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

10-1956 Volume 74, Number 08 (October 1956) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 74, Number 08 (October 1956)." , (1956). https://digitalcommons.gardner-webb.edu/etude/88

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. String Quartette by Jack Levine

See cover stmy-Page 6 THE HIT OR MISS Shall it be a piano- ""AS GONE ••• or merely small pleasures?

FOR THERE IT WAS .. a complete list of 54 famous greater understanding of music as a result of my new expert- names in the world of music, And the combined talents of ence in teaching. As my students have been taught, I, too, these noted musicians were incorporated into a plan of music have learned many things regarding music which I had not education that was now mine to use .. the Hit or ·Miss previously understood. was gone from my teaching. If you are a successful career private piano teacher, you Since I have been appointed a Progressive Series teacher I too may benefit with a Progressive Series Appointment. But Mary's parents are the average sort of people who have been repeatedly and pleasantly impressed with the (ide wisely-if manufacturers, dealers an your musical qualifications must be good, because to be a do most of America's buying. I"ch· thoroughness of this remarkable plan .of music education. ers all do their part to explain the import Progressive Series teacher is to hold the ultimate in private ance or As I received the various materials, I discovered that it was playing tbe piano. music teaching "status! constantly being revised and augmented to keep it complete and comprehensive. Having only a limited income, they can afford to Why not investigate this distinguished plan. Do it now ... give Mary relatively few large "advantages". Not only do my students excel but they also seem to gain you have everything to gain .. nothing to lose . and • To this end, Story & Clark has for years a new insight into what they learn. And I myself have a there is no fee for Appointment, only ability to teach. de\'oted , a large part of its advertising to truly edt. rational work, including several quite noteworthy [ klets So what shall these advantages be? More clothes? and pamphlets on this subject. More movies? A larger allowance? Or maybe a piano and lessons? These booklets make excellent "pub] ic ref I' '. iOns TEACHER AFFILIATION THE PROGRESSIVE SERIES PLAN OF MUSIC EDUCATION material for plano teachers, dealers and . . ~mUSIC BY APPOINTMENT ONLY schools to mad or hand out. They are ava: )/abJe • Tested lesson-Pions • Correlated Theory Program Career teachers with acceptable • Teacher Workshops • Superior Teaching Materials free in any quantities you can lise. We would 'wel- Story & Clark believes that most parents will de- backgrounds and active classes are • Pre-Instrumental Program • Institutional Affiliation come an opportunity to send you samples. • Foreign Music Seminars • Teocher Placement Service invited to inquire about Appointment and Teaching Authorization. A copy of the handsome brochure, "The Career Private Piano Teacher", will be STORY & CLARK No fee for appointment sent without obligation to any active teacher. Piano Company

28 East Jackson Boulevard, PROGRESSIVE SERIES PLAN Dept. 106, P. O. Box 233, Clayton, St. Louis 5, Mo. I am c coreer private piano teacher with an active class. INSTRUMENTS OF QUALITY-BY ONE FAMILY-FOR NEARLY 100 YEARS Please send me a copy of "The Coreer Private Piano Teacher". Nome. Address .. . Averoge Nymber of Pupils .. City .. ..Zone...... Stote ... * Progressive Series Teachers are located in every state . and 14 foreign countries,

etude-october 1956 1

~w ...... ~~~-'------'-"C=.=~~~~~~ Oct""'I~\ ••• \'ol :4 \

':~~ ro.oded 1883br T1>mdo .. P--. .~------that have grown ·w to Musical Achievement! contents It's hard to believe as you hear him perform today that those are the same fingers you took in your own and FEATURES placed on the proper keys. . But his success is your success. As hIS 10 Folk Music in Civilization, Bruno Neill teacher you have guided him through 11 -Composer and P d. 0 • RiLn#rtl ',.114. Col~ • a maze of notes and keys . , , and of 12 The Loring Club, George C. Burton equal importance are the pianos, that 13 The "Bach" of High Ftdelhy, Marion L. /Jri81l t have by their response to his every feeling inspired him to greater heights. 15 Glenn Gould, A Debut and a P non,IiIY. Ed14·tud J, It Today he knows that his performance 20 Today, Abraham kulsky can be only as good as the piano he 23 Disney Fun with Music, Rose lJe)1bu' , uses. That's why his choice is always a piano with a Wood & Brooks Action - the action .found in the World's DEPARTMENTS Finest Pianos! 4 World of Music Write today ter your free copy of "The Piano" 6 Musical Oddities. Nicolas lonimsky

anlfDataWBooklet.& B Action \.-' 8 Music Lover's Book helf 16 Factual Versus Subjecuv Approach 10 p, JI >,. , 17 The Dance, Walter Terry 18 New Records ''

MUSIC Piano Solo Composiuons 24 Eclogue ~ ~.._.._.._._. You'll w-onder w-hy you w-ai'ted SO long 28 Toccatina (The Wind) ------____-_.~,...,--',,.wtf. 30 Fantasy in D minor _ NO MORE lost, strayed, frayed or soiled ____ II.'." • sheet music. No more frantic search through (from "Sonatas and Fantasies" by W. All these years of listening to music on joy it. People who have never played more expressive interpretation of your . Mou" «lilt You will never get over the thrill of gering pause of as little (IS 1/20t1l of a second. on filing, and name of nearest , bars that you can adjust to create thou- dealer. TONK Mfg. ce. 1916 N. it ... how much a Hammond can do sands of tones and tonal blends. Only Magnolia Ave., Chicago 14, III. with your simplest music. For this is the r------~ Hammond has "Touch-Response Per- I Hammond Organ Company : instrument that gives you the most ... cuseton Contvot'» to give you added I 4210 W. Diversey Ave., Chicago 39, Illinois I James Francis Cooke. Editor Emeritus (Editor 1907.1949) the most variety of tones, the most deli- I I harp, xylophone, and other percussion I D I am interested in learning how to play the I cate shadings for every kind of music. : Hammond Organ before buying one. I Guy McCoy, Editor effects. Only Hammond has Separate You don't have to be a genius to en- I D Please send me your new Color Brochure : Vibrato Controls on each keyboard for I about Hammond Organs. I , M usi<: Editor I I I I V. L. Fanelli, Art Director I Name .---- __ I HAMMOND ORGAN music's most glorious voice I I I Address I Contributing Editors: Harold Berkl I I I I Albert J. Elias. Elizabeth A G ey. Tbereea ~le1lo. M.uritt l>u.meYlil did'. I City ------__. Zone __State.. I William J. MitcheU Will' . Dest. Ro H ylbul. Ceora Ho.. enon. ."It: )( T : ~~9~~~M':::':~N_C:M:::_~o_ j 2 ' lam. ReveUi, Ralph r R... L . I <10 ...1'ahtJ l'fIl ...... -...,,~ ICO&.!!_ .' etude-october 1956 ewd.-october 1916 3 Secretary of the 'ational Acered" Association. will lead panel discu~~ were Elaine Malbin, soprano; Leon on pertinent. sub'jeers. ~- Fleisher, pianist; William Warfield, baritone, and the Beaux Arts Trio. ' fantasy opera "Griff~ "Take it kin," which had its world premiere~ N, Louise Wright, composer, dean ovember, 1955, on the 'BC-TV~ emeritus of Swinney Conservatory of from me, era Theatre, was given its first siageflel, Music, and whose piano teaching pieces forma nee at Tangle wood, Lenox, Mass are well known to readers of ETUDE, pianos have. on August 6 and 7, It was the princi~ was awarded first prize in the 1955 con- production of the Opera DepartmentI test of the Composers' Press, Inc. Her changed, the Berkshire Music Center, It ","as~ winning composition is entitled Windy ducted by the composer, with Boib Weather, too!" The National Association of Schools School of Fine Arts, University of , Coldcvskr 85 stage director. of Music will hold its thirty-second will present a program of great im- , American composer, portance to music educators. Howard recently had three honors bestowed up- annual meeting in Cleveland, Ohio, igmn Alphn JOin, profess:ional mlj. on him. Princeton University conferred November 23-24. President of the As- Hanson, Director of the Eastman sic fraternity, held il 28lh Nationi on Mr. Copland the honorary degree of sociation, E. W. Doty, Dean of the School of Music, and William K_ Selden, cnventicn in W8.lbinglon, D. c.. Doctor of Music; The National Institute Augu I 16 20. 'hrough The 6"e

i~' ~ P'~ I~, ~\~.', iT,r » . "'~I~ RIEGGER ... I~, L I~' li~ ii! II~" \.J . /j~.1 ••;l~ .i.'J;_1 II.\~~ #~i.11 .._...... ~~::--,',. ...-.;:;~---~-~~~.-.I... ,.JIII'•• Composer •• • ,..1!!!!l..~~~4'..:!![r." I' THE DUNCAN RHYTHOCYCLE* makes the ordinary metronome obsolete, for it can repeat any rhythm pattern-even polyrhythms and Pedagog SOME PEOPLE wonder about the valu of folk mu ie in a culture How the new which has gone so far in musical evolut i n, P ultur which can boast DUNCAN RHYTHOCYCLE a Bach and a Mozart. What, then, i the pin f folk mu i in our civilize. tion? Does it have a legitimate function, r 18 it imply a r lie of the past By RICHARD FRANKO GOLDMAN REVOLUTIONIZES THE which is doomed to atrophy? LEARNING OF RHYTHM Because it is close to, and can be easily und r to d by, th ordinar)' per. son, folk music has often been ubverted. It has b n nli ted in the inter- Now, for the first time, you can set est of patriotism, politics and busine . !AMONG THE BEST musical news of 1956 is the complished pianist. The home was always full of music up the most complex rhythms so But folk music, studied and heard for it own eke, can give u man)' item that Wallingford Riegger is at work on his (in those sad days before radio and TV!), as Riegger's you can both see and hear them. A father, who was in the lumber business, played the violin metered metronome! things. It is a unique musical exper i nee, sin mu h of it i composed in Fourth Symphony. This is a work that has long been modes, rhythms and harmonies different from th of th tondard reper- awaited. Riegger's Third was composed in 1948, and its quite well, and the children were all encouraged to take A single hand sweeps around the face part in chamber music. When Riegger was three, the at a preselected tempo, ticking off tories. We can learn history, geogra hy, psy hology (rom the word of stature increases with the passage of years; it is widely the beat wherever a metal clip has folk songs. Above all: we can acquire mu i al tal ran . All pi in the considered to be one of the half- dozen best symphonies family moved to Indianapolis; there, a few years later, been inserted. As on a clock, there are world have folk muarc. I am sure if an uni iriated r ad r heard certain yet written by an American composer. Its recording, by the youngster began to study the violin. Later on, after 12 numbers and 60 slots for clips. A A~erican !ndian songs, Rumanian bagpip tun ,or mu ic from Central Howard Hanson and the Eastman-Rochester Orchestra the family had moved to New York, young Riegger learned full sweep of the hand around the face the 'cello, so that the family could have a string quartet. constitutes one ~sla, .he might exclaim, "This is mu ic?" BUI a bit of patien e and repeated (Columbia), released last year, should do much to make cycle. This cycle hstenmgs would probably convince him that it i ind d mu ic, that it it more generally known, and to make more widely shared The 'cello remained Riegger's favorite instrument, and it can represent any was as a 'cellist that he was graduated from The Institute 'follows. the basic pri~ciples of mu ic, an I that it i \1 n plea nt 10 listen the opinion that Riegger is one of America's most im- given note value. of Musical Art in 1905. At that. time he also received his to ". UltImately he WIll see that mu ical exp ri n e can b immeasurabl)' portant musical creators. And you can di- first training in composition from Percy Coetschius, who vide a cycle into enn~hed .by folk music, and he will agree that it ha a pia in everyone's Riegger waited a long time for the recognition that has any desiredrhythm ' musical life. been his due, but since the performance of the Third considered Riegger likely to become a "master" if he would avoid the influence of the pernicious moderns. pattern. These pat- F.olk . music is .taking a new turn. The gulf betw n the holar, who Symphony knowledge and appreciation of his work have terns can be seen 6 9 12 3 y increased rapidly, and his music appears on our concert Riegger was not, as a matter of fact, attracted to the then and heard as the puhntamcall studies the folk music of isolated villeg and the ent rtainer. J J J J programs with gratifying frequency. Riegger has never modern composers for quite some time; he remembers moving hand ~ ~ ~ w 0 molds folk songs. to the tas t e 0 f th e Cill""fi e d pu hi·IC. I. d·lsappeanng.. A sweeps past the I I I new type of folk sInger is ern . h I I h b" " been a prolific composer, and much of his work does not (rather blushingly) that he hissed at the first Berlin per- "h b' .. ergIng, t e sc 10 ar w 0 com mes creatn'e talent clips. 10 2 WIt 0 JectIvlty and authe t·"t I . fit the conventional ca.tegories for performance. These two formance of Scriabin's Poeme de l'Extase, exactly as did . n ICI y, tIe lIlger who triv for an accurate facts have perhaps operated to Riegger's disadvantage so the Philadelphia audience twenty years later, when Stokow- VlA~IMI R.SOKOLOFF '. Member of the Faculty, rePfrejskendtatlOn of American folk culture, And. b the wa . the same applies Curtis Inslltute of MUSIC states: The Rhytho· t o 0 ance. . far as public acquaintance with his music is concerned, ski first played Riegger's Study in Sonority. This is per- cycle will be a tremendous boon to students but the situation now appears to be changing. Riegger is haps a nice lesson for composers as well as for audiences. and also the professional musician ... con- f ranted with intricate ... rhythmic combinations. A New Personality performed today about as frequently as any other front- In order to present to the d f . " . his graduation from The Institute of Musical Art, " thO rea er some 0 the p r onautIes who are act:l\-e rank American composer, even though the Third Sym- After See the Rhythocycle demonstrated at In IS movement I ha ' . d your music store. Or if there ·is not one student tId" ' U . ve . mtervlewe two young m n, both graduate phony has yet to be heard in . His Quartets, Riegger spent several years in Germany, where he contin- san lana mverslty d h I h ·Id·· " works for chamber orchestra, songs and pieces for various ued to study both 'cello and composition. He also served in .c;tock,write for the name of your for the' k Th ,an ot I III 109 Wid pread reputations neare~t dealer. Alf{o a.«k for a free IT wor. ey gave thei . Is f . f n. chamber music combinations are being heard in all parts an apprenticeship as conductor, and made his professional music and d d I r pom 0 VI W on current tre.nds in o~ de.«criplivefolder. anee, an would rk t h of the United States, as well as in Europe, and the com- debut in this capacity in 1910, with the Bluethner Orches- Bruce Buckley is a folk' leo pas l ese on l~.th reader., missions that did not come his way until the Third Sym. tra. His principal teachers at that time were Robert Haus- and Folkwa h . . singer who has done tel VISion and radiO work. Only$69.50 ys as Just Issued a d f Ok" h" phony are now being offered quite regularly, Riegger mann and Anton Hekking in 'cello, and Edgar Stillman- Buckley began to t. reeor 0 LO Valle Ballads sung b' 1m. " ge mterested in folk h h th d f h- observes, with his wry sense of humor, that he is supposed Kelley and Max Bruch in composition. For conducting, he THE hshed names like Burl Ives song~ t roug e recor so esta to be the American composer most performed in Scandi· took Nikisch and as models, observing to the original spirit f h' but he SOon decided that in order to get close DUNCAN navia, and that some of his works are quite popular in them often in action as a player under their batons. are sung by membe Of t e songs he would have to learn Lhem as ther RHYTHOCYCLE l Japan. bn the other hand, he estimates that there are about With the outbreak of the First World War, Riegger re- folklore and made r: °t r~a fOfilk groups, He began to stud)' the science of 1616 Walnut St. x enSlve eld ree d" O· h 1100 orchestras that have never heard of him. turned to the United States. He appeared as guest conduc- stems his Folkways d . or lOgs In outhern hlO. w eRee Tecor On th,s d "_J Riegger is now seventy-one years old. He was born in tor with the San Francisco Symphony, but regular open- Philadelphia 3, Pa. b Y guitar mostly d recOT are eight songs. accompameu r -. Albany, Georgia, on April 29, 1885, and began the study ings for conductors were scarce, and he accepted the offer Pat Pend *Copyrighled tragedies. ' ea tng WIth disasters, robberi . murders and otber of music at an early age with his mother, who was an ac· of Drake University, in Des (Continued on Page 42) (Continued on Png.48) JO elude-october 1956 11 ~_------tHude-october 1956 Robert D. Darrell the "Bach" of High Fidelity-

from an interview with Robert D. Darrell, secured by Marion L. Briggs

There's nothing like group singing for developing good fellowship, say members of San Francisco's famed LORING CLU~ filS FAR BACK AS 1939, high fidelity critic send," he says, "because it prepared me not only y-j and expert in electronically recorded mu- for what turned out to be my wartime service- by GEORGE G. BURTON several weeks later, the Loring lub fashio abl ev nts. Wh n the 38 char. sic, Robert D. Darrell, warned in "Music Lovers' writing and editing Army and Navy instruction sang to a full house of 1400 in the tercd in mb r go\'e their fir t concert Cyclopedia" that the "professional musician must be books for Hazeltine Electronics Corporation-but Scottish Rite Auditorium. It has been on I b r 17, 1877, the of that ~ new director of San Fran- Call prepared to meet a new and higher standard of for my present technical knowledge of audio." cisco's nationally famed Lor- singing afternoon concerts, inciden- date drib d th glitter and fla,hof -ability and taste" in his public, as a result of audi- The path that led him to become a specialist In tally, ever since. ing Club kissed his wife goodbye and th f. hion bl audience a one thai ences' growing knowledge of music "through re- recorded music is a strange one. quickly drove downtown. It was the The Loring Club, "an association would rival th 01' ning night of te- corded performances of the world's finest artists." Except for a few piano lessons, he received no mu- of gentlemen musically inclined," a eve of his professional debut with the da 's an Fran i 0 P ra ason. Even in the smallest town, he declared, there are sical instruction as a child. "My piano lessons were 78-year-old men's vocal organization, the California Alta of March 1, 1877 But Il1U i d not for long sla~' sure to be people at any concert not only familiar a waste of time," he declares bluntly. "It's criminal and perhaps he was justified in being described it, is San Francisco' olde t the I rep rtl f onl· the fashionable. with the works to be played, hut acquainted with to force musical training on a child until he has a bit nervous. Quickly he parked his musical organisation. It gives two n the common man found the or- them through recordings of experts. But one favora- some personal interest in it." car near the Veterans' Auditorium regular yearly concerts, which. in ganization. and n cjnical reviewer ble result of this he saw was that "new music will Although his father was a semi - professional and hurried in. And then the air raid keeping with Mr. Fried's suggestion, ha I thi to say in a ub quent ,11/" lose much of its terror and instinctive opposition player of the trombone and double bass, he did not sirens blew. It was San Francisco's are now all in the afternoon. I. ull de wa de ,igueur. only . .. heard, reheard and studied on records." This encourage his son in these. "Father was always first black-out, the second day after David W. Loring, the founder of • f w brok r' clerk and thin is a boon to both composer and performer. going to teach me the trombone, but he never did," Pearl Harbor. Date December 9, 1941. the Club, came to San Francisco in lder ly g ntl men, who hare al· For the future of recorded music in general, he Darrell explains. "I wasn't interested in music until Several thousand invitations had 1876. He was a member of a well- ways been burr on the hem 01 forecasts "there will be more emphasis on minimi- I was in high school. Then a classmate took me to been sent out. Already, along the known Bostonian family and a found- fashion. being permitted without zation of distortion, that is, cleaner reproduction a Friday afternoon 'rush line' for a Boston Sym- darkened streets, the first of his sixty- er of the celebrated Apollo and Chick- the while tie and wallcwtail." and less background noise, than on mere extension phony concert, and I was so impressed by my first voice chorus were beginning to arrive ering Clubs of that city. Shortly after ince that time. the Loring Club of frequency rate to reproduce very low and high introduction to serious music that I waived my ... in full dress. Quickly sizing up his arrival, a mutual love of music has performc I for thousand of pe0- tones, on which the emphasis has been so far." This . intention to become an electrical engineer and de- the situation, young Eugene Fulton brought a few of his friends together is good news for the serious artist. cided to be a composer." phoned all the radio stations in the ple. Twice the) sang at Easter Sun' for evenings of group singing. Later The hi-fi expert claims the seventy-eight revolu- Shortly after he finished high school in his native area. "You must tell them that the rise ervic atop an Francisco's in that same year, eight years before tions per minute (rpm) record is dead in this coun- Newton, Massachusetts, he enrolled for independent concert has been called off," he im- h. Davidson. and their voices were the founding of the Metropolitan try, except for children. "It's as obsolete as a do-do, study at the New England Conservatory of Music plored. And so the radio stations did. broadcast around the world. Before Opera, the Loring Club was founded. other than as a museum piece. The thirty-three and near Symphony Hall in Boston.' By this time, he After the false .anncuncement of the the opening 01 the World· fair at Mr. Loring was chosen as its first one-third rpm LP is the only record for serious wasn't missing a single Friday afternoon symphony torpedoing of the Coast and Treasure Island in 1938. ther sang l?ireGt~r, and over his loud protesta- music. The forty-five's are for popular pieces ex- concert. In fact, he was taking scores along. the foreign news, the word came that with a ombined chorus from the tron hIS name was used to designate clusively-dance music and hit songs." Under Warren Story Smith, he majored in compo- the Loring Club concert had been the new society. Olympic. Orph UIll. and OrpheusS0- For twenty-five years, Darrell has specialized in sition for three years, then gave up the idea of postponed! As Fulton turned away cieties of the Be Area. In 19.J8 the)" . From the very beginning, the Lor- both the musical and technical peripheries of serious becoming a composer when he failed to win a prize from the phone he faced Alexander sang with an Francisco Opera in mg Club filled an important place in recorded music, writing articles and books and re- with a large orchestral composition he wrote and Fried, the music critic of the San Die Meistersinger. gath ring plaudit' the social life of young, bustling San viewing records. During World War II, he took submitted to the Conservatory. Francisco Examiner. "Rough luck," Irom the criti for that appearance. Fra~cisc0. Today, men from all walks the electronic technician's course at Radio Televi- "I was sort of banking on the prize," he says. glumly commented Fried. And Fulton In 1952 the Loring Club celebrated ?f hf~ find relaxation through sing- sion Institute, , to prepare him- "Then I realized it was apparently a mistaken no- readily agreed. Fried then suggested its 75th nniversarj in an Fran· mg with the Club, but in the early days self for service in the Signal Corps Reserve, after that the Loring Club bad better cisco's mammoth . a hall tion of mine that I could be a composer, and I knew only the names of the socially elite enlistment. Over-age, however, brought about his my real bent lay elsewhere." forget its old tradition of evening that people said they would ne\-er were to be found on its roster Th honorable discharge before he was ever called up concerts, and so it was that on the begin to fill. They played that dar te After he left the Conservatory, he wrote a few PU~lic Rehearsals and Concerts ~f th: for active duty. unsigned symphony concert reviews for W. S. Smith afternoon of December 29, 1941, just ng a \ ery near-capacity house. 8S the) do Lon Club in the. early days "Having taken the course proved to be a god- of . These started him on a writ- were now near-ly (Eontinued on Po e 141 12 elude-october 1956 1. _ etude-october 1956 13 fesses. "Now they don't interest me par. ing career in music, and soon a chance Encyclopedia of Recorded M~sic,." the ticularly." Among his favorites today meeting with Richard G. Appel of the first work of its kind, which instituted are Bach, Handel, Mozart, Berlioz, Stn. music division of the Boston Public Li- discography and established Darrell na- vinsky and Bartok. brary resulted in his joining the staff of tion-wide as an authority on recorded . the nation's first magazine devoted to music. To the researcher in Musicology, Dar. serious music on records, The Phono- With a Guggenheim Fellowship in rell's compilation, "Schirmer's Guideto graph Monthly Review, back in 1926. 1939 he was able to devote all his time Books on Music and Musicians," pub. He served this publication first as assist- to free lance writing except for his war lished In 1951, has an appeal. In the ant to the initial editor, Axel B. John- service. This fellowship enabled him to introduction, he discusses how the com. GLENN GOULD ...a d,Iut and altej{jo~altty son, and as record reviewer. Later, he get together material for a book on piler may organize such a work sue. became the editor, and before the maga- recorded music. The result he called cessfully. zine folded in the Depression, it opened "Airs from Heaven and Blasts from During a recent six months' experi. seat. He does wear special fingerless gloves-not when doors to him in free-lance writing on Hell," a startling enough title; yet he ence when he was discographic consult. playing, of course. He does go through a warm:up involv- audio and recorded music at a time decided the material was too disorgan- ant at the New York City Public Library, ing hot running water. He had the keys of hIS recently he helped set up the music division's when public interest in these was growing. ized to publish. acquired new concert grand specially buffed. "If you get "The book wasn't a book; it was a record catalogue. "Twice in my life," he declares, "I've the least bit sweaty, YQur chances of slipping on smooth dozen books," he affirms. But its sub- He is now at work on a new book been one of the advance agents in a keys are too great," he said. There is an occasional differ- movement that later became widespread." stance later became the principal con- called" ood ound," which he hopes ence in the extension of the black keys, and this can While the serious development of tent of his popular book, "Good Listen- will do th arne thing (or reproduced be bothersome. Sitting low, with a "very low wrist," this high fidelity did not come until the ing," published by Knopf in 1953, and music that" od Li tening" did for black key extension is critical. . 1950's, Darrell was in it by 1931. He now in the New American Library symphoni mu..ic, I asked him about his rehearsal with the Detroit Orches- admits the growth of interest in hi-fi pocketsize "Mentor" reprint series. His tw J r:.-onal hero 11 in the mUlie owes a good deal to do-it-yourself hob. Actually a handbook for record col- w rid are the late B'la Bartok .. d tra. He said Paray gave him a curt nod and they went hyista, but he believes it stems main [y lectors, it is a guide to the world's best Maj r Edwin J-I. Arm trong, Father of through the concerto from the widening interest in recorded music and to music ap preciation. FM, about whom h wrote an article with only one inter- and broadcast music. "Of course, the Darrell is convinced musical tastes entitled HI\! jor rm trong: An Amerl- by Edward Viets ruption. Upon com- advent of magnetic tape helped too," he are constantly changing in individuals. an Tragedy" ( r th murda)' RetielD pletion, he said, Paray says. "In my early days, I was a great pro- (F bruu ry 27, 1954). THE E~D turned and said in effect.' "I want to thank you, for play- ponent of Sibelius and Dehus," he con- In his opinion, high fidelity does not ing Beethoven's music as I think Beethoven would have have to be sensational to be effective. liked it played." "But the sensational stuff is what most THE LORING CLUB The performance itself was a magnetizing one. If you dramatically attracts attention," he (Continued from Page 12) recall the LIFE pictures you'll get the idea. Gould saun- claims. "Although the neophyte is some- ters to the piano, giving the impression that he wants to times repelled by the sensational effect every season and every concert. They b rr wed music, and in pite of the relax more than anything else. He is tall and thin, but of high fidelity, and only after hearing have come a long way from the day boiled wut rand eann d food o( thr not gaunt. Seating himself on his special chair, his con- serious music with quiet virtues can he when Concerts were for members only. m ruhs preceding. in pite of fear, reo have genuine interest in hi-fi, more often tortions begin. They are .distracting and confusing at first Wallace A. Sabin was the guiding gr l. " rrow, Ihe I r friend .. and de the serious-minded listener does not real- because one can't help but wonder what all the body genius of the Loring Club (or twenty- stru lion (prop rty. the)' looked 10 ize the quiet virtues of hi-fi-its purity, movement and arm and hand extension gestures have eight years, and the fame of the Club is and ..ow a gold n future. and Ihe~'sang cleanliness, and naturalness of tone-c to do with playing the music. His hair is long and he in large measure due to his greatne s a con rt from their true an Fnn- until he has first been stimulated by pulls out a handkerchief 'and mats it back. He convulses as a musician and his endearing quali- cisca n hearts on th 1811, da)' of p- some of its sensational dynamic impacts." on an orchestral sfz while waiting for his own re-entrance. ties as a man. He first took the baton I ml cr. 1906 onl)' fiv short months One difficulty, he believes, is that re- in March, 1909, after being the group's a Iter th holoceust hod leveled a major He sings (outdoing Paray) and from my third-row seat cordings are always ahead of hi-fi equip, organist since 1907. He died in 1937 portion of lit ir cit)'. mLTHOUGH GLENN GOULD, the young Canadian I heard a frequent buzzing. I could find no other than ment, except in the laboratory. at the age of 67_ The well-known organ- 'World V;'ar II itl:elf brought man~ pianist, has been concertizing widely in Canada, the pianist to whom I might attribute this. The com- "The ordinary record listener just ist of Grace Cathedral, San Francisco, changes to the Loring Club. After Etf- having made his debut about ten years ago with the pletely full house snickered a bit at first, but I don't think hasn't had access to the kind of equip- Richard 1. Purvis was one o( Mr. eral hours of r hearsal the o\'erall-elad Toronto Symphony Orchestra, it was not until last March they could have been more attentive. There was no ap- ment that will do full justice to his Sabin's favorite pupils. singers would pick up their helmets and that Americans were privileged to hear this sensational plause between the movements but especially significant records." Eugene Fulton is a professional mu. lunch pails and b off 10 ~ork at the keyboard artist. The writer was in the audience last March is the fact that there was none of the throat-clearing and Darrell first attracted quite a bit of sic.ian .. For twenty years he has taught shipyards at Hunter Point. or downat 13, when Gould made his American debut with the Detroit resettling and attention interruption that an audience attention as a record reviewer when he vOice In the Bay Area, where he lives Beth lehem leel. Symphony in the Beethoven Fourth Concerto. Paul Paray usually displays. Gould won his audience and he' held did the initial serious study of Duke with his wife Anna-Marie. an accom- Loring Club alumni hne gone (ar in Ellington, appearing in Volume I of plished pianist herself. and their two led the orchestra in ideally balanced support. Paray is them as few have done. It was a memorable evening. musical eirel 10. Wilfred Glenn. a memo the eminent French conductor whose musicianship and Gould is the only child of a Toronto couple of essen- former Disques magazine, under the y~ung daughters. He is the Regional ber of the nationally ramous"Re\eler's~ title "Black Beauty." Duector of the National Association of qua rtette. got hi start with the Club. direction have led the revivified Detroit Symphony to tially Scotch ancestry. He traces distant cousinship to Tea~hers of Singing. the Minister of For several years, he contributed a as did Keith Engen. who recently made proud heights. Grieg and also through his mother's side to the W. L. MUSIC at the Lincoln Park Presbyterian semi-technical column, "Highs and bis debut with the Vienna Opera in Managing to find a few minutes here and there to chat McKenzie of Canadian r.enown. The family is in com- Lows," to the Saturday Review. Cur- .C~urch, and the Director of the Bohe- with the young artist, I summarized his status as of this fortable, but not wealthy, circumstances. They maintain mIan Glee Club. Verdi's "I abu co:' rently he writes an audio and book No story of the Loring Club would date. The pnblicity bnildnp has been unprecedented for a summer home in the Muskoka Lakes area of Ontario The Loring Club has weathered more ,review column, "Listener's Bookshelf," be campi Ie without menlion of il5 a classical artist. In this buildup barrage the bare facts where he spends uninterrupted summer months in music than _one or two setbacks in its history. for High Fidelity magazine, and is con- Women's uxiliar)'. rounded b)' the late The great earthquake and fire of April have been sometimes inaccurately perceived. I have in study and composition. His mother was an amateur pianist tributing editor to that publication's Estelle Carpenter. one·time Supervisor ~8, 1906, disrupted the Club, scattered mind that within the space of a few weeks, Gould has and his father "fiddled a bit" but that. is pretty well in new sister journal, Audiocra/t. of Public hool ~Iusic in an Fran· It~ members, and destroyed its entire been described as being a twenty-two, a twenty-three, and the past. Writing reviews for Music Lovers' cisco. LIbrary. Still they came from wea ther- a twenty-four year old pianist. Let's start with the exact He played at the piano from the age of three and his Guide brought him to New York City And so this pioneer chorus. begun in beaten shanties; green refugee-shacks date. He was born in September, 1932, so he is ·now mother started teaching him at four in a regular manner. in 1932; then in the middle 30's he be- the year of the centennial of the Uniled ~nd th~, wh:e~less cablecars they called twenty-four. He was graduated from the Royal Conservatory of Music came record researcher and consultant States. sings on. It is a faI distant cry home, raISI?g the dust of unpaved First the idiosyncrasies of a pianist. Gould travels with for the Gramophone Shop. This post led from the swallow-tails and tbe handle- in Toronto at the age of twelve. That alone is staggering. to his compiling the "Gramophone Shop roads and tWIsted cobblestone streets a special chair; this is a must with him. It is low and I His mother was his teacher till the age of eleven and They sang in a borrowed church witl~ bar mustache of lester-year 10 the Con· cer< of today. THE ECiD recalled for him that Paderewski had recommended a low Alberto Guerrero from the (Continued on Page 42) 14 etude-october 1956 ~------etude-october 1956 15 finally Maria Galvany. The works in strument and its music. The twelve com- Chopin: 3 Polonaises and 8 Mazurkas Wisotd. Malcuzynski performs the C which they appear are evidently of mi- positions, all composed in the past Minor, F-sharp Minor and A-flat quarter century, that Mr. Almeida has nor importance in view of the aim of Maior Polonaises and the JWazurkas this recording. There are excerpts from chosen represent a fusion of classical, Nos. 32j 20, 7,15, 47, 27, 41 and 17. PIANIST'S PAGE "," "Tosca," "Les Huguenots," popular and folk elements in varying "La Forza del Destine" and "Dinorah." proportions. The Etude No. 11 of Villa- This Polish pianist can do anything Taking into account the year in which Lobos with its drone bass and dissonant with Chopin except make him interest- the original recordings were made, the harmony is especially interesting as an ing. He can play with great bravura. FACTUAL VS. SUB~ECTIVE voices emerge as amazingly clear and example of contemporary guitar music. He phrases correctly and without moon- pure. (Thomas A. Edison Inc., West Mr. Almeida plays with fine regard for ing about like a love-sick calf. He has Orange, N. J.) -Abrabam Skulsky the musical values of each piece and various other abilities that are much APPROACHES TO the nature of his instrument. (Capitol prized. By some odd arithmetic they all P.8321) -Willard Rhodes Mozart: Quintet in Eb, K. 452, for add up to nothing, unless one is satis- PIANO TEACHING Piano and Winds . fied to admire beautiful but lifeless Beethoven: Sonata No. 14 in C-Sharp playing. (Angel 35284) Beethoven: Quintet in Eb, Op. 16,jor Minor ("Moonlight") -Arthur Darack William J. Mitchell Piano and Winds Sonata No.8 in Minor Walter Gieseking, piano, and the Phil- Beethoven: C harmonia Wind Quartet (Sidney ("Pathetiqne") Schumann: Sonata in F Minor Op. 14 Sutcliffe, oboe; Bernard Walton, (l(lbelled Concerto without Orches- Rudolf Firkusny's first Capitol rec- clarinet; Dennis Brain, French horn; tra by its first publisher for no (Dr. William S. Newman is a pianist effective and imaginative perform- Cecil James, bassoon) ord is a fair sampling of his big talents. apparent reason) who has performed as soloist and in ance, to be sure, but were not con- He is also well-recorded. Schumann: Duvidsbu,;.dler Dances, chamber music in many o] the Eastern One seldom hears a good perform- I have always wondered how best to cerned with imagination as a mean Op. 6 and Southern States; he is a Professor of inducing this performance. ance of the Mozart Eb Quintet for describe Firkusny. His playing is mus- of Music and Chairman of lnstr uctioti cular enough yet its principal virtue is A successful performance of this Thus, Couperin, in his "Art f winds and piano. The work is not only in Piano at the University of North inherently difficult as to balance, tempo poeticaL It seems, at first, that he is Schumann sonata requires a pianist en- playing the Clavecin," mentioned Carolina. In addition he composes, is a and sonority, but performers seldom another big virtuoso, with a solid clang dowed with a composer's architectural recognized musical scholar and a vol- "sensitive expression" but proceeded bear in mind that Mozart's instruments, to his octaves and a powerful ripple to sense and with a special ability to han- uminous writer, the author of "The at once to pin it down in objective piano as well as the winds, were not his scales. It turns out that Firkusny dle massive sonorities. Friedrich Wueh- Pianist's Problems," among other books, terms as rhythmic freedom effected the same as they are today. would rather woo a passage with a son- rer in a new Vox recording is such a and editor 9/ "Thirteen Keyboard by lifting before, or dwelling on, a The Beethoven work, written more net than proclaim in some theatrical pianist, and it is good to hear such a Sonatas of the 18th and 19th Centuries." note. Frescobaldi had written aim- or less in imitation of the Mozart, is manner, even though he knows full well clear, rich-sounding version of this -Editor, Pianist's Page) ilarl y a century eardier. The nearest usually undervalued. While not one of how to accomplish the latter. It is Sonata, and a beautifully recorded one Couperin came to a stimulant for the Beethoven's great masterpieces, and on enough to say that these two sonatas, too. Wuehrer's finger technic is not entirely up to the fiendish requirements imagination was a suggestion that the whole inferior to the Mozart Quin- beaten to death over the years, sound fresher .than any daisy appears in the of the last movement, but his playing of ~RE ARE TWO main ways by stretching the fingers in all directions tet, it nevertheless contains some fine the exquisite Variations, the heart of which a piano teacher (or any music and stands miles above most.mu- spring. (Capitol P·8322) "will rouse the spirit and engender Biilow-L h rt edition 01 Beethoven', -Arthur Darack the Sonata, could hardly be bettered. teacher) gets his ideas across to the sic written before or since for wind in- more freedom!" onata are choice exempt . "A true Wuehrer's concept of the Davids- student. He either takes a factual ap- strument combinations. Its performance C. P. E. Bach emphasized several 1 ling for and reflection of the Mas· also presents great problems of ensem- bundler Dances, Op- 6, on the reverse proach, specifying, say, a wrist-stac- Chopin: Sonata in B-flat Minor (" Fu- times in his well-known Essay that ter's melodic int ntion cannot be ble and interpretation. n,eral March") side of, the LP is another matter. Here cato touch on these eighth-notes, a "a musician cannot move others un- is Schumann's most subtle and colorful learned from dida tic preachings; all The players here are all front-rank Shostakoviteh: Three Preludes and rise to a climax on that sharp dis- less he too is moved," a fact vividly cycle, and unhappily the pianist is not that an be done i to appeal to the virtuosi, but the performances leave al- Fugues sonance, or a slowing down of the a sensitive colorist (shades of piano demonstrated by himself according to poetic fancy of player and hearer most everything to be desired. Each pulse elsewhere. Or he appeals to the Emil Gilels playing the Chopin B-flat and pianissimo and any leggiero qual- Charles Burney's firsthand reporL. alike." (in op. 54)." ound Cf shrilly player is a soloist and the result is not student on some more subjective basis, Minor Sonata is powerful, direct, com- ity are almost entirely absent) nor is But when it came to analyzing the like a trumpet call here (at hJ, like ensemble music. The best indication of perhaps recalling the patter of rein- the approach is that on the back of the manding-like a good general. He is he flexible in his rhythmic impulses. emotional style (as in Chapter 3 of a drumbeat" (in op. 5 ). "Even a deer hoofs here, suggesting a burst disc one finds two names: Gieseking also tremendously musical in a simple, The Adrian Aeschbacher version on the Essay), Bach pinpointed its tech- Decca is infinitely preferable (Vox of temper at that moment, or illus- player with the most deeply rooted and Dennis Brain. The other players, unostentatious manner. With it all there nical ingredients in terms of "loud- PL.8860) trating an ebbing of strength there. antipathy to programm cannot help one supposes, must be there to provide is an interesting though unsubtle mu- ness and softness of tones, touch. the -c-Joseph Bloch The first approach depends on reason, seeing that in the falling pairs of a background for these two stars. sical personality that comes through. snap (an ornament), legato and ~tac- Gilels never seems to have a doubt or the other on imagination or mental third for the left hand the gesture Both of these works are available in cato execution, the vibrato (all the more sensitive, better balanced and care in the world. He should have at attitude. of beckoning with a handkerchid- Smetana: Quartet No.1 clavichord), the holding of tones, the stylistically superior recorded perform- least one and here it is: one American the tone-picture of 8 sign-i illus- Past Trends r.etard and accelerando" in an objec- ances. (Angel 35303) critic thinks that being without artistic Smetana's famous "From My Life" trated" (op. 81a). One supposes that teachers of key- tive manner that would do honor to -Richard Franko Goldman doubt is itself inartistic. Quartet is no stranger on records. What Especially. the belief grew toward board music have always resorted to the best style-critical methods of The Shostakovitch preludes and makes this new recording a welcome the end of til last century that the fugues are not "sour Bach." The first, in addition 'is the fine-grained, sensitive, one or the other approach as needed. present-day lJlusicologists. One expla- Guitar Music of Latin America: Villa- timbre of the piano tone can be seb- D Minor, is an introspective piece at and vital performance of the Hollywood Certainly the programmatic inscrip- nation might be the fact that eight- Lobos, Barrios, Ponce, Barroso, AL- jectively varied (within the same in· meida. first, later a surging, almost epic pro- String Quartet, and the high fidelity tions that have appeared from time eenth-century teachers seem to have to time since the earliest keyboard mu- tensity) by the style of touch. It still nouncement. The second is a more in- Capitol recording which presents this dealt only in specifics, leaving the In an age that places special value on volved piece texturally but without bra- performance to best advantage. On the sic-for example, the "fa ire wether," crops up from lime to time in novel, stude".t to do ~is. O\~n generalizing volume, quantity, and speed, and shows vura and most like some of the slow reverse side are five Novelettes of Gla- "lightning," and "thunder," in a Fan- pseudo-scientific report in spite of and hIS own assllmlahng with regard marked trends toward the dehumaniza- Bach counterpoint in the Well Tem- zunov, a charming series of trifles, to exhaustive findings to the contrary tasia by John Munday, (Fitzwilliam ~o the larger and less tangible mean- tion of music through its intellectualized pered Clavier. The third, in D Major, which the Quartet brings the right light hy experts like Dayton C. Miller, Virginal Book, 1, p. 23) -are appeals mg of the music. 0110 styles and the use of electronic instru- is lighter in mood. The three of them touch; this music is a gratifying change to the imagination, However, our best Ortmann, ir James Jeans. and Wil· ments, there is a peculiar spiritual sat- As .might be expected, increasing are most attractive on first hearing. of pace from the highly personalized sources on past teaching methods, the liam Braid White. In "Piano Technic isfaction to be found in good guitar attention to the more sub)'e t i They seem to be among the best music and at times passionate music of Sme- celebrated keyboard treatises, were . c rve as- - M ythe or Science," Lawrence music well played. This record will de- of Shostakovitch that he has yet pro- p~cts of Interpretation was paid by tana. (Capitol P·8331). light music lovers 'sensitive to the deli. duced. (Angel 35308) almost exclusively factual in their ap- nIneteenth-century teachers d d Schaumer has quoted some past be- -David Ewen proach. They recognized the need for . T an e· lievers in ubjective tone control. in· cate nuances of this very personal in. -Arthur Darack (Continued on Page 48) ltors. hose footnotes in th e popu 1ar 16 cluding (Continued on Page 56) etude-october 1956 19 b _ etude-october 1956 Darius Milhoud OPERA TODAY

Poul liindtmilh

BAND ORCHESTRA CHORAL, Benjamin Britten (r.) with AN AMERICAN IN EUROPE THE SCHOOL MUSIC CHRISTMAS CAROLS by William D. Revelli DIRECTOR PART ONE, HISTORICAL AND INDIVIDUAL PRACTICE BACKGROUNDS by Truman Hutton by George Howerton b br ham kulsky Q)URING THE PAST six months, The first in a series of articles your editor has been privileged Supervisor oj Instrumental Music to observe and conduct many reo Division oj Secondary Education ~ SINGING of songs for the on the status of opera and opera City Schools composers as it exists at present hearsals and public concerts of the -, c:ucelebration of Christmas has leading windbands of Continental long been a part of the Yule tradi- Europe and England, and to study r7lMONG THE UNLISTED, but tion. Lawrence Price writing in Lon- at first hand, the instrumentation, y--j highly important, responsi- don in 1675, in his Make Room [or repertoire and standards of the mu- bilities of the school music director is Christmas, says: STUDY of the operatic field at a given period been so it has happen d nly b au of the mu ieal COD" .!A.NY sical organizations of these countries, that of motivating and supervising We will send for some of our of its development, must first take" into account tent and never b au e of it dramatic a peel. There ~ which include , , Germany, the outside practice of his student loving Neighbors and be merry the creative forces at work at that time. Neither the new indeed no example of an oJ era with bad mu ic which Belgium, Holland, Switzerland, and musicians. Many of us are so busy altogether, until Childermas production of a two hundred year old masterpiece, nor survived becau e of a fir 1 rate Iibreuo. This is a very England. In addition to these inter- with group activities, performances day be past and the fire to Roast, the religious cult of a nice looking prima donna will ever important point which too many Am ri an composers for, esting and unusual experiences, much and preparation of groups, that we my Man William shall tell thee a determine whether opera at a certain epoch is very much get or ignore. For if 0 f \ m rican ompo rs h8l1 valuable data and information was sometimes forget that the outside merry tale, and My Maid Marga- alive, confused or simply dead. It is the composer and he written good op ra it i b au they tr too oftenthe obtained by means of personal visita- practice of the individual player is ret shall sing the melodious Car- alone who with his creative imagination or with the lack dramatic aspect, and tend to und rrnte t.he musical one. tions and conferences with hundreds the broad base upon which group rols of several pleasant Tunes j of it will be the principal factor in our evaluation of the Most of the time the mu ic b om in thi case no more of conductors, composers, artist per- success is built. It is true, more often and so we'l be higly pigly one wealth or poverty of operatic history in any given decade. than a neutral backgr und and lack any rylistic indi- formers, directors of state conserva- than not, that with a good school or- with another. Thus we can say offhand that today, among the numerous viduality in either the harmoni , melodic or instrumeaul tories and colleges of music, teachers, chestra or band, the "whole is greater Since the use of the carol, particu- composers. who are dealing with opera both here and in students, music publishers, and in- elements. Yet, without tho e elem nts no character, DO than the sum of its parts." The group, larly at Christmas, is so much the strument manufacturers. Such worthy Europe, very few appear to be making any valuable con- situation can be muaicall fully portrayed and this s, as a group, often achieves perform- habit in today's choral performances, and varied sources and contacts na- tribution to this art form. Fortunately there exist a hand- after all, one of opera' main a peels. ance results far above the level indi- it seems proper to examine some of ful of notable exceptions, composers namely who definitely turally provided an abundance of vidual members can reach alone. its marked characteristics. know what they- are dealing with, who seem to under- information and materials for the Individual practice, home practice, The current usage of the term If opera does present itself as an independent art form. stand the difficult" rules of creating a successful opera, evaluation and analysis of the organ- outside practice-call it what you will "carol" is one loosely taken to indi- it cannot be discounted a an important factor in the and above all who are aware that they are living today izations and colleges visited. -is the lifetime burden of anyone cate to the average person any song development of music itself, t certain periods. indeed. and consequently use a language compatible in every sense In view of the data and information who plays a musical instrument. It appropriate to Christmastime. To the opera becomes the main Irearn of mu ical thought and with contemporary thought and ways of expression. While provided by these contacts, the fol- is a burden often borne gladly but music historian, it implies something creati vity. Such is the ca with 'lontererdi. and closer I will later attempt to study in detail the achievements of lowing facts and conclusions may sometimes grudgingly. It can be won- much more precise. In the thirteenth to us wi.th Verdi and egner , who. by means of opera~c the new creative forces in our time, I first deem'it neces- well be considered as a fair and 'ac- drously productive or it can be a century the carol, as a definite metri- ~nast~rpleces, inAuenced the mu ieal language itself. Tbl! curate digest of the musical activities sary to summarize the present situation in the creative mere marking of the passage of time. cal literary form, consisted of an IS evideritlv a characteristic of the romantic period. I and training programs of the coun- development of opera and to talk about the general nature In order to get the utmost out of the opening section-a "burden"-which of this original form. would say of any given romanti era. t such period! tries visited, as well as a comparison practice period most student players was repeated after each of the follow- music does not seen) to d velop for its own ke, but needs of same with those of our own na- In a very general sense, opera can be said to represent require much guidance as well as en- ing stanzas. It could be either sacred tion. The following is a brief sum- an independent art form in that it deals with both music ~xtra musical aims for which to expr itself. And open couragement. But all too frequently or secular as to text and exhibited a mary of our findings: and drama; and the fusion of those elements has been IS assuredly the best natural outlet for such an expre§lff the school director contents himself strong affinity to the dance. Like many Participation forever the major problem of any composer who has need. After Verdi and Wagner, of whom we nI8)' 8lso~Y with admonitions or with a weekly other early musical and literary forms, D approached opera. Total fusion has rarely been achieved that they achieved in Some of their works this hmo Participation by the youth of recording of time spent in individual if not actually intended always to America in all branches of music far it must be said, and only a few works can boast of pre. beh:ee~l music and drama of which we spoke above, the practice periods. combine singing and dancing, cer- a exceeds that of any European nation. Individual practice should be char- senting the two elements of music and drama under a ~egInnIng of our century brings us a period of salur ' tainly the possibility of so doing was This is, of course, due to our music acterized by many qualities. It should true unified aspect. Many an opera, however, has sur- t~on .and stagnation from both the musical and the opera· present, and the spirit of dance move- education program which encourages, be planned, regular, thoughtful, pur- ment prevailed, whether accompanied vived notwithstanding the lack of fusion. When this has LIe.VIewpoints. The uniquenes of Debussy's uPeUeas and (Continued on Page 52) Melisande," the extravagant Continued on Page601 poseful, (Continued on Page 41) by (Continued on Page 48) 20 etude-october 1956 ~-_...._------etude-october 1956 21 RADIO-TV

SOLVING PRODUCTION with music PROBLEMS. Wolt Disney discusses a very important problem with Mickey Mouse; The musical background of the How the lIIIVoice 01 Firestone" Walt Disney productions has much prepares its weekly programs (I to r.) Frederich Heider. producer, gives los I minute ~nJlrUClionl to Nadin~ Conner, soprano, and Russett Hammar, tenor (member of Flrellone chorus). to do with their success.

by Albert .J. Elias by Rose Heylbut

~ WHOLE PROCESS by which serious music is Frederich Heider soon after the "Voice" began to betele- f7lLWAYS A RARE H·AND at constructive ideas, Walt '- ~£presented in concert form on television has always cast as well as broadcast "Hether than seeing six or seven y-j Disney is currently devoting a considerable amount raised problems. Unless Toscanini or someone else whose spasmodic numbers on the show," he explains, III thought of time each week over the ABC-TV network to the greater expressive face and movements make good photography is lowed some kind of allegian e to a public of viewers.So interests of harmony. While the Disney programs are packed involved in the proceedings, the camera searches in vain I hit on the idea f u ing ecti n that would be a spring. full of fun, laughter, and topical interest, their deeper lying for something interesting on which to focus. As a result, board for the music. That's all." The story line havesue] purpose is to demonstrate the f~ct that motion pictures and the telecast is more than likely to degenerate. into simply general themes as "Grandfather Hold A Family R. television complement each other instead of functioning as a visually monotonous concert. As professional as the union," l'A Day In The Life of a ape Cod Fi hermanof Singer Peggy Lee records a duel with herself aided cut-throat competition. Mr. Disney's corner on harmony bids artists taking part may be, their best efforts can go un- Yesteryear," or "Plan Your Vacation." by composer Sonny Burke. fair to open a new era in entertainment relations. Also, the heard by an audience that is seeking wildly to "see" Recently, in presenting Roberta Peter, her musical programs rest firmly on the harmony of music. something. numbers were woven into a tale about 8 movieactress. Many of the songs used on these telecasts are familiar Dis- I, for one, have sat through hundreds of just such pro- This offered a good example of what Heider has to walcb ney favorites since the days of The Three Little Pigs; some grams - out of sense of duty, perhaps, but for the most out for - knowing he ha a radio a well a TV audience. are new j all bear the distinctive Disney hallmark. To a large part out of plain curiosity, and I never have ceased to be For when it came time for the "demand scene" wherein extent, this derives from the unique way in which Disney struck by the lack of imagination on the part of the pro- the leading lady arrives at a Hollywc d theater for a gala music is created. . ducers of these musical hut hardly visual affairs. So it is a premiere, the producer had to forego the trictly visual All Disney music stems from motion picture production "rare treat when a program like the "Voice of Firestone" effect of having hordes of the star' fan breaking through which means that first emphasis is placed on story value. The (Mon. evening, ABC-Radio and TV) and an imagina- a police line to beg for her autograph - and then h8ling initial step in' any Disney animated cartoon film is taken by tive producer like Frederich Heider come up with the kind the cinema queen make a great gesture of thanks~;th the animation department. A staff .of competent artists and of first-rate entertainment they do for fifty-two weeks a outstretched (diamond-laden) arms. Instead, as Heider cartoonists submit story ideas, not as written notes, but in year. No wonder it "has won Sylvania and Christopher describes it, "she walked from her limou ine to thetheater the form of drawings. When an idea is accepted (and many awards, and, once again, the Peabody Award as "the best simply to the accompaniment of cheers from her waiting more are worked out than are ever used), the cartoon-story musical program of 1955 on TV." public. " "No, I'll never do a straight photographed concert," is again not written but drawn. Characters and incidents, in Like the "gentle story·lines," another innovation01 Disney introduces his ABC-TV "Disneylond" continuity, appear in a series of sketches which are mounted promises young Heider. "While remembering the ear, I Heider's has been the weekly presentation of full--staged "Cavalcade of Songs." try not to forget the eye!" on picture- boards all around the studio. When the work has highlights from opera. Sometime the excerpts will fillthe Besides being the oldest coast-to-coast program on the progressed to the point where aural details are needed, the tin~e of the whole show. In any event, the)! are regularl~: air, the twenty-eight-year-old "Voice of Firestone" is the words (dialogue) are filled in by the writing staff. The next bemg sung in English. "La Boheme." "La Tasca," "Faust only regularly scheduled serious music program now on step is to select the moments of action most suitable to music, and "Carmen" - all have been heard in literate English television. It has, too, the distinction of being on radio at and to produce the songs which are written to suit the action. translations. More and more people feel as does Howard the same time'- in "simulcast." That fact, indeed, pre- exactly as is done in the writing of an operatic score. Barlow, musical director of the" oice of Firestone,"that sents the producer with his most difficult problem. For, Each step in the complicated development is supervised and opera will have an increasingly limited public in America since the radio audience .can only hear what is happening directed by Walt Disney himself. unless good translation of foreign are made Wall Disney Productions buys some outside musical mate- during the dramatic sketch, which Heider uses to frame available. several of the musical numbers and the staged opera se- rial. More important, it maintains a staff of composers and quences, he has to be careful not to let the point of a line . ~ccording to Heider. the general audience response musicians in its Burbank headquarters, who, over the years, or of the situation at hand rest in any kind of gesture, or mdicated the public likes hearing whole portions from have turned out such perennial favorites as Who's Afraid of in a sound listeners might not be able to identify. opera each week - and, what's more, likes hearing them The Big, Bad Wolf?, An Actor's Life, When You Wish Upon These sketches or stories which tie together various III a language it can understand. The artists, too, he sars, A Star, Whistle While You Work, Zip·A-Dee-Doo-Dah, and are Willing, even eager to learn all over again rolesthat numbers of the evening's half-hour, were initiated by Peggy Lee, writer Ed Penner, and composer Sonny many more, culminating III George Bruns' Ballad of Davy they may once have (Continued on Poge50) Burke in conference. Crockett. Occasionally, (Continued on Page 53) 22 ~------~ etude-october 1956 etude-october 1956 23 Eclogue ARTHUR SHEPHERD

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I ; b)--); J ~ .. ~~: ,~.J I.• .J l. .J r~ "O"---- - f:>----- eo - - ..... '---!....--" ~ -----l.---- ~ ---.J..-.-- ~ pochiss. raIl. f espresso poco cresco } : .. KF.1 Id ~ ,.. !L .. x,..! - »>: I ~~,.. LL --- -~. :! . ~ .~., ~ .. ~ - - -- '" ~ -X ..... 7;;. 11 ~ . =ii. U" I "i :> I, ~u~ - - poco a poco sleniando , r I. J ~, ~J/-,. I <, R I , r""-. e - f'iF - ~ mf , Ie I r I ,. v· - '----L...---;"'-- ;;; mf mp p pp " . .. -= =- = - J. .Ji~~ ,~~ . .:.< • :: - : f.~:>------:e ,- -- ~"'~-1It1:;:~r:-! ~-q'; - q :~rrJ 3 3 5 4 r r - I ~~~b .. ~.J I -~I 1~ 3 4 """']--1 ~J rf· e mp - ..... -- -- """""'--J ~ UJ W UJ V ' ~ I I I . I - ~- : ~~-- ~ ~ I I -- -- -; I .,J e I . ---- ppp 1'":\ ' espresSo ... I<--.:J - ~ ---r ~~J..dL .15 l~b.J~ I, I I . . .J--IID J ~..- -- ~ :IX ,--rl~"""':~- = - = ------~b\IJ" ~- mp?- _"0 ::z . - :e: ------\.:.I _"0" -- -- 26 ETUDE-OCTOBER 1956 ---- ETUDE.OCTOBER 19,6 27 l-t _ Toccatina .~------~,~~,------, :;-.---.. ._------;--. ~ s ., (The Wind) • • ... / Toccatina, with its breezy energy, is based on a G major scale modified by the ad- t .. dition of an added C#: ~ (the Lydian Mode) j ;J '!'l ~~ 2J :J ~ HJ LJ , b~ e ~

At letter we find the same scale transposed to F: ~ ® 3 o s 1 3 ~------and at @ it is transposed to Eb: ~ 2 1 2 ~~ 1 2~ , - 2 , I The harmonies derived from these scales create a dynamic urge which drives to let------ter ©. Here the harmony vacillates between -B minor and B flat Major (two bars ~ later). The "wind" finally vanishes in a closing G major tonality. ISADORE FREED ... hb~ r~: h~ J I I : Allegro 2 2 1 , , ~ • • 2 • '..- ~ 2 5 ------e 'T • 2 5 2 1 PIANO 1 ~3©' P , • , IL' .- : . ------. . I~ 'P • - ~ ~---- ~ hJ J Ih,., b.... . »,------2 5 S 2 2 1 ~ ~ ------• s 2 3 '~2 ... , 1 I • ------e. -rr- • I 2 1 , 2 1 .. u .. iI" ~ 2 • 1 • ... U ~ ~ ~ .J J J f : . Ie "1 1 1 - 1 • ~ : - ~ . 1--- ~I--- -..- I ~ 2 s 1 S 1 CID 2 - ! ~--~- ---- 2 • 1 1 -, " , • e. ...,- .ligill 2 1 5 3 , 2 , bJ t#~ ...IL_ .u 2 . J J .J L~ J I J h,j ;~ - . . . I~ P . a tempo, _ ~. ~. 4' ~. -.: rit. Pf r--:.. ..- -'--.. . . . -r' 1 • . .

(i) Copyright 1956 by Theodore Presser Co. .Y-' I 28 International Copyright Secured ~------ETUDE-OCTOBER 1956 ETUDE-OCTOBER 1956 29 I

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32 ETUDE-OCTOBER 1956 33 ETU DE-OCTOBER 1956 ~""------Moment Musical .> 1:'1 , JJ --. ~- ~- for B], Clarinet with Piano Accomp. • :..J.-o' It! f3 . ' ==="" ... if RICHARD WALKER (7\ Poco Allegretto (J =66 - 69) , "

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"" I, I, h1J' I © Copyright 1956 by Theodore Presser Co. r. I, I, I,::':':--J' International -Copyright Secured 36 ~ .._------ETUDE-OCTOBER 1956 I ETUDE-OCTOBER 1956 37 5 8 2 5 1 Grade 2 Morning Prayer LOUISE E. STAIRS ~_.•-...... - • .e' I Andante (J - 76) "fMer-ry lit-tie r~ll,wheel! grind the wheat to make the bread we eat. rit, . 3 5 ~ f FP • L I • I -'---- '<, .. _...... »> :t) .:> 1 'F~ r; 1 :61: PIANO 5 L ~ 1 ~ 3 21--1 ~ L ~ '1 '1 'I~ -- -- Grade it Parakeet's Slumber Song - , 1 1 1 1 5 5 4 3 URSULA LEWIS-MAMLOK 5 4 Quietly swaying ..,..... 2 u 2 4 2 1 5 3 1 2~ 5 5 • - ~ 1 ----

'6- ... • ~ ~ 1 ...... • I " "---- • • 7 • --~ - PIANO When stars are blink- ing from the sky, No lit - tie bird-ie a - round will 1----' P1,'ne I--IJ II '1 11,..-- L-- - p - ... ~ ~. - 1 1 1 4 1 3 3 5 5 , 5 2~ 1 ..----r 1 ..----r 2 2 1 5 ---- - Jl 1 • • '0 ~ '~ I '&- ...... I~ - ~T ...... • ... .. ~ - IJ. Co at Fi,,' / :; u " - Qui- et - ly he will sit on swing, His ti . ny head tuck'd un - der his : fly; hiS/ ~ ~ 1 2 1 1 1 ------... "- 2 1 5 5 5 2 5 3 Copyright 1956 by Theodore Presser Co. International Copyright secured 1 1 2 '--- Grade it 'Merry Little Millwheel ----- slower BERYL JOYNER pp Jl 3 • Sprig. hIt y( J = 120) 1 4 3 2 2 3 .-, • --,,- • ... . It- »> - .. - T' ---- .. mf~ .... • / • • 6- wing. Dream-ing so sweet- ly of bells and of seed, Or may·be of a blue par - a - PIANO sing your song, - • '---- Mer-ry 'lit-tie mill· wheel Turn·ing round so gai - ly all day long; ---.. n' - ..- - .. ------15 3

2 2 , • 2 1 1 4 ----; "f':I 2 1 1 8 2 , ------• 5 - 0; ~ / .. T ... ~ • . • swing, His ti - ny head - tuck'd un- der his .. ~ ...... • _6' keet? Qui - et - ly he will sit on his Mer- ry lit - tie mill-wheel grind the wheat To make the bread we eat. ~, . ~ ~ ~..., I ..

2 5 1 2 1 2 2 1 8 R Hove.,.. (:\ II 5- 5 5 ~ •2 3 r I _T ppp ~ ~ wing . :s-- .. - (J F Turn, turn, ~I ~ (:\ Mill - wheel, turn; ----P! m;>.--- ...~ ------" .' ... '---- 1 , - ~ - ~ 2 3 3 2 1 8 1 2 . - • • 3 8 • 5 Copyright 1956 by Theodore Presser Co. Copyright1956by Theodore Presser Co. International Copyright secured 88 InternationBl CopyrigM secure" ETUDE-OCTOBER 1956 89 ETUDE-OCTOBER /956 THE SCHOOL pitch, architecture, etc.) cannot be studies for the individual who needs what these studies will give him. A vio- MUSIC DIRECTOR overstressed for this is the shaping -. force in music performance. linist who meets a bowing problem in (Continued from Page 21) Of first interest to the school director one of the orchestra pieces should be is the preparation of school repertoire, referred to the appropriate Kreutzer or A Aew orchestra (band) musical, analytical, developmental and but it is indeed short-sighted of him to Sevcik study. The clarinetist can be productive. It shou ld stretch, or ex- for igh or junior high schools have his students practice only what helped by suggesting the proper page tend,the practicer and it should solid- they play at school. The growth of indi- or pages in Klose or Langenus. for church pageants •• jfyalreadylearned techniques. It should vidual players is a matter for develop- Individual outside practice should be . [nvolvethe physical, mental and emo- for Sunday School •.• mental studies which will include long an integral part of the instrumental tional sides of the individual's nature. tones, scales, arpeggi, bowings or music program. It should be accredited or lesser experienced And it should result in a feeling of tongueings, etudes and solo pieces. It and it must be given direction by the accomplishment; it should contribute therefore behooves the school director school conductor. If the school man is tothe player's moral well-being. to acquaint himself with the study ma- able to show each student what to prac- Planned practice is regular practice, terial for each instrument. He should tice, how and when to practice it, and for regularity is an essential of any be able to prescribe a certain set of (Continued on Page 42) acceptable plan for practicing. A good plan for outside practice may well re- semblea good orchestra rehearsal. The practicer will do well to give the first fewmoments of the practice period to TEACHERS ENTHUSIASTIC ABOUT 'warming-up' both physically and men- tally. In this portion of the practice PIANO SESSIONS period it should be borne in mind that, Reod these re pr es en toflve "case history" reports from piano teachers PLAY a SONG asenginesought to be warmed up slow- who are already profitably using PIANO SESSIONS materials. Then, see for ly,so it should be with the individual. yourself the most signif.icant step forward in piano instruction in 25 years. After the warm-up period, as short Mrs. L.B., Palmer, N. Y. CHRISTMAS as it may be, the individual should be "Kathy, 7, started reading stepwise and skips much faster than students of readyto tackle some specific problems. with other books. Supplementary materials added interest. She enjoyed Thesemay occur in scale or arpeggio starling chords and playing 'On Top of Old Smoky'. I have changed other students who I would have lost over to this system, resulting in passages, they may involve tone pro- much more interest and smoother playing." duction or intonation problems in a 35 FAVORITE CHRISTMAS Mrs. M.S., Norfolk, Virginia, reporting all 19 pupils solo piece, or they may be any of a Interest has doubled and sight-reading has improved 100% I think." ~l ,~~}~~~ SONGS AN 0 CAROLS dozendifferent problems in one of the ';~~.. schoolorchestra numbers. The essential Sister M.A., Olean, N. Y. IN EASY ARRANGEMENTS "Because of the type of reading approach learned in these first books, B~cause of the versatility of Pray a Song ~f elementhere is that the student must Sandra 8, never even looks at the keys for so much as the beginning note Christmas, small orchestras or bands achieve recognize and be able to isolate the of any of these pieces. Therefore, she i's really reading all of the time- full sonority. Every director ea'; balance the problem.He must know what the right not reading finger numbers as so many children I've had previously have soundis, what he is doing, and how to done-but notes. I wish I had been taught in this manner." parts to suit his instrumentation. Special FOR ORCHESTRA change what he is doing into what is Miss M.S., Wynnewood, Pa.. reponing all 17 pupils attention has been given 'to strings 6;6 third correct.It is in this area that the school "Children who have not studied before love the books, love to practice position in violin part, very little in- viola or director can furnish some guidance, and have accomplished more than all of my former pupils." bass) and to range of woodwind and brass parts. BY RUTH L. ZIMMERMAN particularly by helping to analyze the Mrs. KS.M., Peoria, Illinois problemand by indicating certain steps "1 have two classes in 'Twenty Tunes' books, one class of 8 girls and a class of 6 boys. They are having lots of fun with the course and are to take for solution. learning lots." The third section of the practice pe- Miss L.S., Sebree, Kentnck y Ruth L. Zimmerman, who has worked at:le'ngth riod could well be devoted to more "Creates interest and enthusiasm. Stirs the imagination. Very thorough. with junior and senior high schools as-well as generalized ends. It probably should Makes the process of learning and teaching music a pleasure." amateur adult groups, has included C0ntplete conclude with some 'playing through' of etudes, pieces, etc. This phase of Mr. P. 1. S., Shenandoah, Pa. program suggestions in her compreh~nsi_ve T have been using 'Piano Sessions' exclusively with all beginners practice is important in developing the Foreword. with no previous experience. I have started fifteen beginners, ages THEODORE PRESSER COMPANY totality of a piece, of gaining a con- ranging from 7 to 16. I have never enjoyed teaching so much and I have Bryn M .."",r, P ..nnBylvania cept of its wholeness, and of learning never had such interested students (and the interest is unflagging) and Write for free reference copy of Violin part: Dept. E-lO. to 'play through' in spite of minor mis- never had such a long 'waiting list'. I have 55 students and could teach takes along the way. There is value in 80 if I had the lime. Business is booming! Each student has one forty-five minute period a week. One is slow, the majority average, and one is just playing-c-after good habits have CONTF:NTS: Lo, HowaRoseE'er Blooming· 0 Little Town ot Beu l h exceptional, but all of them are doing better than any students I have A . M' ' 'J L e eln; been established-for it is here that waym a anger;. Whde Shepherds Watched Their Flocks; :Angels JrJ'e had before using the Sessions material ... About the rest of my c1ass- they are all having fun with the 'Tunes to Arrange'. They ate up the Have Heard On H~gh; Joy to the World· I Saw Three 51' B' moststudents find their rewards for the T ' • ups; nng a Christmas Carols. As for 'Teen-Age Mortality', it doesn't exist for me. orch, Jeanette, Isa~ella; The Wassail Song; God Rest You Merr careful analytical practice which has Funny part of it all is that I am having fun 100. Thanks for 'Piano Sessions'." Gentlemen; Good KLng Wenceslas; Deck the Hall· Good cu-, . Y, gonebefore. MR" 0 C ' ' rlshan en, ejoice; orne, All Ye Faithful; It Came Upon the M'd . h Prices: Piano-Conductor, 1.50 With students who are fortunate Clear; The First Noel; Silent Night;. . Away in a Manger' ' 0 Sanc tt.tSSuna'n.~g t enoughto study with good private teach- ip;~~=~D;u------1 Corne, All Ye 5h ep herds; Chnsttans Awake' Unto Us 1 B Shawnee Press, -Inc. 'ldl . . ., s orn: a 5'on' Parts (Each) 750 ers, the school director may safely leave To learn more about PIANO I I Who t Ch l s Thts? Coventry Carol; Hark Ye Shephe,ds' A l f ., SESSIONS and to receive I Deillware Water Gap, Penna. I .r GI " nge s rom lN5TR UMENTAT ION, Oboe (C .\f,Wy much of the responsibility for their su- the R eaIms OJ ,ory; Hark! The Herald Angels Sing' W Th K' ru«; your free reference copy of I Please ~end me complete informotion about PIANO I .r 0 . A B . l . ' e t-ee I,ngs Saxophone). Bb Clarinet (Bb Trumpet), Eb Afro oJ. rtent .re; eautifu. Savwur; 0 Christmas Tree; Jolly Old Saint pervision to the private teacher. For Book 1, mail coupon I SESSIONS, and a free reference copy of Book 1 I N~cholas;JtngleRells;WeWishYolLaMerryChristmas'OH IN' i ~xOpholle (Eh Horn). Bb Tenor Sa.xophone (Baritone the others and for students who are at I I March of the Three Kings. ' o.y. Ig H; V~eb~e). C:llo (Bassoon., Tror~lbone. Barilone. ), o.rnear the beginning stages, it is essen- I NAME ~ I oltn, V"ola, PerClI-sSWrt, Pwno-Conductor. tial that they be given the best possible I I THEODORE PRESSER COMPANY ~ural image of what they will be work- ADDRESS _ ~ngtoward. The importance of present- I Bryn Mawr, ~hawnee ~I:SS inc. Ing the ideal sound and the correct ______JI Delaware Water Gap, Pennsylvania mental concept of the music (tone, 40 elude-october 1956 etude-october 1956 41 ~ ....._------VIOLINIST'S FORUM the result to work toward, he will have the soprano narrator most etlectlVely. performed a great service for his groups I asked him about his practice prcce. as well as for the individual concerned. dure. He said he was a great believer in "armchair practice." He may practice The student must learn to analyze, to lntonatlon about three hours a day at the piano isolate a difficulty, to break it down with increase up to say six hours in into its parts and then place it back in preparation for a concert, but he prob. a performance of the Bach Double context. He must learn that musical pat- Difficulti'es ably adds several hours of score study Concerto because their carefully re- terns recur again and again, and that away from the piano. "And then there is hearsed balance was upset. After prac- the first step toward mastery is the rec- composing," he said, implying that that by Harold Berkley ognition of them, no matter what the ticing in my average-sized studio, they too was part of practice. THE END key or context. had to play in a large auditorium, Enjoyment of participation in instru- empty except for judges and a few mental music comes when the individual WALLINGFORD RIEGGER other contestants .... They could not can begin to concentrate on making hear each other, and in spite of many (Continued from Page-Ill "I ha.vea problem on which / need the cause of your pupil's lack of ac- music. As the individual moves from the careful rehearsals, this particular per- some help ... This pupil, while he curacy. crudeness of his early attempts to play Moines, Iowa, to become head of the Another cause may be that he has formance was very disappointing .... INCREASE YOUR INCOME his instrume~t to a more precise reali- theory and 'cello departments of that pla.ys very well in tune in the first not yet realized how much closer the Could you suggest how I could pre· TEACH MODERN PIANO by note institution. It was at Drake that Riegger and third positions, cannot seem to zation of the music, he becomes a me- pare for the following emergencies: Classical teachers everywhere helped by our method and dium through which something of great began to com pose in earnest, and that playin tune in the fifth .... What intervals are in the fifth position than c1ass-buddmg aids. 50th year. Send for free brochure and (1) The unexpected use of a micro- ~~~~~iu~~t~~~~s6e,P$l~~~~.~;~~~~.boOkonly$2.50.With value is recreated. Through his prac- he began to feel that composition. doyou suppose could be the trouble? in the third. In this".case some pattern phone; (2) The surprising carrying THE CHRISTENSEN METHOD tice, he has learned not only about his rather than conducting, was his real I'd appreciate any help you can give exercises based on Sevcik Op. 1, Book qualities of one violin more than en- Dept. E, Box 2248, Hollywood 28, Calif instrument or music, but about himself. metier. He was still thoroughly orthodox me."-Miss M. L. 0., Illinois. III, Section 9, would be helpful. He brings more and more to the group as to taste and technique, and describes But I think it more than likely- other; (3) The large auditorium; as he practices by himself. As he de- himself as being a "thorough Brahm. assuming the lad's ear is keen-that (4) The unexpected carrying quality velops his technique he develops his sian" at this point in his career. Cer- of the piano tone? Obviously, these This is quite a puzzling question, the trouble lies with the violin. Are personality, his worth to himself and his tainly his first large work, the Trio in B difficulties are overcome by most per- especiallyas you do not say whether the fifths true in the fifth position on . fellows. THE END Minor, Opus 1, confirms this estimate. formers simply by having at least one the pupil is aware of his intonation all three pairs of strings? The chances and it was in any case conservative rehearsal in the hall to be used. But enough to win the Paderewski Prize for lapses in the fifth position. As he plays are they are not. And if they are not, GLENN GOULD young students rarely have this privi- its composer. His next few works also \\:ellin tune in the lower positions, T then your pupil has little hope of (Continued from Page 15) lege, so any suggestions you can make followed this pattern, and they were am going to assume that he has a playing in tune. On many violins, the ages of eleven till nineteen, and since will be deeply appreciated." successfully performed and generally better than fair ear and is as dis- fifths are true in the first and even then his study has been solo. -Mrs. D. M. F., British Columbia ACCORDIONS admired. At this time Hiegger leit Drake turbed over his poor intonation as the third position, but woefully off in -ETC.- Guerrero, a Chilean with European University to come East, where for a FREE CATALOG -Tremendous savings on everything in youare. The cause of the trouble can the fifth. It is a matter of the curve the musical Ilnt'-amllli.fiers-clavlolines, guitars. brass musical background, is given much time he taught at The Institute of Mu- You have brought up an interest- and wood wind, speclah~,"g in quality at:cordions-over be in the left hand position or in the of the fingerboard in relation to the 200 real bargains. Write credit by Gould. "He is a remarkable sical Art and at the Ithaca Conservatory. ing problem, for no two halls, whether JAY STEMMERMAN'S DISCOUNT HOUSE curve of the bridge: if the curves do musician, and particularly valuable A revolution in Riegger's musical violin itself. Phone VI 7_0866_VI 6-5258 not match, the fifths will be false. empty or full, have the same acousti- 8932 88th St., WoodhClven 21, N. Y. were his ideas on the technical approach thinking occurred at this time. For three Let us consider the left hand first. Then, of course, the strings them- cal properties. And every hall has dif- to music. He has some novel ideas on years, from 1923 to 1926, he did not Howis it shaped ,,,hen he is playing selves have to be true. It is my ex- ferent properties when full than when A bOOK of enjoyable Songs technique," said Gould. compose at al l. Quietly, without making in the fifth position? Is the thumb to perience that few teachers are careful it is empty. Very often a tone that for Young Folk The Canadian Broadcasting Corpora- any public pronouncements or turning be seen projecting above the G string r@'~ sounds enormous in an empty hall tion likewise deserves much credit for his back on his earlier works. he recon- sideof the neck? If so, it is probably enough on this point. The teacher ,'::::F SING TOGETHER will sound small and thin when the ==::- with fostering Gould's career. The CBC is a sidered his entire musical position. The the answer to the problem. should test the fifths on every pupil's hall is full. In spite of this well-known Harry Robert Wilson government supported radio and TV end of this period saw Riegger emerge For playing in the fifth position violin at least once every two weeks. fact, many artists insist on "trying !.I~ Consolidated Music Publishers. Inc. net~ork and Gould has appeared on as a full-fledged "modern" composer, or higher, the tip of the thumb must Youngsters perspire a lot, and that ,;'J 240 W. 55 St., N. Y. 19 with a large orchestral work in atonal out" the hall before playing their their programs since he was seventeen. be in the curve of the neck, and the quickly makes a string go false. At style and the very radical SwdyinSoRo. program in it. Any good it does them . In chatting with him about his side hand brought sufficiently around so the first sign of a bad fifth the teacher ricy, which still remains. thirty years TO AUTHORS interests, he said that he was an in- that the knuckles are almost if not should identify the false string and is purely imaginary. ve~erate reader; particularly of esthetics. later, a key-work in Hieggers evolution have the pupil change it, or change it One thing you can do to prepare seeking a publisher and one of the masterpieces of his quite at right angles across the strings HIS formal schooling stopped when he himself at once. your students for unfavorable circum- I! you are Inoking lor a publisher, send lor our free, illustrated booklet completed high school. mature style. from the fingertips. In other words, t!tled To the Author.ln Search n' a Pubhsher. It tells how we can pub- The average student cannot hope to stances: see to it that your teaching lish, promot~ and dIStribute your book. as we have done 'or hundreds The Study in Sonority, scored for ten the knuckles should be brought for- ~ri~~ht~da~r;~~r~001IietS~~J.e;=t~tCr~~~idered. New aulhors welcomed. But composition. "Ah, that is a big studio is slightly sub-resonant. A tone violins or any multiple of len, is a ward until they are about level with pla y in tune if his strings are false. VANTAGE PRESS, lne., 120 W. 31 $t., N. Y.-1 thing for me," he said. that sounds well, or a balance of tones thoroughly original and dynamic work. the fingers. As a general principle it The very talented student will often In Conf.: 6253 Hollywood Blvd., Hollywood 28 G?uld was one of the stars of the In it, for the first time, Hiegger develops do so because he subconsciously that sound well in a room that is a lit- mUSIC presentation at the Stratford can be said that the. [correct] shaping the concept of an arbitrary "tonic" and adapts his fingering to the false string. tle under-resonant, will nearly always IIJiUiam ~tu1d kr Shakespeare Festival this past summe the hand takes in the first position "dominant" and shows his mastery of But he is only laying up later trouble sound well in a hall-s-even an empty 30 E. Adams St.-Chieago 3, III. He played solo works, he played in thr~ should be maintained up to the using contrast of texture as an element for himself, for he is actually playing hall. When I furnished my present VIOLIN SPECIALISTS Ode ..to Napoleon Bonaparte (sextet) of seventh. Above the seventh position, of form. The Study also shows Riegger·s out of tune in order to sound in tune. studio twenty years ago, it took six OUR NEW OLD INSTRUMENT Schonberg, and he had the p bli except in the case of a large hand, " f hi u IC pre- wonderfully economical use of materials That is another reason why the teach- . weeks of maneuvering with drapes CATALOG NOW AVAILABLE rruere 0 IS own string quartet. He also the fingers are pushed forward ahead and his great logic in development. and wall hangings to get the precise Publishers of "VIOLINS & VIOLINISTS" wrote the program notes. of knuckles in order to reach the er should be very careful to see that Other works of this period (1929.32) degree of sub-resonance I wanted. The I heard a good bit 01 the rehea . higher notes. This is feasible, because his students' violins are properly ad- oo show increasing relatedness to twehe· of th S h b ( rsmg j usted and true in fifths. trouble and time this took has long e c onder~ string quartet, female tone practices. They include the "Suite it is rarely necessary to play across nanato:, an plano) and some of the since paid for itself. viola A for Flute Alone," the "Canons for Wood· three or four strings above the Comprehensive and Tone Balance and To answer your questions specifi- rehe.a~smg . of his string quartet. His winds" and the brilliantly vigorouS seventh position. rapid approach musicianship was iQ"lpressive ti Other Questions cally: (1) Why not get a tape re- by Jay Spalding I I . h ' par ICU- Dichotomy for chamber orchestra. This But if the fingers are pushed ahead f!o'u ar y ~n t e sextet. Playing without score $1.50 postpaid latter work is one of Riegger's roo:l of the hand in the fifth sixth or Can you help me on the mat- corder and have your pupils make he picked up the piano part at an' fairly frequent recordings on it via VARITONE, INC. compelling scores. considered by many ~eventh positions, intonati~n trouble ter of tone balance? ... 1 recently violinist~· 545 5th Ave., N. Y. 17 place, was aware uf any discrepancy i~ one of the most vital and original had a trio oj students disappointed in the attached (Continued on Page 50) any other part, and coached and coaxed IS very likely to arise. This may be (Continued on Page 53) 43 42 etude-october 1956 elude-oelober 1956 ~ ...._------proved successful. ORGANIST'S PAGE For myself, I have made mental notes on a number of works which I intend to tryout with my own choir during the coming season. One of starting the New these is a Lenten oratorio, "Contem- plation on the Crucifixion," by Frank Scherer (H. W. Gray Company), The Church Season work was given a marvelous perform- ance at , just by Alexander McCurdy prior to the opening of the A. G. O. convention in New York this summer, with the composer conducting and with Clarence Snyder at the organ. It is a marvelous work. Although (7JED CROSS life - saving man- there is no such thing as standing not easy, it well repays the time spent M uals, which tell what to do still. When we are no longer making in mastering it. I know of one choir whena swimmer has been hauled un- progress, we are retrogressing. which rehearsed the piece four consciousfrom the surf, offer, along There is nothing so stimulating as ORGAN AND CHOIR months last year (the work was at TEACHER'S VIOLIN withinstructions for rolling victims learning new music ourselves and QUESTIONS that time still in manuscript) and per- ROUNDTABLE QUESTIONS over a barrel, artificial respiration teaching it to our choirs. If we make Frederick Phillips formed it with telling effect during Harold Berkley and so forth, one cardinal rule: a regular practice of doing so, it Maurice Dumesnil the Lenten season. An A-rnerican Maker Q, A, pre.sent we have a two-manual DON'T GIVE UP. renders us better organists, better Melllory and Sight Reading "The Incarnate Word," by Robert L. L. H., Pennsylvania. Julius Hor- pipe organ at our church with the /0/' Iwonder if we organists ought not choirmasters and better musicians Q. My teacher tells "me that, I am Elmore, has been in print for several vath was an American maker who died lowing seops : GREAT-Open Diapason to take this same motto and paste it generally. gift~d -with such a fine memory that years, but I believe there are organ- a f~w years ago. He was not prolific, 8', Dulciana 8'. himes, Cedeekt 8' upsomewhere so it is clearly visible In addition, we have an obligation after I have played a piece twice at Flute d' Amour 4', Piccolo 2'. II'EL~ ists who have not yet had the pleas- and there are not many of his violins to fromthe organ-bench. to the composer of our time. If no most I have it memorized. Thus I get ure of discovering it. Here is another be seen. In these circumstances, each Tremolo, alicional 8', Vox Celesle 8' one performs his music,' what incen- very little sight reading practice and Here we are practically at the start instrument would have to be evaluated G edeckr 8', Flute 4'. Naz.ard 2%'. Fii work which is rewarding for the or- consequently am poor in that direction. ofanother season. Those of us whose tive has the composer to write it? on its own individual merits of work- ,een,h 2', Oboe 8', Horn 8'. PEDAL- ganist to prepare and for choir and Is my memory to blame for this? What churches curtail their activities dur- It is true that the contemporary manship and tone quality. Sorry I can- Bourdon 16', Li.blich C.dtekt 16', soloists to sing. can I do to improve my sight reading? ingthe summer months have had lei- composer has created difficulties for not give you more precise information. Flute 8'. snol couplers. The Cedeekt Mr. Elmore also has written some W. N .-N orth Dakota is du.plexed with the Flutes. There are surefor study and reflection. In sum- himself by choosing to write in an More Advice on Bowing new settings 'of the Psalms which are 8 ranks o] pipes. Hove you any sugges· mer there is time for practicing, a idiom \vhich makes severe demands A. I cannot see any connection between "I have followed your advice, with worth investigating. tions [or ne,u stops? The Horn htu 0 luxury the working organist can upon both performers and listeners. sight reading and memory. They are very good results, as to teaching bow- Another work which ought to re- very displea.sins tone; could this be hardly afford once he is in the swing I t is also true that a worthless piece two distinct issues and have to be dealt ing to beginners. That is, the long bows. ceive many hearings during the com- with accordingly. "traded: in" on a new stop? of winter activities. Summer is the is no less worthless for being full of But I am rather in doubt as to how to /. M.-fII. ing season is Searle Wright's newest To improve your sight reading the time to brush up on technique, to dissonant augmented fourths and mi- go on from there. Should I immediately work for chorus and organ. best way is to read. But this must be look ahead, to plan music for the nor seconds. Junk is junk, in what- give my pupils the Wrist-and-Finger A. Ina matter 01 adding SlOpsthe Every organist should have sample done with considerable care. Easy texts motion at the frog or should I lead them comingseason. In summer we have a ever style or idiom. I amount 01 pace available in me organ copies of the Presser publications at first, and slowly. Then more difficult to it gradually?" F. W. K.-Ohio chamber i an important fecier, and lor detachment not easy to manage once On the other hand there are works ones, and faster. There must be no stum- known as the Westminster Choir Se- l.am glad that what I have written in thi r ason it i well to ha\'e the Idvice the season gets under way, when we which, however formidable they ap- bling, no wrong notes, no errors in ries. The music in this series is pre- these columns has helped you so much of a r spon lble orga.n builder, who are living from hand to mouth, so to pear at first, are richly rewarding counting. This may sound difficult or with your beginners. If you are able to pared in conjunction with Dr. John wou Id in an)' case probably be tln~ speak, from one Sunday service to when one takes the trouble to study even impossible, but it is not if one Finley Williamson and the Westmln- get them to change the bow fairly upon to do the in lallation. We are and understand them. sight reads slowly enough. the next. smoothly at the fog, using the Wrist-and- there lore riding you the names 01 a ster Choir College of Princeton. Every Concerning memorizing, may I refer Iwonder how many of us are com- In the case of church music, it is Finger Motion, you are giving them a Iew builder who would be gbd to composition published has had the you to the following past ETUDES: ing hack from our summer vacation up to us organists to keep up with fine start towards good bowing and good a ist you. We might, however. SlUes advantage of being tested by the "Memorizing aids," Teacher's Round- with new ideas for the service and what is being published in our field, tone production. the po ibilit or adding either a Grare Westminster Choir during its tours table, April 1954. As regards further exercises, go on new music which we are eager to to separate the sheep from the goats, . li.xture II Rank or a Gem.sborD8' or across the country. "Musical memory; when and where," to .ha lf bows-frog to middle, and mid- teach to our choirs? musically speaking, and to see that feature article, February 1949. a Trumpet 8'. or both. The Trump" Among the works in this series, dle to point. In the frog-to-middle bow- It is of course easy to say that deserving new works get a carefully- "Memorize quickly," Teacher's Round- cou Id lake the place el the Hom should - which are of uniformly high quality, ing, be sure to see that the pupil changes you wish to discard the latter. If the ~'hat was good enough for last year prepared public hearing. table, April 1947. the bow at the middle with his fingers I find especially striking the setting Horn Lon is \'cry di.l!plusiDg it s IS good enough for this. The net re- If we don't take the trouble to do as sm.oothly as he does at the point. of "0 Be loyful," by Ainslee Cox, Teaching Solfeggio hardly likel that. builder _M I< sult of such an apathetic attitude is this, who will? And m the middle-to-point exercises and of Once to Every Man and Na- much tnt rest d in a "trade-in," but tt that we repeat the same old anthems A good way to make a start is to Q. I would appreciate some informa- s~e to it tl~at he uses the \Vrist-and4 would enainly do no harm 10 submit see to it that you are on the mailing tion by David Stanley York. Any tion regarding the teaching of Sol. Fmger Motion as cleanly in the middle and. offertories, until not only the the proposition. choir will find these to be worthwhile [eggio. (Mrs.) C. B. T.-Ohio of the bow as he does at the fro choir but the congregation knows list of every publisher, thus receiving additions to its repertoire. A. Anyone who is well grounded mu- IM every word of the text and every note copies of new works as they are pub- After. this you can give the p Uplg:1 ex- Q. Please give me an eJlinuUlOl sically can teach solfeggio, using such lished. It has been my experience Any new piece by Richard Purvis ercrses at the frog, using the wrist and COSl. 01 pMlS for rh~ builJin&./. pi~ of the music. books as those by Dannhauser and that publishers are delighted to co- is worth investigating. He writes niu· fingers only,. but now lifting the bow organ. 1 ime.nd to use (1$ macA-.st:dJ4' ~his is following the line of least Lemoine (Lemoine, Paris, publisher) sic which is of fine quality and u:sable :ro~th~ string after each stroke. This terial as pOSJible, CUldto buy SO P"" resistance. When in this frame of operate. Some even make available which start very simply and grow pro- as service music. (As most of us can r~lhnsh.tle student to balance the bow from. L'arwus organ baiUu.s.Bp- mind we need to remind ourselves of recordings of their new publications. gressively in difficulty. Wit IS fourth finger when \ . 1 testify from sorrowful experience, . . h I le IS pay- I so obout obtainin& • """""' gJ the life·savers' motto, HDon't give Send for these by all means. If you At first the pupils can limit them- mg III t e ower third-someth', h ng t other parts tluu. cannot be "';t? ,j up," are acquainted with composers, or works are often one or the other, but selves to spelling the notes while beat- . . I. at hIS essentIa. dfor hIm to lear n. Af ter you n9t always both.) ing time. Then when they are sure of collese profusor lCill Mp at ... In taking the line of least resist- with others in whose judgment you .ave trame your pupils to do this' An interesting new set of pieces, the buildin 0/ rh< .r&QJ1 lUI is"" ance, We are not progressing. We are have confidence, invite their sugges- the values they sing the notes, while ~I~ple exercises, be sure to return In installed in a L~rylat«~lHar• ., .WI tions for new works which have by various (Continued on Page 4~) still beating (Continued on Page 47) It III more difficult studies. to not even holding our own. In the arts been ltsed (Colllina«!" P.,t~' 45 44 etude-october 1956 etud...-octobe< 19~ . auld be on the piano; thereby thanIt w .' . '1 ting alteratIOn m fingermg. necessla .., A Perfect Left Hand Technique the Asa substitute for ~elteratl?n, either ameri(-a's otes or chords m the plano part, with the singt en di smartest h ossible effect for the accor Ion t e h~ t P , YEHUDI MENUHIN piano . h bellowsshake. This effect, when 15 Ie. li SHOULDEREST fashions d for a series of single notes, elm- ACCORDION .0"I the use of aI'ternatmg fingers on Inaes and Viola a gil'enkey, such as: 321, 4321, etc. Mus;c Teachers! Musicians! Accordionregistration must be used Here is a new achievement - .. Edited by Theresa Costello di~creetly,remembering the instrument in purity and brilliance of is, so to speak, a miniature portable tone, power of volume, When an arpeggio or broken chord organ.Therefore, in. soft passages the permanency of touch. _ . in a TRANSCRIBING PIANO appears in the left hand piano part, lefthandregisters Without the low reed Relieves the Fits any small piano-only 37" high. MUSIC FOR ACCORDION importaut and It's equipped with the it is advisable to u e a single chord soundsmay occasionally be indicated, shoulder, cannot vulnerable muscles scratch your wonderful, new Snpertone Scale by F. Henri Klickmann on each beat as a substitute. If the andfullaccordion for passages demand- of the neck and ... the Gulbransen exclusive as told to Theresa Costello inga greater degree of power. As to instrument, easy tempo i .not too rapid, the bass may shoulder from strain to attach or detach, miracle scale and the reason righthand registration, instrument ter- ( F. Henri Klickmann, well known be add d to the chords. In a slow and tension. Encourages light weight, for the glorious minology,such as: violin, clarinet, etc., development of a free composer, arranger and editor and me,,:· tempo, wh re there i a uccession of fully adimtable. deep-dimension tone. andthe master register for full accor- and rapid vibrato, ber of ASCAP, has done much work ~n chord (no ba ) in the left hand all fields of music arranging. Ed. Note) dionmaybe indicated accord ing to the piano part, a ingle chord solo, or a arranger'sjudgment. combinati n f two or three chords, Sincethe above has been confined to Don't miss this greatest boon since the chinrest. The Yehudi Menuhin (1jJ OW DO I go about tran- may be u ed. A c mbination allowing works of the old masters, a few words shou lderesr is extremely light, weighing only 60 grams, but extremely '0L 'scribing piano music for the richer ha rm 11) i preferable, because mightbe said about popu la r and pro- strong. Accounts for enormous improvement in quality and volume of tone. Aesthetically 'one piece with you and your instrument which can accordion? is a question asked by of the fact that the fifth intervalis ductioncompositions. These are rarely 11 t in Iud d in the dominant and di. transcribed,but are arranged in simpli- be pushed and pulled without losing the shou lderesr or the instrument, many advanced' accordion students in the basic limbering up exercises. Each part of shoulderest is inter. and aspiring professionals. Here are mini hed 7th chord of the accordion. fiedIorm or concertized. In some popu- larnumbersthe left hand part only is changeable and replaceable. Descriptive folder available. CONTEMPORARY some suggestions offered by Mr. P. For example, u ing a an illustra. adaptedtothe accordion, while the right Viola Model $1.50 WRITE FOR FREE BROCHURES Henri Klickmann, well known com- tion, to compl t a 7 (dom.) chord, Violin Model $7.00 handpart, except for a few instances, SPECIAL TEACHER'S DISCOUNl use M ( r 7) or ba plus G dim. Order from nearest distributor poser, arranger, editor, who has had remainsintact. COMPANY years of experience in this particular For M7, u e M or b plusEm. REMBERT WURLITZER KENNETH WARREN & SON GULBRANSEN II the piano composition is not suit- Dept. E, 2050 N. Ruby St. . or 1''117, u m r ba plu EbM, 120 West 42nd St., New York 36, N. Y. 28 EllIst Jackson Blvd., Chicago 4, ilL field: ableasa transcription for the accordion, Melrose Park, Ill. t . For ext nd d herds, uch as C9 When considering making a tr an- it is advisable either to forego the idea (d rn.}, u M (or 7) plus Gm or TEACH EASIER scription of a piano composition for oftranscribing, or resort to an entirely with MUSIC FLASH CARDS the accordion, one must first carefully ba plus m ( rd omitted]. For newarrangement. By the latter is meant WE HAVE THE HONOR OF ...... analyze it to determine if it can he 11 (d m.] u M plu Bb~1orC7 a change of key (H necessary), har- FOR TEACHERS*-the fundamentals of music on 6 x 9 inch cords. Sixty Hlustrctions plus transcribed without distorting its plu rn and Bb~l or ba plusGm monizingsingle melody passages where INTRODUCING TO THE UNITED STATES one 3-foot piano keyboard (42 keys). Price $1.50 original character. Because of the and BbM (3rd orniued}, etc. Many possibleand almost entirely altering FOR BEGINNERS*-same as Teachers but , thebass structure; even resorting to a size 2 x 3 inches. The 60 cards are divided r'nechanical difference between the more combination are po ible in all into 9 easy lessons with 117 questions and Kaordas by lellr piano and accordion, certain liberties k )' . changein harmony, especially where their answers on the back. Price $1.00 thereis a transition or a sudden change fOR ADVANCED-leaches the student to in transcribing must be allowed. For n th and 11th combinations,the RECORDERS BY FEHR are superb name; write, and sight read the notes of the ofkey. THE END "The Stradivarius instruments, hand-tooled in Switz- major, minor, 7th, dim., and aug., chords example, we must consider the lim· 3rd interval i g nerally omilledbe- and their inversions (207 chords). Price $1.00 of Recorders" erland by master craftsmen from Order from your dealer or write' ited range of the right hand keyboard C8U e of di onan e. ~ specially selected woods - pear- DEK-A-MUSIC COMPANY of the standard 120 bass accordion ] n a equ nce of chord only, it is wood, boxwood, polhander, 1102 S. 31st Ave., (Dept. E) Bellwood, III. rosewood, plumwood and cherry- and the system of reed sounds of the not alwa advisable Lo U a bass and "Approved by the Chkago Board of Educotion wood. Each instrument is individ- left hand keyboard. chord accompaniment. TEACHER'S ROUNDTABLE ually tested for true pilch by j The key of the original composi- ince man of the old cl~ics were Hans Conrad Fehr, noted re- (Continued from Page 44) corder performer. tion must be retained, if possible, tak- not edited according 10 modernstaod· RECORDERS BY FEHR are used ~ cari"~~ic'beiis~;-~'himes ing liberties only where the right ards.the arranger i compeUedtoedit time.The lessons are so well graduated Clnd recommended by famous . Chimes stlllrting illS IIlIW Ill' $396.00 concert recorder players in Eu- Write for complete info,....olion to hand part exceeds the limits of the his lran ription \\,;lh regard Lo fin· thatsoon the young pupil acquires that rope and America. MAAS-ROWE CARillONS right hand accordion keyboard; in gering, phrasing. d "nami etc. In senseof note values so valuable in the sludyof piano or aI)Y otber instrument. RECORDERS BY FEHR are ideol which case, transposition of one or ustained ba and chords. the ar· for amateurs and professionals Dept. E2, 3015 Casitas Ave., Los Angeles 39~Col. two octaves lower will be necessary, ranger i guided b the pedel iodica· While a workable knowledge of 501- who demand exacting musical and perhaps some of the extremely tion in the piano part. Whe.reno feggiois sufficient for the average stu- quality. Yet, these superior in- ANNOUNCING ••• struments are modestly priced. low passages raised an octave, should O dent,those interested in becoming con- A New Publication pedaling i indicated he will h...el Sopranos from $11.50. ductorswill prepare themselves well by CllInsorts 01 Four Instruments they extend beyond the first F below Altos from $29.50. use hi O\\'T1 di relion for U3tJining (soprano, alto, tenor and bass) middle C. going through the books by Albert Tenors and basses. harmoni . Lavignac, "Solfeges Manuscrits a matched in plvm or cherrywood on . The left hand accordion keyboard Fing ring. if any. indicated iothe special order only. Supplies are limited. changements de clefs" (Solfeggio Les- Act today! ~s ~ath:r complex, due primarily to piano part cannot be trictl edhered Sons in manu~cript with changes of Its mtncate system of reeds. However. to on lhe accordion. This is under· clefs). Thus they will familiarize them· ------_. when this system is thoroughly under- standabl becau.se. not onl)- are the s~lvesat an early age with the intrica· OMEGA MUSIC CORP., 19 W. 44 ST., NEW YORK 36, N.-Y. (Dept.E91 stood, it becomes less difficult to right hand ke of the accordionoar· Clesof orchestral scores. Please send me free descriptive lolder and prices. adapt :he left hand piano part to the ______(p/eose print) ro\\ r than tho 01 the piano,bot . Solfeggiostudy is valuable to all mu· Nome accordIOn. ]n a fast tempo b Address _ I ,a ass the hand, ",b n pia 'ing in the ". SICstudents in that through it they ______Zone __ State _ so 0 ?r bass and after· beats may be treme upper 5eClion of th~ ~r. learn intervals, rhythm, accuracy and _ substItuted for a series f h d .goodtime keeping. City o c or s. dion, is in a slight! differelltpo5lUDO 46 etude-october 1956 47 etude-o

DAVID OISTRAKH plays BEETHOVEN'S VIOLIN CONCERTO in D major

MUSICAL PROGRAM NOTES BY G. WALLACE WOODWORTH, _Professor of Music, Horvard University

IEMIL GILELSl plays MENDELSSOHN'S PIANO CONCERTO No. I in G minor (And the Kroll ~artet plays MENDELSSOHN'S OCTET FOR STRINGS) MUSICAL PROGRAM NOTES BY THOMAS SCHERMAN

1ALFRED WALLENSTEINj conducts BRAHMS' SYMPHONY No.2 in D major Orchestra MUSICAL PROGRAM NOTES BY THOMAS SCHERMAN

LEONARD BERNSTEIN conducts TCHAIKOVSKY'S PATHETIQUE SYMPHONY The Stadium Concerts Symphony Orchestra MUSICAL PROGRAM NOTES BY MR. BERNSTEIN ~--~---- J THE SENSIBLE Pt'AN: ~ ~< ' YOU RECEIVE THE COMPLETE PERFORMANCE OF A GREAT WORK OF MUSIC WITH AN OUTSTAND, ~ ING ARTIST, ORCHESTRA OR CONDUCTOR ON A \ 12-INCH 33'/, R.P.M. RECORD 1 12· AND IT IS ACCOMPANIED (WHEN YOU WANT IT) , BY MUSICALLY ILLUSTRATED PROGRAM NOTES- I THAT IS, A lO-INCH RECORD PRESENTING AN ABSORBING COMMENTARY FILLED WITH MUSICAL i ILLUSTRATIONS TO ENHANCE YOUR ENJOYMENT I SUGGESTION: A ONE-MONTH TRIAL SUBSCRIPTION I \I AND UNDERSTANDING OF THE MUSIC

HE recent MUSiC-ApPRECIATION this way, you can allow this one- 11).PlEASE RETURN ONLY IF YOU HAVE A 33th R.P.M. RECORD PLAYER T selections. described above fea- month trial to continue for as short ture artists recognized throughout or as long a time as you please. If, the music world as outstanding. however, the idea of these Musical Because each of these recordings Program Notes, after the demonstra- demonstrates, in a particularly ex- tion, does not come up to your expec- citing way, the MUSIC-ApPRECIATION tations, you may cancel immediately. RECORf)S idea, we will be happy to If you decide to continue you will send you your choice of anyone of not be obligated to take any specified them for only $1.00. number of records. A different work The regular price of each of these is announced in advance each month, double-disc recordings is $3.90 (plus described interestingly by Deems a small mailing charge). Should you Taylor. As a subscriber you may take want to receive other great works of only those you are sure you want for music performed and analyzed in your permanent record library.