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

4-1957 Volume 75, Number 04 (April 1957) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 75, Number 04 (April 1957)." , (1957). https://digitalcommons.gardner-webb.edu/etude/77

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The Concert Singer by Thomas Eakins See cover tmy- PO(l.e 6 1857-1957

PIANOS

PRIVATE PIANO TEACHERS

Yes, the Progressive Series Plan of Music Education is designed THE PROGRESSIVE SERIES PLAN OF MUSIC EDUCATION for successful teachers - teachers who seek even greater success than • Tested Lesson Plans they now enjoy. This plan provides maximum recognition of • Teother Workshops • Pre-Instrumental Program worthwhile accomplishments with students. It furnishes constant • Foreign Musk Seminars inspiration and the certainty of being "on the right track" musically. • Correloted Theory Program • Superior Te aehinq Materiols • Institutional-'"Affiliotion Training, education and accomplishments are the bases for • Teather Platement Servite appointment to the Progressive Series Plan of Music Education.

TEACHER AFFILIATION BY The standards are high and only teachers who have enjoyed success APPOINTMENT ONLY can qualify. . for as a Progressive Series Teacher they will be Career tecehers with cccept- able botkgrounds and eettve looked upon as the cream of the teaching profession the world over! elesses are invited to inquire about Appointment and Teath- ing Authorization. Can YOU, as a successful career private piano teacher, meet the \

No fee fo, Appo;nfmen' eligibility requirements leading to appointment as a Progressive L.... -1 M_ Series Teacher? ... most likely you can. In any case, it will be well A copr of the handsome brochure. "The Career Private Piano Teacher", worth your while to investigate. wilL be sent without obligation to any active teacher.

INSTRUMENTSOF QUALlTY- PROGRESSIVE SERIES PLAN Dept. 47, P. O. Box 233, Cloy ton, St. louis 5, Mo. I am a tareer private piano teccher with on ccfive doss. BY ONE FAMILY- FOR FOUR GENERATIONS Please send me a tOpy of "The Coreer Private Piano Teather". Name .. It is.a source of greatest pride to us that in this, OUf lOOth Average Number fore in Our history. • We would welcome an oppor· Address .. of Pupils. annIversary year, Story ~ Clark pianos are being specified tunity to send you lists of recent purchasers. Theseare City,. Zone.. Stote and .used by ffi?re leading conservatories and schools of «Progressive Series Teachers are located in every state and e~dorsements that speak louder than words. tory & Clark 14 foreign countries. music-s-by more professional musicians-th an ever be. Plano Company, 28 East Jackson Boulevard, Chicago- etude-april 1957 I F April 1957 l Vol. 75 No.4 The need for creativity ...

Founded 1883 by never greater than today Theodore Presser Progress, great and necessary force that it is, is not wirhour its penalty. Today has fostered a trend from "do-ir-yourself'tro "de-less-yourself." Visual entertainment comes to the contents living room at the simple rwisr of a knob. Mother's pride, the secret family recipe,gi yes way ro pre-cooked, jiffy meals. The craftsman's tools gather dust. .. read y_ FEATURES to-assemble kits need Iirrle more than sandpaper and glue. 10 Folk Music and Art Music, Bruno Nettl In our modern, restless world the need to creare. . . h 0 h t Alec Templeton 11 Playing Wit rc es ra, . .. Al! ed K Allan with the hands ... the mind ... the heart has never been 12 A Community Solves its MUSIC CrISIS, r . greater rhan it is today. 13 Genius Lies in the Individual, LeRoy V. Brant How we regain the joys of self-expressiou-e-rhe 14 Miniature from Salzburg, Peggy M:~Oa%tons Arthur J Sasso spiritual lift born from "doing" is a matter of personal 17 Kostelanetz on , Conductors an • . choice. We, at Baldwin, as makers of the piano, offer 20 Drama in Song, Gladys H emuS B t this popular instrument for your consideration. Here 22 Henry Cowell, Musician and Citizen, Part 3, H enrr ran is rhe way to true creativity ... to fulfillment ... enrich- ment ... a way to the special world of happiness that music alone attains. DEPARTMENTS Bur the value of piano is nor merely the playing of 4 Music Lover's Bookshelf music for diversion and enjoyment. Far more than 6 Musical Oddities, Nicolas Slonimsky that: piano builds poise and popularity ... stimulates 8 World of Music . the mind ... and brings family "rogerherness' into 16 A Thoughtfor the Piano Tuner, William J. MttcheLl the home. 18 New Records . Don't get the mistaken idea that unless you are 21 From the Music Camp Office, Kathryn Hawkins . very young or possess extraordinary talent, piano is 23 Richard Rodgers on Current Trends in "Popular" MUSIC, Albert J. Elias nor for you, or yours. OUl" new free booklet, "You're 42 Teacher's Roundtable, Maurice Dumesnil Never Too Old," tells how easily piano brings pleasure 42 Organ and Choir Questions, Frederick Phillips to people of all ages ... from all walks of life. Your 43 Master Lesson, Romance by Wieniawski, Harold Berkley local piano teacher will be happy to tell you about 44 What's in a Name? Alexander McCurdy new simplified methods of learning. 48 The Art of Teaching the Accordion, Andy Arcari JUSt make sure the piano you buy gives you every_ 54 Junior ETUDE, Elizabeth: A. Gest thing a piano should. We urge you to compare the Acrosonic by Baldwin with all others before you de, cide. Compare its exclusive Full BloUJ action, its light, MUSIC ning response. Compare its full volume-its magnif- Piano Solo and Duet Compositions icenr tone. Then compare for beauty. The Acrosome offers you a wide choice of handsome traditional and 24 Prelude (from "Command of The Keyboard" Volume Ill, contemporary styles in the exact finish for your decor. compiled and edited by Alfred Mirovitch) Kirchner·Miror;ilcA 25 The Hunt (from "Command of The Keyboard" Volume ill, Decide now to bring the enjoyment of music into compiled and edited by Alfred Mirovitch) . .. Mo:art.Mirot:itcA your life. Visit your Baldwin dealer. Or 26 Dance Piece for Piano , , . , , , .. Nikolai LopatnikoB write now to: Your beautiful piano 30 Adagio (from "Sonata No.1") (Duet) (from "Piano Duets of the Classi~l Period" compiled and edited by Douglas Townsend) ... M. Clementi-D. Towfl.St1Id The Baldwin Piano was masterfully manu .. Company, Bldg. E-4 Instrumenlal Composition Cincinnati 2, Ohio, for factured from the finest 34 The Swan (Organ) (from "At the Console" compiled F I a free copy of "You're and arranged by Wm, Felton) ,., , "" .C. Sainl·Sa~nJ·1P, eroll Never Too Old." of materials. , Pieces for the Y Dung Pianist THE EXQUISITE ACROSONIC BY BAtDWIN Preserve its beauty of 38 Prelude (from "Tunerama" compiled and arranged by D Mischa Portnofl) F. Chopin·~1. Por,"' tone and touch by hav- 39 I'm Sad and I'm Lonely (from "Folk-Ways U.S.A." arr. by Elie Siegmeieter} " , "", , .arr. by Elie Siegmei.ster ing it serviced regularly JaJbwin by a skilled piano PIANOS· ORGANS technician. James Francis Cooke, Editor Emerilus. Editor (1907-1949) America's first family in music ~uy McCoy, Editor George Rochberg, Music Editor V, L. Fanelli, Art Director (One of a series of new Baldwin advertisements appearing in leading magazines ... dramatically emphasizing the important part music-particularly piano music-can plqy in fulfilling the need for self-expression in Contributing Editors: Harold Berkley, Theresa Costello, Maurice Dumesnil, people of all ages.. from all walks of life.) Albert J, Elias, Elizabeth A. Gest, Rose Heylbut, Alexander McCurdy, William J, Mitchell. Ralph E. Rush, Nicolas Slonimsky. etude-opril 1957 2 etud..--opril 1957 3 p------Hands ••• ,~::c:;"~~ THE BOOKSHELF ALFA I(ENT-ALBERT ROZIN

as a source of Gershwin lore as well The Music Index: as data on the American musical ERIC STEINER 1954 Annual Cumulation theatre of the 1920's and 1930',. The haue book is organized in terms of the that grown Florence' Kretzschmar and biographical chronology, and discus. Their Contributions To The Belwin Catalog Are Based to Musical Achieuement! Geraldine Rowley, editors aion of the music is interspersedin It's hard to believe as you hear him the appropriate places. No musical On Knowledge And Wide Experience As perform today that those are the same Reviewed by Dika Newlin fingers you took in your own and examples are provided j for the reader placed on the proper keys. . This useful compilation covers 124 who cannot readily call to mind most But his success is your success. As his Piano Teachers teacher you have guided him through periodicals (including music journals, of the better-known Gershwin mel. a maze of notes and keys ... and of magazines of general inter~st, and odies, a piano score or recorded col. equal importance are the pianos, that lection of Gershwin favorites might have by their response to his every program bulletins of our major sy~- To Prove It We Will Send You FREE feeling inspired him to greater heights. phony ) of 14 countnes come in handy. Today he knows that his performance ranging from Australia to Switzer- A series of useful appendices,in. One Copy Of Any Book Y00 May Select can be only as good as the piano he c1uding a complete ynop is ofliporgy uses. That's why his choice is always land. (Austria, oddly, is omitted, a piano with a Wood & Brooks Action though Germany is well represented.) and Bess," i provided, summarizing Additional Copies 85c Each-Unless Indicated Otherwise _ the action found in the World's It is a subject catalog; authors of the career of Ger hwin's music.A Finest Pianos! articles are not indexed separately. discography and annotated biblio- Write today for your free BY BY copy of "The Piano" This may make the book somewhat graphy are also provided. B.:.~.'::t;'" ,.'...... _.. __,... more difficult to use, but the omission Thi will undoubtedly not he the ERIC STEINER ALBERT ROZIN ~ .-~...tr.. was doubtless necessary in order to last hook to be written about Gersh· :~.. ~ ':1!....~ ".\.' , keep it within manageable size. As it win, but it may w It prove to be one ...... AT EASE IN ALL KEYS ...... 12 PIANO IMPRESSIONS .-":"~:,~, ,~ is, we have a work of 581 closely- of the warmest, and, as a study of the Basic studies in all mejcr'und minor keys for the Each composition contains some technical fea- ~-~~ packed pages, indispensable to larger man, one of the most sympathetic. "YOUNG PIANO STUDENT." ture in addition to numerous rhythmic patterns WOOD & BROOKS CO. libraries that desire to serve the mu- Henry Holt and Company 85.00 Manufacturers 01 Piano Keys and Actions ...... "Book I ...... Book II ...... FOR THE VERY YOUNG lor More than 50 Years sician and the music student. Buffalo 7. New York Rockford, Illinois Information Service, Inc. $43.75 House In The Woods ...... FIFTEEN HUMOROUS PIANO PIECES ...... LET'S PLAY A RIDDLE (75¢) by Kathleen Lemmon Selected from the works of the world's greatest The titles of the pieces are omitted. The student A Journey to Greatness: composers must find the title of each piece after figuring The names of Mr. and Mrs. Crosby out the answer by playing and singing the words. The Lite and Music of Adam have long been tradition inthe ...... FINISH THE MELODY (Continued on Page 8) ...... LET'S PLAY A JOKE (75¢) Studies in creative composition for the YOUNG A combination of Humor with Music Earn MORE PIANO STUDENT by David Ewell Teaching PIANO ...... Book I (60¢) ...... Book II (60¢) Reviewed by Sheila Keats BY enroll now for ETUDE, the nHlaie m.l!I.~ine Publi.hcd by Tbecdcre Preuer Co.• 1712 Chos\.Ont ...... PLAY AND LISTEN ALFA KENT Advanced HOME STUDY! SIr~I. Phib., P.... AnhW' A. Haouef. p,woo.t, As the title indicates, David Ewen The student must choose which of the two given monthly except May.June and 11111·'\1l&1II1,..ben . BEAUTIFUL THAILAND Improve your own perform- has attempted in this book a full-scale publi.hed bimonthl,.. Entcn:d .... eeood·du5 lIIllll<' accompaniments is the correct one ance! Learn latest improved study of George Gershwin and his J• .,uary 16. 1884 a\ the PMI Office_t Pbi1adelphiA-P... under tbe Act of Much 3,1879. OCopyri!htl951,bJ 12 descriptive compositions methods to stimulate your work. Addressed to the interested lay Theodore Preller Co .. U.5...... and Crut Britain.lu· ...... PLAY AND THINK lernalional COPlript ~W'ed. All ri!bts rettrnd. students' interest. Keep them reader, it is cast more in the form of ...... RHYTHM THROUGH MELODY progressing faster! The name "E:TUDE" i..I rep.tcred ill the U.s. Selections from the Classics and Folk Songs with a memoir than a technical discourse. Pltent Offiee. Printed in U.S.A. A first grad. book Our outstanding Teacher's Piano special assignments to stimulate the student's A member of Gershwin's circle of EdilOri .. 1 co..-reepc>ndenc.:sbouJd be.~ musical understanding Course oiierea th ru Home Study 10 the Editou, ETUDE. the mllai<: marillC. Ilrp ...... SINGING AND PLAYING friends for many years, Ewen is well. M•• r, Pa. Manulcript., phOIOVaplu. or Aft tbollid treats and solves evelY teaching be accompanied br return JIO"la!C. aad E11IO~-':; problem. equipped to write a personal account lumes no retlponaibilily for Rlurn of UlISOLitit ...... TUNEFUL RHYTHM PATTERNS ...... Book I (751) ...... Book ri (75¢) of Gershwin's life and career. His manuscript., pholoppta. or art. WRITE TODAY FOR SAI\'1PLE LESSON The title of this book speaks for itself Withouf this coupon Iree copies wW nof be sent book is essentially an appreciation, AdverLi.ing corre.pondellce .bo~ be;t; dreesed 10 .dler and Sanptoo ....1IOC.. Lel, • UNIVERSITY EXTENSION CONSERVATORY an a~ectionate study which willingly M.diwD k.e., cw York 17. N.Y.• or Harl'}' Lytk, 332 So. Mich ...... e.. ChiC&AO 4. 111. 2000 S. Michigan, Chicago 16, Dept. A-a79 admits faults as well as discussing those qualities and abilities which Subllcription 4»rre.pondence lhDlIlodbe; Send to . Please send me sample lesson drched 10 YUIIL-tion M.n&lP. EltlDt. and full information about mad~ Gershwin one of the outstanding ·M•• r, Pa. Teacher's Normal Piano mUSIcal personalities of his time. BELWININC. Chaof';e or "\ddr~l Allo... 1 leUI 30 diy' ~ Address Course. Ewen is able to make the reader know h.Y(,. e.h.nse of .ddn:u ,.ke tofed. Pleuetl:~ old (.n .ddreu impnnl if ...... ble) aIM! ~. p ~ "A1U ", __ the man .an~ t~e music; both are very to ETUDE, the m ... ic mapnnr.. Bryn M.·' ... ROCKVILLE CENTRE Post Office .ilI nol for-ani cvpia .nlku JOG~ City ...... State. much alIve m the pages of this book. elllr. po.I"!e. Duplicate cop>u unDOl M lUI. APPRE55 _ Island, N. Y. There is a great deal of information Long Sub8eriplion raL..,. rOI' .S.A.• ltd~· Title of Book ..... provided here, both historical and .ion,; 1 yr., 13.50. Canada .nd N'e...fllulldlaad: yr., cln. =~'~"~':'::::;;~ anecdotal, which should prove useful 13.75. All nlb ...r couDtnes: I yr.• ".50. elude-april 1957 5 4 elude-opril 1911 1 Announcing the Exclusive Distribution of CHOPIN COMPLETE WORKS EdaMPad~

By NICOLAS SLONI~ISKY

abled him to practice the "applied NOW AVAILABLE NE OF THE STRANGEST books Harmonie." It was constructed for I PRELUDES $2.50 O on music is a volume entitled him by W. Steuer of Berlin in 1913. II ETUDES 3.00 "Brahms Noblesse" by Frederick III BALLADES 2.50 Horace Clark, published' in Berlin in The two separate keyboards were IV IMPROMPTUS 2.50 1912, in parallel columns of idiomatic placed at the shoulder level of the V SCHERZOS 3.00 German arid fantastically distorted piani t, who played standing between VI SONATAS 3.00 English. Although the author de- them with his arms outstretched full VII NOCTURNES 3.00 scribes a personal meeting with length. A photograph in the book, VIII POLONAISES 3.00 Brahms in a chapter called Brahms as captioned "Brahms developing the IX WALTZES 3.00 a Temple of God, it is obvious that golden-mean keyboard," showed a X MAZURKAS 5.00 man looking more like Goethe than XI FANTASIA, BERCEUSE, Brahms here appears merely as a BARCAROLLE 2.00 spiritual symbol. Clark, a native of Brahms, and possibly being the au- XII RONDOS 3.50 Chicago, studied at the Leipzig Con- thor himself, in a costume, standing XIII CONCERT ALLEGRO, etc. 3.00 servatory and apparently was a fairly in this posture; another photograph EDWARD B. MARKS MUSIC CORPORATION good pianist, for he gave concerts represented the back view of thesame RCA Bldg .• Radio City. New York playing Bach, Beethoven, Brahms, man, with his back bared, and witha and Schumann. In 1885, he reports, caption reading: u ource of solar- GULBRANSEN he received a revelation, near the system touch, the soul perfection." Mausoleum of Queen Louise in Char- Early in 1914, Clark addresseda lengthy letter to Wilhelm 11 of Ger· america's. lottenburg, that the "Harmonie-Work which the Greeks could not find, many, imploring him to financehis smartest could be realized in a solar-system project. He al 0 sent appeals for aid piano source of touch-extension in pienism." to cabinet minister and to scientists. fashions He spent the next twenty-five years in He went to see the famous biologist! designing a double piano, which he Ernst Haeckel, but the latter toldhim Vou'll vvonder vvhy you vvai'ted SO long Music Teachers! Musicians! called "Soul Mirror" and which en- bluntly that he did not believe in the Here is a new achievement ... harmony of soul. When World WarI in purity and brilliance of THE COVER THIS MONTH broke out, Frederick Horace Clark All these years of listening to music on joy it. People who have never played more expressive interpretation of your tone, power of volume, The cover this month shows a repro- was in Switzerland. Then he vanished records, at concerts, on TV and before get pleasure from a Hammond music. permanency of touch ... in a never, never was it quite like this. from the worldly scene. Nothinghas Organ in a month, or less. Only $135 down for the Hammond small piano-only 3i' high. duction of a beautiful painting, "The It's equipped with the Concert Singer," by the noted Phila- been heard of him since. You touch the keys of your Hammond Your Hammond dealer can actually Spinet (not shown) at most dealers. wonderful, new Supertone Scale delphia artist Thomas Eakins. The Organ, and begin a beloved melody. demonstrate how quickly and easily up to three years to pay. Available in ... the Gulbransen exclusive picture was painted in 1892 and the How different, how alive and glorious you can learn to playa Hammond. See Blond, Ebony or Walnut finish. Andre Messoger ; the fine Pari miracle scale and the reason model was Weda Cook (Mrs. Stanley it sounds to you. As though you had him soon, or mail the coupon. for the glorious sian composer, was the unfortunate twenty fingers, as though you were vThe percussion tones Me produced at the option Addicks), well known concert singer A Hammond does more because ... of the plnyer by p/nying any selected single note deep-dimension tone. of her day, who also was a composer. precursor of Puccini in the setting of leading an all yourself. or full chord, in a detached manner, with a fin- Onlv Hammond has Harmonic Drnu> gering pause of as little ns 1/20th of n second. Weda Cook was a friend of the poet Pierre Loti's romance about a Jap- )'01;1 will never get over the thrill of hal'; that you can adjust to create thou- anese girl and a Western gallant.He it ... how much a Hammond can do Walt Whitman and composed a mu- sands of tones and tonal blends. Only r------~ with ~/oursimplest music. For this is the sical setting to his poem, 0 Captain! stuck close to Loti's story whichcon' Hammond has "Touch-Response Pe/- I Hallll1)ond Organ Compnnv I instrument that gives you the most. My Captain! The painting was two cerns a dashing French lieuten~t cussion Controt'» to give you added : 4210 W. Diversey Ave., Chicago 39, Illinois the most variety of tones, the most delta years in the making and each day Pierre, rather than a dashing Amen· harp, xylophone, and other percussion I 0 J am interested in learning how to piny the cate shadings for every kind of music. : Hammond Organ before buying one. before commencing to work, Eakins can lieutenant Pinkerton. and 8 girl effects. Only Hammond has Separate would ask Miss Cook to sing 0 Rest You don't have to be a genius to en- I 0 Please send me Your new Color Brochure nicknamed Chrysonthems. ratherthan Vihrato Controls on each keyboard for about Hammond' Organs. in the Lord from Mendelssohn's "EI'. I . h" 1 Butterfly_ Pierre arrives in Japanon I CONTEMPORARY j an, so that he could observe the I Name board the battleship "La Triom· I actions of her mouth and throat. mus;c'smos!glor;ousvo;ce WRITE FOR FREE BROCHURES HAMMOND ORGAN : Address The picture is used through the phanta, n Profiting by custom, which SPECIAL TEACHER'S DISCOUNl I courtesy of the American Museum of according to Loti, ruled in Japan!he I City . Zone . Stale I GULBRANSEN COMPANY C 19.5. H~MMONO ORa'N CO"'~NY Photography and the goes through the marriage ceremoDY I Dept. E, 2050 N. Ruby St. Museum of Art. with Mme. Chrysaruheme. and when Melrose Park. TIL (Continued on Page 8) etude-april 1957 7 6 etude-opril 1957 "'"------_ ..... THE BOOKSHELF World Arts and Letters, the only composer to Come to New York for your summer vacation ... and (Continued from Page 4) be so honored this year. ATTEND THE musical life of America. Cros~y Adam~ of Music The International Staff Band of the MAXWELL ECKSTEIN was born at Suspension Bridge, t-w: Salvation Army, London, will make its miles from Niagara Falls in 1857. HIS first concert tour of the SUMMER SEMINAR wife Juliette Aurelia Graves was born beginning April 6 in , on his Piano Teaching Method The Casale Festival, to be conducted the following year in March 1858, on a and closing May 3 in Newark, New and Supplementary Materials large fruit farm near Niagara Fa~ls_ by the world famous Pablo Casals at Jersey. The band will be conducted by GRADES I-V Juliette decided to make musrc her Puerto Rico, April 22 to May 8, will Brigadier Bernard Adams, actively as- life work. In 1883 she and Crosby be under the sponsorship of the Puerto sociated with the band for more than JULY 15-18 at the Beautiful Adams were married. Both were must- Rican Government, and will include on twenty years, twelve of which were cal. Mr. Adams who was in the. s~eam- its programs some of the most noted spent as its principal cornet soloist. CARL FISCHER CONCERT HALL heating business was seriously Injured figures in the world of music. Pianists (AIR-CONDITIONED FOR YOUR COMFORT) The Baldwin-Wallace Conservatory in the course of his work and for some will include Mieczyslaw Horszowski, Here is your opportunity to meet and hear the author of the Piano Course years was unable to use his hands. The Eugene Istomin, Rudolf Serkin and of Music at Berea, Ohio, will conduct that has achieved such remarkable results for teachers everywhere. couple moved to Kansas City, where Jesus Maria Sanroma. Violinists will be its twenty-fifth annual Bach Festival, Mrs. Adams began to expand her mu- Isaac Stern and Joseph Szigeti. Vocal- May 24, 25 and 26. There will be eight 4 DAYS-IO A,M,-1 P.M,-$20,OO Mr. Eckstein will cover such points as: sieal activities through reaching and ists will include Maria Stader, soprano, programs in the three days and the solo- writing educational works. She built up and Gerard Souaay, baritone. The Buda- ists to be heard include Lois Marshall, • MAKING THE PIANO LESSON INTERESTING AND APPEALING an immense patronage and the couple soprano; Lillian Chookasian, ; pest String Quartet will also appear. l • SELECTING THE PROPER SUPPLEMENTARY MATERIALS made innumerable friends in Kansas The program will consist of 12 orches- Glenn Schnittke, ; Phillip Mac Gregor, bass. George Poinar will con- • REVIEW AND ANALYSIS OF NEW PUBLICATIONS City and later in Chicago, where Mr. tra and chamber music concerts, many duct. The Baldwin-Wallace Bach Festi- Adams took over the Mozart Club and of them under the direction of Casals, SPECIAL FEATURE! Prominent Guest Panelists will participate in an open forum on educational music. the Aeolian Choir. In 1913 they were who will also appear as soloist anum. val was founded by the late Dr. Albert induced to make their future home in Riemenschneider. ber of times. MAXWelL ECKSTEIN SUMMER SEMINAR - 1957 Montreat North Carolina. Mrs. Adams' The Stratford Shakespearean Fes- Dept. 42. 165 W. 57th St.• New York 19. N. Y. educatio~al compositions and her studies The Bach Choir of Bethlehem {Pe.} tival at Stratford, Ontario, Canada, will I desire to enroll in the MAXWELL ECKSTEIN in Hymnology were in great demand. have as a musical highlight the North FILL IN THIS SUMMER SEMINAR to be held July 15-18. I am will hold its 50th annual festival on sending a check (or Money Order) herewith. Their regular attendance at music con- American premiere of the English REGISTRATION May 10-11 and 17-18. Ifor Jones will ( ) $20.00 for 4 days. ventions in all parts of the country made FORM, AND conduct the 200-voice choir, and solo- Opera Group from Great Britain in ( ) $10.00 deposit (balance to be paid by me in person). them venerated personages, as time went MAil .•. TODA YJ ists will be , soprano; Benjamin Britten's opera, "The Turn NAME _ on, and they were the recipients of many , alto; John McCollum, of the Screw." The opera will be given honors. Mrs. Adams gave a concert at STREET AND NO. _ .timed with tenor; Donald Gramm, bass. Vernon on August 20, 23, 27, 28, 30 and Sep- the Asheville, North Carolina Music ZONE STATE de Tar will be at the organ, and the tember 3, 4 and 6. Principal roles will Club in March 1950· upon her 92nd be sung by Peter Pears, .Iennefer Vyv- precision orchestra will again be made up of birthday. Mr. Adams died in 1951 in yan, Arda Mandikian and Michael Hart- players from The Philadelphia Or- his 93rd year and Mrs. Adams shortly nett. Mr. Britten will conduct. When accurate beat timing is required, chestra. many instructors recommend the MetrDnome thereafter. De Maelzel by Seth Thomas. This precision The Inland Press $2.75 Rudolph Reti, composer, musicolo- timing device is a helpful aid in the estab- gist, writer, died at Montclair, New Jer- lishment of good timing habits and a useful Miss Alice Riley, soprano, of Chi. tool in perfecting timing techniques. An cage, has been designated "Singer of sey, February 7, at the age of 71. Mr. adjustable pendulum permits full selection Reti wrote , piano music, sym- of beat tempos from 40 to 208 beats per. MUSICAL ODDITIES the Year" by the ational Association minute. Timing tempo can be heard and of Teachers of Singing. A national phonic works and songs. He founded seen by means of an audible click and oscil- (Continued from Page 6) elimination contest was conducted by the International Society of Contem- lating pendulum. Sturdy keywound mech- porary Music at Salzburg in 1922. anism has attached key for convenience in the ship is about to leave, he simply teachers of the Association in eight reo re-winding. Light in weight-only 9" high gions of the country, with the finalcon- -the Mclnmomc is both durable and port- says good-bye to his Japanese wife in The Great Fal!e (Montana) High test taking place at the annual eonven- able. Attractive case is solid birch, finished lieu of a divorce. Messager's librettist School Symphony Orchestra, conducted in rich brown mahogany. Precision-built tion in Buffalo, New York, January 29· by Paul Hangen, will establish some by skilled craftsmen, Metronome De Maelzel added some heartbreaks and a little by Seth Thomas is American made and February 1. sort of record on April 24 when it will jealousy, but there was no harakiri as backed by a tradition of 144 years of crafts- present the world premiere of George manship and quality. Service parts are in Puccini's melodramatic ending. quickly obtainable through local dealers. The Ameeican Symphony Orch~stra Frederick McKay's "Sinfoniefta No.6," When "Madame You can see the A1tlrrmomt De Maelzel at Messager's Chrysan. League has received a grant of $109,700 which had been composed on commis- your musie dealer's or at better jewelry and theme" was first performed in 1893, from the Rockefeller Foundation to department stores everywhere. A thought- sion from the orchestra. The work will ful gift for the student and music lover, the reviews were favorable, but not assist in carrying on further activities be a highlight of the concert of All- The 1957 Kahler Waldatf priced at $13.50. enthusiastic. Arthur Pougin com- having to do with conductor and music American Music to be given by the "Something New" hardly describes the 1957 edition of the METRONOME De Maelzel plained that although the opera was critics study projects. This sum together Great Falls High School. Mr. McKay is Kohler Waldorf. It represents New Sty ling, New Scale with written with a "rare talent, the music with the first grant of $57,900 in 1954, on the faculty of the University of by tremendous tone) New Spruce Sound Board guaranteed for life and action lacke.Q. surprise. II This is a and a second grant of $49,500 in 1955, Washington. and all other fine qualities desired in a console piano. SETH charitable view, the SCore is simply makes a total of $217,100 for this very ror The National Association of Piano important work. The League will can' The value and price will amaze you. lifeless; the pentatonic scale employed Tuners and the American Society of THOMAS tinue to present conductors' workshops See the Kohler Waldorf and the complete for "local color" degenerates into a Piano Technicians will merge under an in co-operation with several of the lead- line of spinets, consoles, and series of meaningless arpeggios; Mes- agreement formulated at a two-day ses- tlmeIicas Oldest ing symphony orchestras of the country, studio pianos at your Kohler dealers today. sager never thought of writing a sion of the Negotiating Committees held whole aria on the pentatonic scale, as last January in New York City. Under 91GneilZ~ Puccini did for Cia-Cio-San. "Madame Ernst Tocb , Vienna-born composerof tire plan worked out, "a co-ordinating Division oj ~ General Timr Corporalion many operatic and symphonic works, Chrysantheme" had several revivals interim committee is planned to func- including the Pulitzer Prize·Winning but in the end gave way to "Madama tion between the 1957 individual con- Symphony o. 3, has been elected to Butterfly." ventions and the proposed merger con- membership in the National Institute of 8 etude-april 1957 9 etude-april 1917 • f I

vention to be held in Washington, D. C. in 1958." It is expected that the agree- ments reached by the negotiators will be ratified' by the two separate groups in the 1957 conventions to be held this summer. ETUDE • .. £ ..... ' ...... a.· •• The Berkley Summer Music School will open its season on July 8 and con- tinue through August 17, at Bridgton Academy, North Bridgton, Maine. The school was founded seven years ago under the direction of Harold and PLAYING with ORCHESTRA Marion Berkley, and with its staff of associate teachers, it has established it- self as a summer music center where instrumental study, ensemble playing, ,...-::._-_. by ALEC TEMPLETON chamber music, concerts and lectures are combined with exceptional recrea- ... as told to Rose Heylbut tion facilities in a famous vacation region. LL PIANISTS LOOK forward to the day when they and expressive way, bringing both balance and variety Reginald Stewart conducted the Bal- OLK MUSIC has always been a great influence on composers of cul- A will be allowed to study concertos. The very name- to the music. timore Little Orchestra in a program of Ftivated or art music. These two kinds of music have never been really concerto-is thrilling, to say nothing of preparing to No concerto is easy, but those of Bach, Mozart, and contemporary American works in the separate and sinceThe Middle Ages each has depended 'on the other for play with an orchestra, the very thought of which brings Haydn make the best start. Here, piano and orchestra Peabody Conservatory Concert Hall on material. Already in the fifteenth century, folk songs were used as canti tingles to the spine! Just how does one lay the ground- belong to each other; the pianist participates without the occasion of the Institution's 100th firmi for masses. Bach quotes folk songs in the Peasant Cantata. Haydn work for performing to orchestral accompaniment? dominating; and there is a feeling of complete together- Anniversary, February 11. The program and Mozart wrote folk song-like themes. Beethoven added plano accompa· featured works by Charles Ives, Peter Playing with orchestra ness, as there is in en- ni ments to Scottish, Irish, and Welsh folk songs. But it was not until the Menin, Lukas Fossand . is not for beginners. And semble works. In the more romantic period that the use of folk songs became generally accepted even advancement in piano difficult concertos of Cho- among composers. playing, while necessary, pin, Grieg, Schumann, Folk music participated in two important trends in art music after 1800. does not tell the whole Brahms, Rachmaninoff, Earliest was the urge toward nationalism on the part of the smaller, COMPETITIONS story. Concerto literature Ravel, the piano plays peripheral countries of . Composers in these countries began to requires great finger dex- with the orchestra, cer- include folk songs in their works, and to write music in the style of folk tainly, but in a different (For details, write to sponsors listed) terity, but fingers alone song, in order to create music representative of their peoples. In addition cannot carry one through relationship. Here, the to using folk music they began to make folklore, mythology, and folk it. The playing of con- piano does dominate; solo- National Federation of Music Clubs customs important in opera librettos, program music, and art song. Begin. 14th annual young composers contest certos demands a thorough ist and orchestra are sepa- ning in Central Europe with the Czechs Smetana and Dvorak, the nationalist for a choral and an instrumental work; knowledge of harmony. rate entities, complement- total awards $500. Also a special $600 movement spread throughout the continent and America. and eventually structure, and musical ing each other but not composition scholarship in memory of also to' Asia and Africa when those areas became sufficiently Westernized. forms. all of which are as belonging to each other. Folk music was used in various ways by these nationalist composers. the late Devera Nadworney. Details vital to good performance Thus, the best beginning, They might quote real folk songs as themes in larger compositions or sim- from the National Federation of Music as the playing of the notes from the musical as well ply make arrangements of folk tunes for vocal and instrumental ensembles. Clubs, 445 West 23rd Street, New York -possibly more so. as the pian istic point of 11, New York. More frequently they wrote melodies imitating folk songs, and they some- Preparing to play with view, is made with the times adopted compositional devices of folk music styles. For example, The American Opera Auditions, Inc., orchestra rests, I think, on ·simpler, more ensemble- melodic sequences are very characteristic of Czech folk music, and a newly formed non profit organization. Czech two chief pillars of sup- like works. It goes without composers began to make sequences a trademark without necessarily hav- will seek out American operatic talent port. The first is to get the saying that the best prep- ing their music sound like folk music otherwise. to sing in Italian opera houses in 1958. feeling of the work as a whole-not just of the notes you aration for concerto study is ensemble playing, as much Preliminary auditions will be held next In the twentieth century, beginning with Debussy who was highly im- play, but of the fuJi sound which will result from piano as you can, with pretty much any combination of instru- October in New York, Chicago, San pressed by Indonesian music, European and American composers began and orchestra together. This, of course, means hearing ments. The important thing is to get the balance necessary Francisco, Dallas, Baton Rouge, and to become aware of the exotic music of primitive and oriental cultures. the work you are going to play before you play it. Famil- to playing with others. Cincinnati. The winners will be selected Rather than serving nationalistic purposes, this kind of music helped corn- iarize yourself with the full tonal picture, after which, go In approaching concertos, the student inclines to be in May 1958, and will then leave for posers to break with the traditional styles and pave the way for the new Milan, , where their debuts will be on to Point Two, which is to study the form of the orches- proud of being 'a soloist' and playing all those thrilling developments of twentieth century music. The oriental and primitive sys- made at the Teatro Nuevo. Details may tration. This does not necessarily imply a knowledge of passages. This frame of mind carries the danger of for- be had from American Opera Auditions, terns of music, so different from the European one, served as inspirati~n orchestration as such; simply, the shape of the orchestra's getting the orchestra and the music as a whole! To stress Carew Tower, Cincinnati. and provided compositional techniques for many composers including Colin themes, whether they follow the piano or answer it, the all-important matter of ensemble balance, I advise McPhee, Henry Cowell, M. Kolinski, C. Chavez, H. Villa.Lobos, P. F. American Guild of Organists, 1956· whether they accompany or lead separate lives of their learning all concertos, from the very beginning, at two Bowles, and more indirectly, some of the foremost composers of the own. Interpretation of the work depends upon questions pianos, the second piano taking the orchestral part, and 1958 National Open Competition in century. Organ Playing; preliminary contests to like these. The Schumann Concerto, for example, begins as both working together as an ensemble. This is excellent be held by local chapters, with semi- Folk music has played an important role in music of the nited States a conversation, the orchestra opening the talk and the piano for timings, for cues, for give-and-take. It is extremely finals to be held at Regional Conven- where composers, since the nineteenth century, have been trying to create replying; and, as in any discourse, the manner of the difficult to learn the solo part alone and then, at some tions in 1957. Finals at 1958 Biennial a uniquely American music style. The problem they have had to face isthe speech is as revealing as its content. It has been my fre- later time, to begin fitting it into its normal context. The Conventions in Houston, Texas. Details lac~ of indigenous folk music in America. To be sure, American Indian quent observation that the orchestra states its opening last movement of the Schumann Concerto offers a good from American Guild of Organists, Na- music is native, but it is quite distant from the culture of the composersw~o theme in a fairly detached, aloof manner, whereupon the example of this. The notes of the solo part are difficult, tional Headquarters, 630 Fifth Avenue, are, after all. members of Western civilization. Nevertheless, Indian mUSIC piano replies with the same theme, but In a most romantic but not impossible. It is virtually (Continued on Page 40) New Yo,k 20, N. Y. was used and imitated by many important composers (Continued on Page46) 10 etude-april 1957 11 • etude-april 1957 •

a community solves • •• its mUSIC crISIS renius lies in the the inspiring story of The Bronx Symphony Orchestra INDIVIDUA.L

by ALFRED K. ALLAN by LeRoy V. Brant proached another fellow Bronxhe, Mr. Gerald Klot, the he Bronx, New York City's heavily populated Director of the Wallon and Clinton High chools Com- northernmost community, was faced with a crisis T munity Centers. The two men gained a worthy addition to Gyorgy Sandor, internationally famous concert pian- that in which similar things have ever been said before. not unlike that which confronts many American communi- This is the crux of the matter. This is. the point at which their team for Mr. Klot was also well aware of and dis- ist, believes there is a place for the talented young artist ties-an almost complete lack of serious music activity. we discover hope for the new concert pianist. If he only turbed by his community's music stagnation. He had been on the concert stage. He does not say that the career is an That is, until many of the community's residents decided easy one, neither does he believe that every student who repeats what has been said before in the same manner searching for something con tructive to do about it, and to solve their own music problem. The result-the found- conceives the ambition for the footlights will realize his in which it has always been said, why should one listen? this the two men had provided him with. In a short time ing and success of a nationally heralded music program. dream. But if he devotes his life to work and development The striking truths of music must be presented in an the orchestra idea was brought to the attention of the Probably the Bronx's music awakening is best mirrored many a youngster will be playing before the crowned and original manner; if they be so expressed we can then claim Bureau of Community Education of the New York City in the inspiring story of the Bronx Symphony Orchestra, uncrowned kings of the world. Board of. Education, and quickly endorsed by them. an orchestra composed "How can the young artist know if he has that final Speedily the wheels of the idea were put into motion. of, and for, Bronx thing which will make of him a success in the concert Within weeks, Bronx residents were informed, through residents. In 1947, the fidd?" . orchestra was just a advertising and word of mouth, that their own symphony Beneath the patchy shade of a palm, beside' a playing fanciful idea in the orchestra wls in the process of being organized, and that fountain at the Music Academy of the West in Santa Bar- ~ind of one Bronxite, -all with the necessary qualifications were invited to join. bara, Sandor heard the question. He paused before Edward Cohen. Mr. Ten members appeared in the first wave of response, and answering it, and I felt that during the pause much of his Cohen had looked soon many others followed. After several weeks of prepara· own life, like a quick panorama, unrolled itself before his critically at his com- tion, the orchestra's founding fathers felt that they were eyes which had s~en a success so great. munity and had dis- ready for the orchestra's first public concert. They looked "The question is hard to answer, but perhaps a saying mally observed its forward to it with apprehension. The big question was: of myoid teacher, Kodaly, might cover it. He used to say, "Does a sufficient audience for 'Nobody knows how much is in one's self, or how far he serious music really exist here can go, or how much he can develop. It is a matter of the in the Bronx?" great will of the individual. The answer depends on the As Mr. Klot explains the individual'." problem they were up against, Sandor felt that always there is a place for an individual "We weren't after just music- talent. "Suppose you have listened to the magic names of lovers, per se, but others as well, this and the past generation, pianistic names. Take, for especially those residents who example, Rachmaninoff, Hofmann, Horowitz, Rubinstein. The projection of music from each of these is a matter might be more inclined to pop- highly individualistic. Interpretations of identical numbers that a new prophet of music has arisen, and that we must ular music tastes. This class will vary widely. And who is to say that one is right and flock to hear him. were without doubt in the major- another is wrong? Again I say, talent is and must be in- "The matter of one's personality enters largely into this ity in the Bronx. It was there- Part of the wind section of the orchestra dividual." calculation. One's 'interpretation of a composition is a fore necessary," Mr. Klot con- Listening to this marvellous pianist one could under- reflection of one's concept of it, and one's concept of it in tinues, "to reach a common stand what he meant, understand why he laid a stress so turn reflects the personality. If one possesses a vivid per- lack of cultural excitement. He level of understanding with great upon the point of individuality. His Chopin is unlike sonality the interpretation will be vivid, an original per- decided that a community or- them. " that of any other pianist, his Beethoven is as characteristic sonality will father an original interpretation, a negative chestra would be a great step Through stories in the local as is his Chopin. And it is on this matter of individuality, personality will bring forth a pale interpretation. If, then, toward solving this crisis. He newspapers, posters in the li- more than on any other one point, that he bases his hope one has been given a unique personality, yet one that is shared his ideas with his cousin, braries, spot announcements on for the young would-be concert pianist. balanced, on,e may hope for much on the concert stage. But Irwin Hoffman, a gifted young the radio, and the distribution "We must concede from the beginning that the pianist not otherwise! II conductor who had formerly been of thousand of circulars from has an adequate technic, that he has the type of talent Sandor is of the opinion that most young students feel baton-master with the Philadel- door to door, it was hoped this which will enable him to see beyond the average scope of themselves ready for a New York debut much too soon, and phia Symphony Orchestra. Mr. goal might be achieved. "Come vision into the celestial realm of music. But after that, he that by the use of wrong methods they themselves kill their Hoffman was all for his cousin's chances for successful careers. (Continued on Page 49) A difficult spot for the French horn. All mem, with family and friends anden' must say what he has to, say in a manner different from plans, so the two men warily ap- bers of the orchestra take their work seriously. joy an (Cominued on Pag,62) etude-april 1957 13 12 etude-april 1957 "THE MAGIC FLUTE"

Grell Aicher (center) at work

Hermann Aiche" director, Salzburg Marionette Theotre by Peggy Munoz Dance af the Sugar-Plum Fairies, "NUTCRACKER SUITE"

company's success. Gretl is in charge of technical aspects, assortment of violins, cellos, and wind instruments-a USIC LOVERS by the thousands are now nl1lJ particularly lighting. And Frick not only designs all the typical form of baroque musical decoration from Mozart's seeing spectacular grand opera reduced10 \ f f l stage sets, but also attends to the cooking and insures the time. MINIATURE a miniature scale in their own home towns. As a result, Then the curtains reveal an enchanted eighteenth cen- comfort of each member of the family while on the road. American children are learning to take Mozart, Gluck Both girls are expert manipulators, as well. tury garden, where a pantomime courtship takes place and Pergolesi very much in their stride. And grownup Since the most unique offering of the Salzburg Marion- between a young gallant and a lovely hoop-skirted lady of opera haters are finally discovering that "" ettes has from the very beginning been the production of the Viennese court. They dance graceful minuets, flirt, OPERA signifies great theatre as well as immortal music, having by , the company was quarrel, are brought together by cupid and his magic at last encountered a company whose singers actually look unusually active during 1956, the Bicentennial of Mozart's arrows, and finally end up in each other's arms as the their roles and are never in "bad voice." birth. Anton Aicher began the tradition when he chose cherubs play the last lingering strains of the serenade. Annual coast-to-coast tours since 1951 by tbe Salzburg the comic opera in one act, "Bastien and Bastienne," for Whimsical elves and nature spirits in filmy green 'flit in Marionette Theatre have accomplished these miracles. the first public presentation of the group before members and out during the entire four movements of the work. from This talented company, directed by Professor Hermann of the Salzburg Art Club back in 1913. This delightful "Concert in Schoenbrum" is a charming playlet taken from an incident in the life of the great Austrian compos- Aicher, has brought opera within the reach of every little farce, complete with star-crossed lovers and a wicked er. As tradition has it, Mozart was invited to play before purse by using tiny wooden actors and the recorded voices sorcerer, was composed by Mozart at the age of twelve, Empress Maria Theresa when he was only five years old. of leading singers from the Vienna State Opera and even and received its premiere in Vienna in 1768. It is still He composed one of his most famous minuets on the spot the Metropolitan. And at last opera can be understood by one of the most popular works in the repertory of the SALZBURG for Her Majesty, whom he insisted on addressing with the everyone, as the speaking parts are in English-c-or Spanish, Salzburg Marionette Theatre. familiar "du." But his final impudence on this famous when the troupe is performing in Latin America. Other Mozart operas presented regularly by the com- occasion was to ask Princess Marie Antoinette to marry The Salzburg Marionettes originated in 1913 as a pany include "The Magic Flute," "Don Giovanni," him as soon as he was old enough to obtain his father's hobby of Professor Aicher's father, Anton, and have sin~e "Abduction from the Seraglio," and the master's first permission. Aside from the obvious appeal of the story developed into a family profession. The Professor IS operatic attempt, "Apollo and Hyacinth," But the greatest itself, this piece has gained huge popularity through the assisted by his wife, Elfriede, a former operatic coloratura, masterpiece as yet created by the puppeteers is undoubtedly astounding realism of the little boy puppet's violin and who designs costumes, speaks various roles for the fer the pantomime fantasy based on Mozart's serenade "Eine piano playing. man:language recordings, sings vocal parts and helps to Kleine Nachtmusik." The first scene begins with a mon- Other operas in the repertory of the Salzburg Mario- m~mpulate the marionettes during performances. The tage of cherubs playing angelic music on an imaginative nettes include "The Deceived Kadi" (Continued on Page 52) AIcher daughters also make their contributions to the 14 etude-april 1957 15 etude-april 1957 « PIANIST'S PAGE

A Thought for Kostelanetz the Piano Tuner on Conducting, by WILLIAM J. MITCHELL William J. Mitchell Conductors For many centuries the use of a NONE IMPORTANT respect, pian. The sole reason for so complicated string divided into simple fractional Iists have led, for many years, a a construction was that tuning meth- parts was the only scientific wayin life of luxury. So long as their instru- ods had not yet found a means of and Batons which intervals could be located.The ment has been "in tune," it has made fixing on a single pitch that would instrument that was used for such no difference, granted the requisite serve a dual or enharmonic function. purposes was called a monochord. performing skill, whether they played How fortunate for us that we are During the Middle Ages the basisof ARTHUR a straight-forward diatonic piece or spared the hazardous experience of by 1. SASSO all tuning was the monochord's pure one bristling with sharps, flats, and playing Chopin's "Butterfly Etude" fifth as measured by the Greek math. enharmonic changes. If their instru- or his Etude in thirds on such a key- URIOUS CROWDS of music lovers attended Carnegie ematicians and philosophers, Pythag- ment has been out of tune, matters board! Slightly misdirected fingers . Hall some time ago to witness a dramatic perform- oras (6th century B.c.) and Euclid C could be righted by the simple expe- would hit the wrong halves of black ance of The Symphony of the Air. The orchestra, known (4th century B.c.). dient of calling on the services of a keys with distinctly uncomfortable if formerly as the N.B.C. Symphony under Toscanini, played On the face of it, it would seem proven tuner. not disastrous results. without benefit of a conductor for this one concert. that the employment of a pure fifth, It has not always been like this. In order to understand the tuner's We mentioned this as we talked with Mr. Kostelanetz whose simplicity and immediacyof The present day piano tuner, what- problem and the nature of modern in his Gracie Square penthouse in New York City; and relationship are certified by allknown ever his precise method may be, is tuning methods, let us pause for a ventured, somewhat with tongue-ill-cheek, that conductors ANDRE KOSTELANETZ reaping the benefits of centuries of moment to examine the construction agencies, would produce only pure were perhaps becoming obsolete. "Not really," was his attention to a nettlesome problem- of intervals. In so doing, your corre- results. The fact that it does not,is reply. "Playing in an orchestra without a conductor places how to adapt the acoustic resources spondent can only hope that his abil- the beginning of the tuner's woes.For undue strain on the individual players. The hundreds of musical sounds can best be illustrated by example. It is of Nature to the needs of the Art of ity at and tolerance for mathematics example, if we tune twelve successive musicians in a symphony orchestra are not only concerned said that when he recorded"Slaughter On Tenth Avenue, Music. If we should intercept the his- are, at least, matched by the reader pure fifths in the Pythagorean man- with urging the most from their instruments but look to he demanded a particular type' of pistol be shot to get the tory of tuning or intonation during (which sets a very low standard). ner the following pure tones will the conductor to give them leadership and to mesh them precise sound effect he wanted. It was fired 63 times before the sixteenth century when the chro- Although all intervals are natural, be produced: C-G·D·A-E-B·F sharp- into a harmonious unit. No, I'm afraid that conductors he was content that the report had the proper "tonal matic style of composition caused since they occur in the natural world C sharp-G sharp-D sharp-A sharp· are going to be with us for a little while yet," he said, quality." acute difficulties we would find that in which we perforce spend our lives, E sharp- B sharp. However the final smilingly. To catch Kostelanetz -at his irrepressible best, you must the keyboard tuner had to decide the musician means something very tone, B sharp, will disagree by almost Mr. Kostelanetz was of the opinion that a symphony see him at rehearsal. With persistent and unflinching whether he wanted the half step be- definite and limiting when he speaks an eighth of a tone with the initial orchestra develops an individuality of its own over a patience he establishes the tempos and instrumental bal- tween G and 'A to represent A-flat or of a "pure" or "natural" interval. tone, C. The pure unison whichcan period of years no matter how the personnel changes. ances and labors frugally over nuances of phrasing. He G-sharp, for the tuning methods of There are several related ways of 10· be represented as 1/1 now standsat That individuality, for the most part, depends upon the demands no more of his musicians than that they main- the time could not make one key rep- eating such a sound. The oldest way 1.013/1, and the pure octave, 2(1, conductor. He is a rnulti-facet individualist who, once on tain the meticulous preparations of the rehearsal studio resent both sounds. Arnold Schick, is to fix a length of string on a reso- becomes approximately 2.03(1. The the podium, is drillmaster, strategist, critic, technician and right to the concert stage. Watching him, you have the an early 16th century organist, sug- nant surface and to pluck it first in difference between these two formsof artist, all rolled into one. And while it is true that the feeling that the rehearsal is merely a point of departure gested that the pitch should represent its entirety and then at exactly half unison is called a Pythagorean corn- actual music is produced by the members of the orchestra, for that something extra, something incredibly vital and A-flat and that if a G·sharp were of its length. The resultant interval ma and is often represented by the it is the conductor who is accountable for its being played intense. Out of this passion and magnetism comes memor- called for in a composition either to will be a pure octave and will always complex fraction 531441/524288. Be- well or otherwise. able music. omit it or to cover. it up with an be found at '12 of the length of string. cause we like our unisons and octaves We directed our discussion to the subject at hand- During a "break" in the rehearsal we asked the maestro embellishment. In many other cases But we also know that sounds are to remain pure we would rejectsuch Mr. Kostelanetz. We understood that the sale of his records about batons. He proved to be a veritable Baedeker on this "black key" was split in two, half created by the vibrations of an eles- an impostor. Yet, it has been reached had exceeded the distinguished sum of 27 million copies the omnipotent "stick." The forerunner of the baton he of which was tuned .tc G-sharp and tic body; that furthermore the inter. via a pure interval, the natural fifth. and asked him pointedly: What was his explanation of the told us was a parchment scroll, known as the "solfe," the other half to A·flat. In Italy key- val of a pure octave represents an But this is only the beginning of popularity of the Kostelanetz Effect? which was used in the l Sth Century to beat time for the board instruments were built which upper tone which has twice as many the story. Let us examine anotherdis- The maestro thought that pleasing sound might have Sistine Choir in Rome. The French-Italian composer, had as many as 31 keys to the octave. vibrations per second as the lower turbing result of the use of pure fifths something to do with it. Also, new sounds which he is able Lully, who was responsible for many orchestral innova- Recently, your correspondent saw tone. Thus in terms of string lengths as a tuning agency. It was discovered to get by "regarding the microphone as a friend of the tions, used a super-dimensional rod with a metal spike. an illustration of a 16th century key- the octave of a tone is 1/2, and in quite early by the Greeks, Didymus orchestra rather than a nuisance." But mostly, he thought, In a burst of enthusiasm he drove it into his foot instead board with split keys that looked as terms of vibration ratios, 2/1. The {Lst century B.C.) and Ptolemy (2nd it was a matter of interpretation: "Whether we are play. of the floor and the accident is said to have caused his follows' pure fifth, similarly, is fonnd at 2/3 century A.D.) that there was a ~lm' ing Tchaikovsky's 'Romeo and Juliet' or Stardust, we try death. By 1736 the audible striking of the baton against of the length of a string, and has a ilar conAict between the pure thuds to express the emotional meaning of the music. If a song the conductor's desk prevailed at opera performances. It vibrati~n r~tio of 3/2. The pure which they reached directly by sound· is about stars, the night, and love, we make star sounds, was also not uncommon for the conductor to use a violin fourth III this twofold fractional rep. ing 4/5 of a length of their m~no' night sounds, and love sounds." bow as a baton. Not until a hundred years later, however, did the baton, as a conducting (Continued on Page 51) c 0 E F 6 A B C resentation is 3/4 and 4/3, and the chord string against the entire strIng, His almost fanatical fervor for creating the unique in pure major third is 4/5 and 5/4. and the '(Continued on Page50) etude-april 1957 17 16 etude-opril 1957 L~~~~~~~~~~~~ ...1 ,

tures, completed only a year ago, were designed by the noted Finnish architect recorded sound is clear and bright. lias") has travelled the western world for study purposes, and the samplings Eero Saarinen; their acoustics were (Columbia ML 5114) in triumph. One-hundred-four years old, are undoubtedly authentic. (Ethnic planned by three M.LT. professors, -c-Bernard Rogers it is one of the few operas of any school Folkways Library P 525). Messrs. Bolt, Beranek and Newman. to hold the boards. The story keeps its -c-Richard F. Goldman NEW RECORDS Their hope of producing conditions un. Elgar: Sea Pictures Op, 37 Overture: In the SOltth magnetic appeal, as witness its late suc- der which music, immediate or recorded cess as a film, assisted by the presence "Woodwind Classics" Berkshire Wood- Elgar's "Sea Pictures" are a setting wind Ensernble would emerge with its natural charac. of Garbo. for contralto and orchestra of five .in- "Moderuteta' Berkshire Woodwind teristics preserved, has apparently been The work's enduring attraction lies significant poems, all dealing with the Eneembte fulfilled. Echo, intensity, uneven reflec- largely in Verdi's music, a cunning com- sea. They are written in the tradition of These two records serve to point up Archive Production arts music appreciation class they will tion, reverberation-s-the familiar factors pound of brilliance and melancholy. Its late German romanticists, are often again the melancholy truth that most History oj Music Division of the not suffer the shock of too radical an of distortion, have been brought well author's sincerity-a quality. he never atmospheric and are ably scored. As woodwind music is of little interest to DeurtscheGrammophonGesellschajt adjustment from the level of secondary under control. The sound is clear, na- lost-c-speaks through every phrase; the usual with Elgar a certain boredom any except the performers, and this ill- To my knowledge, this series is one school music to that of the liberal arts tural, and vivid, and the acoustical en- quality of morbidezza, haunting and enters the picture after a while, and terest unfortunately seems based on of the finest of all efforts to make avail- college music department. gineer, Peter Bartok, has done a tip-top fevered, is at once personal and Italian." this may well be the only British char- the principle that almost anything to able in recordings representative works It is impossible to pick out for spe- job. The Holtkamp organ designed for Verdi believed in its characters, as every acteristic of his music. The work is very play is better than nothing at all. Wood- of each major epoch of the musical cial attention any particular recording this chapel comprises principal and flue well sung by Gladys Ripley, a gifted artist must, and they thanked him by wind "Classics" (save the rnarkl } gives past. For one in love with music and of the 12 of the series heard. But it is stops, without swell pedals or reeds. A singer who died last December. While coming to life. us a youthful Beethoven Trio (piano, with a developed or developing taste possible to speak of t.he musicality of The present recording is on the whole most attractive instrument, convincing Elgar's "Sea Pictures" are on the whole flute, bassoon) and the reconstruction for pre-19th century music, a mere performance, the perfection of vocal fairly worthy of the delicate and beauti- for music of the Baroque time. The quite acceptable, his Overture "In the by Zellner of an incomplete Beethoven glance at the listing of materials re- chamber style in the motets and chan- playing of the Unicorn Concert Orches. South" is simply impossible. It con- ful music. It avoids in some degree the Quintet for two oboes and three horns. corded, which appears on an informa- baneful habits of Italian star-singing. sons, the authenticity of stylistic ap- tr a, under Klaus Liepman, is good. sists of a few antiquated romantic de- For good measure, there is a rather tion sheet called index card inserted in The dynamics are reasonably respected; proach in the instrumental works and (Unicorn UN LP 1032) vices without any personal contribution charming piece of Americana in the each jacket, is enough to produce that particularly the use of reconstructed -Bernard Rogers in inventiveness or even boredom. And peak notes are often given their proper Suite "For the Gentlemen" of Oliver inner excitement which the anticipation substance and duration, instead of be- ancient instruments-the lute, harpsi- who needs Elgar, if he doesn't even Shaw (1779-1848). But classics indeed! of all genuine experience awakens. coming a carnival of decibels. True, chord, the viola da gamba, the viol fam- Brahms: Concerto in D Major, for bore us a little? George Weldon and the The second disc is with equal ingen- Violin and Orchestra, Opus 77 The planning of the series, the choice ily, the recorder. For our modern ears London Symphony Orchestra give an Verdi's pathos is sometimes inflated by uousness entitled simply "Modernists." This violin concerto, the finest since the principals, and the familiar forcing of individual composers and works, the the lack of power of these instruments, adequate performance of the work. It contains an odd assortment of pieces the sensitive and elegant example by of tone is sometimes present. But in performance and engineering are all their general air of gentleness and (Capitol P-18017) by Piston, Randall Thompson, Rieti and Mendelssohn, has already been recorded general the performance is not greatly evidence of high taste buttressed by a sweetness of tone may occasionally -Abraham Skulsky Joseph .longen. The playing is compe- real knowledge of and familiarity with pall; but this is not their fault since sixteen times, by some of the greatest besmirched by the old, bad Italian tent, and the record may be of mild in- the manifold musical styles involved. they represent a conception of sound virtuosos and orchestras. Where there is Prokofiev: The Love for Three Oranges italics. Antonietta Stella is not the terest to youthful students of wind in- (Complete Opera) Each period of "research" is directed which coheres with the music written so much riches an extra gold coin would world's greatest soprano, but she sings struments. The titling of both these This recording of Prokofiev's youth- by someone whose .special field it is; for them. Therefore it is for us to make seem to add little to the sum. But there Violetta with grace and style. Di Ste- discs is highly objectionable; even in ful and spirited opera is very welcome the information carried both on the the necessary adjustment. It is much are values here to justify this newest fano and Gobbi are thoroughly Latin; the limited wind ensemble repertoire indeed. For while its childish and crazy jacket itself and the card inside the less difficult to contact the vocal mu- version. Francescatti is one of the nota- both have be.autiful voices and sing the one can find many more substantial subject may not interest grown-ups jacket is an important adjunct since it sic, unless one has grown up on massed ble violinists of our day. The ampli- roles of Germont, father and son, with pieces to represent both the classic and more than once, its music with its sar- fixes with accuracy the historical con- choral effects and does not take to the tude and sweetness of his tone, the enthusiasm. The smaller parts are contemporary eras. The music here is casm and wit and its relentless speed text of the works recorded. Where texts subtleties of restrained, non - operatic finely graded scale of color, the faith- worthy. Tullio Serafin leads the or- trivial and represents only the most and invention, reflects at its best the are involved, they are given in both the singing. ful intonation. are marks of his distinc- chestra and chorus of La Scala in a impoverished side of the woodwind "Sturm und Drang" period of the early original language and English-a great Every institution of musical education tion. His approach to Brahms is that of well-paced and tasteful portrayal. A picture. (Unicorn UN LP 1024 and twenties, and presents Prokofiev in one help indeed. Recording plus informa- should add this series to its record the romantic, as betrayed by his occa- few cuts are no deprivation where the UN LP 1029) of his most inspired moments. From a tion plus texts make up a total approach library. Every individual musician ought sional tendency to linger on the down- fruit is so abundant. Recorded sound -Richard F. Goldman which removes this music from the to give himself the pleasure of owning beat-s-more rarely on the final beat. Yet general viewpoint I would consider this is fine. (Angel 35333-35334) opera as an extended "scherzo" with realm of the mysterious, esoteric past at least one or two of the series. (ARC his rubatos are general1y discreet and -Bernard Rogers A Mozart Organ Tour. E. Power Biggs, some moments of respite. The bulk of organ; Camero ui Academica, Salx- and makes it a valid, true listening ex- 3050-3061 ) tasteful, while his style, alternately bold the musical content is thus to be found "Man's Earliest!"! usicall nstrumcnls" burg, Bernhard Paurngartner, con- perience of the present. -c-Ceorge Rochberg and caressing, does no violence to the Edited by Curt. Sachs ductor in the orchestra and the choruses. The The aid (not to mention comfort) this musical fabric. His collaboration with This is an interesting sampling from This monumental contribution to the Handel: Organ Concerti in B-Flat performance of this opera is an out. series offers to the college music de- the is a rather the Ethnic Folkways Library's large 1956 Bicentennial contains all of Mo- Major, Opu ... 4, No. 2; F Major, standing one. It is sung in Russian by partment instructor is incalculable; for Opus 4, No, 5; B-Flat l"lajor, Opus 7, happy one. The latter's tone, traditional- collection of instrumental music from zart's known music for the organ, as the Sloven ian National Opera of Ljubl- now he can offer to his classes the live iVa. 1; G Minor, Opus 7, iVo. 5 ly robust and lustrous, is here adjusted the four corners of the world. The early well as a few selections not originally jana under the leadership of Bogo sound of Gregorian Chant, the organa These are noble concertos, aristo- to the slender solo part.Except for a few musical instruments range from feet composed for that instrument. Three Leskovich. While a spirit of ensemble of Leoninus and Perotinus, the music cratic in bearing and mien. To judge moments in the final rondo, the balance (stamping) and hands {clapping} to sides are devoted to the seventeen con- pervades the entire presentation, the of the Ars Nova, the enchanting motets by their opus numbers they were com- is acceptable. And there, where the sophisticated art creations such as the certed works for small orchestra and real stars are the chorus and orchestra and chansons of John Dunstable and posed early, although the Opus 7 was orchestra is too much present, the fault Balinese gamelan. In between one can organ. These one-movement composi- which perform with the utmost convic- Okeghem respectively-and much more published posthumously (by John lies not with the conductor (Ormandy) hear a variety of flutes, gongs, drums tions of symphonic cast, usually labelled tion and perfection. The cast of soloists from the pen of every significant com- Walsh). Handel wrote twenty-one can. and stringed instruments. The two LP "Epistle Sonatas" or "Church Sonatas," or the engineers, but with Brahms. also does full justice to Prokofiev's poser of the rich past of Western mu- certos for organ; early or late, the pres. discs are divided into sixty-eight sepa- have here been rechristened (with a The concerto is curiously propor- opera, but is too numerous to mention sical art. It is even possible that an alert entexamples are imposing. The solo part tioned, in that the opening movement rate bands, providing a wide range of bow to their Salzburg origin) "Festival in detaiL (Epic 5C-6013) and awake high school teacher will find contains but two voices: melody and study material. Needless to say, the col- Sonatas." And the new name justifies consumes more time than the second -Abraham Skulsky here material to offer secondary school figured bass. From the latter the soloist and third together. Apparently Brahms lection is best taken in small doses. itself, for here is festal, joyous, healthy, students beyond the usual diet of here, Lawrence Moe, has made his own sketched a scherzo, which was after Verdi: "" There is some lack of definition as-to unproblematic music, performed III Beethoven's 5th and Schubert's Unfin- "realizatiop,". besides supplying the ward rejected. Had he retained it the After the opening of "La Traviata" whether one is dealing with "early" or vigorous and solid fashion. Other works ished. Cranted high school students may gaps left for the organist ~ originally resulting four movements would have at Venice Verdi wrote to a friend, "primitive" or simply "exotic" instru- included on these discs are the two feel somewhat at a loss with this early Handel-and marked organa ad libi- formed a more balanced structure. "Yesterday 'Traviata' ~ fiasco. Is the ments, and Dr. Sachs is not very explicit Fantasies in F minor (K. 594 and 608) music; but it cannot do them any harm tum. The scores employ a baroque There are now seventeen recordings fault mine, or the singers'Y Time will in his notes as to the stages of culture and the Andante with Variations (K. to introduce them to it-and it might orchestra of strings plus oboes. with of this music, just as there are seven- show." Time has shown. It was inevit- that are represented. It is obvious that 616) originally written for an organ in do some good. Certainly this is the kind bassoon added in Opus 7, No. 1~ teen cadenzas. The cadenza played by able that the first audience should guf- these vary greatly. The last few ex- a musical clock (!); the Fugue in G. of music high school students preparing The recording was made at Kresge Francescatti is that of Joachim, to faw at the spectacle of a Violetta rav- amples, devoted to ensembles of various Minor (K. 375) and Prelude and Fugue to enter college ought to have some ac- Auditorium and M.LT. Chapel of the whom the score is dedicated. It is no aged by consumption while weighing a kinds, certainly do not seem to belong in C minor (K. 546) originally pub- quaintance with even if only the faint- Institute of Technology doubt a labor of love, or more ac- comfortable 170. The opera even more to a collection of "earliest" musical in- lished as piano duets; the Adagio (K. est so that when they sit in a liberal at Cambridge. These interesting struc- curately a case of love's labor lost. The than the play ("La Dame aux Came- struments. But the collection is valuable 356) originally (Continued on Page 48) 18 etude-cpril 1957 etude-cpril 1957 19 1 Drama in Song A discussion of the importance of clear enunciation 0'11: the part of singers 11~ by Gladys Bemus

HY IS IT that Schubert, Schumann, Wolf and the very great, but actually anyone with a fair dramatic and musical talent and a willingness to work and develop an W other great song writers are not more widely known and enjoyed? Why cannot the great vocal artists of today, even scale, can be taught how to interpret a variety of moods. But why go to the trouble of interpreting a variety when singing to the masses on the air, sing music com- Ralph E, Rush conducting the Symphony Orchestra of Western Slate College Summer Music Comp, 1956 parable to that which is broadcast by the symphon,Y of moods if the words are sung in a foreign language? orchestras, pianists and violinists, who play the world s Remember the musical phrase is molded so as to project greatest -music and who are accepted with enthusiasm and enhance the beauty of the text. The atmosphere of A glimpse of the inner workings of one of the- largest summer by even those who know little about music? the entire song is conceived so as to express;a specific Usually, when broadcasting, opera singers open with idea. How much then of the real art of singing is under- music camps is gained from these day to day entries a familiar aria, then after that one big number, they jump stood or assimilated when all of these changing moods and quickly into a folk song, or even a modern popular tune, voice colors are linked with unintelligible sounds? or banal ballad; the last type proving to be very disastrous As you sit comfortably at a concert listening to songs from the Music Camp Office for the true artist who finds even popular music has its sung in a language wholly foreign to you and the main • • • body of the audience, ask yourself, "What am I getting own distinct style and idiom, which the cultured singer by Kathryn Hawkins seldom understands or desires to develop. out of this as an idea?" It is true that the color of the In further considering the question of the art song, we voice and expression of the face will show you something (The author is the wife of Dr. Robert Hawkins, director of the just in by special delivery (a last-minute thought about a think of many friends who are not musicians, but who of the overall idea, but otherwise there are only unfamiliar Western State College Summer Music Camp, Gunnison, Colorado. number just right for his groupl}, the two go off together -Editor, Music in the Schools) are avid record collectors, and who have a vast library of sounds that convey nothing as to the wedding of tone as the director says "Now, about my folders, here is the the finest symphonic and piano music, but who strangely and word throughout the phrase. way I usuallr do it. " have almost nothing in vocal records. If a poll could be The reason so many people enjoy singers of popular Thursday, August 2 music is not only because of their ability to dramatize taken among "music lovers, it is likely that there would HECK-manuscript paper, thumb tacks, paper clips, Saturday, August 4 their songs but because we can understand this wedding be the same story, namely, that instrumental records far C double sockets and extension cords (be surel ] , large Weather is fine. Tq,e rainy time at first of the week of the two arts, drama and music, since they are sung in exceed voice records. envelopes, scissors, duplicating paper, string, aspirin, seems to be over. Warm today, but down to freezing or our own language. Bring to mind some of the key words In Chicago, for example, there have been several sym- crayons (for quick signs), mailing labels, Chamber of thereabouts last night. Campus looks beautiful. often used in popular songs, such as Moon, June, You, phonic concert series, winter and summer, and for many Commerce material on the mountain drives and scenes Our camp sign painter is turning them out: "A to M and the way the tone is blended right into the words years an all-piano series, but a few years ago when a of Gunnison County, plenty of ash trays and coffee- Register Here," "Orchestra Auditions, 10:30-2:00, 119 to express the melting sentiment of those words. voice series was started, it limped along feebly for several making materials. CH" and so on. We need about thirty signs, plus the ones years, then finally succumbed for lack of interest. All of This question is an important one and it is to be hoped Now to relax until Saturday evening when the campers still usable from last year. which. brings us to the inevitable conclusion that great that more and more songs in this country will be sung in start coming in and~"Well, hello, young man ... From School bus just came on-campus with "Camp or bust!" vocal music is less popular than great instrumental music. our native language just as the songs and operas in other Ohio, you say, and wanted to be sure to get to camp on on the back. They won't have to worry about exploding Let us see if we can find the reason for this. countries are sung in their national tongue. Art must be time ... Yes, the mountains are rugged here Now, now. The point of greatest importance, the point that is natural and understandable to really be enjoyed and to if you will go to the Housing Director's Office " Staff meeting went well. Only one member was delayed, fundamental, basic, in all good singing, is so generally be a part of everyday life. This undoubtedly would wield and this because of a grounded plane. ov~rlooked today that the art song has lost much .of its a tremendous influence in filling our concert halls with Friday, August 3 !l:00 Chilly girl from Utah just came into office. She vitality and power. That fundamental point is the word, people who perhaps would find themselves going to the Maintenance crew is busy. Truckloads of beds being went over all the packages and finally decided that she the text. box office spontaneously and freely without being solicited distributed over the campus. had arrived here ahead of her bedding. We gave her an Let us consider for a moment the composer who finds to subscribe to concert series. Strange to say, however, Streets to be used for marching bands were just washed army blanket. a poem that he thinks will lend itself to a musical setting. even though we admit that the art of singing consists in down by Fire Department. He starts his work by building and molding each musical the expressing of a poetic idea through the medium of The piano tuner checks his list and hurries to another Sunday, August 5 phrase according to the nature of the literary phrase, so music, most singers today sing in languages wholly non- building. This is it! This is the rea] beginning-the biggest, that the rhythm accent of the music blends into oneness understandable to the vast public. This, it seems to us, We are glad to see our carnp faculty, as they check in, busiest day of camp. At 5:30 a.m. a sort of vibration with the text, thereby enhancing the spirit and beauty of is the definite reason that great vocal music is not as and we all pitch in to help them in any way we can. This begins-showers turn on, horns warm up for auditions, the word. Thus we see that the poem is of prime impor- popular as great instrumental music. may mean supplying the name of a good baby-sitter or kids head for the cafeteria. tance; that it is the poem that inspires and suggests the Let us look into this for a moment. The art song was giving the location of the nearest barber shop (for those The bulk of the campers arrive this morning. College music, and this proves the word to be basic. first developed by Schubert, which development depended men who have taken the long way here and camped station-wagons bring back capacity loads from airport We then see that the singing tone must be colored to entirely upon the dramatic content of the text. If that along that way). The ones who will need an assistant and bus station. Chartered buses pull in and park midway express the atmosphere of the word, and that each song dramatic content is not understood, how is it possibleto during camp are introduced to the young college student between boys and girls dormitories. We learn that an has a distinct characterization and should be approached understand the reason for the singer's interpretation? If or music instructor selected for him, as indicated on the Oklahoma bus has stalled just down from Monarch Pass, with that in mind. she declaims here, whispers there, spins out a beautiful faculty bulletin previously sent. After locating boxes of and the college bus goes out to unload it. Perhaps many reading this article are aware of this pianissimo at another place, we may enjoy the sheer music mailed to the camp, as well as the large envelope All over the carnpus-e-parents (Continued on Page 58) idea of drama in song, but how often do we find it prac- beauty of changing tone colors, but with absolutely no ticed among singers? Generally, it is only among the intelligent knowledge of the (Continued on Page 41)) etude-april 1957 21

20 etude-april 1957 1 RADIO-TV Henry Cowell by ALBERT 1. ELIAS

T IS ALWAYS interesting to hear what a composer has to say about musician and citizen .... PART III I another composer's work, or music in general. Recently, the popular songwriter Richard Rodgers has had the "Voice of Firestone" salute him Richard with a program of his music, has been represented by his score for the television spectacular "Cinderella," and has himself made a personal TISS FREQUENT and perhaps years previous. As a child in Okla- Since the ability to read music was appearance on "Conversation"-the radio program dedicated to "the somewhat more assimilated, but homa, Henry Cowell had participated rare among the congregations, around art of good talk." Indeed, whether it is over the air or in a personal in congregational singing of this kind 1800 methods were devised for giving interview, this musician has a good deal to say to the public-at- large Rodgers undeniably present in Cowell's style is the influence of Oriental musical and knew the old hymn compilations each note a different shape to indicate that is perceptive and pertinent. systems. His interest in non- Western such as the once-famous "Southern its pitch. From that time until the For one thing, this topflight composer of what might be called classical music has continu~d unabated since Harmony," published in 1835 by present the published volunfes of this popular music makes it thoroughly clear how he feels about rock 'n' his first childhood contact, and for "Singin' Billy" Walker. kind of American sacred choral mu- roll. Almost two years ago a number called Rock Around the Clock was several years he studied Asiatic mu- This type of music, variously known sic were printed displaying square, probably being heard on more radios, juke boxes, and home phonographs on sic assiduously. "If you understand as Sacred Harp Song, shape note mu- triangular and diamond- shaped as than any other record issued during that year. It was followed, moreover, the classical ingredients of Oriental sic, fasola singing, and white spirit- well as the usual round heads. by other tunes of the same nature, seemingly transforming the musical music you can include them in your uals, originated in Colonial New Eng- As this body of song was written habits of a good part of the nation. Now, as Rodgers listened to that same own." Exotic titles, such as his The land where early in the eighteenth for the most part by men who in the piece being played on the phonograph nearby, it was obvious thathe had Snows oj Fujiyama, are fare among century the "first American collections first place were not from the most meant what he said when he declared he would "love to hear" it again. his works in comparison with those of sacred songs were compiled and elegant strata of society, and in the It is rock and roll's beat, Richard Rodgers maintains, that is "back of pieces to which he has given names published. From abont 1770 the prac- second place had a musical training the entire craze" for the music. Rock and roll's melodic and structural . drawn from Celtic folklore; and if tice of part singing was spread by that was anything but thorough, their origins, as authorities have pointed out, spring directly from the Blues, OTIeis not on the lookout for an Orien- rudimentary singing schools which observation of traditional rules was while its ever-present, heavy, insistent beat is indebted to Gospel Music. tal derivation at the time this occurs were established by travelling teach- apt to be lax by the then conternpo- What's more, the composer does not "see anything the matter" with in his music, it may at times pass by ers, or by citizens of the community rary European standards. On exam- rock and rolL There is no reason, he says, why it "shouldn't have a unnoticed, especially when presented with some elementary musical train- ining the American product one finds beat, and there's no reason why the beat shouldn't be persistent." It has in combination with highly contrasted ing and a zeal for congregational that phrase lengths are likely to be "been true ever since there's been music," he says, "that a persistent elements. A rather characteristic ex- singing. Some of these early practi- irregular; parallel fifths and octaves beat has had an effect on people." ample is to be found in the slow tioners also enriched the then meagre are frequent; chords appear freely The thing about rock and roll that has been most responsible for movement of Symphony No.4, where literature with their own composi- in the six - four inversion; parallel winning fans for it, according to Rodgers, is its very name. "I think it as an accompaniment to a melody tions. The most famous (but not the fourths occur without intervening has brought attention" to this new kind of music. Whether this music, suggestive of a ballad from the south- first of the early American composers, thirds; modal and pentatonic melo- like jazz, will become a permanent part of the American Scene is, naturally, er:q. states, the flutes playa figure one as he is often described) was William dies are common; and the melody is "too early" to tell at this point. "So far it's a persistent beat, as l've said might expect to find in the gamelon Billings, who made his livelihood as in the tenor rather than the soprano before, and that's about all." music of Java or Bali, while the a tanner. One of Billings' main con- voice. And the nasal, unpolished style Often, people .ask the composer of such ballads as Some Enchanted strings furnish a polychordal back- cerns was to make his music livelier of performance in which the congre- Evening, Where or When, and Lover whether or not he is disturbed when ground. and more polyphonic than had been gations were reputed to render these he hears rock and roll arrangements of some of his old songs. He answers customary in American religious songs was well matched to the rough- them simply: "1£ it were possible to make song stylists and arrangers Ex.5 songs up to his time, and largely be- hewn, jagged-edged style of cornpo- stick to the original, we would be off the air, and we wouldn't be selling Fl~";J!.. J!. .l!.. t.. J!...... ,- cause of his efforts the "fuguing tune" eition. anything inside of six months." A waltz or an especially romantic song he has written is every so often became an accepted part of American Beginning around 1820, with the subject to rock and roll treatment. But this does not offend the man who Ohoe sacred music (see Example 6). In the growth of American cities and the has been composing musical shows ever since he provided music for the preface to his "Continental Harmony" importation of European musical cul- ~ "Garrick Gaieties" when he was twenty-three. The "only thing," as he 8 ...... :;;;, , (, 1794) he claims that fugu- ture, the home grown product was puts it, that would hurt him "would be to have my stuff not played and ing tunes are "more than twenty driven ever further west. The intro- not sold." When a song of his is new, it is only natural that he should r times as powerful as the old slow duction of Europe's more refined reo want people to hear it "at least once the way I intended it to be heard." l~.L.. tunes. Each part striving for mastery ligious music stifled any further na- But he feels that his music "would die of monotony without the arrange- F and victory. The audience entertained tive growth; the Americans became r ments" to which it frequently is treated. and delighted, their minds agitated conscious of a supposed musical in- As a matter of fact, Rodgers, who probably achieved the peak of his Since the early nineteen forties, the and extremely fluctuated, sometimes feriority, but were unable to find a career so far when he won the Pultizer Prize for his "South Pacific" most important regional influence in declaring for one part and sometimes congenial assimilation for the new score, hopes the rock and roll rage "lasts forever." Why? Because it is the music of Cowell has been the for another. Now the solemn bass de- foreign styles into the American reo "just great" for him. It makes him "sound better," he says, by sheer early American congregational song m~nds their attention; next the manly ligious music thus far developed, and comparison with the kind of music dominating the airwaves, and other which survives today only in the tenor; now the lofty alto; now the in consequence, congregational sing- forms of communication. "I think that this incessant hammering-to Southern uplands. Cowell first became volatile treble. ing of the old kind deteriorated. How' which I have no objection, in itself-this beat, beat, beat all the time interested in this music in 1942, as a "Now here, now there, now here ever, the earlier American sacred makes people turn back to Romberg, Kern, and Richard Rodgers for source for his own composition, but again! 0 ecstatic! Rush on, you sons songs had travelled west with the set- relief." Never, indeed, since he first had his music before the public thirty- he had been familiar with it for many of harmony!" tlers-into (Continued on Page 60) two years ago have the old familiar pieces of his (Continued on Page 62) 22 etude-april 1957 etude-april 1957 Grade 4 Grade 3~ Prelude THEODOR KIRCHNER The Hunt LEOPOLD MOZART edited by Alfred Mirovitch edited by AI/ted Mi'l'o'vitch- Molto moderato e precise 5 '< - ,. Allegro non troppo (J - 60 72) ,. 3 4 c- 3 '< '< ,. e 1 ~ '* 1. '*1. 5:0- 1. 1. 2 1" '< 5 ,. 5 ~ ,. 1 -, 1 • ~ 5 5 '< 5 1 3 ~ "1 1 . · . · . . . . --; . I · · ~ "!' ~. 1 1 ~ ! -4! ~ ~ ! ~ r .. ~ 1 ~ .... ,W'~. ~~~ n~ ~. - ~ 1Tif I.H. w- .;. P"" r'I ;,. r'I ~ r / ~ • • • : . ~. l' • V~' ": r " • ~ • 5... • 1 " - - I I I I I I senza Ped: :0- 5 5 ,. :0- :0- 3 ., 3 ,. 5 5 5r 5 5 2 ,. 5 ~ 2 3 ,. J ;.-::0 - 2 • ~ ..I. :::I ,.. 3------. ,. 5 · . ~ J .~. 5 · · · ---. . : ~ ....· 'J I~·I•• " " 11' ~ ~ Iltl ~ rw dim, ~ I.H. P ~ ---" ! ~!~! ~! 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if 2 \ P~_2 ,. 5 2 1 ,. ... t: 3 2 2 2\" 3_~ 17 ,_ ~2 · : \...... l..' 1 • "- 3" 3 :""2 : · . : . . " 1 S -. 't 4! · 5 • "----. ~ ~.~ ~ P lTla sempre marcato --- ~ p cresco ~ " '-=' •• .' •• •• • ... j,. ~ • iii •• • ...... ~ ~ · ... . '!' ~ · ~~ f~/ J'r' '" ,. ,. f, ~;--.a f.~ " . . · 4 4 2 2~ 2 1 3 2 2 3 4 _ ~ 3 2 rli 2 1 '!'. 4f'~ "'- ..___..' '< 8 1 J1 1 V"'V 2 1"'-~ 1 ~ 3 " 3 2 . . . ~. :0- :0- · · ~ ~ , ii a· ;. ~. · - .. .~~...... ~ l' -lI 11 ... "! 11 ! I · · •• · · ••. . • 11 ~ ! . - , . ~ r ~~! · · · . f' { ~ i • i'\ - • • if ~ • " • • . .. t: P_r · · • I ~ I • • l-.J I r I I - l-.J '------J I I .. 'I. ' 't 3 'Ii from ('Command of The Keyboard,J' Vol. III, compiled and edited by Alfred Mirovitch from «Command of The Keyboard;' Vol. III, compiled and edited by Alfred Mirovitch © Copyright 1956 by Theodore Presser Co. International Copyright secured © Copyright H'I56by Theodore Presser Co. International Copyright secured ETUDE-APRIL 1.957 2S ~4 ETUDE·APRIL1957 Dance Piece This gay, lilting music is of special rhythmic interest. Particularly noteworthy is the interweaving of % and % measures at the beginning. These ~8 measures ~ ~ I , .... ~ ~ - are really a shortened %. At measure rID, however, a true o/s rhythm begins which is continually interrupted by measures in % time. . t:::I::I:::j At measure @ID the % bar leads back to the re_entrance of the first theme. It: 100-'1 p ----- An engaging bi.tona.lity takes place at measure ~. Here the A. in the right hand (~ (q)e ~ I :> .. J. le~ ~t------,~ le~~ ~ actually sounds as a GI In '0' cho rd of E "?": I~:; , I t =i I r, (,~ q-:;::'!.,. . r But the right hand continues as if it were written in F minor, as indeed it is two measures later. I I I : . NIKOLAI LOPATNIKOFF l : .... I I----V. :> -r. Edited by Isadore Freed ------:> ' (q~~ • '<. Allegro grazioso () "180) e~ ~~------t>t . ~. --: fl I ~ x---. - ~ -:..--#f ' ~:..-. '*!- ' ~":' ~ ~ '----'*!- ' ~:..-' ~ PIANO p - -.

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© Copyright 1956by Theodore Presser Co. InternationaJ Copyright secured ETUDE-APRIL 1.957 ETUDE-APRIL 1957 :27 :26 .. �

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- 8 ------o 0.; :> ::>:, ",;:, ...... --.: • 1. • , . . ,., I , ~. . • I ~ . ~ I ' ... ., . ... ~ .. .. . • • • • .. .. - . If .... >:--' ~ I I' .....1 f.- - mf - p --- - .PP >- - >..--,-. ..;, jL L - >--r--. :>---r--. ..;, l . . • t- > ~--.. ~ .-. > .. J fi • · . . , . If 'i I r. r i. -- - - - ETUDE- APRIL 1957 29 28 ETUDE-APRIL 1,957 rc l~------I , , I Adagio Adagio from"Sonata No.1" frornBonata No.1" Secondo MUZIO CLEMENTI Primo edited b!1IJouglas Townsend MUZIO CLEMENTI edited by IJouglas Townsend Adagio [ '76] • • ~ .. .. 11*------". T' I' p _. .' ...... p : • , .' p 4 ~

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f'rom "Pilana Due t S 0f the Classical_ Period" Compiled and Edited by Douglas Townsend 43o ~ 41016 -112 . ht secuTfld © Copyright H156by Theodore Presser Co. International Copyng 957 ETUDE -APRIL j. 30 ET UDE-APRIL 1957 31 .. - --~===-

Introducing the first of a new series of rich-sounding, full-bodied, clean-cut arra-:agemenh by Allan Smoll of the A T LAST! popular classics that require a minimum of technique but still possess "recital" quality, They sound more difficult than >,i s» a ; ~ ~~ll> they actually are. Excellent for teaching purposes. They are NOT SOLD IN STORES. Write to Claire Music Co., 4331 IthacQ Street, Elmhurst 3 , , ,;,.. JI_ ...... ~ > ~~ ... II. 1'= !:' III- ,;,.."" ~ 73, New York enclosing only 30¢ per copy-.4 for $1.00. Free catalogue included. "~ it-

:~ '-"-J 1-:1 I • • ~i - .;. -: :i1 ~IJ 1. J. • 1 ~ ~---l~ ~~;t- Arrantred by .Allan Smutl Maestoso CHOPIN POLONAISE (Op.53 ) 4 . I. .. > >- >- > > b'ii . :'ii 'ii >- 8va : - . I I i I I I I I I LI__ >- >- >- 8va - •.•..•...... •...... >- >- >- >-- f}~ >-- >- .:> - - - - '- .-;> " . ,. It. iHI. ;.. Ii.. .. ~- - - ~ '11 .. • .. 1I ... >- >- -II • { -->- oi'. >- [i • ... .. i • >- .. ~~~.\ '''"I r i t ar d, a tempo I jf - ~"3.~--~"'b .. ;.. ,;,.. ,;,.. .;. :; - - - ,>- ~ :: .... :: y ::: I -..,;- .. 11. 2 'ii 11 2 ~ r L- ~"______A A A A ~ >- 11 ..... ~ • ~ ~ 8·>·······························;>·········:;:········· :;: - - . -.J Ii. -- :i . , > >- ~ ~ I , LO> , I . A " " . 8V a.•..~•.•...••.•.. _...•...... •••..•• ! . " :> > >- >- , -. >... .. J" ~.. - • -5 , >- >- >- >- > :;:- >- :;:- >- >- >- • ... - - If" ... - :: :: ::: i .. :! ~.= "'=.. >- > 1I 1I '11 :; --:.._~ ....n__~.>m ..d->- ..n--mn---on:n...n--h...n.....~.mmn ..~ ...... :.~..-..-...-../I.••-••-••-••>-..-..~...I\.•.-•.-.._.•._.•-..-••-.•.-•.-..-....1';, ~--1'~_ >-,....- ==11 f}~ > - ~f L ~ - , -- A I 8Da ..•• - .•.. s: _ ...... •...... •...... •••••...... •.... __ ..... _ ...... ••...... 8 ....- >: >- L>- =t >- >- >-. =t >-- • :;; "":. ~" >- ~ > >- > >- - I , I .... ~. - • • 'S' ...... :: • 'I '"' >- r.' ~. 2 ~= -r ~ 2 :;< -<> ii' L- ~~~ __ _JA\.._~A\.. ~A'- A~ -' > > >- >- >- >- >- ~ ~ 2~ .r'21 .>------=--- _ 2 2 , It. 3 ll.' .. f} ~ "'2 ' - 3 r-i r-= ~ ~ , --. I- - .. :: 'ii :! :;i. .. ~ :;;. WIU i: t = "iI ~ >- I• I' 1.-1 1.-1 .... -" , , :::: ~ • .. A A I I c..,y~ - --= --= -.J\ ,... J, CODA 8 . • I. • I ~ I t I I . lJ. S. at .. ""'1"1 A . • • I' ...... ----..- ~~J.L .J.. " go back to the) I. I. I I 3 I. s igD % and play .- I A , , , , , until the coda A A • 11n. on sign" then molto rit. >- '8 2' 5 S-.--Z :>- >- sf... f}~ 3 8 2' > 4 ~ 'a , - ~ ~ ... 'A ::::-.. C".•. 00 , I ------=--- ~-- ~ I ....: L.LJ := j: ~ 'ii I ! J. 1. h_. k_ .;. I rnl~ ~. • • 5:: • ~ A I . A ~9.-J ~ 4 .. The flTst and last notes of the glissando are only approximate- 5 t...... :: 1 the sweeping effect is the main thing. '1 , 5 Chopin Polonaise (Op. 53) - 2 A A . I, I I I , A I Advertisement Copyright 1952 by Claire Music Company etude-april 1957 33 32 etude-april 1957 The Swan 2 Il" ======IlIIIIlll=l Ill.. ':1l;Il 'i..-' "'_ - 2 -- Sw. Soft String ~ (10) 00 4822 221 t: - ...... I Gt, Flute 8' & Dulciana' (10) 00 ~ Iw----. .. ~ @ S5U SOO ~..-=-- p' ~ Ped. Gedeckt 16' CAMILLE SAINT-SARNS Andante cantabile arraneed b,lj WilUam Felton Ilu ~

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from "At the Console" compiled and ·arranged by Wm. Felton Copyright 1910 by Theodore Presser Co. ETUDE·APRfL 1957 35 34 ETUDE-APRIL 1957 4 2 2...... !!!!!I!!!!!I!!! ~~ =1IIIII=l !I~ ~ ~~ =~ flU - - - "II , -- ~ ... :

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36 ETUDE -APRIL 1m 37 ETUDE- APRIL 1.957 I'm Sad and I'm Lonely Prelude FREDERIC CHOPIN Grade 2 arranged byll£ischa Portno!! Grade 2 Andantino 5 Mountain Tune arr. by Blie Siegmeister ,., 2 ~ 4 2 1 Tenderly /'3 4 1 ) . ~.u. - . n ~ v- .~ ~ f i .. ---- < pdolce I - (,;I . /" Plht sad and I'm lone - ly, my heart it will 1 -> ~ ~ ~ ~; 1 1 ~ 5 2 5 • 5 • I 15 2 - I 3 Il 4 2 1 3 1 2 1 1 2 4 2 3 5 --.--..- 3 ~ .u. ~ ~51 41 2 1 4.... ~ / • C;; • ~"---' tj... • ...... --- • • ~ ...... • J ----- 1 ! !: 1 ,i~ .. .. n t- r . ~ · < break; My sweet-heart loves an - oth- er, why can be 2 5 1 ~ 1 »: n 7e 3 3 5 «:». • \ , 1 , 15 '4 ! , 3 2 , ,., 2 1 5 ~ 1 ~ 4 1 ~ 4, ------2 ~ .u. 1 ~ . . / ". ----- / t t ~ ------.. eJ~~/ (;oj ~: -. I · < true? My cheeks once were red as the bud on the 1 1 5 1 ./ ;;;; ~3 2 ~ 5 ./ n ~ ~ 5 • I •

• I I , 4 5 5 5 ~ r--. 2 1 2 2 3 1 2 1 2 1 5 4 51 4 8 r:"I . :E:::::J: ~ .u. ~ --- 1 3, , ~1 1 1 t!- <; ~ .~ ." / • .. • ------• .. ~ ...., • /:01 · - f" 1 .. 1;. · < rose, But now they are whit- er than------the Ii-ly that grows. 1 I 2 3 1 -= ~ r:"I ... 4 4 5 2 i' I I ~" ~ ::.---:. • .. • • Frederic Chopin, Poland's greatest composer, was born in 1810 and died in 1 184,9.rnthelite.rature of the pi::no, for whi~h he wrote almost exclusively, I I ~ 1 2 1 2 4 ! 15 b 1 I hIScontnbuhon ISone of the greatest In the hIstory of piano music. 4 from "TuneramaP compiled and arranged by :Mischa Portnoff from ((Folk.'''ays U. S. A." arranged by Elie S iegmeister © Copyright 1956 by Theodore Presser Co. © Copyright 1055 by Theodore Presser Co. International Copyright secured 39 38 ETUDE-APRIL [.957 ETUDE· A PRIL 1957

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it in the tonic key, he cannot repeatil PLAYING WITH ORCHESTRA exactly but must reshape it to fit the which will permit It. All these changes cognizant of the fact that much improve. said in an interview that slfe found sing- keyboard. Thus, he often chops offwith of color can be produced on the same ment is needed in this direction but with ing in this country different because of (Continued from Page 11) three F's, let u.s say, a figure whichorig. basic tone foundation without harm to the proper interest there will come the the languages she had to master, where. ina lly shaped Itself around F, G, andA. the voice. demand for better translations which as in Italy, she had sung only, in Italian,, In the later works, when the piano had impossible, however, to master this learn 'how to interpret' a work; coach- How can a singer expect to sustain demand can readily be supplied. Is it American singers performing in Euro- been enlarged. Beethoven was freed of movement by practicing it alone. The inz should be a matter of finding out an interest throughout a program or not very plausible that this action would pean countries have always been ex- music is enormously tricky rhythmical- how to get the exact effects you hear in the need to chop off his figures, and even a group of songs with one color of increase the attendance at our concerts? pected to sing and sing .~ell in their ly; and all sorts of lovely figures occur your mind and want to produce. Even developed his piano themes to suit his voice? No changing mood-no variety We hear so much about building a national tongue. Why cannot we make which seem to set out as repetitions of the printed indications should be temp- tastes, exactly as he did for the arches. of style? And let us remember that the greater love of music in this country the same demand not only on foreign: a theme but go on as something quite ered with original thought, always, of u-a. In the Hammerklavier Sonata. purpose of these differing tone colors but how can a greater love of singing be singers but our own as well. We know; different. It is frighteningly easy to course. within the bounds of good taste themes are completed in the recapitula. is to express the meaning and power of built on an. artificial basis of foreign that if we hear ":' in Sweden) take wrong turnings in the road here, and sound sense of musical style. Well, tion as well as in the first statement the word with subtle finished artistry. languages? Song springs from the we hear it in Swedish; if we hear Wag.! coming in a split second off beat, and then, I began concerto study with the (By way of a parenthesis. the same SOrt If the text is unintelligible to the Iis- hearts and lives of the people and for ner in Italy, we hear an Italian Wagner, getting lost in bars that don't do what "Emperor" and was soon given works of thing is to be noted in small music. tener, how much of the true art of the s.ong to live it must be understood and and so on. Our singers spend so much you expect them to do. This movement by Mozart, Bach, Haydn, and the Sec- boxes. where the comb has only ten performance is he getting? to be understood, it must be expressed time and effort learning other languages is a fine practice test. Work at it slowly, and Concerto by Rachmaninoff because teeth, which playa wide tune like The Why do we not have our art songs in our national tongue. that our own is usually neglected. Per~ and don't attempt to work at it alone I loved it so much. I learned much from Star Spangled Banner, and either have translated into good English? We are Chloe Elmo, Italian mezzo soprano. (Continued on Page 49) -learn it with a second piano, so that careful grounding in the works them- to stop it short. or make it move down everything belongs to everything else, selves. Within a comparatively short instead of up for no more musical rea. smoothly and cleanly. span of time, I got the feeling of very son than lack of room.] Now, the thing I, i Learning concertos differs from solo different characteristics. From Mozart is. does one have a right 10 play what playing in the matter of finger tech-- and Beethoven. I learned ensemble bal- Beet hoven showed he wanted and nique. When" you play with an ensemble. ance. From Rachmaninoff I learned how couldn't have; or must one play exactl- you must give more in order to be to feel my way into passages which rep- what he wrot . regardless of what h~ l' t1J? 7- Learn More ••• Earn More heard, and in order to make the musical resent an' altogether different kind of really wanted? This. 1 know. is a ....exed values of your part stand out. Finger ensemble playing since orchestra and point. and an enormously important one. work, therefore, must be sharper, crisp. piano take their separate ways. Raoh- But T don', hesitate to take my stand ~~hru HOMESTUDYin Spare Time er. This does not mean playing louder. maninoff is rather like a Puccini for on Beethoven's side-let him have the or taking liberties with accents! It does fingers-he provides solid meat for the sounds he wanted. even if his own piano mean working for greater depth of tone. piano and equally solid meat for the could not give them to him! Thinking .. exerting more pressure on the keys. orchestra; and while it isn't at all the of things like thi" helps you to achieve making the instrument sing at. all times. same meat, there is always something deeper insight into the playing of co» Your music can open the door to bigger opportunities •• if you and never, never striking it percussively. lush, something rich, something to get certos. THE END continue to train. Decide now to better your skills and broaden There is also the problem of the one's teeth into. your musical knowledge. Competition is keen, even in the smallest communities. Prefare to meet it anywhere; and take advantage of DIPLOMA auditorium to be considered. Whether In playing the concertos of Bach and all the wonderfu opportunities that are open in all branches of YQU play in your teacher's studio, a Mozart, I do not object to a judicious :our profession . DRAMA IN SONG or Bachelor's Degree school, or a theatre. each hall has its bit of filling in. In a two-part work. for '. ;. :. \i'- Opportunities and Better Income own acoustical individualities. which instance, where there is only bass and Become affiliated with a school that has earned the i Conumced from Pa e 20) New forms of entertainment, TV for example, require entirely U-' recommendation of thousands of successful teachers should be tested out in advance. Never melody. a passage may end on a sinale new musical techniques, . , but well-paid, "Big Time" positions t:. . and professional musicians for over SO years. We are try to play with orchestra in a hall that note; if I feel that the effect is heisrht- ); _: are available to those trained for this highly specialized field. basic reason for it. fy the only school giving instruction in music by the is entirely unfamiliar t.o you; find out ened by changing that note to a chord. Interesting positions are open in schools and colleges everywhere. Home-Study Method, which includes in itstcurriculum Consider for a moment tile folk song all the courses necessary to obtain the' Degree of what you are dealing with so that you in the same harmonic framework. I see Again, specialization is necessary. Qualify yourself for teaching by where perhaps the entire life story of enrolling in our Advanced Study Courses. DOUBLE BENEFITS: Bachelor of Music. may adjust to it. The same holds true no harm in playing such a chord. :'_.iJ'_,:,,You improve your own performance, and you leam.jhe latest im- an individual is told thoughout the many when you play out of doors and must Indeed. I feel that Bach and Mozart proved methods to stimulate interest of your students. Turn Spare Time into Profitable Studyl verses. Exciting and thrilling events are cope with competition from crickets. would have done it, had they had pianos Schedules of busy musicians and teachers seldom related with the same undeveloped lit- outdoor noises. traffic horns-try to get like ours to work on. Effects of this ~,~" Start NOW toward Greater Success permit a return to formal cl.asses, but they fan advance tie tune repeating itself over and om rapidly through Extension Courses. The~ need not a mental picture of what's in store and nature, of course, must be used with ~.-. --_~ Get the training every musician wants. . to advance further again from beginning to end. Primiti'·e and ger it the modern, convenient Home Study way. Know the interfere in any way with regular work. T;he progreso make necessary adjustments. good taste, and never overdone. sive musician, bus); as he may be, realiz~ the value and simple. we can well understand whr advanced, up-ta-date techniques of today's music leaders. Courses When playing with orchestra. don't include: of further study and finds the time for it, proceeding This brings up the question of in. the development of the art song was whenever spare moments are available. rush. It is interesting to observe that troducing other ideas of one's o~n into necessary. The artistic interweaving of HARMONY:_Wriuen by twO of the HlsrOlty,-A modun COlU$f:Including many excellent pianists who never rush CHECK COURSE THAT INTERESTS YOU and mail/coupon for established scores. Is this musically all types 01 music Irom ancient origin. tone and word. the wedding and welding fi;t~~~~e~~"~llni~~'; ~:~~;.,~i~f~to 20lh Century. Intere.tina-with e.. · .~mple le§SOnand booklet •.. without any ol)ligation. a passage when they play alone. tend 'undamentals right thro~ to Counter- valid. or is it a liberty? I feel that the ph .. is on the anal)'$i$ of music-not I , of musical and literar)' phrases bring point and Orchestral;on. almost. unconsciously to increase 'speed right kind of originality may be help- dull collection of lactt. about the development phrase upon ADVANCED COMPOSIfION:-De~ned •••••••••••••••••••••••••••••••••••••••• when they feel an orchestra back of ful. again provided that it is done with ARRANGINO:-AII the tnck. of modern UJUVERSITY EXTEl'lSiOK CONSERVATORY. D.pt. A.876 phrase. the music matching the poem. ~?::\iV;o~~~n':Jse~~ ~:,:~~g~r~~ ananllinl drawn hom the uptriences 2000 8o"th Mklt19CID lid .. Chka90 le. lWDob them. I don't know just why this should good taste and does not violate the of Composition. of the biggest "name" alfanaen in llle word blending with tone_ the two Aow· counuy. Please send me catalog, swnple lessons :lJld full Infofma· be so. but it is; and the best advice is sense of the music. For instance. do you lion regarding COUrlle I have marked with an X below. ing on hand in hane!. until the top·mosl r.,~lt~~e~Ao~~~-;!:~i~lren~~~:t~ to be aware and alert. and prevent its pl~y the Chromatic Fantasy alld Fugue and solves every problem of the prG' CHORAl CONIlUCTlNO:-Brand MW o Piano, Teaclter'. Nonnal Couue 0 Voke , happening to you. climax is reached. &rtslive teacher. course includes all the modem t«h· o Piano, Student" Coulle 0 Chorol Condllclin9 llsmg the extra octave which Bach didn't niquts-even broadcasting. o Pllblic School Mut.-Beginner', 0 Clarinet, ' This art perhaps reached its peak PUlllC SCHOOL MUSIC:~Fits you for The first concerto I studied was the aMual work ;n the 5I;:hool rOOm. Our VOICE,_lncludel all elunliall, luch as o Pllbllc School MUI.-5up&rvisor'. 0 DaDce BGnd Ananqin9 know about. simply because his instru. model lessons develop originality and Brealhing, Resonance, Vocalization, Advanced Composition 0 Violin with the German composers. Schubert. !live you an· u~llent guide for teach· o Beethoven "Emperor." I had heard it ment did not admit of it (although I Enunciation. Phralinl, Slyle, etc. o Ear Training & Sight Singing 0 Guitar Schumann. Brahm~. Wolf and Strauss. Ull othen. many times before I began to learn the feel sure he would have loved it). or do o Hiltory and Analysis 01 Mu.ic 0 Mandolln To sing these songs is to dramatize o Harmony 0 Saxophon. notes, and knew exactly what was going you follow on our piano exactly what o COlllel-Ttumpet 0 Doubl. Oounlerpoint them. and to dramatize them means Prolenional Collle!-Trumpet 0 Bonjo ' on, in the orchestra as well as on the Bach wrote for his? Again. in his early o bringing- all the forces of interpretation Name " IAQ'e _ keyboard. I studied recordings of the sonatas. Beethoven worked on a limited together. co·ordinating them into one . . i work, for purposes of structure rather keyboard. Indeed, by studying the mo. University Extension Streel No.~ ----'-'----__ ..;,._ superb whole. Subtle nuances. quick than of interpretation. It is helpful to tion of sections of these works. one can Cily -SS'lal~ _ hear records, but fatal to copy them. changes. bright. dark. shrill. e...·en tell that Beethoven felt himself limited. Are you leaching now? -if 10, how many P\lpfls have Each interpretation must grow out of breathy tones may be used to produce In these earlier worKs, he often states ~ \~ CONSERVATORY you? Do you hold a Teacher'. Cenilicale?_._ the desired effect. Tilis is possrble for original thinking and feeling. I don't a full ~heme in the dominant key; but , . the serious student once he has built a Have you sludied Harmony? Would you itk. to eom agree with the idea of taking lessons to when. m the recapitulation. he restates technical structure and foundation the Degree 01 Bachelor of Mulllc? .:-. _ 40 etude-april 1957 etude-april 1957 41 c f VIOLINIST'S FORUM Romance from Concerto forum In• D Minor, Wieniawski A Master Lesson by HAROLD BERKLEY

NE OF THE GREATEST vioiin· The Romance from the D' minor The. high-C flat in meas. 5 should O ists of all time, Henri Wieniaw- Concerto, with which we are con- be taken with the 3rd finger and ski was born in Lublin, Poland, in cerned here, is essentially a song. The softly, the crescendo beginning on the 1835, the son of a physician who writer vividly remembers hearing F. It is the Eflat in 7 that is the heart early recognized his unusual talent. Kreisler play the Concerto in Car- of the phrase. This 'note needs to be At the age of eight he was taken to negie Hall, New York. He was sitting played with more intensity than has TEACHER'S ably lor one hand to hold lor the dura- ORGAN AND CHOIR Paris to study with Massart at the immediately behind two middle- aged been used up to the present. Meas. 9 ROUNDTABLE tion 01 other notes, then writing the QUESTIONS Conservatoire, where, when only ladies who were obviously appreciat- aud 10 call for quite simple playing, eleven, he won the coveted first prize ing every measure of the music. the crescendo to the B-flat being very same note on the same line or space Frederick Phillips Half- Maurice Dumesnil which is to be struck beior e the dura- for violin playing. This youthful sue- way through the Romance, one of slight. A different mood appears in tion 01 the first note is used up? An Paderewski's Minuet Q. Our church is contemplating the cess foretold the brilliant but all too them turned to the other and whis- meas. 11, a mood of greater excite: illustration this may be found in 01 changing 01 its pipe organ from pneu· short career that followed. After tour- pered, "Ob, what a beautiful song! It ment and intensity which grows to Q. Will you please tell me how the measure S9 of the "Gavotte" Op, 5, No. matic to electric action. Three organ ing throughout Europe for some ten No greater compliment could have the F in 12. The upper voice of the trills in the coda of the Minuet by 2 by Sapelnikoff. Thank you in advance builders have been contacted, and each years, he was appointed solo-violinist been paid to the music or to Kreisler's piano accompaniment is very impor- Paderewski ought to be played? / don't for your help. will install a low volrai{e electric action, to the Tsar of Russia, a post he held performance of it. tant from 8 to 12. It needs a singing seem to be able to get the right effect (Mrs.) N. C.-Iowa but each has a different deRree of for twelve years. Then in 1872 he A composition that can evoke so tone which, while net covering the out of them. Thank you. voltage, One would limit the voltageto A. When a large note is written, then embarked, with Anton Rubinstein, on sincere a response from an intelligent solo line, is of equal interest with it. (Mrs.) L. C.-Oklahoma 8, another to 12 and still another to 15. a note of smaller value is also written an extended tour of the United States. listener is certainly worth careful Subtle expression and phrasing is A. Some teachers write the trills What is recommended lor our organ, on the same line or space, it simply Returning to Europe in 1874 he was study. Let us examine it in detail and needed in meas. 12, 13, and 14. It down for their students, but this is not which would have 5 speaking stopsin comes from the fact that they belong to advisable because it becomes a "meas- the SweLL, 4 in. the Great, and 3 in the appointed as successor to Vieuxtemps discover what may be done to give it will be seen that the three high notes different parts. Were the music scored ured" way with a fixed number of Pedal, in addition to the cusfomary at the Brussels Conservatoire. But in eloquent expression. must all be treated differently: the F for orchestra, they would be played by notes and it doesn't take into account couplers? a few years he left this post and, al- When the Romance is played as a starts with a full tone and imme- two different instruments. But for the the ability of each one to trill. This V, R. M,-Mo, though in poor health, resumed his separate solo, and often when it is diately gets softer; the E-flat .ie taken piano the second note cannot possibly differs greatly from one student to travels. He died in in 1880. played as the second movement of the in the middle of a crescendo, which another. Some are born with a remark- be written on another staff. Therefore, A. The writer is informed by the In addition to being a brilliant vir- concerto, the pianist usually plays the continues almost to th~ end of the able natural facility, and their trill- it must be played. Philadelphia representative of one 01 tuoso, Wieniawski was a cultivated first measure twice before the soloist note; while the D is begun really without hardly any practice-is rapid the country's leading organ menufee begins. This makes a satisfactory in- softly and begins to crescendo at once. and brilliant. Others do not seem to be Urtext Edition musician and an excellent chamber- turers that 10 to 12 volts would be cer- able to overcome clumsiness. So, why music player. The interest his playing troduction and creates the mood for These effects must be intensely felt by rect, and is used by leading manu- should we treat everyone in the same Q. ·Do you suppose it would be pos- has for us today, however, lies in the what is to come. Imagine the violin the player, hut not exaggerated in facturers generally. manner? Consequently, I recommend sible to find the music 01 J. S. Bach in fact that he was the father of the melody accompanied by simple chords performance. The controlling agent Urtext? I would like to buy his "Well the following: modern method of bowing, the meth- -there would be nothing romantic is, of course, the bow: it comes tempered Clavichord:' also his organ Q. A re Bach Fugues appropriale for od popularized by the pupils of Leo- about it. It is the quietly agitato ac- towards the bridge on the crescendi works, but not il I can't get the original. preludes and postludes? Would the companiment with its rolling rhythms and relaxes towards the fingerboard Thank you lor any information you can "Fugue in E minor" from the Eighl pold Auer. A hundred years ago, the r give me. Little Preludes and Fugues be suitable standards of technique and taste in that sets the mood. on the diminuendi. The effect of the (Miss) B. V.,.-1ndiana lor a prelude, and at an accelerated violin playing were to a large extent When the violin enters, the tone passage can be beautiful, but it needs (Same fingering on each note tem.po lor a postlude? governed by those obtaining in Ger- must not be too soft. The indication careful and imaginative study. The and trill.) A. Yes, there is an Urtext edition and S. J. K.-CaJij. many. This explains why Wieniawski is piano, but it must be a vocal piano; crescendo which starts in 14 should Give your attention to the melodic it is published by the firm of Edwards was not acclaimed by the German mu- i.e., the tone must be round and sing- continue through the third beat of 15, notes and play them with discrete hut in Ann Arbor, Michigan. All of his A. Some care should be used in selee- sicians-his intensely subjective style ing. The crescendo should last only the diminuendo beginning on the first firm accent. In between, put as many music is in this catalogue, including of ing Bach compositions for preludes or and "unorthodox" technique were at until the beginning of the fourth beat, eighth of the fourth beat. The poco notes on the trill as possible, watching course the two works you mention. For postludes. The "Fugue in E minor" odds with the established creed. the diminuendo starting on the C. A ritenuto, however, should become per- that they are played a bit lighter than some time it was available only to sub- mentioned by you is very suitable fora As a composer he was quite prolific, similar effect should be heard in the ceptible in the accompaniment on the the melodic notes. Thus you have the scribers to the whole series, which of prelude at its normal tempo, but we but his compositions, with one nota- third measure-the crescendo on the third beat. proper effect. I wouldn't hesitate to use course was very expensive; but if my rather advise against its use as a pes- ble exception, are of no great musical A-flat lasting only to the start of the The re-statement of the original the same finger on each of those notes, information is correct, one can now pur- lude at an accelerated tempo. In the third beat, when the diminuendo im- melody, meas. 16 to 25, follows the displacing the hand to do so. ch~se t~e. different volumes separately. first place, you are likely to spoila significance. They were written as lines of the first statement, but the The above brings much better results ThIS edition reproduces faithfully the perfectly good composition bythe speed. vehicles for his highly individual mediately begins. These fluctuations than trying to connect melodic notes text contained in the famous U rtext of ing up process ; and secondly, if the style and technique. The exception is, of tone can be only slight, any exag- expression should be richer, the and trills, or using such figures as the Bach Gesellschaft in Berlin which congregation heard the postlude (which of course, the 2nd Concerto in D geration of the nuances being in bad nuances more marked, and the in- triplets or others, as certain editors is considered as absolutely aU~hentic we sometimes doubt), they could hardly minor. It is easily the best of the taste. See Ex. A. tensity heightened. However, a good indicate. is .unmarked and free from any in~ n. help identifying it as a rehash o.fI~e virtuoso concerti, in that its form is deal must be held in reserve, for there dications of tempo, shadings, legato prelude in a "hurry-up" mood, whIch15 concise and because it blends a gen- are two big climaxes coming later. staccato, or expression, That is the wa; Musical Orthography hardly in keeping with a spirit of wor· Most young violinists have a tendency Bach, who had confidence in the judg- uinely romantic expression with am- ship-the organ's chief function in a to shoot off (Continued on Page 56) Q. Can you tell me the motive for ment of future interpreters, left it for pIe material for technical display. church service. Keep this central idea composers writing a large note presum- the generations to Come. (Continued on Page57) etude-april 1957 43 42 etude-april 1957 s r a pronounce. OR.GANIST'S PAGE Dr. Schweitzer is responsible, di- rectly or indirectly, for many of the present-day trends in terminology,es. pecially that phase of organ-bUilding which is lumped under the heading What's In a Name? of "Baroque." The reforms advocated by Dr. ... has selected the Allen Organ Company Schweitzer in the early years of this century have had repercussions ever to engineer and build a special, new el~ctronic by Alexander McCurdy since. Consequently it is valuablenow L, I and then to refresh our memoriesas base keyboard instrument to enrich and balance to just what the good doctor stood fo-r. the symphony orchestra HAT'S IN a name? Shakespeare called it the "tonal pedal." Swell ped- He pleaded for the retention of, , and in a number of cases intervened W said, "A rose by any other name als were not so named, perhaps to would smell as sweet." Is the tone of avoid confusion with the Swell man- personally to save fine old Baroque instruments which were about to be LEOPOLD an organ stop improved by being ual. Instead, they were called "expres- STOKOWSKI called an "Erzaehler" or a "Spitz- sion pedals." junked in favor of inferior modern floete?" What is the exact relation- One thinks of those innocent days installations. ship between tonal coloring and such when examining some of our new, He made the point that these fine Allen Or names as "Unda maris," "Geigen up-to-date installations. On these the instrument were worth saving; hut M . san Company not that they represented the ultimate acungJ..e Principal" and "Voix celeste"? present-day organist may find, pos- PennSYlvania Today's profusion of fancy names' sibly on a single manual, stops bear- perfectibility of pipe-organ design. for organ stops is in striking contrast ing Latin, French, Italian and Ger- He re erved his greate t enthusiasm Dear Sirs: to the republican simplicity which man names. for the instrument built by the nine- prevailed at the turn of the century. Sometimes two languages are found teenth-century French master, Aris- ~eCently 1 had t In those days it was the custom on a single stop, "Lieblich Bourdon," tide Cavaille-Cotl ; but did not the.. lnstruments he OPPortunity of organist • I was deeply i hearing One of among businessmen who had "ar- for example. by intimate that German builders in t WOuld be both "Illpressed by it YOur church S rument at hi d' sahsfied and • and feel that rived" to demonstrate that fact im- ought to put French names on their S J..sPOsal proud to have an Up· to . date young organists are A • SUch an mediately by having pipe-organs in- tending to abandon the traditional stop-knobs. s a Child m . Still later Y.J..nstrutnents were _ stalled in their homes. The old names of Great, Swell and Choir in Similarly, I do not see why we experienc vac.re , and in m at fJ..rst. ViOlin In liste 7 and memories·of ear1y Youth, organ' later piano, Aeolian Company sent its technicians favor of Continental nomenclature should forsake the rude English . nJ..ng to . rhe tonal . • so that I up and down the.country, setting up like Hauptwerk, Positiv and Ruck- speech of our forefathers in identify- tJ..cular ly im YOUrJ..nstrument th POSsJ..bilities of have Weak in th pressed me, as ever e tone of the dee the organ. home installations by the dozen. positiv. ing pipe-organ tops. If we have a oft~n cut ;~e low freqUenCies. YT:rchestra ~n the w~rfed~lS par- Now the Aeolian people shrewdly During the past year there have flute stop, why not call it that? the~r fundam wn to make them eas.i e reason ~s that b d as tonally reasoned that no busy man. would This mak ental tones axe aer to play with asses are been organs built in America which, The problem of nomenclature was es orchestras tOP_he;eak in relati~n to t:h~ reSult that want to bother to translate names of from their printed specifications, neatly solved by Leopold tokowski I feel Cert . \'Y. and unbalanced in ear overtones. stops from the foreign languages. In might have come from the shop of a when he was organi t at 51. Barthole- Which co aan that YOur en i sound. with a uld. rectify this n~ers r.ould design naming their stops, therefore, they builder in Germany or Holland. k mew's in New York. As I got the tones a;m:~l organ keYbo;rd ;~strument of abou: ~iw instrument made it a point to use names which Some, of course, use imported e double_b • e mUSician z octaves story, from Ernest M. Skinner and so that Pour in asses, blendin . COuld Play th ' anyone could recognize. pipes, in which case the foreign build- others, Mr. tokowski changed the separate entit strument WOuldnot bg W1th and sUPPlemen 7 same foundation it Y. This WOuld give the perceived aurall t~ng them, A typical specification of the period er's nomenclature is generally used. names of virtually ali the stops by an . needs Wo 1 e whOle Y as a 1.1lstrument for ·7 u d yOUr compan °7chestra the t might reasI something like this: On the other hand, there are so-called pasting little stickers over them. me Y be W~lling t anal OlllakeSh FLUTE 8' FF "German," "Dutch," "French" or I believe th t . UC I am reluctant to go into more a • ~n tim . FLUTE 8' F "Austrian" instruments which are so detail because (1) The stories, from every orchestra . e, ~t WOuld be receive the usu ;0 th~ World, but of an ~mportant instrum. .,' FLUTE 4' P in name only, and which are about as Mr. Skinner and others, don't quite a res~sta.nce t course at f' ent ~n l o new ideas, ust it WOuld ' STRING F faithful copies of the original models agree; and (2) Some of the names, STRING P as a Times Square peanut-vendor's if printed here, would get us barred ,;I STRING PP whistle is of an Alpine horn. from the mails. Sincerely, DIAPASON 8' In some instances, foreign termi- Mr. Stokowski is, of course, not BASS 16' F nology is handy because there is no the only one who is interested in no, OBOE 8' exact English equivalent. A case in menclature of organ stops. A com· TRUMPET 8' point is the Riickpositiv, the small mittee of the American Guild of Or· On some of their instruments they independent division suspended, like ganists, headed by Dr. S. Lewis might, for variety, introduce an "Eng_ a subway strap-hanger, outside the Elmer, has been attempting to estab· lish Diapason 8'," "Spanish flute," main organ case. This division, so lish standards for nomenclature, in "Metal flute" or "Wood flute." much esteemed by Dr. Albert Schweit- much the same way as the A. G. O. I am sorry to have to add that zer, is essentially a German contribu- has achieved standardization in pedal. there were organists cynical enough tion to organ-building, hence it seems boards and measurements of consoles. to observe that the names didn't make appropriate to call it by its German The Associated Pipe Organ Build· much difference j they all sounded name. ers of America, with headquarters in pretty much alike, anyway. I cannot see, however, that "Haupt- Room 15Il, 26 East Jackson Boule· ORGAN COMP,ANY The Aeolian Company seldom used werk" is more specific than "Great" Alten O);gJlTIS ALLEN vard, Chicago, also are concerned the term "Crescendo pedal." They besides which it is more difficult ~o 4204 Locust Street • Macungie, Pennsylvania over (Continued on Page 46) Symbol tIf QlHJlity in Electronic Orgclns Sinu 1940 44 etude-cpril 1957 etude-cpril 1957 45

s r colleges. Though perhaps they still do WHA T'S IN A NAME? not occupy a place commensurate with r--:------AMP'---,------, Outstanding Piano Publications from MILLS MUSIC, INC. (Continued from Page 44) the importance of the field, their num- ber has been steadily increasing, and so has their enrollment. According to a Simplified Solos GUY MAIER standardization and are wondering what survey published in Ethno-Mnsicoiogv YOUR BACH BOOK YOUR CHOPIN BOOK to do about it. Anyone who has an idea 24 works by J. S. Bach chosen from 23 Chopin compositions selected from Newsletter, about a dozen institutions for the Young Pianist for standardization or who feels strongly Suites, Partitas, Inventions, Preludes & Preludes, Nocturnes, Waltzes, Pol- nowoffer general courses in folk music, on any aspect of the question ought to MICHAEL BRODSKY Fugues from "The well-Tempered onoises, etc. Meticulously edited with primitivemusic, or a combination of the write both to the Builders and to Dr. 'SKIT-SKAT $ ,35 Clavichord". 1.50 excellent pedaling and fingering. 1.00 two, sometimes including oriental mu- Elmer at the A. G. 0., Radio City, New YOUR MOZART BOOK YOUR LISZT BOOK sic. There are also specialized courses, DAVID CARR GLOVER, JR. Selections. from favorite short and Collection of lyrical compositions by York. BONNIE LOU...... ••..•... ,35 devoted to such subjects as Chinese lighter works by Mozart with added Franz Liszt offering a variely of pian- One of the great organists of a gen. SCOTCH STICKS...... •... ,35 music,American folk music, and Anglo- fingering and suggestions by Guy . f hni 1 50 eration ago, who laid it down as an Maier. 1.50 15 rc tee rue. . American ballads. JOSEPH W, GRANT axiom that "a good organist can play YOUR MOZART RECORDS recorded by GUY MAIER There is some variety in the levels of ROLL THE MAN DOWN ... ",.", """,."." .. "" { . .40 in rubber boots and make no mistakes" Two 10" Long Playing Records, 3.95 each these courses. For the general student, MARK NEVIN also maintained that a good organist Guy Maier dramatic recorded performance of MOlart's favorites, which ore the undergraduate who, without going JAZZ HOLIDAY .40 can sit down at any organ, no matter also contained in YOUR MOZART BOOK. into detailed technical analysis and what names are on the stops, and make HAL PERRIN methodology, wants some information AGUA CALIENTE ,40 HANS BARTH it sound well. on the nature of folk music and its I do not mean disrespect to the memo KEYBOARD MUSIC OF THE SEVENTEENTH CENTURY cultural background, and who wants to PIANO COLLECTIONS A collection of J 5 short piano pieces by outstanding composer-musicians of ory of this great artist; but just as it hear folk songs in order to appreciate the 17th century, Ideally suited for class or individuol study-these works is easier not to play in rubber boots if LET'S PLAY EVERY DAY them as music, there are courses with PIANO SOLOS by Lauise Garrow ...... ~':. .75 lay the foundation for further study'of the works of Bcch, Handel and others. you don't have to, so also it helps, when largeenrollments (up to 125) at Queens 1.00 complete you pull a stop, to have at least a gen. CORRIDA! TEN OF SPAIN'S MOST POPULAR PASODOBLES, 11: College, Wayne University, and others. era l idea of what sort of sound is going arranged by Miltan Rettenberg .. . ',It: .. .85 piano classics ..... Specialists in ethnomusicology - the to come out. THE END THE CARMAN'S WHISTlE-William Byrd-Edited by newname for the study of folk, primi- ASSOCIATED MUSIC PUBLISHERS,INC';, Hans Barth .40 . tive, and oriental music-are trained I West 47th Street, New York 36, N. Y. THE HAND ORGAN MAN-P. I. Tschaikowsky-Edited in more intimate graduate classes at by Hans Barth ..... "...... 40 FOLK MUSIC AND University, Northwestern, MAZURKA -Po I. Tschoikowsky-Edited by Hans Barth. .40 ART MUSIC UCLA,Columbia, etc. Each institution POLKA-Po I. Tschaikowsky-Edited by Hans Barth. . . .40 offersonly one or two courses, but fur- (Continued from Page 10) ther study can be accomplished by di- MILLS MUSIC, INC., 1619 Broadway, New York 19, N. Y. rected research under the various pro- including the dean of American mu- fessors. Several of these institutions sicians, Edward MacDowell. American havearchives of recordings made in the Negro folk music is a more authenti- field,which are used by advanced stu- cally American creation. Although based dents for individual research. Music THE on European tunes performed in a man- students as well as anthropologists and U$e the method thflt come$ to the pOIntI The ner derived from Africa, their peculiar folklorists participate in the specialized CANADIAN combination of traits makes Negro folk work, either as their primary interest American songs a real American contribution. or as a sideline specialty. MUSIC JOURNAL Many composers, both white and Negro. Courses in ethnomusicology may be have utilized them. offered by several departments, usual- Use the new Organist The folk songs brought from England ly by music and anthropology, some- Published Quarterly by the and the native American folk tunes times folklore. The truly interdiscipli- CANADIAN MUSIC COUNCIL based on them have less often found a nary character of the field, however, ADA RICHTER---..",,,"~ designed for the place in American composition. Mean- and the fact that several other fields amateur and professional consider ethnomusicology as part of (President: while, the products of other European organist and immigrant groups have been almost en- themselves,is evidenced by the fact that Sir Ernest MacMillan) church musician tirely ignored. Musicians are some- students can usually get credit for a PIANO COURSE times disturbed by the inability of course in any of several departments- For Winter 1957, $3, one year American composers to create a single music, anthropology, folklore, some- A teacher writes: national style based on one kind Of folk times even history, sociology, psychol- "The Older Beginner's Book One" is feature articles by: $5, two years music. But we must realize that the ogy,or linguistics. so clearly defined ... every explanation United States is a product of many cul- Although only a tiny portion of our Peter Garvie so simple and to the point, it Subscribe now! tures, and that all of them have con- institutions offer work in ethnomusi- Marius Barbeau tributed to this richest folk music in cology at present, the United States is actually teaches itself. leading the world in such courses. Only Maurice lowe The American Organist, the world. Thus we should accept all of German and Japanese universities even Helmut Kollmann Dept. AE the kinds of folk music found here as • Effective • Comprehensive genuinely American and accept music approach the American ones in this reo 280 Broadway spect, while other countries have barely Alfred Rase based on them as American music in a • Entertaining • Contemporarv i Staten Island 10, N, Y. national sense. begun to discover the field as a part Subscription: $3,00 yearly of higher education. for the Student for the Teacher THE END Folk Music Courses Pre-School Book 60(" • Books I, II, III (Early Beginner) 75¢, Book IV (Early Address inquiries to: Beginner) $1.00 • "Keyboard Games" _(Supplementary material to be used Editor, In Colleges with last half of Book I, and all of Book II) 75f • "Adventures At The Key- board" (Supplementary material to be used with all of Books III and ~V) $1.00 The Canadian Music Journal Street Address Sackville, New Brunswick r Courses in folk music, as well as in ILLUSTRATION CREDITS Canada See it qt gout deq/", without de/qg the related fields of primitive and ori- 15-Rupert Schleiss City Zone State ental music, are beginning to come into 23-Halsman, N. Y. M, WITMARK & SONS' 619 WEST 54th STREET, NEW YORK 19, N, Y. their own at American universities and 47 46 etude-april 1957 etude-april 1957 c r s NEW RECORDS them, we can make music very interest- many more recitals would be given. Then, with no orchestra, scenery, no (Continued from Page 19) the ingby using a crescendo, or a dimuendo It is interesting to note that the word changes of costumes, no other singers which makes the music loud or soft." "recital" comes from the word "recite." to pick up and carryon in a weak for glass harmonica, and a Prelude on The teacher seeks to impress the little Concert is something different and moment, the recitalist stands before us the Ave Verum (K. 580· a)-like a ones with these "tinkling symbols and means concerted, where more than one with only herself and her art. Explicit sketch for the well-known motet-origi- ACCORDION sounding brass" definitions. The young- artist contributes to the program. The or implicit as the need may be, she sings nally published for strings and English stersare shown these effects as produced recital, however, refers more particu- her long list of songs, each one as keenly horn. by the teacher with never a clear con- larly to one individual singing a great defined as a painting held before one's The organs heard in this album are ception of how to secure these effects variety of songs with equally great gaze. Truly, this is the great art of re- billed on the jacket as "the instruments themselves. They have only a technical variety of tone color, which are charac- cital singing, the art of drama in song. for which Mozart composed and on Edited by Theresa Costello oration by the teacher. terized as clearly as the parts in a play. THE END ' which he played." Closer reading of It is evident here that the teacher Mr. Biggs' informative, chatty and seemsto proceed on the erroneous prin- generously - illustrated accompanying ciple that everything must be served to GENIUS LIES IN THE INDIVIDUAL THE ART OF TEACHING himself and to think for himself.He leaflet reveals that such is not always the student in the form of abstract defi- (Continued from Page 13) the case. Only a few of these German THE ACCORDION gives the student the least explanation nitions. He may be a conscientious per- and Austrian "Mozart organs" are in possible. In the second instance, the son, eager to impart knowledge, but Thus he explains the matter: Sandor warned against a little-foreseen An interview with Andy Arcari their original state. (The great Salz- teacher proceeds on the assumption he is hardly doing the kind of teaching "The young artist feels he has ma- danger connected with the use of rec- burg Cathedral organ, on which all of Secured by Theresa Costello that the pupil's success depends more that develops a virtuoso. tured technically and interpretively. He ords. "If one is to listen to records one the sonatas were recorded, was rebuilt on what is done for him than on what It is for this reason that I emphasize spends the. money for a debut at, say, must listen to different recordings of the (Andy Arcari is not only a successful in 1914, but does contain some of the he does for himself. the real aim of the art of teaching the . He is awarded fantasti- same thing. I recall when I was in teacher, but has per/armed on the ac- original "Mozart stops.") And, in order instance #l-The teacher is just accordion- to enable the student to cally favorable reviews by the critics. A Australia I attended a concert at which to fill out six record sides, Mr. Biggs is cordion with many symphony orchestras think for himself. The art of teaching manager signs him up, and for a year Brahms' Ist was played, and a young beginning to teach the student dynamo forced to resort to frustratingly brief throughout the United States. He is the must foster self-thinking, and the pupil or two he is well booked. But in the in- music student expressed the thought ics. He calls attention to the different snatches of music played on organs composer 0/ a well known concerto for should be encouraged to instruct him- terim another student with an equal that the interpretation was 'awful.' I which Mozart "may have" touched in accordion and orchestra. He maintains uses of the bellows employed in play. self by thinking out certain things for talent has appeared. He, too, has fabu- had not thought so, and I asked him towns which he "could have" visited! a studio in Philadelphia.-Ed. Note) ing. The teacher demonstrates the ex- himself.In the course of giving lessons, lous reviews. He, too, is booked by the his reason for so thinking. It developed These "snapshots in sound" are punc- ertion necessary with the left wrist on the pupil must be regarded not as a managers. And because he has the more that the tempi were not the same as tuated by the ringing of various cathe- THERE HAVE BEEN many theories the bass strap when he wants a sharp passivemachine to be moved at our will, recent New York reviews the bookings those to which he was accustomed on dral and monastery bells, which sound expounded on "How to Teach the and loud tone; he directs the student's or as a mere recipient of knowledge, go to him. After all, the concert field his recording. Therefore, to him they impressive but are often intrusive, es- Accordion." A volume of many pages attention to the necessary technic but as a thinking, voluntary agent, ca- is a field of definite limitations, and will were wrong. He should have listened pecially when they break in"between the could be written on these teaching when a soft, smooth phrase is played pable of gathering and originating accommodate only so many artists. The to several recordings, that his own in- (Continued on Page 59) first performer is gradually dropped, telligence might have been exposed to methods, each one of which has its and lets the student hear the abrupt ideas. When the teacher can secure these results, he will surely be demon- and so is the second, after a season or that of different conductors." own particular merits. Limited space sound of changing the bellows on a strating the true art of teaching the so, since a new crop of virtuosi is an- The maestro is but little in favor of allows us at the present time to dis- sustained note or chord. The eager accordion. THE END nually ready for the harvest." contests. He himself is one of the cuss but one. Mr. Andy Arcari, prom- mind of the student is constantly ob. "But Mr. Sandor, is there not a cure world's successes as a concert pianist, BERKLEY SUMMER inent and successful teacher and top serving and hearing the music as it for this condition"?" "The cure is this, I yet when he was 17 he was eliminated in performer, presents in this interview is affected by the pressure 01 the bel·' DRAMA IN SONG think, that one must achieve an inter- the preliminaries of a piano contest in theories which should interest both his native Hungary. "I could have well MllSIC SCHOOL lows, and he thus obtains, through his (Continued from Page 41) national reputation, perhaps before the ambitious teacher and the serious thinking faculties, a clear idea of the making a New York debut. This is a become very much discouraged by this," he remarked with a bit of an impish HAROLD and MARION BERKLEY, student. bellows process. haps this explains the apathy of the slower process, but a more lasting one. grin. "I think the contests discourage Directors The art of teaching music and espe- Let us see what is involved in this American public regarding art songs. Europe and Latin America appear to be less anxious to see new faces constantly; more people than they encourage. And At Bridgton Academy, long Lake, cially the accordion involves all the mode of teaching the student to think: Wehear it said so often that the words there one can appear again and again, if people have money to give for scholar- Bridgton, Maine ability and talent which a teacher can of the singer cannot be understood any- we notice that the scholar begins with meet as old friends, as it were. When ships there are better ways of finding bring to' bear on a student and ern- way in any language, so why bother. hearing what he can comprehend, not one has achieved the proper reputation out where to give it. Another example Six-weeks session for string players The story goes that a popular young braces discipline, the regulation of with abstract principles of "don't do in Berlin, Buenos Aires, Tel Aviv, Rome, about contests: I remember once that and pianists, JULY 8 through AUGUST tenor was asked one evening to sing at study, and organization. A teacher this" or "don't do that," which he London, one may better make his New I was invited to be a judge for one, and 17, 1957. Individual lessons, orchestras, a social function. He acquiesced, and must have a thorough knowledge of cannot understand. He has seen and York debut. although I usually decline I was un- chorus, discussion groups; Chamber sang a song in English. At the close of his subject in order to give the pupil "Another danger t~ young artists is Music featured. heard and he draws his own conclu- his song, after many enthusiastic words able to do so this time. They had the the right kind of instruction, and thus sions concerning the effects. He gains of praise, someone called out, "But now that of preparing a program, or even contestants play behind a screen. I accomplish the desired end. mental powers by this observation and do sing us a song in English." several programs, and then failing to . asked why. I was told that the judges permit time for further study and prac- ALL RECREATIONAL FACILITIES Teachers working with young pu- finds pleasure in such demonstrations. This situation could be changed and must be absolutely impartial. But mind tice. One must constantly "improve. One pils carry heavy responsibilities and His knowledge of dynamics is clear rectifiedif some of the time and thought you, Mr. Brant, one of the most im- should be as well schooled as the in- nowgiven to foreign languages could be never reaches the ultimate goal! Again, portant things in the career of a con- FACULTY INCLUDES: and accurate, because it is gained I quote Kodaly, 'No one knows-how structor of the more advanced stu- given to our own beautiful English. It cert pianist is his stage appearance. HAROLD BERKLEY through ohservation and thought by much he can develop.' But the artist dents. Hut of course, theoretical has been long neglected in speech and And with a screen in front of the per- MARION BERKLEY his own powers. must constantly develop, else success knowledge is not enough. Accom- in song. former this element was entirely dis- DOROTHY FlDLAR f nstance #2~ The instructor aims will fly out the window much more Another important point is that the regarded. Is that right?" WILLFRED FIDLAR plished accordion teachers are quick to teach his pupil dynamics means quickly than she flew in." by song recital is such intimate art, facial Almost the first words the great RUTH HURWITZ to realize what each individual stu- Asked if he thought the young per- of definitions before things, principles expression as well as words being so pianist uttered at the beginning of this WILLIAM KHOURY dent is able to absorb. It is this un- son in out-of-the-way communities has before facts. He proceeds as follows: important, it should be presented in con- interview I shall put at the close for MARY LANE derstanding and knowledge on the a chance for success on the concert "Dynamics are made up effects pro· cert halls of medium size. Halls seating ETUDE readers. "Yes, there is a place IRWIN SON ENFIELD part of the teacher that is so neces- stage the master expressed the belief. duce d by varying degrees 01power." from a thousand to fifteen hundred are for young concert pianists, but only one sary. By way of illustrating this point, ideal for the recitalist and would still that nothing could defeat the right kind Students are expected to repeat and out of a hundred who try for it will suc- For Brochure, write: ~wo examples of the art of teaching he large enough to assure the managers of talent and determination. "One can absorb this statement and commit it ceed. The other 99 had perhaps better Berkley Summer Music School the accordion are presented. In the a good profit. Understandable singing go to the best available teacher, one can to memory. The teacher gives other try for something else, perhaps they 315 West 98th St., New York 25, N. Y. should so popularize the song recital listen to the radio and to records, one first, the teacher fully recognizes the definitions as the following: HWhen should consider taking up the flute." that even more money could be made can participate in all kind of musical competency of the pupil to apply THE END we speak of dynamics, learn about regardless of the smaller halls, since activities, and all will help." 48 elude-opril 1957 etUde-april 1957 49

1 $ r A THOUGHT FOR THE PIANO TUNER I ROBERT WHITFORD werepurer than those of many present (Continued from Page 16) non_keyboardinstruments, the impurity I PIANO METHODS t ofwhich would be easier to detect (and One for Children and One for Adults, repre- sent the greatest change in the crt of piano withouta monochord) by listening har- teaching, in the past 100 years. See these great. monically to each melodic tone." Methods at your Music Store. Wrife for FREE Pythagorean way of reaching a major matic relationships playable. However copies of PIANO TEACHING TODAY and Thus the history of tuning, as it MUSICS MOST UNUSUAL CHORD, also by third via four successive fifths, C-G-D· it closed the door firmly to others. Th~ movesfrom Pythagorean with its pure Robert Whitford, Founder-President, Interna- A.E. The difference, 80/81 of a length tone C-sharp was tuned by means of tional Pkmo Teachers Asscelettcn. fifth, and just with its pure fifth and of string, is roughly an eighth of a two successive pure thirds, C to E and ROBERT WHITFORD PUBLICATIONS pure third, to mean-tone with its modi- 3010 N.W. 2nd Ave., Miami 37, Fla. tone, and is known as the -Didymic or E to G-sbarp. The tone thus reached is fiedfifth and pure third, to equal tem- syntonic comma. 16/25 of a length of string. But kHat perament with everything but the oc- AUTHORS WANTED Throughout the Middle Ages, the mu- . would be reached by dropping a pure taveand, of course, the unison modified, sical styles were of such a nature that third from the octave of C. As such it BY N. Y. PUBLISHER represents an initial acceptance and New York, N. Y.-One of the nation's the embarrassments of Pythagorean in- would represent 5/8 of a length of then a gradual modification of the sim- largest book publishers is seeking manu- I tonation were minimal. But toward the siring. The difference between the two scripts of all types - fiction, non-fiction, ple pure sounds of Nature. The depar- poetry. Special attention to new writers. end of the 15th century a growing inter- pitches is almost a quarter of a tone. If your work is ready for publication, tures or tempetings are slight but nec- est in chromaticism emphasized the in- Furthermore, while some of the perfect send for booklet ET.-it's free. Vantage essary for any convincing realization of Press, 120 W. 31st St., New York 1. adequacy of complete reliance on the fifths were tolerable, one in particular, the complex relationships of music. You pure fifth as a basis for tuning instru- usually from the half-tone between G will observe that the tuner still uses as ments, especially keyboard and fretted and A to the half-tone between E and his working tools the octave, fifth, and ACCORDIONS ;~g:~~~~G instruments, like viols and lutes. It was D, was almost a quarter tone too large, third in their simplest, natural forms. KING SIZE OISCOUNTS TO &0%. Convince yourself. at about this time that a method of which earned for it the name Wolf fifth. 12 Bass New $29.50 Music Stands, $2.00 But as he raises and lowers the strings tuning called just intonation was advo- Mean-ton tuning roped, hut did not All musical merchandise at wholesale prices. of your piano he reduces the size of cated. This method which took many harness Nature. But the initial victory JAY STEMMERMAN each fifth by ear alone to that point of 8932 881h 51., Woodhaven 21, N.Y. diverse forms rested on the use of two had been won, and it was during the 3~ IN THE STUDIO OR ON THE STAGE impurity where the interval produces pure intervals, the natural fifth (3/2), 16th to the f Sth centuries that the reo approximately one beat per second. If REQUIRES AN INSTRUMENT YOU CAN RELY ON ALWAYS and the natural third (5/4). However, maining steps were taken to tune a key. there were no beats the interval would IIRfJlJNlJTHl WfJRllJ .:,~~" '1398 here too, the results were awkward. For board instrument in such a way that all By II;' from-SI19B. Joplin & O,ienl from $91.. ~ ~ be pure but the complete tuning im- there is nothing more reliable than a See"mole ... lpend less. WriTe lor booklet II. ~rj!J example, if the major second, CD, is intervals and chords would be playable. pure; if he tuned it to produce five or tuned by the use of pure fifths (C-G-D) In order to accomplish this purpose the moreheats per second the result would and the third is reached directly as a purity of all intervals except the octave be decidedly unpleasant and he would ~YI~P.d~,~:,D:~~.':;I,~~.~.'" ~ pure sound, there resu Its an interme- had to be compromised. The resultant & _iii) ~a!iOU ~amltu off-nlllOn IIi pl. No greale, volue anywhere. soonhe out of business. Thirds play the pianofortes of professional performance "'for Ihe '(oune: 01 All Ages" "'~ Yo., f,o.,1 ...... diate second (D-E) which is of a differ- method of tuning which is ours today "''' rdleof testing sounds. We can be grate- II"l 5455thAve.,N.Y.Il, Dept. E, MU2·6544 ent size from the original (C-D). D to II is known as equal temperament. The ful to the judgment and hearing of a E will be 9/10 of a string, but C-D will DIVISION OF AEOtiAN AMERICAN CORPORATION. Eo.1 Ro che seer , New York basis of this system is the division of tunerwho is capable of capturing these be 8/9 and the difference will be again a pure octave into 12 equal semitones. veryfine degrees of difference. Summer Session roughly 1/8 of a tone. If you are mathematically inclined, the THE END Town Hall April 2B 1957 What was wrong with the tuners? semitone becomes the Iwelfth root of 2, Nothing: They used the only means with 2 standing for the octave. To make Dorothy Bullock, Guild Artist Diploma known to them, the testimony of the ear UNIVERSITY OF DENVER use of the fractions that we have em- KOSTELANETZ Winner of Edwin Hughes, enters her which tends to give priority to simple, ployed thus far. the semitone can be own pupils in Guild Tournaments in pure sounds, and the authority of Py, represented as 1.05946/1 and the major ON CONDUCTING WORKSHOPS thagorean or, eventually, just intonation New York. Miss Bullock played with second as ] .12246/1 in terms of fre- (Continued from Page 17) orchestra in Carnegie Hall and will Central City Opera Workshop as worked out On the monochord. quency ratios. But in terms of string July I-July 27 The cause of the difficulty is that lengths the tempered major second can stick,come into general use.' give her Town Hall recital April 28. Nature, untamed, will not be obedient be found, in approximation, at 89/100 Batons today, for the most part, have Music Education Workshop to the needs of the Art of Music. Na- of the total length. the same general appearance. They are July B-July 19 ture's relationships are pure but un- The trut h of the matter is that for all delicate, finely - tapered, light - weight ending; they have a beginning, but no practical purposes the monochord can piecesof wood. But the similarity ends -----:.,..NationPI_GU Voice Clinic middle nor end. But the Art of Music IL0 there. The modern baton has an indi- be discarded as a tuning device when Dorothy Bullock PianoTeachers June 24-July 26 at least as we .kn~w it, must have ali equal temperament is the goal. The viduality as distinct as that of the con- New York City three elements, a recognizable begin- ductor who wields it. It is cut to meas- Summer High School Institute practical approach was clearly stated Not'l Hdqtrs: Box 1113, Austin 66, Texas ning, middle, and end. You can test ure as carefully as his evening clothes. July I-August 2 by C. P. E. Bach in his Essay on the this by playing a C major scale. Your True Art of Playing Keyboard Instru- It varies according to the number of initial satisfaction springs from the fact ments, when be wrote in 1753: "In tun- menin the orchestra, the size and shape Graduate Courses in that the tone C begins and ends the ing the fifths and fourths, testing minor of the conductor's hands, his' height STUDENT COMPANION RECORDS series of relationships, and thus makes and his weight ... even his tempera- music education and choral ar- and major thirds and chords, take away A BOON TO PIANO TEACHER.S, it possible to comprehend the tones in ranging; musicology; choral, from most of the fifths a barely notice- ment must be considered. The skilled A DELIGHTTO STUDENTS between. This is a closed system of re- able amount of their absolute purity, haton-maker will. also ask a conductor woodwind, string literature pro- lationships. 26 representative. classics from Bach to Bartok re- AU 24 tonalities will thus become if he plays any instrument, for this, too, cedures. corded on one 12" LP by Nature must be tamed. And it is pre. usable. The beats of fifths can be more is a determining factor in cisely this thought that came to mu- SEYMOUR BERNSTEIN.. Virtuoso ond teacher. Write for 1957 easily heard by probing fourths. an ad- of each individual baton; a violinist, for sicians during the late Renaissance vantage that stems from the fact that the example, is very sensitive to weight and Enthusiastically endorsed by musicat outhorities,' Summer Session Bulletin (roughly 1470-1600). Their first at- tones of the latter lie closer together than balance whereas a pianist usually has , Samuel ChotzinofF, Clifford Curzon, tempts were at taming or tempering the fifths. In practice, a keyboard so tuned stronger hands and a tighter grip. leopold Mannes, Arthur Judson ond others. ROGER DEXTER FEE fifth; that is, they flatted it just enough is the purest of instruments, for others Batons vary in length from 18" to so that four in succession would create Student ComptUMOn Records, Steinway Hall, 113 W. 57th Street, New York 19, N. Y. Director School of Music, Dept. :lM4 may be more purely tuned but they can- 36", but there are exceptions. "I under- a pure third. This innovation, known as Please send postage free. .. record ot $4.95 each I enclose $. University of Denver not be purely played. The new stand that , for in- mean-tone tuning, was an improvement H Denver 10, Colo. method of tuning marks a great advance stance,used one that was only 3 long," Name: over earlier methods in that it made a over the old, even though the latter was Kostelanetz told us, "while John Philip limited but an increased number of chro- Address of such a nature that a few tonalities SOusaliked a very long baton. I have 50 (Continued on Page 53) etude-april 1957 51 d F r tion of only one doll by each operator. MINIATURE OPERA The Salzburg Marionettes, however, are KOSTELANETZ ON CONDUCTING ence does not take enthusiastically to FROM SALZBURG controlled by an ingenious WOoden such a composition, it causes them to mechanism which may be passed down use their own judgment and perhaps (Continued from Page 15) (Continued from Page 51) the line from manipulator to manipuh. give it a second hearing at a later date." tor as the puppet crosses the stage. We took our leave of Mr. Kostelanerz Beglrmers don't need Strads. but and "The May Queen" by Gluck, Per- and came away with a new concept of their violins -etctas-cencs -basses golesi's "La Serva Fa drona, " "The . Nu- Each marionette may also be twirled in are never "rf eht" unless they're a circular motion during dances with. the concert ritual. The conductor is now the right SIZE; unless they remberg Puppets" by the French corn- beentold that on off-days, he used it as gram building are those which have "speak" easy. "sing" clear. and out any danger of entangling the strings. something other than a glamorous fig- (AND!) stay In tune. (That's poser A. Adams, and a sp~::a~ular pro- a fishing rod," he added. most likely been heard previously by at ure in white tie and tails who stands right, sta;, In lune!) For rull de- duction of Johann Strauss DIe Fleder- With the increase in audiences and lalls. write the name or thh publt- "I am also told that Paul Whiteman's least 50 percent of the audience. The on a podium making cabalistic gestures cation above your signature on a the necessity for larger theatres, the maus." The Com- baton is quite long-331/2" and is dis- other 50 percent, those who have come post card. Do it now!. marionettes have also had to grow in at the instrumentalists fanned out be- VARITONE,INC., 545 5th Ave" N. Y.17 pany recording of the Strauss work is tinguished by a large cork ball at one to the concert for the first time, respond size. Originally, the shows were given fore him. He is essentially the molder employed by the puppeteers. end. The baton used by Vladimir Col- with equal enthusiasm to these works. in small intimate halls, and were unique of an orchestra's sonorous images. Be- INCREASE YOUR INCOME "We also produce marionette ver- schmann is entirely hand-made. It is In this category belong the symphonies cause of the conductor the music will for their exquisite miniature beauty. TEACH MODERN PIANO by note sions of original and classical plays," only!hI! in diameter at the largest part of the great composers; an overture by behave differently. Because of the con- Classical teachers e~erywhere helped by our method and said Professor Aicher. " 'The Tempest,' But as the Salzburg Marionettes and c1ass.building aids. 50th year. Send for free brC'Chure a.nd and the small end is tapered to the di- Mozart, Beethoven or Rossini, OJ; a tone- ductor, the texture will be different. samples. latest 96 page instluctl~n book only $2,50. With 'Faust' which first saw the light of day similar troupes became big business, the Home Study Course, $3.50, postpaid. mensions of an ordinary pencil point. poem like, Daphnis and Chloe. Because of the conductor, the orchestral as a medieval marionette play, and 'The proportions have had to change, al- THE CHRISTENSEN METHOD "My favorite is an 18V2" counter- "I always try to have a premiere on voice will be different. Salzburg Don Juan' have been among though the illusion of smallness remains Dept. E, BO;K2248, Hollywood 28, Calif balanced stick of silver birch with a the program. Even if a part of the audio THE END the most successful." very much the same. The frame of handleabout 2" long. I particularly like Although the repertory changes an- reference is always the relationship of it because it is easy to grasp between CHORD DICTIONARY nually, at least twenty works are con- the puppet to the stage on which he Authentic Chord Reference thumhand forefinger and on the upbeat mbt Clrltbtlanb 3Jn!)titutt of jRltU!)iC stantly on the boards. "When we were acts, and this relationship has of course Bachelor of Music, Moster of Music, Bachelor of Science in Education (.8.S. in Ed. by Etlsily Read-Regdily Located it will float in the air with little effort. performing only in Salzburg," th~ Pro- been maintained. The Aichers now em- transfer to Kent State University or Western Reserve UniverSity) Order from your dealer $100 Mycollection also includes one of Ma- or direct from publi~her fessor recalled, "we had to .prermere a ploy "king-size" marionettes, some of WARD DAVENNY, Director HARTMAN PUBLISHING CO. nila walnut from the Philippines, one 3411 Euclid Avenue • Clevelctnd 15, Ohio new show every month. But now that we them as high as three and a half feet, 19318 Baseline Rd., Glendora, Calif. inlaidwith silver, one hollowed out of Member of the Notional Association of Schools of Music and a new portable stage, twenty-seven make so many international tours, we ivoryand one fashioned from a Jap- feet long, three feet deep, and twelve can do only two or three new works each aneseshell fragment and given to me lOiIIuun~and k. feet high. year. Incidentally, we are all musicians by our troops in Burma during World MANHATTAN SCHOOL OF MUSIC 30 E. Adams St.-Chicago 3, Ill. and we particularly enjoy putting on "Since we began touring in America," WarII." John Brownlee, Director operatic productions. I play both piano said the Professor, "we have also found BACHELOR and MASTER of MUSIC DEGREES VIOLIN SPECIALISTS In connection with his new Non- OUR NEW OlD INSTRUMENT and cello, my wife sings, Gretl is an it necessary to make a number of Member of the Notional Association of Schools of Music and Subscription Concerts with the New CATALOG NOW AVAILABLE accomplished violinist, and Frick is a changes in our methods of presentation. the Middle States Association of Colleges and Secondary Schools. York Philharmonic-Symphony, did the Publishers of "VIOLINS & VIOLINISTS" pianist. Music is as much a family avo- American custom requires us to playa Catalog sent on request 238 East 105th Street, New York City maestrohave any special ideas on pro- cation with us as it is a profession in full two hours, one act following the grambuilding? Sacred Music eeurse Gffers ••• the theatre," last as quickly as possible, and with majors in piano. organ. voice and "Most definitely! I think it was Fritz composition. Also instruction in or- The Aichers' have also discovered that music during the intervals to hold audio chestral instruments. music theory Reiner who said that 80 percent of a and literature - plus a number of un- Americans are now ardent balleto- ence attention. Frankly, I don't approve usual' church related subjects. Excel- manes, and the mar-ionette perform- of this, as two hours seems to me a long conductor's time and effort goes. into lent. experienced faculty. theselection of a concert program-the New. four-story ~illia~ Howard ances of "The Nutcracker Suite" and time to watch such a small stage." Doane Memorial music building pro- other20 percent is spent on the proper "The Dying Swan" have had a tremen- The world-wide success of this un- vides modern classrooms and 38 interpretation of the chosen works. This sound-proof practice r~ms. Practice dous success in both North and South usual company, perhaps the only opera facilities include 66 pianos, 3 prpe is especially true of our special Non- organs and 5 electric organs. America. The tiny figurine dancing company in existence that operates con- Specialized. well-rounded t rainirrg Subscription Concerts you mentioned. prepares you for a ministry of mus~c. Unlimited opportunities for p~ac- "The Dying Swan," a marvel of artistic sistently in the black, economically For important spi r-itua l emphasis, tical experience with the MBI musical As you may know, they were inau- MBI's Sacred Music course combines groups, on our own radio station, and mechanical ingenuity, won Profes- speaking, is basically due to the superb eornprahenaive Bible study With the WMBI. and in Chicago's many guratedtwo years ago to bridge the gap churches. sor Aicher first prize at the 1937 Inter- artistry of the entire Aicher family. The intensive mUSIC tralOlOg on conserve- between the average music lover who tory level. Write today for descriptive CATA- national Art Exposition in Paris. Salzburg Marionettes offer musical and General tuition at Moody is FREE. LOG. Address Office of Admissions, From a technical standpoint, the listensto the radio and to records and Fees for applied music are very rea- Dept. ED57-323. theatrical entertainment of the highest sonable. Aicher family have introduced anum. the actual concert-goer. Our method of '" qua lity wherever they go. The dolls are program building consists of three dif- ber of important innovations to their beautifully made and skillfully acti- ferent ingredients: the works which J?a traditional art. A strictly anatomical ap- vated; the settings are designed for both mostpeople have heard and have come for Perfect Performance proach to the construction of the mario- effectiveness and maneuverability; and nettes was always insisted upon by to like through records and radio, com- --r.,"----- the lighting is as elaborate as that of positions which are usually featured Anton Aicher, a professional sculptor. any great metropolitan theatre. on programs of regular symphonic con- The limbs of each of the figures have at Apart from the technical perfection certs, and finally, the premiere per- ~ ••••",. \ THE SKITCH HENDERSON least two joints, and the torso, instead of the performances, the Salzburg Mari· formanceof a novel or new work. of being a rigid block of wood, is made onette Theatre has made news through '1~'d.d,.4fJtS~ POPULAR PIANO COURSE lin 2 Bks.J of-a series of narrow carved rings. This "We have discovered that the works ~fCifP"!:~,ou~ by Skitch Henderson & Lou ~inger its emphasis on Mozart. Box-office reo on from the first category-those with ilpOVUv."' . __ ---'-;.;,,~,;,,~ Educational Consultont: B. Whitefield permits the marionettes to run, jump, ceipts on both sides of the Atlantic have whichthe prospective concert-goers are enter a carriage, and seat themselves proved beyond any possible doubt the For the first time classic and popular with a lifelike gravity very different already familiar through other media- 1~£ Lilt tItJcS{/tf piano teachers are provided wit~ a Electronome continuing entertainment value of the 1I SE from the often caricaturish motions of are the ones which draw the non·con- ",'.,,:.J... ,.~o~,. ~rOllll practical, thoroug h an d comp Iete pla~o t;lpproved electric 18th century composer's operatic achieve· 5,orllL"ll r f I cert·goingpublic to places like Carnegie course for the playing 0 popu or muslC- melronome standard stringed actors. ments. Audiences of all ages have with of beat you con SEE ond HEAR! Hall. Compositions like 'Scheherazade,' progressively graded. Students will de- Anton Aicher also invented a new found as much excitement and good fun \...~accurate, convenient, dependable manipulating mechanism which has lNutcracker Suite,' American in Paris, velop a sound grasp of Popular Chord • light vi,ible from all sides in "Don Giovanni" as in "The Wizard added considerably to the naturalness Bolero, Lizst's Les Preludes, for ex- Structure, Rhythms, Improvisional Tech- • 5 year written guarantee of Oz" and as much enchantment in niques and Styles. A natural for those of the puppets' movements. Usually, ample.They tend to assure an audience An invaluable aid for teacheu, ,tudents, "The Magic Flute" as in "Snow White who want to play pop tunes! marionettes are controlled by holding that good music in the concert hall performers. Write for our booklet. and the Seven Dwarfs." The Aichers doesn'thave to bite. every string separately in the fingers, a can well be proud of their twentieth '--'-""Primer .60 "The compositions making up the FRANZ MFG. CO. system that necessitates the manipula_ century "miracle." THE END Book One 1.00 53 Walhlc& St, New Haven, Conn. secondingredient in our method of pro- 52 elude-april 1957 L etude-april 1957 53 .. p r Missing Keys Game WhoKnows the Answers? by Mary S. Jacobs (Keep SCQre. One Hundred is Perfect) NO CONTEST THIS MONTH To discover the names of the follow. ing ten composers, fill in the blanks it! 1. Three.four; 2. vivace, presto,. can each name with the key-letter of each 2/4. 4/4, or 6/8 time? (5 points) given signature. Example: - - - H 2. Give two terms meaning rapid tem- (five sharps, key of B; three sharps, A, po. (5 points) Letter Box no flats nor sharps, C). The name 3. Arrange the following composers' therefore, is Bach. ' names correctly: Edward Alexander 1. W - - N - R (three sharps, Handel; Charles Camille Counod; Send replies to letters in care of Junior Etude, Bryn Mawr, Pa., and if correctly one sharp, four sharps) ; 2. - L - - R Giacomo Dvorak; Charles Mac- suamped , they wi.ll be forwarded to the writers. Do not ask for addresses, Foreign Edited by Eliza.beth A. Gest (four sharps, one sharp, three sharps); Dowell; Peter Ilyitch Haydn; postage is 8 cents. Foreign air mail rate varies, so consult your Post Office before 3. - - - M - N (no sharps nor flats atarnpdng foreign air mail. Print your name and return address on the hack of George Friedrich Puccini; Franz the envelope. three sharps, two sharps, three sharps);' Josef Salnt-Saens: Anton Tchai- Instrument With A Twangy Tone 4. - - - - H' (five sharps, four kovsky. (10 points) sharps, three sharps, no sharps nor Dear Junior Etude: Dear Junior Etude: (A true story) 4. What are the letter names of the flats); 5. - - L - - (five sharps, I enclose a picture of my sisters and My a~bition is to be a good pianist. dominant·seventh chord in the key three sharps, one flat, four sharps); myself at our old 1893 Kimball parlor I have taken piano lessons for three by Wilma Delton of Esharp major? (10 points) 6. R - - - R (four sharps, one sharp, reed organ. After my Daddy bought it years and have enjoyed them very four sharps) ; 7. - L - - N I Z (three 5. What is an interval? (5 points) he went to the library to find out what much. I play solos for church services metal tongue between them. The name THE RADIO ORCHESTRA was sharps, five sharps, four sharps); 8. made it play, then he cut it down to and often accompany the singers at our rehearsing the symphony "Holi- is believed to have come from a Dutch W - - - R (four sharps, five sharps, spinet size, repaired the works, refin- school affairs and club meetings. I also days" by Charles Ives, a well-known word meaning a child's trumpet, but four sharps); 9. - L r - R - (one ished the cabinet and attached a vac- play duets with Glenda Warner. We American composer ~ and he was lis- it is called by different names in other sharp. four sharps, four sharps); 10. uum cleaner to it to supply the suction have sent some practice hints and hope you will like them. I would like to hear tening to the rehearsal. Everything countries. The French name, Rebuie, - 0 UNO - (one sharp, two sharps). wind to save the bother of pumping it. My sister Dora Lee, 10, and I like to from others. seemed to be going along just as he refers to its shape of a cart; in Ger- Ans'wers on next page show our friends how to pla.y it, while fewel Rinsch (Age 11), Illinois wished, until the gay, rollicking barn many it is known as Mouth Drum, or 6. Which of the following composers Dolores Ann, 4, likes to play "at" it. dance section of the symphony was Buzzing Iron; its Italian name means was born first: Mendelssohn, Brahms, Wagner or Chopin? (20 My Daddy takes lessons and his teacher reached. Then the composer shook his pastime, something pleasing to do. Some Practicing Hints points) told him he would have to have pedals head. "That dance needs more tone The Chinese call it K'ou Chin, or 1. Have a regular schedule for prac- 7. Is "Ernani" the name of a singer, to practice on, and he worked for nearly color," he said to the conductor. "It Mouth Harp; in India it is called the Walking Rhythm ticing-the earlier the better. 2. Have conductor, opera or composer? (20 a year at it before he was able to in. needs something to make it sound all material at hand, to avoid interrup- Chang. It is played, as some of you Did you ever pay any attention to points) stall a thirteen-note pedal board. We more dramatic. Can yOli think ~fsome probably know, by holding the frame are told it is the only old parlor organ tions. 3. Practicing a few minutes each yourself walking? Most people walk 8. Schumann's wife was a concert art- between the front teeth and striking equipped with pedals. day is better than several hours one several miles each day, yet they never ist. Was she a singer, violinist or day a week. 4. In piano practice, have the metal tongue with the fingers to Donna Mae Dean (Age 13), Illinois notice how they walk nor pay any pianist? (10 points) a good position for sitting and for the make it vibrate, while higher or lower attention to the rhythm. Unless there 9. Which of 'the following words reo hands. 5. Here are a few pointers before tones are produced by changing the is present some physical defect, a per- late to music: dulcet, dulcimer, dol- beginning: name the piece; say the shape of the mouth and lips, and the son walks in perfect rhythm, except ce, dalmatic, dolman, dulcinea, dul- time signature; say the sharps or flats in tones so produced are the twangy when on an uneven surface. Not only se? (5 points) the key signature; take time to look tones which gave color to the Holiday over the piece to find what confronts do our feet march along rhythmically 10. A-From what is the melody given Symphony. you, such as similar phrases, repeated but all parts of the body are under the with this quiz taken? (5 points) Is it a very old instrument? Oh, B-From what country does it notes, accidentals, rhythm patterns, influence of this rhythm, most notice- yes! A picture of one was found in a come? (5 points) melody patterns, scale passages, etc. 6. ably the swinging arms. Have you any work dating from the twelfth century! (An.swers on this page) Always count, and in a new or difficult idea which arm is forward when your piece, count aloud. 7. Review old pieces instrument with a twangy tone that left foot is forward? Nature provides and spend some minutes each day on you could add?" he asked. a perfect rhythmic balance in walking. memorizing. 8. Keep your mind on your The conductor answered, "Of course. Sleepy Time When you practice the piano (or music while practicing. I believe the jew's harp will give you SO S from Junior Etude Diana, Vaunita and Sandra Cum- by Wilburta Moore other instrument), try to keep a simi- just the quality of tone you wish to lar easy, regular rhythm. Sometimes We have a kodak picture of a girl- mings; Nellie and Carolyn Elder; Do not disturb my kitty, please, Sherry Fry; Phyllis and Jeanne Shaffer; have. I will advertise at once for when you are walking down the street, no name, no street address, no city, no Although she really is a tease! Glenda Warner; Judy Joiner; Jewel auditions from those who play that quietly hum the melodies of some of State! She is laughing, wears spectacles, You see, she likes to take her ease hair seems rather light, dark jumper Rinsch (Ages 9 to 16), Illinois. particular instrument." the pieces you are studying. Notice Just sleeping on piano keys. dress over white blouse. So, somebody, From those who answered the ad- how the beats fall into perfect rhythm, please send us your name, age and ad- Answers to Quiz vertisement, two were selected to play too. Any time you come to a corn- their jew's harps in the symphony, dress, so we will know whose picture The Dean sisters at the orgon plicated bit of time-keeping in your it is and with whose letter it should be 1. Three-four; 2. vivace, presto, con and, although they had only a few (See letter above) piece and your rhythm is unsteady, printed. mota; 3. Edward Alexander MacDowell; notes to play, those few tones gave hum the melody to your footsteps. ] unior Etude Charles Camille Saint-Saens ; Giacomo just the right twangy element of sound Like magic, everything comes out Dear Junior Etude: P~ccini; ; Peter Ilyitch the composer desired to have in the Tchaikovsky ; George Friedrich Han- smooth, even and rhythmic. A ritar- I play solo cornet in the High School barn dance section of his composition. del; Franz ; Anton dando is like walking up hill, getting Band and play first trumpet in the High If any of you readers have a jew's School Orchestra. I also play first trum- Dvofdk'; 4. C-sharp, E-sharp, G-sharp, a bit slower and slower, while an ac- harp of your own, you know it is a Answersto Missing Keys pet in the California Youth Symphony in 8; 5. The distance in pitch between two celerando is like walking down hill, small instrument consisting of a metal San Mateo County. I have also learned tones; 6. Mendelssohn (1809); 7. An going faster as you gain momentum, Game opera by Verdi; 8. Pianist; 9. Dolce frame formed in the shape of a horse to play violin, flute and baritone. I yet all in good rbythm. A parade (sweetly) and dulcimer, a string in- shoe, with its two ends reaching out Pi:ture ~aken by Betty Andrus (Canada), 1. Wagner; 2. Elgar; 3. Cadman; 4. would like to hear from other music pnze WInner In a Junior Etude kodak would not keep step without a band Beach; 5. Balfe; 6. Reger; 7. Albeniz; lovers. strument of ancient origin; 10. A-San- like the shafts of a wagon, and with a contest. to march to! 8. Weber; 9. Cliere; 10. Gounod. l o Ann Lynch (Age 17), California ta Lucia, B-Italy. 54 55 . etude-april 1957 etude-april 1957 d r f ROMANCE fer;:,or. And the temptation to become themeasure-four dotted quarter notes. ~ " """ ,,.,."""~ I. intense on the high Bcflat must be re- If this thought is followed out, the tern. . Tunepianosin30days FROM CONCERTO sisted. On the other hand, the theme in a will not become too slow' and the I MUSIC CAREERS" I ~ PIANO-VOiCE-iNSTRUMENTAL' ~ No musical knowledge "eeded. Piano Tuners in great demand. Low the piano can be sung with quite a fair ;hrasing will remain broad. cost traini.IJg by up.rls. Revolutionary new phonograph records ~i~_e (Continued from Page 43) true piano lone": We furnish professional tools (record player If degree of intensity, so that it stands out Another thought concerns the longer ! Public School Music-Church Music ~ needed), In.truel,on manuals, etc. Includes spinet tuning. fULL ~ Opera - Radio - Television ~ TRAINING in pianO repalr-and_how .to line UP work lor bill, steady [rom the rest of the accompaniment. notesin the piece, the dotted half notes .amings. Peaon.1 ,",trucllons avaiteble. Write loda, lor fREE Bachelor and Moster Degrees ~ illustrated booklel their big guns too soon, thus creating a Owing to the difference in register, tied to dotted quarters, and the dotted CAPITAL PIANO TUNING SCHOOL ~ (i) 16 S. W. 2nd 51. Dell!,: 107 Fori Lauderdale, Florida sense of anti-climax. An example of this there is no danger that the piano will wholenotes. It is a rule of interpreta, ~. ~ occu-rs in 26. The inexperienced player overpower the solo line. tion that something must happen to a will begin it with a full forte tone, ignor- From 53 to 60, violin and piano to- long note. It must become louder or 7807 Bonhomme A•• nue-St, Loul. 5. Mo. ing the crescendo sign which indicates gether build up the biggest climax of I 11· .~-., I I softer,more relaxed or more intense. In that the measuremust begin softly. As the movement. See Ex. C. otherwords, it must live and not merely _ A non-profit educational institution' of higher learning approved for ~ a matter of fact, the malta sonore mark- ~ non-immigrant foreign students and for G.!. Training Institutional ~ exist. So with the longer notes in this ~ Member National Association of Schools of Musie. ~ ing in the next measure should be ob- movement: they must be alive. ~ ~ served with discretion, for the full vol- It is well named, this Romance, for " """""""" " ,, ume of the G string tone is not called its spirit is essentially romantic. But it for until meas. 31. From here, for three is romanticism governed by good taste: and a half measures, the tone must be it is never sentimental. I grant you that The solo part becomes more dramatic full, rich, and plangent. When playing it can be played with maudlin senti- in 53 and 54, and the triplet eighths in EDUCi\T10N FOR SUCCESS IN THE MUSICi\l PROFESSION such a passage on the G string, the vio- mentality, but only if the soloist com- 55 and 56 call for a fiery intensity of One- and two-year Certificate courses prepare for private studio teaching. Four- and five-year linist can much enhance the tone if he pletelymisunderstands its musical and lifts his right arm quite high, so that expression. The octave shift on the last courses leod to Bachelor's and Master's Degrees, ond include culture! troining: at Downtown emotionalmessage. Well played, it is a the bow hair is very near to the ribs on beat of 56 is often ineffective because it Center of University of Chicago. movingpiece of music. It deserves to the G string side of the violin. This lit- is made too slowly. It must be taken SUMMER SEssiON bealways well played. THE END tle trick of technique is not very well with dramatic swiftness, so that the Majors in piano, voice, orgon, Founded 1895. Splendidly known, but its value will be apparent to final eighth of the measure gets an ac- violin, 'cello, wind instruments, equipped lake-front building in FIRST TERM every violinist who experiments with it cent merely from the speed of the shift. ORGAN AND CHOIR composition, and public school the heort of culturol Chicago. June 17-July 20 for a few minutes. Meas. 57 to 59 can take everything the music. Dormitory. The diminuendo in 34 has to be made soloist can give of sustained intensity. QUESTIONS SECOND TERM from a full forte to piano within three The bow must be held close to the (Continued from Page 42) July 22-August 24 beats; the bow, therefore, shall ld go bridge, the vibrato intense, and every Faculty of renowned European Many opportunities for public quickly down to the end of the finger- ounce of the player's emotional fervor and American teachers includes recitol, solo ond proup perform- in mind, and we believe you will have SPECIAL COURSES IN board. A very slight break in the tone projected into the music. distinguished opera and con- ance. Symphony lorchestra. Cho- MUSIC AND MUSIC nodifficultyselecting the Bach Preludes is needed between the third and fourth What a contrast is the succeeding cert artists. rus. Opera Class. EDUCATION beats of 34, as the new phrase is in an phrase! This third time it appears it In Fugues which would be acceptable entirely different mood from the previous should be played with great simplicity, for preludes or postludes. We suggest GRADUATE STUDY one. The tone in meas. 35 to 39 needs the crescendo being of the slightest. But alsothat you keep in mind that not all Member of the Notional Associotion of Schools of Music. with distinguished faculty to be softly tender, and without expres- meas. 63 must have the utmost of quiet musiclovers are Bach lovers. Most of For free catalog, write to Arthur Wildman, Musical Director. poignancy. The [orte indication on the the Bach Choral Preludes are quite UNDERGRADUATE sion except for first beginnings of an E-flat can be taken with some discre- suitablefor church use, but don't over- WO RK in more than 1000 animato in 38_ In this measure, the SHERWOOD MUS I C SCHOOL doit. outstanding courses coming big crescendo is hinted at in tion - it means intensity rather than SHERW.OOD BUILDING· 1014 S. MICHIGAN.AVE .• CHICAGO 5, ILL. the piano part. For the violin it starts volume of tone. The next two measures Q. (1) I have acquired two single LIBRARY, LABORA- at the beginning of 40 and continues to are imbued with a strongly nostalgic TORY, and RESEARCH manual reed organs. Would it be pos- build until the end of 47. From 41 the feeling which would be spoiled if they facilities of highest quality .sibleto combine these into a single tempo continues gradually to increase were played with too much expression. organ, using one as a Swell and the SPECIAL WORKSHOPS up to the first half of 46. In the second other as a Great? (2) Can additional and INSTITUTES half of this measure there is a slight stopsbe added? (3) I am quite familiar broadening which continues until the RE.CREATION-s y m- with radio and electronics, so do you UNIVERSITY OF TORONTO real rallentando in 48. See Ex. B. phony and other concerts think it would be possible to construct I ~ plays - excursions - lectures --:-golf - tennis' an electric or electronic organ? II so, doyouknow where! could obtain plans? - swimming - fishing - Although the Ccflat needs the warmth campus in an outstanding, T. G.-Ill. ROYAL CONSERVATORY OF MUSIC that comes from a rapid vibrato, the cultural center located in crescendo that leads to it should be the cool and refreshing A. (1) We do not recall having read, SUMMER SCHOOL Land of 10,000 Lakes Throughout this climax, the enthusiastic slight. Some care is needed on the long nor have we any personal knowledge of co-operation of the pianist is essential. B-flat: in spite of the diminuendo, the two single reed organs being success- July 2·20, 19S7 He must sing the upper voice, from 38 For Bulletin write tone should not become really soft-it fullyconverted into a two manual pedal to 43, with intense expression, and should always be distinctly heard be- Dean 0/ Summer Session, instrument, and are inclined to doubt Teacher's Courses, Instruction All Branches .of ·Music 711 Johnston Hall strongly mark the accents in 44 to 47. neath the ascending eighths of the piano. its practicability. (2) We rather think Meas. 48 calls for imagination and A broad ritenuto is called for on the additional stops could not be added. i care. It should start forte and then di- last two beats of 69, but the tone should (3) In the May, 1953, issue of The Special Teachers' Caurse: "MUSIC FOR CHILDREN'; minish" so that the high F is taken still be fairly full-full enough, at any Diapason, page 30, there appeared an based on Carl Orff method, Doreen Hall Instructor quite softly. Most certainly there can rate, for a noticeable diminuendo to be advertisement of a book entitled "Build be no hint of a crescendo on the slide made on the final note. Your Own Electronic," which sounds (First time on North American continent) July' 8-13 from the F to the E flat-it Wall ld be in There are some general remarks that as though it would be very helpful to the worst possible taste. The diminuen- can be made about this beautiful move- you. There are also two other books • do must continue to the first beat of 49. ment which may be helpful to the stu' which may be useful: "Electronic Or- From here to the end of 52 the violin dent. First, its rhythmic pulsation: The gans," by Eby, price $5.00, and "Elec- For complete information: Office of ~he Principal', plays a graceful counter-melody to the marking is 12/8, but if eighths are tronic Musical Instrument Manual" by main theme, which is heard in the 135 College Street, Toronto 28, Ontario, Canad~ counted the phrasing will inevitably be- Douglas,price $6.00. These may possi- piano; the soloist, therefore, must not come stodgy. The player, then, should bly he available in your local library play the melody with too much dramatic feel the basic pulsation as four beats to or book store. 56 etude-april 1957 'tUde-april 1957 f

I r FROM THE MUSIC CAMP OFFICE Sunday, August 12 BALDWIN-WALLACE NEW RECORDS im portant and worth while release CONSERVATORY OF MUSIC The balcony choir at camp church which will reveal to many listeners a. (Continued from Page 48) BEREA, OHIO (~...burb of ClevelQnd) (Continued from Page 21) service was unusually beautiful this less familiar side of Mozart's universal i Affiliated with a first dass liberal Arts Co!lege. Four and li.e year courses leading to degreei, Facult~ of Artist year.A Brass Group presented instru- creativity. (Columbia K3L.23L) , . Teache,s, Send for calaloRue or Informalion to: mental churchyard music, as it was Prelude and Fugue of K. 546. (Inciden- -Dika Newlin look concerned: youngsters look ex- we saw and heard several of the more used long ago. According to what we tally, that fugue still sounds much more '~~~C~E~C~IL~W~.~M~U~N~K~,~D~;~,,~,~to~,~,~B~"~'~O~'~O~h~;O~~ uberant. Former want to know about serious students. How many future mu- clear and understandable in its original sic educators among them? heard, this was new to many campers, best laundry facilities: latter wonder if piano-duet form; in this organ perform- ERRATUM We danced afterwards to two more highschool and otherwise. Student Union grill is open for short ance, at any rate, the surge of sound Through an unfortunate error on Page BOSTON UNIVERSITY of our six dance bands. Here again we Several students obtained college orders yet. obscures structure. And was it really 44 of the February issue, in the second wonder, will the serious young man permissionto go off-campus with par- Registration lines bulge by mid-morn- necessary to transcribe the Prelude on column under the answer to the question with the saxophone and the amazing ents or directors still higher into the "Mordent and Trill," the first notation ing, dwindle at noon, and pick up agai~ the Ave Verum-which is not very COLLEGE of MUSIC haircut find a livelihood in dance mu- mountains for fishing, climbing and example (opposite the word Mordent) in the afternoon. At one point, an earn- strong Mozart anyway? The excuse that A Division of the sic? How about the eager fellow from picnicking. Campuswise; volleyball, should be deleted. It has nothing to do "est young man holds up the line to in- "Mozart may' have improvised" this way with this answer. It belongs to another softball, practicing, letter writing and School 01 Fine and Applied Arts quire if he must write his middle name. who brought with him every seems a bit weak!) question and was placed there in error, item in his own elaborate drum set? cat-napping take up the afternoon. through no fault of the editor of the Courses in all branches of music Clnd In more quietness, the college and With the above reservations, this gen- music education ]eoding to the degrees, Teacher's Roundtable. B.Mus., M.Mu,., O.Mus.A. postgraduate registration proceeds in erally well-sounding set stands up as an In conjunction with the Graduote School, the library. Thursday, August 9 M.A. end Ph.D. Monday,August 13 In conjunction with the School of Ed- Audition results begin to come in. And now the mail begins to come in ucolion, M.Ed. and C.Ed. "Hi, there!" ribbons are conspicu- -and the long distance calls . "No, Thehomesick girl from last week stop- Eminen' Faculty Includes: ously worn at the Cet-Acquainted As- no emergency, I just wanted to talk to ped by to tell us that she is fine now George Bornoff my daughter .. " Here is the first let- andhas "made some new friends. Butch LONG ISLAND INSTITUTE OF MUSIC Alexonder Boravsky sembly. Approved by New York Stale Dept. of Education Rafael Bronstein 9 :30 p.m. First camp taps. Quiet-the ter addressed just Summer Music Camp didn't think I would." DR. EDWARD B. HORNOWSKI, DIRECTOR Lee Chrismon George Faxon vibration stops-except from the camp -no name. We open it. What last name DIVISION OF MASTER COURSES Arthur Fiedler office, where four typewriters, a dupli- should go with Dear Sam? Names float Violin: MISHEL PIASTRO Piano: LEOPOLD MITTMAN Karl Geiringer Tuesday,August 14 Julius Herford cating machine, and the entire office through our minds (amazing how many DIVISION OF ADVANCED COURSES Allon Lannom LoudShirt Day, and we observe from David Blair McClosky force are tabulating the audition sheets. hundreds of names we have come to LEADING TO CERTIFICATE Harriet Nordholm know) and one girl comes up with it. thecamp office that many of our camp- Theory, literature, Composition, Analysis, Orchestration, Conducting Emonuel Ondricek ers sew with imagination - or have Gardner Read Monday, August 6 Sam gets his letter along with the other EXTENSION DIVISION FOR CHILDREN AND AQULTS Jules Wolffers motherswho do. 2 :00 a.m. All audition results are music campers. Voice, Orgon, Piano, Strings, Woodwind, Broues, Percussion and 70 other distinguished orlists, musi- Ah, they have hit! The monsoons are elens and educatars. tabulated and posted. DIVISION OF DANCE EDUCATION 6 :00 a.m. Bulletin board areas are here! Well, anyhow, we had a ten- Wednesday,August 15 For information write 10, or call: The Registrar For cotalog write: crowded. "Did anyone from our school minute mountain shower right in the RE 9~7419 • 78-39 Parsons Blvd., Flushing 66, N. Y.• Ol 8-9882 Robert A. Choate, Dean Our orchestra conductor has sixth make the Choir?" "Ole Rooky made a middle of marching-band period. 2S Blagden Street, Boston 16, Mass. sense.It is common knowledge here in Concert Band!" theoffice.Since the group started with The Business Office and the Regis- Friday, August 10 fewerthan the full complement of bass trar's Office get back to normal, even More coffee-making materials have viols--he took a little stroll about the though late registrants are frequent. been secured. campusand, for no reason we could see, SYRACUSE "Just thought we'd come and see if we Excited director-"It is possible that stoppedhere and there to take a name. can sign up," they say. "Fine," we say, there is another girl in camp by the Tonightwe see the results of his clair- UNIVERSITY and hope the Housing Office can work same name as one of my students?" We voyance.The orchestra is backed with Oberlin Conservatory more miracles. look it up and tell him, "Yes, there is. SCHOOL OF MUSIC bassviols in plenty. Alexonder Capurso, Ph.D., Directar You might like to know that we have Tuesday, August 7 four pairs of people in camp with the of Music SUMMER SESSIONS Everyone in the office feels that camp same first and last names. In addition, Thursday.August 16 July 1-August 9 is off to a good start after the picnic and there are two sets of twins with one- and Anaffair of the heart-found, on the Dedicated to the Superior Training of American Talent dance last night. letter differences in their names." If he August 12-September 13 music building steps, a note-c-t'Dear Lost and Found is beginning to ac- hadn't left so quickly we could have (Limited Offerings) Joanne,I want you to know that I have Intensive professional study of music combined with told him about the girl named Willie, cumulate articles-from a water gun to cometo love you . . . I do not care • DISTINGUISHED FACULTY the boy whose last name is John, the a liberal erts program. Degree courses ~~,nApplied a fine flute-at a normal rate. aboutthat bassoon player at all" Groduate and Undergraduate Editor of "Blue Notes" goes scouting directors who garnish their signatures Studies, Theoretical Studies, History Cln~ Literature Parents are coming in earlier this Courses in all areas of Music around the campus and comes back with with musical symbols, and the students of Music, and Music Education. Faculty of 60 emi- year. It's good to see them from the Emphosis on graduate studies in more news than space to print it. who never want to go by their given nent musi'cians. Excellent practice fociliti~s. Choral Music Education· campoffice windows and to have them 12:00 noon. Junior high girl runs into names. but by favorite nicknames (a and instrumental groups tour the count!y. ~oncert stop in. SPECIAL SHORT COURSES the office. She is bulging with Prep filing problem). series by guest and faculty artists. Coe:ducational. Thechoral groups are heard in stair- Marching Band Techniques Chorus music, cornet, twirling baton" Weather is fine for campus concert Dormitories. Scholarships. July 1-July 12 directing baton, and so on. "I'm behind this evening. However, we're still get- step style-first the Prep Chorus, then the Chorus, and finally the Choir. And ROUND·TABlE CONFERENC.f$ schedule," she shouts. "I can't find my ting three dozen extra clothespins for again we hear, "How can they do so Member National Association of Schoo!. of Music July 15-July 19 11:40 class." One of our college office reserve. girls takes her in tow. "That's why we're muchin two weeks?" with participation by distinguished Write for: crttsts and authorities here. Come on, let's go find it." Saturday, August 11 • Conservotory catolog describing degrees awarded PIANO PEDAGOGY WORKSHOP Picture-taking day! The girls look Friday,August 17 August 12-August 16 Wednesday, August 8 so nice in their white dresses and the • Bulletin on admission ond audition procedures A kaleidoscope sort of day: first the Tears, so early in the morning! An boys in their white shirts and dark REGULAR ACADEMIC YEAR parade, then the campus concert. the • Calendor of music events of the current year acute case of homesickness had over- trousers. How styles change, even in September 22-June 2 formal hand concert, the home sweet • Progroms of the past season's concerts land recitals whelmed the cute little blonde girl who uniforms. We of the first generation in homedance, and finally taps. For further information address waited for us when we opened the camp school music wore white trousers. Now The coordination of the entire col- SCHOOL OF MUSIC office. We gave her the sympathy cure, dark seems more appropriate. Director of Admissions, Oberlin College' legestaff has been almost perfect. Even Syracuse University plus the stiff-upper-lip treatment. Our guest soloists autograph pro- Box 547, Oberlin, Ohio OUf ushers, after a busy final day, alert- Syracuse 10, New York Wonderful student recital tonight, grams, drink cokes on the Student after several hours of auditions. Here Union terrace-and perform superbly! edat the full percussive effects in "The (Continued on Page 61) 58 etude-april 1957 .tud'-april 1957 I r f HENRY COWELL - PART 3 itselfas organized sound, its forms, and MILLIKIN UNIVERSiTY all the possibilities of a musical idea; MUSIC and ARTS INSTITUTE of SAN FRANCISCO SCHOOL OF MUSIC to write as be~,utiflllly and as interest- Bachelor of Music Degree DECATUR, ILLINOIS (Continued from Page 22) Free liferature Oilers lhoroulh Irainini in music. Courseslladin, to degrnl inglyas Ican. 2622 Jackson, S.F. 15 Ross .McKee, Director of: Bachelor 01 MUlic. Bachelor of Music Education. Master 01 MUlic, Ind Master of Music Education. The most recent expressions of this Member of the National ASlociltion Schools of Music musical credo, completed during the Bulletin sent upon reCluest Ohio and Pennsylvania, and they had tention of enriching and expanding HARRY B. WELLIVER, DEAN weekspreceding Cowell's recent depar- PEABODY CONSERVATORY been widely accepted by the Quakers rather than imitating the style, Cowell wrote a series of works for orchestra ture for Europe and the Middle East, COLLEGE OF MUSIC and by such sects as the Mennonites comprisethree works of major scope; Reginald Stewart, Director and the Moravians, and then into the and for various chamber: combinations Completemusicaltrainingin IU bran hes 0' I M M B M ,. . . SHENANDOAH a setting of passages from the "Dead and LoYolaColleles Memberof the NIl"' ItAoma,_,. "',.' ·h us.. Teach.er5 Cer~ficate.AffiliationwithJohm HopkinsUniversity.Goucher CONSERVATORY OF MUSIC entitled "Hymns and Fuguing Tunes." Schools. Dormitories. lona UOClaon 0 Sc oolsof MUSICand 01 the MiddleStatesAssociation01 CalieResand Secondary Shenandoah valley and further south Sea Scrolls" for chorus and orchestra, a.M. in App",d Music Member NASM Later the idea occurred to him to add a Registrar, 9 E. Mt. Vernon Place BaltimaN 2, Maryland 8.M. in Church Music Coeducational and west, but without penetrating the SymphonyNo. 12, and Variations for B. Music Educotion Also Junior College urban coastal areas of the south. As second theme and thus. be able to en- Orchestra. Study piano, organ, woodwinds, strings, voice. cities arose in the west, the old style of large this type of piece into a new kind Excellent practice equipment and facilities. Church And as no other composer's music related. Low rates. Scholarships, Day and resident. .singing and the repertory of songs were of sonata form. Beginning with Sym- NEW YORK COLLEGE OF MUSIC (I presents so comprehensive a view of Accredited. For catalog write: "reformed," so that today the early phony No.4, entire movements based Shenandoah College, Box E, Dayton, Virginia twentieth century tendencies, no other Chartered 1878 114 East 85th Street, N.Y. 28 ARVED KURTZ, Director colonial practice is extinct except in the on the style are to be found in his larger composer'scareer covers so many activ- College and Prafessional Courses, Closs and rural . section of the southern states, works. ities. For activity is the keynote of Individual Instruction in All Bronches of Music particularly the hilly and mountainous Cowell freely adapts those parts of Conductor Cowell'spersonality. Busier than ever regions. But in these sections of the any folk music which may appeal to Summer Session June 17 through July 26. as he approaches his sixtieth birthday, For Band Concerts and Festivols south the old tradition has not only sur- him and often combines several regional hecan look back on severa I lives' works: vived, it has thrived in an amazing Iash- influences within a single piece, al- as a composer, teacher, organizer, im- SUMMER SESSION KENNETH BERGER ion, although only fairly recently has though never by directly quoting any presario,writer, editor, pianist, critic, July 1 to August 3 311 Reis Ave. Evansville, Ind. the existence of this widespread current specific folk material. His large output experimenter, musicologist, propagan- Registration; June 26, 27, 28 & 29 practice of singing the old songs come as a composer can easily be related to Far infarmation call write or visit: to light (see George Pullen .lackson-c- the facility with which he absorbs the dist,advisor and lecturer. Like his music he contains an energy which seems con- THE OFFICE OF ADMISSIONS HAROLD BRADLEY "White Spirituals in the Southern Up- essence of any ethnic style; for his School of Music 64 E. Lake St., Chicago 1, III., Financial 6-4000 creative instincts are readily prompted tinuallyto force him forward towards Piano, Violin, Theory lands," the University of North Carolina somenew direction. f H';Hold Bradley, Principal Press, 1933). by any musical language in which he lsidor Philipp, Principal Emeritus The debt of American music to Henry With his intimate knowledge of the may be absorbed at the moment, and BUTLER UNIVERSITY Western New York, Niagara Peninsula whole shape - note movement, Henry find striking, or adaptable to some par- Cowellis large and substantial. He has 21 Falls 51., Niagara Falls, N, Y. JORDAN COLLEGE OF MIJSI1C Cowell could scarcely help wondering ticular musical need. Despite the fre- hada major role in freeing our music fromthe slavish imitation of European ':' r~ch tradition, a progressive philosophy, an outstanding faculty, complete' ceered- quent amalgamation of divergent folk ttc ttco. Boccaloureate degrees in Dance, Drama, Music, Music Education, Radio. modelson the one band, and a super- Sixth Season Symphony No, to-ret Movement(Hymn) styles with a highly sophisticated West- Wrif .. 'or cota/09ue and d... ired information 19S7 Largo ern language which comprehends every ficial,crude and pretentious exploitation JORDAN COLLEGE OF MUSIC (Box E), 1204 North Delaware Street EX.6 IndicIRapolis 2, Indiana OPERA WORKSHOP development of twentieth century tech- of native folk materials on the other; nique, including many features of heis largely responsible for the accep- , Director tancetoday of experimental tendencies, Leonard Treash, Associate Director Cowell's own invention (see Example whichin his own music attain the con- 2 Weeks-Aug. 19-5ept. 2 5), the resu It is never incongruous or BOSTON CONSERVATORY of MUSIC illogical in its effect; the sense of self- vincingaudacity which can proceed only ALBERT ALPHIN, Oir. 26 FENWAY, BOSTON, MASS. Oglebay Park-Wheeling, W. v« consciously quoted folk material which /roman authentic expressive need, and Courses in Applied Music, Composition and Music Education leading to Mus.B. degree. DRAMA and DANCE courses leading to B.F.A. degree. Unsurpassed recreational facilities in whichcould never originate In a mere A one encounters so frequently in music Faculty of .50 ineluding members of Boslon Symphony Orchestro a setting of natural beauty to-day is totally absent from Cowell's needto shock or pretend. Dormitories far Women, Ca'olog on request. Member of NCltionol A$sociation of Schools of Music Address Dept. C., Dglebay Institute -i"!! work. Because he has been able to ab- In short, as he has grown as a crea- d !! tivemusician, he has done all in his Oglebay Park, Wheeling, W. Va. .J ~ sorb the essence of many national folk powerto bring American music of age, for illustrated brochure ~ idioms almost to the point of second - nature, whatever material he may uti- andhis hand has been a powerful one lize is assimilated completely into his inshaping our musical culture into the AMERICAN CONSERVATORY own style' so as to sound natural and • self-sufficiententity which it is to-day. OF MUSIC-CHICAGO 22nd Season right regardless of its origin. For as THE END 70th year. Faculty of 130 artist teachers Cowell has influenced countless younger Courses in All Branches of Music Leadmg to 8.M. and i\L\L Degrees Member of National Association of Schools of Music FOSTER MUSIC CAMP composers who are active today, he has Sen~or n free catalog - address: John R~;lttslacdt, !,r~::.....!::ine Arts Bldg., Chicago Richmond, Kentucky not hesitated to be influenced by what- MUSIC CAMP OFFICE ever and whomever may strike his fancy. (Continued from Page 59) BAND & ORCHESTRA His music does not shy away from First Driving Lesson" from BALLAD 4 weeks, July 14 to Aug. 10 eclecticism as though it were an un· pleasant word; it is rather that the FOR YOUNG AMERICANS. Some Northwestern University School of Music $80.00-ALL ·EXPENSES audacity and skill with which he syn- rushedbackstage and others went to thesizes contrasting styles gives his mu- the floor below to find the reason for Evanston, Illinois George Howertonr Dean For High School Students sic its unique profile and flavor. the unseemly commotion. James E. Van Peursem, Dir. Cowell openly admits to his reliance SUMMER SESSION FEATURES ·Copyright 1906 by Associated Music Publishers Inc for inspiration on the folk and art mu- Saturday,August 18 New York, used by permission. ' ., Desire Defauw - guest conductor of summer orchestras sic, old and new, of all nations. "Noth- AOUI best rewards are kind words. how American music to-day might ing in my early musical experience had mong those we treasure are ones Polly Gibbs - workshop in Piano Pedagogy sound, if the American composers of prepared me for the professional mu- spokenby a Canadian friend, l'All these - guest conductor of summer chorus WM. S. HAYNES CO. the late nineteenth century had recog- sical world's fanatical belief that the. students and not one untoward inci- nized this authentic native background conventions of the European tradition dent!" George Wain - visiting professor of woodwinds Silver Flutes - Piccolos of composed music, instead of repu- of that time were the only possible ones. Otherpeople ask, "Are you glad it's Glenn Cliffe Bainum - guest conductor of summer bands diating it and turning instead to Ger- I do not see why a· composer's choice Ove ?" A d I. n we say, "But it's never many and Austria. The old fuguing should be limited to the musical ma- rea~lyover, See this folder? It's full of Further information available from School of Music Office. 12 Piedmont Street, BOSTON, Mass. tunes usually began with a short homo- terials used in Europe for the past 350 regIstrations-for the 1957 camp! U phonic phrase; and thus with the in- years alone. What interests me is music THE END 60 etude-april 1957 'tude-opril 1957 61 r RICHARD RODGERS ON CURRENT TRENDS The orchestra's life duri~g the last INTERNATIONAL evenyears has been marked by what (Continued from Page 23) ~£r.Klot has called, "The progessive WHERE. SHALL I GO to STUbV? developmentof a group of people bound STAFF BAND Frank Sinatra first came to the fore he sold as well as they are selling today. bya desire to make ~usi~ and t? ~~rich OF Nonetheless, when writing a new had one audience after. another squeal- thelives of others WIth this mUSIC. The ing, too. They loved him. Then, in a few series of songs for production, he does orchestra, now boasting a membership RICHARD McCLANAHAN MARY BOXALL BOYD THE SALVATION ARMY not pander to current rages. In other years, the latest fad found teenagers of sixty, has grown steadily, as has its Teocher of Piono Pupil of Lelchetizky ond 'Artur Schnobel words, while composing "Cinderella" taking Johnnie Ray to their hearts. LONDON, ENGLAND audience.Often as many as 1500 people M~tthay exponent, formerty his representative. "Pianist and teocher of reno~, n"-EllioE mUlic Now, the center of attention is Elvis for TV last month, for instance, he did attenda concert. Approximately six con- Private leuons, technic courses; ovoilobte al magozine , not try to emulate the rock and roll Presley who, the composer points out, viliting lecture·recitalist, or critic-teocher. Now teo ching ot Nolo Studiol, Steinw,oy Hall certs are given at Walton each year Six·Doy Piano Seminars style of music. "I couldn't," says Rodg- may not "sound pleasant in the sense 113 W. 57th St. 1 New:York City First Concert Tour during the September-May school term. 801 Steinway Bldg., 113 W. 57th St., N.Y.C. 44 Nal:a\l Street lrince,o~, N. J. ers, "because this isn't the way I'm able that Sinatra does" but who has a of the The orchestra members themselves re- to work." "smoother, much more acceptable kind ::: .r ceiveno financial compensation for their UNITED STATES Asked if he could write a rock and of voice and technique." HARRY EULER TREIBER: M~•• D. work. On the contrary, they pay just Voice Building' , roll tune if he wanted to, he answers: EDWIN HUGHES (Coast to Coast) * * * aboutall of the group's expenses .. P\lpil of the lote Wm. L! Whitney "I could make a pretty good pass at it." Singers of a different nature with SUMMER MASTER CLASS FOR (VclOnucini Meth9dj By way of recognition of this great APRIL-MAY, 1957 Otherwise, though, he cannot be con- proven vocal technique and appeal will PIANISTS AND TEACHERS Studio 509: 270 H\lntington Ave., 10lton, Ma". achievement,in 1951, in a special series cerned with this or that current fad in be heard this month, as the "Voice of J\lly 1-Au9\lst 10 ofVoiceof America broadcasts beamed WORLD'S MOST FAMOUS music. Since he composes for the theater, Firestone" (Monday evening, ABC-Ra- Write for informotian IRENE WEISSENBERG TII.lTNER toEurope and Asia, a Bronx Symphony he writes music to suit a situation. So dio and TV) presents Cesare Siepi 117 E.;nt 79th St., New York 21, N. Y. CONCERT PIANIST-ARTIST\TEACHER BRASS BAND Orchestra concert was presented and the musical mode of the moment does (Apri l I), Elaine Malbin (April 8), Advanced Technique and Interpretotion - Adult 35 pieces, well-known thefuJIsaga of this "people's orchestra" Training - Program Building - ~efresher Courlu not interest him, as a composer, in the Nadine Connor (April 15), mezzo- for Piono Teacherl. _ because of its extensive wastold to the world. least. "If the boy meets the girl for the soprano Jean Madeira and baritone Te. PLS-6343 ~ HELEN ANDERSON 3026 Siote ~aginaw, Michigan Recordings. first time," he points out, "what I have Theodor Ilppman (April 29), with the Alongwith its membership growth, the orchestrahas also grown in stature. "1 "teeehe- of Succenf\ll Pianhh" Directed by to say musically is something about guest soloist for April 22 still to be Malter'l Technique-lone-Interpretation this meeting, and can't have anything to announced. don'tbelieve we should limit ourselves Special Courlel: Harmony, lmprovilation GEORGE FORGE BRIG. BERNARD ADAMS do with what's popular in Kansas City, A new English translation of "La onlyto music that 'the orchestra can 166 W. 72nd St., N. Y. C. Tel. Sc 4-8385 Honolulu, Hawoli or in Tin Pan Alley." Traviata" is the special attraction of easily play," says Leon Hyman, a Piano Organ' First Appearance teacherat the Juilliard Music School, Teacher af Specialized Techniquu for beginning As far as current rages are concerned, the NBC Opera Theatre's telecast of the students of all agel. Clanics, Art of Modern lm- when it comes to the singer Elvis Pres- Verdi opera on Sunday afternoon, April and a frequent guest conductor with APRIL 6th Mme. Giovanna Viola Hull (Desmond) provlsotlon and M\llical Theropy' for the Retorded. ley, Rodgers feels the lad "serves a pur- 21. Joseph Machlls is preparing the theorchestra. "Even if a piece is dif- Teacher of linging-European troined P. O. lox 2474 Tel. "1191 CARNEGIE HALL pose where kids are concerned, and I text, just as he did for "War and Peace" ficultit should nevertheless be done." "Bel Canto" . New York City think it's a good one." After all, he a couple of months ago. Now, here was Typical concerts contain a liberal Voice c\llture-diction-caoching Phone: Trafalgar 7-8230 LUCIUS DUNCAN explains, "they release a great deal of a work we had been eagerly waiting to sprinklingof selections from the classic, D,. Ralph Vaughan 608 Welt End Ave. New York City VIOLINIST energy watching Presley"-energy re- hear in this country for a couple of romanticand impressionistic periods in Williams, C.M. leased "watching something" instead years. Personally, I felt the Prokofiev music.The orchestra has done such dif- Lo 7-0713 104 N. MaJe St., 'hila. 2, 'a. "I have heard many bands but of doing something, which in many cases opera was effective only in the battle ficultpieces as Schuman's Third Sym- never one with so fine a sense of might turn them into delinquents. Be- scenes, when the armies burst forth into phonyin E-Flat Major and Glinka's CRYSTAL WATERS ISABEL HUTCHESON style-classical style sides, the famous composer is one of lusty, melodious, thoroughly apt cho- Russian and Ludmilla, as well as many Teacher of Singing Refresher CO\lrse for Plona Teachers: Dr. W. Greenhouse Alit those who believe the hubbub over how ruses, and in a couple of spots where other, by comparison, easier works Popular Songl and Clonicl Modern Piano Technic: Coaching Concert 'Ioniltl: TV-Radio-Stage Concert Group Work, for f\lrlher informotion address F.T.Cl., f.R.e.O. audiences of bobby-soxers virtually the conflict between nations took over suchas Debussy's Petite Suite. 105 East S4th St., New York 11, N.Y. St\ldlo 202, l005lJ2 Elm St., Dalla., Texa. Principal of the Trinity College of raise the roof of the theater in their from the personal story and theoretically All this is part of the orchestra's St\ldio re-openl Octaber 1 Music, London frenzy while listening to their favorite less pretentious music. The rest of it continuingdevelopment. As Me. Hyman crooner is wholly unwarranted_ Accord- struck me as a vocal version of back- adds hopefully, "Some difficult pro· EDNA GUNNAR PETERSON "a technical standard of playing of ing to the composer, these kids "won't ground music for this or that mood in grams went well, others went badly. Concert Pianbt-Artilt Teacher which professional musicians of do anything" to people. Besides, when a movie. THE END What was most important though is LEOPOLD WOLFSOHN 17447 Caltellammare Pacific, Pall.cule., CaUf. the highest order would be most Pionist, Teacher, Composer Glad.tone 4·1103 proud that the orchestra improved itself by trying them." Teocher of Aoron Copland, Elie Siegmeilter ond many ortllts and teochen. Tour Includes: The community has also been im- MAE GILBERT REESE 8EGINNING TO ARTISTIC FINISH provedby it. The Bronx today, musically PIANIST New York City Allentown, Po. A COMMUNITY SOLVES ITS MUSIC CRISIS Hotel Ansonio, I'way at 73rd St., New York City Speciolized training for Washington, D. C. Philadelphia, speaking,is quite different from what it teacherl and concerl artbtl (Continued from Page 12) Pittsburgh, Po.• Miami, Flo· Akron, wasjust a few years ago. In addition to P57 s. Rimpa\l Blvd., Los Angelel " C.I. We 4-4172 Columbus, Cincinnati, Clevelcmd, Ohio the Bronx Symphony Orchestra, there Chicago, III. • long Beach, Los Angeles evening of relaxing music," the circulars chestra. There was no doubt that the are operas, performed both in English WILLIAM FIC,HANDLER said. "Rub elbows with your neighbors, Calif. Kalamazoo, Detroit, Mic~. community's first and only orchestra and in their original languages, con- Pianist, Teacher HAROLD HURLBUT Niagara Falls, Schenectady, N. Y. attend a free concert given by your devoted to serious music had been en· certs given by the Musicians Union 314 We" 75th St., New York, S.,-7..3"S Hal taught lingers af METROPOLITAN Op41rO, neighbors and friends." thusiastically accepted. Compolitions p\lblhhed by G. Schirmer Chicago ond San Francbco OperOl, Itoge, ICreen, Toronto, Montreol, Canada • 8oston, Local,a community chorus, a doctor's Theodore Preuer, rodia, televilion, including It was a warm night in June, 1947, Mass. Hortford, Conn. • Newark, The set-up of this orchestra is both symphonyorchestra, all available free Selwin, Inc., and Chappell & Co. NADINE CONNER, HOWARD KEEL, EVllyn Her- N. J. when Mr. Hoffman lifted his baton pub- unique and significant. None of its memo ofcharge to the community's residents. bert, Henry Cordy and many otherl. licly for the first time before the bel'S, except for the conductor, make '2159 N. Beachwood Dr., Hollywood, Cal. For Free Itinerary ond Brochure write Bronxiteshave greeted this resurgence Bronx Symphony Orchestra. The forty- their living from music. By day they are of.music in their own "back-yard" with five member organization had rehearsed doct.ors, dentists, lawyers, housewives, ERNESTO BERUMEN mixed emotions - surprise, bewilder- ALFRED TROEMEL . lirelessly for six weeks in order that the CONCERT PIANIST AND PEDAGOGUE music students, and one member is a ~ent, hut most of all, with overwhelm- Teacher of violin first concert might be as close to perfec- teaching in New York City. INTERNATIONAL STAFF lumberjack. On program' nights they mg enthusiasm. Studentl given opportunity for leapald Aver'l Greot Secret:" Tone, technic, tion as possible. When the last selection blossom forth as polished performers. public oppearoncel. artiltry bound together. 6 yeors with A\ler. BAND COMMITTEE As one Bronxite remarked, upon the For informotion write: Rei. 5t\ldia, 336 E. 71, New York 21, N. Y. was completed, the audience of five· "They have in common," Mr. Hoffman Faculty member, Manhottan~ School of M\llic completionof a Bronx Symphony Or- 150 Greenway Terrace, forelt Hills hundred Bronxites gathered in the Wal· says in appreciation, "an intense love of Teacher of "brilliant" violinbt Wolter Brew\l. 120 WEST 14th STREET chestra concert, "1 never knew that 75, L.I., New York NEW YORK 11, N. Y. ton High School auditorium showered music and an unflagging devotion to their handclapping bouquets on the or- Debussy had written such beautiful our orchestra." music," THE END 62 etude-april 1957 elud'-apr,1 1957 63 r r

CLASSIFIED ADS Growing-up musically is double fun when shared by two.

Enthusiasm reaches a high peak when young~ters share piano talent and technic. HARMONY, Composition, Orchestration, Musi- ATTENTION, SINGERS! ACCOMPANIMENTS OLD VIOLINS AND OTHER INSTRUMENTS. cal Theory. Private or Correspondence Instruc- RECORDED TO ORDER, or L.P. ALBUM. Repairing. Supplies. Eaken, 310 E. Washington With duets, young students find new adventure Also, your tape material transferred to records. St., Chambersburg, Fa. tion. Manuscripts revised and corrected. Music in piano mastery. arranged. Frank S. Butler, 32-46 107 s-., "East ESQUIRE RECORDS. 690 Washington si., Elmhurst 69, N. Y. Brookline, Mass. Sample these favorite Presser duet collections soon. BOOK OF HARMONY, $2; "How to Be a Band Leader" by Carl Whiteman, $1; Home Piano You'll find the pieces lively and tuneful- Course, $1; Popular Piano Playing, 50¢; 100 "60 MINUTE ORGAN COURSE" $1.00. Play perfect for your springtime recital LEARN PIANO TUNING-Simplified, authentic Love Songs, $3; Bookshop, 6494 Aylesworth, the organ in one hour. Ruth Richardson, 2913 and every day of the year. instruction $4.00-Literature free. Prof. Ross, Cleveland 30, Ohio. 456 Beecher St., Elmira, N. Y. Seventh St., Mcridian, Miss.

CONTINUE YOUR MUSICAL STUDY in spare FUN FOR TWO compiled by Walter Eckard time at home. Enroll now in the only home- WRITE SONGS: Read "Songwriter's Review" PLAY ALL THE LATEST POPULAR PIANO study school offering all courses leading to a . 15 dancing ditties for grade 1 to 2 duet players. Excellent for Magazine, 1650-ET Broadway, New York 19, SHEET MUSIC at sight, professional style. $1.00 Bachelor of Music Degree. Write for free cata- sight-reading, recitals and ensemble training, each piece is a 25¢ copy; $2.00 year. (Est. 1946). Walter Kazaks, 234 E. 58th St., New York 22. log. UNIVERSITY EXTENSION CONSERVA- well-known winner in the piano duet field. Catchy contents such as TORY, Dept. 147, 2000 S. Michigan, Chicago "Air-y Fairy," «Hopi Wigwam Dance" "March of the Wee Folk" 16, Illinois. "Sing, Robin Sing!" and many oth~rs captivate youngsters f~r hours on end.-$1.25 SWING PIANO - BY MAIL. 30 self-teaching HAND BUILDING EXERCISES FOR PIAN· lessons $3. Samples. 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Ten picturesque, lively tunes for keyboard partners from tions bought. E. Hirschmann, 100 Duncan Ave., to handle religious publications. The "Wright" Fore's, E3151 High, Denver 5, Colorado. Jersey City, New Jersey. grades 1% to 2. "The Grandfather's Clock," "Swans on the Lake," Music, 2213 Christine St., Wayne, Michigan. "The Enchanting Mermaid," and "Winter Time" are some of the vvith tasty titles.-$.75 MODERN SCIENTIFIC ANALYSIS Bach's Well- PLAYING TOGETHER TYPIANO. The Touch System of Playing the LEARN WHILE ASLEEP! Method university- Tempered-Clavichord Fugues. Guarantees im- Piano. The Powell Piano Mask blocks the sight proved. Results guaranteed. Details free. Re- 20 bright and adventuresome duets including marches, waltzes, mediate appreciation. $4. Morong, Box 21, of the keyboard but permits sight of the music. search Association, Box 610, Omaha. dances and just-far-fun pieces. Suitable for recital use in grades Brooklyn 25, N. Y. Play like the artists-by the exclusive senses of 1 and 2. Some of the titles: "Dance of the Fairy Queen," "Pink Pearls," "Bicycle Galop," "Dance of the June-Bugs," "Little touch and hearing. Effectively aids hand inde- presser pendence, ear-training, sight reading, memoriz- Festival March" and many others.-$1.00 TEACHERS, PIANISTS, BEGINNERS! Don't ing. One piano mask with manual of instruction MUSICIANS! TEACHERSl-Complete self-in- waste time! Learn professional piano secrets now. SHARE THE FUN by Ella Ketterer and original exercises. Send $2. Address John E. struction harmony course $l.25-How to teach World's most amazing popular music system. Gantner, 1001 Churchill Ave., Utica, N. Y. Popular Piano (18 lessons) Sl.25-Encyclopedia Here are ten melodic tunes to tickle the fancy of very young Free Literature. Ernest Weidner System, 423 E. of Chords S1.25-How to Transpose Music $l.50 beginners. Titles like "About a Ship at Sea," "Deep in the Forest 7th St., Boston 27, Mass. How to Harmonize Melodies Sl-Ear Training piano a Little Brook Flows," "A Giant Stalks," "In a Wigwam," and Sight Singing S l.SD-Lessons in Melody "Lullaby for a Kitty," "March of the Gingerbread Men," "The Writing Sl.25-Dictionary of Hammond Organ Merry-Go-Round," "Once There Was a Pirate," "The Pony Ride," GROTRIAN-STEINWEG PIANOS, internation- Stops 751/.. Free catalog of 500 self-instructive and "Song of the Drum" will captivate students in grades 1 to ally acclaimed "The World's Finest," imported ANY INTELLIGENT PERSON who is handy publications. \Valter Stuart Music Inc., Box l'h.-$.85 from Germany. Write HOLSTAD MUSIC with tools can make '8 beautiful violin from one 514-B, Union, New Jersey. HOUSE, 337 Oak Grove, Minneapolis, Minn. of our complete kits. Free brochure. Premier duet SIDE BY SIDE by Ella Ketterer Music, 309 W. Fourth St., Los Angeles 13, Calif. Attractively titled and illustrated, 10 peppy numbers to delight MUSIC COMPOSED, orchestrated at small cost. girls and boys in grades 1 and 2. Melody line in primo in some, Zygmund Rondomanski, 912 South Main,' in- secundo in others. "The Bell in the Steeple," "The Elephant PIANO TUNING COURSE-Complete self-in- Marches," "An Important Occasion," and "A May Day Dance" dependence, Missouri. struction lessons. Also teaches you piano regulat- REVOLUTIONARY METHOD! "HOW TO are a few of the bright numbers.-$.85 ing, repairing and other servicing operations. HELP CHILDREN LEARN MUSIC" (HARPER books Wonderful illustrations. Full price only $4.95 & BROS., $3.50). Classes and Materials now VERY FIRST DUET BOOK postpaid-or c.o.d. plus postage. Satisfaction available. Write: CONE-ROYT MUSIC LEARN- PRACTICAL VIOLIN MAKING with patterns, 27 lively melodies with an interesting variety of topics and guaranteed -or refund. Nelson Company, 210 ING AIDS, Studio 866, Carnegie Hall, New 8l. Supplies. Chelsea Fraser, 2025 Stark Street, tempos for first and second grade duet players. Lyrics, in many S. Clinton, Dept. AT-100, Chicago 6, Ill. York 19. Saginaw 4, Michigan. cases are provided. A few of the pieces: "In the Attic," "Patrol March," "Learning to Waltz," "The Hunt's Up" and many others. -$.85 These and other Presser Duet Books available at music stores everywhere. THEODORE PRESSER COMPANY Bryn Mawr. Pennsylvania 64 etude-april 1957 A well-rounded curriculum, A practical Christian philosophy of life, A cultural approach, An evangelistic emphosis

produce well-balanced young people trained for a life of success and service.

well-balanced,

Standing for the "old-time" religion and the obsolute authority of t~Bible': ~;WM.U~~~~ .....repares- its students to meet • _- successfully _~-"" .- the emergencies of life. ,,,,,/ """ -~

BOB JONES UNIVERSITY GREENVillE, SOUTH CAROLINA

Summer School June 3·July 6 .Music, speech, and art witllOut aJditional • cost above regular academic tuition Academy and seventh and eigJltll grades in connection.