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

12-1-1929 Volume 47, Number 12 (December 1929) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 47, Number 12 (December 1929)." , (1929). https://digitalcommons.gardner-webb.edu/etude/48

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THE WORLD OF "MUSIC

Interesting and Important Items Gleaned in a Constant W atch on Happenings and Activities Pertaining to Things Musical Everywhere THE ETUDE DECEMBER 1929 Page 875

— - —.^.~**1| Ideal Christmas Gifts

Plan to give your musical friends or pupils on e or more of the delightful volumes in the “Whole World” and “Master Composer” Series. Each one contains 160 or more pages of the best music, beau¬ tifully printed, sturdily bound and attractively covered. You can select just the volumes they will enjoy and appreciate most by looking over the complete set of titles shown below.

Light Piano

Home Songs

The New Appleton “M

Every Modern Music Store in the United States Can Supply These Books - Illustrated Catalogue Free D. APPLETON & COMPANY, Publishers : : 35-39 W. 32nd St, New York City .TUBE

A 0hristmasVV elcome to the Home ofdjhe Etude HOW we wish that we might have had the privilege of him with extraordinary gladness and exuberance. He would having you and all of our other loyal Etude friends with prepare for it weeks in advance, and Christmas celebrations us last Christmastide at our Festival at the home of The within the home of The Etude were regular events of keen an- Etude! Nothing exactly like it occurred elsewhere in the ticipation. He joined vociferously in all the carols and laughed United States. Our whole business avenue for one block was until tears came to his eyes over the distribution of comic pres¬ handsomely decorated on both sides of the street, with huge ents which many of the employees interchanged. His personal illuminated candles (eight feet high) surrounded by smaller generosity was prodigious; and his kindly spirit will never be candles, twelve fine illuminated Christmas trees, garlands of forgotten. Christmas, therefore, will always be a function with laurel lighted with red electric bulbs, while from four huge us, if only in memory of the reverent delight with which the standards in the square were hung twelve giant amplifiers which founder of The Etude identified it. sent forth Christmas music, chimes and choruses, by means of Wholly apart from the deep ecclesiastical significance of enlarged transmission, to the street, from a specially prepared Christmas, this universal festival reaches out and embraces thou¬ room in the home of The Etude. Only music of the highest sands whose religious beliefs make no orthodox room for its class and appropriate to the Christmas season was thus trans- observance. This is in testimony to the broad humanity of the mitted. Many leading Philadelphia artists gave their services: Man of Galilee, miracle of tolerance, sympathy and love. The and thousands of citizens, as they passed along the highway on inspired good cheer of Christmas, the mirth, the generous out¬ Chestnut Street, lit with countless electric lights and redolent of pouring of gifts, are symbols of its spirit of brotherly affection. the pine woods, were thrilled by the Christmas spirit. Charles Dickens found in Christmas a festival of great¬ On Christmas Eve a great community sing,, represented in heartedness. There are those who would rob Christmas of the the picture shown herewith, took place in front of the home of Dickensian atmosphere, reserving it solely for reverent devotion. The Etude. A vast number of people of many different creeds The two things are distinct and apart and may be observed took part in this thrilling musical event. without conflict. Dickens and Washington Irving, and many During the past forty-five years there has developed a kind of humanists, caught the natural inclination of man to make family feeling between The Etude and its thousands and thou¬ Christmas a celebration of innocent joys intensified by deep sands of friends in all parts of the world. This is emphasized by human sympathies. Under the burning sun of Calcutta, in the nearly every letter that comes to us. It is perhaps our greatest bleak wastes of Siberia, in the hearts of our busiest cities, in the heritage and inspiration. Certainly it is an incessant incentive darkness of the frozen Yukon, everywhere in the world, Christ¬ to go on and to do more and more in the magnificent field in mas brings this same wonderful spirit of humanity, again and which we are privileged to work. again, and leaves us far richer and finer for its coming. The late Theodore Presser, whose passing put an atmosphere We heartily wish that, when Christmas Eve comes around, of gloom over our Christmas four years ago, was never more our good friends all over the globe will feel inspired to pause enthusiastic nor more excited than at Christmas time. Though for a few seconds and think of The Etude family in Phila¬ devout Presbyterian, he was inspired by all creeds. There was delphia while we wish you the heartiest kind of a something about the festival of the Nativity which seemed to fill MERRY CHRISTMAS AND A HAPPY NEW YEAR!

DECEMBER, 1929 13he ETUDE MUSIC MAGAZINE VOL. XLVII, No. 12

Pace 877 THE STORY OF THE RHINE MAIDENS AROUND THE PIANO HEN the wonderful Rhine Maiden scene of Wagner s upi OME on, Cal, give us the Spanish Serenade.” W “Das Rheingold” was first produced at Mu™ch\^ W “Get out, I can't play anything as hard as that. 'My tember 22, 1869, it was considered one of the most daring Bonnie Lies Over the Ocean’ and ‘Aunt Dinah’s Quilting Tohe ^Romance of the examples of stage representation ever attempted. Dear to the Party’ in the key of C, are my limit. Let Eadie take a try at hearts of all Teutons is the glorious Rhine with its centuries of it. Squat-y-voo, Sis, and show ’em how you can play.” traditions. Here three daughters of the R^^ Woghnde Sis adjusted her psyche knot, took a half'hitch on the bustle, (fhristmas Qarol Wellgunde and Flosshilda, guard the precious golden treasure wiped off the keys with her handkerchief and played the prel¬ ude to be found on page fifty-seven of the well-known book of the Rhine from the hateful dwarf Albench. It took the ingenuity of Wagner to present this difficult Opera; The Wagner trilogy, in which “Das Rheingold” forms the mas. The word is derived from Cantare, towns, went about singing carols of a the Sistine Choir; the ethereal choristers of Westminster? What Prologue to “Siegfried,” “Die Walkiire” and Gotterdammerung,” to sing; and rola, with joy. religious type as they walked their beats. During the Reformation, Christmas was any music beside that which one might make any ^ night was first performed complete, at Bayreuth, in 1876. in the parlor, in those halcyon days when “College Songs were The Oldest Carol observance was prohibited by Parliament, as savoring of Popery. Later in the as omnipresent as the family photograph album? Watch the HE OLDEST known carol is in POETRY AND MUSIC T seventeenth century this law was re¬ color come into excited cheeks—watch the diamonds sparkle Norman French, in a 13th century HE world does not read nearly enough poetry. pealed, and Christmas observance was T manuscript It is a song of festivity, in their eyes. Here is something wholly innocent of harm Poetry is crystallized word-thought, just as music is crys¬ reinstated, with its evergreens, stockings urging the lords of the castle to drink but incredibly more intoxicating and exhilarating than all the hung in the chimneys, feasts with plum tallized tone-thought. in honor of Christmas; and it ends with synthetic gin in the pocket flasks of all the misguided youths Poetry is a manifestation of civilization, the development the old Saxon word “Wesseyl,” which puddings aglow with light, and the lovely carols. Down from that period comes of another generation. What kind of a breed is it that hankers of the mind along organic structural lines. everyone will recognize as the “Wassail” the present custom when shortly before for “rotgut licker,” when there is something right at hand The household poets of the past in English and American of later times. midnight on Christmas Eve the church which will make for an infinitely more enjoyable future? literature, Burns, Wordsworth, Longfellow, Holmes, Lowell and The services of the ancient church choirs go forth and carol under the Perhaps you think we are scoffing. Alas, we are writing were in Latin, at that time the common others, as well as the household poets of more colloquial genre windows of the homes, singing “While language of the well-educated of all this with tears rather than ink. What has taken the place of of the present, Riley, Cook and Masters, have done much to Shepherds watched their flocks by the good old "College Songs,” when young people now gather build the bridge by which the average man may reach more countries. The unlettered common people found it impossible to learn more Latin night,” and end the caroling with “O’ together? What have we that gives them a fraction of the complex poetical realms. Come All Ye Faithful.” Other familiar than was needed to repeat the responses, pleasure then to be had? The Etude does not print poetry owing to a peculiar carols—the Boar’s Head Carol, which and consequently understood their re¬ True, we now are ready for* more sophisticated music and is still sung each year at Oxford, the circumstance. Thousands of musical people have a flair for ligion very imperfectly. To remedy this Wassail Song, God Rest Ye, Merry we have it in many excellent collections upon the market. It only writing verse. They seem to be peculiarly sensitive about their the clergy composed and played simple Gentlemen and The First Nowell—all requires the leadership of sympathetic musicians to reacquaint gifts in this direction. Once we printed a poem and were dramas illustrating events in the life of have come to us from England and are our young folks with the great joy of grouping themselves snowed under the next week with' others from many of our our Lord. In these plays simple songs among the finest of Christmas Songs. around a piano for a real sing. The piano is the natural social good friends and subscribers. It took us days of correspondence were sung, or their words recited, and center of the home. Nothing brings the younger generation to shovel our way out. And then we found that, even with it is from the verses in praise of Christ France closer together in spirit, and nothing is more wholesome or more our most courteous notes, we had made a number of enemies. that the most beautiful and characteristic CV\ E WOULD naturally imagine that edifying than the results that come from concerted singing More, than this, Etude readers look forward to a definite carols have come. The folk saw- in Jesus not only their Saviour, but also a pleasure-loving people as the of this kind. The publishers of The Etude Music Magazine kind of musical help from our journal and are apparently French would make much of Christmas; will be glad to send a list of suitable modern books which any a baby; so they sang to him as they loath to have the space given over to anything else. For this but, instead, with the exception of a few public-spirited person with the real welfare of youth at heart would have done to an ordinary child, reason fiction fell by the way some years ago. Our readers told adding a few words of praise to him provinces remote from cities, it is the may introduce with very little delightful effort. us very plainly what they wanted, and our one ambition is as the Christ Child. In 1521 Wynken least observed of all the holidays. In to help them. de Worde printed the first known set the small towns of France, Christmas FIFTEEN YEARS YOUNG However, we sincerely trust that they will make beautiful of Christmas Carols. trees are unknown and before a party OR forty-six years The Etude has been built upon one poetry a part of their daily fare. Nothing gives poise and spir¬ may be had for the children at school, F Merry England principle and that the principle of permanent value. itual balance more than the contemplation of beautiful thoughts permission must be had from the Mayor; With the exception of a few pages devoted to current events poetically expressed. Think, for instance, of Percy Bysshe NO COUNTRY has entered more for nothing in France can be done with¬ and similar transient matters, the issue that you have in your Shelley’s lovely lines on “Music.” heartily into the Yuletide observ¬ out official sanction. ance than has England. As far back So we must go to the provinces for the hands should be quite as useful fifteen years hence as it is today. as the Celts, thy had religious ceremonies real French Christmas. Yuletide begins We state this merely to impress upon some of our readers the Music at Christmas to which they came in robes December 4, St. Barbaras Day. On that I pant for the music which is divine, desirability of keeping The Etude carefully filed for future use. made from the skins of the brindle cow, day it is customary to plant grain in My heart in its thirst is a dying flower; During the past month a music leader in New England with their hair flowing and entwined dishes; if it comes up by Christmas it wrote us about an editorial in The Etude which appeared fif¬ Pour forth the sound li\e enchanted wine, with holly. means good crops the coming year, and teen years ago. He needed it urgently for certain information Loosen the notes in a silver shower; With the coming of the Saxons, the dish is used to decorate the Christ¬ it contained. Often Etudes go quickly out of print, and we are Li\e a herbless plain, for the gentle rain, Christmas became a merrier occasion. mas table. Another pretty custom is flooded with demands for special articles. Keep your Etudes I gasp, I faint, till they wa\e again. The yule log, emblematic of heat and that of putting sheaves of wheat in the carefully. You will never know when you need them most. Let me drin\ of the spirit of that sweet sound. light, was brought in. Each person pres¬ eaves to feed the birds that they may not go hungry on Christmas. Some of our readers have files going back thirty and forty More, oh more,—I am thirsting yet, ent sat on the log for good luck. Guests years. Mrs. Hattie Leonard Colburn of Schenectady, a pupil It loosens the serpent which care has bound of Leschetizky, recently sent us her files of the first two years Upon my heart to stifle it; for our records. Mrs. Colburn is a sister of the late Lillian The dissolving strain, through every vein. Russell. Passes into my heart and brain. DECEMBER 1929 Page 881 TEE ETUDE TEE ETUDE Page 880 DECEMBER 1929 When the year rolls around again: ing Christmas, though not in many other For days before Christmas, children go senting the place of Christ’s Nativity, the The Christ Child came on earth' to bless into the woods and gather laurel, holly, manger. Tiny men and women, trees and respects. . Among the Lapps as Christmas ap¬ The birds as well as men. and pretty berries with which to decorate animals, are used as in Italy and France for proaches each wandering tribe heads its This is part of a carol always sung on the “Creche.” This is a representation of decorating it. It is lighted with candles Christmas Eve in Denmark . the Holy Manger, which the little folks and little folk gaily dance around it. reindeer toward the nearest church that build on a table in a corner of the living In Seville and other places the people they may listen to the story of the first Christmas morn. The young folks earn room. With bits of stone they form a hurry to the Cathedral early in the after¬ Russia hill, partly covering it with greens and noon that they may secure seats for good their feast at this season; for days before N THIS enormous kingdom the Yule¬ with flour to represent snow. On and places before the high altar, in order to they are busy tying bunches of oats and I tide is celebrated in various ways. Rus¬ about this hill they arrange tiny figures of view the Siexes or dances. This ceremony corn on the trees, fences, tops of houses sian myths and songs of the wheel, log, men and beasts; and above the summit they takes place about S o’clock, just as the and high poles which they erect in the suspend a star or dove. While gathering daylight fades. Ten choristers and dancers yard, until from gable, barn and stable, or boar all show a common origin in cen¬ the material and constructing the “Creche,” appear before the altar clad in costumes protrudes the birds’ table spread with a turies long gone by. they sing carols in praise of the little of seventeenth century' pages and rever¬ sheaf of corn. There are certain general features of Jesus. Young and old accompany their ently, with great earnestness, sing an old- The Norwegians begin their Christmas yuletide observance that are typical of the iabors with carols, such as their ancestors time minuet with castanets’ accompani¬ with divine services, after which they meet country. One is the singing of the kol- sang, the famous Noels of the country. ment. The opening song is in honor of together for a repast and appetizer for yada, songs composed centuries ago by Noel signifies good news; and it is the the Virgin, Hail, O Virgin, most pure and the feast to follow, at which there are writers who are unknown. They are sung greeting of the season just as we say, fair. toasts and songs. Sometimes little boys, with great fervor and devotion at Christ¬ with white mantles with star-shaped lan¬ “Merry Christmas.” Salutations, invoca¬ mas time. In some places a maiden dressed Germany terns and dolls to represent the Virgin and tions and songs begin and end with it, and in white is drawn on a sledge from house Holy Babe, enter the room and sing sweet these songs are to be heard everywhere in TF ENGLAND has enjoyed the merriest to house. She represents the Goddess of France during the Yuletide. * yuletides of the past. Germany does so carols. the Sun. She and her retinue of Maidens in the present. In no other country is sing the kolyada or carols. THE BEAUTIFUL OLD CONCERT HALL IN THE MUNICH MUSIC SCHOOL the day more fully or heartily observed; Iceland Italy Here is a portion of a kolyada which the it is the great occasion of the year. Nearly p\0 YOU SUPPOSE the little Ice- DURING the Novena, or eight days boys sing: preceding Christmas, in some Italian ten million households require one or two landers, in their peat houses, where Make, 0 Lord, the strong wheat to provinces the shepherds go from house to trees each—Christmas trees varying from the shortest day is four hours long and at house asking if Christmas is to be kept two to twenty feet. Societies provide Christmas time the sun does not rise above grow, The strong wheat and the vigorous corn; there. If so, they mark the place with a them for the poor. The great Yuletide the horizon for a week, forget the Yule¬ Music, Munich and the Mad King wooden spoon. Later they bring bag-pipes Festival begins on St. Nicholas Day, De¬ tide? Christmas is a great day with the The ears shall be plentiful as blades of cember 6—in some places Knight Rupert grass; or other musical instruments and play be¬ Iceland children. They cling to the old Tenth in the Series of Musical Travelogues Intimate Visits to European Musical Shrines fore it, singing one of the sweet nativity takes the place of St. Nicholas. This songs and customs; and here is one of The sheaves shall be in number like the good St. Nicholas was the original of our songs. their sweet songs: The Bambino, which means “little babe” Santa Claus. When I do good and think aright, The stacks shall be like hills; James Francis Cooke in the manger, and the presepio are the Gifts are accompanied by short verses— At peace with man, resigned to God, The loads shall be gathered together, Chamber Music in 1557. This Albert was great church festival observed by all. Gifts light, what a brilliant picture they make! ing. loved the old time custom of merry mak¬ around the tables at the Hofbrau, agreed who saw that he was to have a great ca¬ a remarkable figure—a noted athlete, a man Protestant court of Saxony, but he re¬ are not generally exchanged as in north¬ Men in coats of royal blue or crimson or ing; and to these and Elder Brewster we that it was surely better for the crazy mon¬ reer. On leaving Mons his talent and of broad culture and devout religious ten¬ fused for the reason that he felt that the ern countries. The city streets are bril¬ white, women in gaily colored shawls and Denmar\ are indebted for the first observance of arch to help a genius like Wagner than to service of the Catholic Church offered his liantly illuminated: and the market places orange or green handkerchiefs on their the day in New England. Elder Brew¬ pepper the land with unmentionably ex¬ genius more opportunity. Lassus died in arc crowded with turkeys, quacking ducks, heads. T N DENMARK, Christmas is a time of unusual merriment and rejoicing. No ster left the Mayflower and went ashore travagant palaces. Munich in the same year as Palestrina. cooing pigeons and livestock. Other avail¬ We are now opposite the first of the one who can possibly avoid it works from on Christmas day; and when he returned Munich, unlike many other European 1594. able spots arc piled high with delicious puppet shows, and we see that it is a real the day before Christmas until after New capitals, is comparatively modem. True, fruits and the indispensable olive. Scat¬ Christmas play—a scene from the life of with a number of Indians, gifts were ex¬ Year. it was founded in 1158, over three hun¬ Modern Munich tered among these are cheeses of all Christ. Each shows a different scene, changed and the dinner consisted of salt dred years before Columbus made his first ANY YEARS ago we visited Munich shapes and kinds, quaint pigskins, of wine, though all are known by the name Yaselke, “May God Bless your Christmas: may it fish, bacon, Brussels sprouts, gooseberries, sweetmeats and candies that are brought which means “The Manger.” last until Easter.” is the usual salutation tarts and plum pudding all brought over trip westward, but after one has climbed up in the interests of The Etude from various'provinces. A merry throng In the market-place, music is heard dis¬ during this season. The favorite dish for in this good ship. the slopes of Perguia and witnessed twenty- and again on a recent journey, since fills the air with songs and music of tinctly and with a familiar sound. It has Christmas dinner is goose. Everyone, even That was the last Christmas the Pil¬ five centuries of civilization lying in visible we were very anxious to view the Nochcbucna (Good Night—) ; for remem¬ the peculiar rhythm to which Chopin has the cattle, the household pets and the birds, grims were to enjoy for many a year. In strata. 1158 seems comparatively recent. musical life as it is being restored after ber, “This is the eve of Christmas, no accustomed us in his works—the rhythm receive the best that there is. Those who 1621 on Christmas Day the governor The city was founded by Henfy the Lion the great war. Could Munich be the sleep from now ’til morn.” Guitars and of the polonaise. The polonaise has be¬ own fruit trees go at midnight on Christ¬ called them out to work. They refused, and named Munich (German, Mnnchen) same happy, joyous place that we once other musical instruments fill the air until longed to Poland for centuries. It was mas Eve and with a stick strike each tree saying it was “against their conscience.” because it was the site of a great monas¬ knew? Alas, war has left its sears, even three times saying as they do so, “Rejoice, the midnight mass; and, if one has not well known in the fifteenth century, and Later hS found them playing games, so he tery. The metropolitan area of Munich upon the art life of the city. The great already done some good deed, he hastens before that its rhythm is found in Polish O. tree! Rejoice and be fruitful.” went to them and told them it was “against now has over seven hundred thousand in¬ collections of pictures, the Altc Pinakotliek to clear his conscience by such an act be¬ songs. It appears for the -first time in an In Denmark it is believed by many that his conscience” for them to play while habitants. A long series of art-loving and the Neue Pinakotliek, remain practi¬ fore the bell announces the birth of Christ. old carol, “W Zlobie Lezey.” the cattle rise on their knees at midnight others worked. Besides, jollity often led monarchs brought treasures to the city' cally unchanged. There are no notable From a dimly lit church near the market of Christmas Eve. The little folk sing to serious results. Were not the jails of from all parts of the world. new theaters. There is, however, one of is heard the pure voices of boys singing. pretty songs about Balder the Sun God, England full the day after Christmas? the most extraordinary museums in the Seasonal Dances “The Kolendy,” murmur one and an¬ which are a special feature of the season. So it was thought wisest to let the dav pass Orlandus Lassus world, the Deutsches Museum, a magnifi¬ /")N CHRISTMAS EVE the Jota is the other, and then all are silent, listening to Here is a stanza of the .poem, “Christ¬ unnoticed; and in May, 1659, the court of HE FIRST significant musical figure cent structure not distant from the tor¬ favorite dance and carol. It is sung to the carols. One follows another, and pres¬ mas Sheaf” by Mrs. Tomlinson: Massachusetts enacted a law making it un¬ in the history of Munich was that re¬ rential Isar. music which is traditional. The words ently is heard the “Polonaise” carol. That fields of kindness bear golden grain lawful to observe the day. Then in 1686 markable Netherlander, Orlandus Lassus, To go to Europe without seeing the when translated are: “Of Jesus, the nativ¬ Is a proverb true and tried; Governor Andros brought about the first whose name was not Lassus at all but Deutsches Museum is like visiting Phila¬ ity is celebrated everywhere.” Then scatter thine alms with lavish hand, concession for the day. Other emissaries probably Roland de Lattre or Delattre. delphia without seeing the Liberty Bell. l^orway THE OPERA HOUSE IN MUNICH Spanish children do not have the tree To the waiting poor outside; were the good old Dutch fathers who sailed Not satisfied with this conflict of cogno¬ The immensity of this structure, with its to gather around. They have the pretty THE SEVERAL countries which form And remember the birds, and the song for America in a ship bearing the image of mens, history goes still further, and we The large building to the right is the Grand Opera House or Fjational Theater. collection pertaining to German history, Nacimicnto made of plaster and repre¬ Scandinavia are one in spirit regard¬ they sang, (Continued on page 938) find him referred to as Orlandus Lassusius, To the left is the entrance to the smaller Residenz Theater (Continued on page 942) DECEMBER 1929 Page 883 THE ETUDE TEE ETUDE Page 882 DECEMBER 1929 'Pedagogic Principles of Piano Playing As ^Prepared for the Ecole J'formdle de Musique of ^Pdns

Py the (Celebrated French Uirtuoso Pianist Alfred Cortot

(2) Have the pupil first play each piece HE SUBJECT of pedagogy should Editor’s Note: Alfred Cortot, one of the greatest pianists of all ttme, T without interruption, and encourage him be studied in the three following was born at Nyon in Switzerland, on September 26,1877. When still very phases: young he went to Paris, where he shortly became a pupil at the Paris Con¬ if he stumbles. (a) The First Contact with the Pupil, servatoire. Here he studied with Decombes, Diemer, and other noted (3) Ask the pupil to point out himself and the Diagnosis; teachers, and was awarded several important prizes. After spending some what seemed to him to be wrong with his (b) The Lesson; time in Bayreuth, Germany, as assistant conductor, M. Cortot returned to execution. Habituate him in this way to (c) The Pupil’s Practice. Paris, busying himself with conducting, concertizing, and teaching. In 1905 constant self-analysis. the extraordinary trio composed of Cortot, Thibaud and Casals was formed. (4) Explain to him what he can, or The Diagnosis In 1917 M. Cortot succeeded Raoul Pugno as professor of the highest piano¬ wffiat he should, understand regarding the AT THE VERY first contact with a forte class at the Conservatoire, and in this capacity he was eminently suc¬ music. Do not enter into minor details, pupil, take him into your confidence. cessful. He has received many decorations, including that of the ‘‘Legion but adapt the work largely, so as not to Examine, as he sits at the piano, the fol¬ d’Honncur.” M. Cortot retired several years ago from teaching in order to limit the pupil’s own interpretative powers. fill his very numerous- concert engagements in United States, England and lowing physical conditions: general pos¬ (5) Take up the piece, indicating by elsewhere. He was active in the founding of the "Bcole Normale de ture; height of the seat; position of the pencil-marks the wrong notes, modifica¬ hands on the keyboard; position of the Musique," Where he still occasionally lectures and for which he drew tip this rcpiarkable list of “Pedagogic Principles,” which first appeared in “Le tions of fingering, and so on—and mention feet on the pedals. always peculiarities of form and salient Retain in your mind the essential char¬ Monde Musicale” of Paris, and from which this article ivas translated ex¬ pressly for “The Etude.” features of modulation. State the impor¬ acteristics ol the pupil. tance of their bearing on the interpretation. Inquire as to the length of time he has Show by your own example the true tempo and intellectual reactions of the pupil who study suited to his technical equipment. DARIUS MILHAUD ARTHUR HONEGGER studied the various branches of music, such of the piece. FRANCIS POULENC GEORGES AURIC as theory, solfeggio, harmony, piano, mem¬ is to come under your charge; and, if your (3) Assign two or three other pieces— (6) Demonstrate that the color of the ory work, and so on. Obtain this informa¬ explanations are of a character to con¬ perhaps one classical, one romantic and interpretation of the work depends on the tion from the pupil himself rather than vince him, there will be born in him Irre¬ one modern. weaving its infectious rhythms and melo¬ quality of the technic that one uses in 4 4 NLY A FEW YEARS ago they the person who accompanies him, his sistibly that feeling of confidence which One at least of these latter pieces will dies into the texture of formal music. performing it. Have the pupil determine were generally regarded with mother or some relative or whoever it must ever lie at the basis of the relations be of a degree of difficulty greater than “The Five” were thus innovators. Ilow the nature of the technic employed in the alarm—‘The Six’ of France—as may be. Ask him what he can play for between pupil and teacher. After finding the pupil’s capabilities. The teacher should very successful they were in accomplishing explain the nature of the progress which is piece in question. being some sort of musical Bolsheviki bent you. Have him play the piece through out how much time the pupil can spend on A 1Decade of “(I5he Six” their purpose is well known. The name of without stopping him. During the per¬ expected from the pupil in question, and in (7) Indicate the way to study the more on overturning all the fixed laws of custom his daily practice, and whether he will work the group gained wide circulation; and M. formance try to discern the pupil’s good alone or under supervision, a program of what respects there will be an opportunity difficult spots. Require of the pupil for and common sense. To-day there is less Milhaud (a publicity-minded newspaper¬ points and bad points. Then formulate study good for the period of a month to orientate his interpretation. Finally each of these difficulties his written prep¬ alarm and more interest concerning their (Based on an Interview with the ‘Distinguished French man at one time), in writing his article, them for him in as striking a way as pos¬ should be drawn up, which will indicate: ask the pupil to write a short report of his aration in the form of exercises. Don’t rather erratic workings; and the possi¬ bore in mind the felicity and success of sible. (1) The nature of the exercises to be practice, to be presented at the following forget that to make clear the reasons of bility that these composers are actually (Composer, Arthur Honegger, One of ,,cBhe Six’ this title, and also a certain iconoclasm After hearing the first piece ask him to practiced and the amount of time to be lesson. a bad execution is already to correct them making an important contribution to the common to these Russians and his own play something of an entirely different spent on them. Choose as a basis for this by half. advancement of the art is beginning to be group of young French composers. Ob¬ type—a piece calling for virtuosity, if the practice the technical defect of the pupil The Lesson (8) Have the pupil write the fingerings believed in even the most conservative cir¬

M. Philipp s undoubtedly the greatest living authority upon technic. The following article, originally written for the cTAead at the -Annual (Convention of the J^ational JYCusic Toeachers -Association “Courrier Musicale," is replete with sound advice. by Godowsky to be its strong point: “The somewhat obscure teacher, and from him were the secrets of success of the greatest letter dated some three months before his low and interpret with care the nuances, of their elders (whom they freely criti¬ SOME OF US can easily recall the string and wind instrumentalist and the she received the knowledge for which she artists and had imparted their knowledge death. Godowsky never allows a single and the markings of the composer and cize) and their desire to progress dimin¬ most noteworthy system of piano in¬ singer can change the quality, quantity and was seeking. Her book “Music Study in to their pupils. The names of some of day to pass without practicing and per- should, above all, guard against changing ishes directly in proportion to their grow¬ struction taught in this country in the color of the tone at will, even while the Germany” contains an accurate account of the teachers in the seventies, eighties and fecting his work. Listen to such virtuosi the true physiognomy of a piece into some- ing opinion of themselves. seventies and eighties. It was the Lebert tone is being produced or held. The piano and Stark “Klavier Schule,” the culmina¬ her search to discover the secrets of touch nineties are outstanding in the musical as Rosenthal, Cortot, and Ganz. Despite thing little better than a caricature.” history of this country—William Mason, being the only solo instrument of percus¬ tion of the dry-as-dust systems of teaching and technic and her success in finding the triumphs which they reap daily, they I repeat, many pupils practice heedlessly Sebastian B. Mills, Richard Hoffman, sion of the highest artistic possibilities The Art of Piano Flaying To'day piano playing which had been accumulat¬ them. This book had a wide sale and is do not cease working, and one can discern and too soon attempt over-difficult pieces. Rafael Joseffy, Benjamin J. Lang, Louis owes its charm as well as its limitations to DEOPLE OFTEN ASK in what pre- ing during the early part of the nineteenth still in demand. their_ improvement each successive time This will inevitably lead to muddy playing Maas, Arthur Foote, William H. Sher¬ its percussive character. The tone begins * cise details the art of piano playing century. The studies and exercises in the Then came the Liszt disciples who dis¬ they are heard. full of wrong notes. To banish wrong wood, Emil Liebling, E. A. MacDowell, to die at its birth, and this vanishing quality to-day differs from the art f the master different volumes of this work were all played to the astonished public the results The discipline of the mind, the develop- notes, the teacher should select the finger- Bernard Boekelmau, Hugo Leonhard, lends to the piano that peculiar melancholy pianists of the end of the last century. constructed according to rigid plans re¬ of the influence upon them of the Master ment and independence of the fingers, the ings which are best suited to the hands of Ernst Perabo, Carlyle Petersilea, Alex¬ character which so fascinates the lover of garding both form and content. Notwith¬ pianist—D’Albert, Siloti, Sauer, Rosen¬ relaxation of the arms and wrists, the the individual pupil. And, of course, it Those who have had the pi t ure of listen¬ ander Lambert, Arthur Whiting, Carl the instrument and contributes largely to standing the fact that such composers as thal, Friedheim, Stavenhagen, Reisenauer, study of sound and nuances, the under- goes without saying that his hands should ing to Theodore Ritter, I r,. iqois Plante Baermann, W. S. IB. Matthews, Karl its unequaled popularity. The best Schumann, Chopin and Liszt had written Aus der Ohe, Rive King, and others al¬ standing of styles—all these matters of be kept relaxed and quiet on the keys, Delaborde, or Pugno, will, I think, agree Stasny, Charles Dennee, Waugh Lauder, thoughts of the greatest composers have their epoch-making piano compositions be¬ most equally distinguished. utmost importance often remain untaught. Often the pupil meets with what seems an with me when I say that, while the end Richard Burmeister, Teresa Carreno, Amy been lavished in profusion upon this instru¬ fore the “Klavier Schule” made its appear¬ I hus, it frequently is the case that, when insurmountable technical difficulty, which a sought by the artists named was expres¬ Fay, Albert Ross Parsons, George J. Huss, ment, the only one which can vie with the ance, no interested observer could detect a pupil leaves his teacher after several simple change in the fingering or a lateral sion, the majority of young :tuosi of the The Leschetiz\y Furor Albino Gorno, Henry Andres, Armin orchestra in polyphony and contrapuntal present time seem to aim unit at as rapid in its material any influence upon it by N THE early nineties the Leschetizky devices. The organ in its dimensions is PORARY FRENCH CARICATURE > Lars o study he is totally incapable of movement of the arm or wrist clears up at Doerner, Theodore Boehlman, Frederic S. studying by himself even the simplest once- * ana as loud playing as pus these masters. wave spread over the country and Evans, Carl Wolfsohn, August Hyllested, vaster, but it is considerably less elastic The piano was considered by its com¬ The new methods have brought us more seemed to dominate piano teaching for Charles H. Jarvis, Thomas A. Becket, and varied in its expressiveness.” pilers to be, above all things, a percussion If one tries too hard to “interest the ctl. t it « freedom, more suppleness in the move¬ many years. This was due mainly to the Richard Zeckwer, Gilbert R. Combs, C. B. Importance of Technic instrument, and percussion was to be ob¬ pupil,” to graduate his work into easily - x, Jt d ments of the body and the arms, a more extraordinary success of Paderewski who Cady, Kate S. Chittenden, H. G. Hanchett, Godowsky on Weight PERFECT interpretation of a mu¬ advancing divisions, or, if one submits to JV OiHING, however, is so important tained by a blow of the finger on the key. A active participation of the brain in the ac¬ stated that he owed much to the virile and Max Leckner, Harold Randolph, Charles HE FUNDAMENTAL features of sical composition is impossible, un¬ The knuckles were depressed, the second T suggestions from parents or pupil in re- ,as the left hand, which should be quiring of a mechanism and a more in¬ able Polish teacher. Although Leschetizky Kunkel, Robert Goldbeck. These are piano technic, relaxation and weight, less one is master of his fingers and gard to giving too difficult pieces (corre- Practi«d separately much more than is cus- joint elevated, the finger pulled up, and tense research into the tiuam.s of sound. himself claimed to have no method yet his among those who were very instrumental which underlie both the Matthay and Go¬ unless one can completely dominate all sponding to neither the talent nor training tomarily done. The left hand! It is this by a muscular effort pushed down, thus If this progress be used solely in the in¬ assistants and his pupils published methods, in directing piano students along pro¬ dowsky Methods, are expressed by the lat¬ technical difficulties. of the performer), the results are nil. hand that gives assurance to the playing, causing tension in both hand and arm. terest of the art of interpretation, all well books, pamphlets and articles which very gressive lines. ter in the following terms: “Whenever Now technic is acquired solely by Can this disastrous training be re- and ’ts ,r°*e 's rnore important than that German pianists who had been drilled in and good. Unfortunately, however, that is definitely indicated what the master In 1903 Tobias Matthay of London pub¬ both hands are used in front of the body, thoughtful and reflective practice. Under formed? By the many examinations which tbe r'&ht hand. With a sure bass, many this method came to the United States not always the case. wanted. The main object to attain was lished his “Act of Touch,” a truly epoch- the upper arm should slightly slant to¬ the technical rubric, it is not only neces¬ the various schools and conservatories wron®' notes disappear practically by which was considered to be a fertile field In closing, I would urge our young the equality of the fingers combined with making book. It was followed by his wards the instruments; the more the hands sary to understand scales, octaves, double have now instituted, will correct results be themselves. for their efforts and taught their pupils pianists to be more daring in arranging a full, round tone. The elbows were "Muscular Relaxation Studies” in 1908 and are used to the right or to the left, or in notes, arpeggios, trills, and so forth; it is brought about? I ask myself this ques- Reading at sight is a phase of pianism in this stiff manner with all the severe dis¬ their recital programs. And, finally, let curved outward in ordinary legato; the later by other books and pamphlets deal¬ contrary motion, the more the upper arm also necessary to include in one’s study tion. which is badly neglected. It is true that cipline characteristic of German teaching. them ever strive to attain the 1 - uitiful vir- wrists were depressed, the knuckles arched ing with the principles of piano playing. slants towards the piano. Under no cir¬ the subjects of rhythm, sound, and time. there are excellent pianists who read The main object to be attained in this and the fingers rounded. In these works Matthay promulgated the cumstances should the shoulders be raised All this demands patient work, thorough ment°f m°dcSty as reBards their attain- Piano School was the strengthening of the and slow, and the conviction that one never Fundamental Ideas to Emphasize ^y, at. j,ight’ and medi°cre pianists who Leschetizky’s influence upon pianism in “doctrine of relaxation,” and today almost or the elbows turned out or in or pressed FArHTNr m,ie+ u i .. , e , raP1(Ey at sight. And, indeed, certain fingers. To play the scales and exercises really reaches the limits of his studies but T this country was immediately apparent. every pianist now before the public be¬ against the body. The upper arm must in the books with power and energy was can always progress. Eadfoutfil I v Wa3'S lnr UaL teaCl?erS discoura&e the practice of sight But there was considerable antagonism be¬ lieves in this “doctrine” and follows it. In hang from the shoulder; the elbow must be Each pupil has his own peculiarities, reading, fearing that the pupil will become constantly impressed upon the pupil. Such Unfortunately, the least of our young and the SELF-TEST QUESTIONS ON M. tween those who favored the elevated his Preface to the “Muscular Relaxation loose; the whole arm must hang in a limp - method cannot do for all. accustomed to inexactitude while still a procedure kept up for several hours a pianists, after his conservatory training, But there aree certain fundamentalfun (lament.-!! IHeaeideas other teachers*_t_ ... _ , Willie still PHILIPP’S ARTICLE wrists and close finger action of the fol¬ Studies,” Matthay states the following manner (dead weight) ; the support of the day, with tense arms and wrists, some¬ believes himself a “master,” knowing all which the teacher should strive to incul- mention sigS rea^g “* ^ ^ t0 lowers of the Liszt and Rubinstein and basic principle of his system: “I do not whole arm, wrist and knuckles depend 1. How is technic acquired' times lamed students for life or brought there is to know, when, as a matter of fact, cate into every one of his pupils alike. However for a real pianist to those who favored the lowered wrists and approve of any ‘method’ which separates entirely upon the keyboard; the finger-tips 2. How do the master pianists achieve on “weeping sinews” and other injuries. he knows very, very little. For example: “Instead of forming the sight well and correalt0 read at raised fingers demanded by the Lesche¬ the study of Execution from the study of bear the whole weight. If all the then great results? The piano was a steed to be conquered by habit of practicing and playing fast, it is lute necessity 7 °’day an abso' tizky disciples. The latter were rather in¬ Music. The two things, although quite muscles are in a perfectly relaxed condi¬ the most forceful means. A Master Starts Anew necessary rather to go slowly; for such We are never stationarv In , teaching’6 "fundamM" of good tolerant of any methods of technic and distinct, should nevertheless be always tion, and the full weight of the playing ap¬ is the sole means of insuring progress.” We either Imnm y 111 our work. tone production which were not the result **T AM GOING to recommend the study studied conjointly as far as possible. Since paratus is allowed to express itself, the Or again this: “One 5,ay with 2iy h'** 4. Why is the training of the left hand Blac\ and White of their master’s methods. .Other artists we must acquire such habits that our musi¬ finger-tip has the feeling that the keyboard ± of the piano on a completely new so important? absolute naturalness, avoiding useless and aggerated flatterv The,, by ex' IT IS A mystery why the secrets of tone fresh from Vienna where the Polish cal sense will in the end serve to prompt lifts itself up to meet the finger, thus offer¬ basis,” the great Busoni wrote me in a color in touch and freedom in technical often ridiculous motions. One should fol- tlflr SerfenreTs wlXore Zn £ 5. What properties have been gained in teacher lived, such as Bloomfield-Zeisler, the requisite technic, it is necessary that we ing it substantial support.” manipulation which were taught by Chopin the pianism of to-day? Hambourg and Gabrilowitsch, added to the should all endeavor to weld these two— A very important and valuable part of and Liszt should have been ignored by the furor over Leschetizkyism in the United our musical faculty and our technical fac¬ progress in piano teaching in recent years authorities of piano pedagogy in the six¬ States. Crystalline clarity and distinct ar¬ ulty—into a most intimate relationship; is the great interest shown in the proper ties, seventies and eighties. Naturally to ticulation were the objects to be attained. and we must never, therefore, even during use of the pedals. The right or “damper” the general public the piano was an unin¬ Consequently, muddy and inarticulate the early stages of learning, lose sight of pedal was indicated but little in former teresting instrument. The keys were white Self'Study in Music scales and arpeggios formerly tolerated that which should always be our ultimate editions of standard compositions. If it and black, and the tones resulting were almost disappeared in public performances, aim—the achievement of the Beautiful in was mentioned, it was generally incorrectly also white and black. Rubinstein’s extraor¬ By Donald Oviatt a change for which the public could be Music.” designated. First class editions were pub¬ dinary piano playing gave to the public sincerely thankful. lished, in which fingering and phrasing in this country what the instrument was Perseverance in tackling more difficult Then came Breithaupt and the arm were given with the greatest care. But the with “Oh, yes; I play—for my own amuse¬ capable of expressing, and Bulow’s recitals Vitalizing Dry Bones compositions than were within one’s power ment.” If this person continues finger¬ movement. The influence of the upper faulty pedal indications, if followed, de¬ h" Th“ >* =l~ld later gave the piano artistic status which N OTHER words the dry mechanical when actual study with a teacher was ing gently over the easy pieces assigned arms and shoulders on piano technic had stroyed all that accurate fingering and phras¬ results ,w,°ne can hoPe the best had been undreamed of. A few outstand¬ exercises and studies which had so long stopped, is one of the ways toward self- him for study, if he never has the desire A certain talented young man studied nut , t ,e greater musical works with¬ not been stressed in teaching, although ing endeavored to accomplish. It is only ing teachers in the United States compre¬ been the routine of most teachers and stu¬ improvement. or longing to try new selections, except for several years. Not caring to make great artists like Liszt and Rubinstein had within the past fifteen or twenty years er he'P- Bu‘ « a f^t hended the possibilities of piano technic dents were to be welded together with the Many notable examples can be cited puerile marches and waltzes to be read music his profession, he nevertheless Wed true I„ "]any Pe°Ple with talent and a played with full arm action. But while that editions have been published in which and piano expression and endeavored to aesthetic side. Matthay soon became a of people who, though unable to carry at sight, which must of necessity possess it and wanted to continue playing credit time VC ^0r rnus,c should waste their their amazing effects astonished the pub¬ pedaling has been indicated in an exact infuse into their instruction information world authority in piano pedagogy. Cele¬ comparatively little real musical value, he able pieces. Having merely a ftart £ lic, no system of piano teaching extant manner. These are still, unfortunately, their general education beyond or even ment °ne'fuSy playing which gives enjoy- along the. line of freedom. But their work has 'checked his own advance in music. Liszt’s Rhapsodies, he went on and 1 j contained information as to the physical brated artists and teachers from all parts too few. But their number is increasing up to the point where many boys and Kds £ t0 ,hemSeIves nor their was of an individual nature. There was Why should he not try something which more of them-without a teacher d ££ means of obtaining them. Certainly the of the world attended his classes every and will, ere long, supersede the former. girls leave school, nevertheless, by care¬ Portance is 'wTar"1 °f. paramount ,m‘ nothing to which they might turn to get is above him, something on which he might had no early foundation in Bach but K frradp t s’_wilat is withm my range in Leschetizky method did not encourage an year. In this country, Leopold Godowsky, fully selecting their reading and study and any idea whatsoever of relaxation, concen¬ put some real practice? If he has a good study, reading, talking with other m ^ arm principle which represented what because of his superhuman pianistic art observing with alert senses what is best cians and listening to his rnmn v *" fesst d ffld'®CUIty ai’d what is so hope- tration of weight at a given point without Color teacher he will already be acquainted with these great artists accomplished. The and his ability to express his ideas both in in life, have achieved success. cauahihV ^1 that is far beyond my tension, rotary movement, freedom of the better well-known composers. He Breithaupt method supplied to the pian- print and to the large piano classes which OT ONLY has the pedal been used for It is this same type of careful selec¬ Pieces and f r00d publishers Srade many arms and the shoulder impulse, or interpre¬ should augment his knowledge by observa¬ a ajJL nd *ohos are obtainable within istic world what the Leschetizky method he instructed every summer, became also ' sustaining chords and tones but it is tion, added to a desire to build upon tative laws, nuances, agogics, fine phras¬ a world authority in all things pertaining to now also used for color. This word “color” tion,. by careful listening at recitals, by scale* Kgrf^e* Conscientious practice of failed to give. During the present century, foundations already laid in music, that ing. In the early seventies Amy Fay the piano. has come to stay in musical terminology. Al¬ reading good books on music and by study, ma tl, chord5 a"d ‘he gradual such terms as relaxation, devitalization, furthers one’s musical progress. went to Germany in order to ascertain the With Godowsky, the purely technical fredo Casella, in his book entitled, "The not only of music but also of articles pub¬ others'7 °n Czerny’ Pischna, Heller and freedom, weight, rotary motion, pressure, Let us assume a person has had two exact manner by which great artists side had to be submerged in the aesthetic Evolution of Music,” states that there are lished in The Etude. Thus he will keep in Polios l lncrease technical capacity, have become customary terms used by years of study with a competent teacher. obtained their effects, so carefully con¬ touch with modern composers of better master, * (£ ected compositions by classical piano teachers. side, as with Matthay, but the intellect had four essentials in every composition: He loves music and has some talent but cealed from the general public. Even by music, tyor should he let this knowledge Sfy°r the use of those in early to dominate both. He states, “The pianist rhythm, melody, harmony, color. Color not enough to make the teaching or play¬ coming into contact with several of the remain merely theoretical. He should get “is si** ** lished a n?Uslcai study, are being pub- has to feel, hear inwardly and adjust his in pedaling can hardly be designated on ing of music his profession. He answers -with six half-hour lesson, l . ks Relaxation in an Age of Strain some of the music he hears, written by most celebrated teachers and virtuosos of dynamic values and tone coloring before¬ the page. It is a most subtle thing and the the question, “Do you play an instrument ?” One should not minimize the value wen Seymour’sg“wt, SUCh a book as Harriet the time, it seemed impossible for her to TT IS TRUE that here and there distin- hand.” And the very character of the good cbmposers, even though he knows it is is Mnf ? -What Music Can Do for You” time when and manner in which it is to be the necessity, of a teacher for growth";" find out just what she wished to know. ^ guished pedagogues had by study and piano, the percussive, so much decried by used must be sensed by the pianist. The compSn‘n ?V,'n£ a graded series of P 'tions and suggestions for self-study. At last she heard of Ludwig Deppe, a close observation discovered that these musical critics in the past, is considered soft pedal is another point which has been THE ETUDE Page 886 DECEMBER 1929 DECEMBER 1929 Page 887 THE ETUDE developed in the past half century. For- practical, with the consequent working out Musicians of the Month is symbolic, ritualistic and ceremonial in merly teachers would not permit its use. of a standardized curriculum based upon JAPANESE MUSIC is a separate lan¬ construction and interpretation. Now every pianist uses it. Also, the mid- progressive lines. In this way the educa- guage written in an individual idiom December 11, 1857. Trans¬ We of the Western world have long less effort to become performing artists. b. Near Naples, Italy, 1749; d. “Benedictory Dance” for the benefit of The Child Has His Day lator of libretti and writer. Called since grown accustomed to an harmonic This has had the effect of developing many Venice, January 11,1801. A teacher, pilgrims. It is a short dance, based upon AN INTERESTING feature, in con- “the father of modern French r~- music-mode through the amplifying me¬ excellent musicians rather than a few vir¬ “The Dance of the Eight Virgins,” a tra¬ trasting piano pedagogy in the seven¬ singer, organist and composer of ' sical criticism.” diums of our pianos, organs, bands and ditional temple-dance of great antiquity ties and eighties with that of today, is tuosos and in many respects is valuable it; u ... many brilliant dramatic works. from the standpoints of music appreciation 2—John Orth (ort), b. Annweiler, Ger- orchestras, all of which have helped us to and one in which the performers use little the improvement in the type of material many, 1850; brought to the United 18-Edward Alexander Macijowkli b. and music culture. broaden and augment our musical language bells, rattles and fans, and posture to the given to children. It is regrettable that, States in infancy. Distinguished pi- New York City, 1861 . d. there, Jan- The knowledge of music as an art has far beyond anything known in the East. accompaniment of drums, strings and with but two or three exceptions, none of anist lecturer, teacher and composer. tiary 23, 1908. One of the most cele- In our music-forms we have introduced the great Masters took any interest what¬ rapidly increased in the United States, and flutes. 3—Edmond van der Straeten (strah'- brated of America’s composers. He counterpoint, polyphony, contrapuntalism ever in composing especially for children. artists of standing find large and sympa¬ In the Golden Age of Japan every Court thetic audiences. Today there are no ten), b. Oudenarde, Flanders, 1826; possessed a distinctive musical per- and various embroideries and harmonic Therefore, they have had to study pieces ‘“"“l had its attendant musicians and dancers d. there November 25, 1895. Promi- sonality and style of composition. of second, third and fourth rate composers, secrets piano playing. Pupils obtain embellishments that have not yet been com¬ who performed classical numbers and sang from prominent teachers in every impor¬ Belgian musician and writer 19—George Frederick Bristow, !>. Brook- some of which are fairly good, and others prehended in old countries. Music with the “Ro-yei” or Chinese poems. To-day, tant music center information relative to lyn, New York, 1825; d. New York quite»ordinary. Also a routine of dreary and of valuable musical treatises. us has become a massive tapestry of tone- alas, much of the old pageantry of cere¬ to all the effects which can be produced City, December 13, 1898. Violinist, dull finger exercises have been presented, 4— William James Henderson, b. New¬ color, an intricate structure built upon a monial dancing has vanished, and the upon the piano. The great artists who ap¬ conductor and composer for the which were deadly in stultifying the imagi¬ ark, New Jersey, 1855. A vigorous foundation of basic harmony. Geisha-girls have almost supplanted the nation. In fact, the material given to the pear upon the concert platform have au¬ music critic and writer. The author stage; an untiring promoter of It is not, however, so much in the num¬ JAPANESE MUSICIANS diences consisting of trained listeners who music of the court. child for piano study was exceedingly un¬ of many books of educational value. American music. . ber of our instruments that our musical ex¬ well understand just what they are trying Left, a Koto Player; right, a Samisen Player There are now two distinct styles of attractive and non-stimulating. 5— Marie Krebs, b. Dresden, 1851; d. 20—Henry Kimdall Hadi.iv. Somerville, pressions differ from those of the East dancing in Japan, the Chinese and the Jap¬ This has changed greatly for the better *° d?\ ,TllUS ,the s,tanJdard Performance Massachusetts, 1871. A prominent but rather in the combinations of those ^ ..... IS a highniP-h rmeone largelylprcrphr duednp tr»to the painstakingmcfokiTvrr June 27, 1900. A pianist of renown recently. Consequently children conductor and compose instruments and- a blending of their tones anese. From the Chinese came the classi¬ care on the part of teachers in preparing appearing in public at eleven years attracted to music as a study than ever ent time. His works into an harmonious whole. In Japan there cal bugaku, and the sangaku or “leisure their pupils so that they can fully com¬ of age. Toured throughout Europe amusements.” The latter being of a more before. Some of the aspects which make and America and achieved great and written on a high < is an infinite variety of elaborate and even 75he Lure of children of today vitally interested in music prehend artistic piano playing from the popular nature have won more favor than popularity in England. 21—Ernst Pauer (power) difficult instruments, but the employment critical standpoint. Taking every- the severe bugaku. Both of these dances : class work covering not only piano 6— Luigi Lablache (lah-blash), b. Naples, Austria, 1826; d. Jug . Ger- • of these produces an atonal rather than an playing but also elementary harmony,irtnnnv hnthboth , ',. n“° ^ °. -consideration,C° piano pedagogy have been changed from their original is country is much to be ad- Italy, 1794; d. there January 23, many, May 9, 1905. harmonic effect. on paper and at the keyboard, blackboard inJ.hls -C0Untr>r author of works in mt In Japan music is considered of divine Japanese tMusic forms and Japanized under the head of The foremost representatives of 1858. One of the best dramatic bass writing by means of ear-training and rhyth- ™'re singers of his period. He possessed 22—Teresa Carreno origin, symbolic, rhythmic, sensuous, po¬ “No-dancing.” “The sarugaku is the newer mical practice. Besides, the teachers are the piano teaching profession are eclectic, a powerful and flexible voice. Caracas, Venezuela Ameri- etic, detached and melodic, and it is in¬ style of classical dance that was at one making a study of child psychology and observant, intelligent, able and inspiring. 7— Pietro Mascagni (mahs-kahn'yee), ca)> 1853, d. New Y ty, June tended to paint pictures in the mind rather nr Matthay’s “Doctrine of Relaxation”? Pianist to Eugenie, Empress of the Johnstown, Pennsylvania, 1881. fact the dominating race of Chinese in¬ from Heaven,” and for this reason the invented and came to be very popular with a ^ CC ^ 4‘ How « ihe Mid today stimulated in French, and composer of dance mu- Well-known composer, lecturer and elusive system whose reality escapes us in fluenced the music of Japan so tremen¬ A oi HIKING feature in modern piano music study? the very act of transposing and harmoniz¬ flute may be called the most sacred instru¬ the people. While this form of entertain¬ sic, such as Estudiantina and Les writer. His compositions cover a dously that the thin sounds of the koto ment in Japan. The entire musical history ment is-still in use in rural districts, the ~~ Pedag°gy is the endeavor to correlate 5. What feature does modern piano ped- ln _ Sirfnes. wide field in form. Research among ing its authentic form. Its truest expres¬ and the flute were almost drowned out. It tre theoretical side of music study with the agogy stress? sion cannot be captured in our notation. of Japan, however, has been based upon ubiquitous cinema seems to have taken its 10— Cesar Auguste Franck, b. Liege, the North American Indians has re- was only in the temples that the priests re¬ If your impression of Japanese music has Chinese sources, and it is only in compara¬ place in cities and towns at least among r ifnT’ *18P: fL Paris’ November s«lted in much excellent tribal music. mained true to the old indigenous and tra¬ been gathered solely from hearing “Ma- tively recent years that Japanese music the more sophisticated. 8, 1890. A famous teacher with dis- 25—Patrick S. Gilmore, b. Countv Gal- has progressed to any extent independ¬ ditional music of Japan. In these temples tinguished pupils. He likewise com- way, Ireland, 1829; d. St Louis, dama Butterfly” or “The Mikado,” I should this classical mode is still used. This In a reaction from the more severely Getting Qorrect Hand 'Position advise you never to go to Japan! On the ently. Most of the instruments of Japan classical Chinese modes, these songs, posed for organ, piano, voice and or- Missouri, September 24, 1892. The special form of music is called the “Kami other hand, should you desire to under¬ have been borrowed from China and dances and solos were developed in great r!*,1\.. dmg ,a WK,e ,nfl«ence conductor of Irish, English and Asobi” or “divine playing” and. has been By Mary Pyle Amole stand and appreciate authentic Japanese adapted to national use under a new name. 11 , American bands, and the founder of Thus Chinese music and instruments developed from the early and primi¬ 11- Hector Berlioz (bair le-ohs), b. near a famous band bearing his name. A handkerchief is tied in the center in The pupil is then asked to play a short have influenced, to a great extent, tive of old Nippon. This “Kagura, ’ a golf-ball-sized knot. The knot is placed scale. The handkerchief is then removed, Mm-ch 8 1869Ce’ ’ dii oe. ComPoseci military and dance music. the music of Japan, whose people, or sacred-music, is distinctly na¬ m the pupil s palm. The ends of the hand- 26— Wn.LiAM Henry Berwald. b. Schwer¬ with a clever talent for adopt¬ tionalistic, as distinguished , from J ‘Father of Modern Orchestration.” in, Germany, 1864. Has made his ing what will be for their good, Chinese classical forms. Its subject- A composer of the highest order. home in the United States since 1892. have never hesitated to borrow or matter is taken from mythological, “La Damnation de Faust,” one of his A gifted and industrious composer. J copy any desirable thing. legendary and historical sources and g most important operas. 27— Sir John Goss, b. Fareham, England, 12— Hf.rmine Rudersdorff, b. Ivanowsky, 1800; d. London, May 10, 1880. Or¬ Ukraine, 1822; d. Boston, Massa¬ ganist and composer who specialized chusetts, February 26, 1882. Dra¬ successfully in church music and matic soprano; settled as teacher of voice in Boston in 1871. secular choruses. 28— Benjamin Johnson Lang, b. Salem, 13— Johann Anton Kozeluh (koh'zheh- looh), b. Wellwarti, Bohemia Massachusetts, 1837; d. Boston, April 3, 1909. As pianist, teacher, (Czecho-Slovakia), 1738; d. Prague, * ■ * <* - February 3, 1814. Choirmaster and conductor and organizer he was one of the outstanding musical figures of Now the pupil is 1 his day. kerchief are tied over the back of the hand, again keeping the s lo play the scale ^ 29-Toma^' - hand position as France, 1847id Paris, September \ ^ y Hernandez (bray- the thumb being left out. before. 19U9. A notable baritone equally ton ee ur-nan'deth), b. Salamanca, gifted as a singer and an actor. Spain, 1850; d. Madrid, December 1s-Henry Gadsby, b. Hackney, England, ■ 1?23. National opei;a composer 184z: d. Putney, November 11 of distinction; also wrote much or¬ P>o Overcome Poor Fingering chestral and chamber music. 1907. A leading composer whose SO-ANn^A1/™1 chamber published works include cantatas Af™E Messager (mes-sa-zhav'), - By W. L. Clark part-songs, organ music and piano Montluqon, France, 1853. Conduc- - . ... , and orchestra scores ™r’ organist and a composer of 1. Assume a good position at the piano, tire attention may be given to proper fin- 16-Ludwig Van Beethoven fbate'hn Prench opera-comique as well as 2. Practice the scales several times a day. gering. fen), b. Bonn, Germany m0 / ,, PnSlish light opera 3. Study simple measures until you can 5. Study carefully each new composi- Vienna, Austria, March 26 1827’ A 31~Mii:y Alexeivich Balakirev (bala'- play them with perfect fingering. tion to discover measures containing diffi- musical genius—one of the world’s b‘ Niiny-Novgor°d, Russia, 4. Play frequently exercises in which cult fingering, greatest-whose compositions num- R d„ St Petersburg (Lenin- the notes are all familiar, so that the en- 6. Do daily arpeggio practice. ber more than two hundred and in grad’’ 30, 1910. Composer MISS LILY STRICKLAND IN A JINRIKISHA A NO'DANCER and promoter of national music A NO'DANCER THE ETUDE DECEMBER 1929 Page 889 Page 888 DECEMBER 1929 THE ETUDE

numbers under the title of joruri-monoga sound. It has a delicate twang that is tari and joruri-bushi. difficult to describe; but the whole effect is toy-like and delightfully inconsequential. A re T ou ‘Makjng T our Scales ‘Real Ladders to Success? Songs for the Koto In fact, it was first used as a children’s in¬ TN MODERN Japan , find that the strument’ until was adopted by the Review of Qommon'sense Pedagogical Procedure for Intermediate Students family of grown-ups and taken seriously. A greater part of music is called “Songs ,IT“y OIf 8 fornr theflip K'ntn”Koto," forfnr the Japanesei 1_have now 1 kn0WKnow Ot°[ 1nW morf appropriate “se]or *he and Some TQovel Suggestions for -Advanced Students broken away from the old Chinese influ- to paCe tbe hands of .a ences and have a new music, distinctly but gersha-grrl. It seems d her child-like proportions, melodic and free» frnmfrom the rrestrictionsJ oft SUlted mandolin without advancements in electrical reproduction lovers. Hence for a long time there has upon the fact that scale study and practice softly than the other scale. The follow¬ over the last two octaves, either ascending “Why mention polyphonic and contra¬ by the use of strings rather than the the large sound-chamber. It is used to have aided in this; but, aside from that, been a demand, at last happily realized, for may be made a source of intense musical ing outline may be used as a general guide or descending. Graphically stated we puntal music when, even in simple homo- heavier wood-wind and brass for accom- accompany the “Bugaku-dance” and was there is an inherent richness of the new or- a complete new recording of this work, interest, inspiration and joy. According for this advanced scale study and practice. to his extensive pedagogical experience, have: phonic music (most of the Mendelssohn paniment. I do not mean to infer that all once very popular, when, in olden days, chestral records—wealth of detail com- It may also be well to remember that all scales may be made the vehicles of interest¬ Four Octaves.' Songs without Words, for instance), many music in Japan is light. On the contrary, the “Biwa-players” accompanied the court- bining both delicacy and power. A Favored Piano Recording dynamic and rhythmic variations may also ing and helpful study along musical as points have to be attended to at the same the koto music may be classical, but when dancers. Columbia is to be congratulated upon 'T'HE FIRST movement, missing in the time?” Is it not necessary to think of be introduced, after regular groupings of well as along pianistic lines. - Octaves. it is of this type, it appeals only to a cer- The genkwan is another Chinese instru- several new sets—the complete opera, former recording, does not reveal Foi melodic, harmonic and rhythmic elements twos, fours and eights have been thor¬ oughly mastered in many different speeds. tain class. By the same token we do not ment, played with a plectrum. “La Traviata,’’ excellently interpreted, Rachmaninov at his best. Rather, it is the The Fabric of Music of these charming pieces, in order to inter¬ expect Bach, Beethoven or Brahms to ap- The shunga is a very apcient four- a notable recording of Tchaikovsky’s second movement, with its sublime poeti- First two octaves. Last two qctaves. 'T'HE ENTIRE fabric of music is pret them adequately ? And how are these peal to the man in the street in America, stringed instrument which is played with the “Pathetique,” and the album contain- cism and untrammelled thought, which attended to if the human brain cannot con¬ FIRST TYPE composed of Just as the masses respond to our popular fingers, but all three of these stringed- inS the first nine Preludes and Fugues does do this. Beautifully melodic and centrate on more than one thing at a time? Left Hand First two octaves. Last two octaves. (planed (played loudly) The answer is simple. It is relatively “jazz-music,” so do the people of Japan instruments have been supplanted by the from Bach’s immortal “Well-tempered frankly romantic, it has undoubtedly made b) chords B flat major scale love their tiukly little songs of simple con- koto and the samisen. Clavichord,” played by the English pianist, of the work one of the most popular and easy for a well-trained mind to associate A major scale ^ al) scale elements All of these varieties may be tried in struction and sentimental appeal. Under this same head, comes the few Harriet Cohen. Immortal indeed are these favored that the composer has written. bl) chord elements the elements of rhythm and harmony in ijor scale The classical forms in Japan are re- “fiddles” that are in use in Japan, the four- compositions, if one agrees with Schu- The last movement, marked schrrsaudo, groupings of twos, fours or eights, or in one well-defined melodic outline. But, in t major scale Therefore, if scales are studied and prac¬ different types of rhythmic patterns, such served for those who can appreciate them stringed keikin, or Chinese fiddle, the mami’s observation that musical art owes recalls a familiar Prelude by the composer. ticed with musical and pianistic objectives contrapuntal and polyphonic music, we _ 1jor scale have more than one well-defined rhythmic If nm ( E flat, major scale To please any nation there must always be kokin, or two-stringed fiddle and the nisen aS much.to the Christian religion It >s most effective. and perspectives, there can be no tedium or scale I) major scale two forms of music, each adapted to a or Corean fiddle. °m ! / . <(Jhf "ew recording of Tchaikovsky’s and melodic line to deal with. Hence the D Hat major scale disinterestedness. Such results occur when C majur scale definite degree of mental culture. The Japanese fiddle is called the kokyu . ” *ese d!sc? appeared in England Sixth Symphony, made by Oscar Fried pupils play scales for no other reason than tendency to confusion is correspondingly “9* y UJ UJ After mastering this form, reverse the The koto is the national instrument of and is said to have come from India, by ’?Jet ,P U f and the Royal Philharmonic Orchestra for that they are trying to become acquainted greater. Is this not, perhaps, one of the scales, playing the B major scale with the with the integral notes of each and its spe¬ Nothing of that which has, as yet, been most conclusive reasons why most piano left hand and the others with the right. cial fingering. By far the greatest bulk discussed, is foreign to the practice of com¬ students abhor Bach Inventions and Bach as.* rjstr. axrs asas srrrux Fugues, though artists prove them to- be of this work need not be done at the key¬ petent teachers, many of whom help along SECOND TYPE board. It should be done at the blackboard things considerably by practical demon¬ intensely musical? They simply do not Th, „ Migeno„S ,"*S »» * * ft.« tfetorid "T? ISSTTirH*?*"', ^ Right Hand Left Hand or in note-books. It is, in effect, nothing stration. But the following suggestions know how to go about doing the right and, in its original form, was called ’he resb his mstrument not under his chin blit majority of players approach Bach in the lief that this work was’^’’born of (played softly) (played loudly) sort of thinking. To cultivate the power 1 B major scale B flat minor yamado-koto and related to the Chinese a*so on the floor. The cumbersome, loose same frame of mind with which thev desnair Tmo ■ •.. . more than eyework, while we are discus¬ comprise an entirely new phase of scale . work and should not be indulged in unless of thus correctly thinking we should play (either melodic or so-no-koto all probably developed from the bowe “d the imperfect scale-compass of would enter a museum. . . Others do just amalgamated with rigid^assion in’this ing ways and means of training the ears. harmonic) the work already discussed and outlined two different scales simultaneously. 2. B major scale A minor first one-stnnged km. the kokyu keep it from being used to its the opposite and try to pull him about to symphony-yet where is that pregnancy of 3. B major scale () sharp minor has been thoroughly mastered. The scale The koto has waxed-silk strings and is tallest capacity, or for solos. It is, how- suit their own ‘style’, . . In the case of despair or tragedy that invades poetry and Musical Means 4. B major scale G minor work may be a most potent means of mas¬ Practical Value of this Recipe 5. B major scale F sharp minor played with an ivory tsume or plectrum, ever, used to augment a melody in chamber- Harriet Cohen we find a rare and happv the drama? That it was Tchaikovsky’s HOW, NOW, can scales be made inter¬ tering all polyphonic and contrapuntal 6. B major scale F minor The long wooden body of the instrument music, usually m conjunction with the koto amalgamation of the spirit of Bach and “Swan Song” and that it ends an 4,1 min esting from a musical standpoint? XT THAT IS the practical value of this 7. B major scale E minor That is the sole question upon which our music. rV recipe? In playing two different 8. B major scale E flat minor is placed on the floor, and the player sits in and' samisen.,amisen- 0fof the Dkverplayer’s’s _____ vivid_ personality, lamentoso does not make it despairingX? !). B major scale D minor front of it and presses the frets with inquiry centers. The answer is both sim¬ scales at the same time, one of these must 10. B major scale (’ sharp minor There are numerous varieties of flutes S,he. approaches his music with sim- us. Rather at the end it is an exposition 11. B major scale C minor hand while using the tsume with the other. use in Japan. ple and brief. By employing only musical Contrapuntal and Polyphonic Music be taken on faith (must be grounded in cirmid'inttTd!Smf,dnerher "'TJ T" °f £C philosoph>' of resignation; and it habit) so that the other may receive full As with the first type, the scales should The 6-teki, or “side-blowing flute,” n modern mind and plays is this that Fried seems to feel After means. THE DIFFICULTY of mastering con¬ What are the musical means to be em¬ concentration. Furthermore, unless the stu¬ be reversed, giving the right hand the Little Songs_o_ ___About Little Things...... „ made of bamboo and pierced with sev_ trapuntal and polyphonic music con¬ beauty of expr.eSS the at the end’ i( is strong, tense and mov- ployed ? They are : dent concentrates in this manner, he will changes, as outlined under the left hand, EXT IN Importance to’the koto Tt he the yamato-fuye is a Japanese flute ^beauty oithe music before her. Tne re- mg, this music, and vital even in its brood- sists in the fact that the attention would come to grief. The recipe, then, compels and the left as outlined for the right. with six holes. The seiteki is an old Chi- a really personal performance with ing poetrv. It in no wise leaves us te- a) touch seem to have to be concentrated upon more samisen which might be called the ’ Wlth S,X bo,es' rw b) dynamics concentration. flute; the hichiriki or “sad-toned flute’1 , than one factor of the musical web. Now, strument of the people, so great i alive ii:ntheP’wav in ^Vh ^ ^ !” the doctri"e «>“ grief/’ cl rhythmics THIRD TYPE seven-holed instrument of unpleasant n1p , 6 in. wh'7 we momodern ern nen-peo- i-n Columbia’s complete recording of popularity. Originally taken from the Assuming that the elementary work’ of Right Hand Left Hand Jamises, an old Chinese instrument, it i quality, while the shakuhachi is a very me!- ^rld of 7^1 -- ^ “77 “7 the Traviata” is realized one of the "fine op- (played softly) (played loudly) world of Bach-playing”likeTresh air tZ ZZ " " becoming acquainted with notes and finger¬ 1. B minor scale B flat minor played with a plectrum as is the koto, has low and beautiful flute. The shonefuye is a stuffystoffy froomroom.” ” To this, we would add It i: performan«s bY means of records. ings has been mastered, how shall we go GREAT PIANISTS ON SCALE PLAYING (melodic f ' (harmonic form) unusual instrument resembling Pan’s nothing! since the testimony 15 a» ideal opera for recording because A minor three strings, and, although a small in¬ It about realizing our objects? For the in¬ G sharp minor strument, is usually manipulated with its syrinx and has twenty-two pipes; the sho will speak for itself in the shTdiVs k! f ‘S eaS',y intelli^i,)lc and because termediate student it is difficult (if not “Scales should never be dry. If you are not interested in them, wor\ G minor is a primitive mouth-organ with seventeen Columbia’s Set No 120 drama cer>ters about only three char- F sharp minor body resting on the floor. The samisen i: impossible) to try to attend to all three with them until you become interested in them."—Anton Rubinstein. F minor -n -.-great favor. with women.. players and is.= bambo° 'eeds fixed into a sound chamber. Speaking of worth-while piano discs re- Jr" ^St’ Kio{c.tta> is sunff b-v of the “musical means” at once. There¬ 8. B minor invariably associated in the mind with the resembles a miniature pipe-organ and is minds us that Myra Hess wisely chose mi!"”’ anrItal,an lyric-dramatic fore, it is advisable to attend to them sep¬ “I believe this matter of insisting upon a thorough technical \nowledge, 9. B minor- geisha-girls who both play upon it and sald to be the father of all organs. It is Bach’s “Third Prelude and Fugue” and X be °f.her Performance d “n truth- arately. The all-important requirement is particularly of scale playing, is a very vital one.” 10. B minor scal< to listen well. 11. B minor scale dance to its music. To its light strumming ^ J ^ back/°. China’ four al/° tbe fl^° ^om his “Toccal in G humanistic manner T?? ^i r°J u " —Sergei Rachmaninoff. Here, too, as in the preceding and follow¬ they sing little songs about little things, in hundred years before Confucius. Major” for one of her recent Columbia recording HeJJrf! 'S ^ h?rd Touch: Scales may be practiced in vari¬ ous standard touches, that is, in staccato ing outline, the hands should be reversed. a dainty, graceful and tvnicallv TananUe recordings. No. 1951D. -Z°. g' Her Performance is one of great “Do you as\ me how good a player you may become1 Then tell me manner. Quaint Shapes and Queer Uses Harpsichord recordings are rare, and, fr°m (or non-legato) and in legato. After this comes the factor of how much you practice the scales.” —Carl Czerny. FOURTH TYPE The samisen represents music of folk- 'T'HE TAIKS, or drums are divided into thlt distinguished pf].AYanda. Landowska, Lionel Cecil, in the dart" of AHredoJs Speed: Why not have a note-book nature, which is drawn from popular 1 two classes, the plain cylindrical d7ne tiTto Jrel aftlS‘ whb “has likewise ver^ fine his role Wnl adti^ “During the first five years the backbone of all daily wor\ in the handy and make a daily record of our . li minor scale B flat minor sources, and incidents in the daily life of dru«s, the drums with braces and the of the clJsicai X nf J u.nd?,rstan4,ng tica,1V conceived and sung The part of speed attainments, using a metronome to in¬ Russian music schools is scales and arpeggios. The pupil who attempted (harmonic form) (melodic form) fisherman rice-planters or peasants who drums with dumb-bell-shaped bodies. larly on this instrulienl Tr!"! pa^,cu‘ AIfredo’s father is given to CarlJJleffi dicate the rate at which we have tested complicated pieces, without this preliminary drill, would be laughed at in B minor scale live in contact with the soil or the sea. Their function is to accent rhythm, set two te'ffiS ^f ^ ^ B minor scale our various groupings of notes in twos, Russia.” —Josef Lhevinne. From such simple sources come many of tempo or impart religious atmosphere in of this artist. The first. No 1427 Jn S aga’n we find a Personality fitting B minor scale F sharp minor threes, fours, fives and so forth? We shall B minor scale the dances of the geisha-girls, some of temples. tains Bourree d’Auvergne and Le CoZTu 3 glove fits tbe hand. The be surprised, if this running a race with "Give special study to passing the thumb under the hand and passing B minor scale which are very charming in conception. The most important of these drums are by Daquin, the Seventeenth Centurv r 7°f tbe cast are also good, and so, too, B minor scale E flat minor ourselves is conscientiously and consistently the hand over the thumb. This ma\es the practice of scales and arpeggios B minor scale D minor The samisen is also the instrument of beg- tbe b-daiko, of Chinese origin, used in poser. The second, No 1424 cnnt°™" 7 c , orus> drawn from the famous carried out, to notice how our speed powers C sharp minor indispensable.” —Ignace Jan Paderewski. B minor scale gars, wandering minstrels who sing nasal temple services. It rests upon a stand and Gavotte in G Minor by Bach and raT/ mS a bcaIa- improve and increase. B minor scale songs. is struck with sticks. These drums are fre- Wilde by Byrd, the composer “who reore- si ^ Traviata’ s written just,. seventy- Dynamics: Why should we always play "Practice scales every day of your life."—William Sherwood. We have, thus far, always used the B Besides its use by geisha-girls and beg- fluently elaborately decorated with drag- sents the art of the Sixteenth Century iii w„,h Pr^[. S.. ag-o-° ,a“*“*"d presentedPresented in Venice at the same degree of intensity? There is scales as constants. Other degrees may be . --j ,e d was at first a fiasco. This was no good reason for such procedure. For. “I consider the practice of scales important, not only for the fingers, but used as well. If we succeed in mastering all in music-making, we need well-colored paniment for songs, dances or solos at Sold and lacquer. The ko-daiko is a One of the few truly ideal performances tions”°h^ SOpran? of “monstrous propor- also for the discipline of the ear with regard to the feeling of tonality (key), of the above-outlined scales, it will be easy scales. Without colors (differentiated dy¬ general entertainments. Its tonal language smaller drum which rests on a cubicle ®manating from a stellar combination per- of us ,, !?g 77,in the ,eadin!? role. Most the understanding of intervals, and the comprehension of the total compass to take other degrees. We shall then is unique and happily described as “look- frame. It is often carried in processions f°rmmff for the recording “mike,” can be ata” is ? 0U.bt™ y know that “La Travi- namics) we deprive our piano playing of of the piano.” —Josef Hofmann. indeed have a well-grounded scale technic ing-glass music.” It both hums and and is also played with sticks. The tsuri- o°Und. the set. of Rachmaninov’s famous S ?n,the yoBn?er Dutnas’ one of its greatest charms. and need have no fears of mastering - - - ■ - - o.— r. , «mous book and play, “La Dame aux Over a range of four octaves, for ex¬ tinkles, for the plectrum, after striking the daiko is a small drum that hangs in a SfSond. P™”° Concerto which Victor CamelL ”°0lTna' w’ ,'La Dame a,ux “To the young student and to the performing artist, the daily practice Bach’s Inventions or the Fugues of the ample, we have the following interesting strings and tinkling, touches the parch- frame and is played with two sticks. offers '" Album No MS8. Here the com- in Paris Th J / ’ 7erdl saw the play “Well Tempered Clavichord,” nor, for and usable types of dynamic shading: (a of scales is ali\e indispensable.” —William Mason. (Canned * p* Ml) Z crescendo over the entire four octaves, (Continued on page 938) (Continued on page 937) DECEMBER 1929 Page 891 THE ETUDE THE ETUDE Page 890 DECEMBER 1929 Hovu to Handle the Whole'Toone Scale Master themes the V/orld Loves ^Best 43y William Benbow

The following three groups will suffice This leaves one more combination, : Had ANYONE shaken out a boy’s with which the scale is used. In fact double track of minor thirds. school-bag in the year 1620, he might encounters many double flats and sharps, as illustrations, have rattled “Napier’s bones.” John Many modern composers indicate no sharps Ex.5 Napier was the man who gave the world or flats in the signature but insert them the first set of logarithms. Also he in- in the scales as needed, vented a set of ingenious bone or ivory What we wish to emphasize is that the Tempo di Marcia sticks three inches long, on which were student had better associate the lingering The chaos of sharps, flats and doubles er-graved squares, triangles and other fig- with “black” and “white” keys -ather than in the chords of the above thirteen groups The chord here used is easily seen to be tires havino- numbers. By placing these with any particular notation, just as in the is rather terrifying. But remember what the chord of the diminished seventh. sticks at certain angles according to in- case of the chromatic scale, Artemus Ward said, “If you pat the wasp Still another sequence is occasionally structions, one could solve such a prob- After mastering the fingering of the on the tail, it will show you a pretty pic- t 34865 X 9867 with the speed of a single tracks, proceed > these scales i :-book.” In the same way. “lightning calculator.” thirds and sixths. The scales in major proach this problem with a caressing touch, Ex.9 One who uses our modern book of loga- thirds will not present any difficulty, as fhe a few comparatively easy solutions will jfl J I jj rithms is very apt to think of those tables track is the same for both hands. This emerge A synopsis of these passages will fin jC of figures as having been settled long ago, is also true of the minor sixths.. But the show that Nos. 11 and 1 are musical puns; *> f t>F b# like the “Elements of Euclid/’ But the scales in minor thirds and major sixths they SOund the same but are spelled differ- fact is that from the time of Napier to will, not skip along so blithely, for each entiy. So the fingering is identical. This series of major ninths is given to the present there have been continual addi-' hand has a different track, as a glance at Even a casual glance over groups 1 to exhibit the usual notation employed. The tions to these tabulations. Newer and the Ex. 1 will show. 10 will discern one of the easiest general- fingering presents no new problem, for more complex problems have demanded For the major thirds on track A, begin jzations, namely, that every group is a the track ;s the same for both hands m and developed new tables for their solution, with left hand on b and right hand on serjes of thirds and fourths. A closer each gr0up. For example, the track for Soldiers’ Qhorus from “Faust’ The development of fingering has fol- d sharp; for track B, left hand c, right survey shows there are two kinds of thirds the first group is identical with Ex. 3, lowed a similar course. Its history has hand g sharp. Invert these intervals to USed, major and minor, and three^ kinds groUp given above, THE first performance of this most popular of all operas of the opera, to which audiences look forward eagerly. been determined by three influences let up the minor sixths. of fourths, perfect, diminished and aug- por technical preparedness the practice occurred seventy years ago in Paris. Its plot details Charles Gounod—whose last name is' pronounced Goo-no 1. The keyboard. The minor thirds and major sixths will mented. But we can practically ignore the of tj,e combinations already given will the pact of Mephistopheles with Faust, the dire results of —was bom in Paris in 1818 and died there in 1893. He The structure of the hand. be a bit puzzlesome at first trial. The diminished fourth, for it is a musical pun suffiCe to establish with some degree of best way to digest these unaccustomed Qn a major third, like Oliver Wendell confldence the fingering for practically all this pact, and the sad fate of the beautiful blonde Marguerite, won the Second Prise of Rome in 1837, and in 1839 the The kind of music to be played. combinations is to apply the “three for- Holmes’ musical pun, “Why is an onion otf,er constructions. We have not indi- and is familiar to almost everyone. You will recall that the coveted Grand Prize of Rome. His subsequent career was 1 ike an organ? Because it’s melodious. ’ cated all the possible passages by any The First Player a Pugilist ward and two backward” groupings, i Soldiers’ Chorus, a few measures of which are given above, brilliant and interesting throughout. Gounod’s operas, This, in turn, means that we will have means. The chords of the seventh and of HE KEYBOARD (organ, originally) follows occurs early in Act IV of the opera. What a rousing march oratorios, cantatas, masses, songs, and instrumental works to learn to finger two tracks of major the ninth are used in various inverted T had keys six inches wide. Consequent¬~ Ex. 2 tune it is, and how surely it stirs the blood of the listener! have become famed. His arrangement of the first Prelude thirds, one beginning on e-g sharp (see forms. In more massive chord sequence ly the “fingering” then was literally pound¬ Its words are a typical hymn of peace. The soldiers, who from Bach’s “Well-Tempered Clavichord,” as an Ave Maria group 7), the other beginning on f-a (see we find groups 1 to 10 doubled in the oc ing with the fist. The player was a have triumphed over their enemies, are coming joyfully back (Meditation), is loved by all musicdom. A page of the orig¬ group 8). In both groups the right hand tave, so that both hands are playing those pugilist, the word being derived from the to their loved ones who have so anxiously and eagerly inal manuscript of this was reproduced in the January issue takes the upper two notes of each chord. three-toned___ chords in rparallel_ motion. The Latin pugnus, fist. Later the keys were Compare groups 7 and 1. Do you detect same ;s true 0f four-toned chords awaited their return. This is one of the many “high spots” of The Etude in an article entitled “What is a Prelude?” narrowed, but the keyboard was so high frequent application of the that the rjght-hand tracks and fingerings iustrated in Ex. 5, group 12. and--— the s< o -low that the •player, - reach- wj]0ie.tone scale i connection— . with ;- are identical? This track gives ; the ing up to the keys, could use only ttie ser5es q{ ascentiing or descending chords. scale in “double thirds,” so-called, three long fingers. In fact the thumb has Thg reason for this is that the composer ...... Another fingering for group 1 allots the Steps Toward Success ' been in “good and regular standing” for senses that the harmonic use of this scale lower notes to the left hand as a only about two centuries. is richer than the melodic use in enhanc¬ scale in “double thirds,” in which case the A FEW POINTS will clarify the pro- c The different types of music have call¬ ing the atmospheric or impressionistic ef¬ right hand plays only . single note scale ed for different technical means. From ^fect. H TheI following__ examples will in¬ as fingered in B, Ex. 1. (lfooV become panic-stricken by the different modes and scales have evolved dicate a few 0f the common progres- To summarize: the left-hand fingering formidable array of “accidentals/ Ke- corresponding fingerings. Where the music s;ons. for the series of major thirds in 1 is the member, “the only difference between demands speed and equalization of touch, same in 6, 11, 12 and 13. stumbling-blocks and stepping-stones is in we now use the thumb on black keys in The two tracks of minor thirds for the the way you use them.” Largamente many scale sequences. Every once in a right hand are given in 9 and 10; for the (2) Reduce all these apparently chaotic while some composer will want a descend¬ left hand, in 3 and 4. examples to the "least common denomi- ing chromatic scale in sixteenth notes, and The right-hand series of perfect fourths nator,” and you will find it to be a single write over it precipitato. Such a run may is fingered in 5 and 6; the augmented track' A or B. For instance, group 2 call for the right hand to roll down hill fourths in 3 and 4. (Ex. 3) looks like a “crazy quilt” pattern. with the little finger tumbling over the Like 12 taken enharmonically, 13 is sim- but, when reduced, reveals itself as simply thumb repeatedly. ply a double line of major thirds moving a three-car train running along the same over the same kev track. single track A (Ex. 1). Single and Double Trac\ (3) Think of the whole-tone scale as ONE OF the modem developments Chords of the Seventh you do the half-tone scale (chromatic) composition is the use of the whole- -pHE FINGERING of the “double without refernce to any tonality or s.gna- tone scale, and this new type of music calls for a fingering quite different from vance.1 thi wWe” address ourselvesUS fr the now "'to to the tU(4)> When. fingers get6 into a tangle over ■ . . , , ■ , - T any awkward or unaccustomed track, your the usual major and minor scales. This combmation of mmor thirds in,the nght js thg chief source of trouble. The modem scale divides the octave into six These six groups will be recognized — - x-three chords, of which three variations hand with major thirds mind has not given enough attention to T3osti’s “Good-bye’ whole tones. It is like the chromatic scale which may be called the half-tone scale •e given. Ex.6 the separate and individual factors of the PROBABLY those who had the pleasure of hearing the singers v in view of the fact that it may begin on The next four groups illustrate the case. Concentrate thought on each track; voice, taste, or vocal technic. We must not A late Evan Williams, renowned tenor, sing this most any note or key. Also, like the half-tone f six-four chords. then use the “3 forward and 2 backward” dramatic song of F. Paolo Tosti will always associate its ormances to spoil for us the lofty appeal 5 scale, it does not “belong” to any particu¬ scheme slowly and often, until the mind ■’ which is unquestioned. PP beauty and pathos with his truly luscious lyric voice. Wil¬ lar key or tonality. The chromatic scale has grouped these individual keys and fin- liams was Welsh—or rather Welsh-American—and Tosti was are 1846-1916. Most of his busy life was has only one track, whereas the whole-tone se aic recognized as chords of the gers into units of 2’s, then 3’s, then 4’s Italian; but the mood and drama of Good-Bye are universal, 5* COUnt7 wh'ch accorded him a hea^y scale has two tracks. minor seventh. We have purposely written This process of gradual expansion and familiar to all mankind, and thus there was nothing sur¬ duch proved very congenial to his tempera To learn the fingering of these two groups as a descending series, for it is a integration from a single point to larger prising in the completely sympathetic rendering this singer tracks, the best way to begin is as follows: curious fact that in actual use in composi- groups will conquer every technical ob- gave the song. SfSi wa0"0^ P0St 1 tion these descending groups far outnum- stack. ber the ascending groups. In order to indicate the actual t In the above “thematic” we have quoted the most re¬ Reversing the foregoing combination, compositions, this list from Debussy is ap- membered measures of this number. Like many—or most- -.^ the top, as fol- pended: Single track A, using sharps— songs which have become highly popular, it has been the Prelude from “Pour le Piano”; the same frequent lot of Tosti’s Good-Bye to be wretchedly done by We cannot leave the subject of triads track, using flats, Children’s Corner; In this notation we have used sharps without calling attention to the use of the double thirds in right hand, as in group 7 for the black keys, but they are quite as augmented triad, one very much in evidence above, Voiles; chords of the minor seventh often written as flats, that is, D flat instead in connection with the whole-tone scale, doubled, La Cathcdrale engloutie. De-. of C sharp. It all depends upon the key- Particularly is this true in the frequent hussy’s works are chosen as being most available for the average student. signature or upon the chordal progression series of massive chords. THE ETUDE DECEMBER 1929 Page 893 Page 892 DECEMBER 1929 THE ETUDE i5he Teachers’ Round Table (Conducted by

Prof. Clarence G. Hamilton, M. A. PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE

Spohr’s Compositions In inserting pictures be sure that each “Clarinets were not made for the music T THE COURT of Prince Sonder- is properly identified. For instance, under of the Lord,” says one of the fiddlers. A hausen, Louis Spohr heard the clari¬ a portrait of Beethoven, write a few lines, position that consists of melody and ac¬ “You can see it by looking at ’em.” netist, Hermsted, for whom the prince re¬ Uery Young ‘Pupils giving at least the dates of his birth and companiment and treat first the melody “I don’t for my part,” retorts another, “see Tjhe ‘Rise of the (flannet There are many who object to this in¬ quested a composition. In his autobiog¬ death, where he was born or any other alone, until it can be played by the full- that a fiddle is much nearer heaven than troduction of program ideas into music. raphy the composer wrote that he was vital facts. arm touch, with considerable tone. Then by John Williams, and is in the But, if they result in making us play better, a clar’net. T’is further off. There’s al¬ glad to accede to the request, “as from For materials I may refer you to the next one, the First Grade Piano why not use them? play the accompaniment alone with light ways a rakish, scamped look about a fid¬ (By James Frederick Rogers the immense execution together with the Book. She plays Dance of the Fairy musical magazines and journals, especially Queen, Mau Day Waits: and other finger touch, and finally play the two dle’s looks that seems to say the Wicked brilliancy of his tone and purity of in¬ The Etude, which furnishes in each issue pieces of that order. She will not parts together, bringing out the melody Ona had a hand in making o’ ’em; whilst tonation I felt at liberty to give the reins touch the piano at home. Her par¬ important pictures and data. A nucleus is strongly and subordinating the accompani¬ angels be supposed to play clar’nets in ents think that she is not doing well, Qorrect ^Methods of Practice Jahn remarks that the composition in for wind instruments, and he even pro¬ to my fancy.” Spohr wrote four con¬ although I have her come to me provided in The New Etude Gallery of ment. The Study, Op. 47, No. 16, by heaven or som’st like ’em, if you may be¬ 1. I am in the fourth grade of question is very original. “The viola be¬ duced three duets for clarinet and bassoon. certos and a set of variations with or¬ in of me about Musical Celebrities which gives each Stephen Heller, beginning thin: music and cannot play some pieces lieve the picturs.”—Thomas Hardy. ing not a bass instrument is available only Possibly because of the importunity of chestra for the instrument, leaving nothing as fast as they should go. When I month not only photographs of these dis¬ Ex. 2 for middle parts . . . this necessitated an his friend, Dr. Schmidt, he tried his hand to be desired in the way of difficulties for try to play one marked presto, I tinguished persons but also, on the re¬ T THAT A delightful change from b(Sneyrouf0t' keep incorrect time, get the notes altogether original design and execution, the executant, and of these the Opus 57, l all wrong and become stiff. Please verse side, such facts as I have suggested VV the eternal piano, violin or cello on a trio for clarinet, ’cello and piano, and and a dependence for effect upon a pe¬ No. 2, is especially interesting. His six these young ones are -so hard to explain how I can play smoothly above. The page may be inserted entire, or solo!” was the remark by a produced, in 1797, the beautiful Op. 11, teach, although I have been teaching and also be relaxed. m culiarly light coloring and transparent songs for soprano, clarinet and piano arc fifteen years! 2. How can one learn the portraits may be cut out individually, in young woman which we overheard at a which he dedicated to Countess von Thun. fectly without the '" a aPteacher? clearness. . . . The deeper tones of the full of beauty and dramatic effects. One I would like also to ask about which case be careful to paste them on New York Symphony concert after the Later he arranged his Sextette, Op. 20, for Moszkowski’s Valse in E major and -M. F. W. clarinet are not used, out of considera¬ of these. The Maiden and the Bird, is one Mendelssohn’s Capriccio, Op. 16, No. one edge only so that the facts given on performance, a few years ago, of Mozart’s the same three instruments and dedicated it tion to the viola; its full, liquid tones are of his best known songs. Mendelssohn 2. I play these well by memory but (1). In the ordinary walks of life we the back may easily be consulted. Clarinet Concerto. We were reminded by to Schmidt. It was published as Op. 38 don’t quite understand what they particularly well adapted for the delivery wrote to the composer concerning the are about. Can there be any story are constantly calling on our wrist mus¬ this remark that one of those ubiquitous -...... 0 them? I( they had a As samples of illustrations of musical of the melody.” The composition is a in 1805. Cradle Song, “It pleases me exceedingly cles—when we pick up a book, shake violin soloists, Muhlfeld, abandoned that — T play them works, I may refer you to pages 496-7 of charming one, and another critic places Schubert made much use of the clarinet and has so completely charmed me with er.—Mrs. J. W. ( hands with a friend, hold up an umbrella the April Etude, which give scenes from instrument, on which he was a virtuoso, in his orchestral and chamber composition, and perform countless other actions. Com- it above all Mozart’s trios for piano and its beauty that I both sing and play it Wagner’s music dramas, as well as por¬ for the clarinet, for the reason that he and it divides the honors with the vocalist every day. It is not on account of any At the tender age of these children, con- in8 to the Pjano> a11 this must be changed, strings. traits of the composer, his wife and son. considered the latter instrument a more Two years later the clarinet appeared in the elaborated aria, Der Hirt auf den particular feature that I admire it but tinual supervision by parents or teacher is ar*d tbe wr'st must be kept almost con- For other items, paste in your book any expressive one. He apparently proved his Felson, written in his last year. The name for its perfectly natural sweetness as a almost a necessity since otherwise their ptantly relaxed so that whenever the arm as a solo instrument, probably for the first clipping about music that you deem use¬ point and incidentally inspired Brahms by of the clarinetist who first played it has whole, which, from beginning to end, flows practice is apt to be backward rather than is -hcld out the hand hangs down from the time, in the combination with strings some¬ ful in your work. Perhaps you may find furnishes a good chance for thi practice. his playing to create four of the finest so lightly and gratefully to the feelings.” forward. wrist in a lifeless manner. times called the “Stadler” quintet, al¬ not come down to us, but the composition something in the Round Table that may works of modern chamber music, his trio, is said to have been written for Anna When you really feel that they are com- Before you start to play anything what- though better known by the deserved title come under this head. quintet and two sonatas for the clarinet of the “celebrated” quintet. It was first Milder, one of Schubert’s admirers. In Comic Role petent to “go it alone,” find some incentive ever’ preface the first stroke by dangling If any other of our members have com¬ and piano. to put before them. Why not suggest to 3'0ur hands over the keys. Keep your An Ambitious Young performed for the Musicians’ Charitable HERMSTEDT went on tour with piled useful scrapbooks, I hope they will The clarinet is of comparatively recent Fund, on December 22, 1789, and was Spohr, and the latter relates in his the parents that they pay them for prac- 011 this relaxed condition all the tell us about them. The Mad Oboist Student origin and much the youngest of the wood probably produced for this concert. autobiography of how they and their com¬ ticing, say a penny for each ten minutes? dme that you are playing. If you feel the wind group. It is said to have been BOE playing has been said to lead to A boy of thirteen sends the following It is not merely “celebrated” as a work O panion artists were invited, in one of the It's genuine work to these little folks, and slightest stiffness, pull up your arms and invented about the year 1690 by Johann mental derangement, and a performer queries: for the clarinet but as a piece of chamber cities they visited, to a dinner party at such a tangible reward may tend at the ht the hands dangle again for a few sec- A Hard T5ouch Christopher Denner. Owing to its early on this instrument in London, when tried music. “Cast as it is in the most beautiful which they had such an enjoyable time same time to teach them the value of onds- Whenever you come to the end of would you suggest as the 1. I have been playing ever since imperfections and technical difficulties it for theft, pleaded “not guilty” on the ground money. an exercise or piece, raise up your arms, I was three ( !) unil studied with form, and possessed of the most charm¬ that they overlooked the fact that their was hardly known, even to ensemble per¬ that his act was the result of a mental Try also to associate their music with with hands hanging loosely as before, and my mother until last fall, when I ing sound effects, it fully justifies the concert engagement was soon to follow. began with a regular musk' lea,-her formers, before the day of Rameau. state produced by his professional work. some familiar experiences. Invent a name then lay them in your lap, perfectly re- who is considered one of the best in praise bestowed by Ambros in Goethe’s Champagne flowed too freely, and the Haydn used it to some extent in “The This effect (which is probably as purely or have the pupil invent a name for every laxed. If you carry out these processes ^doing his the city. She seems to think that words, ‘its whole being floats in sensuous musicians, when notified that it was time I have unusual musical ul.ilit, and Seasons” and in some of his later sym¬ mythical as the supposed hoodoo influence little exercise which you give him. Take, with sufficient care, your troubles ought to is arranging for me to play a iveital health and sweetness.’ ” for business, were not in the best condi¬ B.ek phonies, but, even in Mozart’s day, the of a yellow clarinet) cannot be brought for instance, the Wohlfahrt duets, Op. disappear. Remember, however, never to before an eminent pianist who visits tion for the performance. Spohr could Give him plenty of the light and fluent our city every summer. I am b arn- clarinets were not always found in the forward to exculpate Anton Stadler. How¬ 87, which are excellent for you to play play at a quicker tempo than is compat- ing the following for that n, -a .ion. Compositions for Stadler not recall the first notes of the composi¬ type of music and see that he plays this court orchestras. For, in one of his letters ever, his character is in strong contrast with both these pupils. If each little duet ible with ease and clearness, even if the (See “answer” for program;. WO YEARS later, and but a few tion he was to play and was saved only with perfectly relaxed wrist. Such pieces Could you tell me the various to his father, Mozart exclaimed, “Ah! if with that of the next performer to bring is given a name, such as Santa Claus’ metronome speed is never attained. grades represented bv these pieces? weeks before his death, Mozart pro¬ by a cue from his wife in response to a we only had some clarinets! You can¬ the clarinet into prominence. This was March, The Doll’s Lullaby or Playing (2). Begin by studying each measure as MacDowell’s Hcxentans, C. Scott’s 2. Can too much music in school duced the Concerto Op. 107, mentioned at frantic whisper for assistance; the cravat Danse negre and Debussy’s Clair de lane Hinder outside propress ? I wns not imagine the splendid effect of a sym¬ Heinrich Biirmann, of Munich, friend, of Tag, it will take on real meaning and be- so slowly that you not only make sure of pianist for our high school orchestra the beginning of this article. This also of one of^the quartet fell askew as he are admirable for the purpose. phony with flutes, oboes and clarinets!” Weber, Mendelssohn and Meyerbeer. Of come an object of quickened interest. sounding the right keys but also invariably and glee club during the past year. was a work of charity, for Anton Stadler, faced the audience, and, to add to the As to singing tone, this can, best be pro¬ This often necessitated mv silting him Weber wrote, “All the choicest tidbits If the piece be already named, such as use the right finger, play the note with the at the piano at least three hours a like others of Mozart’s acquaintances, was amusement of the audience, the trousers the May Day Walts which you mention, correct touch and release it at just the duced by the full-arm touch. To acquire ex?lus‘ve of my practice at Viola and Clarinet Combination a ne’er-do-well, and, though the composi¬ in life are presented to that handsome fel¬ of another performer (the players stood this touch, place the fingers of the right home. However. I kept up my aca¬ low on a silver platter; poor devils like let the pupil invent a little story to describe right instant. After you have mastered demic work, making !tfl% and' 97% r I ^ HE LONG vogue of the flute and oboe tion was written expressly for him, he in those days) began to slip their moor¬ hand on the usual keys (C to G). Tighten me must beg for the crumbs that fall from the piece as it progresses. each measure in this way, study the meas- for term marks. Should I take as A doubtless kept the clarinet in abey¬ gave nothing but promises for it. ings before he had a sufficient number of the arm, wrist and hand for a moment, much music in school next year? You say that such ideas are an incentive ures in pairs, then in groups of fours and ance as a solo instrument, even after it While Stadler inspired these rich addi¬ his magnificent table.” __ measures’ rest to permit him to rescue so that they may be moved up or down J', Lastly, will you please give in your own playing. As to the Moszkow- finally in long sections. Do not quicken }«t of good numbers from the had found a place in the orchestra. For tions to musical literature, he not only Weber was at once inspired to write for them. ski Valse, you will have to invent your own the tempo till you feel sure of every note, only by the shoulder muscles. This con¬ following composers: Palestrina, Handel was a virtuoso on the oboe and added nothing to Mozart’s financial in¬ the instrument, played by such a master, Hermstedt, under the judgment-disturb¬ dition makes it possible for you 'to gauge \Vehnel'« Laydn, Gluck. Mozart, story, since Moszkowski has attached none And never play the piece rapidly over and Sggff; Schumann. Wagner, Brahms, wrote sonatas for it, and Frederick the come but borrowed money from him, on and produced for him the charming Con¬ ing influence of alcohol, attempted his that I know of. But in regard to the over but return to the slow tempo fre- accurately the speed of the key as it de¬ rnoz, Liszt and Debussy? Great honored the flute with the royal the plea of poverty—money which he certino, Op. 26. The two artists made concerto with a new reed, always a haz¬ Robebt S. Capriccio. the story is told that Mendels- quently, perhaps every other time that you scends, so that you may produce at will touch and with his efforts at composition. never repaid. He was fed at the com¬ more than one tour together, and for these ardous undertaking. The composition sohn, when a young man, visited at the play the piece through, watching for the any shade of dynamics from ,pp to ff 1. Your program is well chosen, and The breath of a genius was needed to poser’s table and was even strongly sus¬ Weber wrote the Variation, Op. 33, for opened with a long note which Hermstedt country house .of an Englishman who had slightest mistake and promptly correcting Now depress a key, and the instant shows excellent judgment on the part of bring the clarinet to the attention of a pected of stealing a receipt for Mozart’s clarinet and piano and the brilliant Duo was in the habit of giving with great three charming daughters. After Mendels- it. that the tone is heard, relax arm and wrist your teacher. It is rather difficult to as¬ composer as being worthy of individual silver plate which was, at the time, at the Concerto, Op. 48. To these compositions effect with a gradual crescendo and then sohn’s return to Germany he sent the three Remember that you can never complete Uu a, ]staccaf0 is desired, this relaxation sign definite grades for some of the pieces, prominence. This came from the lips of pawn shop. One can hardly comprehend were added later the Quintette, Op. 34, for away. At the climax, on this occa¬ Capriccios Op 16, as tribute to these young a piece as an artist finishes a picture but should be complete; but if the tone is to since they combine so many different de¬ Albert Stadler who not only played bril¬ the simplicity and generosity of the com¬ clarinet and strings and the two concertos sion, there came from the instrument a ladies, each Capriccio depicting a reminis- that it must be studied over with the be sustained continue just enough pres¬ mands on the player. Approximately, the liantly but helped, with his brother Anton, poser when, in the following year, he with orchestra, Opus 73 and Opus 74. frightful “squawk,” which immediately cence of his visit: the first, Roses and greatest care whenever you are to per- sure to keep the key firmly down. Next grades are as follows: in adding to the mechanical perfection of helped the clarinetist not only by lending No composer understood the clarinet bet¬ sobered the musician. The rest of the Pinks the garden; the second, the form it for any special purpose. practice staccato with each finger and le¬ _ Grade the instrument. The composer, Mozart, him more money and giving him letters ter than Weber, and he made the most performance was a brilliant success. Trumpet Vine which grew outside his gato with pairs of fingers at different de¬ D. Scarlatti, Sonata in A major.6 had probably but recently made the ac¬ of recommendation but also by writing, of it in ensemble as well as in special Schumann wrote three Fantasiestiicke for dow, and the third, The River which pur- , _ grees of loudness, as follows: Bach, Prelude and Fugue in D minor. .6 quaintance of the Stadlers when, in at a time when he was otherwise very works. clarinet and piano, and, following the ex¬ sued its course in the near distance. In A JnUSiCdl Scrdp'Pook Gavotte in B minor, transcribed August, 1786, he produced his beautiful husy, this fine composition for Stadler’s Heinrich Barmann’s musicianship was ample of Mozart, he produced four years the second piece he conceives of a fairy Please tell me how t0 compile „„ by Saint-Saens .7 “Trio for Clarinet, Viola and Piano,” proposed professional tour. inherited by his son, Carl, who, as a later an interesting composition for clar¬ herald who blows daintily on one of the — --- Beethoven, Sonata Op. 26.6-8 the composition being written, however, While Beethoven made the most of the virtuoso on the instrument, was almost inet, viola, and piano entitled Marchener- trumpet flowers, summoning his sprightly Mendelssohn, Duetto, Op. 38, No. 6...6 not so much for the clarinetist as for clarinet in his orchestral works, there seems the equal of his father. He also pro¬ sdhlungen. companions to their nightly revels: Such a book naturally contains, first, Chopin, Eight Preludes, Op. 28, No’s. Franzesha von Jaquin, one of his best to have been no virtuoso in Vienna to in¬ duced for the instrument many excellent spire him to write especially for the in¬ solo compositions and, in particular, a portraits of important musicians; second, * n- IS, 17, 19, 21, 22.5-8 piano pupils. Solo compositions for the An Artist of Recent Tears MacDowell, Hungarian .6 clarinet are nowadays arranged (for larger strument, and he would have been the “school” which has not been surpassed. pictures which illustrate their environ¬ /"\F MANY great artists on the clarinet Shadow Dance .7 sale) for viola, as being the most nearly last to have furnished a composition free Mendelssohn was an intimate friend of ment or their works, and, third, items of in recent years, Richard Muhlfeld r err ayr-l-sri . Hexentans .7 related instrument of the string family, to an impecunious friend. The clarinet the Barmann’s and composed for them two permanent interest about music or musi- stands out with especial distinction. It is 4 You certainly did nobly to score such so that this combination was of an unusual figures, of course, in his symphonies, nota¬ graceful trios for the clarinet, basset To apply this touch, take some com- kind. bly in the “pastoral” and in compositions horn (alto clarinet) and piano, Opus 114. (Continued on page 933) (Continued on page 94 3) THE ETUDE DECEMBER 1929 Page 895 THE ETUDE Page ,9.0, DECEMBER 1929

Series WBKMBT No. 10 ■ SCHOOL MUSIC DEPARTMENT THEI NEW ETUDE GALLERY OF MUSICAL CELEBRITIESsh SHORT BIOGRAPHICAL SKETCHES TO ACCOMPANY THESE PORTRAITS ARE GIVEN ON REVERSE Conducted Monthly by

GEORGE L. LINDSAY • DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS

A Qross'Section of Public School JYCusic in a Pig Qity

Part II

Rotation. The course in music appreciation has ex- be begun on the standard program, at the tendance at symphony and choral concerts, and at the opera, vitalize the work. Mu¬ FTER .sufficient experience in song tended the musical background of the pu- beginning of each term. The same pro¬ sical Literature covers four terms of work, A singing and the consequent growth J,lls a'ld tfjach4ers alike and has proved to cedure is followed in glee clubs. An All .have been ac_ he a stimulus for participation in the regu¬ has four weekly periods of class work and of a Junior High School Glee Club is chosen lar work as well as a medium for creating from the schools and the program idea car¬ carries academic credit. ’ quired, the pupils learn to interest in instrumental study. tions of music, first, by singing familiar ried out. A night is chosen for a music festival, Instrumental Activities songs with the Latin syllables (do re Extra-Curricular Activities at which both instrumental and vocal mi fa sol la ti do), and later by visualizing _ , • _TT_ . T NSTRUMENTAL ensemble classes use the notation of the same songs from the jyf OF THE elementary schools groups present their programs. To the standard programs throughout the city. festivals the public is invited, admission blackboard. have orSanizeci orchestras and glee The course carries laboratory credit—two being by complimentary ticket. The in¬ points for four periods weekly. Experience ii. ,h, ,„ek reeogBta; o« SjTitSS -d terest of the public in public school music groups is gained through visualiza¬ The outstanding players of all of the high are creating much interest among pupils increases with each performance, and the school orchestras are selected In an au¬ tion drills. After this, reading unfamiliar and teachers. The children are introduced benefit to the young artists is almost im¬ songs with the Latin syllables is begun. to instrumental effects and later are en¬ measurable. dition committee. These players iorm the These songs are selected so as to parallel couraged to study orchestral instruments. All High School Orchestra, of one hundred the types of songs previously learned by Operettas and cantatas find large follow¬ Senior High School Choral Wor\ members. As in the junior high schools, rote. By the beginning of the fourth ings among the elementary school pupils, DROGRAMS, arranged in the order of the choral and orchestral groups hold a grade the learning of songs,may be Through all of these activities runs the music festival during the year, to which the carried on by the class, with only progressive difficulty, are’presented to •-present idea of learning to love and each class from ninth to twelfth grades, public is invited. sional help from the teacher. ralue the best in music. In the first half of the fourth grade inclusive. Credit is given on a laboratory Extra-Curricular Activities books of music are placed in the hands of basis. The plan of choral procedure is Junior High School the pupils. The pupils are capable of standardized; and all students are called QLEE CLUBS, orchestras, bands, singing unison songs from staff notation. TN THE JUNIOR high school we find upon to do intensive part work with the V 1 chamber music societies, piano, vocal The practice of singing rounds in two and social conditions that differ greatly Latin syllables, thus continuing the foun¬ and other instrumental clubs and the pro¬ three parts is continued in preparation for from those in elementary school. The child dation work begun in the elementary duction of light operas and operettas— the development of two part songs in the is broadening into the adult. He is very schools. these constitute the extra-curricular activi¬ fifth grade. Threex mcc ydpart HItreble songs arc ?fs!tive to ™Pressions and to emotions, ‘Elective courses in Vocal Ensemble are ties in the senior high school. introduced the second half of the sixth Ve, 15 gregarious and feels the need of so¬ offered. They are on a laboratory credit JOSEF HOFMANN cial contact with his neighbor. The grade. basis—two points of credit for four Vocational Music junior high school tries to fill his .needs and periods of work weekly. This course is Ear Training POR THE SAKE of those students who the music offered must conform to the new open to all students who can qualify in Jj^AR TRAINING is a great factor ii conditions. sight reading and can sing acceptably. wish to make professional music their ' the development of keen musical life work, who do not intend going to nor¬ Regular Activities The interest in chorus work has been ception. The first step in this training in. me nrsi step in tms training mu- - . , , shown by the organization of an All High mal school or college, and who want as develop ability to recognize phrases ^ . 77® ,ot .study *or. grat*es School Girls’ Chorus and an All High much musical instruction in their curricu¬ through hearing and to reproduce these , seYen’ elg lt and nine emphasizes the School Mixed Chorus. These organiza¬ lum as possible, a vocational music course phrases by singing the Latin syllables. ■ °f “as.s and *lngle ?lass mstruction tions consist of members chosen from the has been evolved. This course is offered in This “oral tonal dictation” continues par* smgmg and mu,T appreciation, choral groups in the several schools. A a vocational school; and, with the excep¬ tlirough the grades, from the beginning of 0pportunltlfs are Provided for part and tion of English and physical training, the » 1 00 nnisnrtunison sinoimysinging in the assemblies.occAmKILe program is selected in one term for work the second grade. school day is spent in theoretical, instru¬ The mass choral work is carried on in in the next. In the fourth grade the pupils are asked mental or vocal music study. Each ap¬ to write on the staff, using whole notes, choral groups ranging in size from three to eight classes. Each lesson is planned to Courses in Theory plicant for this course must prove his or the phrase previously sung. The sing- her fitness for the work, by giving a dem¬ C^ OURSES ARE offered in Theory and onstration of instrumental or vocal ability ing of bars and measure signature. A fur¬ ^ Practice of Music, two terms, and in and by taking some of the Seashore psy¬ Single class instruction is given once a Harmony, four terms. ther repetition of the singing is followed chological tests of native musical ability. week in addition to the weekly mass The course in Theory and Practice em¬ by the completing of the notation, that is, Each student in the vocational course choral period. Opportunity is here afforded braces a detailed study of notation, scales, changing whole notes to the proper 1 is given the opportunity of studying a forms. of giving individual instruction in sight intervals, key relationships, and music ter¬ reading, ear training, use of the changing second instrument, instructors being pro¬ Melody Invention minology. It provides also for the indi¬ vided by the schools. A „TT_ voice, a practical knowledge of elementary vidual development of sight singing and T THE END of every four weeks, theory, and of continuing the development written melodic dictation. in the fourth, fifth and sixth grades, of the objectives attained in the elementary The course in Harmony includes ear Applied Music Credit a lesson is to be presented in melody in- course, training, chord analysis, harmonization of CTUDENTS of the higher schools, who vention. The first half of the fourth grade basses as well as of melodies, the writing are taking one of the four-period mu¬ is used as a preparatory grade. Here Club and Extra Curricular Activities of original melodies, keyboard harmony sic courses in schools, are entitled to credit there is no writing of melodies, but cer- m tt httat -i or music study done outside of school and tain fundamental principles are established A tnay partjci- with related details. The students are en¬ couraged to write original compositions with private teachers. Through a rigid and developed. In the following grades ll&te ", the .orchestra’. band- glee> both vocal and instrumental. system of book-keeping, a close check-up these principles are put into practice The and, “ appreciatlon .cbJbs’ Any who can carry a tune and pick out is kept on this work; and the student must pupils of the sixth grade arPe encouraged ^ , eral schools; and instrumental class four-part harmony on the piano are eli¬ pass an examination at the end of the i write verses and to set them to music at clubs for the study of wind instruments gible, in addition to students who have com¬ term, before he receives his credit. home, without using rhythmic models given wl\IOr J"6 SjU pleted the course in Theory and Practice by ,h, teacher. W training devflops Both courses in theory are on an aca¬ Although this cross section of public school originality as well as ability to analyze °rd6r t0 foster er-scholastic spirit, as well as to give the students demic basis of credit. music in a big city may seem to show too simple compositions. greater, opportunity for ensemble playing uch effort spent on the technical side of nr ■ a . . . . in public, an All Junior High School Or- Musical Literature the art, the close observer will realize that Music Appreciation chestra is organized each year, the per- '“PHIS COURSE offers a cultural back- the all-pervading thought is the hope that, /^\NE LESSON a week is given over to scnnel being made up of the best players . ground ^ the field of higher appre¬ rough the public school music, the child music appreciation. A definite stand- from the several schools. The program ciation of music. Talking machine records may have assimilated sufficient of the beau¬ ard plan is used; and talking machine for the ensuing term is selected and put in and player piano recordings are used to il¬ ties of good music for the man to love it, records are selected to illustrate the points the hands of the teachers before the end of o feel that his life is better and more OTTORINO RESPIGHI lustrate all phases of the course. Related OTTAKAR SEVCIK 1 DANIEL FRANCOIS ESPRIT AUBF.R involved. the current term. In this way, work may arts are discussed. Trips to museums, at. joyous, his working hours more alive, and his leisure hours richer and fuller. THE ETUDE DECEMBER 1929 Page 897 THE ETUDE Page 896 DECEIIBER 1929 nS potable UYCusical Women BIOGRAPHIES PORTRAITS THE NEW ETUDE GALLERY OF MUSICAL CELEBRITIES Group Part II No. 29 This page presents six more short biographical sketches of musical celebrities ateut whom everymonth, six bio¬ Qxn You Y)ell? lover of music should know. A portrait of each of these celebrities is given on me P s master composers, graphical sketches accompanied by tinted portraits are presented in this manner, and it will be notea 1. What is meant by Plain Song? great pianists, noted singers and famous violinists of the past and present are memo . ---- 2. What is a Bar? . 3. Spell the Chord of the Augmented-Sixth, with fifth and . third, in the minor key with four sharps in the signature. 4. What is the origin of the word pianoforte? GEORGE FREDERIC HANDEL JOSEF HOFMANN DAME NELLIE MELBA 5. What pitch is an augmented fifth from C-sharp? Handel was born in Halle, Germany, in Hofmann was born near Cracow, Po¬ Melba (nee Mitchell) was 'born near 6. What is a simple musical beat? 1685 and died in England, in 1759. When land, in 1876. His fondness and ability for Melbourne, Australia, in 1861. Her stage 7. Who composed the Kreutzer .Sonata, and for what instru¬ a lad of seven he taught himself the harp¬ music' are a direct inheritance from his name is derived from that of'the ^Australian ments is it written? sichord-progressing so rapidly that, at father who was a teacher of theory and capital, Even as a child’her singing voice 8. Of what opera does the overture consist largely of a lively the insistence of the Duke of Saxe-Weis- domposition at the Warsaw Conservatory was of an exceptionally sweet quality, and fugue? senfels, he was placed under Zachau, or¬ as well as conductor of the Warsaw Opera. at the age pf six she sang in a concert in the 9. When, where and by whom was the first piano made m ganist of the Halle Cathedral, for intensive A real prodigy—and one who was to town hail in Melbourne. Her early instruc¬ America? training in theory and composition, as well giaifisss tion, however, was not vocal, but consisted 10. What is an Oratorio? live more than up to his early promise— as in organ and various other instrument - Josef played the piano in public when only of training in piano, violin, harp and theory. After his general studies at the gymna¬ e 950 a six years old, and three years later toured In 1882 her first vocal lessons were received- sium, he matriculated at Halle University extensively in Europe, England and Scan¬ from a certain Cecchi in Melbourne. Three but left the next year for Hamburg, to Save these questions dinavia. At the age of eleven he was years'later she sang in “The Messiah,” at become a member of the orchestra under broqght to America and here achieved the Sydney. Reiser. In 1706 we find him in Italy, and astounding record of playing over fifty re¬ The removal of the family to London in in such cities as Florence, Rome, Venice citals in two months and a half! The re¬ 1886 brought about Melba’s first concert and Naples, operas and oratorios by Han¬ ception accorded the boy was everywhere appearance in the English capital. This del were produced with extreme success. of the warmest. recital was followed by a course of study Back in Germany in 1709, he was made A period of retirement followed, during under Mathilde Marchesi, in Paris, In Kapellmeister to the Duke of Hanover. T3he Romance of ,,CBhe Flying ‘Dutchman which time he studied orchestration and 1887 her interpretation of Gilda in “Rigo- The following year he visited England, ’ theory with Urban in Berlin and piano with letto” at Brussels was the occasion of wild where his “Rinaldo” caused a furor. By E. Everett Huston the great Anton Rubinstein in Dresden. In outbursts of praise from audience and Other visits to that country ensued; these so little pleased the Elector that the latter, 1894 Josef Hofmann gave a recital in the critics. In 1888 she sang at Covent Garden, me, for having mocked the upon becoming. George I of England in In the annals of modern opera there lattqr city; then in 1896 occurred the first and here her work caused nothing short of i way to the crucifixion. In 1714, would have dismissed his Kapell¬ is scarcely another date to compare in im¬ of many brilliant tours in Russia. America a sensation. Then ensued seasons of opera lg Dutchman” Heine fancied LADY CHi meister but for the intervention of a cer¬ port with that of the second of January of his “The again had the joy of welcoming him in in France, Italy, Russia and Scandinavia. tain Baron Kilmanseck. 1843, on which was the first production, at of Holland who, prevented 1898, and since then his recitals in this In 1893 Melba’s American debut took In 1718 Handel became organist and Dresden, of Wagner’s “Der fliegende Hol¬ by a storm from rounding the Cape of Good s MARY .HALL0<^GREENWALT country have been almost annual events. place at the Metropolitan Opera House. composer to the Duke of Chandos, and lander.” From that date the Italian “opera” Hope, swore that he would succeed or sail must fight for its supremacy on the mu¬ Hofmann now makes his home in Phila¬ She appeared there for many seasons and director of the Royal Academy of Music. the seas to eternity. Heard by Satan, he sical stage, and “music-drama” more and delphia, where he is the director of a leading was also guest artist with the Manhattan Very many of his operas were produced, is condemned to atone for his rash state¬ more becomes the accepted diet of the music school. His book—“Piano Playing, Opera Company. Among coloratura so¬ but gradually the oratorio displaced opera ment by perpetual life upon the stormy musical epicure. In fact, it was in this with Piano Questions Answered”—is pranos there have been few to equal her. in the master’s attention and “The Mes¬ work that the real genius of the future authoritative and interesting, and his com¬ Her voice was unique in its silvery clarity siah,” “Judas Maccabseus,” “Jephthah,” and To this tale Heine added the motive positions for piano possess really distinctive master of Bayreuth first showed itself in and remarkable evenness of scale through- the other monumental works of his last which was so dear to the heart of Wagner period were the result. an unmistakable form. The story is a variant of that old and per¬ and which found its most beautiful expres¬ sistent legend of “The Wandering Jew,” sion in “Tannhauser”—redemption through condemned to be a wandering outcast to the power of a woman’s love.

OTTORINO RESPIGHI DANIEL FRANCOIS ESPRIT AUBER OTTAKAR SEVCIK KusPffim (Eay-spee-ghee) was born in Auber (O-bayr) was born in' the Nor¬ SevcIk (sef-chik) was born in Horaz- Bologna, Italy, in 1879. At first a student man town of Caen, in 1782, and died in dowitz, Bohemia, in 1852. After early in¬ ^Musical Smiles at the “Liceo Musicale" in his own city— Paris in 1871. Though his father planned struction from his father, a chorus director where his professors were Federico Sarti for him to enter business and sent him and school teacher, he was sent to the By Joe Russell (violin) and the noted Giuseppe Martucci to England for the requisite training, the Prague Conservatory for work with A. SrSfi' E“' (composition)—he eventually went to Rus¬ young man’s predilection for music as a Not to His Taste —- • -—'-id, and d. Lon- Sitt and A. Bennewitz. At the completion Songster sia for instruction from N. Rimsky-Korsa- life work would not be brushed aside in of these studies he became concertmaster “Oh, I’m so glad, I can’t help but Zoom: “Why did you quit playing i: kov and to Berlin for work with Max favor of commercial pursuits. at the Mozarteum in Salzburg, a position break i: nto a song.” Michael’s Concert Band?” Bruch. In 1913 he was appointed a member Returning to France, therefore, in 1804, which he held with distinction for three “Get the key, and then you won’t Boom : “He did something I didn’t like of the faculty of the “Liceo Musicale di he thenceforth devoted his time to his art. seasons. During this time he also appeared have to break in.” little bit.” Santa Cecilia” in Rome. In 1923 he be¬ “Julie,” his first opera, was produced in “Yes>? What?” often in recitals. Next, for a year, he led Zoom : came director of this institution and in 1926 1811. Cherubini, the famous Italian com¬ “He fired me.” resigned. poser and teacher, who then dominated the the ^orchestra at the Theater an dcr Wien Poor- His compositions, large in number and musical life of Paris, recognized in this work such an abundance of talent that he it take Prof, varied in scope, are among the most strik¬ In 1875 Sevcik joined the faculty of the Novice: ‘ ‘How long d himself undertook the completion of Au- w to play the A Reasonable Reason ing by any modern Italian composer. Of Imperial Music School at Kiev in Rus- McNote to ber’s training. After the production of violin ?” the works for orchestra, his “Le fontane lao? rem*ining with this institution till “What is your favorite instru- several pieces which were but indifferently 1892. For fourteen years thereafter Violinist: di Roma” and “Le Pini di Roma,’’ as well received, the opera “La Bergere chate- Novice : as the “Antiche arie ed danze italiane,” are Frague was his home; and at its famous “Calliope.” conservatory his skillful teaching and im¬ Violinist “But no one plays that now.” especially popular with audiences on both was in 1820, and, for more than forty pressive personality did much to shape the “That’s why I like it.” sides of the Atlantic. His violin sonata, years, Auber wrote one or more operas careers of many of the greatest of living violin concerto, piano concerto, string quar¬ nearly every season. His “Masaniello” virtuosi, including Zimbalist, Kubelik, On- The Christmas Spirit tets and songs are the production of a true (1828) was much applauded; its intensely master. In the field of opera Respighi has dneek and Culbertson. In .1909 he re¬ Song-Writer: “Here are three ( dramatic plot was so filled with the revo¬ Extraordinary! made contributions of high merit. His lutionary spirit as to cause popular riots moved to Vienna to become associated with mas Carols which I submitted to y( works fpr the stage include “Re Enzo” in Brussels, when the opera was first given the Academie fur Tonkunst;” then, ten year.” Jet’s play My Old Kentucky Editor: “What’s the idea, whei (190S), “Semirama” (1910), “Belfagor” in that city. Of his other works the most years later, returned to the Prague Con¬ have been once rejected?” (1923), and the recent “La Campana Som- successful were “Fra Diavolo,” “Les Dia- servatory. He has published a large num¬ : “Oh, everybody knows that! Song-Writer: “Oh, but you’ve h mersa,” the libretto of which is based on mants de la couronne” and “Le Macon.” ber of invaluable worjej on violin technic, f. “Not the way I play it.” other year’s experience.” the play by the German dramatist, Ger¬ In 1835 Auber was appointed to the chair as well as a few original compositions for hart Hauptmann. The last named was vacated by Gossec at the Academy, and violin and piano. His outstanding contri¬ successfully presented in 1928 at the Met¬ bution to the pedagogy of his instrument seven, years later he was made director of A Pipe Dream ropolitan Opera House in New York, and the Conservatoire as Cherubini’s successor. is his method, founded on the semitone sys¬ Would Tou? tem, by which the fingers remain at equal during the past summer at Ravinia. Re¬ Finally, in 1857, the title of “maitre de Hi C: “Who is the most optimistic I’d love to go where music grows, . WSSSfigm srsm America “ y’ MME. JEANNE JOMMELLI: pupil of Mar- spighi’s fondnessi for early music is well chapelle” was bestowed on Auber by Na¬ musician?” Where singing breezes blow my hair; known. poleon III. SSZfa1” ,hr“»hM Lo G: “The one who lists his saxophone I’d ramble through the organ groves, jssssns ineciiifomia(acweUkn°wa “ ”°w teach,ng * as an asset.” And gather little grace notes there. DECEMBER 1929 Page 899 THE ETUDE THE ETUDE Page 898 DECEMBER 1929 CLASSIC AND MODERN MASTER WORKS A iMaster Lesson on Senta s ‘Ballad from Wagners 0r»:lt“:r.T,bLrkH“boure senta’s ballad Opera “Tohe Flying Dutchman from “FLYING DUTCHMAN” Lento Sif,t (RICHARD WAGNER) Transcription by FRANZ LISZT very exact eighth. •' O, Transcribed for the Piano by Franz Liszt

Dark Prophecy ings of agitation and of rising storm. There THROUGHOUT history tlicre have beginning of the second act by the heroine, should be a swelling of tone in measure 10, appeared at rare intervals men Scuta, in a dramatic song in which she r"pHE BALLAD opens with a restless during this figure, from piano to mezzo- whose powers, whether they be of sings the whole account of the poor Flying A ominous motive full of foreboding. forte, and then diminuendo again, to resume action or of creation, have exercised an Dutchman's fate to her girl friends who The eighth note on the first up beat, E flat crescendo up to the culminating notes of extraordinary, even a cyclonic, effect upon with their spinning wheels sit working in the right hand, at the opening of the the figure, D and E flat, in the beginning the world in which they have lived. Such around her. This song or ballad, as it is music should be made very exact in value, of measure 12. After this the tone subsides a man in the field of music was Richard generally called, which Senta sings, is the while the sixteenth note in a similar posi¬ once more into piano. The concluding Wagner, and it is to the credit of his great subject of our piece here and is wonder¬ tion at the end of measure 1 should sound note of the figure in the upper voice, contemporary, Franz Liszt, that the latter fully transcribed from the operatic origi¬ also very strictly as a sixteenth of the namely F sharp on the first beat measure was amongst the most enthusiastic friends nal by Liszt. In it is to be found the es¬ measure, in contrast to the longer eighth 14, ought to be taken by the left hand as and supporters of this rival talent. No sence of the whole opera, the weird and note of the first up beat. In measure 4, an octave with the bass note, instead of by shade or suspicion of jealousy seems to restless atmosphere of the stormy Northern the last sixteenth note up beat in the the right hand, as it is written in the music. have ruffled the long friendship which knit seas, the demoniacal, terrifying gloom treble must be played with a quick wrist After the pause in measure 17, there ap¬ together for many years these two Titans which shrouds the mysterious Dutchman, movement, to facilitate the passing of the pear single notes in the treble, eighth note of music, and t&e rare sympathy and un¬ and, gleaming through it all, the tender¬ fourth finger on to the fifth finger in the D, on the last beat of measure 17, and G derstanding which Wagner found in Liszt ness and pity of the love motif which next measure, and this wrist movement dotted quarter note on the first beat of should be repeated each time the figure was a continual source of inspiration and Senta evolves, in her sacrifice and faith¬ measure 18. These notes an repeated occurs, up to measure 9. The piece which of encouragement. Indeed, the opera fulness unto death. This sacrifice which three times in reiterated calls, until meas¬ starts mezzoforte in the 1st measure, dies house of the little town of Weimar, where is foreshadowed in her song leads her to ure 22 is reached. These calls should sound throw herself into the sea in the last act. away to pianissimo in the 8th measure Liszt lived for so long and made his own as though played by a horn ringing'out Thus does she break the Devil’s spell and with a long pause on the rests in measure musically, was, together with Dresden, the some kind of summons. Then on the last takes her poor Flying Dutchman safely to 9. Then in measure 10 there begins a run¬ first theater to perform the daringly origi¬ up beat of measure 22, the ballad proper hisi eternal rest. ning figure in both hands conveying feel¬ nal masterpieces of Wagner. begins with the main narrative theme of Liszt carried admiration of his friend’s Senta’s song describing the gloomy plight compositions so far as to transcribe most of the Flying Dutchman. The first four of them for his own instrument, the piano. notes of this song should be given with Hence we have, amongst many others, the emphasis, and the next phrase starting on piece before us today, Liszt’s transcription the last beat of measure 23 should be of the ballad of Senta, taken from slightly slower in tempo. Then the nar¬ rative notes start again a tempo, and the Wagner’s opera “The Flying Dutchman.” pitying phrase in measure 26 which suc¬ This early work of Wagner’s was the ceeds them must be rendered with much second of his operas and was conceived expression. during an eventful voyage which he took by sea from Riga to London in a sailing The Waves Interpolate vessel in 1839. The opera was actually HIS PART of the song is repeated, not committed to paper till two years later, but in measure 31 a sinister atmos¬ in 1841, at Meudon in France, where Wag¬ phere comes over the imagination of the ner spent the spring of that year. “The story teller, and the restless hearings of the Flying Dutchman” marks the beginning relentless sea appear to rumble and rage of a new era in operatic music, as Wagner and interrupt the course of the narrative. here throws away the ubiquitous vocal The strident figures in the right hand in dexterities and spectacular scenic effects measure 31 should strike the ear with fe¬ in fashion at that time on the operatic rocity and a vivid accent be given on the stage and endeavors rather to transfer to diminished fifth on the fourth beat of this his music something of his own passionate measure, whilst the summoning octaves in feelings of poetical inspiration. Thus “The the left hand must be well brought out. Flying Dutchman” became symbolical of SCENE FROM “THE FLYING DUTCHMAN” AS GIVEN AT THE The tone rises increasingly till it reaches the composer’s personal sufferings at the BAYREUTH FESTSPIELHAUS sforzando and double forte in measure 33 moment, of his friendliness and his lone¬ liness amongst strangers. Who could where the octaves in the treble should sound realize better than he the type required for like veritable blasts of the horn, and the his hero, who, doomed to roam unceas¬ chromatic octave scale in the bass like ingly, longs vainly for rest and the re¬ The Story of “T5he Flying Dutchman” galloping horses (the wild horses of tem¬ deeming love of a woman? pestuous “Boreas”). Louder and louder Act I—In a storm the "Dutchman’s” ship is driven, in one of these seventh with gathering impetus the raging waves , | cresc. mono -I •:/ years, into a Norwegian bay at the same time as that of a native captain, The Brea\ and storms of the unfortunate Dutchman’s y ————_J Ml _ a “Daland.’’ Having begged hospitality, in return for treasures, the "Dutchman’’ perpetual voyage seem to be conjured up HPHIS NECESSITY for self-expres- learns that “Daland” has a beautiful daughter, "Senta" asks for her hand, and by 5enta’s horror-struck vision, and the oc¬ sion led Wagner eventually to the the two seamen sail forth to visit her. tave blasts in measure 37 become like breaking of the conventional operatic Act II—The "Spinning Song,” by “Senta,” her nurse Mary, and some Nor¬ those of trumpets heralding the approach forms which were insufficient to contain wegian maidens, at work, opens this scene. The "DutchmanY’ picture adorns of his haunted ship across the fury of the the fervency of his imagination, and al¬ a wall; and "Senta" becomes highly excited as she tells his story in her famous waters. In measure 37, also, these trumpet ready in “The Flying Dutchman” this tend¬ 33 like galloping Horses .35iL "ballad." “Erik,” her lover, comes to plead their early union; but "Senta” calls develop into a regular musical figure [o'--.. like galloping Horses .35^.___—--- ' 1 ency is very apparent. Everyone knows . . ' very rhythmically relates how in a dream the sailor in the portrait had come and she had promised which continues up to the end of measure the romantic legend of the “Flying Dutch¬ to be his wife. In horror, “Erik" rushes from the room. “Daland” and the 42 and must be played very rhythmically- man”—how he made an oath to sail around "Dutchman” arrive. "Daland” proposes the "Dutchman” as his daughter’s hus¬ At measure 46 the storm dies down, and N f..H "... the Cape of Good Hope in the teeth of a band; there are fervid avowals and preparations for the usual feast. after a long pause the second theme of storm even if he had to sail till doomsday, Act III—The Norwegian sailors dance and make merry on their deck. Scuta's song is introduced in measure 48 how the Devil heard his vow, accepted it Maidens bring refreshments for the crews of both ships, while the "Dutch¬ where she tells how every seven years the and caused his fate to be that he should man’s” sailors sing the story of their captain. A fierce storm breaks while the doomed sailor may come ashore for one roam forever on the sea, far from his merriment continues. "Erik" makes a final appeal to "Senta!’; but when the day to seek a woman’s true love, his only home and all he loved. Yet every seven “Dutchman" enters and rushes off to his ship as if forsaken, “Senta!’ under¬ means of salvation. In the rendering of years the Evil One allowed him to come takes to follow. Hindered in this, by her friends, she rushes to an overhang¬ this inspired theme of love and compassion, ashore for one day, and if, during that ing cliff and leaps into the sea, declaring her faith to the “Flying Dutchman.” the melody must be well brought out with time, he could find a woman who would His ship and crew sink; the sea surges over the wreck; and in the sunset glow tenderness and beautiful phrasing. In love him enough to sacrifice herself for "Senta” and the “Dutchman” rise and float on the surf, in each other’s embrace. measure SO, the eighth note, D, on the third him,, he would be saved from his doom. beat in the treble can be taken with the left This story is told in the opera in the (Continued on page 943) Page 900 DECEMBER DECEMBER 1929 Page 901 TEE ETUDE 8' DECEMBER 1929 Pago 90S THE ETUDE THE ETUDE FASCINATING PIECES FOR THE MUSICAL HOME

International Copyright secured Copyright 1929 by Theodore Presser Co. DECEMBER 1929 Page 905 the etude

A graceful dance or modern gavotte. Grade 4 INTERMEZZO G. N. BENSON DECEMBER 1929 Page 907 THE ETUDE THE ETUDE In mazurka rhythm. The middle section SWEET DREAMS affords excellent study in double notes. Grade 8| WALTER ROLFE Pa«‘m Allegretto moderato m.m. J=i26 PANSIES FOR THOUGHTS FRANK H. GREY A lovelv drawing:-room piece Grade 3 ^ unpocolarghetto f

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British Copyright secured Copyright 1927 by Theodore Presser Co. DECEMBER 1929 Page 909 THE ETUDE T HE ETUDE Page 908 DECEMBER 1929 PRELUDE ON A HEBREW MELODY An exquisite study in the singing style.Grade 5. HARL McDONALD

Copyright 1926 by Theodore PresserCo. British Copyright secured DECEMBER 1929 Page 915 THE ETUDE OUTSTANDING VOCAL AND INSTRUMENTAL NOVEL! IES NODDIN’ ERROL HAY COLCOCK* TOD B. GALLOWAY Simply

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British Copyright secured Copyright 1929 by Theodore Prefer Co. * With permission of the Author DECEMBER 1929 Page 917 the etude THE ETUDE Refrain Maestoso Page 916 DECEMBER 1929 KING COMETH! largamente J. CHRISTOPHER MARKS MAUDE J. SULLIVAN rs f . Moderato maestoso

Slum-b’ring flocks and drow-sy shep-herds,Watch - ing near a lone-ly hill, Start - led turn as an - gel voic - es

* %is. * Copyright 1928 by Theodore Presser Co. British Copyright secured THE ETUDE DECEMBER 1929 Page 919 Page 918 DECEMBER 1929 WITH MUTED STRINGS the etude WITH MUTED STRINGS AUGUST NOELCK AUGUST NOELCK Popular in all arrangements. SECONDO Moderato M.M. J-= 63

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Copyright 1929 by Theodore Presser Co. DECEMBER Page 921 TEE ETUDE the etude Page 920 DECEMBER 1929 SGt.Full to Reeds MARCH OF THE ACOLYTES GOLDEN MORNING Sw. to Gt. Sw.to Ped. An excellent festival Prelude. H. E HOPKINS, Op. 177 Ped. Bourdon 16' RICHARD J. PITCHER Arr.by E. A. BARRELL, Jr. Con brio m.m. J =

British Copyright secured Copyright 1927 by Theodore Presser Co. Copyright 1929 by Theodore Presser Co. TEE ETUDE DECEMBER 1929 Rage 923 Page 922 DEC UMBER 1929 THE JETJJDE GIPSY SERENADE DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS HARRY C.BANKS Jr. A showy concert number; not too difficult. Alla zingara SANTA CLAUS IS COMING unusual harmonies, tirade *$• BELA VARKONY Allegro strepitoso m.m. J=

British Copyright secured Copyright *1929 by Theodore Presser Avery easy waits, with a good DOLLY’S BIRTHDAY WALTER ROLFE dancing swing. Grade 2. WALTZ

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P <>D.C. r 1 r Copyright 1929 by Theodore Presser Co. British Copyright secured For Educational Study Notes see .Junior Etude Department British Copyright secured Copyright 1927 by Theodore DECEMBER 1929 Page 925 tee etude

TEE ETUDE DOWN IN THE DEEP BLUE SEA Page 924 DECEMBER 1929 THE HORSE RACE

Es:““dr°UndaSai°’ FRotd"m toZr Crowd excited, stand and cry- Each a little more to gain, Play vigorously, with as Jockeys eager so; Hil Hi! Hi! WILLIAM BAINES much Speed as possible. Grade 2. Presto M. M. J = 144

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tSngli FttriFrfrirrff m m Copyright 1923 by Theodore Presser Co. SElUji'tLiS I British Copyright secured A little parade march: four KEEPING TIME steps to the measure. Grade 2. ADAM GEIBEL Tempo diM arcia M 126 . . . . R 1-If 2. 1 i e t: i 4—— ( *):4- p -f- nip *):4 f1 p r-r-yg lu Lrj_j*-: > > > 112. . . 1 fTr > _ Tvn ' Is , Fine t* >. r # U. U- 0L r = TRIO g > IL M / lf2i (j):L4 -|trr=- fffi #1 ,r:~ -| | .»= ^ ' - - ^ II mf />.£

—1—— _ 7 > 4 ty ~ Copyright 1929 by Theodore Presser Co. British Copyright secured DECEMBER 1929 Page 9271 THE ETUDE the ETUDE Page 926 DECEMBER 1929 A SNOWY CHRISTMAS EVE Sducatiokal Study Kotes ok ‘Music For Rhythmic Orchestra ALLENE K. BIXBY IK T3his Etude By Edgar Alden Barrell j Triangle t 2 J_ti- J_t >o few of the did Heb j ejh- i jffH Senta’s Ballad, by Richard Wagner. j-i and the frequent augmented sccojius > -v-\\-m0-#*0 # 0- 9 from the use of the typical scale they have a tempo Allegretto S * * ‘■zx/B “n^s ubre'^s*"6so near the English wojd that ?! 6_*i * * A U A 5*1 * m * Menuet in C, by L. van Beethoven m The’fig climax in C-sharp minor should sound ,nA“™fah thrtl4h0iie— \ee-y S3 forth with full, ringing tone. The descent from more in the mood of the master s writings this peak of emotion is to be gradual, no abrupt Ilf *A Lu during, his Bonn period; it lias the impress ot transition being in order. , „ € The left hand ties are characteristic of Mr. m _ “HannonSlfy.^/s Xostexclusively cbm- McDonald’s style. Love’s Romance, by M. L. Preston. 111 Pla^crispl'y, "with fine tbnal shadings._ Abe You will recall, perhaps, that in, the first sec, tion of Jasmine ondjfighMgalesmg ales, fcfby r.h. r.h. »k ’t x.ewtv.o Cooke, --o— -iana had the same bf playing an under^ me :lody (plus syncopated ileasant sketch by M When Winter Comes— WITH the longest evenings of the year approach¬ ing, plans for indoor recreation and entertain¬ ment fill a larger place in the program of each day. KIMBALL PIANOS and 1 r.h. 1 8 3 5 _—■——1 sem pre J> I J J i J J $ J J j J j_ 4_.L^J_1 J_J—J j J ? i j j 4_:_j_ ' ..j— It is an influence felt especially at the holiday season, and i—tn— tji 4 at the time of Christmas giving. And never did Kimball i—fJ i— i ■ 1— i i > • i i l : 1 l -. pianos show a broader choice than now—or a more ap¬ pealing gracefulness of design—both period and classic- 1 I uprights in many beautiful styles.

cresc. p. Cnlartoa Kimballlahr, ITJnsSbyZ’dZt. f ip *» w. W. KIMBALL COMPANY «5 ® 5 e *5 snue, CHICAGO, U. S. A. * j Mi j nr J_J- JOSEF HOFMANN-EUGEN YSAYE j

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II Starr ^ Attention, Piano Teachers! I KESgf KEYBOARD METRONOMESmmm 1 w This may be used with only Sleigh Bells and Triangle-Glasses of Water, tuned, may be used in place of Triangle 1 ’Sf Copyright 1929 by Theodore Fresser Co. Britiah Qo . M MCUied II DECEMBER 1929 Page * THE ETUDE the etude Page 928 DECEMBER 1929 How rbo Remove Interferences are involuntary in their action. They need musical readings THREE SETS of muscles are con¬ cerned in interference, the muscles only to be let alone to act correctly during of the soft palate, the muscles of tone production. , vocal solos: Now if we have a position of rest tor STRUTH n.KvPWAts . . . (Humorous) the back of the tongue (hyoglossus), the THE SINQER’S ETUDE COUNTIN'5 Daisy (Humorous) these three sets of muscles, then the matter muscular structures known as the false ■ • .Humorous) of tone production must be involuntary. vocal cords or ventricular bands. Edited for December by Interference then is voluntary, while cor- | about The low and forward position of the ™ Next Dook - or> B)r- Turpin turned to the writer to, and end (measure 8) with a perfect When Sidney Smith, blithe and caustic ^luresTou otgSisufrel E*.3Man. of the building in which they are perform- with the remark, “Too fast 1 Far too cadence in the dominant key. The third ing and the audience hears little more than fast!” and added that he had the metro- section (measures 9-12) may contain mod¬ CathedralT'in London,T was approached First ^ a blurred and confused jumble of sounds nome rate at which Bach himself played ulations to the subdominant major and by (Sir) John Goss, the: recently^appointed want ,ong_ supertonic minor keys, while the fourth At an ™ - >, ■ , f f WOrk' This had been handed down organist, who came with a plea that tne ukc a j . Manager of The Girls’ Club section will modulate back to and conclude organ be repaired and more stops added, mg for ano 1 The Curtis Publishing Company England’s greatest'peSormTrs someTorty Rach ffiav^On ‘ Wh° ^ frfquent,y hea^d with a perfect cadence in the tonic key. 1087 Independence Square, Philadelphia, Pa. This procedure is illustrated in the follow¬ company of Dr. E. H. Turpin, himself o half of the pace we were treated to that ing, passage in the key of C major: of the finest organists of his day, and o evening. “If I had my life to live again, I should certainly *”"*£***%£ Another example will now be given of a short improvisation following the con¬ clusion of a hymn. In this example the last four measures of the well-known tune playing and the high musicianship mainZne/T The 1charafter of their “Rockingham” (to the words, When I Sur- W ,0 A, African ,7±ZTZL"UlTTn/V"" f Please mention THE ETUDE when addreeeing our advertisers organ world /“-William C. Carl. ° * enviable place in the DECEMBER 1929 Page 988 fUE ETUDE TEE ETUDE Page 982 DECEMBER 1929 Bands and Orchestras “All of My Boys Organ, and Qhoir Questions Answered (Continued from page 893) Use Bueschers” of unusual interest that Muhlfeld was a distinguished clarinetist, Pierne, Verhey, (Eltotrmastrr’H (Sutfo By Henry S. Fry So writes a teacher of violinist who saw more possibilities of mu- Gilhaud, Baussnern, Honegger and btra- Former President of the National Association of Organists, Music—Al Hollander of ' FOR THE MONTH OF FEBRUARY, 1930 Dean of the Pennsylvania Chapter of the A. G. O. sical expression in the clarinet and took up vinsky. In our own coun ty . . . York, Pa. He says: the study of that instrument accordingly. Hill has published a sona a, an “When the Buescher Saxo¬ Ho question will be answered in THE ETUDE unless accompanied h the full name His beautiful playing with the Meiningen Gregory Mason has pro uce a s phone was taken from the and address of the inquirer. Only initials, or pseudonym given, will be published. rase the first time, every key orchestra, of which he was assistant con- a trio for clarinet, flute and piano, responded perfectly without MORNING SERVICE EVENING SERVICE ductor, delighted Brahms on more than one any adjustment whatsoever. occasion, and in 1891 the composer became 'fhe Individual Instrument This makes my fourth Bues; ed to take up Q. I have studied piano for seven, years. PRELUDE oral people have so interested that he asked for a private IT comes to intrinsic tonal Organ: A Breath of Lavender, ij of organ with They had riot church organ for three and theater organ for Preston-Barrell /pinion) had 'sufficient training in two. I had intended, to take up theater or- recital, at which Muhlfeld performed he W^itieJ and expressiveness there I refused to teach them. Was this gan playing as a profession, but. due to the ANTHEMS the correct thing to dot—-C. H. W. inroad made by the Yitaphone, Movietone, and principal works for the instrument and 9 comparison of the clarinet with Increase Blessing . (a) Blessed be God.Thompson A. If Is undoubtedly a great advantage it other systems, the future of the theater organist plained its peculiarities. W thin a few flute> bassoQn or horn. Perhaps, (b) The Lord is My Shepherd. .e (b) Great Jehovah, King of prospective organ student is equipped witn looks very dark. In regard to the. three Glory .Lee months Brahms had completed the t it is fair t0 say that none of these Your Income_ OFFERTORY facile piano technic. A flat refusal to teach uaJ tp—ea jer organ„ speciflcatioi. published in O Love that Wilt not Let Me OFFERTORY _ so equipped m„„„ not always be ad- iugust, 1928, Etude, will you give me for dar.net, cello and piano, and the: qum- n^eve ’ h first named in variety of Young people everywhere want to learn to Jesus, Lover of My Soul.Hope visable. The .. should be discussed me approximate cost of such an organ? tet. Three years later he produced the two latter equal ii c nge 0f play a Saxophone. You can easily increase (T. solo) frankly,___ and tl applicant advised to take a preparatory piano course. If the prospective If an organ of that size were to be placed sonatas Opus 120 among thebrt md ^m^B^that as it may, the clarinet has, your income playing and teaching a POSTLUDE student for some reason wishes to begin or- in an ojwn room, not a church nor theater finest of his chamber pieces. The more voiu . M , . steadily re¬ Organ: Trio in G.Mozart-Hamilton itudy what should the dimensions of the room be and o t the s; to allow for full organt—R. C. F. familiar they become, the more firmly will recognition from composers It is, ..._„_.f course, possible t. ‘ ~~ advised by the builder who they root themselves in the affection of Mozart produced four concertos PRELUDE amount of technic by workli - - furnished t ...._specification that.. the price of Christinas Gift Organ: Prayer .Armstrong the organ, but the ' technical, prepara- such an instrument would 1.. lovers of music.” Thoroughly son^ul f* h*rn forPflute (an instrument in tion is preferable. ' twenty- ANTHEMS ANTHEMS five thousand dollars, depending s< without a superfluous note to mar the me- ’. ., , . j j:ttje interest), True Tbne Saxophone (a) Lead Me, O Lord.Harris (a) Praise the Lord, O My Soul, iustalTaHoru* the Instrument would be brings You Iodic utterance both works “are pervaded (b) Glory Ye in His Holy Name, n be bui Baines (b) Thy Will be Done.Ruebush / am having difficulty in 1. .. -,,.- ’and up t. e thousand with a warmth and glow as of sunset one Jor for horn are all au'Sy.;aBj,T™u!l”&s‘s5 rssffi OFFERTORY my part of the church service along the lines people : gives you all these features: God Heareth Me.Dichmont OFFERTORY of the organist who preceded me. One of my either p Popularity (S. solo) Alone with Jesus.Forman problems is the modulation from the hymn _ ^I^was said of Muhlfeld who died in 1907 too (A. solo) used at the beginning of the service into the THOUSANDS will that no one could get moremeanmg ou of areP about as uncommon, while in POSTLUDE fB^HOUSANDS will Organ: Hymn of Triumph.Harris be established through the introduction of i JLI start toward mu¬mu- IMVI a musI,cal Phrase and that m recent years even the flute has received own dominant." Rather than fust play t complaint is that i. sical success on Conns~ ] music his performance was a perfect model recent yea attention from com- |SH of what musical interpretation should be.” compara ivel;y l.ttle attent^‘^,7“ J the PRELUDE V chord or the Y! I wish to know how I a this Christmas.The one | Organ: Chromatic Chorale.. .Armstrong compose about two measures or a phrase tt It is possible to attach an e; gift that brings you fun _ jadulating. Another of my prob¬ r to a reed organ. We would si Th, friwidship of Brahms was as SS 1* ANTHEMS lems is the accompanying of the soloist—the getting in communication with a (a) O Praise the Lord of Heaven ANTHEMS proper combinations to use. I suppose a defi¬ factory, a very prominent one iisscSances tomaiaLtra monq.. Joia a band 7" “ Zd?rapid, and it maintain, its pl.t, of (Adoration) .Borowski (a) Thou art, O God, the Life and nite registration cannot be suggested for use or orchestra. It's easy. Anyone who can whistle c me he fragged himself to h « prominence in the twentieth century. Among (b) God is Love.Hosmer Light .Host with different voices, that it depends on the a tune can learn quickly. Wete, Quintette which had been P formances” for 1928 is that (b) God, Be in My Head.Colb’. quality of the voice and the character of the OFFERTORY piece. Am enclosing the specification of our n fifteen % Easy to Play Plac?d on'the pr0gram at BrahmS g of a quintet for clarinet and strings by Bend Low, Dear Lord.Ruebush OFFERTORY organ. Will you suggest a combination for (S. sold) accompaniment?—M. M. S. ... play ..... A. To compose the modulating phrase im¬ pieces. I am at. .. POSTLUDE plies a knowledge of harmonic progressions choirs. I always pick out slow and ssrw «<««* Organ: Allegretto .Commette sufficient to produce a smooth transition from music 'f -*■-*• -’fee, but feel I enuose.choose. CUUUConn iirnrvwmakesj themc,...... «...all. --Amf Coaos- - - and gave M, opinion “ Wm'S prStoS^. one key to another, the question of the rein- be able > play lively music at easiest of all to play. Choice of Sousa and the tion of the keys entering into the progression please e, ■e me a list of pieces hi&r. world's greatest artists. Especially recommended public utterance for the benefit of those MoreoPyer; their associa- ’Trial PRELUDE of the passage. We quote an illustration of tert„ A good /.. .. — ... Organ: Idylle .Overholt a short modulation introducing the dominant there anany future Jor me in this field.’ to beginners for quick progress. Easiest to blow, of the new key—from B flat major ' " —F. L. D. Easiest to finger. Easiest to play in perfect tune. In Your Own Home ANTHEMS A. You might try the following pieces: The result of more than 50 years’ experience (a) Saviour, Again to Thy Dear ANTHEMS Schcrzoso, by Rogers: Kchcrzoso, by Wood¬ Name .Ambrose (a) O Jesus, Thou art Standing.Barrell man; Hosannah, by Dubois; Kxsnltcmns, by and patented processes of manufacture exclu- (b) The Splendors of Thy Glory, (b) Softly Now the Light of Kinder; Festival. Prelude on Kin ’l este Berg. sive with Conn — the : obligation to keep it. Lord .Lutkin Day .Stults by Faulkes; Festivity, by Jenkins; Grand |H world’s largest maker. decide to keep it, you may pay Choeur, by Rogers: Jubilate lien, by Silver. . by easy payments. OFFERTORY OFFERTORY If you are preparing your work accurately PS Conn sets the pace for ■id“ ,S\,7,“g)Tll«inSea5Ufe ril.l'1tT".™S'torft0coCSle of . ... the coupon below with your I Would Love Thee.Marks and carefully you are making good progress. progress in band and name and the instrument.you would (Duet for S. and A.) (Duet for S. and T.) V“’| --play with ease leads u orchestra instruments. POSTLUDE POSTLUDE husT S'r, Zemlin- and as a soloist with orchestral accompam- Organ: Moonlight on the Lake...Marks Improvements that Cost No More Rhythm must also be considered. The fol¬ Practically all the important improvements sky, Rebikoff, Busoni whose father was a ment Buescher Band Instrument Co. lowing books might be of service to you in tions I find something like 2954 Buescher Block Elkhart, Indiana this connection: “Scheme Modulations" bv wind; Choir organ i made in this field have been produced by Aucis, “Practical Modulation” by Christian- .... ,, . ... Conn. And Conn’s research and experimental sen, “Tables of the 24 Major and Minor Keys, inch wind’’ meant lias this com, into usage -BUESCHER-B- iVloduiation Classified" by Cornell, in the past year? How man,/pipes arc there laboratories are constantly at work on still Modulation” by Higgs, “Modulation" by in a rank? What is the main lid, -nice be- further refinements. So that the latest model ^3he Lure of Japanese Music Foote, and Palmer’s “Book of Interludes," tween a mixture and a rini.., S Is the Conn always gives you the best instrument or VERMOND KNAUSS which includes modulations. As you suggest,-- considered the best ornan built * (Continued from page 888) we cannot, specify a definite registration for Is the direct electric action of the ■ the type that it’s possible to secure. Yet with all SCHOOL OF ORGAN PLAYING -panying. a soloist, the. registration de- organ considered good f Is the_- their exclusive features 210 North Seventh St. Allentown, Penna. pending on the character of the accompani¬ G e.-ist you no more MHj Belonging to .he second class of drum, ».™k with J.dded stick, and gives on. a ment, the voice, and so forth. We suggest tentative s designing an organ t. than other so-called . Address.„ j. ^ - - ■ that you might find it useful to adapt some be place,. are the large da-daikos used cmly at great °T“’ °“ ’has tbe shape of a recumbent f your registrations for organ* solos ti —s_ future, standard make. Quanti- sages of similar character in your accompani- of about tei. ty production makes id CONCERT: Catalogue E2 ments, using such stops as Clarinet, French is to be a u «»■> ^ such value possible. Vou, too! Horn and Clarabella for solo effects appear- to be compl rice powder and hung in a frame, and the sticks. proportion all the good qualltieE The waniguchi or “gilt shark’s mouth distinguish the larger installments. stops specially since they a; FREE TRIAL, Easy Payments kakku or small “barbarian drum’’ is sup¬ Join ^ utmost care Is given to orga ttlng for a Episcopal found at Japanese shrines. DEL CASTILLO ORGAN SCHOOL Any Conn instrument sent for free trial in your posed to hail from Tibet through China. The Band as they extend In registration they State Theatre Building - Boston, Mass. specification for an ..... _ . own home. Easy payments if you wish. Cymbals are called fee do-byoshi and are the like excellency. Even greater pt the June issue of “The Diapason." Approx In the third class of drums comes fee - ’ -~in temples and tlonate Impression has been ma. mutely, how muc’■ -- - ■ Write for ---.FREE BOOK n son-no-tsusumi, a drum which is played by popular at festivals or and times with Instruments of smaller f Theatre - Hotel - Broadcasting Could the entire Church - Concert - Residence sopiest I am experimenting c » be bought with about Write now for interesting booklet illustra- ^ used for Corean music. Then thea£ers* _ Orchestra \b Limited Free Practice half the stops installed, and" 1 ting latest models in colors. Tells everything ^ _Thf» wo* e wooden “bones,” and [aiAUSTIN ORGAN“col merit and would like to purchase some ma¬ pared fort—J. L. there is the ko-tsueumi which resembles The hyoshgt pUN-insli Practice periods available for non-students. Write terial,—E. L. p. A. The words “6-inch “12-inch tablet of wooden clap- Woodland St. Hartford,I, Conn. 1 fnr infnrmatinn anrl Innlrlat A. The A. Gottfried Company, Erie Penn¬ fee Indian hour-glass or monkey-drum the byakusht is wind” indicate that the ...... pers. sylvania : Pittsburgh Organ Parts Company der the winds specified are supplied with the which is held on the shoulder and is m i * 1012 Forbes Street, Pittsburgh, Pennsylviii wind pressures named. These wind pres¬ The yotsudake, or “four bamboos,’ are ma; Durst, Boegle and Company, 32nd 1 sures are usually found by using a pressure great favor for use in No-dances. SEND FOR OUR llazel Streets, Erie, ■■---- - ^ ■ - used in theaters and by beggars; the sum Thermatic Catalog of Easy Piano Pieces, Grades lto3. Contains Excerpts of over 200 and Schopp, Alliance, gauge or manometer into which water is are the rattles used by temple dancing- Waynesboro, Virginia. poured. An illustration of such a gauge ap¬ attractive compositions that will be of value to the piano teacher in early grade work. pears on page 540 in the July, 1926, Etude. The Great Kei Gong girls. A&missmn of air to the gauge forces the wa¬ THEODORE PRESSER CO., 1712-14 CHESTNUT STREET, PHILA., PA. Q. I have taken a full cc The f urine are fee lovely wind-hells feat organ playing and have had a it7 ) tube, and the difference between THERE ARE many kinds of gongs in playing pictures. Now i. of,the two surfaces of water is meas- hung on poles or frames and struck hang at fee edge of temple roofs. I have reserved the trumpets or pressu?e?“CheS< lh° rPS,llt in,UcntinB th<“ wind wife padded sticks or with bamboo. theaters have music rcproducii •Vlda,le-7: in his hook, “Organ Stops and not BALDONI, BARTOLI & CO. it so all over the country* Do you th their Artistic Registration,” gives the fol- WORLD’S LARGEST ‘fheTciTs a large tempk gong whichjs brass until the last, as they ----- Est. 1876 there is any chance for a' beginner to lowing description of ripicno: Italian, “the MANUFACTURERSwiViirrtrTlinPOC of ^aUy.. placed at the right side of a temple popular^ Japan, _-and therev : only 60 MULBERRY ST. started? How can a player get experience n..n.. used by Italian organ builders to des- Dept. 9 —New York qualify him. to play feature solos? Would 1 three that are commonly known. Jhe .5nw“tnre- As the term rcpleno sig- - The best accordion the suggest my taking up the church organ1 _ ,mlinS up.” It is appropriately ap- =BANDJNSTRL'MEN_TS_ “ cum- raprafipa pa ISis a brassurass bugle;uugic, theiul dokuku is «a —M. C. W. Plied w « , A. We presume the conditions you name slop nf the apply generally, though of course many thea- four, and fii ranks are respectively labeled copp“ “d po“ ter organs are still in use. We would sug- ripieno di d ripieno di tri, ripieno di qua- 3 t?p^ben is^porcelain “goose-egg” gong many instruments, it is only to point out gest your practicing feature solos until you tro and ripicno " cinque." In a new organ Engravers are well qualified, and then making an effort to be installed in Nei . city tlu, rjvien0 ith six Pierced holes. It resembles fee feat Japan does not lack numbers, f AND to get in touch with theaters where they i» quoted as ten ranks' 305 nines' wlin * \ . 4.1. 1_ e>4-i*iir»1/‘ nnH rate. While they are all mediums of ex¬ Kef 1 might be interested in your work. This 1m- it includes a 5-rank mixture with’me auui- ocarina, although the ken * addi- pression, except for the instruments of per- r Answering Etude Adver- ' Lithographers mcntse™T Ti1"1™' f*0D of Diapason pipes already included in M fr U Write lo us about anything in this line not„ blown. „ 1 „otlg cussion, I cannot say very much in favor tisements always pays neU„tie?halrg thlS U"eV °ne °f^ “«&" PlP^ toTohntr„nkC ^ iDClUdeS 61 The ;’! ,1S, a p ' of fee tone-qualities of these instruments. „ r , SEND FOR ITEMIZED PRICE LIST nSi* f thcatei organ schools they might bo We, of course, cannot answer ouestions por- I struck with bamboo sticks. , and delights the Reader. . The Music Supplement of this Magazine is Printed by Us (To be continued in January) spti?oua re- up and their sys- The moku-gyo or wooden-fish church nmn in this_ way you would be We do not approve of a completely unified MAIL THIS COUPON Ii the higher ideals of art and life. 6 mention THE ETUDE when addressing o *nes- (Continued art Page 9)2) TEE ETUDE DECEMBER 1929 Page 985 Page 98* DECEMBER 1939 the etude w, Haying revealed the scholarly musician, what nervous as a violin performer and, Fritz Kreisler it impressed me as having more of the to me, overly fastidious in his teaching, letter than the spirit. Having a splendid besieging students with petty details, he technic, he avoided, however, the mere ex¬ nevertheless stamped his fine musical un¬ buys and uses Concert THE VIOLINIST’S ETUDE ploitation of it. The more emotional side derstanding upon his students, and this is of his nature rarely asserted itself but the main thing, after all. For .it is what Edited by found a more natural outlet in his teaching. they will carry away with them and hand Master Violin Strings He left many notable students as a me¬ down to others. ROBERT BRAIME morial to his long career in this capacity. Like Max Bendix, Arthur Hartmann, Why Max Bendix, another great artist after his numerous concert tours abroad associated with the Thomas Orchestra and and in this country seems, like the Arabs Leading artists in this country endorse the founder qf his own quartet, should have of old, to have taken his tent and stolen dropped out of the violin world is mysti¬ away from the concert field to other pur¬ The Concert Master as the finest violin fying. Here was another musician of the suits more congenial to his taste. Mr. string which the world has everproduced. Kneisel order who enraptured his hearers Hartmann has been active in quartet play¬ Two factors have given The Concert with his commanding style, lovely tone, ing, notably at the Eastman School of •Master this reputation: material and and sound playing, but whose violimstic Music. I heard him play only once, when Holding the Fingers Down workmanship. The freshest and finest career came to a close before he could he presented some of his own transcrip¬ sheep gut from Armour’s vast supplies The study is written in chords which are thoroughly identify himself with our musi- tions. It was a performance of the rarest One of the most difficult things in teach¬ At the same time the passage is much should see that these dashes are faithfully artistry and I have never heard playing is selected. This is put through marvel¬ ing the violin is to get students to under¬ observed and the fingers held down for then to be played in arpeggio form, with more apt to be played accurately in tune Ca Charles Martin Loeffler, through his that surpassed it for artistic finish, lovely ous machines, exclusive with Armour. stand the importance of keeping the fingers their duration. Once the habit of keeping many different bowings. It should be if the fingers are held down. (Try it and many sterling works in the field of com¬ tonal quality, and a refined delicate touch, pressed down on the strings, as they are the fingers down is established, the pupil practiced first in chord form which will So accurate are these operations that position. has contributed greatly to our always used in subordination to a thor¬ used, until it is necessary to move them. will instinctively apply the principles in¬ necessitate keeping the fingers down and no string, from end to end, varies more The finger that is held on the string growth and expansion. We are also deep¬ oughly sound musical sense. His many Take the following passage, for instance: volved, so that he will play music, even thus form correct habits for arpeggio anchors the hand to the position, so to ly indebted to the late Mr. Eugene Gruen- masterly transcriptions have alone added than one-sixth the thickness of a human speak. If all fingers were removed as where no dashes are marked, in the proper playing. berg’s many contributions of a technical greatly to our growing list, supplying the hair. As a result, each string is wonder¬ soon as used violin playing would be a manner. In making extensions it is of great im¬ nature. Both men, because of their addi¬ violinist with a greater wealth of musical very wild and uncertain affair. The holding down of the fingers is espe¬ portance to hold the finger or fingers down fully smooth and absolutely true to tone. tional solid standing as pedagogues, have substance from various sources. The passage as given in Ex. 1, done on cially important in playing arpeggios, al¬ just preceding the extension. In fact, if There’s a rich, new musical experience done much to give Boston its unique place In no other way can the American assist each string, is excellent for the student to though we find many students constantly this is not done faulty intonation is almost awaiting you at your dealer’s. Try a set and high standing as an art center. to greater extent in our growth. Too long If this is played on the piano, each finger practice constantly during the first year of breaking this rule. It need hardly be said sure to result. In the following passage has the literature for violin in smaller on your own violin. must be raised after the key is struck violin playing. The teacher should ex¬ that no more absurd mistake is possible in from a study by Mazas the 1st and 3rd forms consisted of such twaddle as Sara- We have recently published an inter¬ while the next finger is pressing its key. plain that the purpose of it is to gain a violin playing. Arpeggio is the production fingers must be held firmly on the string Stars of the First Magnitude sate’s Caprice Basque, also empty stuff in For, if one should keep each piano key better control of finger lifting and depress¬ of notes of a chord in rapid succession while the fourth finger is extended to E NOW come to four more lu¬ esting booklet, “30 Prominent Violin¬ W much of the work of Paganini, Vieux¬ pressed down, the tone of each note would ing and should see that the pupil holds instead of simultaneously. For instance, make the note E. They will then be in minaries: Theodore Spiering, Ar¬ ists Write a Book.” Have us send you temps and even Wieniawski. It has taken continue to sound, making a series of dis¬ down all the fingers as long as they do we have the arpeggio of the common chord place for the latter part of the passage. thur Hartmann, David Mannes, and Albert a copy. Armour and Company, Dept. cords and, by the time one had reached the not interfere with the notes being played. of A major, as follows: The first finger stays down throughout the years to outgrow the influence of such fire¬ Spalding. §2 E-12, Chicago, Illinois. top note, the first five notes would all be This is an excellent introduction to scale entire passage. I am tempted to hold in the same mental works. We still associate the violinist sounding at once. For this reason only study and fixes in the pupil the correct picture Spiering and Kneisel. Both had with them, expecting the usual run of one key at a time must be kept down in habit of keeping the fingers on the string orchestral experience, were founders of tricks, but it also apparent, in the growing playing this passage on the piano. as he plays up the scale. Schradiecks’ quartets and became eminent teachers. life of the nation, how this music is grad¬ In the violin the very opposite is true, “Violin Technics, Book 1,” is an excellent Spiering mainly appeared in the role of ually losing its foothold, with our numer¬ for each finger must be kept pressed tightly work for fixing the habit of keeping the Beginners and self-taught violinists so conductor of various orchestras. He was, ous transcriptions slowly but surely chok¬ on the string as each successive note is fingers down. In playing it, all the fingers needed are often neglect this principle of keeping the above all, the profound musician. Some¬ ing it out piayed, until, as A (the top note) is In some passages two or more fingers placed firmly on the strings at the be¬ fingers down wherever necessary that they reached, all the fingers will be pressing the are held down as shown in the following ginning of the passage and not a finger often even make the absurd mistake of al¬ string to the fingerboard. passage from Hubert Ries’ “Violin lifted during the sounding of the eight ternately raising two fingers in producing s individual circumstances, m\ ]carned are not ailowed to be for- what shouldchmilH h*»be tli#»the lengthIpnorfh ofnf his dailvdaily prac¬nrac- often As Mine tice—insisting that this practice, to be ef- (13) From these latter will thus bridge so that the feet lie opposite to these. When Fiddlers Stri\e Up In Manitoba The sound-post is placed from an eighth to a To The Etude quarter of an inch back of the right foot of There have _j several articles in The the bridge. The exact spot, that at which the jutudej m cue past few months concerning best tone may be produced, can be found only “old-time fiddling” and vamping or chordmg. by experimenting. 4. No special kind of a (2) Divide There is a great deal of that done in this bridge is required for playing double stops. country (Manitoba, Canada), especially m Only one kind of bridge is required for time-table fashion, placing tear-Long Gjf^ the rural districts where the dauces are held violin playing of all kinds, but it is a great tables at the beginning of his notebooks. b k £ 'eac l upil must> at the end of the in the farm houses. It was a new Kind or a Day music to mo when I first came here from (3) Have the pupil keep a notebook, “°r mentionPtL titles of about ten of Boston. You cannot imagine how it amused Bull, played with a rather flat bridge, that is, planned as the teacher may direct, in which ^ one of which the pupil should me or how crude it seemed, but I like it one without a very distinct arch. This mas¬ just the same. , , „ „ ter was very fond of playing compositions shall be mentioned the music studied in b w to , at the discretion of an ex- There are some excellent players among the containing much three and four part chord the course of a year and the dates when be- t0 P y .fiddlers.” Some of them c work, and the slightly arched bridge faeili- MAGAZINE/ gun and completed—these last details being Always. bear in mind that the pupil must S “ added by the teacher. This notebook is be WQn over t0 the cause 0f music.

(4) Be careful to lead the pupil into °ess of the pupil>s WOrk. two types of study whose parallel use best -p0 forget that for beginners the assures rapid progress—that is to say, stud of musiC) jts complicated rules, and for general improvement, the study of the difficulties involved in the first con-

training and to the talents and knowledge lutel^incomprehensTirif you do not take

details, the study of works (sight-reading, stor;e P attractive examples or similes, the especially) of a degree of difficulty well abstra’t subject which the study of the ele- within the pupil’s caPabihties.^n^ ^ ^ ments of music and piano playing repre-

tmn'of'the classics7 (6) Ask the pupil which piece he would erences> nor any lack of interest. Every VS ffifJSIS

^“,lTt£wXuta?te9Uatily PrOKCted by ,,K T-C'U- TEST QUESTTO.... minimum CORTOT’S ARTICLE of time exoended_tnrougn me means of 1. What arc three points in meas S^CcHEuRSb^SUALTY UNDEi5„WXEn^. intelligent application, that is to say. the pupil’s ability? nn? For memory practice who e use- 2. What three subdivisions, shou fulness is here envisaged from the purely impressed on the pupil in outlining o

9T i^JoutUne of the thin9s

of repetition oTfc fingS- ‘How shainC'pupil’s note-bo,

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FINANCIAL AID Advanced students may help defray expenses by teaching in our 35 Chicago Neighborhood Branches, Master Discs Mack Institute, Cralton Sta., EM-29, Pittsburgh, Pa. upon completing special courses t~ (Continued from page ,888) onera and sent it to his librettist, Piave. tor disc 9400. They are sung by the That his creative genius and energy were Royal Chorus of London and excellently then at their height is proven by the fact recorded. that he composed both “II Trovatore” and ^ Recording “La Traviata at e same ETOR THOSE who like violin record- N. G. S. H. M. V. ODEON r ings we wish to recommend Georges COLUMBIA REGAL Wagner Anas Enesco’s perfect performance of “Folies POLYDOR FONOTIP1A ADD{g£!£J ICHARD CROOKS, the American d,Espagne» by Arcangelo Corelli, the R HOMOCORD PARLOPHON tenor, stepping out of the popular nQted geventeenth Century violinist, whose song category for a change, records the musjc js conciSe and lucid in form and aris- Imported Phonograph Pri~e Lied from “Die Meistersinger” and tocrat;c ;n ;ts charming simplicity (Co- the"Narrative from “Lohengrin,” Victor lumb;ai No. 50161 D). Yelly d’Aranyi, RECORDS Send Orders ‘Directly to disc No. 7105. Both are sung with fine ar- one Qf tbe foremost living women violin- tistry and an especially fine diction. Two ;stS) brings to our attention an attractive important operatic discs of definite interest composition called “Silhouette” by A. H. ROYER SMITH CO. “THE WORLD’S RECORD SHOP” The Etude Music Magazine J tbp proioaue from “Boris Godounov,” Walter Kramer, the American composer, 10th and Walnut St., Phila 1712-14 CHESTNUT ST., PHILA., PA. /A Victor disc 9399, and the Opening Chorus coupling it with an Andante Cantabile from the Coronation scene coupled with froma violin concerto by the Polonaise from the same opera, Vic- bia No. bUldflU. DECEMBER 1929 Page 939 the etude THE ETUDE Page 938 DECEMBER 1929 “T5he ‘Path of Glory” At Last By H. Edmond Elverson Were a census of the world to be taken, An engagement at nine hundred dollars A STANDARD TEXT for for the purpose of learning the identity of for the first year; a debut as Asucena in the musical artist, whose name—for com¬ “II Trovatore”; one performance in the bined popularity, admiration and affection, part, and then a wise but depressing fiat together with appreciation of superb that only small parts must be undertaken, CLASS TEACHING CHICAGO achievements—should “lead all the rest,” in order that the young voice should be that one doubtless would be Ernestine saved. Followed years of struggle with Schumann-Heink. poverty, struggle in the smaller opera THE YOUNG STUDENTS PIANO COURSE Listen to a part of her simple, candid houses of Germany, with restriction to tale of her own life. mostly minor roles. One day it was Kati- “I am a soldier’s daughter, the child of sha in “The Mikado”; the next, Fides in Edited by an Austrian army officer. My mother’s “Le Prophete.” One day it might be to Dr. Charles K Boyd, Miss Mary Macnair (L. R. A. M.), MUSICAL name was Charlotte Goldman; and my hand thumb and little finger seem to be very dance in the ballet; the next, to portray weak. I am also apt to miss some of the and Dr. Will Earhart father’s name was Hans—Hans Roessler.” the towering Amncris in “Aida.” Twenty bass notes in left hand when playing fast. In the Yalse Alsacienne, by Joseph Hol¬ Came the vicissitudes of war. The father years* of unflagging struggle in the fining leru “rultv" arid has decided to learn scales brooke, Op. hi No. 10, the first measure con¬ was transferred to a distant post, and the fires of the laboratory from which comes nl over again, is it best to learn them all sists of a run from g1 to g- in the right together—that is take a standard book of hand, the same as a G major scale, and I Student’s Book, 50 cents mother left to send the little “Tini” to the “gem of purest ray serene,” the artist scales and go through them all once each cannot seem to get it clear enough. Also in Teacher’s Manual, price to be announced school with “a big bottle of black coffee complete. Then the Royal Opera of Berlin, day? Or is it best to take a few at a timet measure 22 I miss playing the double notes I ask because I once knew them all quite in right hand. 2. I am learning “March of COLLEGE and a piece of dry, black bread” for lunch. the Metropolitan of New York, epic Wag¬ well- a beginner would naturally take one the Dwarf8” by Grieg. In the eleventh and Then time moved tardily while she, at long nerian roles, concerts on far-flung shores, or two at a time.—H. A., North Conway, New following measures I do not seem able to get 64th Year (Nationally Accredited) Hampshire. the accents in the right harCd; the same diffi¬ The aim of this Course is to teach children to play the piano without intervals, received gratuitous vocal train¬ a World War with “Mother” Schumann- A. Study the scales one by one, making culty occurs again several times. Will you ing from the opera singing daughter of an destroying their love for music; consequently nothingerdS Heink singing in the camps of the comrades each one perfect before going on to the next. officer; then sang the contralto solo of Bee¬ Practice them slowly and you will soon have material except pieces, as distinguished from and technical exercises. of three of her own boys, the crowning of them again as good as ever, perhaps better. thoven’s “Ninth Symphony,” for the munifi¬ Never practice scales or other technical work _ S^rtoWngs the musical quality Sf^feffei 5 RUDOLPH GANZ, Director a great career, the advent of the world’s cent honorarium of six dollars. rapidly, until you can play them perfectly g guarded, and the addition of a teacher s part ennches the ettect o best beloved of singers. at a moderate pace; then increase the speed i Her little teacher, Marietta von Leclair, the pupil’s melody. In the First Book sixty folksongs are provided, That many, though different, of such like Columbus to his men, still commanded, correct in the second movement of the making the advance in difficulty almost imperceptible. inspiring lives may be placed before our Marcht Is the Ct played by itself, or with “Sail on!” Then came Levi, a little Jew, the d-J treble chord?—E. B., North Island, a singer’s agent, who had heard the “buzz¬ readers, we are each month presenting a New Zealand. fresh group in our “New Etude Gallery of Catena ad libitum A. Help you? With the greatest pleas¬ FIRST SEMESTER NOW IN SESSION ings” of the Vienna opera house, about ure. In order to do so, it is necessary to Send for sample copy of the STUDENT’S BOOK the young girl with the contralto voice. He Musical Celebrities.” Earlier issues of judge your work from your own critical de¬ scription. What you really need is careful brought an offer from the Dresden Royal these, which perchance have been missed, study and slow practice of finger technic. It Opera to pay her expenses in order that may be had by correspondence with the is the old story : “One must walk before one SECOND SEMESTER OPENS FEB. 3, 1930 can fun.” This is more applicable to in¬ OLIVER DITSON COMPANY she might be heard. publisher. strumental music than to any other subject. 1. You miss some bass notes “in left hand when playing fast.” You miss the double 179 Tremont St., Boston ' 10 East 34th St., New York Romance of the (Christmas Qarol notes In right-hand; the right-hand run you cannot get clear. There is no doubt that marleUato you are very fond of music and of the right try your music store first (Continued from page 880) kind, but your “vaulting ambition, which Staff of 125 teachers of world-wide reputation. Private The Cadenza ad libitum is what puzzles me, o’erleaps itself,” as Shakespeare says, must St. Nicholas for a figurehead and who Martha Washington held her first pub¬ in “A.” In' “BA should the notes in the be kept within the bounds of your technical right hand and the left hand be played proficiency. Therefore let me advise you to lessons only or courses leading to Teachers’ Certificates, made him patron Saint of Manhattan Is¬ lic reception in the White House, on ■together or separately? Thank you very acquire greater finger dexterity and certainty land, now New York City. Thanks to much.—(i. A. R., San Jose, California. Christmas Eve. At Yuletide, a few years A. The direction Cadenza ad libitum indi¬ by your study of Czerny and Philipp. But Graduation, Bachelor and Master Degrees in Piano, Voice, these sturdy old Dutchmen with unpro¬ bear in mind to practice slowly, increasing later, in 1799, the country mourned the cates that you are required to extemporize a in speed only as you increase m ease ana nounceable names who brought to us so cadenza in' keeping with the spirit of the Violin, Cello, Church Organ, Movie Organ, Theory, Public death of its beloved “father.” rhapsody, one which will show off any bril¬ sureness of execution. 2. It is probable that many delightful customs of Holiday ob¬ vou have not observed the fingering of all The Ideal In Lincoln’s time, two proclamations liance of technic of which you are capable, those five-finger passages. They are not diffi¬ servance 1 it should not occupy more than eight “>eas- School Music, Dramatic Art and Expression. Toe, Ballet, were issued at Yuletide, one freeing the cult provided you play them all alike, that According to the late Laurence Hutton, slaves, the other “An unconditional pardon Christmas Gift Interpretative and Classical Dancing, School of Opera, all our carols seem to have come from the is: 1-2-3-4-5 and 5-4-3-2-i, every time the to all” concerned in the late insurrection; afte/1 the Ttes Me*iSP^aSHM^ run occurs, in either hand. The last note of Holy Land itself, our Christmas trees by marked, hammered out, with a steady cre¬ each little group is to he played staccato by Orchestral Instruments, Chautauqua, Lyceum, Concert way of Germany, our Santa Claus from this was issued on December 25, 1868. scendo to the climax. raising the hand ; then lowering it again will cause you to accent the first note of the next for Your Holland, our stockings hung in chimneys America can claim as its own these fa¬ and Languages. Use of Pedal In B-flat Minor Nocturne group. The passage you quote from the from France and Belgium, and our Christ¬ miliar and loved carols: March of the Dwarfs is quite correct. The (CUopiiii. the second phrase half notes are to be sustained throughout each mas cards, yule-logs, plum puddings and "We Three Kings of Orient are” in measure .3 of the B flat minor Nocturne measure: these four measures are in the Musical Friends mince pies from England. Turkey and "O Little Town of Bethlehem” of Chopin is not marked as to how the pedal musette or bagpipe style. The C# of the pumpkin pie seem to be our chief Ameri¬ "It Came upon the Midnight Clear” is to be usedt Does it mean that no pedal melody is a passing-note and the CJf of the is used in this phrase, or that it is used asm fourth measure is what is known as a snap A Subscription to can contributions. There are others not quite so weli known the preceding phraser In measure 21 there in Scotch music. Please ask again. De¬ is no pedal' marking at all. I understand lighted to help you. Christmas has rich associations in our but also interesting. Carry It On is a that the pedal is to be us id according to tne national history. The Two Harts (“Les Denx Alou- Endowment Fund Available for Christmas song of a Dakota tribe of harmony. Thank you.—E. D., New xorK ettes”)» Lesclietizky. On Christmas night of 1776, Washington American Indians. Rise Up, Shepherds, A. In the copy before me, edited by Ra- 0 Will you please tell me the correct The Etude Music Magazine crossed the Delaware and succeeded in and Follow is an American Negro song; fael Joseffy, the pedal is marked throughout way to play the opening measures of Les Financial Aid to Worthy and capturing the Hessians after their revelry in a very scholarly and musicianly mariner, Deux Alouettes, by Leschetizky t I have Only §2.00 a Year ♦ and Christ Was Born in Bethlehem is a lot mo ofi-Antrlir pw*nmmpnd VOU to got tnis Zafd The six sixteenth notes played, much —which Frederick the Great considered carol from the Kentucky mountain dis¬ more slowly than the rest, also in correct edition. ixoiice ,- ERE is a gift that you can order now to delight your musical the greatest strategic feat in history. tricts. in measures 13—18, which indicate exactly time. The same applies to the groups of H Talented Students at All Times sixteenths in measures 51 and st. About friends the whole year through—a gift that involves little where to raise the pedal and, most particu¬ what metronome speed is correct for the larly. measures 19. 18, 17, 10, 9, 8, 7 and 2 whole piece 1—G. A., Alberta, Canada. expense and no shopping worry or bother. Brimful of capti¬ from the end, in order to avoid making dis¬ vating music and fascinating articles, THE ETUDE will be a 'Are You VYCa\ing Your Scales P^eal Ladders to Success ? cords. You are quite right in understanding of the Year. that the pedal is used according to the A. Play in correct time (MM. J -66), pleasing reminder each month of your thoughtfulness and good (Continued from page 889) changes of harmony. taste. And with every gift subscription we will send in the very legato and pearly. In my copy, meas¬ Christmas mail a beautiful card announcing the gift in your that matter, the contrapuntal and poly¬ Piny-i hr- a Piano Part for an Or¬ ure 51 contains thirty-second notes, marked or more of the discordant or dissonant chestra. __ . . velocissimo. the strict time beginning again phonic intricacies of Godowsky as repre¬ elements. in measure 52, slightly tempered by the sign con tencrezza. Then the original speed is Special Christinas Offer sented by such compositions at the Schu- We shall never educate our sense of hear¬ STUDENT DORMITORIES resumed at 55th measure. For two 1 year subscriptions send only $1.85 each bert-Godowsky Ballet Music from Rosa¬ ing by not using our ears at all. We shall For three 1 year subscriptions send only 1.75 each Artistic and comfortable dormitory accommodations for men and women in mund e,- the Schubert-Godowsky Moment never spoil our sense of hearing by using *g>* 1. How would you define “jazz?” f. For five 1 year subscriptions send only 1.70 each college building. Piano furnished with each room. Prices reasonable. Musical and the Albeniz-Godowsky Tango. it intelligently! Let us use scale practice When a time-signature like this ( used, We cannot help but be aware that some and study as a means toward intelligent ORDER EARLY!! of the sounds of these scale combinations ear-training to superintend the training of r sss^n Don’t wait until the last minute. Save yourself needless worry are at first anything but attractive. To our playing mechanism. sion marks sometimes placed in parentheses, be quite frank many are decidedly “sour.” and anxiety. Send in your order early so that you will be COMPLETE CATALOG ON REQUEST thus: ( J; (PP)?-V- P-, Yenus, Nebraska. ahead of the Christmas rush and will be sure of our best service. But, if we are at all ambitious to delve into Should this be played one octave below on the SELF-TEST QUESTIONS ON MR. A 1 Personally I would define “jazz” as contemporaneous music of the higher piano, or does one instrument play the “Music distorted to arouse and express ec¬ Canadian and Foreign Postage Extra SILBER'S ARTICLE melody one octave belowt—E. T., UdaH, Kan- grade, which is often contrapuntal and centric emotions”—briefly, music gone crazy. 1. What three musical means are to be 2 The time is equivalent 0 -2 ^ polyphonic when it is not outspokenly Send Orders With Payment to employed in scale practice? otes or tne accompaniment, »» „ ,-r- the* accents" on the first and third half-notea Address atonal, we shall here find a splendid prep¬ otes written above (marked x) are Played by aration. In subordinating one melodic out¬ 2. How should speed in scale practice nme instrument in the orchestra. _ I bey a THE ETUDE MUSIC MAGAZINE ut in for you to know what is going on and line to another dynamically we shall often be recorded? 1T other sign i if slow, the count would be by CARL D. KINSEY, President S cmarter-notes, if faster, by 4 half-notes: if Theodore Presser Co., Publishers find that their apparent ugliness disap¬ 3. Why is it possible in homo phonic 1 Question about Technic from New 1712-14 Chestnut St., Philadelphia, Pa. 60 E. Van Buren St. Chicago pears. We have, in piano playing, such music seemingly to "concentrate” on two Zealand. phenomena as well-sounding dissonances. phases simultaneously?

PiOLUMBIA sasssl Cincinnati tftmscrDatorjg *JHusfc AMERICAN ©he VtfUoiCAL Home (Reading 'Gable MUSIC ^ Affiliated with the University O^^dnnati Endorsed by over 61 years of accomplHhment CONSERVATORY Anything and Everything, as long as it is Piano, Violin, Voice, every solo and en- Devoted to Education in Music semble instrument, full symphony orenes' IflllQIft CHICAGO Instructive and Interesting tra, opera, all branches, of theory. Dramatic mUOlU 44th SEASON Fully accredited courses leading to CERTIFICATES, DIPLOMAS Art, Languages, Dancing, Public School Modern courses in Piano, Voice, Violin, Organ, and DEGREES Conducted by Music (accredited) Public School Music, Harmony, Orchestral Instruments. By Authority of the State of Illinois Training'in the following departments: A. S. Garbett School of Theater Organ Playing, School of Piano. Voice. Violin, Theory, Violoncello. Opera, Dancing. Public School Class Piano Normal Training, Public School Music, Method, Students’ Symphony Orchestra. Chorus Singing, Correlated Arts. History of Ten acre wooded campus. All dormitories and other buildings owned and conducted by the Conservatory Music, Ensemble, Orchestra, Professional Eminent faculty of 120. Master School for Accompanying, Conducting. Harp, Brass and BERTHA BAUR. President and Director* BURNET a TUTHILL, Gene^l M^ger Artist-pupils. Prepare for Concert Stage. Ac¬ Wood Wind Instruments. Dramatic Express¬ Forn^.. ^ infection, address Registrar, Dept. E„ Highland and Burnet Avenue, and Oak St. Cmcmnat. credited Normal Training School. Supplies ion, English and Psychology. Teachers for Colleges. Includes: School of Send for complete catalog Dramatic Art, Training for the Stage; “One 'Night, in Venice” Public Speaking. COLUMBIA SCHOOL OF MUSIC Teachers’ Certificates. Diplomas and Degrees. I Box E. 509 S. Wabash Ave., Chicago GUbelaniilttslttutr of 0)u0tr State and Nationally Accredited. Superior institutional Member of the National The Book is Melba’s “Melodies and echoed over the water in that city of I dormitories. Unrivaled free advantages. Stu¬ II Association of Schools of Music dents may enter at any time. Moderate tuition Memories,” and the chapter is reminiscent dreams. I can see, at this moment, the rates. Send for free catalog. Address, of Tosti, whose songs Dame Melba has little gondolas drifting in on us from all sung so much: sides, out of the dark canals, curving round JOHN R. HATTSTAEDT, Secretary Faculty of nationally known artists includes 571 Kimball Hall Chicago, Ill. “One night, in Venice, where I had gone corners with lanterns gleaming faintly. Beryl Rubinstein Louis Persinger (Teacher of Yehudi Menuhin) DRAKE UNIVERSITY for a brief holiday after a strenuous season And I can still hear the cries of ‘Bravo. Ar.hu, LT„ College of Fine Arts 'i5he Qhristmas Gift Beautiful in Milan, Tosti and I decided that we would Bravo, Tosti!’ ‘Bravo, Melba!’ which burst COSMOPOLITAN Dee Moines, Iowa go out on the Grand Canal and give a little out when I had finished. “In ten minutes we had drawn a crowd. EAUTIFUL music and the giving of spending money of the entire family for concert. It was a marvelous night, with SC$0L MUSIC ™tatic B We started to go slowly up the canal, while SHIRLEY GANDELL—President MUSIC * DRAMA + ART gifts are two offspring of Christmas- the purchase of a radio or mechanical the moonlight silvering the roofs of the Students may enter any time I sang another song. More and more tide, and, when the members of The player, this for the use of the poor people palaces—the sort of night in which one Eminent faculty of 60 Artists. Normal training for Courses in all branches of Music. gondolas followed, until the whole canal Teachers, Students* Orchestra, Concerts, Lectures, Etude family make plans for the coming of the neighborhood. This instrument is felt that even the dullest of souls must be Diplomas, Degrees and Teachers’ Certificates. Degrees, Bachelor of Music, Bachelor was thick with them. We turned down the Crfleqe o/9 Music Cttv^tvtvaW, Departments—Piano, Voice, Violin, Musical Theory. of the Science in Music. Diploma of this Divine Season, they should see to it to be placed where it will be accessible moved to some sort of poetry. Composition, Violoncello, Orchestral Instruments, “Thrilled with excitement we borrowed side canal. The chain of gondolas followed, Public School Music, Dramatic Art, etc. Course and Bachelor of Expression. that these Blessed Children come linked to the very poorest people in the com¬ Practical Education for Culture or Career a harmonium, though it had seen better like a black serpent with a hundred eyes. Many Free Advajuages^and^Scholarships together. munity. If in a small town, it should be For full information mite days, and guided by Ambroggio, my faith¬ Soon it seemed that half Venice must be MUSIC AND DRAMA For particulars address—Edwin L. Stephen, Mgr. Etude readers, teachers and mothers put in the public rest-room, the day nur¬ HOLMES COWPER, Dean who have an abundance of music in their ful gondolier, pushed off from the steps of listening to me. The moon rose higher in Full Courses Lead to DEGREE, DIPLOMA, CERTIFICATE ^pCf^Sl^O^OLITA^SCHOOL OF JMUS1C ^ sery, the Red Cross headquarters, the studios and homes and in the homes of the hotel, the prow of the gondola plashing the sky; windows were opened and dark PUBLIC SCHOOL MUSIC (Accredited) Mission Church parlor. Or, if the com¬ their friends and associates and who alluringly in the still water. heads pushed silently out; pattering foot¬ Affiliated with University of Cincinnati and St. Xavier College. Member National Asm. School, of Mode are generously supplied with tickets to munity is only a settlement and lacks any “Then I began to sing. I forget what it steps echoed down all the side streets. Superior Dormitory. Send for Year Book. NORTH PARK COLLEGE V III Northwe8tem Univer8ity Address all communication, to COLLEGE OF MUSIC, CINCINNATI, OHIO Bkl III School of Music numerous concerts and recitals are prone other central meeting place, even the gen¬ was I sang first—'Tosti’s Mattinata, I be¬ “Still the gondolas followed, and still I SCHOOL OF MUSIC ■v • • b&Sof eral store may be used for this purpose. sang. It was not till nearly twelve o’clock Coeducational... Fully accredited. 39th Yr. .. to forget that there are many people starv¬ lieve, or his Screnata. At least I know AU^anara^ofmuslc. 3 Yr. Public School Mimic ing for music. For the majority of this If in a larger city the musical gift that it was something of Tosti’s own com¬ that I returned to my hotel, having learnt Our own dormitories . .. Athletics. Expenses low! SCHOOL united, busy, Etude band music has be¬ should be placed in some public build¬ position. Never shall 1 forget the mar¬ exactly what it must feel like to be the DANA’S MUSICAL INSTITUTE Write for free bulletin and book of views. MUSIC ssMst’aur5 Pied Piper of Hamelin.” School of Music North Park College NORTHWESTERN ■ eAR,‘ B*®«|,Ee,*dmini.tr«il™ come actually commonplace, and the con¬ ing in the district where the poorer velous feeling that I had as my voice Professional and Teachers Courses on the Daily Lesson Plan. Degrees granted. Dept. E, Foster & Kedzie Ave., Chicago, Ill. UNIVERSITY ■ 1822 8!.”™^“°°“™":!,. lit clusion is drawn that because of the pleni¬ classes live. But wherever it is housed it Departments in Piano, Voice, String and Wind Instruments tude of musical instruments, radios and should be wholly accessible to the people Supports its own Symphony Orchestra and Concert Band—Daily rehearsals. mechanical players, everybody is musically whom it is intended to serve. It should Catalogue on application to Lynn B. Dana, Pres,, Warren. Ohio, DeskE. ESTABLISHED 1857 provided for. But such is not the case. be placed where the humblest person, even A Visit to Berlioz The writer recalls two instances that prove the socially outcast, may feel welcome to after the manner of old-fashioned portraits. OBERLIN CONSERVATORY of MUSIC HfePFAROnY CONSERVATORY the point. enjoy it without restriction or wounded The “Musical Memories” of A. M. All branchea, advanced study. 40 specialist teachers LAWRENCE COLLEGE W§tmf * LflDV/i/ 1 BALTIMORE, MD. The first is that of a Norwegian work¬ pride. No one should feel the necessity Diehl (Alice Mangold) contain an inter¬ At first he was politely abrupt and presently ing woman who labors by the hour in mak¬ requested that I would play to him. ranuirod Trail Hfimester open now. Catalog. CONSERVATORY OF MUSIC OTTO ORTMANN, Director of “dressing up” to go in and use it, be¬ esting chapter on Berlioz, whom the lady OBERLIN. 0 Appleton, Wisconsin ing a living for a tubercular husband and “For a neophyte, a mere tyro and aspir¬ One of the Oldest and Most Noted Music Schools in America. cause this would shut out most of the poor¬ and some, friends visited at his almost All Branches of Music Taught a small son. This woman has heard a est people. inaccessible attic abode. The famous com¬ ant, to be called on suddenly to be tested Training for Concert and Teaching great deal of good music “in the old coun¬ MILLIK1N CONSERVATORY OF MUSIC For Free catalog, address The adoption of this altruistic sugges¬ poser was dignified and austere, yet kindly. by a great critic is a severe trial. (Berlioz, try,” and knows many of the classics. DECATUR, ILLINOIS CARL J. WATERMAN, Dean ATLANTA tion will, of course, mean a great sacrifice He promised to return the visit. of course, was a famous critic as well as Offers thoro training in music. Courses leading to When she cleans in the writer’s home she “Monsieur Berlioz kept his word,” the composer.) But Berlioz, listening silently Bachelor of Music Degree, Diploma^ and Certifi¬ CONSERVATORY of MUSIC starts the phonograph. Her feet and fin¬ of personal interest on the part of the en¬ cate in Piano. Voice. Violin. Organ. Public School GEORG LINDNER, Director tire family. Every member has doubtless authoress assures us. “One evening we as he leant against the mantelpiece, seemed Music Methods and Music Kindergarten Methods. Courses in PIANO, VOICE, VIOLIN, ORGAN gers fairly fly to the inspiring music and were dressing for a dinner-party at the to cast a protecting shadow upon the trem¬ Bulletin tent free upon regucst PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ her face glows with joy while she is doing set his heart on some certain thing he de¬ ING, DRAMATIC ART AND DANCING sires and has planned some special gift Galligninis’, when there was a tap at the bling player, even as his material shadow W. ST. CLARE MINTURN. Director. ■ sports. Catalog: Boi M. GAINESVILLE, GEORGIA. Catalog upon application the roughest and hardest kind of work. door communicating with our little salon, And this is because the world of music is he wants to make each relative and his was cast upon the keyboard. He was Peachtree and Broad Streets Atlanta, Ga. and a card was presented by the rough- L CONSERVATORY-* usually closed to her. Every waking mo¬ most intimate and best-beloved friend. But anything but chilly or severe. He was, and-ready garcon—‘Hector Berlioz’. Michigan State Normal College Conservatory of Music ment must be turned into cash for the the true Christmas spirit should be that indeed, both compassionate and sympa¬ THE MUSIC TEACHER’S PIANO-SIDE READY REFERENCE CHART of self-denial and of ministry to the un¬ “Hurrying on the first frocks which came Contains list of excellent piano teaching pieces classified for actual needs of her family. She has no thetic, and afterwards gave his views of Courses in sin sins, piano, organ, violin and theory. fortunate. to hand, we hastened to receive our dis¬ Courses for training supervisors and teachers of public school music. special technical needs money for tickets nor the time and strength what a young artist’s life should be. He tinguished guest. He was standing with Graduation leads to a life certificate valid in most states of the union. THE THEODORE PRESSER^CO.,^1712-1714 Chestnut St., PHILADELPHIA, PA. to attend concerts if The tickets are fur¬ There should be an endeavor to get condemned the practice of many con¬ Total living expenses need not exceed twelve dollars per week. Tuition and fees exceptionally low. nished her. And in few of the homes in away from the over-worked habit of his back to the wood fire and to the lighted secutive hours at the piano and of the Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. which she works is she musically privi¬ merely exchanging gifts. This will be a candles in the bronze branches on the use of nerve-stimulants, such as tea and leged. fine opportunity for mother to test the mantlepiece. He looked stiffly grave, his coffee. ‘Above all,’ he insisted, ‘no Mark spirit of unselfishness and generosity in the black coat tightly buttoned almost to the The second instance is of an old colored coffee 1’ ” woman who was regularly hired in the various members of her family. If she suc¬ throat, his hand inserted under the lapel 1 (Earr? Slums? Sunning home of the writer in former years when ceeds in getting their cooperation in this DETROIT CONSERVATORY OF MUSIC act of charity and good-will, every mem¬ she was actively engaged in teaching. This Elizabeth Johnson, President :: 56th Year April 6, I860 ~ September 8, 1929 capable old woman confided one day that ber will find joy and an abiding satisfac¬ 'Music and Pictorial Ideas she had been offered better wages else¬ tion in watching the development of the Offers courses in all branches of music leading to Degree, Master of Music, Mrs. Carre Louise Dunning was born in Mt. Morris, New York, on April 6,1860. Degree, Bachelor of Music, Diplomas, Teachers’ Certificates, Opera Training 1 where but was content to serve for the project. It will, moreover, be a more develop thousands of others in the minds of She came from an old established family and was a member of the D. A. R. Following lasting and gratifying achievement than Department, School of Theatre Organ Playing and many special departments ■ lesser sum because she loved to hear the Stanford’s book on “Musical Composi¬ those who listen to his work. ■ study in her chosen field—Music—with such distinguished pedagogs as William Mason, is the acquirement of boxes and bundles tion” contains much that others besides Fraulein Prenter and Leschetitzky, she began teaching advanced pupils. Finding among music going all day while she worked. Here “That is the secret of the truth of under a renowned faculty. Prizes and scholarships awarded. H of mere trivialities the desire for which ■ her students a deplorable lack in a general knowledge of the fundamental principles of was real sacrifice for the joy of music. composers might well study. In a chapter Beethoven’s axiom that, though he always Complete Catalogue upon request 5035 Woodward Avenue, Detroit, Michigan ■ music, Mrs. Dunning set out to devise a system whereby these principles could be taught so frequently vanishes with their attain- on “Influences in Instrumental Music,” for worked to a picture, he never said what ■ in such a way they could be appreciated by the child mind. So successful was this newly Of Far-Reaching Good instance, the genial Irish composer-teacher that picture was. He did tell once or twice, conceived system that the idea spread rapidly and was taken up by teachers in many Make your fireside attractive and cheer¬ H ' I 'HIS leads up to the theme of our has this to say: but never with success. The Rondo on parts of the country. ful for the Christmas Season. Fill your A message for the month. With the true “Tennyson’s brilliant dictum—‘Poetry is the Lost Penny was a joke; the Battle of In an effort to meet the demand for instructors of the successful system Mrs home with good will, good food, and good Christmas spirit urging us on, we propose like shot-silk with many glancing colors ; Fittoria was a failure. His most realistic ■ Dunning opened Normal Classes for Teachers, and in the later years of her life it must music. But let the family slogan be: Giv¬ ■ have been gratifying to her to realize that her system not only was taught in the United that every mother in the Home Depart¬ every reader must find his own interpre¬ picture was the ‘Pastoral Symphony’; but ing and not getting, ministering to the mu¬ Detroit Institute of Musical Art ■ States and Canada, but also had found its way to the South American and European ment inaugurate a movement in her house¬ tation according to his ability, and accord¬ he was careful to stereotype its underlying countries. sical needs of those less fortunate mu¬ hold for the combining of the Christmas sically. ing to his sympathy with the poet’—applies principle on the front page and to warn MICHIGAN’S FOREMOST SCHOOL OF MUSIC I Mrs. Dunning pa:sed away on September 8, 1929, but the fruits of her life work his hearer that it was only ‘an expression Institutional Member of the National Association of Music Schools will be perpetuated in a board cf teachers who'were appointed in her will, and who in every particular to music also. ids L. York, M. A., Mus. Doc., Edward B. Manville, F. A. G. O., Mu. H of impressions’.. .It applies to any country, are familiar with her ideas. “That certain impressions and certain Cha m of the Board Thirty-second Year any landscape, any river, any storm, any poems or dramatic ideas do actually sug¬ nter at Any Time. Many Free Advantages. All Branches of Music and Dramatic Art Mrs. Jean Warren Carrick, Dean gest musical ideas and forms to a composer merrymaking—in a word, it is universal NOTED FACULTY OF 84 ARTISTS. Accredited Teachers’ Certificates, Diplomas and Degrees. Very Desirable Boarding Accommodations 160 East 68th St., Portland, Oregon is undoubted; but so much vaster is the art in its appeal; while more recent picture- lorit^of'ar^tmd^u^c^student^'c^e^women'^in England the^ **, £** works rely upon a would-be exact defini¬ v- r-.i-i..j i/lew Booh Address HENRY B. MANVILLE, Business Manager students are about equal in numbers • on thTcnl J i h men and women with which he deals than any part which Dept. 2, 52 Putnam Locatedr Rightpr.,fcr in Detroit'srur«rl. Art Centerrvn/., Detroit, Michigan tion'of person, place and action.” students are decidedly in ^ ** he has in it himself that his own ideas may rtlsers always mention THE ETUDE. It identifies you a a touch with the higher ideals of a ind life. When yon write to our advertisers always mention THE ETUDE. It Identifies you When yon write to onr advc " touch With the higher Ideal. art aad 1Ife< DECEMBER 1929 Page 91$ THE ETUDE Page 91$ DECEMBER 1929 the etude ‘Music, Munich and the Mad King Master Lesson on "Senta’s ‘Ballad” (Continued from page 881) NEW YORK SCHOOL of MUSIC and ARTS (Continued from page 898) New York’s eldest Music School COMBS CONSERVATORY science, industry and related subjects, is so what less Gemiithlichkeit, that inexplicable Y OT„rrT RALFF. LEECH STERNER, Director PHILADELPHIA Senta’s prayer for redemption of the great—there are nine miles of exhibits— combination of geniality and good fellow¬ hand instead of with the right as it is FOUNDED 1885 ship, than there was before the war. There nrinted for this change of hands imparts “Doomed One,” and this proceeds with ever 310 WE®Jan92"ew and wonderfui features planned for the coming season that the only way of giving an idea is to advancing intensity, and with a slight A School of Individual Instruction for the Beginner, also a readily understandable tinge of more grace to the execution of the phrase, by this institution say that parts of the building are open broadening of tempo in measures 108 and special days while other parts remain bitterness. What effect this may have upon to measure 51 the hand should be lifted Ambitious Amateur, and the Professional 109, leading up to a sort of breathless Same Ml.ta.wl tolly headed by closed, in order to provide an adequate the future musical art of one of the most from the keyboard m the treble after the Paul Steering, Frederick Riesberg and other celebrated masters No Entrance Requirements except for Certificate, Diploma and Degree Courses pause at the end of 109. This pause only 3 of the world is hard t , carter note F on the first beat, before Entrance at any time. -year Courses in Piano, Voice,^Violin^Organ, Degree!Conferred.^ Daily reports! staff to care for the objects on display. tends to make a more overwhelming effect Theory and Publi< One huge gallery, for instance, is de 11. taking the sixteenth note G which follows Individual Instructioa 1DC,mDS it This action will lighten the sound of of the fervor of emotion which reaches its SEVERAL FREE AND PARTIAL TREE SCHOLARSHIPS Teachf ’ ^ f ? voted_ to- aviation,- , another to the printing. The people take their enjoyment from toe phrase and give the correct value to height in measure 110 where the octave OPEN FOR COMPETITION arts, another to musical instruments, while sjmpie things, perhaps because they have passage comes crashing down in a perfect itandard. Orchestra still another is a coal mine one hundred nQ means for the expensive amusements of toe sixteenth notes in time and m tone. ^ R,,;idins? A real home for music students. frenzy. Returning to measure 103, the two Dormitories in School Building * Certificates. Public Concert every feet deep. In the section devoted to astron- Americans. Bicycles run everywhere; the Proceeding to measure 54, the first note in the measure, the quarter note B and the last eighth note octaves in this measure Many Free Classes and Lectures. TPlP- V/all Instruments Public School Music Depart- omy one may see the Planetarium which individiial. who can afford a private m||r should be stressed, and going on to measure ™tdayD?a&c KS Dancing and Lances. be duplicated in various parts of the following eight note, D, can also be taken rarity. Pleasures are elemental. 112, the lower notes of the octaves here, Illustrated Catalogue on Requec* world, including America. with the left hand, for the same reason as Daily Supervised Practice and Daily Class Food is simple. Hofbrau, Spatcnbrau, which are written in the music for the right The visitor enters a huge dome-like is given in measure 42. Seven Spacious Buildings, Faculty of 95 Lozvenbrau, (famous German cereal bev¬ hand, are easier played by the left hand in room in the center of which stands some¬ Accommodations for 2500 Students erages of anti-Volsteadian content) octave with the bass notes. thing resembling an upward pointing Senta’s Prayer Germantown Extension, 123 W. Chelten Ave. All the %hts are extinguished and, gether with Schzoartabrod (black-bread) INSTITUTE OF MUSICAL ART A School of Inspiration, Enthusiasm, Loyalty and Succe by means of marvelously contrived mecha- and a Schnitzel (cutlet), make a substan- THE SECOND main theme of pity is The Pity Theme of the Illustrated Year Book Free nisms, the hemispherical ceiling is suddenly tial meal. There are few distractions, succeeded in measure 56 by a very CONTINUING,uiNlmpuNU toIO measuremea5lUc 114,tu-r, the«« lit by stars projected from the cannon. Perhaps such an atmosphere is better for beautiful development of melody in which L-i second principal theme (the one of JUILLIARD SCHOOL OF MUSIC productivity than the hustle and bustle Sent a prays for the redemption of the jty „ as j call it) 0f Senta’s song returns, The wheels begin to whir, and in fiv ,20 Claremont A.Jnk DAMR0SaU)ean utes one can witness transit of the celes- of our so-called modern cities. Dutchman. At measure 62 this lovely and should be played pr0udly and slowly tial bodies in their orbits such would The musical art life of Munich ri prayer, breathing forth faith and nope, wjtb great emphasis, until measure 117 is Surely around four main institutions: comes to a close, and the ominous calls ot reacbecl wi1€n the music, gathering mo- ZECKWER-HAHN ordinarily take twenty-four hours, A school lor serious students. All branches. Moderate tuition fee.. only the ingenuity, patience and scientific 1. Der StaatHchen Akademic der Ton- the bass horns are again heard very mark- mentum as jt aga;n rjses to excitement, Philadelphia Musical Academy SPECIAL ANNOUNCEMENT training of the German could make possible kunst (Hochschule fur Musik). edly in the left hand, but piano, as though should quicken its tempo, and the rhyth- the creation of a plaything based on the (Formerly'T' known1 as the*u~ RoyalT> Academy in warning, and then with a crescendo up -j figures which now reappear and All talented advanced violin students will come under the personal Highest Standards of Musical Instruction observation and instruction ot For year book, address movements of the heavenly bodies! of Tone-art.) to measure 56, from whence the music re- |vbjcb j have elsewhere likened to the sum- Frederick Hahn, President-Director The practical educational value of this 2. The Residenztheater. (A small thea¬ turns to diminuendo. Coming to the end mQ • calls of brass instruments, should PROF. LEOPOLD AUER contrivance is enormous, and your editor ter attached to the former Palace of the of measure 68 on the last up beat, Senta s become more and more wildly turbulent as learned more about astronomy ii initial narrative theme is resumed with or- tbgy re;terate toeir feverish appeals, than he had previously learned i a life- 3. The Nationaltheater. (A larger namentations, and here the notes of the [n measure 120 the melody again revives, Philadelphia Polytechnic Institute .e of occasional reading of astronomical theater adjoining the Residenztheater.) song should predominate well over the run- and tbe temp0 must slow down, only to get SCHOOL OF MUSIC books and magazines, to say nothing of a 4. The Prinz-Regenten-Theater. (A ning chromatic accompaniment in the lett fgster in measure 123, which is similar in Twentieth Season VIRGIL SCHOOL OF MUSIC few peeps through telescopes here and newer theater on the outskirts of the city, hand. The first two sixteenth notes of ,jt tQ 117 So als0 are the succeeding Diploma Courses, Artist Teachers’ this figure in the lower voice should be measures „ntil we arrive at 126 where the Many Special Advantages there. We wondered what Camille" Saint- devoted largely to Wagnerian perform- Send for Catalog E Benjamin L. Kneedler, Director Saens, composer and astronomer, would taken by the right hand in conjunction with g bursts forth in the key of E major . . For Teachers, Players and Earnest 1421 Arch Street, Philadelphia, Pa. have thought of this uncanny mechanism. the fourth G and D in the treble, whilst jn tbe originai tempo) for a final Soecial Courses Students of All Grade. Don’t miss the Planetarium, if you go to The Nationaltheater accents should be given on the first notes enuncjat;on and others into an apotheo- K For all particulars address: THE A. K. VIRGIL CLAVIER CO., or Munich! HISTORICALLY the Nationaltheater of the sixteenth note passages in measures g.g ^ tbe praver for redemption in meas- MRS. A. K. VIRGIL, Director is the most important, because it was 70 and 71. Continuing to measure 7-, as ^ 13Q wj,fch must be played more slowly _ , , 1Vi„o 411 WEST END AVENUE Pittsburgh Musical Institute in the end of measure 68, the two sixteenth and wbb great force Df paSsion. In meas- Phone Trafalgar 9349 OTHER ADDRESS NEW YORK li'SOLjrsjvj-xi urvi Munich After the War in this building that Wagner’s great genius P commenced to display its fullest flower. notes in the lower part should be taken by J34 tbere is a slight ritardando leading HE PROSPERITY which marks T Richard Wagner (1813-1883) was fifty- the right hand. to “a tempo” in measure 135, where in ever- many of the Northern German cities M one years old in 1864 when King Ludwig Frorn the end of measure number 72 jntensifying excitement the music whirls ^f^SMUSIC and injects an activity not unlike that of U'~t! 11 (Louis II) of Bavaria sent for the mas- until the end of measure 101, the music Qn tdj jt reaches a tremendous climax American Institute of Applied Music our western boom tow wholly absent /. T „ , -,r nMa ists in all departments. Degrees. Seven- Munich. Ludwig (1845- is a repetition of what has already been ^ trumpet calls in measure 142 which must " buildings, mciudin^pm-mftorl^ Audi- in Munich—and we were glad of it. Not SPECIAL COURSES IN PEDAGOGY 1886) was then an eccentric boy . f nine¬ noted, and must be performed in a similar rformed very heavily and majes- that we did not wish all possible prosperity under Kate S. Chittenden, Dean, and a competent corps of teachers teen. His paranoiacal tendencies were evi¬ spirit. Where the trumpet calls develop producing a snirit of exultation, of to our good Bavarian friends, who have R. Huntington Woodman, Theory and Composiuon dent in early manhood. The last act of in measure 85, into a descending sequence finaiit^ 0f destiny fulfilled! Thus the piece contributed so many distinctly important his queer tragedy ended in Lake Starnberg of progressions, the chords, as in measure ,g bro ’ bt to a triumphant close: the sacri- 230 WEST 59th ST„ NEW YORK CITY 44th Season Telephone tree Music Study in England artistic creations to the world. But we near Munich, where the King escaped from 39, must be made very rhythmical and fierce ^ bas been completed; the Flying Dutch- The Middlesex College of Music, Ux¬ valued, none the less, the more dreamy in expression. There is a D eighth note on -s redeemed and is horn up with his de- bridge, England, offers to American lassitude of the city. True, the traffic one of his fabulously extravagant palaces students a complete course In: Piano, and drowned himself. His neurupsycho- the fifth beat in measure 95, in the treble vQted Smfa ;nto Paradise. Voice, Organ, Violin, and all Theoreti¬ moves briskly and the Bierhalle are very which should be played by the left hand ■ __ GranberryPiano School noisy and industrious spots. But the mark Pathic fusions were almost too numerous cal Courses. Over thirty professors. and also D and F eighth notes on the third College is thoroughly recognized by of of suffering and poverty resulting from beat of the following measure. Arriving at SEip.TEST QUESTIONS ON MR. For ‘Tianists, Teachers and '^Accompanists eminent musicians. Plan now to spend ;the war has touched Southern Germany ap- , , , , next summer in this college and com¬ measure 98, the melody is repeated pian- HAMBOURG’S ARTICLE 149 EAST 6lst ST., NEW YORK, N. Y. parently more than Northern Germany, or jje .“^eer Jhat otherwise ‘Booklets bine study with travel. Full particu- might have been immediately forgotten INCREASE YOUR else they have been slower to recover. ° = “4,l’t,X“ShpSS. L“*"s"-" Musical ’Developments through Sight-Touch and Hearing INCOME ! Wewc haduou theme impression thathlcll thereHiv-Lc was reahy turned out in history to be on a Easily — Substantially — Pleasantly Professsor FRANK ARMSTRONG somewhat" too" much" winingness^to "splnd hifher P,ane of accomplishment than many F and D should be P'aved by the: right e i ^ Senta’s song ogam? I NORMAL SESSIONS of his saner contemporaries i Feel Music —Know Music-Express Music Take Subscriptions for at the College the restaurants accumulating girth Course, la TIUHITY PBlHpM PEDAflOaT, THE ETUDE MUSIC MAGAZINE manach de Gotha. rather than to devote energy to new artis¬ of measure 100, should be given to the left af er he I f ^ f m gf fhg PbiT

(Continued from page 932) The Courtright “JJJSTSSSilSV >r church use. We do not object to I,fighter; “The Organ in Church," System of Musical :1 amount of unification where funds “The Church and Concert Organist." HARMONY, COMPOSITION, ORCHES¬ Teachers’ Round Table Kindergarten .orrerpoimenee TRATION, personal or correspondence in¬ Mr.. Lillian Courtright Card,116 Edna ATe.,Bridgepori " PERSONAL FOR SALE struction. Music composed and arranged, h are costly and are not necessary for COUTURIER CORNET STUDIO or WANTED manuscripts corrected. Frank S. Butler, 158 service playing. The price of the specifica¬ am note twelve gears of age. The study of (Continued from page 892) W. 74th St., New York City. tion yon quote will vary, of course, i-“ the pipe organ now attracts me anti I would to the builde- "Wer- should -say approxi- Wee your opinion on the following questions: may suggest the following for your use: oi for Cornet and Trumpet, a von d^Julopportunity MRS. BABCOCK mately : thousand i thirteen thousand (1) Am I far enough advanced in piano to high marks in your academic work under for Students desirous of acquiring Modern Virtuoso _in why the instru- take up the organ? Handel, Fantasia in C major; sonabiy priced at $50.00. ot be installed as you suggest, rvFFERS Teaching Positions, Col- Etdde. (2) Would it. be. advisable to take organ these conditions. Haydn, Gipsy Rondo or Variations m F U leges. Conservatories, Schools. _ _ _ jps prepared for. This is done and piano lessons on alternate wcekst A certain amount of such school playing FOR SALE—i Violins, 1 assumed Klot: other works, Ridley Park, Pa. quite frequently. In the specification Also Church and Concert Engagements 1 Viola. Apply C. Nolte, 1612 V St., S. E would sugges" — " "i Clarabella“—“ ” stop (3) Am I old enoughT „ . is a good experience for you; but it seems minor; . Washington, D. C. UDWouhl l be strong enough physicallyl Gluck-Brahms, Gavotte from Iphigema s Flote included in the —M. F. T. to me that vou are overdoing the matter, CARNEGIE HALL, NEW YORK If you have acquired a facile finger since an hour or two a day is quite suf¬ in Aults”; Brown, Lansdowi Q. Please give the names and the pub- technic Mozart, Sonata in A major; WANTED— -the piano it will be all right for ficient. During this strenuous playing, USJicrs of several collections of organ com- you to L...c up organ study, but by all n’“”na Weber, Rondo brillante; wishes to sell _ „ REBUILT PIANOS—$30.00 and up. F. O. , suitable, for- - dignified church keep up. „_yoi F_ _ _if is wise for too, you should be especially careful to play 39th :are of The Etude. B. Philadelphia. Agents wanted. Modern service.—R. E. M. you to continue your piano studies your sug- Schumann, Des Abends and Grillen from Piano Repair Shop, 5310 Market Street, Phila¬ A. We suggest the following _your pur- ..gestion for alternate organ and piano lessons easily and not to stiffen the muscles. Season ANNOUNCEMENTS delphia, Pa. pose, ail of which may be secured from the is a good ae. You1(ul are old enough, if.. you 3. Palestrina was a church composer MIL PIANO CONSERVATORY publishers of The Etche : “A Book of Organ are of sufficient size for instance to reach 0 Wagner-Liszt, "O thou sublime, sweet CORRESPONDENCE SINGING COURSE, TEACHERS—We guarantee to increase Music,” Rogers ; “The Contemporary Organ- the two ends of the' pedal board. ’ No great who wrote almost exclusively for unac¬ Small Monthly Payments. your income. Worth investigating. Erskine istA Morse; “The Church Organist," Morse; physical strength is required to play the companied chorus and organ. Gluck and evening star!”; Highest Standards—Artistic Excellence Assured—Send for Catalogs Brahms, Ballade, Op. 10, No. 1; Dr. Wooler, Cleveland Ave., Buffalo, N. Y. Studios, Medford. Oregon. “The Modern Organist, Shelley; “Thirty modern organ (.certain Wagner (ooera composers) and Berlioz _ _ nn tir -TO_1 Cl 1VT_Vw.l, C Postludes,” Carl: “Thirty Preludes.” Cloueh- vnnr fitnooo t. Debussy, Clair de lune and Golltwogg s JULIA WEIL, Sec When yon write to our advertise a THE ETUDE. It identifies y (orchestral composer) appear on the piano DECEMBER 1929 Page U5 the ETUDE Page 9U DECEMBER 1929 THE ETUDE Exercises for the Outside of the Hand SP

A Decade of ,,q3he Six’ By Leonora Sill Ashton Writing Books and Studio Helps in (Continued from page 883) Musical Jewelry Novelties The outside muscle of the hand is one Another exercise for gaining this posi- Saudctdes do Brasil, Milhaud has produced /, great links which form the technical tion, which in its turn strengthens that Popular Use With Many Teachers music which is most invigorating and at¬ FOR AWARDS AND GIFTS tractive. bain of piano playing. It is, first of straight muscle, is the use of each hand Germaine Taillefere has occasional mo¬ 1 the solid bulwark of that bridge, separately in the following way: AT THE HOLIDAY SEASON Presser’s Junior Music Pad ments of what a conservative Brahmsite the knuckles, over which pass all the vital Ex. 2 Order by Number, and Also Please Indicate Quality Desired would probably term ‘repentance,’ when she writes something charming and light and in the manner of Cecile Chaminade. Such a one is her Romance, commencing: , Darius Milhaud l’s Lesson Book Ex. 8 (2) Thinness of texture to 999 degree. Notice this example : ?V?w Wi" ciffK- CS» CM- t&t •£* •£* •£& nais siSIXSiSSa ■d on Nos. is, 35, /« or 36 for *5 c

Handy in form; pages ruled alter- Guard’s Music Pupils’ Lesson nately for notation and handwriting, per- Book and Practice Record CT.ASp’ir’kxlCK l written exercises rU,eS’ pos,tc Price, 15c. Mouvement Perpetuel, Francis Poulenc Student’s Harmony Tablet (3) Emphasis on counterpoint instead Price, 20c GOLD FILLED Paper surface hard, enough to take of harmony. Counterpoint is the art of CLASP or STICK PIN writing one melody or more against a Romance, Germaine Taillefere given melody, to sound simultaneously Like Louis Durey, she is no longer a CLASP br^TTCR PIN Presser’s Blank Music Writing Books with it. Counterpoint is created horison- member of “The Six,” having withdrawn These excellent books contain clearly ruled blank staves on superior ledger tally; harmony is created vertically. good erasable qualities. The books come in the following sizes: (4) Polytonality; that is, writing some time ago. New members have been asVs^PiN ” 3—5V5 x 9fi, 6 staves, 32 pages, Price 20 cents music in two, or even three, keys at once. added, so that to-day, instead of six. the 4— 7/ x 9'A, 8 staves, 32 pages. Price 25 cents 5— 7/ x 9/, 8 staves, 40 pages, Price 30 cents Suppose you were to play America thus : group contains seven or eight. The 6— 7/ x 9/, 8 staves, 65 pages, Price 40 cents with the right hand playing the melody original members of “The Six’’ were: 7— 11 x 14, 12 staves, 64 pages. Piano, Price 75 cents 8— 11 x 14, 12 staves, 64 pages, Vocal, Price 75 cents in G major, allow the left hand to play Darius Milhaud, Arthur Honegger, Ger¬ the accompaniment in D-flat major. The maine Taillefere, Louis Dureg, Francis result is not guaranteed to please your Poulenc, George Auric. Uncle Tobias, who suffers from neurotic dry. Certificates, Diplomas, etc., is presentedIted in "The"7 Music T Iter’s Handbook" which complaints; but it at least will give you A Picturesque Figure some small insight into polytonality or VyiTHOUT DOUBT, Arthur Hon- “Polyharmony.” Quite lovely effects ' ’ egger is the towering figure of the THEODORE PRESSER CO. chestnut*st. PHILADELPHIA, PA. are often produced by these means. Here group and is representative of all that is is a notable instance in the writings of best in their iconoclasm. Still in his thir¬ Germaine Taillefere (Ty-fayr) who ties, he can already look back on triumphs goes so far as actually to use a different of his art and of his personality, both in . key-signature for each hand: i as are the lot of THE MASTER SCHOOL PI^NO°pPIANO PLAYINGFLAYWG AL The latest, greatest and most elaborate work ever written on this important branch of piano playing. It Is absolutely complete in one volume of more than 80 pages, handsomely bound and teaches everything from the beginning to the highest, proficiency. Improvisation, Keyboard Harmony. Jazz. Blues. Breaks, Runs, Fillers, Endings, Ninths, Tenths, Etc., are thoroughly explained. The book also contains many scales, finger exercises and piano solos for the advanced player. Secure from your regular dealer or Direct. PRICE $2.00. Teachers send for circulars and teachers’ proposition. Frank S. Butler 158 West 74th Street v York City

rhe ambitious music student can do much to fulfill his or her hopes of future study at some leading school or college of music by securing ETUDE subscriptions. Seek out all CLASP P!N CLASP BK CLASP PIN nearby homes where there are music lovers and interest them in THE ETUDE. Write (S) Emphasis on strong, rhythms, relentlessly carried this example from Auric (Oh-t sTs#sr ST#,!,K ST!f|!rK

(6) Absolute freedom of form. Probably M. Milhaud is the most dras¬ tic member, musically speaking, of his group. Poor Claudio Monteverdi, the Mil¬ haud of his time (1567-1643), would have Looking Ahead a bad case of palpitation of the heart could ATTRACTIVE he but hear the following measures in which the composer uses what amounts (enharmonically) to a succession of de¬ scending major sevenths against an ascend¬ ing series of augmented octaves : Ex. 7

THEODORE PRESSER CO.,

Popular Entertainer (at showing of his latest talkie): ’’Wouldyou Poems, Darius Milhaud mind repeating that, Agnes? I was singing so loudly I couldn't hear you.” And yet, in such works as the piano si DECEMBER 1929 Page 9^6 DECEMBER 1929 TEE etude fRE ETUDE Beginner’s Method for the Easy Album for ’Cello and Facile Fingers World of Music Ten Short MELomous Studies for Piano (iContinued from Page S73) Trumpet (or Cornet) Piano By Cedric W. Lemont THE ONE HUNDRED DOLLAR PRIZE The very decided increase in the number By Harold W. Rehriu Mr. Cedric Lemont is well known for ffered by the Swift and Company Male Chorus of ’cello students in recent years is an en¬ or the Vst setting of Catherine Parmenter s Publisher’s Monthly Lett With the increased number of bands bis many melodious teaching pieces for tutward Bound has been awarded to Franz G. couraging sign. It encourages the pub¬ the piano. His latest work, now an¬ lornschein of Baltimore. flnd orchestras being formed in our lisher to devote increased attention to this nounced for the first time, is a set ot very A Bulletin of Interest for All Music Lovers —' * L L- cZiols a demand has come for modern instrument. We have now in preparation and up-to-date books of instruction for interesting studies suitable for students . MARY LAYTON, founder and con- a new and very attractive album for this advancing from the second grade into the of the Layton Ladies’ Choir of Lon- the various instruments, works that safely instrument. It is similar in style and hrough which she made both herself inav be placed in the students’ hands for third grade. Each study is intended to at organization famous throughout Great scope to our Collection of First and Third serve some important purpose. They are daily practice. Such a book is the re¬ Position Pieces for the violin. It will con¬ ently ii cently published Beginner’s Method for as follows: Triplet Study (C Major), : Chels sist of original numbers and arrange¬ the Concours International de Musiqi eld ii the Saxophone, by H. Benne Henton a Light Chords (A Minor), Balanced Hands Paris in 1912, The Layton Ladies’ Choir I ments and transcriptions of successful (G Major), ’Cello Solo (E Minor), Bell ,rl tl t not only teaches thoroughly the pieces. No number in this book will be first place in both classes of singing in wl fundamentals of saxophone playing but Chords (D Major), Staccato Thirds (B it was entered. Mrs. Layton was the first wot found in any other collection. It will start Minor), Scale Runs (F Major), Chro¬ in England to take the Fellowship ul the R( lavs a strong foundation for virtuosity, it her Chair “MERRY CHRISTMAS” EVERY DAY off with very easy pieces and progress matics (D Minor), Arpeggios (B-flat College of Music (in 1872); —J Christmas Gifts for the Music for the Joyous Christ¬ tire pupil is inclined further to pursue his gradually. The pieces are chiefly in the the insniration of a lari"* Many firmly believe in keeping aglow every day throughout the year Major), Left Hand Finger Cross (G Musical mas Season first position with a few introducing the Minor). . . , the warm flames of universal friendliness and sincere well wishes that are *£.. new' Beginner’s Method for the third position. We anticipate a great suc¬ Each year, shortly before the Holiday Christmas is essentially a time of joy, Trumpet is an instruction book along the The special introductory price in ad¬ kindled at Christmastide. It is a wonderful thing to keep every day as cess for this volume. vance of publication is 30 cents per copy, A RECENT MOZART DISCOVERY has Season, we are literally deluged with re¬ and joy is best expressed in music. When same lines and, as the trumpet and the The special introductory price in ad¬ been made by the choirmaster of the parish. quests for suggestions of gifts for mu¬ a day of high ideals. The morning surge of mail through the various de¬ the “chimes ring out their carols gay” all eornet are similar in mechanism, it also postpaid. Church of Vaden, Austria. It is a hitherto un¬ vance of publication is 60 cents per copy, known mass with the title page inscribed (trans- sical folk. It is but natural that friends partments of the Theodore Presser Co. is a daily reminder that thousands the world is imbued with the spirit of may be used by one beginning tlie study postpaid. lated) “Harmony Mass in.^B, for soprano^ alto, and relatives of active music workers, of music buyers throughout the country do not expect any “let-down” in “peace on earth, good-will. to men.” In of 'the latter. Everything is explained Advance of Publication Offers the home, the school room and, of course, clearly and logically, and interspersed teachers and students of music should wish the high service achievements made by this international supply house for Withdrawn organ.05’ Authbr^^V. ^Amadeo ’ Mozart”^ Later in the church, music will be the dominant throughout are pleasing tunes that will do Louisiana Suite for the Piano- to remember them with appropriate gifts everything in music publications. Three unique works .that have been in¬ note in the holiday festivities. much to increase the student’s interest. forte ailv>-u i. Mozart contemp- at this season, and what is more calcu¬ cluded in tlie works described on these lated to please one devoted to the art of Each mail brings its things of interest—orders from patrons who have Are you, Mr.. Mrs., or Miss Musician, While this work is in preparation, or¬ By Walter Niemann ders may be placed at the special advance pages for the past few months are now music than a good book on the subject, or favored us with their business over many years, inquiries from music prepared for your contribution to the joy¬ This is one of the best and most dis¬ of publication cash price, 65 cents, post¬ on the market and accordingly the special a volume having within its pages material buyers indicating a desire for the first time to test our service, appeals for ous Christinas celebration? If you are'a tinctive sets of piano pieces published in prices quoted in advance of publication CANADIAN MUSICAL TALENT is to be for many a pleasant hour at the keyboard, paid. musical information, requests for catalogs, etc. Every now and then there choirmaster, the Cantata of anthem is prob¬ recent years. The pieces are unique treat¬ have been withdrawn. They are: featured in a series of twenty-five concerts to be the-console, or with the beloved violin? ments of certain Stephen Foster melodies, broadcasted over the coast to coast network of are communications similar to one now before us—“I am amazed and de- . ably well along in rehearsal; should cir¬ Necessary Jingles, For the Pianoforte, the Canadian National Railways. The Toronto Then, too, many teachers make it a cumstances have caused a delay, may we New Rhythmic Orchestra done by one who is accomplished both as a practice to remember their pupils with an lighted to find it so easy to get music for my teaching needs and I regret by Blanche Fox Steenman. A little book Symphony Orchestra, reputed to he the best of suggest that by writing us immediately, Collection pianist and composer. The pieces are as for children from five to eight years ot its kind in the Dominion, is to furnish the or¬ inexpensive gift such as a piece of musical I did not discover this before. Your liberal examination privileges, follows: The Mississippi. Steamboat's in chestral background, with a Canadian solotst of jewelry, a calendar with an attractive outlining your needs, a selection nmy lie Teachers have long since recognized the age in which fundamental teclmic exercises teachers’ discounts, prompt service and ability to supply the music of all had for examination. Our experienced rhythmic orchestra as an important factor, Sight (Introducing “The Glendy Burke”), are given in the guise of Mother Goose musical subject, or one of the booklets in j My Old Kentucky Home (Introducing the the Child’s Own Book set by Thomas publishers certainly give me a comforting thought in the conveniences I clerks, many of whom are actively en¬ not only for teaching the child the funda¬ jingles. These jingles are to emphasize now can enjoy in getting music.” gaged in choir and church work, will se¬ mental'principles of rhythm, but also for well known Melody), The Interrupted finaering and correct hand position and, ) HONOR HARRISON M. WILD, for Tapper, the Petite Library or the Musical Serenade (Introducing “Old Black Joe,” than a quarter of a century the conductor Booklet Library. On another page of this Surely we dare not fail to give satisfying service to such new friends, lect for you music that may just suit providing practical experience in en¬ if presented as directed, will save many e famous Apollo Musical Club of Chicago, “Massa’s in the Cold Ground,” “O Boys, hours of explanation and tiresome prac¬ issue there is an advertisement of attrac¬ and most decidedly do we feel it a necessity to show appreciation to old your needs, whether they be for solos, an¬ semble playing. No matter what instru¬ thems, cantatas, services for Sunday ment the child may he studying he will Carry Me ’Long,” and “Gentle Nettie tice at some future stage of the student’s tive remembrances, and for the conven¬ Moore”), Longing for Home (Introducing ience of those seeking musical gifts for friends by according them every convenience and economy, accuracy and School and choir, or organ compositions. be helped by taking part in a rhythmic pianistic development. Price, 75 cents. “Swanee River”), Carnival in New Or¬ Light Opera Production, For School musical folk we also have prepared a most promptness in serving them. Thus, to those who call upon us for musical If you are looking for a little play for orchestra. , THE WORCESTER (MASSACHUSETTS) Teachers have found that their recital leans (Introducing “Dixie Land”). and Community by G wynne Burrows. comprehensive little booklet, our Annual information at any time, we are alert to give service that indicates a con¬ the school children or for the Sunday- The special introductory price in ad¬ MUSIC FESTIVAL, Holiday Offer, in which will be found programs are given a touch of novelty Here is a book that many active music ’’to American works, stant endeavor to merit the good-will of the professional and other music School celebration, we can offer some sug¬ vance of publication is 60 cents per copy, r Josten’s “Ode to listed and described all of the foregoing by the addition of a rhythmie orchestra workers have been looking for, a book workers. Today is a good time to write for information on our convenient gestions that may prove helpful. postpaid. i for mixed chorus, articles as well as many others. Send today for the folder “Christmas number. Our new collection of pieces for that will do much to eliminate unneces¬ Musicians who receive gifts of money charge accounts and examination privileges and, at the same time, re¬ Music” if you still have time, or prefer to rhythmic orchestra will contain only the sary worry and possibly may be the means frequently utiTze the opportunity afforded quest helpful catalogs on any class of music publications in which you are make your own selection. If your home is best numbers available. Special attention First Lessons in Bach of turning what would lie ordinarily an by our Annual Holiday Offer to add to some distance from Philadelphia, just is being directed to the preparation of Book Two indifferent performance into a bright, interested. sparkling entertainment. The explana¬ their libraries some long-desired book on write and tell us your needs. this new work and it gives promise of For the Pianoforte music, or an album of music that will pro- being an exceptionally fine collection and tions and directions are clear and concise A WASHINGTON OPERA HOUSE is By Walter Carroll vide material for suitable additions to the l one that will merit the attention of the and presented in non-technical language so planned for the national capital, to be erected Classic and Modern Band and The extent to which teachers have used that anyone may easily comprehend and within the coming year, at a cost of about one repertoire or pleasing numbers for diver¬ progressive teacher demanding only tire and a half millions of dollars. It tsjto setf sion. Send today for a copy of our An¬ Advance of Publication Offers—December, 1929 Orchestra Collection best. In addition to the piano part and Book One of First Lessons in Bach by profit by them. Price, $1.50. nual Holiday Offer Booklet. the teacher’s score, it will contain the Walter Carroll, has prompted the pub¬ The Trio Club for Piano, Violin and pitC6for°ls^enty°fiveC*musirians';' and” the° stoge Paragraphs on These Forthcoming Publications will be found under These Notes. By Joseph E. Maddy and complete parts for each of the toy instru- lishing, in the Presser Collection, of Book ■Cello. Contains numbers, most of which will accommodate the largest productions. These Works are in the course of Preparation and Ordered Copies will be Wilfred Wilsox ments. Two of this excellent work. The collec¬ have never appeared in a similar collec¬ delivered when ready. The special price, in advance of publi¬ tion of Bach’s easier compositions as com¬ tion, such as Breath of Lavender, Pres¬ A BRUCKNER FESTIVAL is announced Our Cover This Month After some excusable delay, work is by the Baden Musical Society, to take place at now going on steadily on this new collec¬ cation, of the complete book, is $1.00. piled by Walter Carroll has found great ton; Love Light, Kohlmann; An Old Christmas Season, in addition to its Beginner’s1 Method f —W. Niemann.... Karlsruhe, Germany, from November 6th to Cornet)—H. Rehri tion. It is to contain twelve numbers, postpaid. favor among teachers who desire to intro¬ Palace, Cooke; Estrellita, Ponce, etc., all 10th. Among the works to be heard are the paramount joyous religious significance, Classic and Modern chiefly suited for concert, contest and duce their pupils, at an early age, to the arranged for performance by players of master’s fifth and eighth symphonies, the String stirs the soul with its many other senti¬ tra Collection The Passj exhibition purposes, arranged especially Requiem Mass works of the master. While Book Two moderate ability. The ensemble that fur- Quartet and the “Mass in F Minor.” ments, memories and the captivating ro¬ —I. Pi with a view to performance by school and is being prepared, teachers may place nishes music of the better kind in hotels, ■3-*• mance of the yuletide festivities of medi¬ For Two-Part Chorus their orders for copies at the special price theatres or at private functions will wel- THE SULTAN OF ZANZIBAR, with his son iano—Cedric W. Lemont amateur bands and orchestras. There Prince Abdulla, recently visited the London eval days. will be twelve numbers, admirably selected Bg Geremia M. Fabrizi in advance of publication of 30 cents a come this book as an excellent addition to recording rooms of the Columbia Company. He In the handsome and colorful decorative and most effectively arranged, both for There is a real need in tire majority of copy, postpaid. their repertoire. Price, $2.00. requested that a party be sent to West Africa design upon the cover of this issue of The to record the folk-songs and dance^ mustc^of^ the band and for orchestra. The instrumenta¬ parishes for a Requiem Mass of this type. Etude, the artist, F. Sherman Cooke, gives tion in both cases will be full and rich Many of the Requiem Masses used in the First Exercises for the Violin Delight a Friend With an 'Chi as the' people of the West and possibly more the romantic appeal of medieval days. past have been most inappropriate, owing Although the medieval bell ringers are without being difficult for any of the in¬ By Ad. Gruenwald struments. The special instrumentations to the trifling and somewhat commonplace Etude Subscription vigorously sounding the message of the The “Music Classic” Calendar employed are in accordance with the most character of the music. It is not desirable A new- edition of this standard w’ork Is No better gift to a musical friend than joyous Christmas Season, there are cer¬ approved lists. that a Requiem Mass be difficult or ornate. soon to be added to the Presser Collec¬ The Etude Music Magazine. You give a for tain cathedral-like aspects which, with the 1930 Tire new Requiem Mass by Fabrizi is tion. As supplementary to any method or year’s pleasure at an exceptionally small prominence of the star in the faultless In ordering, be sure to state which band The calendar offered music teachers last taking, but an effort was made to get strictly in accordance with the Motu Pro- instruction book, the First Exercises for outlay. Our artist has prepared a fine blue skv, pleasingly bring to mind that, or which orchestra parts are desired. The the Violin by Gruenwald are very useful. “ --inally priced Christmas mes- something rich and satisfying and yet at a special introductory price in advance of prio. It is complete in every respect, in¬ Christmas gift card to go with every sub¬ pervading all the joyous doings of the sage, proved such cluding tlie very beautiful and dignified Kxellent material for practicing the dif¬ scription. Send us your orders, give us “Merrie Christmas” Season, the true mes¬ tremendously well- price appealing to the majority of teachers publication for instrumental parts, either ferent kinds of bowings is provided. f0r 4L-~ KJ,--»■ liked item that we set>t about»ho„t earlye-vlv thisthio „„ i—- wanting just some little for band or orchestra, is 25 cents each, settings of the “Common of the Mass” and the names of your friends and we will see LORENZO DA PONTE, through whose ef¬ sage of the Christmas bells and the prom¬ These exercises are all in first position and that this beautiful card in four colors ar¬ forts Italian opera ^gained largely ^t^jootmg ise of the star should not be forgotten. year to secure a subject for 1930. During remembrance to send to'music students" postpaid. The piano accompaniment for the prescribed Gregorian s»tting of those the first seven months of this year, hun- music lovers, portions known as the “Proper of the a number of them are arranged for two rives on Christmas morning, bringing the orchestra book is offered at +0 cents violins, giving opportunity for two pupils bcok^of'mernoi'rs. tC>At one time the first professor dreds of musical pictui. cured’ from-" The“ illustration for the 1930 calendar is in advance of publication. Mass.” cheer and good wishes. You can save of Italian in Columbia University, da Ponte m The special introductory price in ad¬ of tire same grade to play together. The money by giving more than one subscrip- of European and American sources a masterful portrayal of Beethoven deep new edition will have the same careful at¬ his life showed the versatility ’of being succes¬ New Anthem Book -er before a selection finally in the work of composing one of his fa- vance of publication is 35 cents per copy, sively poet, priest, tradesman, distiller, book¬ tention that is shown in all our other tion. ' , seller in England, friend of Casanova and libret- We have had a long and very success¬ mous sonatas. There is a proper artistic The Risen King postpaid. Single yearly subscriptions $2.00 eacli "we'had Presser Collection works. ful series of Anthem Collections. Usually, keep in mind a subject that blending of all the colors making up the Easter Cantata Two “ “ J1®* “ it antiquated, that w Tire special price in advance of publica¬ these books have contained seventy-two d as iiui. auuquaieu, rnaTfW was aignmeadignified anaand calendar illustration andancl the two mats The Passing Under of the tion is 40 cents, postpaid. Three “ “ 175 TULIAN JORDAN, composer of the once ex- (72) pages of music and, as a rule, about in keeping with the dignity of the educa- that form the body of the calendar. Each By Alfred W'ooler Five “ “ U70 tremelv popular ballad, The Sottg that Reached We take pleasure in announcing this Thumb fifteen or more anthems. It has been four tional field of music and that possessed a calendar this is supplied with Seven “ “ U65 SsHTeVantd hisWehomne0TnteM0T Verno^N^ or five years since we published the last richness of color without clashing with dividual envelope, It would be well to new' work for Easter. It is in Mr. Technical Exercises for the Pianoforte School of Violin Technic Ten “ “ 1-60 York, on October 13th, at the age of seventy- book of the series and, since then, we have tasteful surroundings in well-appointed order early to e disappointment. The Wooler’s best manner, a compact, melodi¬ By I. Philipp By O. Sevcik, Op. 1, Book III eight. For years he had been a^su«:e>sfu! ^teacher had an abundant accession of material homes and studios. This is no little under- ‘ ’ *" ous, well written work. The text is a 12 cents each, $1.25 a dozen. This is one of the most exhaustive treat¬ The Violin Studies of Sevcik have come Beware or Fraud Magazine beforeSlbeingn taken to the hospital about two from which to make selections for the new well chosen selection of Scripture quota¬ ments we have ever seen of a highly im¬ tions, together with extracts from appro¬ to occupy a most important position in all Agents weeks before his passing. Many of his sacred volume. This new book will prove one of portant technical device. The manage¬ violin teaching. Many of Sevcik’s works compositions achieved considerable popularity. He priate hymns. The chorus work is espe¬ Look out for the man or woman who the best of the series. It will contain ment of the thumb lies at the very foun¬ are considered absolutely indispensable by was a twin brother of the equally famous Jules bright, melodious and interesting anthems cially good, all of it rhythmic and with a dation of all worthwhile pianoforte tech¬ offers The Etude at ridiculous bargain Jordan who died March 5, 1927. good swing. The various solos are suit¬ uianv violin teachers. Book III of Sev¬ rates. The price of a single year’s sub¬ of intermediate grade, not too long and nic. As a matter of fact, unless the thumb en's Onus 1 is widely used. It is designed not tedious to rehearse. The possession (Consider that I labored not for myself only, ably apportioned. All are good. This is correctly trained there comes a point in scription is $2.00. Our representatives COMPETITIONS will prove a splendid noveltv for anv especially to afford practice in all the pos¬ carry our official receipts. Pay no money ONE THOUSAND DOLLARS is offered by of a set of these books is one of the best piano playing where the student really sible shiftings made necessary by changes and least expensive methods of building but for all them that see\ learning. musical service at Easter time' and, as it gets no further. The new book of Prof. to strangers unless you are willing to ac¬ the Hollywood Bowl Association, for a Sym- is not difficult, it will not require undue of positions. Our new edition of this phonic Poem for orchestra, not to exceed twenty up a choir library. Philipp may be used as part of one’s daily cept the" risk. Read any contract or re¬ nrnutes in its performance. The contest closes rehearsal. volume will be superior in all respects. ceipt offered you before paying cash. We The special introductory price in ad¬ —EcctBSIAWIOUS XXXIII: 17 practice through a term of years. The special introductory price in ad¬ February 1, 1930. and full particulars, may be vance of publication is 20 cents per copy, The special introductory price in ad¬ The special introductory price in ad¬ cannot be responsible for the work ot had from the Hollywood Bowl Association, 6777 vance of publication is 40 cents per copy, Hollywood Boulevard, Hollywood, California. postpaid. vance of publication is 35 cents per copv, vance of publication is 45 cents per copy, swindlers. postpaid. postpaid. Advsetisbmbnt postpaid. Advertisement DECEMBER 1929 Page 949 the etude Page 948 DECEMBER 1929 THE ETUDE mm2?Qifmb0jm c

Little Biographies for Qluh Meetings Impression of Griegs Butterfly By Laura Virginia Beavers -JUNIOR- Ho- 24—Grieg (Age 10) Certainly all juniors play ever so many do some more studying. He made several that I was reminded of the lovely butter¬ ETUDE compositions by Grieg! Some of his tours through Europe and England as a Twilight ! Everything still—not a sound things are very well known, and others, concert pianist, playing many of his own to be heard. Every breeze seemed hushed fly music of Grieg. The opening measures seem to flit from equally beautiful, are not often heard. But compositions, including the brilliant con¬ as I sat alone in my flower garden. Gazing one blossom to another as did this real he wrote so many simple things, as well certo for piano and orchestra. idlv about I saw a yellow butterfly flitting butterfly. Can it be that the master was as larger ones, that there is more for He founded a choral society in Norway inspired to write his exquisite music from Juniors to play than in the case of Brahms, which he conducted for many years and CONDUCTED BY ELIZABETH A.GEST watching the play of butterflies in his for instance. also conducted some orchestral concerts. Edvard Hagerup Grieg was born in One of his most famous compositions is “ My teacher says we play this piece too Norway in 1843. His mother was a very the “Peer Gynt Suite” (pronounced Peer fast, forgetting the tiny pauses that sepa¬ fine pianist and gave him his first lessons; Ghint). This is a set of four short de¬ A 'Musical Leipzig Conservatory. music to the story of Peer Gynt by Ibsen; ‘By Hope Stoddard 1. Name three composers whose names they include Asc’s Death, (pronounced taste the sweetness of some particular By Jean G. Myra begin with G. Asa); Anitra’s Dance, Morning and In flower before passing on to another. The It was Christmas Eve, and Janie had When Janie sat up hundreds of the wee 2. What is a dominant triad? the Hall of the Mountain-King. His piano lovely little runs remind me of the butter¬ 3. What finger conies on C sharp in fly’s painted wings, dainty, airy, yet at Scottie is a huge golden and white collie seen the huge Christmas tree dragged up people flocked to her and sat on her knees, concerto is very well known and frequently the scale of F sharp minor? four years old. At the age of six weeks he the snowy steps and into the wide front on her hands and on the tips of her ears. played, as is his violin sonata. He also times brilliant. 4. What is a keyboard of a pipe organ With the picture of the butterfly soaring came into the home of a piano teacher and, parlor. There it had reared its great “Oh, Janie!” said one softly. “We are wrote many songs and small piano pieces. hither and thither in circles just beyond called? from the bed of sweet alyssum to the top in these four years, besides becoming very height, sighing in all its branches, and the Oiristnias-Eve fairies and we are get¬ In all of his compositions he has preserved me. Presently it alighted on a pink rose, of the highest hollyhock, I resolve to work attached to his mistress, he has learned to now awaited the night-time when it was to ting ready the presents for the Christmas 5. What was the nationality of Chopin? a distinct Norwegian “flavor,” and in many paused a moment, then flew away. But until I can interpret the music, as taught love and appreciate music. be trimmed. Janie wanted to help her tree. We must have them ready before 6. What is a polonaise? of them he uses the melodies of Norwegian hack came the beautiful creature. I think to me hv mv little friend, the yellow butter¬ If Scottie is tired or worried, only the mother and father, but she knew that if Santa comes, but there are so many! Won’t 7. What is meant by pin animalo? folk songsi and dances. it liked my garden, for it flitted about from piano can soothe and refresh his worn-out Santa Claus were to come and find her you help?” 8. Who wrote Trdumerei? Grieg died in Norway in 1907. flower to flower in such rapid succession fly. still out of bed, he might think that she “Oh, goody—yes 1” said Janie, and threw 9. Name the opera by Wagner which is Some of his smaller compositions that One evening, after a long day’s teach¬ had grown up and didn’t need toys any the covers off. built on the legend of an enchanted swan ? you can play at your club meetings are: ing, his mistress decided to do some study¬ more. So she let herself be tucked in as “Wait a minute!” said one fairy. “Don’t 10. From what is this taken? Watcher’s Night Song, Op. 12, No. 3. ing and carried her books to the living usual and shut her eyes as tightly as ever get up! We'll bring them to you and you False in A Minor. Op. 12, No. 2. T3he Hight Before (Christmas she could. can sort them out.” Norwegian, Op. 12, No. 6. room, with Scottie close upon her heels. (Continued from page 948) This was not what the collie wanted. So Janie waited. But what a queer lot Butterfly, Op. 43, No. 1. With a great question in his eyes, he placed of presents they did bring! There was one Bird ling, Op. 43, No. 4. package labeled “Snow-flakes,” and another and the Singing of Christmas Carols. All fairies. “You’ll hear her laughing the next a large heavy paw in her lap. Miss Music Erotik, Op. 43, No. 5. time you open it.” Teacher, realizing she needed another book, "Fresh North Wind,” and another, “Deep To Spring, Op. 43, No. 6. this was in the box and more, too. For a .tiny fairy hopped out, clothed all in grey, “But I want her now!” called Janie and went, with the joyful collie following close, Red Sunset.” All had printed on them. My Practice Hour Spring Dance, Op. 38, No. 5. “Not to be Opened ’til Christmas.” fluttering garments that shone in the star¬ started to get out of bed. Somehow or to the music room, procured the book and other, though, all the fairies kept tugging Janie laughed with delight as each new By Elvira Jones light as she darted hither and thither returned to the living room. Again came Questions On Little and tugging to keep her in and singing the same beseeching look and the same package was brought to her; but when one When I practice every day, singing: especially large one was tugged over to Biographies meanwhile in such sweet voices that Janie heavy paw in the lap of his mistress. I pretend I’m far away. I’m one Hour’s Practice. found herself, in spite of all her efforts, her bed by the fairies, she was fairly ting¬ 1. When was Grieg born? “Does Scottie want to go out doors?” I’m the Captain of my crew, The music of Schumann and Mendels¬ Frown nozv if you must: going to sleep, but smiling all the while ling with excitement. On it was written What was his nationality? “No.” My fingers all my orders do. sohn was very much played at that time, Then I sink down weeping as she heard the Christmas sounds that in bright letters: 3. What are some of the characteristics “Does he want a drink of water ?” but Grieg being a Scandinavian preferred Grey and dull as dust. the fairies had revealed to her: of his music? “No.” Christmas Music I take ten strong little men, to play and study the music of his own I’m one Hour’s Practice, Wind in pine tree. 4. Name some of his well-known compo¬ (If you really know and love a dog it is Janie’s face fell, for she had to confess And show them where they must begin. country rather than be too much influenced Smile now—and you might! Soft and low, quite possible to carry on an intelligent that, if “Christmas Music” meant practic¬ First they climb the hills of scales by these German composers. So, after sitions? Then I dance and shimmer Far-off sleigh bells, 5. If'hen did he die? conversation with him.) She lay there a long time, for hours it ing scales and finger exercises, she didn’t Slowly, so that no man fails. several years at the Leipzig Conservatory, Bright as candle-light! Whir of snow. Then came the question^- he went to Copenhagen, in Denmark, to 6. What instrument did he play? seemed to her, and yet could not seem to think that any sort of present. She was Then she made a deep curtsy, and smiled So this is how it happened that when “Do you want me to play for you?” get to sleep. Whispering little night-noises almost decided not to open it at all. Up and down they go with might, Janie awoke in the broad daylight, even Like lightning came the answer: so sweetly that Janie smiled back. But danced around her ears and candle-light Until each can march just right. before she could say a word the fairy was before she saw the great tree heavy with “Yes 1” fairies tapped lightly on her eye-lids. At Then I let them dance about, Tbo Be or Hot Tio Be Heat presents, she hurried to the piano and Scottie's eyes sparkled, his ears and tail last she could lie quietly no longer, so she Left and right, in and out, played a few scales from her Exercise stood straight up, and with a joyful bound happy few who are always neat and care¬ K “Just going to take up her lodgings in opened her eyes widely and sat up in bed. There are two funny things about the the Exercise Book,” explained one of the Book—just to hear the fairy laugh. he followed his mistress to the music room. And the strangest thing had happened! Through the fields of tunes and airs. September contest. The first one is that ful with their work, and they are general¬ She sat at the upright piano and played She was still between her .fluffy covers, They have lost their training cares! it is every year a heavy contest—just lots ly the prize winners. But as for the others a few short phrases. Then came a long but the walls and ceiling of her room When my practice time is done, and lots of essays and puzzles come in, _well, it's just too bad! Many puzzle nose under the arm lifting her hand from seemed to have stretched out and out until I have had an hour of fun! baskets full of them. That is probably answers came in which were perfectly cor¬ Answers to "As\ Another” the keyboard. they looked like the sky itself. And on The fairies must have noticed her down¬ because you all feel like doing things after rect but went right in the waste-basket “Why! What’s wrong?” them were hung glittering stars and a cast looks for they crowded about her with your long summer vacations-, and you are because they were so “sloppy”: and, worse 1. Gluck, Gounod, Grieg. 6. An old court dance of Poland, or the “Please,” said Scottie’s eyes, “Use the small crescent moon. And, throughout the much surprise on their faces. “Janie!” not as busy with other things as you will yet, many others were too carelessly done music for such a dance. Dear Junior Etude: 2. The triad that is built on the fifth other piano.” they exclaimed. “The ‘Christmas Music’ , be later in the year. even to bother reading them. So, if you 7. More animation. I was delighted to see my first letter in tone of the scale. Miss Music Teacher went to the other box is one present you may open right But the other funny thing about the do not find your name in the honorable 8. Robert Schumann. the Junior Etude and think it is a great 3. Third finger in each hand. piano, a lovely grand piano and Scottie’s away, for it is at midnight that you can September contest is that it consists al¬ 9. “Lohengrin.” honor. mention list, you know the reason, and it 4. Manual. favorite. With a great sigh of content¬ * enjoy it 'most of all.” Janie fumbled with ways of the most untidy, careless and un¬ is nobody’s fault but vour own. Certainly 10. To a Wild Rose by MacDowell. * I am very much interested in the music 5. French. But he had a Polish Mother. ment the collie stretched himself out on the the string but not eagerly, and it did not neat work sent in. Now what is the rea¬ very few of you could look at your own clubs about which your correspondents rug to enjoy his evening of music; lifting come loose. son for that? It must be that during those papers and be able to say “That is my his lovely head only occasionally to plead write. The American children are very long and pleasant vacations everybody Finally the fairies opened it. And what best work!” for more and more. do you think there was inside? Why, fortunate to live in the midst of such slips backward. Of course there are a * C neatly packed therein, was, first of all, the clubs. Australia is following closely in the Puzzle Sighing of the Winds in the Pine Trees. American footsteps although it cannot be By Fannie M. Brueser It seeped out of its tissue paper wrapper expected to do quite so much to increase Letter Box Dear Junior Etude : ¥ * musical knowledge as more musical coun¬ like a long slim whiff of smoke and made bread, and gave the crust to Fido. My teacher has formed a Junior Music tries. For it is a much younger country Dear Junior Etude: Each sentence contains the name of an great blue-black space between her and the Janie drowsy just to hold it. Then there Dear Junior Etude: and its population is less. The director of I have been taking piano lessons two opera. 5. We went down town to see the new Club and we meet in her house the last stars, were tiny fairies, with dresses like was the Ringing of Bells, soft and beauti¬ We have a rhythmic orchestra now. Our Friday of every month. We read the little music here has just returned from a long years. I received a metronome for Christ¬ 1. Cousin Ada went to London. Juanita car mentioned in the paper. blue candle flames, scurrying here and ful : then came the Whir of Snow-Flakes, teacher plays the piano for us. We meet trip to other countries in the interest of mas and find it very useful to practice with. remained at home. biographies of great composers and have there as busy as ants on an ant hill. once a week after school, and so far we 6. Her life was saved by first aid after (Continued on next page) music, and he says that the methods used In school I play piano for the toy sym¬ 2. We went to see the chrysanthemums many musical games and puzzles. We hope have five girls and five boys. We enjoy it the accident. phony band. I expect to become a good at the flower mart. Have you been there? to send some money to the MacDowell here in Australia are as up-to-date as those very much. We have triangles, tambou¬ 7. Neither Ann nor Mary can play a of any other country. 3. She bought a big red top for William. Artist Colony. rines, cymbals, gongs and drums. pianist and singer. good march. From your friend, Tell Otto, to come and see if he can spin From your friend, From your friend, From your friend, 8. Marian’s favorite flowers are roses Merry Qhristmas Rozella Bush (Age 12). it. . Mildred Spiegel (Age 12) Florrie Gehrig, James Schrubb, Missouri. 4. Erna nibbled slowly at a piece of and mignonettes. Massachusetts. Villa Maria, Lagoon St., (Age 11) Ohio. Narrabeen, Sydney, Australia. THE ETUDE Page 950 DECEMBER 1929

JUNIOR ETUDE—Ottm-ed Educational study notes on 'Music in the junior etude By Edgar Alden Barrell Junior Etude Contest Tint? Ftiide will award three before the tenth of December. Names of pretty prizes each month for the best and prize winners' and their contributions will The Horse Race, by William Baines. neatest original stories or essays and an¬ be published in the issue for March. swers to puzzles. Put your name and age on upper left Subject for story or essay this month— hand corner of paper, and address on upper “Memorizing My Music.” Must contain right hand corner of paper. If your con¬ not over one hundred and fifty words. Any tribution takes more than one piece of pa¬ boy or girl under fifteen years of age may per do this on each piece. compete, whether a subscriber or not. Do not use typewriters. All contributions must bear name, age and address of sender written plainly, and Competitors who do not comply with must be received at the Junior Etude ALL of the above conditions will not be Office, 1712 Chestnut St., Philadelphia, Pa., considered.

Prize Win ners for September Music and Life Puzzles (Prize Winner) Neil Rasmussen (Age 9), Utah. Theresa Menzel (Age 14), New York. Music is a story of life in all its dif- Leota Huston (Age 11), Iowa, ferent forms. It interprets the sentiments DownmmMsm in the Deep Blue Sea, by Frank H. Grey.

Educational Study Notes

(Continued from page 927)

More Musical Fun!

By Joe Russell

/ like to play The “Key of A," It makes me feel so bright; To F and C Of Key of D I’ve added G,

The whole next scale is right And so I study all the day