latter are in tune! The exclusive use of these of the strings themselves. Fortunately, these conductor. Barthe Passacaille GS Pronunciation Adagio, from Op. 71 Sinners, Watch Ynnr methods, however, will consume a good deal of resources are infinitely varied. To make the most Beethoven CF TRIO: Rhapsodette with imminent risk of boring of them must be the conductor’s chief concern. Importance of Pianissimo Playing Bennett Flute, Oboe, and Bassoon time, the more Suite, Op. 53” Imp. Blumer “Tanz Mills Cjeortjc libroian ion advanced players who are having no difficulties. Of first importance is the technique of obtain- A beautiful pianissimo is equally as important “Prince in A Minor” by Chorus of Villagers from S. “Sinfonia Borodin Bach, J. Ric. The conductor, therefore, should urge the play- ing various dynamics, for on this depends, to a to a string orchestra as a beautiful forte, and TP The Little Windmills Igor” Couperin Imp. musicians are ex- ers to take the music home and learn it between large degree, the general tone quality of the or- as much care should be expended on obtaining “Sonatina” (in 2 parts) GHM Pastorale IS STRANGE how some Buckborough Scarlatti T only the Quintet” (3 parts) CF almost religious in some rehearsals, pointing out how much more inter- chestra. Many string players—and not it. Individually, almost all string players will bow Cohen “Suite for Wind tremely meticulous, Menuet CB TRIO: completely careless esting the rehearsals will be if a greater part of young ones—associate an increase of tone with near the fingerboard when thej? wish to play Colomer Bourree; I respects, and yet in others CF Bassoon pressure; be Gypsy Dance Oboe, Clarinet, and correctness. While such musi- the time can be devoted to the interpretation of an increase of bow they must made softly; they are by no means so ready to do so, Danzi And. and indifferent to Grainger Walking Tune Imp. the thought of changing the music. He will find few players unwilling to to realize that it is usually better to bow however, when they are members of a complete GHM Aurie “Trio” cians would shudder at Canzonetta Dit. do this. nearer the bridge or to use longer bow strokes section. Guilmant “Trio and Polonaise” mark in another’s work, orchestra The conductor, therefore, must GFB Bach a note or an expression Hirsh Nocturne RU. But there are many conscientious players who (according to the type of passage being played) constantly remind them calling “Fingerboard!” Wit. Flegier “Concert Suite” scruples about changing the vowel — The Sailor’s Hornpipe March; La they have no Huffer Imp. Maganini Jstamboul-Turkish do not always know when they are playing out than to press the bow more heavily on the at the beginning of every pianissimo passage, and A Little Breton Tale CF in songs. Karren Rubia sounds of tune; to bring to these an awareness of strings. An extended crescendo on a passage of repeating from “Les Preludes” GMC changing the vowel home the passage as often as may be neces- Pastorale, “Unfinished Trio” hnp It may be argued that Liszt Bar. Roussel Andante, from their mistakes, the following device will be found moderato sixteenths, for instance, should nearly sary to get the quality he desires. Intensity of “Ballet Egyptien” Imp. since it does not Luigini “Trio” is of little consequence, Mother Goose And. Villa-Lobos sound most useful: Hearing a note in the first violin always be made by taking very little bow at first, left-hand finger grip is another essential element Two Tunes from BHB True, it does McCall Triolet in E-flat the meaning of the word. Walthew change part, for example, which is persistently out of and gradually increasing the amount of bow of the pianissimo that will need repeated men- Mendelsohn, the meaning, but it does slightly Krakowiak-Polish Dance GFB not change tune, the conductor instruct the section until the climax is reached. If the passage ends tion, Arko TRIO: be o should most inexperienced players—and many who J. K. 253 And this change might Divertimenti, K. 213, K. 240, change the effect. to play, at a moderate tempo, the passage in fortissimo, more bow pressure will be necessary; ought to better Mozart Flute, Clarinet, and Bassoon that tne know —having a lamentable ten- 270 consequence when one considers and K. some which it occurs—and to hold the faulty note by that time, however, the players will be using dency to be content with a weak and flaccid Serenade, K. 375 Dit. CF originally with equal Rondo from the Bove "Petit Trio” words of a poem are chosen stroke will permit the extra Mozart CB Ru. until he cuts it off, taking as many bows on it as a length of that finger pressure in soft playing. Aubade, Op. 6 Kotschau Divertimento quality and for their mean- Pessard regard for their tonal may be necessary. The note will squirm and pressure without any danger of “forcing.” To Minuet; Pastorale Imp. “Trio in F, Op. 32” Ru. the musi- It should always be remembered that pianis- Pessard Prelude & Summer ear is as sen s ive as 1 ing; the poet’s squirm, but the it until obtain a full, vibrant forte in a passage of sus- And. conductor should hold simo is not a single quality of tone : according as Pastorale, Op. li J? ? Mondonville Tambourin poet’s intentl° Pierne in many cases th it cantilena, be directed Modique” GHM Divertimenti, Nos. 1 and 4 And. cian’s. Then becomes true, for those who had to adjust tained the players should the bow is drawn at various speeds, several dif- Porsch “Suite Mozart instance, m Mills And. disregarded. For their their bows consistently near the bridge. Rondo Serioso Piston “Three Pieces” are completely fingers will then know that they were the to draw ferent tone colors may be obtained. All of them Senaille and walk. So Uv Pastorale, from “Pelleas Stringfield Chipmunks EM persons say wahk for ones who were out of tune. This device may be If they try to produce the forte in such a passage should be experimented with as occasion arises, Sibelius CF pronounced ^Where e Melisande” Where Ere You Walk is used with equal effect on a chord of the whole by pressing hard a couple of inches from the for they are an important part of the tonal re- on Pop Goes the Weasel FS TRIO: quite a difference Sowerby Variations You Wahk.” There is also orchestra, and is an effective means of impress- bridge—as many inexperienced players do—the sources of the string instruments. Neither should Imp. e Scherzo Clarinet, Horn, and Bassoon euphonious P loud, thick, will Stainer tween or and are; no less ing on each player his individual responsibility result will be a throaty tone that it be forgotten that a beautifully intense quality Suite from the Eighteenth Taylor, arr. Petite for certainly pleasing. If there is diminu- Mills Pannier “Trio in E-flat, Op. 40” Imp. but a difference. _ good intonation. not be a of pianissimo, quite unlike that produced over the Century n ly CF Weber Scherzo from “Der Freischiitz” And. the changes sometimes endo following a forte played near the bridge, fingerboard, The Sailor’s Hornpipe Von However, can be obtained by drawing the bow Tuthill thot, and whe it their sounds: thought is often sung The Conductor's Chief Concern the players should execute by allowing slowly and lightly near the bridge. This tone Types becomes thart. bows gradually to approach the fingerboard. color will be appropriate Encore Key to Publishers to a sustained note of With an orchestra of students and amateurs found for several GS often force a c the conductor Conversely, a sustained crescendo, whether on phrases in Vaughan Williams’ “Fantasia a Harmonica Player Music Publishers, Inc. Technical reasons should not single out an individual on The AMP—Associated 1 Guion Bar. singers. For one note or several, should be produced by start- Castillia-Bolero Andraud, Music Publisher. vowel sound on the best of ..V player to perform a difficult passage, no matter Theme by Thomas Tallis”—a work, by the way, Holmes And.—Albert wi CF sustained note how ing near the fingerboard and gradually approach- presenting unlimited opportunities for Hunter Danse Humoresque Bar.—C. L. Barnhouse Co. head, when sung to a much he may suspect him of inaccuracy; varied “Ballet of the Chickens in haird. Perh ^P doing so will ing the bridge. Played in this way, a crescendo tonal shading. Moussorgsky BHB—Boosey-Hawkes-Belwin, Inc. if not inevitably, become is certainly lead to self-consciousness Shells” Ru. no on a single, long note can have a most impres- Their sustained . in the It will be seen that study of GHM CB—Cundy-Bettoney Co. posers should not set to ^ orchestra, which the conductor must at the pianissimo of- In Merry Mood Carl Fischer, Inc. when all sive effect, .for the approach to the bridge in- fers ample Pierce BHB CF— that cannot retain their sound costs avoid if he is ambitious for a zestful scope for imaginative rehearsing. Scarmolin Badinage EM—Edition-Musicus. performance. creases the intensity as well as the volume of GFB To insist so would be dogmatic. . He can, however, occasionally go Few effects in string orchestra playing are more Spencer Playtime H. T. FitzSimons Co. can the tone. FS— changes through a section if passage striking than forte attack that If composers can cause such one stand by stand, the a has perfect GFB—George F. Briegel, Inc. hce in question Before rehearsing a sustained forte passage, the little - is really difficult. Nevertheless, precision and “bite.” well played, the QUARTET: not the singers also have a ger when When GHM—Gamble Hinged Music Co. s n wh all is said, pure intonation will be most quickly conductor should ask the first violins to play chords in the first three measures of the “Con- is no reason re Clarinet, and Bassoon GMC Galaxy Music Corp. might ask. There y { U Flute, Oboe, — na it through alone. Then, after explaining the rea- liberty; it is attained if the conductor can imbue the orches- certo Grosso in B minor, Op. ”, No. 12,” by Handel, CF GS—G. Schirmer, Inc. should not take a little ion. C. F. Allegro Brillante reSS tra with a sons for bowing nearer the bridge, he should Bach, J. individual . sense of responsibility so alive that offer a typical example of this effect. To produce Wit. IMP—“Imported”—foreign publications: there are 3 or of art to leave room for re S. Fughetta ^ it feels have them repeat it two or three times in this Bach, J. 4 American publishers license s impelled to master the music away from the attack with certainty, the players should Suite” FS among those listed above But anyone who takes such at “Northland ^ manner. The greatly improved quality bril- Busch who particularly specialize to rehearsal. and have their bows firmly on the string before the Chaconne Dit. (during normal times) has to listen A Durand member that no one liance of the tone will at once be apparent to CF in importing music from abroad. Some of the com- ITia ^ As the intonation improves, the conductor conductor gives the signal. No matter how care- Edw. Pastorale Dance one thinks euphonious, another - re German, positions a the other sections of the orchestra, giving them Little Pieces” CB listed as “Imp” are still available on their thos should devote more and time to the develop- fully they may be watching him, the attack can “Three will irritate pect more Grieg shelves. change of vowel sound eX in D-flat, Op. 94" Imp. ment of never be perfect if the are varying Holbrooke “Quartet correctly. Bu tone quality, tone shading, and tone bows at dis- Sand; Mills—Mills Music, Inc. accustomed to hearing it Two Impressions: 1. ftis ^ color. Here he is in the string orchestra’s own tances from the string when the beat is given. It Hurrell of an a ' Mirage GFB Dit.—Oliver Ditson Co. in this regard one thing and 2. chosen ^ particular territory. The conductor of a sym- may be noted, in this connection, that having Andante and Minuetto CF Ric.—G. Ricordi Co., Inc. study the pronunciation of his ^at fit Mozart un phony orchestra has at his command the con- VIOLIN the bows in readiness on the string also aids the GHM Ru.—Rubank, Inc. vowel d La Chasse that if he does change the f° an trasting Edited by Robert Braine Paganini qualities strings, players to a precise ( Continued on Page 608) the Little Tin Soldiers CB SC—Sprague Coleman, Inc. deliber and colors of the the Pierne March of do it consciously, with studied Fleeting Moments CB TP—Theodore Presser Co. ignorance. Prokofieff hot from carelessness or SEPTEMBER, 1943 "FORWARD MARCH WITH MUSIC” 577 "FORUTARD the eee 576 MARCH WITH MUSIC” ? . *

In the first and training. place, he must be a good musician, thoroughly trained Music and Study in performance, theory, and history; end Study jn Music the second place, he must know general education as a background for music edu- to be able to cation so as integrate his own department with the city school Constant or in Is the Vocal Scale system as a whole; and the third place, Answers must be a fine teacher, not Does It Vary and he only in Questions that as an artist-teacher the sense he please tell us if the scale Don’t Q. Will you to demonstrate ideal You Like able Why Modern be Music? constant, as the will methods for vocal study remains scale does. Service procedures for others to observe alphabetical notation of the Information and and A Music but also as a psychologist —C. S. and E. T. foUow, who is analyze the teaching of his able to teach- O ATTEMPT to tell people that 4 the ear meets the first series of sur- that I understand A. I am not certain ers and be able to criticize and guide the they should like something when prises, a mild example of the surprises but if you mean “Does that their your question Conducted by them in such a way work will is, Tthey know they don’t might ap- that are characteristic of modern the tempered scale; that increasingly successful. singer use become In addi- even by ^ame6 aman which the piano is tuned, pear futile and presumptious. music. The first chord of the meas- the scale to tion to all this I should perhaps add that involv- eft* is enjoyed by the emotions, practices vocal exercises is “Music ure is one that certainly can belong when he if the Director of Music to serve all is yes. So have to explain it the answer and if you to me, of ' ing scales?” then the children well, he must be more than to the key C. The second chord the the only place where then I’m not interested.” Yet, when we say that of measure similarity to its far as I know, Mus. Doc. a vocalist and more than an instru- the bears a counter- “pure scale,” that is, the singer uses the mentalist. In short, he must be a broadly “emotionally” we can enjoy, for example, the part in Ex. 1, hut observe that it is not fol- one, is in a cappella woik, untempered Emeritus trained musician who understands the Tschaikowsky “Fifth Symphony,” and cannot lowed by the chord of A minor, as it is in Ex. 1, often asks the sing- Professor where the conductor importance of both vocal and instrumen- enjoy something by Respighi or Prokofieff, we are or anything our ears would normally slightly College by which to modify certain intervals Oberlin ers tal music, and who provides equal op- stating a half-truth. Primarily it is that our ears expect. The chord which does follow has but a produce the smoother and richer so as to tunities In both phases of music, and has already conditioned based on a scale that New are to the harmonies of remote relation to C major, and here suggests an effect of harmony Editor, Webster's the perfect coordination answei Music as his ideal and Tschaikowsky and his period, and are not con- unexpected modulation into the key G. The not tempered. If this does not of is International Dictionary Integration of vocal teaching and instru- write me again—or, better grow up m a mu ditioned to the harmonies of later periods. There next chord, that is, the first chord in Measure 5, your question, bad for a child to into music teaching. school or learned mental teaching Mr. Paul Bergan, your if, having nay be some music lovers who dislike Tschai- is, however, an altered version of the G chord still, ask sical atmosphere even you groan as you read mattei it I can hear my Supervisor of Music, about the ear, she now finds mwsky, or his “Fifth Symphony” in particular, (with the note G, itself, absent) and this is not to play or sing by even hear you calling process of prescription; I can to go through the out there is hardly a regular listener of fine music what the ear has expected. The chords of the distasteful a hopeless idealist but I assure you music? My answei is, me learning to read the Director of Music vho cannot at least understand what he hears of last two beats of Measure 5 seem to hint of fur- must not be that it is only when Shall Children Play by Ear? good, but such a child “It is possesses at least a fair proportion of the Tschaikow.sky’s music. ther departures from the key of C, but the final the ordinary slow • expected to go through concerning my daugh- qualities and skills that I have Of course rhythms in modern music are more three notes of the measure—the G, D-natural, Q. I am writing of learning to rea various years old last Septem- and laborious process ter, who was two In- enumerated that music has any real difficult to lollow. two or three different rhythms and F-natural make our return to C both plausi- her second average child has to. ber. Since sometime before music as the by read chance of functioning vitally as a genu- often running concurrently, giving a seeming in- ble and necessary. birthday she has been playing tunes she will learn to play and stead force. "But,” you retort,. have a piano class and give about learn to talk ine educational security :.o the music. Also, there has been a Taken as whole, the harmonic setting of Ex. 2 ear. I music just as all children a lessons a week in my studio, of city music directors fifty-five naturally and “I know plenty hange n tin whole concept of melody. or unpleasant as it is perhaps just rooms, so that a few learn to read, Melodies is not as harsh which adjoins our living and even a tenth part of is who do not have music all day long and she incidentally. are less . ible. frequently unsingable. Yet this a little unsettling, in that our ears are not accus- she hears which I reply plays anything she encourage your what you demand." To 5 getting so that she My advice is that you change in melodic concept rests to a great degree tomed to hearing the melody harmonized in this dear and that is why hears. . Guide her sadly. “Yes, my , sing, dance, and play. I have had expe- child to on harmonic bases and is the natural evolution manner. But try the experiment of playing this This is my problem: suggestion so music so often falls to exert any really children who have means of an occasional rience with several by subject.” of new harmonic vistas. example over three or four times. Observe whether lessons, of them as potent influence as a school played by ear before they started that she may do all three they have Perh pe more exact term for modern music the strange harmonies toward the end strike the and in almost every instance possible; and every day take a notes. 1 well as difficulty in learning to read Bass would be dissonant music, for it is largely the ears on the fourth playing as they did on the had sit with her at the piano the Treble and be true of my daugh- few minutes to J/oh> to Fit do not want this to element of dissonance that marks music as mod- first, or perhaps even the second playing. how to start her how the notation repre- ter yet I do not know just and show Together young. Should she with a very simple ern or not modern. Now a dissonance is any com- With Example 3 we have left almost completely her when she is so sents the music. Begin these ques- JAMES B. EAMAN if so Will you please iswer begin music study at this time, and melody without accom- Q. bination of two or more tones which do not blend any evidences of conventional harmonization. eight-measure Morninp. Op. «• . some more juvenile book than the tions? In Grieg’s ^° is there helping her to sing it correctly are the bass and treble and which are not satisfying the ear. and Thompson books that I use paniment, Measure 7. how to As many Williams rhyth- count one? In Ex. 1 we have a very conventional harmoni- She can count, and good vocal tone. If it is in ETUDE fitted together on people for other beginners? and with No question will be answered THE composition; know, there are dissonances or discords n sme of the same zation with nothing to startle or shock the ear.' does count along with the students, encourage her to clap unless accompanied b) ibe lull 2. In Measure 19 often mic in character, trebl* ’° aplenty i; ;he all earlier composers, drill on the inquirer. Only initials, fit the b,v .md g music of the any particular and address of how do you l the exception of the second in and if I am teaching it. Now let her play MensMea5 With chord Meas- she or dance as you play or pseudonym given, will be published. Fruhi u.jsrauschen, phrasing, staccato, accents, and so on, 3. In Stnding's from those antedating Bach all the way to the out by ear eVe" ure 4, there is nothing harmonically that does it perfectly. different keys, finding do you pi. the will go to the piano and do it in ure 10. how eight inn theh"ril®ngn moderns. But the earlier composers were usually she has begun putting two black keys are necessary in the the left hand against the not belong to the key of C. From the point of Just recently what careful harmonize some of the Z. I. F. to resolve their discords; that is, they parts together to various keys to make it sound right. —Miss pure aural receptivity it is a harmonization that melodies she plays. Her rhythm is perfect would almost invariably follow combination of when she has played it in C or spot I a time quite well. Finally, this particular can be grasped at first hearing. and she carries a or three A. 1. I think in far she has show her the notation and en- especially if you can do this two unpleasant or clashing sounds with a pleasing All that she has done so G or F, grace note G-sharp Ex. 2 presents a slightly richer harmonization lately if she can get at the would strike the done entirely by herself, although courage her to look at the notes as she times a day and with and satisfying combination. However, the more her be- note E together with nothing to shock the ear in the first three have been playing along with will perhaps want piano at various times by herself in be- the thumb I playing plays it again. Now you Roll the b modern the composer, the less you find this satis- cause she sees the other children bass E in the left hand. measures. it in another key, encouraging tween. EventuaUy, if one is to become a faction and wants to do the same. Also she to write G-sharp will given to the listener, until finally you duets musician, include the chord so that the which one of the fifty-five stu- her to play or sing it again from the new music study must a come can tell right. Some: p upon music which proceeds from discord to any piece that she with the B in the dents has been playing sepre, laughing with her when she makes concept of work—no one knows that any befo ^ want to rush her grace notes discord without any sympathy for the average happens to hear. I do not questions about better than I; but in the early stages, might start the her time a mistake, answering her fast, but I don’t want fo give is correct. -istener’s poor unconditioned ear. too nat- and especially with so young chUd, count. Either way herself for note reading. the details of notation as simply and a mu- enough to spoil The best way to the effect on the ear of M. J. B. After a half dozen sic should remain entirely or at least show May I have your advice?— urally as possible. — 1 Ex. different one part you might try a simple almost entirely—on the play level. Many types of harmony is to give some musi- congratulate you on having so songs in We find no resemblance in this harmonic base A I cal examples. six of hasten also to second voice, or even a four-part har- children come to dislike music because Let us take the first bars precocious a child, but I to that of Ex. 2. In fact, did we not know that opin- mony, showing her how the various notes they are driven too hard too early in the America. (If the reader cannot play, it would be warn you that, contrary to general our melody was America, we might not recog- diffi- paper stand for the tones that she has game. Music study ought to be for the most helpful to play the examples brilliant children are far more on get someone to ion, nize it in such strange harmonic dress. Though ones. Your learned to sing and play by ear. The ma- most part a joyful experience, and even for him.) cult to teach than average problem tenaiterial you use willwtu growgiuw giauuauygradually muicmore the hard work that is inevitable a little ostensibly written in the key of C, there is very child will probably cause many a grows to adult- difficult, but always in these first stages later on may be joyful if the pupil's atti- little in the course of the six measures to suggest to arise, and before she for the process is. from the way the music tude has not been spoiled by injecting this key, outside of the opening and closing hood she will probably be responsible sounds to the way it looks on paper. In the work idea too> early. many a gray hair! But during these chords. Chords of keys related to C major are . 1.1. words,Tt.m./lr. yourTTnitv childnVtilrl willTtrill learnlonwrt theIVtn also provide you with many other frequently heard, but they do little to estab- years she will How to elsewhere in human music by ear at first, the notation follow- Prepare to he a City a thrill, and here as lish either C or their own key as the prevail- bitter with the ing this as a natural but rather incidental Director life you must take the of Music True, we leave the key of C almost immediately ing tonality. Thus we come upon a striking-char- adventure of step. Later on, having learned to read sweet- and the greatest definite Q. Will you kindly provide —the third chord in the first measure takes us acteristic of modern music: lack of be to guide your little music in this natural and incidental fash- me with a your whole life will statement about will just as naturally begin the desirable educational to the key of G—but the departure, or modula- tonality or key. that the “thrills” may out- ion, she to and girl so wisely professional preparation requisite to learn her new pieces by looking at the the tion as it is technically known, is not for long, Play this example over in the same manner as number the “calamities.” position of Director of Music in city school 2. it will available to answer notes. systems? The discussions I and it is one that does not displease the ear. was done with Ex. This time perhaps I do not have space have not too much guidance, please; read to date center chiefly around questions—that would take a But and the Chord for chord the first three measures of Ex. 1 require six or seven repetitions before the ears all your officer's supervisory duties. will try my not too much theoretical explanation L. H. P. book. (Some day I think I and Ex. 2 do not represent too great a harmonic become at all accustomed to the harmoniza- called “The Mu- either—that can wait. The “lessons” The hand at a book to be Director or Supervisor of Music in difference for the ear to take in. But in Measure tion. (Continued on Page 611) But basically should be short, too—five- minutes at a e-itw sically-Anxious Parent.”) needs to haye ^ to this: Is it good time will be enough during the next year, your question amounts combination of ability SEPTEMBER, 1943 "FORWARD MARCH WITH MUSIC’ .5 79 "FORWARD MARCH ruF .578 WITH MUSIC Music and Study TO A GRECIAN PRINCESS

Music of Iceland

^Jlarofd (JSutclier

And if they inquire HEN MUSICIANS and lovers of music service impressive. they will learn that among the men in the American Armed about Pall Isolfsson composed a cantata for the Forces now occupying Iceland find their it was he who W celebrated when Iceland way on Sunday to the Lutheran Cathedral in festivities in 1930 anniversary of the MAHIA MARKAN Reykjavik—as some of them are sure to do—they the one thousandth Althing, world’s oldest Parliament. And. Icelandic Prima Donna are likely to discover that Pall Isolfsson, Icelandic playing incidentally, being reminded of this anni- composer, is at the organ. It is he who is take more interest in A. the Bach chorales and stirring hymns—A Mighty versary, they may It required no small amount m technical skill on the Stirling Calder’s statue of Leif Ericsson, gift of Fortress is our God, for example—that make the part of the singers, especially those who sang the U. S. Congress to Iceland at that time, which the second part, to go below or above the melody dominates the city on a hill near the home of right point and alway strike the proper Einar Jonsson, great Icelandic sculptor. at the note. By far the greater number of two-part It should not be difficult—for Icelanders are are in the Lydian mode. friendly—to obtain an interview with Pall Isolf- melodies the Gre- sson, and, although he protests that his English In Iceland, music is largely vocal— mediaeval Church, then the is indifferent, his wife is a good interpreter, as gorian chant of the after the my wife and I soon realized when we visited their Grallara-sotigur (from Graduale), Iceland, off the home. Moreover, for musicians, no interpreter is Reformation—possibly because needed—to judge by our experience. At the piano beaten track, has not been nrtunately located (A my wife and Isolfsson found that in music they for the quick import of music il instruments. North had all the language they needed. grand piano has to weather he restless Atlantic before it can settle down in a quiet Ice- Folk Music landic home!) There were, however, primitive Is there any typically Icelandic music? Mr. instruments, notably the langspil, an oblong, box- Isolfsson’s answer to that question showed that like instrument with thro s, and a fiddle musicians normally receive their training abroad, with two to four strings. Both were placed on a and to that extent their music takes on the char- table and the player used a bow. acter of other modern music. However, in a coun- The Best in Recorded Music try which has been singing its national poems since the ninth century, when the Norsemen In America, Iceland vocal music means Maria landed there, many folk melodies exist. Professor Markan, now living in New York, for her singing Bjarni a Thorsteinsson published nine hundred; at the Metropolitan Opera House has proved and Jon Leifs power. —who studied at Leipzig—has done delightful introduction to its quality and work in the her sis- same field. The scalds (minstrels) She was born in Stykkisholnmr, and all made their first attempts several, (Above) INTERIOR. LUTHERAN CATHEDRAL at polyphonic song cen- ters and brothers, of whom there are turies ago, the melody being trained in Ger (Below) REYKJAVIK, CAPITAL OF ICELAND have excellent voices. She was a sung in consecutive or parallel many and has sung Icelandic compositions fifths and octaves. an Excepting the several musical feasts all over Germany one-part song, the kind of song Scandinavia. For some years she had en§a°_ most in practiced in Iceland was merits in German opera houses—latest the two-part su song, or quint- Schiller Opera in Hamburg—and has also song, which has been ell preserved as guest in the Royal Opera House, c°P \?£ there up en to the present day. and the Royal Opera House, Stockholm, The two-part for song was usual- the Nazis gained control they objected to ly performed in such time, ° a way that singers, so she left Germany in good one (and sometimes more than at the Glyndebourne Festival Opera, and one) man sang her the melody, went on a concert tour in Australia. On while the second and part, executed back through Canada she gave concerts, by another man, House, New was nearly al- wound up at the Metropolitan Opera ways a fifth above or below can hea the York. In our home my wife and I . melody. Thus the song ffl0 was sung sing whenever the portable g* in we put on ^ parallel fifths to the Reykjavi When end. phone one of the records bought in the melody went Sick to ^ up the one side we hear It Is Good for the second part went a fifth a below it and Thou Art and on the other. Surely, Jesus, ^ was then kept at that a c° pitch The music is like Sunday evening in until the melody went down church. again, the .^y second part at the broadcas same Recoxds form the basis of music Copyright International Copyright secured time going a fifth above ^ MCMXLIII by Oliver DitsOn Company it from Reykjavik, and, (Continued on PM "FORWARD September 1943 58i ,180 MARCH WITH MUSIC” THE ETUtf — — — - — —

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AUTUMN GOLD BUT THE LORD IS MINDFUL OF HIS OWN movement is slightly 1 KC U- Tobeplayed softly and lightly, fallingin golden rain. The second H. like leavesfrom the dying trees , Edited by N.W From St. Paul FELIX MENDELSSOHN This piano arrangement of one of the greatest of all contralto solos best. r frank grey must be played in rich and broad style. It is Mendelssohn at his Andante tranquillo M.M. J 84 r.h. 0 > /•. k And ant in rit 0 0 m 1 —_g fE^w- r^rn 1 * J ^ • m ^ J-= V-^ * u < v J j JtL hyj i-j *l— \—h ~ jtfH| \Li - Tt# — 7— L P T ^ ^ PF 'r r 'O a tempo —— —— — - — y- 1 — v J : 7 1 rfH —» 1 V . T" Mj _ A V J 1 — J 1 1 1 I “ 7 m _ fsm < — 1 » wm ^ fli d 1 * " f Jrri l J tt — '#1 ft* 3 if #17 p -*Af j M{ f Kttff F *3r A 5 • it Ti “ L-fc2 — — TT; 5 p p. / I © x * v M 0— ^ : • 9- J s= F 1 \y

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British Copyright secured THE ETUDE THE star-spangled banner BANNER 8hocnooJ, music THE STAR-SPANGLED teachers will finH nic- ^ , i s duet arrangement of our solo arrangement. national anthem especially useful, as it is difficult to secure sonority and - bre dfh SECONDO JOHN STAFFORD SMITH*

September 1943 ARIOSO ALBERT BERUL Moderato e cantabile »

Author unknown* THANK GOD FOR LIFE! WILLIAM Maestoso molto sostenuto ff,.alemgtemg® .. C. STEE1®

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MINUET* The Technic of the Month

Conducted by

Minuet in E-flat Major

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ANY SONATINAS for violin The best way to work at the Minuet and piano purporting to have is, of course, to exaggerate the two- M been composed by Mozart note phrase groups, that is, to play have been published, most of them the first sixth (or third) forte, the supposedly “youthful” works. Some second, pianissimo; the whole prac- of these are obviously spurious, ticed slowly with down-up approach, others have single movements here and in triplet fashion thus: and there that are authenticated Mozart originals. This month’s Minuet, presumably written for violin and piano by the twelve-year-old Mozart pp f pi> ./ VP belongs to the. doubtful category. It f insure has some of the earmarks of Wolf- This method of practice will so necessary to gang’s father, Leopold, and may well the sharp “two-ness” groups have come from his pen. those classic two-note phrase played ineffec- We are using the Minuet here, since which are so often tually or without conviction by it is a charming piece especially valuable to the student for its two- mediocre pianists. issue we begin note phrase groups in double notes. With next month’s of Teachers may wish to alter the an interesting, helpful series First the docket fingering quite radically to suit Chopin Preludes. on No. 1 in C major. smaller, larger, or more flexible is the lovely Prelude learn this com- hands; but once the fingering is de- It might be well to during the coming weeks, if cided, it must be written on the page position study methods without delay, and adhered to in- only to see how your approach differ flexibly. Only in this way will stu- and interpretative dents become technically secure. from mine!

Music of Iceland

( Continued from Page 580)

and spoiled every- because Iceland is fortunate in hav- War II intervened being at home, they ing, in charge of the music depart- thing. However, Sigur- have sung to the Anglo-American ment, a professional musician, grim business war comesfirst. Families have toughened Brit- In American homes the of dur composed troops, cheering them up when Thordarsson—who has themselves to theirjob —are working and sacrificing without complaint. But thef re and America seem such several liked in ain, Canada, they is com- pieces of music much keeping an eye on that better world ahead . . . that dawn ofpeace know off. In this choir can be Iceland of records are of a long way the things they must now do without. —most these ing . . . and saving War Bonds so they can buy renowned in Europe. the highest quality. We had Haydn heard voices old art in for Although singing is an dinner one evening at Blonduos families are saving for is the Hammond Organ. the last One of the things many in Iceland, it is only within a schoolhouse deep in the country. They have learned that no other home instrument can give them such ac- half century that music, instrumen- Wherever we went the best music satisfaction and pleasure from music. as well as vocal, has made no- companied us—by radio. Popular mu- tal Like the thousands of families who ANOTHER HAMMOND INSTRUMENT life of sic ticeable progress. The musical is also broadcast, because people already own Hammond Organs, they practically all in the who are severely classical as listeners the country is flowing organ As one have found that rich, like future. And it has a future. their music modern when music is delightfully easy to play. about the country, in cities dancing. Go to the Hotel Borg in travels We cannot make the Hammond Or- villages, in well-to-do homes and Reykjavik and you will realize that and victory ends our war musical instru- gan again until Icelandic as small farms, one sees 3 * 3 ^ dancers enjoy Swing work. But you can hear and play it 4 3 or harmonium, a much ments—a piano piano, Z 1 as Americans. In this, of NOW—most Hammond dealers have The Solovox attaches to your rt , has a TUlfi violin. Reykjavik right Gives Hj=] % course, guitar or is played with the hand. J they resemble the young peo- set one aside for this purpose. Visit your and windbands you brilliant instrumental effects s— . ple orchestra, r ==t who climb the long flights of symphony dealer soon and learn how much you e— violin, trumpet, flute, trombone and —e in all the larger m stairs to the York’s have been formed enjoy the Ham- balcony in New and your family could many more blending with your certainly stim- — Carnegie towns. The rajiio has piano accompaniment. molto rit. Hall to hear Bach and Bee- mond Organ in your home. left-hand / > interest in good music in _ thoven and Brahms, and yet are ulated an monthly magazine about organ _ subscription to Hammond times, 8 Free—Writeforyour » ready, just as it has in America,. p- zi -m- 0 when dancing, to fall in with Iceland, Western Avenue, Chicago fF t and music for the home. Hammond Instrument Co., 2929 North =5TFt hungry for music 1 -Ig tJ IbbhJ f=f9 f= the latest rhythms. The people are UJ =U~ 0 « would like to become musi- F 1 3 3 3 2 if= — Reykjavik has three good male many might not make M r— choirs—the Karlakor Reykjavikur, cians. Music teachers ORGAN if they found HAMMOND lessons the Fostbraedur the Kfum fortunes giving for VioJin and Piano attributed to the twelve year old Mozart. and but # From a Sonatine ( YMCA) way thither from America, . The all set their Fostbraedur was HAMMOND ORGANS ARE DOING WAR DUTY WITH THE ARMY, NAVY AND MARINE CORPS to be welcomed! MORE THAN 1000 Copyright 1943 by Theodore PresserCo. tour the United States when World they would 602 etude the SEPT 'FORWARD MARCH WITH MUSIC” EMBER, 194 3 J . ^ i 2 — 1 - ! ;.

and the beautiful and broad— ‘Wing- 'T'locv- you CAN STUDY VOiCE UNDER of-the-Night’ waltz—served to Albert Hall last season. Whitman give certs at the When Walt to the feast; Raws- due variety though va- Voice Dlestiuns Another composer, Alan Communicating riety of offsetting contrast is a private — had his Critic not thorne — now a Music is bountifully the Was wanting, but supplied “Piano Concerto” played at tHe Song’s from Page 555) at these gatherings. For, while this work him- (.continued, y0u Proms.” He conducted your left the are rapt on ear with a trem- jh*ver«l Ly DR NICHOLAS DDUTY it was performed by Message self when ulous, sweet throb of the E-flat Real Symphony Or- »as Scala. toe** cor- Western Command The eonaudot (like some passionate Sergeant net, voice of chestra a few weeks ago. c from Page 571) “? the heart, lifting you out of < Continued army y0Ur who led that we« the name Harry Danks, T th you are also treated, No question will be answered in THE ETUDE unless accompanied by full zf r" hand, boots) , on your member on -r: orchestra, was formerly a I was always and address the inquirer. Only initials, or pseudonym given, will be published. lightly treat' right, to a perpetual loud chatter- of the tongue upward to touch Broadcasting Corpora- of the British of the scores of cheeky just back of the upper front cawing young the gums tion Symphony Orchestra. Srablf to normal. Repeat gT negresses, who assemble here, carry- teeth, and return When Bratza, the celebrated vio- speeding up. ing in their arms, or wheeling upon attain this open throat it seems as if you had several times, gradually Army, he still played Can a Man of Forty-one Learn to Sing? linist, joined the like dropped your lower jaw as far as possible, the jaw or all of you, in wagonettes, their charges of Q. I am forty -one years old and would 2. Without stiffening permission of acquaintance with forcibly lowered your tongue, and raised the —but it was “by kind struck up to sing and take vocal lessons. Am I too old? this same * beauteous white infantry. Anon, could. In a few words back the lips, use Dos- likeable feUw red- years ago I sang in a Reformed Syn- uvula as high as you pulling officer!” Lance were . A few , his commanding them. They you have simulated the throat, mouth, tongue, to sing “lee-lee-lee- was a likeable faced, muscular boys bump fearfully agogue and received lessons in exchange for tongue action concert pianist, thought I and palate positions, which we call yawning. sor, a distinguished think they my services. I thoroughly enjoyed it and I sing “la-le-li-lo- one of those against you, running races; while hold these positions for any length of time lee.” Then use it to serving overseas, I I can now see have a desire for further study. I can only pay To is in the Army— fellow . . a yawn, and the rea- relaxed and flat cor- frequent bevies of from three to and I realize that this naturally will produce lu,” without moving the the most he played E two dollars per lesson One encounters in players: giv'-.s you the world’s best music, beau- son you do not yawn when you sing before believe. Italian CENTURY is not very much. My ambition is not too high, it. very thirteen girls (neither children nor printed " the best paper, every bar in the jaw. aiimen called tifullv people is because you are so scared that you floating . and they correct, unlikely places soldiers net I think standard size. tail, note certified to be as just to be a good choir singer. I have a burning use it to sing best if tirelessly perambulate, and hi - ii! What more (ran sheet music be! forget to make them. It is an exaggeration to 3. In the same way, Sym- one of the women), the master desire to take part in the Christmas and Easter belonged to the London Sright, animated: There are our ” (too compositions in the Century in this abnormal manner and we advise who to go through oratorios and some of the fine sacred music sing and “nee.” always loafing are determined no catalog, all Ik. (20c in Canada). “tee” and “dee” Halle, or other best. I was you not to do it. Naturalness should be the phony Orchestra, the not the dealer what selec- before I am too old to sing any more. words of mortal passageway, only that When you buy music, tell your of sing the a technica other to the CKNTl lt\ keynote to your voice production, freedom not I say. Now when you orchestras. had a quick if tion you want on. bo sure “In 2. Am I too old to get a position in a famous European about: " you will pay only and pi*.- . That means tongue, throat, and uvula, that the to the interstice between you and EDITION choir?—N. R. T. action for jaw, song, you will discover would come narrow half what you usually pay. And you your ear This man 15c—less than only when this condition is accomplished, can much individual.” can’t buy better music at any price. tongue and jaws move Plenty of Strings immense gusto the adjoining A. The Armed Forces of the United States one sing well and easily. In spite of the fact lips and crucial passages with THOUSANDS OF SUCCESSFUL TEACHERS use the EDI- have taken almost all the younger singers (be- that thousands of articles in various magazines, all show that he i CERTIFIED more freely to pronounce Forces orchestra there play solo interludes, Other criticisms never and recoinmen “CENTURY In forming a —would often TION” exclusively- -because they know it is all that tween the ages of eighteen and thirty-eight) year in and year out, call the students’ atten- will surprise you to the lull— attempted to prove a musical knowl- good music can be at half the price or less. Its sounds clearly. It in plenty. would come into their ranks, leaving only the older men tion to it, they seem to prefer an unnatural and are usually string-players whatnot: then modest price aids ihem In enrolling more pupils, and to sing, the this purposeful to whack that he did not. possess. Prob- parents greatly appreciate the saving. and a few well-developed boys unscientific use of the organs of speech, voice, discover how much difficulty is in trying to collect for the others edge The a chance very important tenor and bass parts, both in and breathing, and to adopt a method of sing- will beautify your tonal for a space. ably the readers he expected to practice the more picturesque instruments. away—he being silent Century Piano Solos, 15^ each solo and in chorus. Theoretically at least, this ing which leads to tenseness and discomfort. your message to his dark were glad to get his human, of forty-one like yourself, your singing entirely Records Presents quality, and allow there a good ex- I would see please (Capital letter indicates key—number, the grade) should give a man Try to be natural. Make Columbia Where on earth is Then it was tremendous be Chorus (II Troy.) Cl 3 Yerdi with some experience as a singer, a free of either mannerisms or exaggerations. through your voice. You will What about catch me as folksy opinions. However, we still per- 511 Anvil — shine ponent of the French horn? eyes glancing — 3064 Clayton's Grand March, Op. 100. Abb—3..Blake and unusual opportunity. You still have about words more criticism is a calling *3123 Country Gardens, F—3 Traditional to enunciate the first-rate bass that? do you ap- sist that musical ten years left of your singing life, provided able has happened to that if to say, how was 3063 Cradle Song, IN—3 - Rrahms Should the Tongue Remain Flat Through the THE QUEENA MARIO Ponchielli not impaired without cramping the reson- should be reserved for those 1902 Dance of Hours, C— 4 your health is good and you have Entire Range and Upon Every Vowel Sound? clearly cooking-course, prob- are we agreed?” which Doll’s Dream, Op. 202, No. 4, C—2....0esten clarinet? On a prove? 190 your voice by too much smoking, drinking, studied seven years message will and the training 1433 Dreaming, Meditation. F—2 Lichner Q. I am a tenor who has ance spaces, and your sincerely but who have the gifts 4-Labitzky of dissipation. Your ably, or a draft. Whitman loved music 1673 Dream of Shepherdess. Op. 45. G— overeating, or other forms and am about to embark upon an operatic SCHOOL OF SINGING and beau- 2506 Edelweiss Glide, (Simp) (3—2— .Vanderbeck a modest one. namely begin to sound both plain overseas, or profes- for this important work. ambition seems to be career. A successful career is predicted for me, Classical music is sent pretended to no technical 1204 Etude. Op. 22. No. 1. Ah—5 AVollenhaupt in the choruses of the Christmas i unique recorded home-study course by the literary men of renown have 699 Farewell U the Piano. F—3 Beethoven to take part except for one thing. My tongue is inclined to tiful. records the finest liked to sing Many 2... Lange of the finer Metropolitan too. The War Office knowledge. He 1818 Flower Song. .Simplified, F— and Easter oratorios, and in some mouth. Above F Queena Mario . . . great sional Beethoven rise and draw back in my my and would have C26 Gertrude’s Dream, Waltz, Bb 3 .... is to find a result of the day been good musicians sacred works. Our advice to you is tense. teacher told me to slur. ..the famous teacher of famous Army talent and sends the tunes from the operas 521 Golden Star Waltz, C—2 Streabbog throat very My Lichner teacher, study hard with him Bernard 627 Gypsy Dance. Dm—3....„ — good singing I tried to cor- . the staff of else- at con- fine critics. George maintain a flat tongue and when singers . . and member of Gibraltar, Cairo, and had learned by ear made 1222 Humming Bird. Waltz. F 2 Schiller ready, to apply to Malta, which he and when he thinks you are this fault myself, I became very hoarse. Sclioolof Music! Arnold Ben- 1179 Hungarian Rhaosody No. 2, Cm— 7 Liszt rect the Juilliurd Graduate radio the music James Huneker, of the choir or the choral body where to be relayed from local certs. He knew little of Shaw, 2262 Hungarian Dance No. 5, Easy, Cm—2..Brahms to the director I am no longer studying but would like to ac- 1' Erskine, 2251 Impromptu in Afc>. A 4 Schubert think could derive the Musicians Wagner, or Rupert Hug in John — from which you you complish this by myself.—M. L. Beethoven, nett, invitation to the Dance, Op. 65-Db—5. .Weber in your stations. of Mozart, 698 greatest happiness. Do it now. Do not put it Are there latent possibilities were or 2749 Japanese Lantern, A C— 1 Hopkins six reverently bewil- Hitchens and others — older. In order to form the many vowel and because Certain memories of the past Brahms, but was Robert 270 La Paloma, lib—4 Yradler-1 vitchell off, for every day you are a day A. voice? Must you study at home Count Leo 272 Largo, 3 Handel obtain a posi- consonant sounds used by the speaker and the a measure of pianists, as were G— 2. Whether or not you could problems or because good Khaki in my mind. I see its beauty. His are fine 2467 Liebestraum (Love Dreams) G 3, Eas.v..Liszt of financial in months stick dered by — depends upon at least four singer alike, tongue, jaw, throat, and lips, must Shaw, 278 Lily of the Valley, Op. 14. E— 4 Smith tion in a choir platform be estimated Tolstoy and Romain Rolland. any sense of teachers are not accessible? crowded, lofty hall and a musical knowledge can 2746 Little French Doll, A, 0-1 Hopkins things: First, how good your voice is; second, be extremely flexible. Without some Martin Continued from Page 560) a great a music critic for 1613 Little Rondo, C—1 you read music; third, how far you effort and without interfering in any way with ( sixty khaki figures stand the fact that he showed in fact, was 3133 Love Dreams (Waltz). „.Greenwald how well For you, and others like you, Columbia on which by Ajr—3 the voice; quality of the tone and the clarity of the 1611 March of the Boy Scouts, C—1 Martin have advanced in your study of the his seat at the for the trite songs of time. be capable commissioned Mme. Queena Mario to de- as the soloist takes admiration *3122 May Night. K — S. Palmgren fourth, whether or not there is a vacancy in enunciation of the words, they must the Gar- 1648 Military March, 1. 3 Schubert supple- to troops only, in Thou art so No. D— choice. As we have never of making the most complex and varied move- velop a unique home-study course, played piano to play the Rachmaninoff Alexander Reichardt ( 2519 Moonlight Sonata- (Simp). Cm—3~Beethoven the choir of your halls, 4 for us to example: In forming the vowel bringing 1 176 Nocturne, No. .Chopin would be foolish ments. For with Columbia records, Theaters and camp He iHow fair Op. 9. 2, Eb— —— heard you sing, it mented rison No. 2 in C minor.” near ) and Heinrich Weidt 2308 Norweqian Mom re- “Concerto Cradle Song, F—3 to answer this question for you. sounds AH, AWE, and OWE, the tongue herself! Opera 1024 On the Meadow, 2..Lichner attempt you direction by Mme. Mario were packed. Verdi's “II Teachers Op. 95, No. 2, G— although it dare the buildings of the Royal Air art ) He had heard The .Delibes mains rather flat in the mouth, wears the uniform thou 358 Pizzicati (Sylvia), Et>—3 ... - too, is Chopin down. It rises gradu- invariably popular. Ballet, the “Der Freischiitz,” 854 Preludes. Op. 28. No. 7 not be stiffened or forced Among trie famous artists who have is and is a group-captain— Trovatoie,” Weber’s 1531 Priests’ March (Athnlia). 4.3Iendelssohn Nervousness and Yawning Force F— ally in forming the vowel sounds A as in gat, are troops, and I see 368 Pure as Snow, Op. 31, Eb—3 Lange nineteen, with a range studied with Queena Mario Helen by the Huguenots,” and the Table Q. I am a soprano of it presented equivalent of a full colonel. Meyerbeer’s “Les Round 2429 Robi-’s Return, The (Simp) G 2—3_Fisher A as in day, and EE as in meet, but must — Middle C to High C in plain sing- Natalie Bodanyj, Edward Kane, somebody has left 1210 Romance Sans Paroles, F—3..^...Streabbog from below stand so high in the mouth that it will Jepson, from a program outlines of those waltzes of Strauss. When he con- 568) singing, and to F never the shadowy 1312 Scales - Kohler staccato I see Continued from Page and Chords, 2 ing to D sharp in the exit of the tone. Any stiff John Baker—and many others. Now you, Army Pay ( 696 Serenade (staendehen) .Dm—6.>‘chubert- Liszt was much interfere with desk that a Royal the wintry Broadway Journal he in scales. When 1 started singing I on my figures, struggling through tributed to the 2196 Serenade (Staendehen) Dm—3 Schubert and forceful attempt to prevent this natural too, can study singing for opera, radio, i a lower notes, “Pavane pour melody 655 Shepherd Wilson bothered with yawning on the Corps unit is staging halfway up a editor, Edgar Allan Poe, call that just riiv with Boy, The, G—3 rising and falling of the tongue will impair motion picture work, under the black-out to a camp had the “things I yawn on the higher notes also. stage or Ravel s starting P0^ but lately the tone quality and make the vowel impure. defunte” to scientific that as a I scared and une infante mountain in Carnarvon in Wales, and attention to his lack of honey! Well, with When I sing before people am “Mario Method.” Piano Duets, 15^ each 2. In the formation of consonants the tongue and girl some of _ does away with the yawning, but as I music. friendly applause knowledge. Here is one of his criti- feed your boy (4 Hands) that the vowel position and touch the complete course for six hear the warm and to singing before people must leave There is a and. r 3079 A Bunch of Daisies (Valse). C 1 Martin become accustomed Spirit arrangements of classic — teeth, the roof of the mouth or the pal- Fine arrival. cisms of a concert of the Marine I9°.4 Amaryllis, Gave, de Louis XIII, F 3....Ghys relaxed and I have a upper types of voice . . . two types of soprano A which greets their — I am becoming more posi- all pu ” 1826 Barcarolle, 3..0ffenbach ate, and then return quickly to the vowel brought out by ’ Tales of Hoffman, F— back the yawn. I am afraid two types of state- tunes hard time keeping mezzo-soprano or contralto ; all I see row upon row of uniformed Band. Note that he makes no Co ertos 924 Ch°P Sticks. Waltz. C— 1 De Lull! wonder you became hoarse when you musicians the Great ^ *3124 tense trying to keep back tion. No Britain’s foremost as—"Themes from Country Gardens, F—3 Traditional that I will become and consonant tenor; and baritone. Each course con- still and silent in ment to which the musician may 3078 Elizabeth Martin lose its natural- tried to sing all the vowel their time and men and women, from ‘be Waltz. C—1 - the yawn and my voice will willingly given (Levine) and “Themes 925 Golden Star Waltz, G 2 Streabbog one fixed position of tongue. It sists of an instruction book and two albums have — do for this?—E. M. K. sounds with mighty cathedral, as take exception, although we fear his s 930 Invitation to the Dance. Op. 65, Db—5-Weber ness. What can I the nave of a > and not try it again. . do the services. Out- (Levine I3«6 jCe!er-Bela just cannot be done, so of Columbia records in a handsome slip genius to entertain Symphonies” ^ Lustspiel, Overture. E-—4 and criticism of the composer of “Fra 1940 Schubert if you had misunderstood sing and speak easily, remembering hand- the music of Schubert, Brahms, attractive March Militaire, D—3 - A. It seems as Learn to case. piano is needed—accompaniment tin-roofed canteen a selections from the 1471 3...JRosas is so No side some ces that Over the Waves, Mex. Waltzes. G— expression “Open throat,” which that all the organs concerned with vowel and inspiring birds to carol f eceS 941 the forth. I see exaltation Diavolo,” the list of . Poet and Peasant, Overture. D—4 Suppe records. proclaim that Delius pours “Themelodies.” The PA — singing teachers. In order to consonant formation must be highly flexible. is on the written poster may recent 3129 Shadows on the Water, F—3—4 -Loumey often used* by faces of those who listen. A and the kids to skip, may seem comic is endless > Toil- on the with melody . Solomon will play this evening. ring AJ Movefin It solves the home-study problem . . seems to be drawn aside and to many. try De Ol Arks Piano Trios, 15^ each ’ curtain publications , those of you who are already attend- lanes on a Welsh TrV Instructive Hands MUSICAL ART SERIES and ing through muddy I’m Tired ofjn0 EnsemMe Numbers for Six lean I see that these men and women are “The Marine Band punctual to (Carter,. Oh Lord, (Three performers on one Piano) Three new songs that should be in the repertoire of ing voice classes will also find it valuable observe the i. hillside one may de Tro; 3089 A Little French — ...-Hopkins FEUCHTINGER every vocalist, professional or amateur. Beautiful die; Nobody Knows Doll (Lull.), F EUGENE as an adjunct to your lessons, at extremely thinking: This beauty must not time, ascended the stand, formed its (Cobb), n< 3092 An Old Moss- Covered Church, 1— .Hopkins melodies and lyrics by Percy Brook. of Dr. Malcolm r C— dapper figure 30 6 and Seen (Maier), Sleepy W Barbara (Waltz), G—2 M. Greenwald CALLING YOU (Suitable for weddings) low cost! Send in the coupon below—for beauty will not die. scarlet ring, and commenced with a 3071 Big : loves noth- this '"f Drum Ma or, The (March), F—2..Hopkins STUDIOS YOUR LITTLE MOTHER AND MINE Sir Henry Wood (Ghe 3088 Big information—today Sargent. ,’ Prelude in D-flat Bass Fiddle (Hum’esque), F—l.Hopkins BEAUTIFUL GARDEN OF PRAYER (Sacred) complete short, I see their vision of vic- rattling quickstep, at six o’clock last haver) 3097 survey an eager In “Pastels Cuckoo Song, c—2 Martin INTRODUCTORY OFFER. For a short time only—one copy of better than to 3094 Floral Martin above three songs will be mailed to you, post ing evening, dolettes” (Bentley), iton)) Parade. The (Valse). C—2 each of the tory. at the President’s grounds. 3070 Golden ..Hopkins paid for $ 1 . 00 . or khaki. Con- L°ve ® Rod (Waltz). G— 1... famous audience in blue-grey “Melodies Everyone ore 3093 Humming .....Schiller Exclusive teachers of the . EnC Bird (Waltz), C—2.. Br.ook Art Studios, I I DerbyCourt, Malverne,N.Y. ColumbiaRecordingCorp.,Dept. E-1 .Bridgeport, Conn. Then a polonaise. Then a good slice 3005 Idle Lichner of caliber of Moisei- (Pederer), Moments (Waltz), C— 2... . Feuchtinser scientific method artists of the Dreams i 3090 cert Smoke nville)i School Pictures (Waltz), C—a...... Hopkins Kindly send me, at no cost to myself, full learning to reason you will of something not new Ma 3

popular bands. number of Later, he returned to Philadelphia where' view have given away to the Symphonic he classic Eminent both sax player and arranger personal. The English was for FLASH Two Approaches to positive and Orchestra. ^eacherd separate in Jan Savitt’s Marion Mason Organ and Choir Questions SPEED DRILLS CARDS j^or j~^iano organ is now entirely Radio Enterprises in Jack Hunter are Warrington’s its continental and tonal plan from The easiest and quickest way to teachi the piano keys^to tinv tots or Organ Tone we vocalists. the type of organ 566) beginners of any age, is with SPEED DRILLS by Wallace & Winning. parent. This is (Continued from Page in America— for we in- (Continued, from Page 573) inherited Sight the A System for Teaching Beginners on the Piano to Head Rapidly at herited it from England. to conduct Barlow is announced said organ 19,.His .Answered by HENRY S. FRY, MuS. DdC. service. The Cromwellian use of the U! and Fall Novelties in the church Even though our Concerts of September FOR CLASS OR INDIVIDUAL INSTRUCTION not at all, ’ services appealed to him is somewhat different all-orch in America first program, an the situation organ to Le Ex-Dean of the Pennsylvania Chapter of the A. and he began to remedy its use in England, our Lalo’s “Overture G. O. cont3m material for single note drill, giving the student from will include World of Records Tlrlllc former musicians to gave us instru- Suite of Fran Speed by encouraging builders for years d’Ys,” “The Sea training to play quickly at sight. With SPEED DRILLS offer- Roi ex- come out of retirement and by fashioned after English models. three Wagnerian (Continued from Page 565) ments Bridge’s and students learn to play before learning the music alphabet. SPEED DRILLS consists foreign musicians to more re- concert Robert ing bounties to This condition is all the In the second SrpSl questions will be answered in THE ETUDE unless accompanied by the full Thirty-two Cards to be placed back of keyboard (on these England. With this revival there are many there is a lack of spontaneity, for ex- No of settle in markable in that the Frenc X inquirer. initials, Casadesus, name and address of the Only or pseudonym given, will be pub- music, ’t’ss corresponding to the key in instrumental men in this !\f Mozart ample, in the second and third songs. Cards in Place cards is printed the staff and the note of interest European-trained organ to be heard m lished. Naturally, tn fairness to all friends and advertisers, we can express no opinions those scheduled Back of Keyboard needed to replace lack of enter- K. 467 ®“ But, on the whole, we find Mme. Leh- as to the relative qualities of various instruments. the keyboard), Keyboard Finder and a Book of Com- organs were country. The apparent “Concerto in C major, on Grant for be the the projection of these destroyed. Under a Crown experiment may this concert mann’s works their use. prise in tonal low will Play in prehensive Instructions for builders, Bernard Schmidt comprehended when it poem, appreciable than that of any organ more readily seldom-heard symphonic more Smith) arrived from Ger- two systems are Elgar a wo * other singer who has recorded them. (Father is understood the by Edward Harris the staff,” so FOLLOWING ARE PICTURES OF THE CARDS SO THAT YOU many, and Rene (Renatus) mutually exclusive except under regard as one of the These songs are completely a which many congregational singing to make whatever changes a practical han- USED the channel from France. It direction. One is greatest product of the German Romantic Q. In accompanying MAY KNOW THE WAY THEY ARE crossed most understanding British composers Church which is correct—set dling of the matter necessitates. We suggest sources of noted in a Protestant thus apparent that the from the unison pitch— concert of the School that anyone not understand- Organ, with Swell open and leave it open, placing the organ so that the tone coming is direct color of the Full DRILL No. 2 DRILL No. 3 DRILL No. 4 The conductor sentiment, through the opening reaches the choir DRILL No. 1 renaissance partials registration according to in the For stressing rapidity For stressing rapid visual English organ in this color from upper announced a ing or appreciating that fact will fail or vary For stressing visual For instant recognition the the other was not use of the most direct manner possible. playing the keys mental and muscular twenty-sixth giving the interpretation by the accuracy of keyboard positions classical. The early English, the the general practice fully their significance. The coordination were (harmonics) . If writing. to grasp pedal and so forth—M. P. were the time of . Swell and the German organs the one or the other, it is public demand poems, written by Chamisso, like Q. I am very anxious to get a used two- French, is wholly Responding to the Since you do not mention “heartiness” of har- A. manual reed organ with pedal keyboard for founded upon the basis Raymond of Heinrich Heine, aim to ex- size of congregation and size of alike likely to remain. better dance music, those of singing, practice purposes. I note from your organ for we cannof give you definite information corroboration. Donald foremost, ploit the most intimate feelings of a organ questions department that these instruments monic About ten years ago Mr. G. one of America’s organ to be used. However great factor Scott, as to amount of are available at reasonable prices. Will you The element of use is a the Aeolian- has a woman. Modern women are inclined on interpretation of hymns may Harrison, president of popular composer-conductors, overemphasis please give me the names of parties having the organ as damper to good congregational sing- in the development of Organ Company, began to featuring a twen y- to deride these lyrics, and at best serve as a these instruments available?—L. B. Skinner new program is hearty, and the Full Organ The classical organ in their time was ing. If singing an instrument. with applying the prin- orchestra presenting un- their expression too loud, nor the tone “muddy” (due to A. We are sending you, by mail, names of on experiment r ine piece is not in the large buildings of than real. Chamisso’s 16' tone on the manuals) the arrangement you parties who have used two manual and 32 Cards, Keyboard Finder C|1 developed ciples of the classic tone to American danceable arrangements more artificial brilliant usually mention may be satisfactory if occasional vari- pedal reed organs for sale. PRICE -SPEED DRILLS Complete and Book of Instructions JIJC the Continent. The clean, been such the nation. lyrics would hardly be remembered organs. His success has popular tunes of is made either by withdrawal of stops develop in the the best ation tone could grow and com- with Jack if it were not for Schumann’s manipulation of Swell Pedal. Q. The Music Committee in a church in our Published Kansas coy, that the revolution is almost The Raymond Scott Show, today or By jenmns music compunr m. When this city has about ten or fifteen thousand dollars resonant spaces provided. every series on It is the music here which is plete in the decade. Nearly as vocalist, began its songs. country church we have England, little Smith Q. In our small at its disposal for the purchase of a new organ design was applied in experiment- 12:00 mid- greater consequence, but one can ten voices. The builder in the country is Friday, July 16 (11:30 to of organized a choir of about to be installed in a new church now under was noticed in the cathedrals sentiment of the choir consists mostly of high school students construction. The seating capacity of the DEAGAN MARIMBA change ing with classic tone production. The EWT, Columbia Network) believe that the PLAY A of parish night, who do not have a great deal of time or un- church is to be about seven hundred and but England is a land revolution is appeal; his appealed strongly to Schu- interesting part of this music has a wide lyrics usual musical ability. We want to get some Would you advise a two or three-manual Easy to master . . . are smaller Scott’s fifty. churches. The buildings of value. The pop fans for he was one of the first anthem books that would be within the scope organ, and what specifications would you sug- that we lose nothing comprise the regular mann, always popular . , • well, the public quite simple. Can couplers? What and not so resonant. As (Amer- to compose his songs of their ability—something gest, including pistons and musical best of the English as many classical music en- great composers use?—M. M. organ chambers richly satisfying. sing hymns as well you suggest something for our space should be reserved for congregations liked to with the poems as such. Also ican) system is being put Many of his most noted out of love for the and what space for the motor room? Write Dept. E. accom- thusiasts. A. We suggest your investigation of the fol- and they wanted an organ sys- as Lohengrin Bridal Chamber will you suggest a good book on choir direct- musical best of the continental have descriptive titles such Wagner: — lowing easy collections, which may be secured encourage them pieces ing?—F. R. B. J, C. DEAGAN, INC paniment that would has Flagstad (so- from the publishers of The Etude: “The An- tem. The American Classic organ “Powerhouse,” “Toy Trumpet,” “War Scene: sung by Kirsten up their vocal faults, (tenor) them Repertoire”; “The Anthem Devotion”; A. We advise a three-manual organ, the by covering the advantages of both—and the Indians,” “The To- prano) and Lauritz Melchior The Dance for Wooden “The Anthem Treasury.” Swell Organ, containing, in addition to other rather than showing them up. mechanics and Symphony Orchestra, superb American bacco Auctioneer” and “Siberian with the Victor stops, a Geigen Principal and a Mixture stop CHURCH SOLOISTS tone suffered in two Vic- to be in- Secure copy of new song continental “Eight- Edwin McArthur. Q. I am a teacher of piano, and very ad- of some sort and a Mixture stop action as well. Sleighride.” His composition, conducted by “THE LORD IS MY STRENGTH” clear and the in the Great organ. We suggest, that ways. The tone was too vanced in music. I have been studying cluded By James D. McRae stop to organ Drawing Room,” tor set DM-987. or Solo manual, congregational The war has put a eenth-Century pipe organ for nearly two years and feel that since there will be no fourth Appropriate on all occasions—Price, 50 cents cool for its role as names of Choir and Order from the fac- piano sonata, the general public the I have had enough training to do church the Choir organ be utilized as both buildings building, but, even though adapted from a Mozart To FREDERICK HARRIS MUSiC CO.; Oakville, Ontario leader, and the immedi- work. I volume of the Solo organ, and include a Reed stop of the singing war work, they identified with him Flagstad and Melchior are am studying the first tories are busy with has become sd “Organ class, and any other Solo organ stops general, not resonant enough op- Widor-Schweitzer Edition of Bach's Trumpet were, in with the famous pistons and couplers will eventually be able to return to that most people fail to credit Mozart ately associated Works," and think that I can work them out deemed advisable. The tone develop properly. A The builders being con- to let the a fresh People who lovers Isolde and Tristan. without an organ teacher. Would you advise may be suggested by the tone organ building and make with the original theme. eratic recommend the amount TTj more positive and forthright Isolde al- me to continue study with my organ teacher sidered—who can also El1E 131] start involves a new versions of the roles of Tristan and to be reserved. increasing start. The new usually resent dance heroic or take lessons on a Hammond organ? I un- of organ and motor space Diplomas, Certificates of Awards, Medals and Pianists—Send for /re# booklet show- desired. That meant than if the ing how you may greatly improve your was voices better derstand quite in the Prices will depend on builder selected, Pupils point of view. The war interim may classics are in favor of Scott’s treat- ways fitted their there is a difference Other Requisites for Awarding technic, accuracy, memorizing, sight- divided, number of expres- the unison tone. roles of Lohen- registration of this instrument and the usual instrument is to be Completing Courses in Music reading and playing thru mental- all loss to organ building! Mozart theme, so in- did the more lyrical work on Choir co-ordination. Quick results. Practice efTort not be ment of the pipe organ and since there is a demand for sion boxes and so forth. For a muscular years Mel- , of the minimized. Used by famous pianists, teachers and it. se- Elsa. In former it would be directing we suggest consideration THEODORE PRESSER CO. England It is not possible for all of us to geniously has he handled One grin and Hammond organists, I feel that students. No obligation. We Inherit from Lohengrin and Chorus Conducting, 1712-14 Chestnut St. Phila., Pa. part of to my advantage to know how to operate following: “Choir Broadwell Studios. Pent. 63- Covina, California examples of this new American lection each week in the new Scott chior essayed the Technique and Interpreta- J continental tone the have today. one.—M. B. Wodell; “Choral Now in the Scott ar- successfully than he does “Choral Music and its Prac- tones organ building in our churches. There program is a spectacular more tion,” Coward; and the upper partial recorde A. There is a difference in the registration unison America of a popular tune or one Back in the late twenties he tice,” Cain. as are hundreds of organs in rangement of the two types of instrument to which you are in balance. One is as telling Bettendon. Masterpieces of Piano Music mixtures, mutations, or even of his original compositions. It is this scene with Emmy refer, and there is a demand for organists who small one-manual reed organ, the unison tone without Q. I own a another. To increase older recording can operate the Hammond instrument. If you be electrically operated, lias been termed the library of Piano two-foot stops. Even if your organ played in the experimental modern- One familiar with the 'an this instrument the whole a io feel that it would be to your advantage you you please furnish a sketch of than would merely make not dealt nd if so will Music in one volume. The more possess a two-foot stop, the istic style that marked Scott’s recent will find that time has might study familiar claviers made for reed the balance does not with someone who is jme? Are there pedal 200 selections by great composers con- little louder. And because for with have price for such of these two points of program series known as Jazz Labo- kindly with Melchior’s voice, the Hammond organ. When you rgans? What is the approximate tone is understanding ' tained in its 536 pages, comprise 53 destroyed more unison pi acquired sufficient knowledge of the instru- ? J. W. V. is in the n attachment — 25 Sacred view may help you to get some new ratory. we find him less happy ment you can former organ Classic, 75 Modern, 38 Light, With the growth in im- e return to your necessary. and una teacher that you mean the instrument and 29 Operatic Compositions. This vol- whole colors out of those stops you know so Another popular program which jection of mezzo voce, or continue your organ work alone A. Assuming of the pitch line, the if an electric blower, we sug- of constant enjoy- portance pitch m you feel fully qualified to do so. 3 be supplied with ume is truly a source well. Try the string and four-foot seems to have clicked with the Na- ways to maintain the touch with the firms whose structure is too loud, and the upper est that you get in ment and entertainment to the pianist the musld sending you by mail. Pedal flute only with a super-octave coupler. tion’s listeners is Music by Warring- chromatic lines of ' Q- A theater organ has recently been given ames we are in good music. pulling away from the its we are who delights tones are f to our to made for reed organs, and coupler on all the four- ton (heard too mutiire church, and of course we shall have laviers are For sale at your favorite music counter or sent the upper Use the super Mondays from 12:05 to Lohengrin is far of a person who has unison. Then let us soften Pay the cost of installation. Being a theater ending you an address POSTPAID upon receipt of price. Money re- at same time 12:30 A.M., of the that you ask for price join foot stops, and the EWT, Columbia Network) own good, and much organ there is no Open Diapason stop. Do you ne for sale. We suggest funded if volume does not meet with your ap- which cannot properly price given tones ag inquiry. To the ’ SOLD IN CANADA). Illustrated much less eight-foot tone This show, which originates in said about Fl think this essential for congregational sing- .rhen you make proval (NOT has taken employ Phila- thing can be e of installation. cheerfully sent upon with the unison. All this ed, or Trum- will have to add the cost folder with contents of the would it be possible to have the ou of than you would normally use. Do not delphia, gives classical treatment to Elsa. In the earlier part pet you names and addresses request. years but the revolution is at last tone mellowed to partly replace the Open Ve are sending — wo have two manuals and pedal used thinking of use flutes with diapasons unless you the melodies of contemporary popu- there is not the requisite .Diapason? Being an old church there is no ersons who MUMIL PUBLISHING CO., INC. complete. We are now available for purchase. have some particular reason for so lar songs. Johnny others bring definite location for the organ. The cheapest eed organs 1140 Broadway, New York, N. Y. instead of the Warrington, who tenderness that installation the unison outwards would place the organ with the Enclosed find $ - for which send post- part obtain the names of manu- doing. Try these combinations in is a composer as well as latter , sound I would like to Masterpieces of Piano Music. representing quality. In a conductor, part; only in the s emerging in the direction of the arrow Q contain paid whole tone 0 on build instruments which Cloth ranges, using samples of presents enclosed diagram (No. 1). Do you think acturers who ( ) Paper ( ) tones related in various some of his own pieces along scene, when the extremity loud speaker to amplify place of a series of that as satisfactory in Dia- radio amplifier and of varying texture and speed. with his Flagstads as the indication Name unison music special arrangements of is reached, does gram . J. L. T. a complex whole, we have a terror 2?—M. R. B. he sound — if you are alert, you will others. conduc Street brightened up a Somewhere, A former member of a popu- her vocal majesty. The quite a list of these manufac- (and octave) tone ^ A. We suggest that instead of the Trumpet A. There is new effect. If it is musical, lar on City State upper partials. find a band at Duke University, Johnny McArthur is based stop you install stop, since & little by a few weak, Edwin ding an Open Diapason E9-43 make a note of it, and immediately Warrington left The re it would be more valuable as an accompany- strong, thick, compelling. college to go barn- tude for the singers. The tone is mg stop for your choir work. You would have of the start after another. storming across the country The clarity and restraint with a here is splendid. 60 7 "FORWARD MARCH WITH MUSIC "FORWARD MARCH WITH the etud£ SEPTEMBER, 1943 606 MUSIC - — —

almost certainly will. they were ot Which ,„, things It will be seen that the conductor Pianissimo staccato notes at a m previously unaware. student-amateur string violins tempo—such , tjme of a orches- RARE old Violin Questions Technical Training of the moderate or fairly rapid most of rehe Kleine Making the tra, if he wishes to make the most of occur in Mozart’s “Eine conductors a beauti- as problem for all opportunity, has a rather We have many the last move- is a his large Orchestra Nachtmusik” and in each will old Italian String in F problem that job on his hands. He will have his fully-toned ment of the “Orchestra-Quartet temperament and ex Page 577) present ing to his worries—a shortage of viola or ’cello and French violins from ( Continued from Stamitz—may however, one major,” by • There isis. Answered l ROBERT BRAINE or- penence. players, rehearsals sometimes thinly Send for list. difficulties for an inexperienced but actuan etuallvy $100 up. f on an off-beat in rapid seemingly insignificant illness of the concertmas- entrance the players will cer- all attended, chestra. At first, aid of which • tempo. The most valuable ter just before an important concert, tainly use too much bow. pencils. Every £con avail themselves— other vexations— No questions will be answered in THE ETUDE unless accompanied by the full name The Vibrato must explain—and, if need crescendi o and many but in BALLARD conductor accents, FRANCIS DRAKE and address the inquirer. Only initials, or pseudonym given, will be published. mere- ductor wants end the satisfaction will greatly of being an essential in- demonstrate—that the bow expression the Established 1915 The vibrato be, dlninuendi, or nuances of the con- string, absolutely no outweigh the “headaches”; and in gredient of an eloquent tone, ly taps the are not indicated m 320 East 42nd St., New York, N. Y. or- or rubato that enthusiastic response of 3m, 408, it is used unin- stroke being taken. The down the orches- ductor must see that length of these are marked acquaintance technique the music. If audience he will find Avec Sordino period of his life. Through his melodic passages. not learn this be save tra and ample collectors of terruptedly in all chestra may for them, he will H. D. F. Avec Sordino means with a mute with Tarisio, one of the greatest is as he calls all the energy the most vibrato is the inimitable effect reward for and pa- and Interesting Journal (plural, sordini Senza Sordino, means with- old violins, Vuillaume became one of Special attention to the easily, but repetition m later An Important ) , acquir- much needless gone into his out the mute. reliable connoisseurs of Italian instruments. of non-mel- all the time spent on make tience that have work. and VIOLINISTS necessary in two types worth should, therefore, VIOLINS Through his acquaintance with Savart, the hearsals. He the Lives—Illustrates the Work of the isolated accom- bring tpIN of subjects— world-famous “acoustician,” he looked into the odic playing: (a) ing it. the players r-reat Masters, information on many Bolero real point that Great «“£ Repairing Violins. became not example is worth it a g_Maklng— theoretical laws of acoustics, and such as quarter notes One minute of conditioning $2.50 lor 12: single copy 25c R. T. E.—The word bolero (Spanish) is the panying notes, rehearsal, subscription only a practical but also a scientific violin pencils to dance in three- Play in the tempo originally in- in com- explanation and 2D7 Wab sh Av \, Chicago name of a Spanish national the first and third beats five minutes of pencils are as WILLIAM LEWIS & SON, S. maker. The result was the grand, resonant on believe that Instruments. four time, in rapid tempo, in which the dancer tended by the composer .. .exactly as he if he is them to Vrctuaelu Illustrated Catatotne ot Strina violins. made 3.000 of them. occasional longer The conductor, 1 tone of his He time; (b) description. 41 si, ,\ < ir Itrochurt Hare Old accompanies his steps with castanets. The it played and so indicated mon as bows. price of genuine Vuillaumes runs wished to be a important VIOLI V N - y 10LA#—'VELLO&—B0W8 The market rapid passage- violinist, should therefore make of Music literature of the violin is full of compositions also score. That is the big advantage notes in otherwise a an orchestra, whethe The World into thousands of dollars. Vuillaume was o-. the often Conducting of this character, many of which are intended the in the new, the is used on such practice of demonstrating, as for the inventor of a musical novelty called in controlling tempo work. If no vibrato or string, calls Continued from Page 5531 for concert use only. it be symphonic r “Octobasse,” which was four notes lower than modern, the electric way ... by the passages in which they as necessary, the exact effect he is and notes, the unceasing flow of imagination the ordinary double bass. 4. Johann Baptist and the orchestra, an College in 1918 and in 1924 carried on occur will inevitably lack life trying to obtain from conductor must cago Musical Labels Again (John the Baptist) Schweitzer, who nervous energy. The auwyHdlZIaUnjtf C. B.—The labels in your violins are correctly number of well they may best technique for producing made his concert debut in New York. He his work at Budapest, made a large ELECTRONOME point, no matter how and the enthusiasm, so Stradivarius, and the other a ex- Mark Reg. U.S. Pat. OH.) be surcharged with opera, worded, the one a violins, which are of moderate value and (Trade Essen- be an attack, a near- appeared in Gruenberg’s “Emperor whether the violins, be played in all other respects. it. Whether it be inspired with Giovanni Grancino, but cellence. One expert characterizes his violins that his players may also as Avwttasro in “Aida." Sj E. JACKSON CHICAGO, ILL. genuine I cannot say tone or some ques- Jones" and C 28 or either of them, are as “very fine, flat violins.” I have no doubt ELECTRIC METRONOME is the vibrato to good the-bridge pianissimo, motions of tial as enthusiasm; the HILL PRODUCTS .... APPRAISALS without seeing them. You will have to send repairer could restore the f-hole should a similar that a skillful teacher and occasionally to tion of rhythmic precision, he find out. Stradivarius ..first choice of professional, quality, phrases are clear and incisive, Repairs by John Hornsteiner them to an expert to of your Schweitzer violin where a mouse has his stick must be LORENZ, violinist and assist- and student in determining for themselves the of it concertmaster’s violin ALFRED was the world’s greatest violin maker, it. be met with where the absence take up the indica- nibbled at accuracy of their timing. gestures of his left hand concertmaster of the Philadelphia Grancino had a great reputation also. Stradi- Vibrato- just how he wishes the the ant Springs run down, their tension weakens, can be extremely effective. and show expression of worked in Cremona (Italy) and Gran- tive of the changing Orchestra, died in Philadelphia on July varius The Vibrato the tick-tock of the old-fashioned metro- of strings gives to be performed. If, by in Milan (an Italian city). Violins by of the chief beau- irregular, like a wormout less playing by a body passage directions must had been a member cino M. S.—The vibrato is one nome becomes the music; his oral 17. Mr. Lorenz, who been described here, playing clock. But the controlled impulse of “The dupli- not a violinist, let us Schools—Colleres Stradivarius often have ties of violin playing. Without it, violin color which cannot be chance, he is born in again. That Operates Electrically'’ a tone imaginative, and pungent the Orchestra since 1901. was is not necessary to describe them tasteless as jam without sugar. Metronome be concise, of so it would be as time at Its effect, his concertmaster or first violins: “The can’t go wrong. It must always beat any other means. hope that studied at the Royal authority says of Grancino first thing is to learn, theoretically, how cated by simile often driving Halle, Saxony, and An The the exact tempo for which it is set. a far-fetched violins is strong, solid, and bril- this to the in inverse pro- violoncellist can illustrate the point tone of his it should be done. In explaining however, is decidedly more telling Conservatory, Leipzig. He was a member very a point with much liant. The wood he selected was always pupil, care must be taken that he understands ex- addition to saving val- home Leipzig CONVERSE COLLEGE 3? *12.50 its use. A noteworthy for him. In Orchestra of wide.” string, PRICE portion to de- of the Gewandhaus ftpartaimDurg. ft. C. original, the grain in it pretty perfectly. A finger is placed on the effect than minutes of detailed Lruot iitfcuii, l>euu, it will give studio Stradivarius and Gran- This it at your Music Store or in which this “white uable time, this approach years. He maintained a The labels , of both and the hand is given a to and fro motion. See ample of music he must enjoy for four only scription. Above all, have been widely counterfeited, and tone to assume a pitch slightly write to us for 6-day trial offer be used is the first greater interest to the rehearsals and Philadelphia and was on the faculty cino causes the tone” may well orchestra in can tell you if the violins are the basic pitch, with the work; if he does, the Music. HARCUM JUNIOR COLLEGE a good expert higher and lower than “Prelude and the players to learn the Temple University School of would have to send and phrase of Moszkowski’s will also enable of the of Music genuine or imitation. You effect of giving the tone a deep expression, Department what he FRED.GRETSCH mfg.co. Joseph Barone. Mus. D.. Director him the instruments. I do not know a romantic beauty all its own. Fugue in E minor.” Instruments Since 1883 A accepted the BRYN MAWR, PENNSYLVANIA would charge you for this work. As the pupil may be somewhat slow in grasp- A Makers of Musical DR. FRANCIS I,. YORK has Catalogue sent upon request. ing the motion required for the vibrato, the 60 8R0ADWAY, BROOKLYN, NEW YORK position as Dean at the Detroit Conserva- Pizzicato About Bisiach teacher should hold his hand and fingers and of The Etude sup- required for the tory. Music D p —a correspondent guide them in the motions young players need instruc- Department of a violin Most KNOX Galesburg, Illinois plies the following about Bisiach, vibrato. This is soon controlled, and the pupil proper way of playing James MacC. Weddell, Chairman inquired about: “Leandro Bisiach, acquires the to and fro motion required for tion in the “ had a request. maker you WIDOW operetta COLLEGE Catalogue sent upon 1914. A pupil of left passage can “THE MERRY Milan. Italy. Born, 1864, died the vibrato. The thumb and finger of the pizzicato. As a pizzicato 4 by the who PIANO! August modern maker the neck too tight, and the SWING spectacular revival on Antoniazzi. A well-known hand must not hold otherwise ac- Braine He ! earn to play real Swing Piano. Send for free Home be very effective—or — RabErt D. York City, CONSERVATORY great fame during his lifet.me. to and fro motion of the hand must be lightly Passing of New Opera Company, of New enjoyed Folder. TEACHERS: write for business o.ffer OF MUSIC and presumably had very evenly. Study it is played, the Robert Wads E. Miller, Pres. had studied in Cremona done, and CHRISTENSEN STUDIOS, 52 Kimball Hall, Chicago cording to the way musical directorship of SHENANDOAH recipe for under the tools, and formula for the to give de- in Courses leading to brought conductor is well advised conducted the premiere Stradivari. He had two the Stolz, who the B. Mus.. and B. Mus. Ed. degrees. Rates the varnish used by The Strad Magazine necessary Etude notes with sorrow American in Florence, and — tailed explanation of the The in 1905. Many young reasonable. In the heart of the Shenandoah sons; Carlo, established L. T. R. “The Strad Magazine,” a monthly Vienna cities. The the filling Valley, Dayton, Virginia. Andrea, in Milan, both Italian journal for professionals and amateurs of technique. He must explain that Robert D. Braine, who singers are in the chorus and are the passing of is still in existence under played with the bow, Kiepura, the original house all string instruments is plucked, not with the ex- the lesser roles, with Jan Giacoma and Leandro Bisiach, appointment of Samuel string acted as Editor of its direction of announces the the since 1908 has wile, Marta Eg- of Leandro, Sr. Place, Newark, Protects Your treme tip of the finger, but with Polish tenor, and his grandsons Applebaum, 45 Ingraham parts. New Jersey, as its American editor. Mr. immediately behind the Violin Department. Mr, Braine s sage, gerth, singing the principal fleshy part Applebaum is a graduate of the Juilliard have SPECIAL NOTICES & The Maker Vuillaume Precious that each note should The latest dictionary of old violins School of Music and a former pupil of Pro- tip, and kindly advice, always understandable organ- P M M — slow C. BANKS, JR., composer, Violin Makers,” and contains, fessor Leopold Auer. America’s outstanding quick vibrato if the tempo is HARRY is called “Known a twenty- of more than five hun- in the field of music, record- the high the past ANNOUNCEMENTS in the first section, a list contributions a very soft and practical, won him ist, conductor, who for enough to allow it. For European violin makers, with short ings, and books on musical subjects will be organist and instruc- dred known SHEET should be five years has been work, the present-day- reviewed. The “Strad” magazine has been pizzicato, the string regard thousands of Etude readers. Philadel- descriptions of their of Girard College, and the essential in London, England, for over fifty four inches down tor of piano at value of their instruments, published plucked three or director of ' 0 SPECIAL NOTICES about the different mak- years and has a world circulation. In the Mr. Braine was born in Spring- phia. has been appointed facts one should know MUSIC passage, lists ap- the the fingerboard; for a forte Robert D, Braine Banks is The second section of the book future it will give special attention to music of the college. Mr ers TONKabinets for the i86t. for SALE: “Dear Son” and “Don’t For- one hundred seventy craftsmen, affairs of violinists and players of string should be plucked just beyond field, Ohio, May 20, He was Guild of or- proximately sheet music give it associate of the American get to Prav". Love] V patriotic songs; 350 of America. A chapter on in America. Its publishers rec- working in all parts instruments it the protection the fingerboard; for a cres- Pennsy ' a ’’ each; both for 600. Order from composer, the instrument has America offers the great- end of in Cincinnati, studying wii\ several well- ganists, former dean of the the selection and care of ognize the fact that of specially de- educated Dortha Good Peters, 2723% Broadway, great assist- diminuendo, the plucking elected P Fort included, and should be of est field for musicians. signed drawer- cendo or a Chapter, and recently was Wayne, Indiana. been maker can established the 2. A good bow trays : give you or down be- known teachers. In 1894 he Braine Con- Organ pla5 ance to the Player. finger should move up dent of the American to the stick of your the convenience restore the original curve choirma- long of a handy file these two points. Passages Music, in Springfield, where he had as one Club of Philadelphia. He is which had been left strung up a tween servatory of bow. WM. S. HAYNES COMPANY that keeps every the ANNOUNCEMENTS 3. Jean Baptiste Vuillaume, technique occur in St. Luke and P ttae in the case. sheet in place and calling for this of the Church of next to Nic- successful pupils Francis MacMillan, one 1798-1875, was considered, Distinction EASY TO FIND. “Variations of many of conductor of tnc Paris makers. Flutes of fourth of Arensky’s any and former VIOLIN BEBITIDDING: 90 per cent of the greatest of French Finely crafted the er as Lupot, Philadelphia. the highest priced violins would show business he tried to sell care- GOLD—PLATINUM styles for schools, a Theme by Tschaikowsky.” the first American violin virtuosi lo establish a tvorld- Art Society, of When he began STERLING SILVER— on greater power and brilliance if given re- instruments. When he found homes, studios, or- toning fully made new in string treatment. priced fiddles re- slowly, Catalog on request etc. Illustrated : Occurring frequently his pi Low selling very cheaply and ivide reputation. MacMillan made European debut a musical built by me sound like violins costing thatthese were Style 678. capac- of syn- AIRS. CHANDLER STARR, for the old Italian master chestra music are passages thousands of dollars. More and more vio- and that the demand 108 Massachusetts Avenue, Boston, Moss. ity about 800 f° u1 ' to make imita- Brussels in 1905. oneer in the Middle West, , linists are realizing the truth of mv as- growing, he began sheets. Ask your repeated notes. These must in Bolins was and copated Me sertions. Rebuilt violins for sale. Send for any old Cremonese maker, dealer. 1884 of the Rockford < Illinois) fions of aimost articulated by ^ / treatise, Ralph 111. that they were often be much more clearly Mr. Braine’s son, Robert Braine, Jr. (1896-1940), be- patroi Coss, Harvard, made them so perfectly TONK MFG. CO. sohn Club, and distinguished respect Vuillaume than if they ^ as originals. In this Chicago the players of a section June EACH HANDWRITING exclusively bought not only "SWING” MUSIC well-known as a violinist, pianist, and composer. the arts, died hi Rockford on analyied been surpassed. He imitated LEARN came for you. $1.50. Graphology Studio, has never all instruments—make your instrument. ^ scrol , Quick course to players of played by a single ovei I the F-holes, the obbligatos, were her eighty-ninth year. For o. Box 28 63, Tampa, Florida. the model, the varnish, own arrangements of “hot” breaks, choruses, instruuments, but also figurations, blue notes, whole tones, etc. start with a very He was associated with the Aational Broadcasting Com- mflu the tone of the old embellishments, Each note should been a vital and using cer- years she had ^ VIOLIN TR ANSFORMED INTO of the wood inside by MODERN DANCE ARRANCINC sepa- « the coloring ensembles special choruses hinets or be somewhat valuaoi A Duets, trios, quartettes and — TONKa slight accent, as pianist. her and gave MUSICAL, GEM, Or no pay. You be the pany staff community ta modulating to other keys—suspensions—anticipations w judge. Information free. L. Schwenk, after his finan- — next note. If one of ass,s V. part of his career, organ points—color effects—swingy backgrounds rated from the and very often practical Richmond, 111 ta flatter — .? t of . always put his today. the pres den troubles were overcome, he Write is not adopted, artists. As “ cial instruments, ELMER B. FUCHS Sheet Music these methods struggling young t imitation old for SINGING one dol- labels in these Brooklyn 26. N. V._ the was u lar MADE EASY—Book own prominent 335 East 19th St. be felt, and Club she _ - began the most syncopation will not the Mendelssohn ju Eastern Studios. Chambersburg, Pa. and at this time sustained note and all *elt effect will be that of a with famous artists .. MUSIC’’ 609 wonderful persona "FORWARD MARCH \FITH waveringly held. fluence of her SEPTEMBER, 1943 *,* PTVPf- "FORWARD MARCH WITH MUSIC’ 1 j 17 608 k ' s — —

S Go For Symphony IMPORTANT NEW WORK | STUDY? Guayaberos SHALL I GO TO WHERE Jd % SONGS r^m0 yhe riUHiSl S Dll)6Sl Piano Music i Oborotliy Cj Inzer t L OF THE n iannls > I ^ Collection of 250 Excerpts from the Great New Russia city) 1 (New York CLOWN Classic and Contemporary Masterworks ' Private Teachers of Selected Com- r (Western 1 y Album 1 eachers Private positions by Content- could connect with a symphonic Oj;i\y From Shakespeare's HADLEY (Inez Barbour)! live the com- 111 Compiled by MAURICE ARONSON porary Composers of MRS. HENRY of Shaaq | LUCIA O'BRIEN LIVERETTE rN THE VILLAGE position, “they felt it, they lived ^ Soprano Indians, at the head it, "Twelfth Night" VOICE Guayabero they wanted to hear it again N— an achievement in piano study the Art of Singing Oratorio, River u and Teacher's Course Authority on a^“ed L the Amazon ! Graduate of Samoiloff's general repertoire. Will accepr | waters of were impressed MIASKOWSKY . aiai cna again and to ERICH W. KORNGOLD SHOSTAKOVITCH tern s. | an in- By Reasonable students. 1 II every distinguished lumber of taienTed 30^ 1 Strongly recommended by BIROUKOFF Phone NO 2-1030 EX 1141 credible degree.” PROKOFIEFF THE HENRY HADLEY STUDIO 1 Noteworthy Cycle of Songs pianist Angeles. Calif. Truly artist and critic . . . Essential to every KABALEVSKY KHRENNIKOFF 616 N. Normandie Ave. Los Y< A Sj 15 W. 67th Street tfe ° Von Waldegg’s short-wave experi- Sus. 7-0100 G "" and many other outstanding new Russian By Appointment Only. . . Develops not only the fingers and wrists led him to three points for HIGH VOICE and Piano (go p ages . composers ments on the practical ROSE OUGH ^ut * as+e anc* ' ma 9' nat ' on • • • As WIllLC uiaii. effect of present-day civilization on Price $1.25 Met Price $2 00 Net Price $1.00 Net VOICE JONAS- Von Waldegg, an as the piano at which you work. Lazar S. Samoiloff ALBERTO Earon Hermann the primitive man. “The more primi- Former Assistant to anthropolog- in Hollywood Celebrated Spanish Piano Virtuoso recently made the tribe, the greater its love At Your Dealer or Direct From Her Voice Studios at explorer, tive for Reopened Teccher of many famous pianisrs 1 studies of these I 1931 AVENUE OAKLAND, CALIFORNIA Tel. Endicott 2-8920 and ethnological symphonic music and its disgust —8TH 19 WEST BSTH ST., N. Y. C. ical for 6115 s B. * R. C. A. Building * Radio City New York Telephone Glencourt . | Indians. He y EDWARD MARKS MUSIC CORPORATION Studio 407 1 other tribes of dar.ce music; the less On Thursdays in Philadelphia. and modern primi- Victor 1577 or Locust 9409 1 American Indians 1714 Chestnut St. Tel. these South the tribe, the greater its indi_- GUNNAR PETERSON connected with any Conservatory. that tive EDNA Not music to jazz, and prefer classical ference toward classical music; tribes Concert Pianist—Artist Teacher set, short-wave radio receiving established Los Angeles, Calif. his having a long contact I 227 So. Harvard Blvd. SYRENE LISTER had never seen anything bewilder- FE. 2597 EDITH which the Indians our civilization showed a definite expect to find but VOICE PRODUCTION with AUTHENTIC valuable equipment m Why Don't You Like ment when he first hears music of New York City before, was preference for our dance music.” LAZAR S. SAMOILOFF 405 Carnegie Hall, explorer decided Associate Teacher with the lateW. 1 proving it. When the explorer goes on to say this type. S to hurt! of famous singers Collaborator and And the Okis one ffoincj- Voice teacher Floyd S. Muckey 1 he Wanen Show and Endorsed by Dr. this experiment, which Modern Music? Play this example over as many rudiments to professional engagements to make that the explanation for these par- I From Wednesday Troua Music Studio, Lancaster, Pa. he Beginners accepted. Special teachers' courses first of its kind, times as you did Ex. 3, and notice 309 Presser Bldg., Philadelphia, Pa. 1 believes was the likes and dislikes is obvious, summer at his Studios. Thursday: ticular Page 579) I Dr Samoiloff will teach all preference (Continued from difficult to rates for the he felt that whether it becomes less Sure it’s going to hurt. It’s going I Write for catalogue— Special did so because if we understand the environment in Invasion comes high—in blood and — duration. of - often an indication follow than it did at first. It is quite to take more than spare cash this time rr-rqnki f Ernesto! in music is these men live money. Angeles, Cal. which | 610 So. Van Ness Ave., Los people, and tha Example 4 differs but little from half a dozen repe- more than just money that might LaFORGE-BERUMEN STUDIOS the nature of a possible that even Part of the cost must be paid with — able to that the harmonic unable have gone for fun. It's going to take Voice—Piano 1 music he would be Example 3, except titions, will still find your ear human life. That means deep and last- ELIZABETH SIMPSON ^ through A Sudden Change Tibbett since 1922 1 money you have tucked away. It's go- Frank LaForge teacher of Lawrence psychological progressions are perhaps a little less admittedly unrelated hurt for many and many an Ameri- Technique draw a fairly accurate to grasp the ing Author of "Basic Pianoforte Corner 89th St., New York "The white invasion has 'suddenly ing to take part of the money we’ve liOO Park Ave., tribes. related and as a result possibly more of dissonant chords. can family. Teachers. Coach of Young Artists. picture of the Indian series I Teacher of Tel. Atwater 9-7470 the development of the In- been living on—money that might have for Concert Work. Class Courses stopped follow at first. playing paid in cash I Pupils Prepared beautiful strains of difficult for the ear to Some Etude readers after Part of the cost must be Pianistic Interpretation, Normal When the him to the meant extra shoes or clothes or food! I in Technique, dian’s culture, introduced that? going in . . . this September. And for Piano Teachers. Symphony the fourth example, may exclaim 1 Methods Cesar Franck’s “D-Minor complex and made him Money that might have gone for any- San Francisco; inferiority to hurt, too! I 609 Sutter St.. RICHARD McCLANAHAN Indians sat spell- the slang of the day: “So what?” and thing that we can get along without! 2833 Webster St., Berkeley, Cal. were heard the on the white man, de- | Representative TOBIAS MATTHAY dependent whether such elaboration in Fundamentals moving a muscle, wonder Sure it’ll be tough to dig up that Private lessons, class lessons bound, not even of his religion and his — 1 teachers prived him (Mid-West Lecture-demonstrations tor anything more than veil the we’ve got do it Private Teachers while the hut resounded with that groups have does ZJL 3rd IdJcir cjCtoan extra money. But to Bldg., New York City age-old customs. These 806 Steinway And then came melody with curious and discon- and we will. magnificent music. to change their entire SMITH, Ph.B., A.A.G.O., been forced others, upon un- I RAYMOND ALLYN “Piano Concerto No. nected harmonies; We’ll do it partly because of the look Rachmaninoff’s of life. - r rather have !d£)rive is here! Dean W. J. RESZKE philosophy importance of aural that would come over the faces of our still sat silently, derstanding the Central Y.M.C.A. College 2,” and the Indians philosophy at all. We Voice Instruction abandoned any the ap- for invasion to get the money fighting men if we should fail. Weil School of Music admiration. Pres- conditioning, may anticipate To pay — Coeduca- Avenue, New York City listening with deep they dis- I ComDlete courses ieading to degrees. 2122 Bethgate can thus understand why composer of to keep our fighting machine going do it partly because the cheapest, Low tuition. preciation which the Fully accredited. Day and Evening. Sedgwick 3-4042 type of the music changed, I tional. Tel. ently, the emotional classical compositions you, and.every man or woman in Amer- easiest way out of this whole rotten Chicago, Illinois like naturally is seeking to I Kimball Hall, 306 S. Wabash Ave., Trenton, N. J. WEDNESDAY: Perth 1 pounded out its modern music MONDAY: and a swing-band an outlet for ica, are asked to invest in at least one business is for everybody to chip in all J. THURSDAY: Allentown, Pa. and just try to find Amboy, N. find. characteristic rhythm. The Guaya- whirli- extra $100 Bond in September. he can and help end it quick. We’ll do DR. FRANCIS L. YORK their misfortune in the crazy the Theory wor< restless, beginning to mind you for every- it partly because there's no finer, safer 1 Advance Piano Interpretation and beros grew dance music.” $100 EXTRA, — Bach., and Mus. E. TREUMANN gig of modern I required for the degrees of Mus. EDWARD And then investment in the world today than a mutter among themselves. had this to say about body! MOS ' Concert Pianist—Artist-Teacher 1 The explorer CONSERVATORY OF MUSIC clear: Musical U. S. War Bond. I DETROIT by Emil Von Sauer, Moritz Moszkowski 1 they made one word definitely the Does Your No man or woman can hold back. Detroit, Mich. Recommended the Indian as yet untouched. by Hofmann. But mostly, we'll do it because Amer- and Josef Astonishing, yes. For the actions No man or woman can point to his 57th St. at 7th Ave 1 “camila!” 'All his Mudio, Carnegie Hall, Suite 837, white man’s culture. ica is right smack in the middle of the buying and say, “They don’t Columbus 5-4357 New York City 1 word means “ugly.” Had not we But Function? Payroll (New York City) Tel. mark of sadness. Memory biggest, deadliest, dirtiest war in his- Private Teachers Summer Master Class—June to Sept. Apply now. 1 bear the heavy mean me!” No man or woman can always thought that jazz was the necessarily mean The reader will notice that the first sadness does not Page 572) already lending or 12% tory. 1Continued from say, "I’m 10% primitive’s natural love? I have and concluding chords are not even ( FREDERIC FREEMANTEL that the Indian is unhappy. or 20%—I’m doing enough!” And we’re Americans. WATERS is CRYSTAL that the Indian chords of C major, a defiance of Voice Instruction reason to believe the original im- Teacher of Voice An Astonishing Revelation grea musical convention which serves to centration upon Author of 24 home study lessons happier, perhaps, than a Voice Production and Radio, Screen, Concert be memorized is the I "The Fundamental Principals of sitting give the listener less a sense or notes to to Sing Them language of the Guayabero society . . . even I Singing"; also "High Tones and How Opera, Pedagogy In the majority of our process of en of icipal factor in the (joacL the altacL West 57th Street York City 1 hut, h*j key—that is, a feeling that the studios; 205 405 E. 54th St. New tribe, “pechamila” means “beautiful,” around a fire in his native p h° ne C,rcle 7' 5420 is not unusual to meet New York City Tel. Vo. 5-1362 elders, music is in any certain key—than norizing. It 1 and “camila” means “ugly.” Baron ing to the long stories of his same This space contributed to the Third War Loan Campaign by he pie who have played the von Waldegg reports that to these felt in the third example. The MARIA CARRERAS as a free man. over again and yet teachers in the larger cities will find 1 con- only sense of key in Ex. 4 is visual, k over and Etude Music Magazine Renowned Pianist Private primitives, the music of Tschaikow- “The primitive Indian cannot The 1 reproduce even part of "INTERPRETATIVE AUTHORITY" this column quite effective in advertising their not aural. is unable to sky, Rachmaninoff, Beethoven, and in proportion We see the signature — N. Y. Herald-Tribune readers 1 ceive of music not that courses to the thousands of Etude that memory. The reason is pianists tn of C major, although it could rom successful concerfising advanced study with an 1 so on, is “pechamila,” but “camila” and his own I Teacher of who plan to pursue his religious ideas actively studied the talented students. alt also be that of minor. The notes y have not Accepts established teacher away from home. is the word for modern jazz. is practically A measure could only look at the composition. Tel. 8-031 life. His music dawdled is fixed sharply upon that St., New York City Bu literally have 169 E. 78th rhythmic, of the melody are unchanged and •k, but | The explorer was naturally aston- minors and flats. It is whatever and upon nothing else in life, the Yet, when he reached his destination therefore ough it. We remember its notes P have presumably not con- the concert ished, that first night in the jungle course, but every one of im- image will be retained far longer he was able to mount tributed an exceedingly intense ‘Weltschmerz in themselves to a key kes casually platform play the composition hut and refused to be satisfied with trays that idea of You may than if you had played and change. Yet neither ssion upon our minds. jungle. There is the first chord is the measure a dozen times. from memory. Although this man one experiment. Night after night he rests upon the C the street and see a pet through surrounds i major nor A minor, and nowhere s down never actually had heard the music it, that You probably have heard of the repeated with always the same in the universe in by an automobile. It 11 the example prepon- mal killed American ! do we find a traveling to a before playing it, every musician results. He decided to experiment Indian of the South impression that you great pianist who was inclination derance of either C kes such an natural chords related to distant city to give a recital. (The knows that when he heard the with another tribe. The Guayabero’s to change his out of your mind. The major or A minor. The truth is that mot get it sounds for the first time, were sorcerer offered his melancholy.” the story has been attached to a dozen they own complete toward the the you may hear over ai example is practically keyless, le day notably Hans von not new to him. His imagination had paraphernalia in exchange for the This quality of sadness thousand Japanese different pianists, •there is no apparent key established. io that one train a reproduced the sounds while his eyes V AIN V Baron’s little radio, the simplici > China,, Billow.) As he boarded the but the deal was primitive Indian, This have been killed in world, ar is a characteristic of modern liers composer gave him a work were studying the score, and he prob- LITHOGRAPHERS not made. The explorer, radio in the majesty of his so little impres- young music i the news makes love that certainly does not lend to just written. During the ably had imagined every move he in this line hand, went in his that he had Write to us about anything on to nearly a dozen underlying factors its mu o{ easier appreciation. Naturally if pianist studied the notes was to make on the keyboard. He did other groups. melancholy»**'"** journey the FOR ITEMIZED PRICE LIST The primitive Indians dynamicujuatuiv, andonu - i SEND , h Ch there composers wnm is no particular key in the He had no instrument and this, remember, despite the distrac- refused to recognize the jazz as music, thefL great symphonic composers carefully. composer’s mind, the listener cannot but whenever their white “pechamila.” visitor he calls MARCH WITH MUSIC” 611 ETUDt SEPTEMBER, "FORWARD "FORWARD MARCH WITH MUSIC” THE 1943 610 . ^ - . ,

to learn presented to stock companies who have ly into the soundboard! The first u™ey motions is you. You in long railroad 3° new play for the new discovery of Cristofori, after tions of the ; while your friend plays with- an entirely he had tol a watch, that this story " while they are playing one play designed and built a practical The fact is over out sound and without allowing you week, MILLER NEW WAY in Music Education has been repeated the play of last week, hammer action into a harpsichord Von Billow to see the music. Score as before. and forgetting cases of repetition process. (A. D. 1709) in the given to the , was that the blows of Z over Finally, learn a fourth section at are finds this too la- the hammers broke the thin the piano, with the music, and then Modern psychology strings, AMERICAN and is developing more ef- so that thicker strings had to be sub- compare scores. borious, friendly lines in memory training. stituted. The second discovery, of heard It makes a game and is fective ’^rxCSShoven course, was that the thicker strings his deaf- lots of fun. music mentally, long after had to be stretched at higher ten- CONSERVATORY visual But is it really a matter of mem- translating ness. He heard by one sense sions, so that the entire case and sounds His orizing through alone? Did symbols into imagined body work of the instrument had to devel- you remember only the printed notes was highly be reinforced and built up, musical imagery recorded visually, as may yMUSIC be using that were or did too, must easily be seen by examining the one oped . Toscanini, 58th SEASON imagi- you translate those notes into sounds Technical Tabulation CHICAGO aural musical A of two surviving pianos of his make his visual and through your musical said to be so or motions im- nation. His eyesight is that are now in the Metropolitan today The American Conserva- it possible to look at Founded in 1886 by John J. Hattstaedt, a score agery? Is notes of the Piano poor that he never looks at Museum of Art in New York. With among institutions for music education m imagining what those notes tory of Music is outstanding His truly phe- without the invention of honor while directing it. of steel wire in 1820, are to be found occupying positions Many musicians say this country. Its graduates reliable. represent? that lUi/fiam (Braid IVhite nomenal memory is perfectly &ij it was at once found that still finer Two Week Normal Session department of music. musical imagination simply can- illus- and responsibility in every has heard the the tonal output could With Music Table Although he never be had from struck for trated, up to 8 pupils may not be controlled. They find that they time composition, he con- strings of this stiffer material. be taught at the same sounds of a new he piano, technically made Supervisors competitive drills Notional Association of Schools of Music hear or feel notes in the im- Piano Teachers and Music through Member of the without notes. always convenient- This in turn again called for higher with lettered marbles. Fas- for the first time CONSIDERED, may 1 ducts they study 4 to Oct. 18. 1943 cinating—practica — at- Teaching Engagements hundreds of agination when the Oct. more students. Saves The Faculty—One hundred and thirty Professional and He retains in his mind T ly be tabulated as follows: tensions, thereby leading to the tracts have means many of national and in- —Graduates of the Conservatory printed score through the eyes alone, Pre-school and Music Kin- time and energy and artist teachers, and images. general of iron reinforcing Course I —Miller reputation, including pian- been much in demand as teachers thousands of musical 1. Sound-Generators: About two use as a more income. ternational orchestra, they see the 3 to 5. Music funda- Levy, Rudolph Reuter, Al- also in concert, opera, radio, knows and conversely, score dergarten. For ages element in ists : Heniot anyone who steel strings material. To-day it be said that The Competitive Kurt choir work. The News Bul- It is possible for hundred thirty wire may len Spencer, Edward Collins, lyceum and the notes. mentals through constructive play. the Miller class work is one list of about 300 suc- the me- when they hear Wanieck, Louise Robyn, Earl Blair, letin containing a musical notation to check grouped in eighty-eight unisons almost all pianos are constructed of the most valuable aids m Osmer and others; Voice: lheo- cessful graduates holding responsible Course II—Miller Piano Class Teaching. For learning. Students quickly Mabel Colleges, Con- You can find third) with string-scales lengths, weights, ease and Harrison, Charles LaBerge, John positions in Universities, chanics of his memory. (seven octaves and a minor of read by note with dore will be Value of Repetition beginners of all ages. Instantaneous correla- great incen- Violin : John servatories, and Public Schools assurance. A De Sellem ; letain Wilcox, Elaine easily whether you Amplifier: Mechanically and stiffness, calling for a total ten- practice, less of Butler, Scott Willits, sent upon request. out very 2. Sound- a main feature. tive to Weicher, Herbert It is best to repeat this entire tion of note and key— needed. Organists: Frank Van you see, oi or seven- which is Stella Roberts; Tuition is reasonable in keeping with the you hear or what coupled wooden diaphragm, carrying sion of about 35,000 pounds Theory: what at least three times, III—Miller Keyboard Harmony. Music ; tests Course Way Dusen, Edward Eigenschenk times and may be paid in convenient in- pattern group of Other Miller New Irwin Fischer. you remember the bridges on which the strings teen and one-half tons. This is equally include: Key Board Leo Sowerby, John Palmer, stallments. Complete particulars given in whether wooden Mental mastery of scales, intervals, and Devices Trim- each time using a different composi- Staff Reader, Note and School Music—C. Dissinger, Ann which will be mailed on request. your hands on large small instruments and catalog of motions made by rest. This is called the “soundboard.” true of and chords in all keys. Key Correlator, Miller In- ingham, Henry Sopkin. tion, if you wish to have accurate Chord Cards Self Help—The management discovei is lost in length must terval and Students’ the keyboard. You also may 3. Exciters of the Sound-Genera- alike, for what NOTE: Courses may be taken singly or in Miller Music Wall Accredited Courses are offered in Piano makes every endeavor to assist needy This is necessary because, and musical results. weight; con- Board. Vocal, Violin, Organ, Orchestra and Band students to find part-time employment. the power of your own tors: Felt-covered wooden mallets, be compensated in and combination. Music, Chil- accom- a constant trend, Instruments, Public School Many find work as teachers, unless results show Miller New Courses acclaimed by music Musical pivots, called “hammers.” versely. Way dren’s Piano Work, Class Piano, panists or part-time positions working imagery. swinging on leaders and educators throughout the nation. r they are worthless. If you have a Theory, Dramatic Art and Dancing. for commercial houses, etc. friend to help you the Ask a musical 4. Controlling Mechanism of Further Particulars Write and board- good ear, that ear must be good al- Expert Skill Needed For Degrees—Bachelor of Music, Bachelor Dormitories—Desirable living four simple tests. There is one lever Music can be secured at in making Exciters: One key, and of Music Education, Master of ing accommodations every time you use it. To be con- Dormitories at moder- three senses most unisons into which College and Master of Music Education are the Conservatory one test for each of the train attached thereto, for each of The eighty-eight -Chicago Musical State of Hn~ Particulars on request. of the score as Miller New Way ferred by authority of the ate rates. useful, the memory ' memorizing music, and one unisons of strings. the two hundred thirty strings are " • Chicago. III. nois and recognized as .a guarantee of used in the eighty-eight 64 Van Buren St. Students enrolled at any time. you saw it must be consistently clear. accomplishment in which you learn by using them in The keys are collectively called the divided (by three, two, and one After you have completed these combination. “keyboard.” The lever trains are col- strings to a unison, as the case may catalog address John R. Hattstaedt, President little tests you will know more about For free First, select a composition that is lectively called the “action.” be) are tuned so as to produce a scale how you can memorize. You will through seven entirely unknown to you, and not too 5. Stress-Supporting Structure: A of tones ranging Hall, Chicago, 111. know which you retain most easily— the 599 Kimball difficult. Divide it into small sections. system, comprising a plywood rim, octaves and a minor third, from notes heard or seen, or patterns of Two measures will be long enough. stiffened by wooden beams, on which lowest A in the bass, giving out twen- motions. Perhaps you remember all per The sections should be not only equal is fastened, and ty-seven and one-half vibrations are the soundboard three. Some people do. Others highest in the treble, in length, but also, as nearly as pos- which is reinforced by a thin plate second, to the C phenomenally good in one field and per second. sible, equal in difficulty. of cast iron, whereby the stresses, giving out 4186 vibrations of the many can do nothing with the others. on the o you fake advantage Now sit where you cannot see the set up by the two hundred thirty Since there are twelve keys oppor- Very often people do not use their these D excellent merchandising instrument. Look at the first “two- strings in tune, amounting to keyboard for each one of enwooJ learned when which ETUDE Advertising natural gifts. One young lady key to each unison of tunities measure section” of the score. When some seventeen and one-half tons, octaves, or one stales W'J'S £&• jS- —v I rr could \ offer you? through these tests that she be tuned ac- OF MUSIC Columns you think you have memorized it, be carried adequately. strings, the latter must CONSERVATORY she may remember music very easily when system of equal tem- Dlvisionof L indenwood College put the notes aside and write what The separate parts are known re- cording to the prepara- for Women. Thorough eyes alone. studied it through the The adjustment of the 1 s .“ \ai<3 e tion for careers in music under you saw on music paper. After that, spectively as Rim, Beam (or Posts! perament. ito® Tual that a distinguished faculty. B.M. of the fact according to play it on the piano, without looking This was so, in spite pitches of the strings, degree, certificate and diploma Tuning-pin Block, Iron Plate. organ, to mem- each in piano, voice, violin, at the music. she had found it impossible regarded as this system, considering that a instruments, pub- All other parts may be c° <* harp, other repeated —V.or tiotis theory, har- using at one hundred — *e * by lic school music, Through all this your friend ob- orize at the piano ornamental accessory, such as the string is stretched ^ and appreciation or mony, history young woman found or more of tension, calls of music. Well-equipped stu- serves you carefully. Every time you playing. Another pedal work, the pedal frame, the lege, fifty pounds >%*<%£**** e " beautiful buildings on She 5 M dios. her talent was for motions. highly expert skill. 0" 138 acres near St. Louis with make a test, she keeps a triple score. that the music desk, and so on. for .cbM frequent concerts, operas, UNIVERSITY saw or its First, records could remember what she other musical attractions. For I CHICAGO she how long you view book, write fingers over Techni- catalog and looked at the score. She uses a watch heard if she moved her The Functions of the Piano Morehouse Gage, Pres. Harry THE SCHOOL OF keyboard, but withou cally Considered Box 1243 St. Charles, Mo. with a second hand, in order to get an imaginary She easi y OOL accurate results. Then she counts the motion she was helpless. The fact that the strings of the H represen “Music wifi not voice that which is SC ItllMC errors you made when you wrote on remembered the motions piano are excited by blows, requires presente unwholesome or vulgar. A maiden sl< the music paper, and also the errors ing music when they were that they be vastly stiffer and more of ^ ^SMOPOUTAN loss of her accredited courses in Piano, in song the .... Offers when playing from memory at the to her without sound. massive than other form of may mourn SCHOOL OF any sing to the Voice, Violin, Organ, Public School cannot mem- lover, hut a miser may not GANDELL. M.A., Oxford piano. If you find that you musical string. The plucked strings SHIRLEY will not lend University, England, President. Music, Theory, and Orchestral In- tests, his gold, for song wmrses orize any of these single of of thin loss of 40th year. Accredited. Offers by the harpsichord were made Certificates, a expression of a miserly in all branches of Music. struments. An Interesting Experiment y°u itself to the board- discouraged. Perhaps , brass little ten- diplomas and degrees. Desirable not be . wire and called for so accommodations. Located in down- unrelia ing For the first test you use only found the reason for your sion when they were in tune that rpassion.” town musical center. A.B., your Ruskin Wabash Ave., Chicago. Confers degrees oi B.M., memori — Box E, 306 S. eyes in memorizing the music. For musical memory. Practice the tuning-pins could be driven safe- and M.M. cu the next test, you use only your ears. ing by single senses. In addition, Distinguished Faculty ® Buy More War Bonds and Stamps Again you sit where you cannot see tivate your musical imagery, the instrument. Your friend repeat- you may eliminate your memory edly plays the second “two-measure Acuity. Address Registrar for Bulletin n ARTS authorities of VOCAL INSTITUTE section” of the score. When you think Some of the greatest DETROIT DePAUL UNIVERSITY Admission limited to excep- Admission by Competitive ICADEMY contributors. the , , t han 100 you know it from memory, you write music still insist that supported more MUSICAL ART non-profit organ,zatton in voice, repertoire, Audition Only OF ambitious young SCHOOL OF MUSIC .. .. Students receive training qince 1914 has prepared and play the is to take dancing, dra- music as you did for the method of memorizing singers. Full and par m lor careers in music, 401, 64 East Lake Street tionally talented in operatic productions. Graduates neople voice, theory, Room (o tak ;„ pa rt art All instruments, first test. The same kind as a whole e-up tn ^ g Philadelphia, Pa. mntir of triple section or passage acting, languages, solfege, and ma and choral groups, 1920 Spruce Street, Chicago, Illinois ver a opcra companies, orchestras, score is kept. and ° ivitn ^ ^ keep repeating it, over ° A soloists rs am ante annearins as The third gsggssm. time, only the pattern of in its entirety, until it sticks. " FORWARD MARCH WITH MUSIC” THE ETUDt 612 :

Jesus! . . . O hear be our daily bread. barred from performing all the have no more little wood- European French Patriot us now: we classical composers. This Debussy, give Victory Claude en shoes. Ah, please to answers the question as to why na- ” children of France ! (Adaptation tional limitation could not be con- Page 559) the (Continued from Lehman.) tinued but Prepare NOW For Tomorrow! by Evangeline must be rejected. It is generally conceded that an It is inevitable that even the best melancholy Berceuse career seldom brings earthly musician will interpret e nostalgic, and artistic some works the City of Light ? Wh decidedly heroique in homage to Albert I, the rewards, and that most composers better than others, because some will OBEMII be duplicated^ unique spirit could its Soldier-King. Several other works reach fame only after death. De- be closer to his heart and to his tem- as he strolled He was exhilarated suite for two pianos, “In exception to this rule; perament than others. avenues. followed: a bussy was an It curbs the along those broad once m^™more white”white,” introducing the although the latter part of his development of a musician to be and biack and but fihed those Parks and the Marseillaise; great recognition, it typed and confined happy Luther Choral life brought him to a small re- rs> He felt gorgeous flonowers.e w for various in- fraction of the glory that pertoire. Once a talent d to three short sonatas was only a has been rec- among his own peop , P struments, renewing the tradition of was to come. Similarly, while the fer- ognized as such, its development COLLESE be a Frenchman. century. For these qualified himself “mu- should be followed with care in- h iffhts the eighteenth vent patriot and When Debussy reached the heights sonatas, first of a series of six inter- sician francais” and wanted these terest, and it should be encouraged fame he was often called to for- MUSIC of rupted by his death, he selected a new simple words as an epitaph on his to study and perform as many diver- CONSERVATORY OF , u a ^ nkv his own elgn Ian special people bestowed sified works as possible. If a pianist notation with em- grave, the French Uncle Sam makes it possible for you to take practical music works. ™»° rtnt TiX5 W' phasis upon nationalism; the letter- upon him a supreme posthumous shows in the early stage of his devel- Austria, Hungary and lessons by correspondence, even though you are thousands of Italy, Belgium, opment special music school in an attractive ing was in authentic eighteenth cen- honor: they called him “Claude de a understanding of A professional despite his limitations in teacher. Holland, a florid vignette in the Debussy and the Impressionist miles away from your the National first tury style, with France.” college town. (Member of the art of conducting and the corner, and the music was “composed School, he should also be made to Music.) illness which began to comprehensive lessons (prepared by able, Association of Schools of symptoms of of Definite, concise, Claude Debussy, musician o 1 France, acquire a good knowledge Bach felt that by ac- by creep upon him. He Classical School. Only recognized teachers) illustrated and clearly explained—always instruction for carefully selected for sale at the house of Durand and and the Thorough cepting such invitations he would artist teachers. located at No. 4 Place de la through variety can the greatest before you to study and refer to over and over again. students in all branches of music under prestige of his Son, promote the artistic development be assured and stale direction. Madeleine, near the Grands Boule- Special training in band and choir country. One of his last visits was The Three T’s specialization be avoided. left to guess work. years, vards.” Nothing is to Russia. For a number of describing Oberlin’s conservatory also completed a revision When I play Chopin on the piano Write for catalogue tried to per- Debussy (Continued from Page 570) Serge Koussevitzky had accompanies every lesson. If there is any- equipment (200 practice Chopin’s works for Durand, to take there are moments when I feel very An examination paper courses and its superior come as guest conductor of suade him to student of music, and the artist, close the score of Wagner’s “Tris- Degrees: Bachelor of the place of German editions which the to thing you don't understand it is explained to you in detail by our rooms, 23 modern organs, etc.). of his orchestra. Debussy finally con- had been used almost ex- are led to believe that there are spe- tan and Isolde”; and when I play School Music; Master of spent several enjoyable heretofore experienced teachers. Music, Bachelor of sented. He departments in music, just feel the nearness of Wagner’s clusively. “Good news,” he said, “I cialized Bach I Music Education. days in Leningrad (then St. Peters- Music, Master of revision, and as there are special departments in “Meistersinger,” while Mendelssohn and delared the orchestra have just finished my burg), medicine from which a doctor may paves the way to Richard Strauss. Piano course— Oberlin, Ohio. it can stand the examina- PADEREWSKI said of our Frank H. Shaw, Director, Box 593, “purely admirable.” The concert was I’m sure acquire knowledge after having You may want to conduct Wagner, tion of the ‘Doktors,’ even if they to pedagog- repeated in Moscow, the great city "If is one of the most important additions the studied the general principles of but do not fail to study Chopin, or on their unfriendly super- years. known for its friendliness to art. Be- put ical literature on pianoforte playing published for medicine. After giving this matter there will be much that you will miss fore leaving he was presented with goggles!” "As an excellent guide for students and solid and reliable he expressed considerable thought, I am con- in “Tristan.” testimonial signed by twenty-five On another occasion advice for teachers, it Is bound to become very popular, a that specialization can be not re- vinced pianist, of the leading Russian musicians: himself as follows: “I must and the more so as it bears the stamp of a real productive only in the field of science. “For a long time we looked forward lapse into the poor condition of accomplished musician and experienced pedagogue." In the field of music, one must in- to the joy which would be ours when, health I was in recently. I want to Seventy-seventh Year dulge in a large radius of musical ac- in company, we could penetrate prove that even a hundred million your of cul- tivity to promote the development Modern Violin Instruction the captivating charm of your music. enemies can never destroy the MUSIC first-class musical artists. Science, DEGREE OF BACHELOR OF Our dream has finally come true. The ture of our France. My thoughts go COLLEGE roughly speaking, is a matter of the for Children You are awarded a diploma when you have completed a course MUSICAL with you will never be out to our heroic youths, mowed CHICAGO days spent of F. Ziegfeld) cold brain, while music is a matter Instruction Department and the Board of (Founded by Dr. erased from our memory and they down day after day on the battle to the satisfaction of the emotion and the brain. If the mu- GANZ, President will dwell within us as the kindling fields. Every note I write is offered to I, VU. Mu Directors. We are also authorized to issue the Degree of Bachelor RUDOLPH sician is compelled to limit his ac- £ of a light which will shine everlast- them in fervent homage.” These tivities department of of Music upon those who comply with our requirements. against to just one ingly upon our musical careers.” “It Alas, nothing could be done a all children are potential SEPT. 7 music, the freshness of his emotional LMOST are Harmony, History of Music, Advanced Composition and an FALL SEMESTER OPENS a real triumph for France,” De- impossible odds. Soon the disease, some respect and was Instead, Z\ musicians in approach will surely suffer. practice course. The latter may be voice or instru- bussy commented upon his return. which had been rampant for eight -LX. should be given the privilege advanced catalog; address the Registrar the musical artist should work in an Write note for years, broke out with unrestrained music; for the opportu- mental. Each subject carries 30 semester hours. unlimited field. of studying _ „ Chicago 5, Illinois World War No. 1 violence. In spite of it Claude still many, no matter how slim Street To specific pro- nities are 60 East Yan Buren two speak of my own should his found enough strength to write purse, and every parent are splendid opportunities in the When war came, sensitiveness fession, which is conducting, I have the Remember there song, them. was tremendously affected by the last works. One of these was a take advantage of very comfortable income. found to my amazement that there was music field to make a OF MUSIC BALDWIN-WALLACE Christmas Carol for Homeless Chil- violin, which at one time M1LL1K1N CONSERVATORY gigantic drama. He wanted to do are strong feelings against the com- The you how. Mail the coupon today. in- difficult of in- Let us show DECATUR, ILLINOIS CONSERVATORY OF MUSIC something, to take„„ some active part, dren. The words were his own, thought to be the most i j bined talent for symphonic and op- to Cleveland) actually thoro training in music. Course, lading BEREA, OHIO (suburb of simple, and to play, is to-day Offer, Certih to aid in some manner. But at his spired by his immense, eratic struments Music Degree. Diploma and Liberal Arts College. conducting in the same person. Bachelor of Affiliated with a first class of children Organ, Public School degrees. Faculty the majority in piano. Voice, Violin, five year courses leading to age, with his poor health, he realized naive patriotism chosen by cate Pour and informa- I have found to greater amaze- EXTENSION CONSERVATORY and Music Kindergarten Methods Teachers. Send for catalogue or my mem- UNIVERSITY Music Methods of Artfst enemies be or already are how helpless he was. He gave up his We have no more houses, who wish to 1525 Eas* 53rd Street, Chicago, Illinois upon request tion to: _ ... ment, very strong feelings against Dept. A-350 Bulletin sent free ALBERT BIEMENSCHNEIDER. Dean, Berea, Ohio even took orchestras. Moreover, . . all, of school CLARE, MINTURN, Director musical activities; how could his have taken all . Took operatic conductors overstepping the bers W. ST. burned the teaching methods are in- mind concentrate on anything when our little bed! They have boundaries of their national origin in modern interesting, and UNIVERSITY EXTENSION CONSERVATORY. Dept. A-350 France’s finest teacher too; and credibly clear and sons were falling school and our own conducting operatic works. An Italian 1525 E. 53rd Street, Chicago, Illinois. Mister violin teacher secures every minute, church and up-to-date catalog, sample lessons and full information regarding course I have marked your Mary -of -the -Woods when the entire coun- they burned the must stick to Italian opera; a Ger- our Please send me increase Saint the years ago would below. try was passing even burned results which, a few with an X INCOME ! COLLEGE through such terrible Jesus Christ; yes, man to German opera. This system He Courses in Applied Music, Tis considered impossible. Normal Course Harmony Violin Easily—Substantially—Pleasantly Conservatory of Music. hours of anguish? But after a few poor old beggar lying there. has have been Piano, Teacher’s Theory and Public School Music, leading to de- remained from the days when scale Student’s Course Cornet—Trumpet Cuitar for — in Music Educa- hours of Piano, — Take Subscriptions gree? of B A and B.S. with a major Poor Ma- eliminates the long B Mus. Beginner’s Advanced Cornet Mandolin v lin other in- months, war was brought down to true, Papa’s in the battle. iRrge operatic imported Public School — tion. Piano, voice, organ, harp, “ » groups were students and Advanced Voice Saxophone etude music magazine composition, harmony. Beautiful, well- saw his young Public School Mus.— the struments: a matter of administration is Died before she to practice for Choral Conducting Piano Accordion equipped buildings, spacious campus. All sports. and ma no more! the United States from Europe n Advanced Composition — Write for particulars — seem more like Clarinet Reed Organ Write for Catalogue. do, now. the lessons Ear Training Cr Sight Singing PHILADELPHIA, PA Mary-of-the-Woods, Indiana routine. Claude decided that, after it all. What is there to and especially to perform makes Dance Band Arranging Banjo 1712 CHESTNUT ST. Box 13. Saint engaged And he ac- History of Music fr01 than serious study. all, the best way to serve was to re- Jesus! Little Jesus! Keep away the great masterpieces of their games what ^ in a few months, Adult or Juvenile sume his M14XVA laaav* never go. complishes. Name work and tryULJ tow tiAlALcllenrich theLHC them,L11l.UI, keepR.CCJJ <1awayV% it J and > £ homeland. Because of the present required about four times as national treasure every child ° war, formerly of French music, punish them! Avenge this system has ceased to func- Street No. the littl nHmute of UBir He thought of composing a Marche France, the little Belgians, tion, but even without the war it m QlebrlaniiI in addition to State (Q chu- little melodies, City heroique; but he abandoned the idea, little Polish showed so its com- Easy Serbians, and the many defects that 1 scale and the eight Do you Master of Music Degree, Artist Diploma a thP O major Are you teaching now? If so, how many pupils have you? Bachelor of Music Degree, not being fitted for that kind of dren too. If others we forget, O P plete breakdown was only a matter Confers Faculty Have studied Harmony? WARD LEWIS, Dean of the wa of hold a Teacher’s Certificate? you music which is . . we time. would necessarily ! no 1 Euclid Ave., Cleveland, O. bombastic don us. Noel ! Noel O An obvious conclusion .eove o. absence) 341 you like to earn the Degree of Bachelor of Music? Rubinstein, Director (on giye be Would Beryl and trite. Instead, he wrote a delicate, no toys. But oh, Dear Father, that, with its continuation, the American musician and artist would "FORWARD MARCH WITH MUSIC” THE etude WITH MUSIC” 615 614 "FORWARD MARCH SEPTEMBER 1943 : ,

How To Become a Better Pianist of the immense amount for able, in view this Nordic passion reply. Against time (in high schools) and money passion of ( Continued from Page 556) self-belittlement, this on symphony orchestras, ra- insigni c (spent fawning upon the most the liket Cosmopolitan dio performances, and now Grieg-Nationalist and was helpless, as all lightness non-Nordic, Grieg upon the art of music in our must infuse a certain into “Next, then, repeat the difficult in our lavished other Nordic composers in learning to read well. passage in different we midst. his approach ways; regardless are helpless. excellent various countries moment America and her Ensemble playing is an of its textual indications, play it (Continued from Page 569) English-speaking At this As a result of engaged in a war-to-the- of perfecting reading-fluency. forte, piano, leggiero, staccato, legato. music for Allies are means from classical reads with others Then try withdrawal with backwardness—for it is The student who playing it with altered ac- Conservatory years, roughly, death The Peabody fitted more obedi- about two hundred neither too careless nor too centuation. If the passage is written felt (and many of Why? Because he just backwardness (lack of the gift can be numbers Grieg Purcell composed his into the German mold, I sup- from 1680, when as it is—in its in four -part rhythm with the accen- BALTIMORE, MARYLAND admirers feel) constitute his ently to see the world grad- concentrated. his string Fantasies, the swan- the orches- pose. seraphic but loving progress from harsh “As to technic itself, my first coun- tuation on the first beat, play it over 76th Season highest achievement in English music, to ual the reception of his own song of the older overstress it. Technical accenting the second beat; then the orchestral texture is Anent to tender) that dooms important na- sel is not to REGINALD STEWART, Director tral field. The Scott, “the fa-ther a- music in Germany, Grieg said to me 1879, when Cyril and age, to pin to-day show a great im- third; then the fourth. Then go back luscious and brilliant. The conti bulk tions, in this day standards first music,” was born, the in “They tried to fit my music into of modern as our opponents do, provement over what they were years to the way it is written—and you will A.'Yl'YlO'bLYICC'S puntal and harmonic subtleties music lovers their hopes, their drawers (Schubladen) of English-speaking the average be surprised to see it COMPETITIVE SCHOLARSHIPS sections of the third one of upon militaristic aggression. We have ago, with the result that how improved a number of FREE the gentler Britain, Ireland, the the fourth, then into another; but always in (equally in variety of tone-works equipment is rather a will be in smoothness. If a passage is in all major branches including two with each of Dance, and in the Trio of the Australia, in America a mechanical does not fit United States, Canada, the faculty— of inspired vain. So they said: ‘He native-born American composers high one. Technic must be of just the written leggiero, practice it legatis- following recently appointed members of are shining examples elsewhere through- by the into any of our drawers. Therefore New Zealand, and and of just the right simo, and then marcatissimo. In the Pianist erudition. The winsomeness of stage that express the American way of right amount HAROLD BAUER, ” the world) are still in the a he is no good.’ out convincingly if it is inadequate, the mean- ultimate finished playing of the second Dance is like sunlight upon be able life as clearly and as quality: NADIA BOULANGER, Composer music, Norwegian they fear they may not In the realm of when Sachs’ Oration towards the end of the music is lost; if it is over- piece, of course, there may be no fjord. (and his ilk) Hans ing SASCHA JACOBSEN, Violinist to German opinion (in this to recognize Beethoven liberties with the indications. bitterly that the servility “The Mastersingers” expressed the balanced, it degenerates into empty marked Grieg resented him. They have not of MARIE ROSANOFF, ’Cellist respect identical with British, Dan- when they hear of the But in making over a passage into an three masterworks enumerated above German way of life in Wagner’s era. show, and again the meaning other the least got around to the stage (For ish, American, Australian, and in out just four: lost! As a general piece of exercise, deliberate and analytical were next-to-never performed. concerned Of these I will single music is servility) knew no bounds. in which they could be state that I Nordic Goldmark—“A Gettysburg advice, I should say that if the hand shiftings in emphasis can do much FALL TERM BEGINS OCTOBER 1st my own part, I must to Grieg, Rubin when I had just fin- with doing esthetic justice sources of Progress musical centers of One evening, orchestra. distorted on the keyboard, the toward clearing up Circulars on Request Enrollment Now in have moved in the Fickenscher, Roy Requiem,” for looks ished a piano recital in a town on Cyril Scott, Delius, — trouble. world for fifty years without ever Roy Harris “American Creed,” for technical foundation is faulty. The the a or to any other composer- of these the Norwegian Southwest Coast, Harris, look as natural hearing a conductor give any (Nordic) orchestra. playing hand must asked if genius of their own racial Varying Combinations — have heard peasant came up to me and of sounds it ~JUILLIARD SCHOOL OF MUSIC works in its entirety. I recent John Alden Carpenter—“A Song and harmonious as the could put a question. This turned group. As a result of our so Symphonic Dance played he and orchestra. to draw from the instrument. “It is a good thing to practice the the second domains of the Faith,” for chorus hopes out to be: “Does Grieg’s reputation reentry into the — ERNEST HUTCHESON, President separately, and The Great White Arthur Fickenscher “From the Again, any sensation of cramping or trill with varying accentuations. Play to anything highest art-music, our people, broad- its fellows in as a composer amount is a danger the first note; then Host divorced from “high- Seventh Realm,” quintet for strings tiredness in the hands it first accenting world?” I answered: ly speaking, do not yet regard INSTITUTE OF MUSICAL ART out in the big sensations occur, accenting the second. Then take it Opus 30.) for emo- and piano. sign. Should such similar to that of all brow” music as a vehicle GEORGE A. WEDGE, Dean “His case is im- once and try to dis- apart and practice it like a series of a social These works are not merely stop playing at Strange Neglect other Nordic geniuses; the nitwits be- tional revelation, but more as A of American cover the cause of the discomfort. If triplets; like a series of eighth notes; in Theory, Com- accomplishment as a part of “white- passioned utterances Individual vocal and instrumental instruction. Classes piano little him, while his fellow geniuses — with vary- “I wrote,” said Grieg, ‘‘many liberalism, altruism, humanitarian- a pianist finds that he makes curious, of sixteenths. Practice it branches of music education. collar” refinement. But for us to pur- position, and all for democratic copy him. But why do you ask, espe- fingers first pieces and songs They are equally great and snorting noises while he plays, his ing combinations of — in instru- gunboat sue indefinitely this superficial ap- ism. Courses leading to diploma and B. S. and M. S. degrees music might be cially?” “Well, the German his second fingers; first and third; reasons; so that my deathless masterpieces of cosmopoli- breathing is wrong—and possibly and school music departments. Ersatz-Sachsen was here last sum- praisement of music is hardly fair to mental, singing, and public to be played and sung in every sense that rhythm and his melodic phrasing will first and fourth; second and third; able small but ever-increasing body tan music, in the same hut in mer and the assistant band leader of that so on. One Catalog on request. fisherman’s and peasant’s Grieg’s expressions of the Norwegian also be wrong in consequence! Such second and fourth, and the band aboard her told me that of Anglo-Saxons who do draw soul Norway where there was a piano. But expression of the a student should learn to breathe may never have occasion to finger a Room 122, 120 Claremont Avenue, New York the nourishment from music, nor reason- spirit and Wagner’s intend that my Grieg didn’t cut much ice,” was and fifth fingers, in so doing I did not German spirit are great and death- correctly. Incidentally, all pianists trill with the second complicated works such a position is very richer and more less masterpieces of cosmopolitan should familiarize themselves with but practicing choir fa- A Revealing New Book in Two Parts should lie ignored. Every male vocal technic for phrasing, and with useful as a means of perfecting music. PARAGON OF RHYTHMIC COUNTING my compara- preparation for any UNIVERSITY in Norway has sung But when shall we be allowed to orchestral scoring for color effects. cility, and as a BOSTON FOR ALL RHYTHMS Land-Sighting until I fingerings. tively simple widely hear and enjoy these Amer- possible COLLEGE OF MUSIC I PARAGON OF HARMONIZING do sick of hearing it. But they Is It Difficult? of course, is too indivi- applied to am masterpieces? If they were per- Why “Fingering, • preparation for careers in ican Thorough HARMONIZATIONS to be aware of the existence of any advice. It is music. B.Mus. or Diploma in Voice, Plano, I FOUR KINDS OF not seem formed now, during the present “As to the actual business of prac- dual to permit | Organ, Violin, Cello, Brass, Wood-wind I M Send for explanatory circular of much finer ‘Album for Male remember, though, that it is my emergency, they not only would help ticing, I do not believe that the ad- well to and Percussion Instruments. B.Mus. In EFFA ELLIS PERFIELD conductor Music, Musicology. Voices.’ Every orchestral (for impossible to achieve a true cantabile Composition, Church W 103 East 86th St. (Park Ave.) New York City to speed the ball of progress vanced student should spend time B.Mus. and M.Mus.Ed. in Public School called upon to repeat and repeat third, fourth, and feels musical progress depends to some with routine finger exercises. The with the first; the Music. A.M. through Graduate School. tiresome Orchestra, Band. Fac- my ‘Peer Gynt’ suites with fingers are best for that. Also, Chorus. Glee Club, extent upon hearing music while it piano literature is too vast to stop fifth distinguished musicians Includ- deigning to look ulty of monotony, yet never is the most useful in achiev- ing many Boston Symphony Orchestra is would help to with that may the first still “fresh”) , but patterned studies RIVERDRIVE SCHOOL OF MUSIC & ARTS best orchestral opus, the accentuation. members and the Stradivarlus String into my in never It ing marked rhythmic opportunities of Bos- ” confirm music-loving Americans find a practical application. Quartet. Cultural 84 Riverside Drive Four Symphonic . Dances.’ all technic, though, is ton. Attractive dormitories. Catalog. their belief in the loftiest aspects of is far more expedient to select the “The goal of York .City priggish about his Dean New Grieg was not release music, and the test of Alfred H. Meyer, If this were being done troublesome passages of a given mu- to Street Boston, Mass. Director about any music. He Americanism. 53 Blagden FREDERICK G. KOEHLER, own music, or its ability to stimulate a it could then not be denied that mu- sical text and make exercises of them. music is Dormitories did not despise the simple to exalt in the response really con- If, in his reading of a sense of completeness Catalogue on request Special Summer Session wrote comparative- sic was doing something preliminary the complex. He That is why exaggerated Philadelphia Conservatory structive in the war effort. new work, the student finds certain it awakens. ly suburban and drawing-room-like individual details that passages to be unusually difficult, he stress on the <>f Music such as Erotikon, Butterfly, music de- 5^. pieces should make up the sum-total of T~?5\®v 216 South 20th Street care and pause in his study of the work THE CLASSIC GUITAR She Dances, with the same And that, precisely, is Maria Ezerman Drake as a whole the hard feats itself. Director lavished upon “Lost in and labor over with Managing Studio sincerity he an over-preoccupation Faculty headed by in “Thumbs In" parts. First of all, try to find out why why Toronto, Hills,” or the larger works ultimate mu- Olga’ Samaroff, Mus. D. 192 Bloor St., W., Canada the tlie can blur the passage is difficult; is it a matter technic sonata form. What he could not fore- work. Always the Courses leading to Degrees of fingering, of sical effect of a even in Norway (that L &lLr 2)ixoit of accentuation, see was that, must come first. And a devoted rhythm, of passage work? Discover- music Students, Attention ! most enlightened and artistic of you and enlarging Piano Teachers, when to reading Tyndall Moses, 315 W. 86th St„ New York ™ If “Thumbs Up” ing application Leila you say the cause of the difficulty will Mason, announces flights of his for former Pupil, Assistant of Dr. Wm flRiene X TKestre the highest more Screen, Radio, lands), she can do s ‘Touch Technic SinKers coached for professional Stage, are teaching a piano beginner, not musical knowledge Private and Class Courses in Mason & L Broadway also over remove that difficulty, but it will Weight and Control. Send $1.25 Acting. Musical Comedy and Opera. would be passed mechani- tlie original course in Arm Theatre Appearances assured. Many gradu- emotionality saying than hours of Beginners and Ad- Summer Stock doesn’t get the idea. Try make its half the the student for my “Ten Weeks Plano Course” for ates outstanding stars. Spring, and summer course open- trifles and correction just or “Playful Songs and Games $. id. ings, write Sec^y_Schubert __178g__Broadway _N _jr^ consistently in favor of his vanced Pupils, : : ; every time work. drill.” his "Thumbs In.” That works cal his salon pieces. He felt that Then explain that the secret of fine talents (the gifts he longed to place thum hand position is keeping the the lap of his beloved native land) on keys. T Music Loving Friends about THE ETUDE and ask them to give he was in correct position over the J* "A distinguished philosopher spoke of Tell your were being rejected. And J'eads. in their subscriptions. 1 to sha you the privilege of sending I pulls the rest of the hand into P^ caused many In the years during which music, and his assertion subscriptions you send right. interesting Ask for Catalog of Rewards for pianist tion. Sometimes it is even toured Norway as a concert THE ETUDE 1712 Chestnut Street Philadelphia, Pa. to assign piece with instruction* (1910 to 1914) there was always the one playing t > tendency to belittle the romantic and to use no thumbs in "Youngest Prodigy I Ever Presented!" of the thum music 617 many-sided Grieg and to exalt the piece. Then the value " forward march with SEPTEMBER, one-sided and pedantic Sinding. is really demonstrated. 1943 "FORWARD MARCH WITH MUSIC” ETUDi 616 THE ,

Story Sonata Sonata Story Grieg Junior Club Outline, No. 25 (Prize winner in Class A) ( Continued ) Edward Hagerup Grieg, one of the most be- SM Mt. was bom in L J. piano and one other instrument. Chopin loved of modem composers, inherited his musical gifts pattern is followed Bergen, Norway. He this same age of fifteen en- When a. from his mother, and at the is Chopin was a very fine pianist and Program As most of Chopin’s is heard, and it written in a piece for four stringed — tered the Leipzig Conservatory. His composi- were plan- theme in writing THERESA his compositions are almost en- compositions are quite difficult, there tions are known for their brilliant coloring; OM and dominant key as a rule, though it is called a string meeting of the instruments, the great crowds who heard them were the next in some other tirely for the piano. When and are only a few that can be included and ning for sometimes it comes when for full orchestra it overcome by their splendor. His gift to poster- Tyler wants me quartet; where Prelude “Miss Sometimes was he born? in a club program, such as ity consists in one hundred twenty -five songs, T the club. closely related key. this symphony. When the great sonata for is a b. In minor, Noc- which but two or three masters have equalled, the story of the repeated. After this section what city did he spend most of in A major, Prelude in C to tell much is Beethoven wrote sonatas and quar- and which his wife inspired and interpreted. class. Now, h his life? turne in E-flat, and a few others. If did for the beginners’ comes what is called the working- and symphonies he piade them Grieg did for Norway what Chopin asked Theresa. tets c. When did can play Poland, Liszt did for Hungary, Dvorak for will I do that?” or the recapitulation he die? you have older friends who world out section, to the rule of sonata form created a new national art. He living room according d. difficult com- Bohemia; he " to the word), What was his first name? some of Chopin’s more Chopin as a melodist pointed (that is quite a big or the he filled in the form with ranks with Schubert and C made too, but ill a blue print e. What is a polonaise? positions, perhaps they would be and harmonist. Although his persistant table On it lay section. In this work- all his an development wealth of music own- health prevented him from writing operas, his for he was a f. What is a grace note? willing to come to your meeting and Theresa’s father, Gynt Suite,’* and other by that mighty soaring melodies; harmonies piano concerto, “Peer could say g. What is a scherzo? play them for you. You will find will live forever. architect. “You sea and the wind compositions a blue like the roar of the recordings Dick Stanford (Age 16), sort of follows h. Analyze Chopin’s Prelude in A many pianists have made Edited by a sonata Karl the storm; yet sometimes like a Texas he suggested. and major. What chords do you find he of Chopin’s compositions, too. Listen print plan,” or silver moonlight.” worked out a gentle breeze whenever possible. A.GEST Philipp Emanuel Bach used in this short composition? to them ELIZABETH After the recital was over and the built his sonata-houses Grieg plan; Haydn in C. Mozart Alfred said followed the Sonata class was walking home, on that plan; Mozart (Prize winner in Class B) “I liked that sonata Theresa played.” for his sonata-houses, Prize winners for June Backward same plan 1843, a child destined to become well, themes are used, “So did I,” answered Eleanor, “and In June, made them ing-out the two Harry greatest composers was bom in too, only he Puzzle one of the more 1 - appear in part; motifs I intend to learn it.” Ahlstrand Norway. His musical life began when he was say prettier or altered, or you might 4) Wilberta Miller (Age 17), small, when his mother taught him to followed used, modes are changed, “And I liked the story about the (Age Class A, very and Beethoven from it are play the piano. After years of study he began teresting; said Alfred. Kansas. with Maps made his a added, and oh, all sorts sonata, too,” to compose compositions rich in melody and Music same plan only he new material Welter the everybody agreed. Class B, Catherine Anne originality. Through his music he brought to and more—more ideas are developed. Then the first “So did I,” great deal bigger of life the picturesque scenery of Norway. Pos- describ as at the begin- (Age 13), Iowa. emo- know just how to subject comes back sessed with flaming passion and animate Korney I don’t Class C, Minnie Steward (Age 8), paint musical pictures of the elite 1 1errill this is the third section, tion he could ning, and country dotted here and them.” The second Pennsylvania. wild, rough, bold called the restatement. there with the blossoms of wild cherries and Grieg did much for Norwegian pieces actually studied and subject also comes again, but this Beheading Puzzle strawberries. in studying for the June folk music. He was able to show its charac- Everyone is interested names tonic key. Sometimes Honorable Mention for the composers whose time it is in the E. Mendes teristic deep melancholy, which would sud- days, as it is one for by these war-time compositions end, and Puzzle denly change to wild gaiety. maps famous but whose a coda is added at the the location of so are letters, when prop- Edward Grieg, passionate, vigorous, always important to find learned; then, as introduction opens the The beheaded Edwards: Annolyn Howick; Mary have not yet been sometimes an Doris in favor of the unfortunate and filled with the never heard of be- will give the name of Maielaro; Viletta Stroh; Barbara Russ; many places we the re- play the erly arranged, Craig Theresa spirit of independence the spirit with which composition is added to sonata. Now I am going to Middleton; Wilbert — our map study a must Julian Brown; Marian to-day. fore. And we can carry be erased Mozart sonata a famous composer. Answers Ahlstrand Kershman; Doris Jean we fight pertoire, the name can first movement of the Hunsiker; Doris May Adeline Bebermeyer (Age 13) and find the (Age 2) Mitrani; Ruth over to our music study moved up and give all words. Bendure; Mary Helen Tate; Micheline Missouri the second map and for you. Listen carefully Florence places mentioned from again Betty Jane Hirst; Janis Ruth Smith; location of many keeping these the pattern.” 1. Behead a part of a WAGON. young violists, Bettin; Madge McRae; to the first map. By see if you can follow Two Adams Sims; Cecelia A. in music history. your music the music more more beau- leave a part of your FOOT. Los Angeles, California Albert Middleton; Evelyn Husick; Thea Bald- maps on your wall, or on “Maybe he made And she played it even Kleim; Anne when we are studying erson; Gladys Hillegas; Frederick For instance, year, the composers who lived in the after much 2. Behead to KEEP AWAY FROM, Mae Wald- find teacher’s wall all like the people tifully than before. Then, Koehker; Sydney Armstrong; Alice composition by Bach we should Grieg Marjorie Waller; Billy a real people with personalities sometimes sad, sometimes stepped to the front leave EMPTINESS. ron; Barbara Landis; Eisenach, become houses, applause, she Keller. place of Bach’s birth, Way; Jane Douglas; Anita the sometimes romantic.” 3. Behead to BE AWAY FROM, (Prize winner in Class C) goes to Katherine pin there; then gay, Special Honorable Mention our map and put a “and he huge piano, mu- Doris Jean Bendure for the cn “That’s it,” said Tom, leave a NUMERAL, From mother’s knee to the Anne Welter and write the name the future. This ap- artistic covers they put on their with a fine pen point passageways sic is the pass word to beautiful and more rooms and 4. Behead AT NO TIME, the greatest essays. it with the added plies to Edward Hagerup Grieg, puzzle answers and Eisenach neatly beside large 1843, to answer any letters and halls and things in his leave ALWAYS Scandanavian composer. He was born in (Any one wishing birth and death. and as a boy he appearing in the Junior Etude may address dates of Bach’s me you have GARDEN, June 15, in Bergen, Norway design. So it seems to 5. Behead a BIBLICAL who was a Puzzle: Care of the Junior Etude, 1712 a piece by Grieg, we learned music from his mother, Answers to Backwards their envelopes. When studying there. LAIR the Leipzig Street, Philadelphia (1), Pennsyl- your sonata story right leave an animal’s good pianist. Later he entered Chestnut of Bergen, m 3. bud-dub, and they will be forwarded.) should find the location “It Liszt gave him encouragement 1. tub-but; 2. tub-bufj vania, Theresa shook her head. Beethoven 6. Behead a WANDERER, Conservatory. with the But Sonata in G, his pieces to him. He and put a pin there and he dedicated one of 5. rub-bur; 6. mad- Norway, older students but they lived m 4. mug-gum; might do for the leave ABOVE. Hagerup and Dear Junior Etude ; dates. Maps married Nina 9. nod- Bergen and Grieg’s famous composi- era-are; 8. sag-gas; that I simply love The name beginners would be all Christiana. One of his most dam; 7. I want to tell you each the young continued has left Eleanor, gave me for my in outline, one for again and the "Peer Gynt Suite. He The initials of the Etude. My sister can be traced houses and of the platform tions is don; 10. nib-bin. year a subscription to mixed up with plans for for compositions for us to remem- Christmas present last better than is written many beautiful on the thrilled. I have country, and this is much would her story. “A sonata Honorable Mention for June reversed words are all found The Etude and 1 was simply furniture and people. That ber him by last copy. printed, because usually t e (Age 11). just finished reading my use maps already instrument alone, ricia Ajm Man0ry lesson on my trombone. to have a lasting interest, music to them.” one York keyboard. To-day I took a music in whom we not mean fo Essays New I think music maps have so many sometimes it is I play slide trombone and piano. the printed becomes an thought it piano, though that band and the piano practice Tom agreed, so they is doing a lot for me and 1 hope my them there is no page ) Catherine Welter; Nette Austin; Char- names of places on travel (.Continued on next Anne teacher thinks I am improving. in around-the-world better for Theresa to ex- lene Barbara Mark- composers’ names, adventure would be Wood; Eleanor Kangiser; Class A, fifteen to eight- From your friend, space to write the beauti- land; Russ; Bobby Ann Poseuate (Age 10), and history, accompanied by plain things more simply. Wiletta Stroh; Barbara Junior Etude will Class Margaret The een years of age ; birthplaces and dates. Hagler; Darlene Kraft; Darleen Craft; Bijou Iowa afternoon of the recital three worth while Etude fifteen Class ful music. On the Margot Dorothy Swan- award Junior B, twelve to ; of maps may be kept, one Whitson; Robert Foster; Two sets son; Lois Jean month for the Etude; Theresa played the first movement or Parade Lena Mae Kuse; Marion Sparr; prizes each C, under twelve years. Dear Junior TmI) Day Dukeshier; Mahony; Edward Rye; orig- Here's liow we came to have an Etude major,” by Patricia most interesting and Names of all of the prize of the “Sonata in C Carma Dollie Mae have lived in the draught section Bon tier Riric; Betty Jean Mikell; essays on a Contest Club. We hr AletHa M. inal stories or winners and their con- years we had Mozart, then stepped to the front Hill; Ruth S. Tochidora; Anna Marshall; Doris of the country for so many for cor- lots of in Music Land, Emptrom; Betty Mueller; Japnell C. Davis; given subject, and tributions will appear on to give up The Etude, along with of the platform and spoke to the On Labor Day, suggestion Claire Tardif; Sonya Goldman; Margaret to puzzles. issue of The other things. Then we saw a Red Cross parade. rect answers . in a future Junior Etude is was a grand girls, un- this page subscriptions in clubs, beginners’ class. “The word sonata There Mason; Cecelia A Bettin; Cornelia Nevelizer; all boys and telling about buying Contest is open to thirty next best contributors a host of Louis Bonelli; Nevelizer; Dorothy H. Etude. The and we all liked the idea. Blankets taken from the Italian word so- And in it marched Susanna of age, whethei a J Metzner. der eighteen years given a rating of honorable men- We decided to meet once a month to ex- different trade. Contestants will be nar e, which means ‘to sound.’ In its Of widely “ member or not. change magazines with each other. We all in greater numbers and the aub tion. is still country to age as follows. liked these meetings so much we decided the Junior Etude it referred to music in- grouped according Yes, soon be here. Send early form are ourselves into a club, and so together for cold weather will came first, to organize knitted squares to, instead of The Barber of Seville FOR THIS MONTH came to life. It is more putting squares, four and one-half tended to be listened Staff-Pinning Game SUBJECT The Etude Club afghans. These your in view, than ever. Red Cross being sung or used for dance. A Pearl Fishers came lively now the any color, to the Junior From your friend, are used in the inches, and followed nex , by Gladys M. Stein afghans, you know, sonata is a rather long composition, The Happy Farmer Violet Levi (Age 16), robes for the Etude. too. North Dakota military hospitals as lap in three, but sometimes four, Then Merry Shepherds, Most Juniors have played the old emonzincj. Squares have recently been re- usually “'in must spend player Pa., not wounded soldiers who divisions called movements. The first game where a blindfolded 1712 Chestnut Street, Philadelphia (1), from: of . i Ft.iHr Office, Dear Junior Etude: in wheelchairs, ceived man tried appear in ,be Berber issue. , entries their time Blacksmith, to pin the tail on the donkey. - I awarded first rating at our Regional part of Cotter; Mrs. Arthur Smith; movement is written in a certain Harmonious was then- Virginia in violin, and I am sending you have recovered In this game the blindfolded player Music Contest until they Bishop; Altalee Lanson; Vir- pattern which is called sonata form.*«***• strength. -CONTEST RULWRULES my picture with my violin. This is the fourth be dismissed. Ann tries The have received this rating in violin. enough to first a Toreador; to pin a note on the staff. contain not ”"e your address in time I strength ^Toan Lee; Marilyn Cot- In this form the tune, or as we And then jji Contributions must appear^ in upper ^eft corner and director in our school, recently glnla Bailey; 1 paper, e My father is music hospital alone name the note is the staff age «"*. C need more than one sheet of One military Bertie Old- call it, subject or theme, is written haven't space to cut from paper and 2. Name, “rfySr paper. If you and my mother is my music teacher. I play ter- Madeleine Waller, We upper rightJ“"corn Red Cross for is the , the violin in our school orchestra, and in the request to the many more. drawn on large heavy paper and this typewriter. put in a Fetter; Alwith Croth- in the tonic key. (You know what But there were sure to do a trio, and I play the flute in the band blankets. So meyer; Nancy ^ ^ ^ ^ string of these pinned to the wall. more than and twirl a baton in the drum corps. four hundred the above sent lots of the tonic is from your keyboard har- have anyone copy preliminary contest and to submit not ers. Many of ] Do no” o°hold°a From your friend, The need is mentioning 4 are reque t busy, knitters. titles Try it and see if you can find the e ri„h« or schools Paula Jane Fite (Age It), get each. List will be continued mony class.) Then after a little (How many more ior prire. the wounded squares ^r^r^niremen,, ,.l, no, be eHpib.e Missouri than ever, as add • ) spot for G. This is an active, lively greater modulation the second subject or trades can you 6 - ^ to this next month. are being returned game. soldiers etue>e MUSIC" 619 "FORWARD MARCH WITH MUSIC" the "FORWARD MARCH WITH 618 SEPTEMBER. 1943 . - 2 i )— .

THEODORE PRESSER CO. THEODORE PRESSER CO. FALL BARGAIN OFFERS ON RECENTLY ISSUED PUBLICATIONS OFFERS 15— AND FORTHCOMING moHor artr»lir»ah1g» PYnrpcelv WnJfr16— hv WalHfgvnfol FVia lntrob. 'T’L , , BARGAIN tant matter, applicable expressly Waltz17— by Waldteufel, the27—lovely Theme from FALL to the Hammond Organ, which Sibelius’18— “Finlandia”; the familiar Largo by Dvorak;19— and 28— PUBUCATIONS includes diagrams, illustrations, 20— Dark Eyes SPECIAL OFFER No. 40 FORTHCOMIHC descriptive matter, and several Offer21— SEPTEMBER Offer AND MAY pieces newly registrated. RECENTLY ISSUED 22—No. Part N Part ON Piano -Conduct or Five Fourth and SINGLE or Bass, Treble MUSIC ORDER ONLY INTRODUCTORY 23— 29— B'i? SHEET prices THESE 24—Violins Clef introductory COPIES OF CASH PRICE, Violas 30— Fifth Grade T 25— String Bass, Basses ONLY UNTIL I N Giving ™ Examination AT THESE Cellos 31— (Tubas) CASH BARGAINS GOOD Exchanges, or PUBLICATIONS (Regular Pr., $1.50) any Returns, $1.10 Postpaid Dp Piccolos Bd Cornets (Trump- Piano Pieces 30, 1943. > w Low PRICES. SEPTEMBER These Special REDUCED in the United States and its Posses- 26—C Flutes (Piccolos) 32— ets) or Numbers Works Ordered at Sold Only (Trombone Groups of Selected (Total Retail Value, $2.00) CASH on ANY E() Clarinets (Ep and Bar. -Treble Clef) PRICES ARE FOR K”es^ sions. No.” When Ordering. Eb Alto) (or Bp Soprano Useful to Teachers SEPTEMBER BARGAIN WITH ORDER. ( The “Offer No. 10 ^ Oboes Saxophone PRICE, 40c Postpaid OFFER iTfr- CASH Bassoons Horns in F (English YOU MAY ORDER AS MANY American Patrol (March) •Meacham-Lemne Bp Clarinets (with Horn) YOU DESIRE, E Korber SETS AS . . . . N<>. 13 DIFFERENT Shadows . .Arthur OFFER No. 7 duets for OFFER Bass Clarinet) Ep Horns (Altos or Autumn Planquette album of Normandy ( Selections ) 4 Eb Alto Saxophones Mellophones) MORE THAN Chimes of OFFER No. BUT NO Revelry Arthur Bergh PIANO (with Eb Baritone Trombones, Rustic ORGAN AND OF EACH SET White Daffodils Stanford King CHAPEL MUSINGS SYMPHONIC SKELETON Saxophone) Baritones ONE PIGS 3"" bv CLARENCE KOHLMANN Drums. Timpani, THREE LITTLE Album of Sacred Arranged Bb Tenor Saxophone, For many years at this season we have Piano An ‘^pY Organ Registration by Bb Bass Saxophone Bell Lyr sets of first and Storv with Music for bv ROB ROY PEERY Hammond SCORE-No. 8 made up specially-selected A Comoiled HALLETT second-grade pieces for piano giving the KENNETH 3 IN INTRODUCTORY CASH PRICES: offers Hr ADA RICHTER outstanding SYMPHONY No. F MAJOR titles and composers’ names. These exchanges, contents, which reveal an Parts, Each 30c Postpaid; Piano- that ws There are no returns, no a&SFl The from the (BRAHMS) were so attractive and successful fc this assortment of musicianly adaptations supply several thou- privileges allowed Kon already made this Cond.. 50c Postpaid had to be prepared to and no examination standard repertoire, have for Railio and Concert each item. This meant large prices. and recreational A Listener's Guide (Regular Prs.: Parts, 40c Each; sand copies of at these low bargain cash little book. recital pos- album a favorite for church which we cannot undertake this has P.rfor.nimce n..y hearer so that themes By THURLOW LIEURANCE ADA The Two Copies ltequlrc.1 for Publication Cash OFFER No. 8 Special Price be associated. of sixteen songs adapted by Dr. Selection) These low “Advance of making easy, pian- bo Purchased at ihc Above Mentioned Made up (Our Mrs. Richter’s deftness in PRICE, and arranged for unison singing Prices” are lor remittance with order tunes is again to be a copy. (SI. 40 for two.) INTRODUCTORY CASH Lieurance, $1.50) ist;,: adaptations of favorite Posses- this book is a (Total Retail Value, postpaid by us. No her material for 5 Only In the United State* and with piano accompaniment, and deliveries will be noted in this book. As in all OFFER No. FROM THE Sold Postpaid (Regular Pr., 35c) "community repertoire. work arranged, she here has THEMES 30c notable addition to the SEPTEMBER BARGAIN more than one copy of any one teaching, original and sions. book format, the con- In the familiar community song at the low “Advance ol rare discretion in keeping SYMPHONIES rallies, PRICE, 35c Postpaid may be ordered exercised pianists, GREAT 2cr= ideal for use in public meetings, CASH the ken of early grade CHILDHOOD DAYS OF it is people Publication” price. tend within could the Piano T*= assemblies, and in all places where collection for young Americans For and no LEVINE engage in the pleasant pastime of singing to- be r COMPOSERS: Compiled by HENRY OFFER No. 37 of Songs or My Country FAMOUS 11 OFFER No. 14 ge ’Ihe° fou“se?tions holds an enviable position among OFFER No. Lieurance’s most popular Indian Songs , This album Some of Dr. headings: “Earliest Patriotic toe lofty musical Singing OFFER No. 42 bear the Songs CHILD BACH piano collections bv virtue of songs are in this book, among them Bp Songs of the Early Years , THE been se- Pieces “Famous War from which its contents have Chant of the Com Grinders, Five Piano Men Like to Sing”; and Famous ELLSWORTH COIT heights winch ECHOES FAVORITE Waters; Wi-um; Our Fighting Years. Bv LOTTIE lected and the musicianly manner m CHANCEL ALBUM OF Blue Heron Nests; Love Song, Ski- and Patriotic Tunes of Later piano. The Where the First and OUR War Songs are RUTH BAMPTON the themes are presented for the Organ with and the Waters of Minnetonka. Between forty six numbers included and piamstic and pre- A Collection for Pipe bi-bi-la; By Among tiie : Ocean, material founded on the adaptations are thoroughly FIRST POSITION included are the hitherto unpublished Leaf Columbia, the Gem of the Here is delightful of the ong- Organ Registration Also Second Grades LATIN-AMERICAN America' musical colossus. Johann serve notably the intrinsic beauties Hammond Along the Yellowstone; Indian The Marines’ Hymn; of that Bird ; Spring America! the Beautiful ; life and works by Recessional, And work of two well-known Compiled and Arranged Song; and It is Spring. You’re in the Army Now; ShavSan Bach. The most timely. The fre- PIECES FOR VIOLA Love (Our Selection) NEIGHBORS Stars and Stripes provides fascinating fare for chil- This compilation is M. FELTON the Band Played On; The educators, it points the great symphonies.are WILLIAM INTRODUCTORY CASH PRICE, For Piano Star-Spangled Banner. A both historical and musical quency with which sequel to Mr Action s At (Total Retail Value, $1.30) Forever' and The dren from en- radio, through recordings, Here is a worthy PIANO (Regular Pr., 35c) by included and illustrations biographical matter is drawn heard today over the Designed along the saurie general AND 20c Postpaid Compiled and Arranged verse of each song is of view. The genius, amphitheatres and concert the Console. SEPTEMBER BARGAIN the childhood of the great and in our many volume, and carefully Realizing the suitability of the material In accompany some. tirely from solos familiar to vast numbers lines as its companion Postpaid ADA RICHTER delightful, easy Pieces (four halls, has made them the pipe organ and the Album of Favorite First Position Pieces for CASH PRICE, 35c PRICE, and the five easy registrated for both Latin-American Neighbors has been de- the hearers. , Our CASH favorites among; of new , , are eminc= of special interest to juvenile Chancel Echoes are The easy viola pieces, noteworthy in their educa- OF Argentina, and the story (with and Tschaikowsky. difficulty in LITTLE TOWN Chile, Costa Rica, Ecuador, the directions for dramatizing Grunfeld's lovely tional and recreational values. O Five Second Grade collection will be such little work Svrinq by Grieg; Peru. Appearing in this make this Mjjsie .. 2 the music interpolated) INTRODUCTORY CASH PRICE, hornpipe from Handel’s “Water as La Golondrina, La OFFER No) unit. the Jensens INTRODUCTORY CASH PRICE, BETHLEHEM Pieces famiiiar tunes available as a recital Hollaender's graceful Canzonetta Piano Carmela, Cieltto Lindo, ana (Regular Pr., 75c) uie for Volunteer Choir Tu Tu Maramha, ' PRICE, 50c Postpaid the placid Siesta by urens, Pr., $1.00) A Christmas Cantata many other equally uttrac INTRODUCTORY CASH Bridal Song; hho 65c Postpaid (Regular (Our Selection) El Choclo, as well as CZERNY =<2 Pontificale by Lemmens; Loe LAWRENCE KEATING gayly rhythmic pieces. Here indeed THE CHILD’S 35c) March ^„ tneie By $1.30) tive and 25c Postpaid (Regular Pr., Melodique: Sibelius Romance, ^ (Complete with Piano Accompaniment) lends itself (Total Retail Value, opportunity for the young pianist to be Prelude . of Bethlehem is an Piano Beginner the Prelude from wag, n Ttttif Town pro- with his Latin-Amer- Selected Studies for the Toccatina by Lardelli; the uses of choirs of varying BARGAIN come better acquainted OFFER No. 9 and an ariangem admirably to comfort SEPTEMBER the medium of their in- ner’s “Tristan and Isolde’ ; parts lie within a ican neighbors through HUGH ARNOLD ;2dT- nnrtions The voice PRICE, 35c Postpaid great enjoy- Compiled by of Deep River. CASH triguing music, deriving the while t„ hnnk many of the favorite easy PRICE, SSWS ment from it. LisztKullak RHAPSODY IN D-MINOR INTRODUCTORY CASH SffgSf 6 CarlCzem/teaeherof No. 6 1< e ADVANCE OF PUBLICATION st^iesby to OFFER (Regular Pr.. SLWl OFFERS Nog. 15 to 32 C C Yale'wttii OFFER No. 39 and others, have been adapted For Solo Piano and Orchestra 70c Postpaid ts°by Els^e Duncan Postpaid Thalberc; fosses- ' rts. The^fex PRICE, 40c means of adjustment from their Sold Only in the United St.les and .Is CASH modem uses by ‘ (Second Piano in Score) S to fit the ‘treble -and-bass ^ight^ in^Bethlehem^when all treble clef status ^ach- PASTEUS FOR PIANO slons. catm^md wondrous Five Third Grade from-the-start” system favored by many By RALPH FEDERER Peace was born. accomplished by Relaxation Studies FIRST ENSEMBLE the Prince of ors in these days. This was Tone and offered here in :2 transposition to The Rhapsody in D-Minor, CASH PRICE, Piano Pieces of rearrangement and four hands, requires INTRODUCTORY 43 means F, and By GUY MAIER an edition for two pianos, OFFER No. are confined largely to C, ALBUM (Regular Pr., 60c) $2.00) keys which to offer this new from seven to eight minutes for performance. 50c Postpaid (Total Retail Value, common rhythms prevail, and It gives us real pleasure For All Instruments G. The more The impressive Adagio of the opening is sue- Band and Orchestra l ?JT> engaging illustrations. Forty- work by a distinguished artist, pedagog, editor, K No. 1 — SEPTEMBER BARGAIN there are many that mu- ceeded by a Molto Moderato, in which the solo FINGER FUN included. and journalist. In it Dr. Maier, with Arranged by odd studies are effort, instrument provides ornamentation for a theme PRICE, 40c Postpaid Beginner sicianship so characteristic of his every CASH For the Little Piano in the accompaniment. The solo part then intro- No. 35 INTRODUCTORY CASH PRICE, combined a series of charming and original ORGAN HOWARD S. MONGER OFFER for Victory) ADLER has duces a lovely Andante Religioso, the theme of THE HAMMOND Allegro Con Brio (V By MYRA pictures with a number of his adaptations This collection serves the important purpose Beethoven-Peery (Regular Pr., 60c) tone later appears in the accompaniment LETT Fifth Symphony very easy 35c Postpaid classics, thereby providing a variety which A Method by STAINER-HAI of providing easy, ensemble ma- iszt-Hodson This little book consists of twelve from the octaves useful, yet CHRIST Liebestraum (Dream of Love) .L be- recital matenal at once superior against a background of broken in the feeling terial for Chief among RISEN King finger exercises for the youngest piano of study and Mr. Hallett, with sensitive £°!Lork the first group training. THE Milady Dances Stanford =^===== of purpose. soloist’s part. These passages in turn, are fol- honored its practically Voices being published in the small oblong of quality and beneficial assignment, has transformed an points is the fact that groups of Cantata for Mixed Post Horn Fred’k A. Williams ginner. It is Dr. Maier has provided lowed by a melodic Andante con Moto and the solo Easter engraved in large, easily-read notes. the pictures en a 8' nS j* , any size with Locke size and Among for the pipe organ into an 8. ec _ can play from it, beginning Snow Flurries Harold give harmonic color box are; The Sound- robust Allegro of the close, which effectively of the n e work and orchestral proj- LOUISE E. STAIRS Rhvmes accompanying the music not only from his formative guide to the mastery . ending with band or Bv 3 terminates the work. ina j provide explanatory di- OFFER No. Sea; Chinese Temple; Oriental Blues; No- majority of ° ects. However, especially well suited to cantata, the composer has rhythmic aid but also ing edition of Mr. Federer’s trical instrument. The l*}.® how- it is this appaDtiealing the notes. The Rain; and The Wayward Brook. The In this new work, In addition. quartet For J“is resources, and has rections for playing and reading vember retained. _ training. . melodic material has been r use iof her mewuCe finger Dream, and the orchestra is represented by the second i v made fine whole not progress beyond the five classics include; The Stars; Let Me ever, the arranger has provided muen All the principal instrument books contain ke wQrk as a exercises do MELODIES Schubert, Roses piano part, for which an accurate transcription exercised care m p volunteer might be compared to the fa- CHRISTMAS Under the Linden Tree; all by tour harmony parts, A, B. C, and D, in open r2|uired for position, and has been made. ranges studies in style, though of at Evening by Brahms, a Minuet and Adagio by score for (Melody) may true of vocal THESE FALL BARGAIN OFFERS miliar “Hanon” by ADA RICHTER easy reading. Part A is especially passages, Arranged for Piano and Ave Maria by Franz. be used duet; Parts SoiS ® an annual policy of giving course in much simpler form. Diatonic Mozart, INTRODUCTORY for solo; Parts A and B for qualities- - represent CASH PRICE, and rhythmic de3ign> notes, intervals up to the fifth, and of the most pop- A - B for j n other active music repeated book stands out as one CASH PRICE, No. I® and C for trio; Parts A. B. C, and D music teachers and constitute the This contents, num- INTRODUCTORY (Complete for 2 Pianos, 4 Hands) Orders for Offers No. 1 Quartet. considered The IS provided for So- legato and staccato phrasings collections of its kind. Its A few instrument books ^ briefHrfef passagnassages are workers a chance to become acquainted from ular although lolsts . progress. Both clefs are used standard carol favorites and Postpaid (Regular Pr., 75c) 50c Postpaid (Regular Pr., $1.00) and D<“ primarily for orchestra or band use have only and Bass works for a technical bering thirty-one 50c (Inclusive) Will be Filled with and to possess new beginning, and all exercises are in common are presented in carefully fingered two parts. The Piano-Conductor book presents short duet assignments the less Sfual ones There alsoaretwci minimum expenditure. in the Key of C. arrangements. The ar Immediately. Offers No. tne four harmony close score directly time, and prqde one-and-one-half home livered parts in CASH PRICE, raneements also are ideally suited for Advance °V!~* accompaniment. INTRODUCTORY THEODORE PRESSER CO. PUBLICATION for singing have to No. (Inclusive) arc Nineteen (Regular Pr., 6 ) ADVANCE OF church uses. Keys suitable 57 carefully chosen standard numbers Postpaid 1712 Chestnut St., Philadelphia (I), Pa. and one verse of each make Ensemble 50c PRICE, 20c Postpaid utilized throughout, and Offers; Deliveries up the contents of the First CASH be?n Theodore Presser Co, of Publication *ylbum. Range; carol has been included. Among them are; Home on the YChen Aloha Skaters of These Will be Made Oe ; Country Gardens; The INTRODUCTORY CASH PRICE, Music Publishers and Dealers if Aoru WITH MUSIC" (Regular Pr., 75c) Published. 50c Postpaid 1712 CHESTNUT STREET * PHILADELPHIA (1). PA. :J(T> "FORWARD MARCH WITH MUSIC” the etude 620 —

THEODORE PRESSER CO. THEODORE PRESSER CO. FALL BARGAIN OFFERS FALL BARGAIN OFFERS FORTHCOMING PUBLICATIONS RECENTLY* ISSUED AND ON RECENTLY ISSUED AND FORTHCOMING PUBLICATIONS ON . . - , +1iathe -fontfact that.that TVT _ CO point of usefulness lies m ]\ . 52 added words QFFER 0 No. 44 OFFER No. 47 between the staves of each number the OFFER are given. Young pian- OFFER No. 55 of a verse of that hymn Besides the service hold no terrors for The all embracing character of four-hand piano of a baritone-narrator, We’re for America will ists readily could provide this work requires the participation The musical and dra- this book makes it especially use- favor- ALBUM OF of able Production Committees. MORE CONCERT accompaniments to the singing of these choral singers. The composer, however, has matic elements can be prepared with a reason- ful for lecturers, commentators, SIXTEEN SHORT scenography history study groups, and music ite hymns. exercised judgment with regard to vocal de- able number of rehearsals, the OF MARCHES ballads of cos- appreciation classes. It also is of ETUDES TRANSCRIPTIONS mands so that the work remains well within will make no serious demands, and the the capabilities of the average good singing tumes largely can be found in the everyday inestimable value to concert goers and radio ADVANCE OF PUBLICATION listeners, and a copy should be in every public FAVORITE HYMNS FOR THE ORGAN society. wardrobes of the players. FOR TECHNIC CASH PRICE, 35c Postpaid PAUL BUNYAN and private library. The page measurements For Piano are approximately seven inches by nine inches. In response to many requests, we are pi : sed ADVANCE OF PUBLICATION ADVANCE OF PUBLICATION AND PHRASING for Mixed Voices This is positively the last month this book announce the forthcoming publication of an Choral Cycle the Piano By CLARENCE KOHLMANN to CASH PRICE, 40c Postpaid CASH PRICE, 60c Postpaid will be offered at Advance of Publication price. For =,2 all-march album for the organist, a book which and Narrator companion volume to Concert Trans- By CEDRIC W. LEMONT This Will be of great value to the average organist ADVANCE OF PUBLICATION criptions of Favorite Hymns has come as the Mastepr Series” welcomes for such occasions as church festivals, school Our famous “Music result of an ever-increasing demand for music Ballads bv ETHEL LOUISE KNOX CASH PRICE, $1.00 Postpaid new member in this collection of ar- community gatherings, weddings, the wor- an important he of this kind. In the hands of this skillful OFFER No. 50 and OFFER No. And a useful addition it is, * church have and wherever a good march is Music hv MAY A. STRONG 56 studies. understanding, ranger the grand old hymns of the ship service, composer, with his customary luster. The foursquare, percus- generous contents include seasonal OFFER No. 57 third and fourth taken on a new needed. The acr<= has here provided a group of achieved when the hymns are played Easter, and Thanksgiv- engaging music has been com- designed for general utilitar- sive effect SUITE music, with Christmas, Miss Strong's grade studies well they appear in the hymn book has now given NUTCRACKER music does not especially interesting text founded WE’RE FOR AMERICA thoroughly enjoyable from a as ing marches represented. The go posed for an ian purposes and over to the truly lyric beauty of good piano on two favorite episodes of the Operetta in Two Acts for Mixed PORTRAITS OF THE It reflects anew those re- a medium grade of difficulty and hence hv Miss Knox musical viewpoint. these moderately difficult P. I. TSCHAIKOWSKY beyond are “The Vinter of the associated with his transcriptions. Among By capabilities of the Bunyan legend. These Voices freshing qualities always sacred musical will be well within the Paul s Moose- transcriptions appear such Blue Snow" and “The Death of WORLD’ S BEST- W Cross Jesus; Softly Arranged for Piano Duet by average performer. Registration is provided the works of a he has included excellent themes as Beneath the of Hound. Niagara:’ Correlating Book by TIIECLA FITZGERALD Among these Etudes Jesus Is Calling; O Love That Hammond as well as for the standard writer of verse and a gifted left and ^S^t hands, and Tenderly for the talented American works in scale playing for Eternal; M. FELTON bids fair Lyrics and Music bv KNOWN MUSICIANS thirds and Will Not Let Me Go; Lead on, O King WILLIAM organ. American composer, this choral work THEODORE PRESSER CO. octaves, broken octaves, legato many other gems from Fairest Lord Jesus , and real success. .. MARIAN HALL notes, chord playing, and melo- to win . . , Willi Thumbnail Biographical sixths, repeated literature of the Christian Church. One of the most popular orchestral suites inspiration of many against arpeggiated accom- the hymn ADVANCE OF PUBLICATION Paul Bunyan. fictionary Music Publishers and dic accentuation filling a definite need m the to radio and concert "superman in the Marked with an entertaining story, bright Sketches In addition to ever . written, familiar a boy, sprang into being a paniment. services, these transcriptions in ad- Postpaid woodsmen. tunes, unusual developments of plot, and a Dealers various religious audiences, and much loved by pianists CASH PRICE, 60c fertile imaginations of our northern great joy and satisfaction legendary ex- definitely patriotic aspect, this operetta prom- Editor ADVANCE OF PUBLICATION should be a source of vanced and simplified piano solo arrangements, Through constant recounting, his GUY McCOY, in the home. and personality exercised ises to become a favorite with high schools, col- 1712 CHESTNUT STREET CASH PRICE, 25c Postpaid Tschaikowsky's Nutcracker Suite here is to be ploits, achievements, There are ‘‘Thumbnail’’ biographical sketches and por- on the men in the lumber lege groups, and amateur societies. available for piano duet playing. Mr. Fel- great influence mezzo-sopranos, traits of around 4500 composers, artists, teach- *2 ADVANCE OF PUBLICATION made =3<7> have become a part of our roles for five sopranos, two PHILADELPHIA (1), PA. composer’s original camps, and now one baritone, one ers. conductors, and personalities of all countries ton has been faithful to the strength, prowess, and fantastic one contralto, two tenors, PRICE, 45c Postpaid native lore. His of these and all times standing out prominently in va- CASH score and has been able to reduce the variated ... , i . .. ftmiro a urnvg tr» np bass and several non-singers. Many up." ried fields of musical activity. OFFER No* 45 Copyright restrictions limit the sale of this hook “colors” of the orchestra to the four-hand me- parts can be nicely “worked the U. S. and its possessions. to dium with most effective results. The entire No. 53 =ijcr> Dance OFFER — =^====^= A Second Piano Part suite is here, of course, Overture, March, &Tr= Of the Candy Fairy, Russian Dance, Arabian no protection against possible loss. Use a the Reed COVER FOR this MONTH—Septem- To the FIFTEEN TWO- Dance, Chinese Dance, Dance of REVERENTIAL THE check, a Postal Money Order, or an Ex- and Waltz the Flowers. The grade of when we think of the PART INVENTIONS Pipes, of ber is always a time press Money Order for remittances, un- OFFER No. 48 difficulty ranges from four to six. educational steps of little ones. As by BACH ANTHEMS first less you use registered mail to send money. generation passes the torch of learn- By RUGGERO VENE ADVANCE OF PUBLICATION WILLIAM BAINES one THE CHILD HAYDN By ing on to another, so present generations The ever-increasing demand for good two- CASH PRICE, $1.00 Postpaid ATTRACTIVE DISHES FOR PREMIUMS- piano four-hand material has prompted the Childhood Days of Famous Over a long period of years, this prolific and receive inspiration from past generations. Since metal ware and leather goods are publication of this work. The puipose of the has contributed a great many gifted composer The great spirit of Paderewski lives on, virtually “a thing of the past” for the second piano part is not to add additional Composers which have taken their NOTES the two melodious anthems privi- PUBLISHER’S melodic and contrapuntal material to and the photograph which we are Duration, we have found it necessary to sup- ELLSWORTH COIT places in the repertoires of choirs the country part inventions themselves, but rather t° By LOTTIE of the grade of difficulty of the anthems leged to use as the covei for this issue turn to dinner sets and glass and por- plement and enhance them by filling out over. The to all Music Lovers and RUTH BAMPTON “easy to Monthly Bulletin of Interest implied harmonies and giving them greater making up this book might be called The Etude reminds us that many who are A celain dishes to supply our premium inestimable modest. sonority. This book should prove of This is the third book of this popular series No. 51 medium,” with the solo requirements musi- studio where the OFFER youngsters today will find, in their workers with merchandise for securing value in the piano teacher’s designed to engender in children a deeper and Many of Mr. Baines’ anthems are based on accompany the pupil at a separate of music through familiarity to come, great surpris- teacher may more abiding love Scriptural texts, and the contents of his book cal experiences in years Etude subscriptions. It is rather keyboard, thus adding materially to the pupil s the childhood days of the great masters. with of general anthems as well as greatness of useful premiums in the study of inventions. The book is deals exclusively with the early years GEMS OF include a variety inspiration in the musical in- lar items in mind at the present time, ing what attractive and interest This book Lent, and catalog during the past year. These printed in score form, with the original Haydn, and the well-told story special selections for Christmas, as a pianist list and to be of Franz Joseph Paderewski. So great was he immediate you will find it profitable to write asking of this nature can be had. We inventions engraved in small notation above beautiful illustrations should prove both Easter. At least several new anthems have been troductory offers are ready for and MASTERWORKS that his that field almost just few below: the Second Piano part. entertaining and illuminating to young people. for the book and have not greatness in Bargain for free catalog's on any classification of describe a written especially delivery. That part of the Fall The volume contains piano solos and one duet appeared in print. makes him a legendary character. He also you are interested and to ADVANCE OF PUBLICATION heretofore to Advance of Publication music in which from the works of Haydn, all in easy arrange- FOR THE ORGAN of Offer devoted 25 SET: A handsome PRICE, 35c Postpaid direc- left as a legacy to the world a number request details as to the service features -PIECE DINNER CASH ments, and in addition, comprehensive PUBLICATION presents opportunities for users of given for the dramatization of the ADVANCE OF notable the one which offers, set, sufficient for a family of four, in- tions are with Hammond Organ Registration compositions, but subscribe in ad- we offer, particularly with regards to ex- story, and full instructions and diagrams for the music publications to CASH PRICE, 25c Postpaid always will be known to ambitious young account con- cluding 4 cups, 4 saucers, 4 9"-dinner construction of a miniature stage complete with for these works at amination privileges and Compiled and Arranged by vance of publication butter plates, 4 No. 46 appropriate settings. Pertinent suggestions for piano students is that beautiful gem veniences. Address Theodore Presser Co., plates, 4 6"-bread and 3FFER with children of varying Advance of Publication post- the use of this book PAUL TONNER special low fruits, 4 oatmeals, and one 11" meat plat- “Menuet a l’Antique.” works 1712 Chestnut St., Philadelphia (1), Pa. ages are included. paid cash prices. Orders on these In order to inspire others to compose, ter. Each piece is embossed with a grace- Second Piano Part Containing a generous choice of material. to have the benefit ADVANCE OF PUBLICATION must be placed now design. Your award for securing Gems of Masterworks for the Organ is dis- Paderewski established in 1900 a fund PLEASE HELP US SERVE YOU SATISFAC- ful tulip By ROBERT T. BENFORD 20c Postpaid bargain Advance of Publication CASH PRICE, tinguished for the clarity of its typography. to three years of these average in- 11 new Etude subscriptions. provide cash prizes every soon as pub- TORILY—It is natural for the The pedal parts are indicated on the lower cash prices. Each book, as To TUNEFUL TASKS OFFER No. 54 to composers of American birth for out- neglect informing magazine staff as a means to simplification of reading, a to the Advance dividual to be delivered : This includes THOMPSON <27 — works lished, will KITCHEN RANGE SET By JOHN point of real interest to young organists who standing creations in symphonic chaige. publishers regarding changes of address Second Piano Part to the subscribers without further jars for salt, pepper, and drips in beauti- The addition of a have not yet attempted the reading of three for orchestra, for a solo in- Offer minute”. This, even un- popular Tuneful Tasks by John Thompson THY GOD REIGNETH compositions introductory prices “until the last wer lines. Mr. Tonner has used particular care in All final fully colored porcelain equal to the best collection of easy composi- Remember! it impos- nakes available an excellent No.v 49 the Volunteer strument with orchestra, and Pall Bar- der normal conditions, makes music. The second piano OFFER matters of effective registration, and, of course, A General Cantata for withdrawn October 1, 1943. imported line. Each piece is 4%". Set may wo-piano four-hand tions for Space does are delivery of the next copy contains interesting melodic and the Hammond Organ indications extend the the Chamber class. these prices sible to insure irrangement Choir gain Offers are available at be had for 2 new subscriptions. larmonic material which contributes greatly to usefulness of the book to electronic instruments. not permit us to do justice to Paderew- to the new address. Today, with a multi- FAVORITE HYMNS is sent with order, various pieces. It has- remittance hene euctuvciicsaeffectiveness ofui theum Among the numbers included are a Postlude By LAWRENCE KEATING ski's pa- only when 1 1 t 4- ~ 4- rfmdo 1 I hC achievements as a musician, a of handicaps as a result of the War >urposely been kept at the same grade level as Easy Arrangements for Piano Duet these prices we cannot tude REFRIGERATOR SET: Here is a three In by the 18th century composer, Rolle; the at prac- of course at book. Tuneful Tasks (75c), which This fine new cantata can be sung triot, and it would take and delays in United States Mails, he original Andante from Brahms’ “First Symphony”; the a statesman since privileges, returns, Effort, plus purpose Refrigerator Set ... 3 jars gradu- erves as the first piano part, thus making the Compiled and Arranged by tically any time of the year. It can be success- allow any examination a lovely Prelude in E-minor by Chopin; an Inter- volumes to detail his historical and mu- must ask for even more time in af- »arts interchangeable. This book will have almost any size and we ated in size, each with a cover, and they ADA RICHTER fully sung by groups of or exchanges. urther use in the studio where the teacher lude by Hassler; the Prelude from Bizet’s sical greatness. fecting changes of address than hereto- pieces amount of experience. can also be used as oven ware or are may accompany the student with these This book was published in response to the “L’Arlesienne Suite”; the Largo from Dvorak’s unusually Poland Second Piano Part Thy God Reigneth is marked with Paderewski was born in Russian SEASON fore. left overs and for mixing. Two t a separate keyboard. The heavy demand resultant from the great popu- “i\ew World Symphony”; and other favorites for NEEDS FOR THE ideal for separate volume and singable passages for mixed voices and in 1941. ; MUSIC address, as well s being published in a larity of Mrs. Richter’s piano solo album, My Franck, Mendelssohn, November 1860, and died June 28, Please send in the new are re- for by Bach, Handel, Mozart, trio for THEODORE PRESSER CO. new subscriptions to The Etude herefore a copy of each will be necessary Hymn Book. It contains twenty hymn fa- men’s voices. Too, there is a melodious OPENING— Own Schumann, and Tschaikowsky. The picture on our cover is a scene from the old one, at least five weeks prior This advance offer is on the Sec- in careful adaptations to four-hand there are arias for soprano, has specialized in as warded with this set. lerformance. vorites treble voices, and lose to 60 years Piano Part only. work. Each of the duets has been arranged so Favorite Scriptural the motion picture “Moonlight Sonata” to the issue affected, if at all possible. nd ADVANCE OF PUBLICATION alto, tenor, and baritone. to music buyers. This and secondo parts are of about to be order service OF PUBLICATION that the primo passages are interspersed throughout, in which he played. The picture was made Thus you can be reasonably sure of a CRYSTAL TRIPLE SERVER: Useful ADVANCE equal difficulty which allows for the interchang- PRICE, 60c appointed classifications of music CASH Postpaid pastor or an especially ;e covers all PRICE, 35c Postpaid parts between students at the teacher’s read by the in 1936. non-interrupted file of The Etude. in different ways for salads, fruits, cold CASH ing of unsurpassed stock ernbrac- Sold Only in the United States and its narrator. , an for a more thorough Posses- ; and discretion, and makes foods, etc. Made of sparkling embossed sions. adaptability of this new cantata of all pub- familiarity with the music as a whole. An The general lusic from the catalogs will be noted with a glance at the titles of some PRESSER’S FALL BARGAIN OFFERS-We AS A PROTECTION TO YOU-Subscribers clear glass. Server has a cover that can Please use Offer No. when ordering. given THEODORE PRESSER of the individual numbers, which i nc * u refer Pages s has for The Etude, would do separate dish. Yours for two f"‘ you to the advertisements on the dependa- when renewing be used as a Thy Reigneth; The Stars; The Sun; The reputation of being These Low Introductory and Advance God 620-621-622-623 of The Etude. he well to remember that they are taking new subscriptions to The Etude. Forest Fair; 3ft in this issue any music needs. with Sea is His; Peace, be Still ; O supply for Prices are for remittance These mrce of if remit in currency Offer Lilies; O Fear advertisements feature the annual THE chances of loss they Theodore Presser Co. Valleys; The Purple Hills; The have never ordered of the order. God; ana Pall the , 0u mails. cancelled check or PORCELAIN MUSIC MASTER Not Ye Who Trust Him ; Forget Not Bargain Offers presented by through the A is your PLATES: These are ideal for decorative At these prices it is not possible to Music Publishers and Dealers Reign O'er Our Lives. THEODORE PRESSER CO. including as a Post Office Money Order receipt be used for serving allow any returns, examination usual final introductory presentations, at protection against loss, but when yoi\en- purposes, or may 1712 CHESTNUT STREET • PHILADELPHIA (1), PA. ADVANCE OF PUBLICATION or exchanges. iow with your order, you have . ( Continued, on next page ) privileges, Postpaid introductory cash prices, of each of close currency CASH PRICE, 40c the book publications added to the Presser "FORWARD MARCH WITH MUSIC" THE ETUDE "FORWARD MARCH WITH MUSIC" 623 622 SEPTEMBER, 1943 ” — ! .

Please send me at once a copy of your re- food at a musical luncheon. Each plate liked of the very successful cantatas print of The Etude" page "Our President vol- Music” and the poster is 814" in diameter and has imprinted which Miss Stairs has produced for Speaks for "Forward With Music” which I desire to show the bust of one of eight unteer choirs. The same examination March upon it in sepia, Rationing Board.” grant- Letters from to the Gas master composers. The complete set may privileges mentioned above will be (signed) Raymond Randig. inter- things you should had for 7 new Etude subscriptions or ed cheerfully to any choirmaster 1 do be one plate of your choice for one new sub- ested in obtaining a copy of this cantata Etude Friends scription. “On Approval.” Price, 60 cents. Modern Violin ADVANCE OF PUBLICATION OFFERS Instruction to keep prices down WITHDRAWN - In these columns each More About 1 on-Y-Botel month, except in September when they (Continued from Page 615) are included in the Pall Bargain Oilers To The Etude: The account of the Welsh tune, Ton-y- of the THEODORE PRESSER CO., there Botel,” as related by Benjamin Hadly, Jr. in If prices soar, this war will last longer, and we could all go broke when the position, are given the small begin- Publication of- the May 1943 issue, does not accord with are presented Advance of and one times while a story I heard a thousand ners. Later on, when the time seems it’s over. Uncle Sam is fighting hard to keep prices ferings of forthcoming new music pub- resident in Wales. I am inclined to think what down. But he can’t was told me is more than likely the correct opportune, the other major scales lications in book form. There are six experiment with story; and if anyone cares to do it alone. It’s up to you to battle against any and every rising price! publications which were included in the a bottle on a windy day, he will get the same may be taken up, eventually to be Advance of Publication Offers presented result. followed by the minor scales. “A shepherd, watching his flock on a moun- To help win the war and keep it from being a hollow victory after- Don’t buy a thing unless you cannot get along hi these columns last month on which tain, was intrigued with the hum of the wind A blackboard is a necessity in every rendered without it. Spending can’t create more goods. It Offers this in the mouth of a bottle. It not alone keep the Advance of Publication itself was well-equipped violin studio, to help ward—you must prices down. And here’s how you can do it: a quaint melody, but the harmony makes them scarce and prices go up. So make withdrawn. These six pub- to him. Like most Welshmen, he knew month are audible clarify the fact that the first four enough of music to be able to write the you last longer. "Use it up, lications are as follows: everything own melody, and then made it known by using it. sharp keys can be quickly and major it it do, or do without.” Album of Favorite First Position It caught with the public, and became popular wear out, make as a hymn tune.” easily remembered by thinking of Pieces—For Viola and Piano Mr. Hadly may be sincere in relating his ac- fan- them as namesakes of the four violin Child of Bethlehem—Christmas Can- count, but it smacks rather much of the tastic. I know Welshmen are agreed die ac- tata for S.A.B Stairs-Simonton strings—G, D, A and E. The first four count I give is the correct one, and it is fit Child’s Czerny Arnold and proper you give your readers this version. major flat keys are F, B-flat, E-flat I read, write, and speak the Welsh language First Ensemble Album Monger fairly well, was often a competitor at the and A-flat. and around my Singing Children of the Sun many local eisteddfodau in of moderate means can and apart from being an occa- Students Lieurance home in Wales; sional winner of a prize, I owe more than a now be successfully taught to play by Tidings of Joy—Christmas Cantata little to the constructive criticism of the ad- judicators at these events. It is a matter for the class system of instruction. These for Mixed Voices Stairs eisteddfodau are not as fre- regret to me that children, with the benefits derived Four of the foregoing publications are quent here as over there. —Eric L. Armstrong, from playing in public school or- included in the Presser Fall Bargain Of- Nova Scotia. fers advertised elsewhere in this issue. chestras, soon become promising they older The two seasonal cantatas are now placed A Tuning Help for musicians. As grow and on the market at their regular price. The show a desire to become soloists, the Violinists choirmasters interested in wisely prepar- Young time will have arrived when instruc- choir’s . orecast ing well in advance for the con- 5 for To The Etude : tion from a private teacher is ad- offer suggestion to teach- tribution to the special music portion of I would like to a ers of young violin students, which I feel is visable. Christmas services will find these can- helpful. Teachers soon realize what a difficult October / 943 If a child puts away his violin after tatas especially worthy of note. , and often discouraging task it is to get a youngster to the point where he can tune the leaving the school orchestra, do not strings himself. How often do we see cases where a child has studied several years and be discouraged. It has been found The Child of Bethlehem , a Christmas can- SIXTY YEARS YOUNG! . PAY OFF OLD DEBTS still cannot tune his violin ! And we know, 2 . PAY NO MORE THAN 3 . SUPPORT HIGHER TAXES 4 voices (S. A. B.) or its that many, in fact the majority of tata for three-part mixed Next month, The Etude celebrates too, that to let the child manipulate the pegs

are matching unsettle the pitch so that the instru- . two-part treble voices (S. A.), by Louise E. sixtieth birthday, and we means to these young folk, take up their music CEILING PRICES It’s easier and cheaper to pay for the war as you Paid-off debts make you independent now . . ment needs almost constant tuning during the Stairs, arranged by Danforth Simonton, will this occasion with one of the finest is- lesson and this is nervously irritating to again after being without it for a few that go. And it’s better to pay big taxes now—while and make your position a whale of a lot safer from the — If you do, you’re party to a black market big help to choirmasters depending sues ever planned. Judging both pupil and teacher. be a years. the extra money to do it. Every dollar against the day you may be earning less. So pay letters we have boosts prices. And if prices go up through the you have intermediate choirs or senior choirs floods of enthusiastic I have found it a good idea to have another upon at hand with which the pupil prac- dollar less to bid for off every cent you owe and avoid making new recently been receiving, one might think violin can Time and money have not been ceiling, your money will be worth less. Buy put into taxes means a — which are somewhat short of men’s voices tice tuning—then if the peg “slips,” no harm that The Etude was a brand-new maga- wasted if children stop playing as scarce goods and boost prices. debts as you’d avoid heiling Hitler! It also is a is done and his own instrument is not affected. rationed goods only with stamps. because of war conditions. delightful zine, born this year, and a Evelyn Fellows Offers. soon as they are allowed to so. cantata which may be used by young do surprise to our readers. Here are some Young ladies since the baritone is an ad libitum people grow up and have of October's features. Gasping cantata, and in these arrange- for Gas many and varied interests. They may part to the LILY PONS AT HER ZENITH ments makes an effective offering in the Lily Pons, the world’s outstanding prima Music teachers west of the Alleghenies have seem to forget music, but the seeds donna, now thoroughly American in her little Idea of the complication caused by war- two-part rendition. This cantata has en- in a that outlook, gives very practical advice time restrictions in gasoline on the eastern were sown when they were its original form rare article, “Profitable Vocal Study. joyed great success in seaboard. Patriotic citizens are gladly malting young will bear fruit. They will recall for four-part mixed voices, and in this MR. JEFFERSON—MUSICIAN sacrifices and the authorities are endeavoring under the impression their youth and these memories and If you have been to make as liberal allowances as possible, new arrangement for either three-part that Thomas Jefferson’s musical status you will where morale is served and the individual's experiences will bring new desires mixed voices or two-part treble voices was that of a country fiddler, article, “Mr. Jeffer- livelihood is concerned. enjoy Helen Bullock’s and interests in the field of music. the choirmaster has available a moderate son—Musician,” which reveals his very A typical letter received by Tub Etude, comprehensive attitude to- competent and from a teacher in Massachusetts length Christmas cantata with music ward progressive musical tendencies in his follows: that has proved its appeal to choirs and day. This article is partly in commemo- ration of the two-hundredth anniversary Editor of The Etude: congregations. Choirmasters may obtain birth of “the author of the Decla- Bruckner’s of the I have been teaching fifteen years and have Pianissimo ration of Independence.” a single copy of this cantata charged to forty-five pupils. As this is a semi-rural HEALING CHILDREN WITH MUSIC dis- them “On Approval” giving them the trict, I teach them at their homes and my Inj. Cjcorge t)3er hospitals in our American cities are Great only possible means of reaching opportunity of examining it, and if de- turning more and more to music as an them is by auxiliary in the treatment of various means of automobile. It would be impossible sired, returning the “On Approval” copy During an orchestral rehearsal of diseases of children. Mr. Doron K. Antrim to maintain a studio because the pupils live which will interest for full credit. Price, 60 cents. presents many facts in three different communities and the Scherzo of the “Ninth Sym- readers of The Etude. many are too young to travel, and parents haven't phony,” Bruckner gave the signal to LAST OF THE LISZT VIRTUOSI enough gas for such transportation. Tidings of Joy, Christmas cantata for vol- stop and violins, SCHOOL SPEAKS Their parents are all convinced that music reminded the first SAVE FOR THE FUTURE 7 . BUY WAR BONDS unteer choir of mixed voices (S.A.T.B.) by Moriz Rosenthal, last of the great pian- 5 , DON’T ASK MORE MONEY 6. is valuable in holding up the morale of youth “This passage is but you istic giants of the past century, tells, in marked ppp, Stairs, is brand cantata Louise E. a new article you will want to preserve, in these dreadful days. I have read in The savings bank will come in handy and hold them. Buy as many as you can. Then an that play //. More piano please.” The pas- in wages for yourself, or in prices for goods you Money in the vehicle for the average church choir’s many of the things he has found out in Etude our President’s fine statement of the cut comers to buy more. Bonds put money to Musical Triumph.” for emergencies. And money in life insurance his “Eighty Years of value of music in such a time of crisis as this. sage was repeated. Again Bruckner have to sell. That puts prices up for the things carrying through an impressive and en- old age. work fighting the war instead of letting it shove MUSIC IN THE STREETS OF CATHAY I have also read the thirty remarkable state- protects your family, protects you in musical portion of a special stopped. “It’s still forte. Much soft- all of us buy. We’re all in this war together joyable . Laura Helen Coupland, American teacher ments from Senators, Governors, college prices. safety for tomorrow. pres- See that you’re ready to meet any situation. up They mean you Christmas service. This cantata may be who taught for years in a great Chinese idents and great American leaders endorsing er.” Again the passage was repeated, business men, farmers and workers. Increases tells surprising things about And they’ll help keep prices down today. city, many this attitude emphatically. rendered in just about 40 minutes,- and music in “the celestial kingdom.” Her ar- I also have read and again Bruckner signaled to stop. come out of everybody’s pocket—including yours. ticle is full of color and human interest. In The Etude how the need for music In Eng- there are grateful solos for soprano, alto, “Gentlemen, more pianissimo. Hard- FAURE AND FAURE land has expanded musical activities 30% tenor, baritone, and base voices. These since 1939 it Gabriel U. Faure (foh-ray) (1845-1924) is ly touch the strings.” Once more solos are not difficult and the average rapidly being recognized as one of the Now I have no idea that my government was repeated. At the passage in ques- . . greatest musicians in the history of desires to make it Impossible for DOWN will me to con- PRICES nonprofessional church choir soloist France. On the other hand, Jean Baptiste KEEP tinue in a work which so many leading tion, the violins lifted the bows and find them easy to handle. If desired, of Faure (fore) (1830-1914) was one of the citi- foremost operatic baritones of his day and zens consider vital at this time, nor do I think eyes voices can handle the did not play at all. Bruckner, his course, fewer solo the composer of The Palms and the Cruci- that there is any ruthless plan to prevent me fix. The names of these two French . . . . is very bright and joy- com- from earning a livelihood, but closed, with beaming expression, Use it up .. Wear it out numbers. This a posers are often confounded. Evangeline I do think that musicians everywhere ous, and yet reverential, musical telling Lehman (Mme. Maurice Dumesnil) clari- should make clear to swinging to and fro above the or- fies the situation with a spirited article. the local Gas Rationing Boards the of Christ Child, and fact they gentle- of the birth the chestra : “That beautiful contributed are making a valuable contribution in this was This advertisement, prepared by the War Advertising Council is Make it do . . . Or do without. the best- America. gives promise of being one of national emergency. men, thank you!” by this magazine in cooperation with the Magazine Publishers of 624 "FORWARD MARCH WITH MUSIC THE ETUDE Priority- Deserving Piano Numbers by American Composers

Prelude in El Minor.

Eili, Eili!

Valse Triste Paraphrase MANA-ZUCCA, Op. 131 Andante quasi so A. WALTER KRAMER, Op. 87, N? 2 fantasia M M J>mn jfcgn&3t:3

... . ^ * if 4= ft.

The Following Lists Represent Other Piano Solos Appealing to Critical Interest and Developed Taste W. CAVEN BARRON CHARLOTTE E. DAVIS ARTHUR NEVIN GERRIT SMITH 50 Valse in Flat Lullalo A 50 The Fire Fly Alpine Rose 50 Neath the Balcony ’40 BROCKWAY REGINALD DE KOVEN ] HOWARD Toccatella 75 JOHN PHILIP SOUSA Serenade, Op. 28 50 Down the Bayou 50 ETHELBERT NEVIN Petit Menuet 50 A. WALTER KRAMER A Night FRANCIS H. BROWN June in Washington 75 Rhapsody 75 March of the Pilgrims CHARLES GILBERT SPROSS Minnehaha (Laughing Water Polka).. .40 ’ 50 Mon Desir ‘40 Album Leaf *5® ALEXANDER MACFADYEN 4® The Time of Lilac * CHARLES WAKEFIELD CADMAN Minuet L’Antico 50 Nightingale’s Song .50 To a Comedian 40 Nocturne 50 JAMES H. ROGERS HARRIET WARE Three Moods 50 The Swan 40 Prelude The White Moth - 40 THE JOHN CHURCH COMPANY PRESSER — THEODORE CO. DISTRIBUTORS— 1712 CHESTNUT ST., PHILADELPHIA PA