Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1953 Volume 71, Number 03 (March 1953) Guy McCoy
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation McCoy, Guy. "Volume 71, Number 03 (March 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/120
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected].
LeTTeRS Training received in Bob Jones T 0 THE E D ITO R "Iha Organist Takes a Sunday ottn On .the basis of the standard University is grounded so deep Dear Sir: Perhaps the readers order of service, you cannot deny that the prelude's function is es· within the Word of God that of ETUDE will not take offense at reading a counter-part of Dr. Alex- sentia lly a call to worship, mean- students of this institution ander McCurdy's "The Organist ing to take stock of one's inner Takes a Sunday Off," (Nov. 1952) self, to meditate, to pray, and to learn the secret of by an emeritus-an amateur after get an intellectual-spiritual uplift. 50 years of organ playing. If the service has logically and spiritual power My debut was on an 8-stop Hin- intelligently unfolded, then does ners tracker-action, two-manual the offering become a stupendous for daily living. instrument. My salary was the rep- act of worship, an inner outpour- lica of that delightfully healthful ing from the deepest depths of The training acquired in the part of a doughnut. Musically heart and soul. speaking, that was all I was worth, To be sure, Rubinstein's Melody "World's Most Unusual University" because of the simplicity of my in F has been "murdered," tram- performance. pled in the mud. But so was Christ. I enables these young men and women CLIFFORDCURZONphotographed at the Steinway by Adrian Siegel But not so with the congrega- So is marriage, and everything to stand unmoved under criticism, tion, whose members repeatedly holy. I maintain that Melody in. F thanked me for the spiritual manna ~the purity of its beauty-can be Choose the piano persecution, and temptation. a fitting offertory. Many of the I dispensed. Many a time was my of the world's great artists offertory punctuated by a loud pieces that I have played are of Such opposition serves only to "Amen" by the pastor (but not this type. lance played to a criti- strengthen them in their zeal because I stopped playing). I cal audience of 2000 as offertory, once attemped a piece beyond my Nearer, My God to Thee, in D- .for the Gospel and their defense ability. I made more mistakes than major. At the close of the service Paderewski. But, because of my many, including the pastor, came of the Faith. acquired halo, the congregation to me to express their appreciation knew that I was playing classical for the spiritual up-lift I had given. music. It is the postlude which often Years later, by some socialistic inspires me to noble longings to quirk of fortune, I became known emulate the great Elijah who, at to organists at San Francisco. And the conclusion of that crucial test, so, at vacation time, they would when God answered with fire, ask me to substitute for them caused the prophets of Baal to be while they took their two weeks executed. The first note of the off. I was paid their regular fees postlude is the green-go signal for which ranged from zero to $20.00 pandemonium among the congre- per Sunday. Those were the days gation-to me, Satan's ace of for your home when $20.00 was acceptable as a trumps. Surely the postlude was meant ~ ~ down payment for a mink. Now, ... -...... - those organists chose me for the to be, and could be, the crowning - act of worship by the congregation, excellent reason that, no matter - how well I might try to please, their hearts uplifted in gratitude The greatness of the Steinway it will serve your family for they were not gambling on losing to Him from Whom all blessings shows not only in today's bril- generations. flow as they solemnly walk out to their jobs. liant performance but in the years Though its initial cost is more, the accompaniment of a heavenly Oh yes, during my career I was of joyful use that lie ahead. It is the Steinway Vertical, with its "fired" from a church because I blessing conferred by a great com- the choice of leading concert ar- many unique advantages, is ac- had the habit of coupling the trum- poser-a blessing he received when tists, music schools and broad- tually the most economical piano pet to the pedal. It reminded them he was inspired by the Great casting stations. to own. Architect and Ruler of the uni- of the angel Gabriel. The Stein way is the only Verti- Dr. McCurdy's suggestion that verse, "Write: Thus saith the Our booklet, "How to Choose Your cal that offers you the Diaphrag- Piano," is full of interesting facts. For Museum Building. World's Most Unusua I University organists should visit other church- Lord." matic Soundboard which gives John G. Vogel a free copy, write Steinway & Sons, es is excellent. But a far more ef- such big piano tone. Noother Ver- Steinway Hall, 109 W. 57th St., New Millbrae, Calif. fective plan is to have an entire tical has patented Accelerated York 19. Your local Steinway dealer church service recorded. Then, by lIEconomics for the Music Teacher" Action, a true aid in developing (listed in the classified telephone directory) can deliver to your home a repeated listening, the organist Dear Sir: Thanks so much for sensitive touch. So magnificently superb ~teinway Vertical $14750 would probably get a college edu- printing Miss Novak's article in is the Steinway Vertical con- for as little down as ... cation. So would the pastor-and your December issue. structed that, with proper care, Liberal time to pay. S1iihtryhiiherintlleWes' BOB JONES UNIVERSITY the members. If, as Miss Novak writes, more GREENVillE, SOUTH CAROL! NA The order of service given by teachers would enforce the rules The Steinway is used exclusively by Dr. McCurdy is standard practice outlined in the article, parents Badura-Skoda, Ganz, Kreisler, Lipkin, Lympany, New York Philharmonic-Symphony, in thousands of churches. Now, might be made to understand that Drmandy. Waller and many, many others. were the pastor, organist and memo music teachers too must be assured Over 1000 music schools and music I STEINWAY MUSIC, SPEECH, AND ART departments of leading colleges use the ------bers to study-analyze-record- of a reasonably steady income. Steinway exclusively. Only the Steinway is THE INSTRUMENT OF THE IMMORTALS WITHOUT ADDITIONAL COST ings of their services, many would Jeanette Odasz used by nearly all the nation's leading orchestras, radio and television stations. be prone to scrap the program. Schenectady, N. Y. AeOVE REGULAR ACADEMIC TUITION ~----- ETUDE-MARCH 1953 1 4
CHOIR DIRECTORS!!
NEW, UNIQUE-a periodicol de. MAKE UP YOUR tile music magazine voted exclusively to doing the gigon. RECITAL PROGRAMS ETUDE tic job on choral literoture you've · Offices, Bryn Mawr, Pa. THE EASY WAYl Editorial aucI BuSlneSB always wanted done for you
The pieces listed here" have been James Francis Cooke, Editor Emeritus NEW CHORAL MUSIC selected by folks familiar with recital Founded 1883 by THEOOOHE PRES~ER {Editor 1907-1949) SACRED AND SECULAR problems and, when tested, have been Guy McCoy, .Managing Editor received wit,h enthusiasm. A MONTHLY, COtr.4PREHENSIVEGUIOE Marjorie E. Mosher, Business 111anagpr TO THE NEW CHORAL RELEASES Of A visit to your CENTURY Dealer and ALL PUBLISHERS - INGENIOUSLY Bv GEOHGE GASCOYNE an examination of these titles will Maurice Dumesnil Karl W. Gehrkens .Elizabeth A. Gest Berkley CHART·INDEXfD- HarolJ Badura-Skoda is a player of ex- help you plan your recital quickly- Guy Maier Alexander McCurdy Nicolas Slonimsky Mozart: Sonata in F (K. 533), Ron- and well. tlo ill D (K. 48,~), Jr'unUlsy anti cellent attainments and he shows Fugue in C (1(. 394), Adagio in. B NEW CHORAL MUSIC offers off to fine advantage in these re- 1st GRADE minor (K.540). March 1953 cordings. (Westminster, two LP 3158 All Aboard ... 1Uuhter Vol. 71 No.3 CONTENTS the discriminating directcr-; 3751 Bamboo Grove, The ...... Giovallni 4059 Gum Drop Tree. The ...... Aruller every month: Those listeners who derive a discs. ) 3868 Little Boats on the Pond Foldes 4046 March of the Rubber aeets .. .uozers FEATURES special pleasure in making ecru- 3652 Moon Serenade .Houkfns 9 Mcnddssohn: The First Walpurgis ...... notre EXERCISES IN MUSICIANSHIP. . . . . - Alec Templetoll A COMPLETE AND AUTHORITATIVE parisons between recordings will 3986 Polka Dot . Night. Five SOrl;;S 4016 Scissors Man, Tile ...... Dl'orlnc GRAND OLD MAN OF SWEDISH l\lUSIC.::::::::::::::: •..•. Leone Kuhl 10 RECORD OF CHORAL llTERATUlE 4050 Western Siory, A .uoeers 11 be interested in a pair of discs rc- STEPS TO ARTISTIC VOCAL SUCCESS , ...... ••. Cryatol Water. -concl.e. detail,d III'Olmolion about Mendelssohn's inspired selling 12 cently released. The Mozart works 2nd GRADE FLOWERS THAT BLOOM IN THE SPRING _ ..•••....•.. S. M. Cha~tock tach n,wly publlih.d comflO\ilion 14 In e.onOl,nl,"t chott.llldu 101m of Goethe's poem is here given an 3015 Funny Old Clown , .....••. Croshy "YOU MUST BE THE SONG AS YOU SING IT" _ Paul Br;>,aach listed above have been played by 4065 Little Ballet - Wrl/;ht 15 outstanding performance in a Ye- 3413 Medicine Man Armour IN SEARCH OF CHOPIN ••..•.••.. '.' ...... - jtly Metlia Paul Badura-Skoda on a modern 3993 Misty Evening Scarmolln 16 • ALL INFORMATION IETWHN THE TEACHING RHYTHM TO INSTRUMENTAL BEGINNERS - .. , . Sol Qabir::: concert grand and then 011 a re- oording notable for its clarity and 4053 My Toy Trumllet Roger's COVERS OF ON~ PUIODICAl 4026 On Top of Old Smokoy ..... nrr , Lambert WHAT ABOUT STUDENT PRACTICE ON THE CHURCH OHGAN? . smoothness. The singers responsi- Theodore 1",,,,le" 17 _th.r. Ot, alm(t't 100 publilh.n of construction of a 1785 piano, se- 19:: CJfl~~~sL~~ee ·W~·lt~i·n·g.·'The' ~~~~:~~ cho(ol '''Hille In th. cOllnlryl ble for the interpretation of the AUDIENCE EDUCATiON FOR CHAMBER MUSIC...... _ . Edith 'I~ul 18 cured from a Viennese Museum. 3rd GRADE LET'S MAKE OUR STUDENTS WANT TO PRACTICE .. , .. Fl.orence ltI. PQrler 20 Even the pitch of the early piano music arc excellent: Annie Woudt, AID IN EFFECtiVE PROGRAM 3946 All Dressed u» cowen MAKE TEACHING A BUSINESS.... .Erne,t Weidner 2. alto; Leo Larsen, tenor; and David 3509 Blue Flame Stanley PLANNING was kept low, as there was no 3909 Evening in the Country Bartok A·440 in Mozart's time. The reo Hollestcllc, baritone. The choral Each artist has his own reason for choosing 3786 Heav'n, Heav'n. . ... Arr. Eckhardt -1pot. ot a glonet. !h. prttis. Mlte- 3649 NarciSSUS .. Nevin DEPAnT~IENTS tlonl lhot fit your m ....icol lIt.el! suIts are most interesting. Young (Continued on Page 7) Baldwin as the piano which most nearly approaches 3981 Samba. Yerba Buena .. Arr. Guenther 4087 Tarantella ... .'>lendelslohn LETTERS TO THE EDITOR _ 1 A PERMANENT REFERENCE SOUtCE the ever-elusive goal of perfection. As NEW RECORDS...... GeMge Guocoy ..e :i 4th GRADE --utaln your e.opl,.-lIlIQfmotion 01. new names appear on the musical horizon, an COMPOSER OF THE MONTH. . . . . • . . . . • • • . • • . • • . . . . . • • . • ...... 3 THE COMPOSER OF THE MONTH 3731 Dances from Carmen .Bi_.et-.lame;; wo." th", ....h.n you ntld il. '" IOIJ' ev.r-increasing number of them are 3999 Intermezzo On, 117 #1 . __ Bralll11S MUSICAL ODDITIES ...... •..•...... •..•... Nicolaa Slorriuuky 4. to-find mOl'lnll 372.9 Jesu. Joy of Man's Desiring "Bach Franz Joseph Haydn, ETUDeS se· 4014 March from Love for Three or~r~~~fietf lUUSIC LOVER'S BOOKSHELF .....•.•••.•••••... _. . •Dnle AtII/er,oll 6 joining their distinguished colleagues • REVIEWS OF OUTSTANOING lection for the 1\'la1'cl1composer of the 3783 Raile Over a Lost Penny UcethoH'n WORLD OF MUSIC...... 8 in their use of the Baldwin. 4016 Sabre Oan&e Khatchaturlall QUESTIONS AND ANSWERS...... Kllrl W. Ge.llrkeu. 22 COMPOSITIONS month was born in Lower Austria on TEACHER'S ROUNDTABLE...... Maurice Dunre,"il 23 -critlcal r.matb oboul tilt oll"htond· March 31, 1732. One l)f twelve children,. Joseph Rosensto~k Century Edition Is Only 25¢'8 Copy il'lg .. I,dlonl 01 In. month 01 I!It KurtAdler Cloe Elmo Rob ..,t l.w,,,ncR IN CASE OF El\IERGENCY. . . . A/e,-wllder McCurdy 24 he was Lorn into a musical home, his D.niel Ericourt Theodore l ..ttvin Aaron Rosand 010,101,11c.Ioulflt.otioA' o~ I.... " 01 Vidor Alusandro M.nuel ROSlnth.1 Ernut Ansermd Arthur Fiedler Ray Le. NEW STYLE BOWING SUPERIOR TO OLD STYLE. , Harold Berkley 25 father being all organist and tenor Ro.ina lh".innl Je.us Maria San,oma Our Graded-and-Classified or our difficulty Claudio Anau Kirsten f1agstad Maxim S<:hapiro CHOPIN'S NOCTURNE IN B·FLAT l\1INOR-A MASTER LESSON .•• Guy !Uaier 26 singer; and on Sundays and hoEdays Wilhlm B"hau. Lukas Fon Arthur Bennett lip~in Complete Catalog listing over 4000 Vladimir Bak.l_inikolf Pie"e Fournier Joan lloyd VIOLIN QUESTIONS...... 1Iarold Berkley 52 Zino Fran~es~atti lubo.hut. and Nemenolf ~:~:~t~~~r • GUIDE TO EFFICIENT ANO there was always much singing in the Stef.n Bard.. Ralael Sebastia numbers is FREE at your dealer or on Joseph Battista Samson Fran~ois Ruby Mer~er ORGAN QUESTIONS. . Frederick Pllilli/J. 53 ECONOMICAL PURCHASING Oun M.of$h Leona,d s.,ebe' request from us. home with the father accompanying the Si, ThomalBu~h..om Waite, Gieseking Harry Shub JUNIOR ETUDE...... • . . Eli~abeth A. Cell 5j~ ~ocal •• in IViI a f... mloll"llS,lhe Pat,kia Benkman Bo,is Goldo ••ky Nino Martini voices on the harp, which he played Robert Goldsand Edwin M~Arthur Leo Siroh CENTURY MUSIC PUBLISHING CD. on, arrol'lg.m.llt oul of tilt fi•• ot ~ ...~~rS:;ger Jo.efina Megret leona,d Shure Ii. off.tld that fih your budgltolJ by ear. Young Haydn's musical apti- ~~~kseefn, Dariu. Milhaud David Smith R.lph BerkowltI W~~:~ Henry Sopkin ~I U SIC Pi.rr. Berna~ Theodor Haig Marjorie Mitchell 41 West 63rd St" New York 23, N. Y. n,.ch tude became apparent as early as fjve Benno Moi.eiwits~h Tossy Spivakovsky Leonard Bem.teln Jeannette Haien Eb + obliged by playing these variations to force all the workmen into the 'with Debussy. union and to abolish piece work. ... GUY MAIER This principle, if allowed to be • put into practice, would be sub- MOZART PIANO RECITAL ANDEL'S FAMOUS remark versive to justice and ruinous to H regarding Gluck as a oom- trade. " poser: "He knows no more of con- TWO 10" trap unto als mein cook Waltz" was Musician.s often grumble about LONG PLAYING not entirely gratuitous, for Hau- the dictatorial ways of some tern- RECORDS del's cook. Herr Gustavus Waltz, peramental conductors. But at was an experienced cello player least rio modern conductor ever attempted to put his musicians into Guy Maier's dramatic recorded performance of favorite Mozart selections con- By NICOLAS LO 'I J KY and a vocalist. A contemporary tained in his own piano text - "YOUR MOZART BOOK." Students can now portrait shows him as a bewigged solitary confinement with iron hear the subtleties of technique which are illustrated in Guy Maier's classic chains on their necks. Yet, this is piano book. gentleman in knee- breeches, seated in the middle of the room with a what the chorus director in the HE GRANDILOQ E T ro- to end." 'en Brahms, \\h05e101. TWO 10" LONG PLAYING RECORDS violoncello, next to a table on service of the famous Prince Po- Tmantic symphonies of Joachim sl i P I a"'aj" from 8i.... "'. temkin, Minister of Catherine the Your daughter sits at the piano-a lovable Catalogue No. Be-l001 _ _ _._ 3.95 which there is a mug of foaming Includes: Sonata In C Major (K.330) (3 movements); Minuet In 0 Major (K-594); Raff have receded int th lu ty mi: d an ol'portunit)· to "'" beer. a bottle of wine and a long Great of Russia, did when he was bundle of pride. She's about to play s , arm -n"-h attended 21 ",. Gigue in G Maior (K·574); Fantasia in C Minor (K.3961. oblivion of library h Iv ut pipe: It is fair to assume that Herr dissatisfied with his charges. On her first piece for you ... the most forman of Phi- A Wurlitzer Catalogue No. BC-l002 3.95 during his heydey, hi \\'SS a it in Vienna! \Valtz knew something about coun- March 10, 1788, the choristers ad- important audience in the world. Includes: Variations on "Ah Vous Dirai-je Moman" (K.265); Allegro from mighty name to be C njure I with. losoph rand 101 "'en ha'elb, terpoint and a lot about cooking. dressed the following petition to There may be more than ordinary talent So nota in C Major (K·545); Fantasia in D Minor (K·397); Sonata in Eb Major Raff entertained a lofty pini n ( Piano can help (K·282J (3 movements). xpr d Ih ir londn for 1ft Potemkin: "Your excellency. Most in her playing. But more significant, himself. "I regar I fny ymph ny, o r Bi marek, th Iron a... When a temperamental piano Merciful Lord, we, the singers you know she's developing poise, self- assure her YOUR MOZART BOOK An das Vaterland," h wrot t "0 cellor, h rd 27 perlnrman THE nnd I act accordingly ... I have never practiced technique and I e.4.;·~s finest an" largest have an uneasy feeling when I hear it ad- vocated. Certainly, technique must be de- 8elec~.r~f Bells aud ChilDes veloped-but never as a thing apart. The Pierre 1\lonlcux has been The Music Teachers Nalio I .. I I aa moment you try to separate it from music, awarded the Annual Conductor Cue- A ssocrcucu ie d ito;;; 77t11 a I edbY • nnua you get lost. Thus, the simplest scales can 0tg tion for the season 1951·52 by the convention in Cincinnati. Februa 19-22. with liT'" " be practiced with an ear to tone, touch, National Music Council for his "dis- Meeling the • .\.'S were _DllDeriel.(;arillous~ Ine. the flowing of one note into the next, shad- tinguished and outstanding services the Ameri an tring Teacher. AI:. America's largest producer of bell instruments to American Music.' The presenta- s~ciation, American )Iauha)' A.~j;. ings, and dynamics. supplies the finest bells and equipment tion was made by Dr. Howard Han- t~onJ and t.1t ~lu ..ic Librar) '\'-ocia. I always make up my own exercises and for any church of any faith. son on January 17, when Momeux lion. A Wid range of -ubjefl- ~·Il I try to relate them to music, too. The was guest conductor wirh the Phllu- cov r I in Iii four-day meetingl curse of "exercises", I think, lies in their • 61 "Carillonic Bells" Flemish-type: capable of unlimited delphia Orchestra. and scm (Ih Icadill~ fim.ft'; . being both difficult and dull; thus, I try harmony. This outstanding "Arlington" concert carillon . 1 ,- In I I1 mU.,IC I 'ae ring field were in to make mine just difficult enough to cover matches the true perfection of the [famous bells of A Student Exchange plan be- chars; (If rh di\OCu--ion_.A partial Flanders. Range C to C. the point in question without being too tween the Paris Conservatolr and li ..lin~ ~(Ilt '''\C in. lud 'I fa)"Tl'mple- distressing, and also to make them inter- • 25 "Carillo~tic Bells" English-type: plays melody and the New England onservatory in 1(,111 F n -b. EnOl., Da\'i~, GtC-Im esting, as music. When I was learning harmony WIthout transposition. Ideal for hymns and Boston has been put into Ilect. A lain popular selections. Range G to G. Rees • Pnll)' Gibb., Rudol'lh CaOl, scales (and, for some reason, it was always Bernheim, the student from Pur-ls i~ Thor John ...on, term Hull. Hans harder for me to play the Gonajcr scale • Schulmericb "Chimeatron": the perfect percussion for use studying at the Conservatory for n I [ Inshelm r, Yjncem Per-klan WIth ~rgan: Full range volume control. Today's best Alec Templeton with his pet canary year while his place is being taken than to work out a complicated fugue), I value m chime music. Range 25 notes, G to G. und Esth r Hennick. in Paris by Sarah Lombardi of would Tun the scale up and back as evenl y Syracuse, N. Y. a 1952 on-ervatcry H er-rna n andh), former fir;l as possible, and then try to use it as a basis Carillons, chimes, peals, individual graduate. The pJan was al'l'anged by \ iolon clli!'ot of Ih Philadtlphia Or. for variations, or as a flowing obbligato bells. For those lovers of tradi- Claude Delvincourt, dil'cclor of Iii (·hel'ilrn. und for -ome ) ar~ a rt"~ in alternate hands while the other hand NOIv! tional bells to whom weight and Paris Consel'vutoire and Harri",ol1 spun a melody, or as a statement that could cost are no obstacle, we offer the d nl (Ron ig. 0 I1mael hll- betn • the famous facilities of Paccard, at Annecy- Keller, president of the E. on· !lolwr{'d by Ihe cililcn- of dIal place be varied by different types of touch. And servatory. Both students ar piBni ...,,,, Exercises In Musicians,hip Le·Vieux, France, backed by 150 b) having a plaque placed in the so on, After a while, my flllgers made Paccar" years heritage in bell craftsman- of outstanding ability. pulJli' J)ork-lhi~ 8"1 8 mark or aJl' friends with the scale work while my mind ship. Sold and guaranteed directly pr' 'iolion o( Ih fame broughlto associated it with music. Then scales were Cast Bells by the Schulmerich factory A ldo of mU:'iically-gifted Al11'ri. Ih ..mull ,",ummel' I' -ort b) haling organization. no longer troublesome. can soldiers: prc. Harold Levine of ..uch tI nutctf urti-t s.. a rear CIlun,1 The overall reason for practicing All sorts of music can be brought out N~w York City (violinist). Corp. r ~ident. All Schul~eric~ "C.arillonic Bell" instruments fit the ~lchard C .Blum of Chicago (viol- is the development of thorough of chord practice-indeed, a pleasant way most exactmg lIturgICal use-can be played with organ Ist), and Corp. Raymond A. T 'm»Jc ni\'er~it{s Depanmeot of learning triads, positions, progressions, and through church towers, manually or automatically. Brandes of Indianapolis (cellist) H( i\Iu"ic will again conduct Euro- musicianship and the like, is to work them out in chord For complete information write- ha~e been touring Germany in a peun )Iu ...ic Tour .. during lhecoming practice. Again, it is fun to play a chord SCIIULjUEUICU C."nILLONS INC senes of concerts before both Ger- summer. Ihe (ounh con-ecuti\-erear • as a chord, stressing its fundamental struc· "8") -1 C -" •• man and American audiences. usin'T (or ~u It lour!. TIle 1953program ture, and then to try to figure out interest- "- _a (U". OJi "ill, .~e"e.·.~vi"e,"(1. From an interview with Alec Templeton instruments of a combined value of will include XE ~CO':: International ing variations of it. I also enjoy working 842,000 ~en~rousJy lent to them by )fu ...ic Education onfere:nceal Bru- Secured by Rose Heylbut out chords on all white keys, on all black Hel~r Fnclolm Emil Hamm8. inter- :-.cls. June 3O-Jul)' 8 and abo tbe keys, and finding out where they lead. As n~ll?nal1y known deaIer·collector of rnu ..ic fe ..ri\al ...of lucerne. Salzburg. your fingers master the chords, your milld vlOJms, violas and cellos of Stutl The Grand Old Man A widely experienced vocal authority gives sound advice on attaining a of Swedish Music successful career. Dr. Hugo Alfycn From an interview with Crystal Waters The story of an inspiring meeting with Dr. Hugo Aljoen; Secured by Annabel Comfort perhaps the leading composer-conductor of Sweden. by Leone Kah! HUGO ALFVEN, composer-conductor, not until 1904 do we record a work of note. , "that grand old man" of Swedish With supplementary study in Italy over a Steps to artistic vocal success music was born in 1872. The Dalarna coun- period of some years, he returned to his tryside of his childhood, rich in sunny homeland to compose in the freedom of his landscape, green pastures sprinkled with native culture and natural environment. bluebells and daisies, deep purple lakes, His power for thematic invention and ar- cal shows you must be able to talk, act, red sunsets, and tall stately birches stimu- arrive. He is invited to parties because his tistic struct.ure steadily developed through "1 MUST have an audience!" This is the and sing. You will make big money in lated an early expression which found its dominating urge of many trained singing adds gaiety, entertainment, and the romantic folk melodies a genuine rich musical comedy and television if you can wayan the canvas. In his Tibble home to- Mi.dsu;mmer dnn crt! in Dralnl'l1il. native in- singers. Year after year it brings them to naturalness. Everyone says, "You should orchestration, Rhapsody No.2 "Midsum- deliver what the public wants. day many of these paintings add a decora- mer Vigil", purely Swedish i~ text and ~plJ'n~(m (01' D.,. Alf'\cn in •. 'uliJlg "paint- studios for auditions, guidance, and advice. sing for money." Ings In symphoni form.' To improve that irresistible human qual- tive note; but more in evidence is the huge imbued with the spirit of folk-lore, is un- Those who have been trained to sing only Sing for money. Who wouldn't like to ity you will need (1) deep breathing, (2) desk teeming with manuscript and musical doubtedly the best known of the Alfven classical songs are shocked when they sing for money. The boy or girl from Texas natural voice building exercises, (3) more scores. A grand piano in one end of the works outside Scandinavian countries with learn that the great American public will or Georgia who seeks a singing career in knowledge of vowel forms, (4) casy con- room and a huge picture window over- many recordings. Symphony No.3' in payout millions to hear popular songs and New York, comes with the idea of singing E sonant action, and (5) smooth articula- looking the calm blue lake offer the neces- Major, Op. 23 is another international ballads but much less to hear the classics. opera and concerts for money. Opportuni- tion. Some of the best popular singers have sary relaxation for this tireless, energetic favorite which, according to the composer Why? The average American listener en- ties in these two fields are few and far found it an asset to study classical songs composer. "is not built upon any patterned program joys familiar songs with lilt and melody. between, and the remuneration is just as as a foundation, while others have not At the early age of thirteen, Hugo Alf- but is what one calls 'absolute musictwit.h He does not understand foreign languages limited. found this necessary to become most suc- ven was at the piano and violin showing an expression of the love of life. It was and dreads that apparent stress and strain First, it is important for you to study cessful. equal dexterity with both instruments. At com~ose~ during a very happy period of that it usually takes to carry out the de- singing, and certainly before coming to Enjoyable singing is largely the result ·eighteen he entered. the orchestra of The my life In Italy, 1905." mands of singing difficult songs. He shrinks New York to seek a career, you should of a series of musical phrases being sung Royal Opera in Stockholm which marked Actively Director of IVIusic at Upsala from shrill, pompous, squeezed "tone pro- study in your home field and become the by a voice that pours out the words with the turning point in his career. from, 191O 10,1939, Dr. Alfven became duction" which he calls "arty," and is best singer in your neighborhood. Here an easily flowing motion. It always strives "That was a great school for me" he very lllter~sted.ll1 cantata and choral works. quick to detect artificiality. you can give concerts, sing in churches, to conceal effort. The great vocal leaps smiled. "There I learned the secre~s of The Swedish Slllging Society of over 10,000 Only about one percent of our classical do club work, teach, and appear on the various instruments, You see, all instru- local radio and television. This medium. derive their effect from conquering dis- members offered opportunity for scormg' singers become successful enough to earn is going to be developed all over the coun- tances from pitch to pitch. Now effort is ~nentalists quarrel , . , Each protects his orchestra. and voice together ,. with ongina" 1 a living in concert and grand opera work. instrument; important because effort is life. The use each believes his particular ,~ork In ~ cappella. At one period sixty The rest learn the mechanics of singing try. If you can't get work as a singer in of effort rather than the escape from it is instrument the most important, the best. picked voices toured Europe unde I'd' the classics which is all to the good, but television, ask for a talking part, and later , H r lIS 1- vital; but let us remind ourselves that the In these quarrels I listened closely and rectron. is love of folk music al • ' to get into that one percent class involves they may want you to sing. 1I d hi '\OYs rm- learned the orchestral relationship, the de- pe e un to use one folk song of h What gives a voice commercial value? goal is to appear effortless, The secret is Dr AIr' , I' a great deal more. tails of every instrument." coun try visited.isited 1n one instance the choruseac . - veil In liS home at TibbIe In his book, "Opportunities in Music" You need not be perfect to sing popular to hide it and use as little as necessary. You can learn a valuable lesson from a This may well have been a remarkable had but twenty minutes rehearsal before (published by Grosset and Dunlap), Sig- songs; but when singing on the stage or period for Alfven, for it is in the balance on the radio, your voice will need steady baby whose voice soars high and low, from the performance.. - but the renditiIon was Dalarna fiddlers in native costume mund Spaeth says, "It is only fair to warn and tonal structure that one realizes the a loud bawl to a soft coo without any such .a tr-iumph that after the perf ormance young singers once more of the dangers resonance throughout each phrase. It will finer qualities of his musical language. He effort and with a flowing smoothness. the smgers were carried through th t and difficulties connected with a concert also need to be warmed through with an No- has achieved a "cool-warmth" that is so in. . e s reets, As a director, Dr. Hugo Alfven shuns a and operatic career. To make a success in irresistible human quality. This individual tice the baby and his relaxed open throat. dicative of most Scandinavian music. His baton and relates a most amusing st f the lighter fields of music is also by no quality is what helps to put a voice in the Watch the body action that sends forth impeccable technical structure is compar- incid d - ory 0 the sound. The chest does not move, al- an mCI ent uring a rehearsal with the means an easy matter, hut the possibilities big money bracket. able to Finland's Sibelius. Boston Symphony, of an immediate return are far greater, When you corne to New York you will though it is normally high, because he The year 1898 is a monumental landmark "I tried two or three batons and and the preparation may he considered have plenty of competition, but if you have breathes from the abdomen. You will be for it was then that Alfven, the composer, . h was not gettmg t e eflect I wanted. Finally I asked definitely less arduous." something special-an unusual voice, a amazed at the vigorous contraction of his made entry with his first symphony; yet the men in (Continued On Page 50) The singer of popular songs gets an personality, and let's not forget acting abdominal muscles as he presses out the audience as "quick as a wink." The family ability, you can appear in light opera and sound-c-expresaicn we call it. Try this asks him to sing every time that guests Broadway musicals. In television and musi- and see what it (Continued on Page 61) 10 11 ~------ETUDE-MARCH 1953 .------ A highly colorful recounting of the many details concerned with the formation 0/ the new American Gilbert & Sullivan Company to those of Bach, Handel, and Mendelssohn. characters, or lines, or tunes, got stale. ville, Joseph Macauley, Lillian Murphy, The appeal of Gilbert and Sullivan lies Frank Rogier, Earl William, and Robert Son of the bandmaster of the Royal Mili- From an interview with producer~director S. M. Chartock precisely in the fact that their works are Eckles. At that moment the American com- tary School at Sandhurst {and grandson Secured by Myles Felloioes of one of Napoleon's guards at St. Helena}, timeless; they deal with universal human pany began to move forward. traits and universal situations, in the laugh. It still took more than half a year of Sullivan, at eight, played every instrument able manner of satirized caricature. The organizing and rehearsing before S. M. of his father's band, and composed tunes HE RECENT establishing of S. M. spent ten years and two World Wars in sisters-and-cousins-and-aunts situation, for T Chartock's Gilbert and Sullivan Company which the- bandsmen performed. At four- Chartock's American Gilbert and Sul- the British Army, and tw Ilty years in instance, is complete caricature, yet it re- opened in New York to critical acclaim and teen, he won the Mendelssohn Scholarship livan Company comes as wish-fulfillment avoyard roles. For orne tim, 'lr. Char. fleers a state of nepotism as recognizable public enthusiasm that could easily have to the Leipzig Conservatory where he stud- to millions of Americans, including Mr. tock had had his eye n reen' aClivities today as when Gilbert ridiculed it. ensured an indefinite Broadway stay. But ied under Felix Moscheles and Ferdinand Chartock. This alert and scholarly gentle- a first member of Lond u' 'O)ly Carte "You sometimes hear of a Gilbert and Mr. Chartock had other plans. His dream David. At twenty, his incidental music for man ranks as an ardent Savoyard, with a Company, and had nt him letter offering S~lIivan tradition of performance. I of an American company meant that he Shakespeare's "The Tempest" won him the record of having witnessed over 7,000 per- both admiration and American t nus. Then shouldn't take that too seriously. Tradition, wanted America to see it, and he launched attention of William E. Gladstone and formances of Gilbert and Sullivan. He f rst two years ago, 11is cha nc nme. Mr. reel: according to Gilbert himself, was that his tour in Philadelphia in November of Charles Dickens, who remained his friends. became enflamecl with the notion of a per- resigned Ir III th L nd n company and which is best and easiest for the artist to 1952. Chartock's efforts represent a busi- He earned fame as the composer of songs, manent American company in 1934 when, rcmemb red the Am ri an ·orrcspondcnce. interpret. He allowed his lines to be ness enterprise as well as a labor of love. hymns, overtures, and a symphony; had a at twenty-three (after completing graduate At th~t In l~lelH t.he hartock company changed according to the needs of per- He is by no means averse to producing- dazzling reputation for musical memory studies and practice teaching in economics, came 1I1to bing. \\Illh lnrtyu reen as its formance. In "The Mikado," for instance, directing a successful company; he also and craftsmanship (he could score com- a~d enrolling in law school), he presented foundati n. Kako is asked what's happened to Nanki- carries about with him a fanatic faith in plete works from memory after two hear- Ills first professional Gilbert and Sullivan Mr. hart ck ould ca have secured Poo, and answers that he has gone abroad: ily G &: S as the foundation of a healthy fun- ings); and was commanded to compose company at the lVIajestic Theatre in New the services of other 0' ) ly uric mem- Originally, Gilbert wrote that he'd gone culture. the music for the marriage of the Prince York. The critical acclaim was unanimous. bel'S. He tares, h wever, that. with the ex- of Wales (later Edward VII) and Princess to Knightsbridge because there happened Previously, he had ·worked for many Broad- You ask him why-what is there about I to be a Japanese colony there at the time, ce!)tion of two Icading player he deter- these seventy-odd-year-old works, most of Alexandra of Denmark-all before he had way producers, in particular lVIilton Aborn's and the reference had the fun of timely mined to keep hi OIllJ any American- them completely unrealistic, to assure their set eyes on Gilbert, and a good decade company which gave Gilbert and Sullivan. "fir t, we have great v ic here and, sec- prior to the triumphs of D'Oyly Carte's recognition. Later, when. the reference had Mr. Chartock steeped himself in all he uninterrupted appeal to public taste? First, ondly, I wanted the lin spoken in a Savoy Theatre. Thus, one cause for the ap- lost its significance, it came out. Mr. Green heard and saw. of course, there is the academic reason homogen ou a ·cent r a lily understandable that Savoyard comic opera is not musical peal of the operas is that they are sound uses a reference to Texas at this point, in Exp:ri~nce having taught him that just to everyone, ever-ywhar in America." In comedy in the ordinary sense. Both libret- works rather than routine pieces turned no sense breaking tradition, but rather ad- any slllgmg actors cannot transmit the th.c end, thc American ompany started out tist and composer had won acclaim as art- out in order to make a hit. But such facts hering to Gilbert's own wish for flexibility. essence of Savoyard comedy, the chief dif- with two London lead, Martyn Grccn and ists. For a decade before his meeting with do not entirely satisfy Mr. Chartock. "There is, however, a special approach ficult~ of his present venture lay in as- Ella Halman, great contralto and comedi- Arthur Sullivan (1871), William Schwenk "There are scores of sound works which to G & S, and that is that they must be sembling the right performers. The rizhtest enne. These secured, Ir. hurlock spent Gilbert was famous as the author of the delighted audiences in the 1880's yet which pla yed straight. The music, of course, of the.se.is London-born Martyn Greeno (son months auditioning over 700 ingers and "Bab Ballads," that classic of non sense and couldn't be mounted today," he says. is straight; but the satire isn't. The mean- of WI1IJam Green, famous oratorio tenor finally surround d his stellar nucleus ,lith clever versification. As for Sullivan him- "When their own day passed, they passed ing is the exact opposite of what goes and colleague of Melba and Albani), \Vh~ an A merican cast including Robert Roun5e- self, his serious works had been compared with it-something in their situations, or on on the stage, (Continued on Pa.ge 60) Mal'y Roche, Shirley Pl'ingle, Mal·tvn G. . . l\fUl"llhy,Dmolhy i\1acNcilin wrhe Pir:l,c_O'rcpen,• ~ cnzance.Ldlm,r: Joseph Macauley, Earl \Villiam and Ella Halman in "The Pit'ales of Penzance." S. M. Ch~l·toek reheal'ses (L. to R.) Mary Ro~he, LIllian Murphy and DOI'Olhy Mile- s. 1U. Charlock, produccr-d.ireclor. Lillian Murph,·, Earl William, and 'Marlyn Nell: Three Little Maids in "The Mikadu." Green in "The Mikado." 12 ~------ETUDE-MARCU 1953 ETUDE-iV/ARCH 1953 13 song, that you are the song as you sing it. Nothing less than this is enough." Mr. Breisach thought the level of musi. cal talent in America was as high as in Europe, but not higher. "We have earnest and talented musicians on both sides of the Atlantic. Talent is not a matter of geog. r aphy, but a gift of od. What One does with the talent, that i different. It is cer- tain that Eur peens have a more solid approach to the matter. Thi is not because r they are Eur ! ans. J thiJ~k. but ~imply becau e there J a I nger line of musical Paul Br-cisacb tradition an 1 study ther . Whatever Europe has d nco America can do as well, but the young tud III of mu i in Am ricn must learn better th art r patience. He must not study two }' ars, but ~ix, igllt, or ten y ar , b f r h cxpe 'Is to start up the ladder of fame." Amplifying the lacks f young American sing rs.: I au] Breisach sp iii d: "They need more languag tu I),. Th Italian. ~~{}rt//Ch French, German of m st of our Amer- Frederic Frnncois Chopin ican students is atroci u. t with a very (Upper 1.) Chopin's Piano (made by Pleyel) "You Must Be the Song little concent rat i nand effort this could be cured. for these languages arc not more difT~cuJI than Engli~h. in s me respects are 0, ¥~~ easter, except p chaps th G rman. AI as You Sing It" tudents need rnor study of bodily exprcs- M. Alfred Cortot's important new book reviewed by Jay Media sion. A singer mu I have ntrol of his body. Th re is u right and a wrong \fay to w.aLkonto the stage, r t cross it if you A distinguished operatic conductor has words of in spmt, his face has the beauty of a sad are In opera. ne can expre all types of was born in the recent years M. Cortot's lifetime devotion M ALFRED CORTOT woman, pure and slender in form, as a wisdom and advice for the young vocalist emotion by bodily movement: for example, • French section of Switzerland in to the study of Chopin has won for him young god from Olympus, and to crown Thebom call set IIny mood simply by the 1877. He was taken. to Paris as a child the crown as the foremost of present day the whole, an expression at once tender way she uses her body. Thi i important and brought up under the aegis of the Chopin experts. He has brought a new and severe." Liszt wrote that Chopin had From an interview with Paul Breisach for the young singer to understand. yet Paris Conservatoire. At the age of nine- penetrative light to the works and life of blue eyes. Others contended that they were too few of them know it." teen he won the First Prize in Pianoforte the greatest composer for the pianoforte, Secured by LeRoy V. Brant (Third in a series) brown. Cortot's findings indicate that they The Maestro had several indictments of at the Conservatoire. Shortly thereafter he which gives his new volume especial value. were bluish gray. managers and the musical public in gen- went to Bayreuth as assistant to the re- It is in no sense a biography of the im· M. Cortot devotes one small section to eral. For what they may be worth, and as nowned Wagnerian conductors, Mottl -and mortal Polish·French composer. Your re- an opportunity for young OW11 "TI-!ERE ~s taping of their voices. viewer advises that the reader refresh his Chopin's amazingly supple hands and "vel- sll1gers If they are good enough. The thought-provokiJlg for both young and Richter. He conducted the first perform· "T~o many of our young singers are mind' by reading in advance James G. vet fingers" as George Sand called them. reason we don't do 1110re Wagner is be- older America .. 1 pass them 011: ance of Wagner's Gotterdammerung in conceIted. Do you know, they ofte'n are HTI . Huneker's understanding work Chopin and M. Cortot writes of them: "With a cares- cause we have not enough singers who can lere ]s less music in America than Paris. He succeeded Raoul Puguo as Pro- not nervous when they sing. This is very (1921) or William Murdock's sive suppleness, well separated from one do 'Vagner!" there should be. take it all oyer the nation. fessor of Pianoforte at the Conservatoire. His Music bad. When a person is so sure of himself Chopin, His Life (1934). In your library another where they joined the hand, each The-speaker was Paul Breisach, for more b~cause we have no linister of Fine Arts Later he. was co-founder of the highly suc- that a stage a.ppearance does not make him you will probably find numerous Chopin finger was well endowed with its own indi- than thirty years operatic conductor in wlth authority to help music. 1I through cessful Ecole Normale de Musique in Paris. nervous, he 15 more sure of himself than biographies. In his new volume M. Cortot viduality. His fingers were ready to receive Europe and America, whose name is known the ~enturies in Eu rope we have had much Thereafter, M. Cortot made numerous tours he ought to be. He should be so concerned lists 171 works upon Chopin and there are his flashes of inspiration as a branch of a at the Metropolitan, in San Francisco mUSIC, and we have produced Brahms and of Europe and America with flattering suc- ~o do well, t~ please his audience, that he doubtless scores of others. tree bends to the least· breath of wind or Prague, Budapest, Berlin " ... untH Hide; IS at least a lIttle bit nervous' B~ethovell and their brealhren because of cess. Chopin was not only essentially a com- rejoices in the fanciful twining of the made it impossible for me to work there", t.hIS abundance. And the abundance in turn Although Vladimir de Pachmann, who "Another thing, many youn~ people want poser for the piano, but the very large honeysuckle or convolvulus."* Stephen and who, between rehearsals for the Cin- to ,reach the top of the ladder too s has been possible because music has always James G. Huneker named the "Chopinzee" proportion of his works which remain Heller once said that Chopin's hand could cinnati "Opera at the Zoo,n talked to me of Some feel if they have stud,·ed t oon. been subsidized. ]f America is Lo reach the was generally considered the foremost of I wo years . stretch over one·third of the keyboard. music. . full ~neasure of musical greatness, is to ha\'e modern interpreters of Chopin, your re- viable one century after his death, is prob- t Ie! ought to pe able to sing ever)thina This must have been pure hyperbole. Prob- viewer does not altogether agree. A long ably higher than that of any other com- ;'1 take it, Mr. Breisach, that you think TIns cannot be done, of Course. To kno~~ mUSIC for all the people illstead of the few ably no human hand save that of a giant who live in 1 . . I acquaintance with de Pachmann and his poser. our young singers aTe not well prepared. the n~tes of a song does not mean that you arge CItIes, S Ie also must ha"e reaches over thirteen keys, which is con- What would you suggest is wrong with a system such as existed in Europe. There, Chopin relics revealed that he concentrated M. Cortot's first approach to Chopin is can smg the song well . You must know sidered abnormal. Yet another observer re- them mostly? What do they lack?" I we had a St t 0 upon a limited number of Chopin's works physical. Chopin's' height was :five feet so lUUC 1 of the music, so much of the lan- CJ ae pera, a State Symphony, marked: "but this man has hands that The al~s~\'cr came like a bullet. "They and did or did not play them "gorgeously" seven inches according to a passport issued guage, so much of the background of the lOruses which were aided by the State. stretch like a snake:' lack hunllhty, most of all they lack humil- And even tod IE· according to his passing mood. There have to Chopin when he ,vent to Paris in July ay. '" len urope IS so POOT, The next chapter reveals many new as- ity. They do not know how to evaluate been other virtuosi whose performances of 1837. His face was oval, with a medium people have music at the same time they pects of this remarkable personage. Chopin themselve!':'.They spend too much time criti- Just when we were prelJarinlY ll· . I have bread. Chopin have been thrilling, among them sized mouth and a round chin. His weight fl. l:> llS artlc e according to George Sand and Liszt had a cizing the other singer, his costume, or or ~Ie prmter, word came of the sudden Ossip Gabrilowitsch, Edwin Fischer, Wal- in 1840 when Chopin was thirty years old, "In this country music is largely in the great method of pianoforte }Jlaying in makeup, or principally his voice instead passll1g of Maestro Paul Breisach. His hands of society circles. Maoy such people ter Gieseking, Harold Bauer, Isidor Philipp was only ninety-seven pounds. George Sand death on December 26 came wIlen I and notably, Maurice Dumesnil, who Pleyel in her novelized life of Chopin, Lucrezia mind, but did not have the time and energy of looking in the mirror to see their own . h ·d. Ie Was use music as an al°d to tIleU. ad,'anee· In t e InI st of a busy conduCl,·ng season. et Cie., sent upon a lengthy tour in Amer- Floriani, describes him in the guise of to organize it and complete it. He appar- costumes, or makeup, or listening to a ment up the sOCla. 1 Iadd er. To tbem. luneh. Prince Carol thus: "Delicate in mind as *" morning-glory eons and cockt al·1 (eonllnued. on Page SO) ica, with Chopin's piano. However) in more 14 ETUDE-MARCH 1953 15 ~_L _ ETUDE-MARCIl /953 • ... ""'....--!11111------ Continued from Page 15 ently left some fragmentary notes which Here are practical words of advice his biographer, Jean Kleczynski, attempted Teaching Rhythm to arrange and collate, and which were in answer to the question in turn worked over by Mme. Natalie J anotha, Polish pianist and pupil of Clara Schumann. These were published in 1883 to in English. M. Ccrtot, when in London in 1936 secured a copy of the manu- What About Student Practice script from the aged Mme. lanotha. On Instrumental Beginners this manuscript he says in part: "I do not recommend a study of this document to those of Chopin's admirers for whom music is a language of the spirit and not a cold by SOL BABITZ on the Church Organ? theoretical science. It will certainly not bring them into closer contact with the genius who produced those 'joys so full of HEN you tell a child to beat time to natural rhythm. sorrow' that Heine speaks of." He does, music he will have little trouble in Now, if the child wcr permitted to play by THEODORE SUMMERS however, reproduce a full transcription of W beating his fool or clapping his hands in ill a r-hythrn i ·ally imple manner as in a Chopin's manuscript, but remarks: "People fairly good synchronization with the rhyth- rhythm band: are likely to be misled by the document. mic beat. Teachers of dancing, calisthenics, Instead of the great work which we know On the other hand, there may be some talent, remains undeveloped because there and eurhythmics have little difficulty in o PERMIT or to prohibit student prac- that Chopin had in mind, the importance ... very valid reasons why a church organ is is no one to wield influence in his behalf. teaching young people to make large body T tice' on the church pipe organ presents of which is amply confirmed both by not always made available for student prac- Do we limit the practice privileges or give motions in time to a rhythmic beat. Even a knotty problem found in almost all George Sand and Liszt, we find nothing - priority to the young people of our own subdivisions of beats are easily grasped in there would be no mu ul r interference churches, and there are probably as many tice. more than oddly disconnected phrases The first reason is the actual operating church or denomination? Do we consider these fields. and th r11) tluu i . I roblern would he sohed different attitudes involved as there are about the elementary teaching of music, cost of the organ. A large pipe organ that while our own church has an organ The same children however, who have no al once. J\ her I 'urn ing th· rh thm and churches, and people concerned. Many and an organist, the new mission at the strung together in the most haphazard churches have very definite and stated pol i- might be powered by several motors of difficulty with large rhythmic motions ur in subdivision of the .. ' IIHt lit in thi \\a), the edge of the city has, as yet, no organ, but fashion. The manuscript bears no sign of des, while other churches make their poli- one to ten horsepower each, and the power any personal touch and with such surpris- beating time to music, suddenly seem to lose child could proceed 10 learn Ih correct in a .few short years will be established cies as conditions and problems, arise. consumption is not to be ignored. Even all sense of rhythrn as soon as they begin fingcrilli' with little difficuh. since the and will have to dra w on our parish for ing vacuity one can only regret that In looking at the problem of student though the student pays for practice privi- it escaped the fire that consumed the to playa musical instrument. The averaeeo rhy thm hns nlrcudv I, 'en lit through a an organist by necessity unless the mis- practice priyileges, we should keep in mind leges, it is seldom that the student Iees ' child, after being taught the rudiments of physical c vp rr-seion. Th ph ..i al rather sion's own young people are also devel- master's unfinished works." at least three aspects of the question which derived can meet the actual operating M. Cortot writes regarding Chopin's fin- piano or violin and confronted by a group than the mu t hcnuu i ul ,II pmaeh i.. often oped? concerns the church: (1)- The availability charges involved. gering and technical principles: "Only his of quarter notes mixed with a few pairs of the shortest \Hl) out. Too often these problems are solved by of local organists; (2) The ability of the The second reason for not permitting most talented pupils were capable of ab- eighth notes has difficulty in keeping an Similar problems oc .ur in violin teach- the boards of control merely issuing edicts church to meet the costs involved; (3) The practice is the difficulty of arranging prac- sorbing his teaching, which was the ex- even beat and finds subdividing a beat ing, Tea h r» ha' already r und. lor that there will be no student practice. This traditional attitude· of the church toward tice hours when such practice will not 'in- pression of the artist in him rather than of quite painful. What causes the loss of the example. that in I rmitting th student solves the temporary problem at the cost the problem. These Inoets. and others, will terfere with the normal religious programs. the schoolmaster. But if one tries to recon- rhythmic sense under such conditions? to play dow II bow Oil th str ng beats, of facing an organist scarcity in the years temper the attitude of the board of control This is especially true in Catholic and struct the principles of his technical teach- The reason lies in the complexity of the early problems {rh),uunic co-rdination to come. or else facing a high salary for to a plus or minus solution. Episcopal churches where daily services are ings from his scattered sayings, one finds muscular movements involved. Whereas in arc simplified: an organist if one can be found, for organ- The problem is particularly vital in the usual, and where the church building must thern devoid of any particular originality swaying or beating time to music the mo- ists' salaries are necessarily afIe~ted by the smaller cities and towns where churches necessarily be open to all for meditation and, except on certain points of detail, ~ion and ~he rhythm are identical, in play- I ,. :1 law of supply and demand. - '1_- 1i - V - .., must "grow" their own organists. The and prayer. In the northern states the quite inadequate to support the view put wg an Instrument the ructions do not A number of case histories will show ...... churches in the larger cities usually are matter of heating must also be considered, forward by his contemporaries that they coincide with the beat in a simple oraa nin how some of the various churches in the ---~-- more fortunate in having nearby college as many smaller churches are warmed only had 'the secret of Chopin's piano playing.' fashion. The unaccustomed business ot con- community have handled "the problem: The random introduction of mixed note music departments, conservatories, profes- during the weekend. "In the first place, they concentrate on t~olliJ1g.the many muscles used ill playing Church A, the first church mentioned val~es a~ld slurs can quickly destroy the sional music teachers, and part time muei- The third objection, while one person scales which produce that position of the airnply Interfere. with the time beating. In- previously, has a large organ given by a bcglllller s rh~ lhlllie on6dencc. cians who might be called upon to furnish might call it trivial, would be of major fingers on the keyboard most likely to sup- strumental. p[aylllg for a beginner i:; not very wealthy family. No practice is per- The left hand ha~ Ix"," gon rally di,.... talent. Churches in the smaller towns have importance to another contributor. We port their theories on the subject. The ~ccoml~allled by a relaxed attitude, and It mitted under any conditions. A very ordi- garded ill relat ion to rll Lluuic lrainin~: none of these advantages, and must, there- might describe this phase of the problem scales chosen in support of this contention IS pr,eclsely the relaxed atlitude which made nary organist is being paid $2000 per b~~.here too th rc 31' inter ling ~i. as Sentimental Reasons. Often an organ is B E possIble accurate time beatin17 without fore, develop today the organist who will are those in major a'nd major. • 0 an given as a memorial, or as a special gift year for playing 45 Sunday morning serv· InstrUlnent. ?Ihtles. I once had a ~tud nt "ho found carryon the work of the church, or of "It is usual to begin one's efforts at It ' 'I,I ices-no evening services and the church llllPOSSI c to pia lh foUo"~ing not another church, tomorrow. by some well.to·dC! parishioner, and al· playing the piano with the scale of C. The followil.lg example will show how the is closed seven weeks in the summer. The evenly: I have in mind a protestant church in though the instrument becomes the prop· Chopin thought, not without reason, that a~erag~ playlllg 'problem in beginning organist is not of the faith of the church. a midwest city of 65,000 persons which is ert)' of the churc~, the donor, or the this scale is the most difficult of all. Its plano mterferes WIth the beat. In playinO' Church B, the neighboring church, was .~·I paying approximately $45.00 per week for donor's family, continues solicitation over study, therefore, was left until the student these notes on the piano tl .. ., . ., ... an organist who was trained at the church the organ, forgetting that an organ used blessed with a fairly successful merchant· was more advanced. Mikuli, who has more member who was an organist by avoca- E.c .. next door by an organist who played there will usually outlast one left idle. to say on this subject than Chopin's other 2 3 • _ 12 ". Then there is the question of personality, tion. He played in his church fOT forty pupils, notes that in passing the thumb To help him Icarn it I en ouraged him to for forty years gratis. The first church has :1f~- plus its ramifications of family influence, years gratis, and during those years he under the fingers the slight movement of tap his foot for ea it quarter beaL be· never permitted young people of its parish priority, and political connections. While was constantly training three students at the hand accompanying this action must there is a single fiwrer motion on th fi ca~se. additional pln_ical lHotion~ help to develop on the organ, but has always . 0 e nt we try to shut our eyes to these factors, all times. As one student finished his in- not-paradoxically-affect the perfect even· coordl1late rh~ L1un. -FOOL tappin~. hOll' had to "borrow" an organist from the beat, whIle on the second heat there is a they exist nonetheless. We have all seen struction, he was usually snapped up by ness of tone demanded by all these exer· double motion: raising the third finge d ever .. only made thin~_ worse. uddenh I neighboring church-of a different de· 'k' h ran rcahzcd that I ' , 'd nomination-the borrowing always ac- cases where little Mary, the daughter of one of the other churches in the same cises, and this applies equally to the fingers stn II1g t e second, which is immediately . "as Lq mg Lo make him fJ companied by a number of complaints a large contributor, is permitted to prac- town, either by a church of his own and the ·wrist. Frequent changes from followed by another double motion. The 51omethlllg completel)' opposed to all natural about the high cost of organists' salaries. tice, while Johnny, with perhaps twice the (Continued on Page 62) legato to staccato are also recom· unevenness of these motions interferes with aW5 of rhvtl"~ lnllC mOhOD. I W3..5~king h'un to put I' r mended to (Continued on Page 19) the evenness of the beat and destroys the 118 ooL dO\nl OD the fin-l nult" (Co1l'i1l"rd 011 P0f!.e 60i ETUDE-MARCH 1953 17 16 F.n Dr. 1/ JRCH 19iJ by the purport of a confession which, IN SEARCH OF CHOPIN develop a complete independence two days before his death, Chopin of touch. made to a Polish priest, who left a "Supple lateral movement of the (Continued from Page 16) highly questionable account of it. fingers must be acquired if the "From the cradle on he burst into student is to attain the perfect sobs whenever his mother endeavored quality essential to the playing of to sing him to sleep by humming young boy, and remarked to de Lenz, teresting fashion, the author passes the fast legato scales and arpeggios." one of the Mazovian songs, whose who tells the story, 'When that child to what your reviewer deems the Chopin was by no means a corn- haunting melancholy was later to starts touring I shall shut up shop.' most momentous chapter in the placent weakling as a teacher. M. pervade the melodic substance of "Chopin did sometimes have to book, "He Was Not Like Other Cortot points out: "Mathias recalls all his work. It was the same if his spend the best part of the day Men," in which he delineates certain that he saw him break a chair when father attempted to recapture the seated at the piano beside the young influences which made Chopin such an inattentive pupil bungled a country songs on the flute, which he heirs of the aristocratic, moneyed a distinctive personality. For in- passage. Hair would be torn out, remembered from his childhood days families who formed the greater stance, he writes of the great im- pencils reduced to fragments and in far-off Lorraine. Legend has it part of his clientele. Again, how in- pression of Chopin's mother upon strewn over the floor as a result of that Chopin gave way to uncontrol- appropriate the word 'clientele' his career: bad playing or wrong notes. There lable childish rage and deliberately seems when used in connection with "To quote George Sand, whose �Nllc/~Cr3 was nothing for the wretched pupil remark perhaps holds some trace of broke the fragile instrument, which Chopin! to do but esca pe from the room. His secret bitterness, 'his mother was had unwisely been given him to play exit would be followed by a thunder- "Nevertheless, he corrected his pupils' faulty fingering, and was the only woman Chopin ever loved.' with. ous decree forbidding him to show "It took a Iittle while for his careful to point out any incorrect She seems to have been gifted not @,tNeaho/~ his face there again. only with all the domestic virtues, parents to realize that far from method of positioning the hands HAs George Sand has put it, but also with a most attractive being a sign of utter distaste, his 'When roused Chopin was terrifying.' on the keyboard. "Wjth difficulty, beneath a strained quality of affability, the gentle glow abnormal reactions were in fact These outbursts of fury. were, of determined by a sense of hearing politeness, he disguised the tortures of which affected everyone around course, common symptoms of a lurk- he endured. EVeI"y wrong note was her. so acute that he was moved to tears P/~ ing disease, the disease which had "She was the daughter of a coun- where less receptive children would for many years past been under- like a knife thrust. "Hours devoted to efforts he knew try squire-a fact which Chopin probably have been content to drift mining the musician's frail constitu- Th~ New.Mu.sic. Su-Ing Quu!:tet-B"oadus E.·le, violin; Ma.ull w to be valueless. Wasted hours spent was particularly proud of-although into sleep." Raimondi, "Iohn; \Valler Tr-amplcr-, viola; elmls AdAIll, cello. tion. There is no need to offer ex- Chopin's many love affairs brought in an atmosphere of bored resigna- he only mentioned it occasionally" ~h',"/~~br3/~ cuses for him, since they were him little joy and much anguish. tion. This, added to his day-to-day She was also a most devout Catholic, entirely independent of the victim's The eight years with the matronly, difficulty in dealing with an exist- but by means of some poetic detour A comprehensive survey 0/ the present will. In fact they were a typical ex- of the imagination, which for her frigid George Sand are skillfully ample of the wholly uncontrollable ence already threatened by an in- curable disease, must have been a held not the slightest hint of heresy, etched by M. Cortot. Both Chopin JM~~c day music listening public reveals a reaction of the personality to some she also held a superstitious belief with his neurasthenic sensitivity and heavy burden. " slight physical cause." "Hours denied to the outpourings in the power of popular legends to George Sand with her masculine, Chopin's temperamental explosions growing conviction that audiences [or of his genius, hours sacrificed on the enchant. This cannot have failed domineering complex, were temper- were certainly bad pedagogy, but to leave an indelible mark on the menta lly abnormal. To George Sand, by Edith Sagnl we must always remember that for altar of necessity. chamber music must be educated. "Publishers stole the copyright sensitive mind of the future com- Chopin as well as the author de the better part of his mature years of his works without hesitation, paid poser of the Ballades; it certainly Musser, were part of her scheme to he was tubercular. Chopin was a him a miserable price for them, and played an important part in his attract publicity for her own under- teacher by compulsion and not by made enormous profits for them- spiritual growth. Although his re- takings. At one moment we find her inclination. His great impulse was IT IS A COMMONLY recognized fact in selves. Five hundred francs for one ligious beliefs did not at any time saying: "Chopin is dying of the in- dren. The informants gave facts bear ina spans and interest their voung lev I f . 0 to create, but in order to do that he precipitate that mystical crisis which sane affection he has for me," while . the mll,sIc profession that chamber music ver.y little evidence of the existence of edu~ of the Ballades or Polonaises, a supporters ". All sorts (ingenious devices had to spend interminable hours with is familiar to many young people, later she refers to him as "her dear IS appreciated and supported by only a cational activities for .these persons. In thousand francs for the Preludes; a~ld techniques are used, ranging from pupils, only a few of whom were corpse," arid acts as his nurse. very small segment of the American public. sums that didn't pay for his cab one would have expected it from an cases where a particularly active situation vr I id . inspiring. M. Cortot writes: sua ar S, iustruruental demonstrations, fares, his daily pair of clean white impressionable nature such as his. Chopin fought valiantly to the In contrast to other areas of musical per- ~ame t~ the attention of the writer, it was "All in all, Chopin's life as a p~esence .of participating composers and gloves, still less his constant gen- "His mother's example gave him end of his life to continue his teach- ~ormance which have made great headway teacher was drab and lusterless. llltere~h~l? to note that such a program had Visual a.rtrsts, to the actual participation of erosity in discreetly helping his more a lifelong respect for religious ing, giving many lessons while lying 111 ~eneral popular acceptance, chamber "With a few rare exceptions, his upon his bed. After leaving George been InItIated. b.r c~amber music loving the .children in the performance of the unfortunate compatriots. dogma, but even when the circum- mUSIC gr6u~s perform for minority audi- pupils were drawn from a class with amateurs and civ ic-m inded individuals. The "He had no choice, therefore, but stances of his emotional life might Sand he even contemplated coming ences. Music schools and certain civic mUSIC. The opera, too, has reached out in no professional musical ambitions. results. of ~he survey showed further that to endure the drudgery of teaching have been expected to encourage it, to the United States. Out of gratitude nun~erous ways to educate unsophisticated Amateurs, whose surnames were to gro~ps are just beginning to realize that v~ry little IS being done by institutions of he never felt sufficient confidence or to his devoted wealthy Scotch pupil, audiences, Children's stories have been be found in d'Hozier, could hardly for a living. audiences for chamber music: too, can and Jll.gher education in providing experiences "The price 1ve know was twenty-" eagerness to call this respect a con- Miss Jane Stirling, he was induced used for musical adaptations. Films hue be expected to enhance the reputa- must be educated, and not be left to chance {our francs an hour, and the hour vinced belief. to make an ill-fated trip to Scotland. WIth ~hamber music for the neglected. tion of their master as a teacher developm~nt. It cannot be expected that been made On sections of operas. whole was generally prolonged, without "He was not an atheist; his at- 'Vhen he returned to Paris in an potentI~1 of the American public, lay adults or to display that enthusiasm for hjs an acq~allltan~e of young and lay audi- operas, the operatic rehearsals pointed to- charge, in the case of promising titude was rather one of indifference. almost helpless condition, Miss Stir· an~ chIldren. Such experiences are, in the artistry that would carry the public el1?es WJth mUSIC, generally, necessarily ward the interest levels of children. Regu· For him, communication with the ling, who had asked him to marry will n~al.n,. res~rved for students 'who are spe- with it. No, compared to Kalkbren- pupils." brmg ab?ut an intelligent support for cham- lar performances on th radio by leading After discussing "Chopin's Works divine spirit was through his music her, sent him 25,000 francs to ~eep clahzlI1g'Ill instrumental music . III many ner and Stamaty, Chopin cut very and by virtue of aspirations quite him from privations in his last days. ber mUSIC. opera companies have contributed greatly in the Ugh\: of His Correspondence" cases, t he remainder of the student b d hale ice as the leader of an Academy. independent of redemption by con- The final section of M. Cortot's The wri~e~· was particularly concerned toward stlll1u)ating a wider interest in -"Chopin's Debt to France" and to. say nothing of the communl.t y, remaInso. y, "Pianists were anxious to add to fession. This impression is confirmed volume is devoted to reference about provISIOns for audience education as opera. "Chopin's Concerts" in highly in- Ignorant of. what chamber mu·SlC IS.. their technique by studying with material, a fine bibliography and a result of a recent survey she made of the . Th~ need for specific educational activi· Leaders In the various areas f . a famous artist. Liszt kept the Alten- a remarkable discography';:" listjng . I' 0 senous st~tus of chamber music activities in the tles m the area 0f c h amber musIc. for burg of Weimar filled because of muslca In:er::pretation have long recognized WHAT IS .RUBATO? an unusually large number of record- ~hlrty la~ges.t c~ties in this country, and n~gl:cted segments of the public is J'ust be· his great European reputation. No ings of Chopin's works by famous the. necessl.ty of finding ways of projectinu by Elliott A. Watson In oalllning t 0 b ,. such stream of internatjonal virtuosi .168 InstItutIOns of higher education theJr partIcular musical organizations t'=' e rea lzed through certain con- pianists. Alas, there are no record- crete efforts i t'· d· . passed through Chopin's rooms in whIch .have music departments. "'" It was u . . n lIS lTectlOn. everal recent ings of Chopin's own performances, t~le less-mu~icall.y sophisticated segment o~ the Rue Tronchet or his little house TISZT once said that no one could define or describe rubato without f?und. In t~e survey of the cities that very or :,amzatlOns of national scope are devel· more's the pity. All in all, M. Cortot's t le populatIOn m order to develop I jn the Square d'Orleans. L illustrations at the keyboard. The novice who affects rubato with- l~ttle IS beIng done beyond the presenta- d" arger opmg chamb cr mUSIC" enthUSIasts. rapidly. book will bring the readers closer au lences. Iromcally enough , b "So far as a career as professional out instruction, usually succeeds in destroying the normal rhythm. . h' , Clam er among the H •• to Chopin. It should be in the posses- tIOn of chamber music concerts in helping musIc w Ich originated in the I h non-specIalIst" groups. 0 Musical structure js like a clock. It n~ver stops ticking regularly unless . . lome_ t e d b pianist is concerned, a very short sion of every advanced student of to foster unde.rstandillg and appreciation of fou t a '.reason f or. th e po'werful influence jt is purposely changed by expression marks, presto, allegretto, an- pIOne~r m gr.oup performance, is the l;ind- list covers all of Chopin's pupils the piano. chamber mUSIC among lay adults and chil- ~ orgamzatJons like the rational Associa· ~nost 111 fi?dmg ways for its assimilation who were destined to leave any trace dante, lento or by "hold" signs. Chopin used to say (and who knew (Etude desires to thank the Abe- tlOn of Am t Ch Illto Amencan culture Sympho h a cur amber Music Players, of their existence. more about rubato than Chopin) that in rubato the left hand was like lard Press, Inc., for permLsswn *.Edith A. Sagul, _"Development of Chamber Mu. . ny ore es- an d Y oung A d· tras have been for some tim k· u Iences, Inc .. is the moti,-e "The most remarkable of these, a maitre de chapelle (concert master) who kept the measure while s~c Performance In the United States." (Unpub- .d . .e ma mg ureat to use the foregoing extracts front a f a strong d· f . and the only one to give promise the rjght hand made the variations in tempto to suit the mood of the hfshed ~d.D. project report, type C. Department stn es 111 educating the public I d~ tl I esue 0 mUSic-lovers to share HIrL Search of Chopin.") fI . n a lrect of a spectacular career, was Charles composer. When the rubato stole the time in one measure, the left o MUSIC, Teachers College Columbia U " e ort to capture. children as audiences: the le ~ ea~res which the playing of chamber Abelard Press, Inc. $3.50 sity, 1952.) , mver- mUSIc a ords. The idea of the, AACMP. Filscht, who died at Verrieres in hand had to make up for the theft in sllcceeding measures. adapt symphonIC music to the att en t·Jony * a catalog of recordings. (Continued on Page 581 1845, aged fifteen_ Liszt heard this 18 ETUDE-MARCH 1953 19 ~-----~- ETUDE-J/IIRCH 19;3 4114'------ Some teachers find Let's Make Here are practical suggestions it difficult to combine modern business methods with their professions. Here from a busy teacher concerning is sound, practical advice which will Our Students an ever· present problem. go far to help Want Make Teaching a Business by FLOREl E . P RTE to Practice by ERNEST WEIDNER HETHER you are willing to admit it the grade today and remain in his chosen It is our purpose to present here a solid She is not dealing with those born mu- aspires to playing th difficult pieces he campaign designed to help increase the HOW CAN we get students to practice? W or not, a professional teacher must, field, he must be an aggressive business sicians like little Don, whose every moment hcar hi lri nd perform. Thu-, lore has class enrollments and to aid in holding That's what we all want to know, out of sheer necessity, be a business man man as well as a teacher. Everything in at the piano has been a joy, from the time a doubl in en til 10 build. r pertoire and teachers, parents and students. or woman. The glories of the profession, the world is becoming highly complicated; the students once they start taking lessons. he could press down one key, listening in entertain . mpon . Teachers strive to make students want the good will of the students and their the music profession along with everything If perseverance is part of your personality rapture to the rich tone. He gets up with Johnny's t a h rail" him to hoo;ea to practice by using incentives appealing parents, and the joys of true accomplish. else. And no matter how much we lament and you attain the measure of success the sun, is at the piano first thing in the pie e I r him. II a i nail. Th one he to the student's age and interest; for the ment all have been written up and glorified this fact, it must be recognized nevertheless. which other teachers experimenting with morning and last thing at night. Students choose may be t dilli ult f r him, but student's success is the teacher's success. with considerate and elaborate treatment Unless a teacher adapts himself to these this campaign have enjoyed, then you will like Don don't need practice incentives. he practi es twice {I h rd in del n-e of Parents help, because the child's success is many times over. But, as suggested above, changing times he will find himself pushed shortly find that your income is not limited More often the teacher has to deal with hi own ch . 1I lorn. hurd!. 10 ac- what they live for. The student makes him- there is another side to this great profes- to the outer fringes of the profession by as before: by the number of your pupils the comic book fans, Johnny and Sue, of company hi own In lodi and popular self practice, because he-wants to play with sian; a side which is frequently overlooked the more aggressive teachers in his locality. . . . but rather limited now by the time average talent, little interest in music, tunes. If w g 1 th m 10 pra ti ,it mu the least effort in the least time, and he by a great majority of good teachers. During lectures and discussions with you have to devote to them. averse to work, but full of play. She must be fun, and ,\ e in Iud mu ...j f inter to practices in direct ratio to the immediate If teaching is your business, you know teachers of many types of musical instru- A successful teacher of music . suc- appeal to their basic instincts, the universal pleasure and satisfaction he gets from the a child, even \\ b on. without any doubt that the number of ments, I have been repeatedly surprised by cessful pedagogically as well as financially human emotional needs for recognition, music. Adult musi i no m re uirable for students attending your classes and the the lack of fundamental business ability ... must be a veritable Dr. J ekyl and Mr. response and companionship. These give Give students what they like and they children than adult loth ! Ultliog the private lessons you give in the course of a among them. This is true not only of Hyde. He or she must be the kind, under- a solid, logical foundation to build upon. will practice. The wise teacher studies her child sele l what h wants 10 do makes week materially affect the food on your teachers in the smaller towns but of the standing, patient Dr. Jekyl during his Above all Sue wants to feel important, students individually, planning music, meth- music fun. Hav ing fun III RrongtSl table, the clothes on your back and ulti- studio teachers in large cities as well. I contact with his students, but he must as- she wants acceptance of her personal worth. ods of presentation and practice incentives reason for practice. mately determine whether or not you have have talked with instructors who knew their sume the role of Mr. Hyde, or better still, by family and friends. She needs incentive~ which appeal to each personality. When stud nts d is u'" tb ir h pes aD ANSWERS PLAY YOUR BASSES TEACHER'S QUESTIONS AND It was Ch:·M, WiaoT, the great musician and organist, who said "the pianists do not ° paper a compOSition that you expect to play enough basses," And how right he play from memory, there is but little dan. was! It 1S a constant experience, when lis· ger that you will forget it while perform. tening to students, to feel that deficiency ROUNDTABLE at the base of the harmonic texture. Chords ing. K. G. or arpeggios forming the left hand accom- WHAT 00 THE "SPHINXES" MEANl paniment are lacking the proper support In c!wmann's HCarn(wol Elite" be· from underneath, It is like a house with- MAURICE DUMESNIL, Mlls. Doc., Conducted by KARL /fl. CEll RKENS, uveel1 Hepli IU and Paplllons Iltere ap- out a foundation if such a thing could ever gives advice about self-advertising, Music Editor, Webster's New International pear 'he jollow;'lg lrcmge notes, mar~oed exist. In the case of a broken chord the playing more bass, and other matters. Dictionary, assisted by Prof. Robert A. "Sphinxes." pedal is often depressed too laLe and that supporting bass note is entirely left out, Melcher, Oberlin College S".I :,<,,,,2 • 8>-- -5-' which ruins the harmony. \\lhen this is __ -_=-=-= r; repeated it creates an impression of lop- What do they mean? sided, top heavy playing. This is also no- M. ., lIlinoi, ticeable when listening to pianistic and tionship and cooperation, and one more come outmoded ; Whether there be techniques, they shall be Schumunu'a arnoval, 0 collection of orchestral performances in records or over reason why the booklet should be recom- abandoned; THIS SINGER HAS TROUBLE WITH subject. Above all, don't get discouraged short pian pi ces des ribing \ ariou ... lies the air. Of course conductors and virtuosi mended as an invaluable aid which ought For we know only a little, HER BREATHING if you don't succeed at once. The path to an I charnel rs at a rna k d hall, bears play in their normal way and in the latter to find its place in every piano studio. And can pass on to our children only a I have studied singing for about six success in music is a long and difficult one, the ubtitle. c. cencs mignon .. sur qualre case it would be difficult for them to do little; months with a good teacher, but I have and you must have both courage and per- notes," that is, "Lillie . lies on four otherwise because of their audience, but THE UNDERSTANDING TEACHER But when we have understanding a great deal oi trouble with my breathing, sistence if you arc to win the prize. K. G. notes." The e n tc~ all fir in three difier. just the same most of the "pianissimo" Then all our efforts will become creative, Such is the title of a Paraphrase of 1 And our influence will live forever especially when 1 try to sing long phrases. ent arrang 111 nts, and ring niou4y basses are lost. Sometimes I get so discouraged that I WHAT IS VISUALIZATION MEMORH used as th beginnings 01 most f the When auditioning students I find a num- Corinthians 13: 1-13, communicated by In the lives of our pupils. When I was a child, I spoke with im- have no desire to practice, but if I stop Please answer the following questions: ber whose playing can be improved im- Esther Rennick of Birmingham, Ala. Al- pieces. In 110 first h II of the collection maturity brooding 1 soon feel like practicing again. (1) What is memory of music thT""~...Lghvis- mediately and considerably by making though it proved impossible to secure any the not ar A. . -flat. . and B twhich My emotions were uncontrolled, ualization ? (2) How can such ,fl,emory be them conscious of the above. It is not a information about the personality or where- How much should a singer practice? I pitch s are represented in nuen alpha- And I behaved childishly; question of long practice, and just a little abouts of author E. B. Hivinius, we pay a have been doing about [our hours a day"'-':" acquired? (3) Is it difficult 10 memorize betical lcuers b) .,. (E '1. ,and WI. But now that I am an adult, is that about right? music by 1111:5 method? In the se ond half the nr ·nnt.. and B concentration will do the trick. So let's high tribute to him for the lofty, inspiring I must face life as it is abide by Widor's wisdom and heed his lines which follow: E. S., Michigan Memorizing music through visualization (which pit h ~ ar r pr cnted in nnan With courage and understanding My first advice is that you give your- refers to remembering how the music looks alphebcti al I II rs bv A '. . and Hl. In advice: "Play more basses." And now abideth skill, devotion, under- self a little more time before you expect on the printed page. Instead of answering "Though I teach with skill standing. Sphinxes and Leur oJ (Ian. antes the)" also to do all the things with your voice that your questions specifically I will tell you MY MUSIC RECORD Of the finest teachers These three. appear in the arrangement of ·nat. c. B. you would like to do. Many singers still that most artists use a combination of au- And have not understanding And the greatest of these is under- and A (Es. C. H. A). The hr>! of the I am become only a clever speaker and standing." have the same difficulties that you COlll- ditory, visual, and kinesthetic memory. In This is the title of a new publication ~lrrangement (A. . 11) ~I>elb the name charming entertainer, plain about even after they study for a other words, they remember how the lUU· by Eula Ashworth Lindfors which comes as of a village in Bohemia ",here a lady· And though I understand all techniques CONCERT PIANISTS? number of years, and one of the secrets of sic sounds. how it looks on paper, and how a boon and a blessing to the teaching pro· rriend of chumann' Ii\ed: the second and all methods When reading some local or regional success ill singing as in other activities is it feels in the muscles when one is perform- fession. Everyone knows how difficult it And though I have much training, arrangement (A",. . H.) i~5impl)Oan· publications one is astonished at the quan- to persist even in the face of obstacles. ing it. So yisual memory has a certain is to keep an accurate record of each stu- So that I feel competent, other arrangcm nt of A. S. . H. but ~\o. tity of ads, blurbs, and captions exalting the In the second place, I suggest that you value, but it is not to be thought of as all dene!; work, to keep the parents constant- But have no understanding of the way my ing different musical pitch~: and the Ihird cultivate what is called controlled relaxa- exclusive method as you seem to think. 1y informed of the progress made, to out- pupils think, merits of self·denominated concert pianists, arrangement (Es. . H. ) re)lr~Dl~ the tion. Your upper body must be relaxed and To acquire visual memory] suggest that line practice schedules from week to week It is not enough. teachers of teachers, etc. While in some in- only lelters in humann's name that can yet it must not be entirely limp, so try to you begin by closing your eyes and try so there will be no misunderstandings nor stances the contention is justified, it stands stand or sit with what is called "an easily to rerncmber exaclly how the first measure be repre~enkd in IHU ieal pit hf5... Es alibis. Verbal recommendations are so And if I spend many hours in Jesson to reason that in the majority of cases the preparation e,ect posture." 1 advise you also not to of a very simple melody looks. Now glance (E-IIat) being used lor ,_ easily forgotten, and loose sheets of paper evidence on which it is based is rather And become tense and nervous with the try such long phrases at first. Start with at the score and decide whether or not what One aulh rit· ~a)"_ that IbN ::otrlng" so often misplaced, or lost. flimsy: a debut recital in the home town or note~ represent a oll\e~fltion hdl\.een strain, a paper gathered from the files of the mu· short phrases which you are able to finish you saw jn your imagination corresponds This little book which serves for lesson But have no understanding Schumann and hj~ h.d.friend. nether sic library and delivered before the friendly perfectly, then try longer ones, and so on. with what is actually printed. If it does not assignment and report will be of great help, Of the personal problems of my pupils, or not this is tru • the real inlerr--I in lhe audience of the local music club, hardly Finally, I urge you not to practice fOf then look hard at the page for a 1110I11ent: for it will save time by organizing and It still is not enougho so mallY hours a day at first. If you have dose your eyes again, and Iry to see in Sphinxes lies in the lit('rar~ ~u~ti'Jll~ (If systematizing the lesson period, written in- suffice to make such claims legitimate. I am four hours a day, practice singing for ten your "mind's eye" what is printed on the the letters rather than ill their mu ..iral \slue. structions, practice schedule, rating of each The understanding teacher is very patient, convinced that a little patience and discre- tion would better serve the interests of or fifteen minutes, then practice accom· page. Keep this up, going 011, of COurse. to F(lr thi~ reason the· arc u Erl'DE-MARCH 1953 23 22 ETUDE-II IReH'" ,. VIOLINIST'S FORUiJl ORGANIST'S PAGE OME controversies never die-never S even fade away. Judging from letters that have come to me in recent months and talks I have had with teachers and students, it would seem that there is a revival of the controversy over the old German school New Style Bowing Were you ever playing the organ when of bowing and the modern, so-called Rus- sian school. Furthermore, it seems that something went wrong with the mechanism? quite a number of teachers have reverted to teaching the German method. And this despite the example set by nearly every Here's timely advice on what to do first-class violinist of the present day. Superior to Old Style Tradition dies hard. This is perhaps just as well, for at its best it can be a guiding and ennobling influence; on the other hand, it can often be an impeding force that must be done away with as soon as pos- by In Case of Emergency sible. The tradition with regard to the Ger- man school of bowing is in many ways a case in point. This school owed its inception to the physical and technical peculiarities of HAROLD BERKLEY by ALEXANDER McCURDY Joseph Joachim. Tn the classic style of play- ing, he was the greatest violinist of his ~ln'p roue of instrument "hen the)' went time, one of the greatest of all time, and 10 be. whatever he said or did was law to his The best rem d I for this situation is disciples. His arms were unusually long, EVEHY so often the Associated Press hearers uoue the wiser. Il .\ 'r 10 have n .. rvi· unl .. ther i- an so that when he was playing at the point .carries an account of 110\\1' a musical The modern pipe-organ is a Iuutusticull y organ-build I' I resent. Thi i~dOll" at the of the bow his right arm was little more subjective interpretative style probably ex- performer has been confronted by a sudden complex instrument. lis hundreds of pipes, Salt Lak it)' "'I" berua le, \\h rr a ('rew than half straightened. This peculiarity en- To hold the right elbow against the body plains why he was rather coolly received emergency and by means of skill and quick electrical contacts and moving parts of all of organ cvp rt .. is on chit) at all tim. abled him to hold the bow in a highly in- when the hand is being used is physically by German musicians. But there can be thinking has saved the day. kinds arc each a potential source of trouble. Th rc ill' m n \\lorkill~ \Cr) day on the dividual fashion: the first (indcx) finger unnatural. That is undeniable. Anyone who little doubt that he was the father of the Such an occasion was when the violinist The marvel is not that they sometimes \Vmutlllokl·,. orson in Philadelphia. the in- was pressed on the bow-stick, with its under did so in everyday life would be considered modern method of bowing. Isaac Stern was playing the Brahms Con- break down, but that on the whole they strum III in til '\11 ut ie it \udil rium, surface, at the joint between the second somewhat lacking, to say the least! Even . In a few words, the modern way of hold- certo with the Boetou Symphony Orchestra; function as well as they do. and 011 otll r famous in ..tnllation- through· and third phalanges (counting from the in so simple a motion as shaking hands the ing the bow is as follows: the outer side under the direction of the late Serge Kous- Even the finest instrurnents, however, nut the couurr . hand) ; the under surface of the little finger elbow swings free of the body. Why, then, (not the lower surface) of the first finger sevitzky. call unexpectedly get out of order. The Chur h s: ill metropolitan area- which rested on the stick, thus bringing all the should the low elbow have been thought is in contact with the stick at the second In the middle of the first movement, great English organist Edwin H. Lemare arc unu hl or un w illing I n a e a full- fingers at a right angle to the bow. The essential to good violin playing? There is joint, while the second and third phalanges Stern was disconcerted to have all four was once 'playing a recital all a superb time technician mn) n('\trlh I ..... guard four fingers were pressed together rather no answer. But it was decreed as part of strings of illS instrument break, Olle after Canadian organ. His first piece was the of the finger are wrapped firmly around against hrenkd wn h· lun in~ 'he ur~n closely. the Law and the injunction had to be the stick. There is only enough space be- the other. Restringing a violin takes time; A Minor Prelude and Fugue of Bach. He ecrv iced at weeklv. bi-" 'kl) or monthly As Joachim attained fame, this way of obeyed. so Stern asked one of the orchestra violin- \\ 24 ETUDE-MARCH 1953 25 ETUD~-'f fReeiii' L0...... -' __ 4 No. 110-40006 Birds of. La Jolla Grade 4. HAROLD G.DAVIDSON Allegretto (J: 120) • a tempo 3 5 • • 5 ~ 1 • lU B-jlat Minor 1 2 jd 2 2 I ~ ~1 2 • r~ Chopin's Nocturne 1\ I i- .... ~~. ~. : 19 . . . . - rit. _ .. I ~ mp mp - PIANO ~t~ -- Opus 9~No.1 :r~ f.\ ~ . 0 A MASTER LESSON r: 2 2 5 ruption join the right hand's "lament for 2 2 by GUY MAIER lost love" to .it. If you sing this text with ~ I z t I/" '. it as you play. you will feel the melody', articulation and it activity and passivity: •• -= HE SECOND of Chopin's first three ~;:~t;- ~,~\:~~ T Nocturnes, Opus 9-the familiar one in 'I'h,)" , ... hH", 111'1 then 1:0 E-flat major-might well be called "Love's ~-i.~Sd-,::~:• Happiness"; and I often think of the tragic l..--''- ---' '-- __ ,'--__ -.J '------"- ."r.,""nl 1"1>.',,,; nil'" )"11 r",l" If, • "'.}'." first one in B-Rat minor (in this 11101>lth'5 r·8"·;"·' Etude) as "Love's Heartbreak." Both Play richly with slight bow-arm (elbow) • nocturnes are excellent examples of curves to the last "I". Play this "I" tate~~: >; i, 51~~1\-t ;G'~~ I ~l~'_~~i 3 . Chopin's early coloratura style. In its softly and linger over it, th n fade out . --- ~ ~ ecstasy the E-Aat major's song soars three slowly. Don't worry about those artificial , ~: . • • '1 f-- times in lark-like variations over its con- note groupings in 111. 3·4; just play the ~ 5 p= I I p ===- -<::.:: end of this section, and then play the jz - 3 'f. mp espr. fident bass pulse, while the heartbroken right hand as sixteenth n te two notes mfi poco ~rt. :k~-j .1, ...... J: J: , ..J: theme of the B-Rat minor nocLurne melts at m. 68 like a soft jolt. Here Chopin to each left hand eighth-s-excepting the F- . .: e .. b .. ~ into hopeless tear-variations (measures 3·4, brings you back to grim reality ... Life last three notes of each measure. Make . : • 9-12, 71-76) over dark left hand waves. must go on, even though the heart be these into free, low triplet. 'Vntch out for ... desolate...... ~ By the time he composed these nocturnes those 22 tear-dipped staccato tones in m. 4. ~ 1\ ,'------~,~~--~,'----- Chopin had already suffered the bitter After the portentous footfalls in 11l. 63· Give convincing / and p contrast to the pangs of unfulfilled love j and, for a man 71 (slightly stress those bottom bass tones) active and passive phrase shapes in m. 5·8. Poco plu mosso 5 ",31'~ .. '~2 I. II':' so young, he had also sipped generously the grief stricken theme returns. In m. 74 Fade slightly at the end of measure 8 and ~I"It. of its joys. tl~e tears suddenly pour out more despair- play the returning theme em. 9) with quiet ingly than ever. Like most Chopin nocturnes, the bass hopelessness. (Take plenty of time to play I pattern of the Hflat minor continues with- The end of the nocturne is one of the that grace note!) Crescendo to the middle I~ T' 14'-"13 ,~r3 1'_ out interruption in slow perpetual move- most devastating moments in music. Three '1 't tit mp' Fine and diminish to the end of the descending =I:::=;=~ ....P-::;ocorit. - times the poet sighs: t =...... mf :! ment right through to the end of the piece. passage in m. 12, and play the three's- .. .. J-:x. j So, after the passionate despair of the first a~ainst-two's evenly. As you approach the section, do not interrupt the wave-swing of ~~ c.lull~x (Ill. 18) let each descending phrase- the left hand, hut play the long Dcflat Inter- "Uh, Ill)" lo"·~!" hne III l1l. 16 and 17 curve down "ith lo\'ely lude (m. 20·51) slightly faster (J ~ 104· Play each time more slowly and diminuendo .. Ritard slightly at the end of 108). In this D-Rat section with its subdued, ~oigna~ltl! with those up rising tears (only lll. 18, hut play the left hand wa'e m. 19 melting colors I like to think that Chopin In mUSICIt seems that tears may Row up!) a tempo. dreamed of the perfect love ... a love in m. 82 delicately staccato ... then play The fallowing D-Aat section is like a without dissonance or dissension. Be sure, the first half of m. 33 very softly and slow- melody heard only in the deepest reces....-es here, to carry out Chopin's directions ex- ly, making a fermata f'7"I before the crushing I ==-: . ===+P .mp ~f the. heart. Play it in a long, smooth plicitly with the pp's and ppp's and gentle heartbreak. Diminish darkly, and play fJ !t.ne WIthout stressing any of its notes. rallentandos and stretlos. Some pianists, ver,r slowly at the end of m. 84 before you I li:lIJ.. ~iI t:i ti:if (lg.nore the indicated accents.) That D - - thinking that this portion of the llocturne wh~sper those final B·flat major chords major (ppp) triad ill m. 2S is a heavenly is too extended, cut out measures 40·47. (WIth gent.le inside sigh). Vibrate the last , sonority. Linger lovingly over it. 5 .. . The wonderful section which follows (m. chord very slowly; • ~ t"! ---JI~ .J',-__ .J'o'__ -JI\ " "------...l\ __ ..A -J'> --=-.J';-_-.l'-_.il..._..A_-.l'- __ "- "-_ 52-67) is like an ineffably tender farewell Why .do pianists and teachers shy away from thiS exquisite 1 octurnc? 15 it because ... each "good by" phrase to be played ~~ .~J 8·················_···············;;~----_····~:·······:~ 2 the subtle quaJjly of its heart-rending arief 2 . - - - with more touching and yearning emotion. ~ ~ 1"; t 2 I 2 I :~ :~ I t.:'r ) . N.H. eludes them? Or because its curious. .t. l~it. t~ .Ii ../51 19 . That haunting and persistent C·Rat in m. sprawling form confuses thcm? Besides 52-59 never resolves, but dissolves into the Where else in all music will you find a offering a perfect example of CI;opin's bel pure D·Rat triad substance of lll. 60-67. finis~ to match this? I~ cresco poco rit. Let your left arm roll easily over the bass can.to style, thc B·Aat iocturne gives the f p player much needed emotional relief and waves (high wrist!) and keep the damper More Study Details ~ 2, ...... - I 1'[.'-1 . I 0;- release. Nowadays young people. especially. ~.i;...... pedal depressed just as long as possible In practicing to set the Nocturne's pace : : - : : need this. How they love the nocturne when ... (I often hold it through from m. 52-67). ( J ~ 88-100), first playa measure or two ~ ., ., teachers help them to understand it. and . .,~~ .' f.I i,,! Diminish almost to inaudibility toward the of the left hand wave, then without inter. A • show them how to master it! THE END ~ ~ "--JI ~ A A A A A I D.S. al F,ne Copyright 1949 by Theodore Presser Co. British Copyright secured 26 ETUDE·~[ARCH 1953 27 ETUDE-MARCH 19;3 ~------¥ { I _/ a tempo No. 130-41119 Andante ..----..-... ~ L I. I ,---- • (from "Sonatina") ~ I'..l .. ,-~. . - This lyric movement presents one chief problem to the pianist who is approaching' contemporary music f'or the first time, namely, · the element of dissonance. It has been generally considered that dissonance is the same as 'Unpleasant sound. However,all chords ~I D"1II 1'T L '~ I"' , · ~~.~... q-t: ~#1: rit. jji:"4 b"~ in traditional music other than simple major and minor triads are dissonances in the technical sense-though hardly unpleasant.While ~ -bll ~.. .,r ::::==- 'J~wr in contemporary music major and minor triads also appear at times, they no longer necessarily have the same psychological effectof trip J"'ooo",. P~L I. ~I,~ serenity or repose as they do in earlier music. Moreover, the dissonances used in much music writtenJn these times are morepredom, ~ ~ r >; <, b~--...... inant and more pungent. Observe the ar-peg-gia.tedrtr iade in bars 1,10,12,30, and 34, different for each hand. This ~s known as poly. .. tonalitYJ r.e., the mixture of two different triads. Once the ear has adjusted to the sound of this movement, the mue ical qualities, in. herent in the song-like phrases and sensitive use of the piano, will become clearly felt. Grade 6. .... ~ JEAN BERGER ~I"' I .. b "---- -./ ... - 88) --- (j) = ~ PPI~ L h_. I b.· , . . ~ P ~; ~ ,,- "111 ~ ~. PH~ ~! fI~ ~~:==- .~ mp sub ito PIANO p (l) molto cresco e ritart b- ~ e--- ;... UJ1 ;; •:;; :!!:. 1= bet- »> I "h.-:'.. , . OJ ~ 'T~ ~ ~--Y .....-- PIU.. lento o.c.«i Coda b a tempo . b'~~ b... .!l' ------. M... q:: .~#~#=~i i ~ ------.. -----. ~ .JI.~ ~ ~ l!...II.~" f.ij bl . --- - ~ ~ @...... ~ mf motto ritar~, - ~"lT' HS- mp mf -=::: ~ CODA ,. pp-= pO~hrs;t - I~;.'olto dim.. ..h-:-:i";. ql -)l= ~c 2l --...... /" 7&U ~ - v ~.... " ~~. t-~' ~..y i~t~t'--P' P '- fll"' . I oTT TT~ l!c.:.L! qr- . ~ Finale Last time to Coda ~ ~ r.. (from "Sonata in D", Cotta Edition, No.4) This month we celebrate the birth anniversary of Haydn, a simple man gifted with a joyous nature and a directness of musical utter- ance difficult to match. In this miniature rondo~finaleJ we find Haydn at his naive best. Although there are, relatively speaking,. not too many notes to play, each one commands attention, Observe the terraced dynamics -/,p'/JP, etc. These are sharp contrasts 1 and are not to be preceded or followed by crescendos or decrescendos. (Turn to page 3 for a biographical· sketch.) Grade 4 /2. FRANZ JOSEF HAYDN Presto rna non troppo (J = H~) ~ 43 4 1, _'f;.... _ ",2 'tr~ 2...... , 3 _ 1~.:. .:. ;.~ !!~ .JI.. ~~f~.. b-.. II. r. ___ ~II 4, 3 ...... It ,-. P . .... -:i:i :i::i: iii: .... .;, .;, ~, 4 , " p 4 '! 4 41 '• 4 3 >~5 4 • 2 3 3 3 4 2 ~ ~ .:. u ~ ;,.-----, ~ ~ 4_ . .... ~ 1...... --:·.;, ~~~ ...---...... ~.- .. .• i f. '-~ "-...:. P f . . • .l Poco plU rnosso - : - __ T --.... ___ I v . . -~'! . ~ ":'~ ~ -:"l!' - ~'. .. - 5 4 - .! 1 I 4 ~ .. ~ 4 • 5 4 r: IT'fI~'~qll: ~ u .... 2 L 5 """ . : - ~ \...: . If. . p ... P ,- f'-- ~:~~ I! f ..~ I~ ~ Jl L ~. , Ih':' .. : ~--_.-/ : : . I . . I@. 4 I I 3 Copyright 1952 by Oliver Dilson Company - :;;;t~ · 4 H International --~Copyright Secured , From (rSonat~s f~r -the Pianoforte by F.J. Haydn. [Presser Collection, No.1Sl] 28 l _ ETUDE _,1fARCH 1953 ETUDE. MARCH 195:1 29 + 5 , , 2 2 ... 2 2 , ,1 Jl .--: :j:; .II. II':' 2 I. , , •2 ... • . ~ p cresc. f f if deoresc. mf ~\ .~ 2 2 , • - '-1 ~ '~ R~ ~...... , ~ ~ ~.:...:.. - ...... l±~ .... ~1=~~.II.b... II. Q ... , .r>. " Jl ,----. '----..--. t . f p p .... j. jj iii ...... ;,..;, .... -5 ~ . ...------... ~ u ~..;. .:. .; ...... l±~ $I.' ~j::~~$L b... II. f.J ... -r>. ------ l! p p "--.:.' ,--. cresco f II - ••• ..... $1..- I ... --,,- l::t::li"' _ ...... 2 -4 - 4 - '"5 1 3 - - 3 4 3 1-r-c2 ..:. ..;.,---...... ' , ,..,..---..;, ..II.~ . ..;. 3~'" -----.. ..II. ~ ...... 1""1 .,.~. 11- " - . ., t '---..-:. ,,-----. mf P p f 11if :> •• ..II...... :>" :> " ¥ " : -.....- .... L .. "iI ..... I ~ 4~' ~ "!" ~ • c;;; ~ 3 . , :> !; . .. 3 ~. 1 3 ~. ~ $I.,;. it ~ ...~. .. $1.------' ..;, :-::;;;. ..II. .11. • 3 "" ..~ ...~ ~. - @ ~'! mf p if p mf p f ...... - ~ ... n fI. - -- > :> ~. ~ '!" ":" : ~. ~ !' $I.';' .. ~ . ~ ~ " 1.---.. r"""1 ~..:.. ..:. ~~ .. .. @ ,------. if If mf :>fI. .. fI. .•.• ~ h ;,. ;.. > ." :>." ...- I ...... fI... fI. it- .. c; ...... ::> :> 30 ETUDE·MARCH 1953 31 .. i _ ETUDE _ MARCH 1953 y; No. no 07162 Nocturne Minuetto A Master Lesson by Guy Maier on the Chopin Nocturne in B_flatminor,op.9,no.1,appears on p.26 of this issue. Ru t in i, who was born in Florence, Italy, in 1730, and died there in 1797, composed many works for the piano. He achieved famein Larghetto (J = 80-100)· FREDERIC CHOPIN, Op. 9, No 1 ti is lifetime, however, through his operas. This little minuet is courtly and dignified in character, and .should ~e p.layed in an exact temp o. The chief problem to overcome here is the proper execution of the rapid thirds. The answer nb v iou s Ly lies 1I1 good fingering 4 5 4 2~ ~ ~b.1 1,1.'" an d n smooth connect.Ion of successive thirds. Grade 3. --. 2~ , i~~h.~*lf.,,~"h-,;,2'.' b.h';'.~ .. GIO. MARCO RUTIN! I ;~ T'ranscribed a-uri cd it cd by G. F. !JfalipicYIJ 22 5 3 3 4 3 -i P espr. It ~ 4. 4 1 2 i ... ~ 2 , ~/"t~ ?\ /;. ~ ~~ • f : , p .... 2 1. !! • 2 IU 3 i I;) 3 1 Ped. simile , 3 ,- ~----- • .------. ,'j) :> 2~ I 4 , 3 ~r. :> it .;. -e-- 2 J . I , - .. - , 3 -i 3 ~ i 2 '~ ft~:>~ - /~L r-: ~ ...\ ~_?\ ,.... r: s-; /' i\ /hh • ..~ : I ...... r 4 " 2 I 3 ~I I 2 1 - ~~:--:'--~r 3 , ... 2 3 3 r; 3 , ., .~ <, 2 , ;;*'~~ ,,_,,~"h. I ~, 2~. .~!h~~.a~ • - I. smorz. p -: -i\ /hi,. i\ /i: ~\ ~ ~ /It r. /t"L ~ ~ //f. . f\ : /"1 ..- ... r : 3 2 1'"1 3 , 2 5 ...., u ~ 1 .,.. 3 " 3 - S········ ....·········· '!r~3 3 /' ~.' I ; ~~bt~t~~,'qtbu~~~ 7 legatiss. p D.C· / 11.- ~\ /~" , , , . .... 5~"" ... ., I 1 1 1 3! [j :J t 4 {3 5 5 >~ 3 (. ~~:i'\3 , 2 III .. - 1r .. ,:> :> ;] , f appassionato --_ cresco ~ can fior.z_a..".--. f .. is (1~ _~~L"' 3 2 , ... 2 5 , 2 3 1. : [j 15 2 I L...... -J 5 5 5~ 45 5~ f p satta VOce pp poco rail. "4 • D. C. to sign -$- withont repeats, then play No. III. D.C.at Fine se1lza r ipet iziolle From "18th Century Italian Keyboard Music;' arranged and edited by G F Mr' 4 3 3 Copyright 1052 by Theodore Presser Co. . . a Iplero. [410 -41023J L.... __ --', L' ....J Ped. simile 32 33 ETUDE.MARCH 1953 ETUDE . !If ARCH 1953 lI _ a tempo 3 5 4 5 45 4 5 5 4 4 3 4 , '''''-----:--:-- � 1 4 5 .t 5 !; 5 4 , . > 2 2 ...: : _I ":1'..1.' t ...... , P it. legE.:.'ss, ppp f - - / It ~ /.: It /;-", rr-: ~~ / .. "/ .. "<, /7'"" rr-: "<, : a tempo -\:::; 4-4 4 5 4- 4 ______5 4, 3 5 5 ,------5 'I 5 4 ;oj 4 ~b5 4q 4 ~ 4 5 " , ~ ~ . - 3~3~ 4 3 2 , ~. ~:'I!l' ~ ~. ,9.: :>..;------~ 1~~ln. -./ I • q.. q:z: • -.: ;> flf" '-..1:> pOCOrall. ppp ;> '...---...... --r----- ~f~ fz ~ - ~ ~ ~ ~ It semprepp ~ .~~ : /7'" rs>: /. .. "<, .. ~~ ~ rz-. 1 U qr' J.,J 'f I .J..I : ·~.U:Uw.lJ,.J LJ.J rL-LJ.J W LJ.J #cJ ....llJ q~ JJr.. 4- n 1 4 t 2 t 4 5 " 5 -I 5 ... 3 5 4 fi 4 4 5 r- 3' ~ ~3 - ~ 41~ 5 4 54S; ..~ ~- .. I , ,J • • .. . a tempo 5 . . ...::----- ~, ..q~bt~e . y V '- ~ ...--...... ~,;,2' f: It. " ·,yresc. .. ~"j,.;'" , ~ • .~C '... f pocost'retto ~=- ftp...... ~~b-.•. /,' hh.~ ~ '~ /' "- ~ ~ .....---... ~ ~ ~ "" : rall.e dolei.ss. " J'legatiss. 1 1 If' r ...l..I r :::r::r '/" I J." 1"11 I .LJ • -3 ~h_~' 3 2 I '3 be I -L.i -4 ""; .. !j ~tL lJ,.J ~ ~ /L Il----"'"/Il.t'\ !J"~ ~- 3 3 3 A!~ a tempo - : 4 ____ .4~ 4 _ 5~ 4~ ., 4 !; 5 5 ~ • 41 -, 4 . . 1 _ • 4 3 2 1 ~ 2 t 4 :.-:' 2 -l t 2 1 4. • . ::; 3 i 3 -; 3 I ! LI __ --' Ped. simile vc;.· it. ~'~ in· -6' 4 3 4 poco raIl. q~:q~. 8·,················: .--..... 3 2~ 2 3 2_ ~ 3 fI~':'b.~ ~ ....-.-.. .~ ~ ~f~ ~'hh~~ ~ ~~ , "b..._ 4" ~b~_'1. 1 .it it it fL~ : , " ~ 1P W-J #~I LU q-cL U.J tIl LU qn ,u'[.. l>~1 l...:J .... ~ -. 20 7 , ... - :> ~ L f~ ~~ ~.~-~ ~-""'" 54 ....-- : : ~ , ~ '-""- ~ , : , " I , .. .. ---...... - ---- I,.loo- I".ioo" 5"-- ,;-.... II . 2 , ~ 3 •<) 3 f 4 3 -.: l.o '- u.. I"" Y I ~. • po~lZ. q~q~. - 8······..·....· ~--== =- ==-- =- fz~ "~ ------~ .....-r----. ~ ....-.---.... 5_ -i ~ ~ 4 : ------(~. 3~ 3 >..- ~ , ~~:> rf ~.!~~,> 1:----'- 2 1 ~-- :> "T[ .u '1 I ~ r"1 I .1 ~ lJ,.J J,.o ,l.- I D ,-1 JJ • t V JJ #~'I q~'1 .J..J ,-'f l.J , " ...... I . ;> 4 cresco dim. p a tempo - I' ------.. ~J~I_I y-- f " " .ff -" . - I ~~. " I , -, J~I ____ /' . '/:- ~~ ~ .L-""- ~~ /I" _~~L ,~~ fJ'~ ------. . - . - :> ... :> 4 - n n lJ.J t!.l.oJ,J tL /1fl- , -+-=------F'tb~.#:;:-:>:>- " S " , - 3 I 4~ , 3 2 r; 4. .. 1 1 3 LI r11f- rit. pp Smorz. 'p .ff 3 2 1 1":\ i'- accel. 12 3:; 42 ".~. conforza ~ , ------l~: dim. \~ b,,· ~l~~>~ /.--~ /~"L' /_-~\~~.~~ . . : : 1 .. ~ , Ii 3 2 '" . " 1i2 ...... 2 .. :;2 3 2 ~.~ 'i 'U. 1 , , \:./ , I , I L ! I I t-=:-..J 'lUla corda 34 l _ ETUDE.MARCH 1953 ETUDE ·MARCH 1953 35 . ::0-':- \~ 5o=.L I 3. 3n..l ---...... , 4 Il Jl If ----.- I~~ . r ~ - I Know That My Redeemer Liveth . . . . . ~ 2 ., a.tempo f, Jl If , 5~ 4 5 3/454 , 3= r-= 2_545--- 2 3 ,--. . • . --- . . ~ I ,r__ 1; • r _~.~r r,,-- 1,-- ~ /t~• I~ TJ r 3 r -r ~ cresc pOCO rit. . .. I,. I / · · r 4 -6 .. J~r 2 1i 4 --;--.. Il Jl If 3, I I 51 ~ 3/ --4. 5,~ 4 /'4" ---- · . - I .. t r r . · Iv .. 1 1I1f P r -= = --. /" ;; - /" --. .. " . · • <.0 \ ... -6 - Tempo I 2 Adagio ;:- ~ <--.A.--J\ II Jl ~,...-. 4 -:-- -.. ~ .. 1 .~ i- --. -- . . 3 5 4 3 ~ 3 v t - ~ 2 .. f~'::l~ f7 2p ~ • p - r-, ~ , c:-- r-, ~ mp 2~ ~ 1"'i P ---1" · I c. -6 1 3 ~ 4 , ~ 3"'- S 3= 2~ 45 "'4----- fl Jl ~ 2 .... ~ r"'-=l 1':\ \ ",,3--~-----~5544----4--- mp l---.• -• . - . I, It . }~ t ~ 1- ~.~ : 6frf \ . \ mf - cresco rrrp --.. -=== rite .. .-- 1/ I ---l r · · - I -. -<'! ~ 3 \ '~r l--.--J L....-J I A\ _ "----~ From HThemes from the Great Oratorios:' arranged and edited by Henry Levine. [410-41021J Copyright 1952 by Theodore Presser Co. Interna.tional Copyrighl. _lU<'i ETUDE. MARCH 195J J7 J6 ETlJDE-JIARCH 1~5J - Grade 2. The Toy Sailboat* The Toy Sailboat SECONDO ELLA KETTERER PRIMO ELLA KETTERER Moderat.o (JdH) Mdo era t 0 (J = 144) 5 ;; 3~ . 1:'~ •• 2 4 3 -2 • 2 e ;.:'t ...~ e .21 ~. 1~~,,2h~2 1.';'~ _.~ ~ 2~~ .... ~ ..e .•e~~...'1 h': 2 •• 1 • · Fine mp rit. 2, :-- 2, 11 r-- I · ...... c. • " :;; . ,'---' 5' • , ~. . ~ 9 r.~'5 3 1W. a te1n'PO ...--...1':'\ t 0 •• ••••• ••• __• • ~a.....••••..e11l}'. -...•...... : 5 .1 · ,2. 1 2 ~ ...... • , 17\ JJ. 0. • • 5 f • • • '.-- 5 , 3 5 ( · • · 9 rit. 1':'\ : ·t. n:f, I · . . · ''/I' 17\ · ,. . , . 2 56:' Britrsh'1-:Copyright ' secured Copyright 1940 by Theodore Presser Co. " , 5 , , 5 , 5 3 2 5 3 Grade 2. Dance of the Little Wooden Shoes* Dance of the Little Wooden Shoes SECONDO ELLA KETTERER Allegretto (J·160) PRIMO ELLA KETTERER - ;.. ~ ~ ~ j , ~: Al11~:~~.~~.:~.~~~~:·..~ · ·..··~;..·..· ~;:;: ~ ; ~~ ~ .. h: i e i ... ~ t :e 4:1 3 3 1 · == · mp PIANO < , rit. · , , ":" :;;. 2 2 ~. 2 2 3 5 5 a tempo 5 3 3 3 3 f •2 •, , , •2 , 9 .. .:...... ~ ;...... - ...... ;.. ~ ..... , 2 · 5 9 2 5 2 3 mf - "P P P rit. · p mf p rit. . -; . 2 ... it 7t 5 , 9 2 , , 3 , 5 5 5 5 3 2 2 3 1 , a tempo : 8 · · ··· 3 5 ", 2~ 2 , • 3 • mp " 3 rit. , . , rit. 5 2 . 3 2 5 51< From "Side by Side:' by Ella Ketterer ~W.400H] " . , 5 2 5 5 2 3 2 5 3 Copyright 1940 by Theodore Presser Co. 2 9 British Copyright seout" 38 39 ETUDE. MARCO /9;1 ETUDE·MARCO 1953 Just Thinking = A. LOUIS SCARMOLlN Aft er 1"'\ V 1"'\ r"1 V r"1 sail mg. 'Would my lone - . some heart could be Andante 1"'1...- 1"'\ V 1"'\ v my V mg. Sink > ing sun and sway - ing tree All n,- V n v n v n v n rag fail mg. For_ my life has emp - ty grown Lost, my 'U VIOLIN 1 mf I zo gen, ~'st"lInnmean.Harz voll AO/t_ ,.nd Wok, hang ~'ltfft I muss m.ei-n. • P ,ja gen, ~z"n-ket d'z"e Sonn~ d£e Weit.: wird leer, seh urin» den! l1fuss -lell zu - ruck ~n mat - ter Pein, k au»: ·diek R~ ~ l!; -~ <:» ~ liS ::: S~ mf~ • p~1. ~ . .lI' , , I , , I I"'\~ V n v r"1 n v V --. v n v n V V n n V V 1"'\ ------p 1 cresco f • • him a - trail - - ~ng. gag • -.Jd== ~ .JJ= ~ ~ Karl Lemcke Over the Sea JORA ES BRAHMS ~l!l ~~..w l ~ ..w~ ~ JJ:d Englt'sh Text by Constance Wardle Op.69, '0.7 : Ctiber die See) Edited by \VolterOoU' Andante (J = ca. 120) (Boxo p en) mf dolee • (Box closed)(2nd lome. Gt. to Ped.) - ~ VorCE sw.@ I I .~ , • 1. o - vcr the sea, far o - ver the sea Went my love a 2. Crash-es the sea, wild crash- es the sea, Storms are dark - Iy 3. I am a - lone, now al- ways a - lone, All my cour - age L. y. ber die See, fern it - her die See '':st '1nC1:n Sckall6 ge . wild hrau-set das 2. Brau-set das Meer, Meer, Stur - me dutl. - kel ·Z:ch al - lein, aclt im - mer al - lc'£n, 3· Bin mei - fte Era! - Ie - 0 c.; • • --.../ ~ --.:: ~~ .----' ",,j PIANO '. ==- ~~ p 1,.- I '1 1---r---I ' I dolce ====- , = : .. ~ From flEasy German Classic Songs:' edited by Walter Golde. [431-41002J International Copyright secured Copyright 1952 by Oliver Ditson Company Copyright 1952 by Oliver Ditson Company ,[J Inter:D.woul Copyrig~1~ ETUDE- MARCH 1958 40 BTU DE _NARCR Sw.@ Last time to Coda~ D. C. at Coda .;. ... , 11 ~ � .>:.. ... L I I J I I 0 hl , , I , I 09- u - -0: I" I 1 r M r :t=!= p::t=: . fJJ rall. . (t·lEJ. . !=!= ...-I!! 1I I I=bf} ."~ 11" . ::.~ (-- ~f2 ~& ~ ~ I~ - ~ • ~ " ~...... I"---r ~ r oJ l [ - r i Sw ~ I 0 • ~~o , 0 o . ..------. ...------. I .... o .. 0... 0 b~" ~~i:. .Il:i. e- wi- ...... ' 1"""1 -- ...... 0 _ v .... . r I· Gt. Ioo!! I I-.l , -= r r - ... . !'!~'!-au: CODA !=!= lEJj - I'" -- '.f)J ~ .l'lbd L bt i r ""- r- : : - 0 ... - ~ ! l P;;: ~ . ~'*!" '.,,'':~~~~l.1~~~U " ~ ~ ~ "L ------!!~ Gra.dually open crescendo peda l Moderato sempro stace. Gt. add Vox or Gamba S\V. @ ;.. o ' o j,t t t L 0 b.. r- . .. e . • I l&J ..- I I' I "f J I .J l-I L 1...1 Gt. 1 ~ • Sw. Flutes & Strings I- ..J r- ... !:: 0 looo .. ~ b~ b~ ~ ~ ~ ~ I"" !== i'" .... @.;:... ~•• ~;. ;.~;. I. f- L J~: .-f'. .r: r. e J ,r .. ..~ . . . "I' .r : "" "'" C:'" i: ...... - .- ~ .c:::;;.... "0 ... ~ .. 1 - - -.sempre stace. - - ==- • .& - - !!~ il':" ::--. o":":ff:-::GC-Uc-o""'Pe-'d-. --- --~------Vivace . t Ib1'" b.. ~ .~.~ Ih. " L - .. , i- I - rat!. ---=--- ~ • - p:!::i:::l :t= b!- - :t= b!- ~ . ~ ~ 1- .~ b. b~ == J=d 1'" .. .. o. :t= ~ ~~;w Ib~ .b JJ1P~} i b I.~~ : e::-- =--...._ \ ==-...... I: - =se_ l:::::;;iI C: == l::!=== - ==-- -v- ~ - - ~ P" ... .. ~ Crescendo ped:l1 open full ~ v~. _ I .. .. .bi a tempo ped.fJ2~------~------r~ j ~~ , I' ", I I .1 I I ,. ~ ~ r.-. ~ $. ~ , ..l.. C1I ~- 0 • ~ ~.~,.. - • ~,.. ~~ II I ----y I , r .. I I • r I~P II I I I I Sw. f"-i r I' p::t=:t= l::== l:::!= i=l:::l::: i=1::::t= ~Gt QJ I::::t= i=1:::!= p:!=1:::: p::t= 1=1::: r.-. ~11~ .d IL1"- ~ J j bJ b1"- ~ ~;.." " J. o J • .l J .J .l~ J J ~~ 0 : -- " ~ , • r.-. • u :;<,t ;' ;' ;' ~' o 0 V 'V -- 42 ETUDE -MARCH 19;1 ETUDE· MARCIl 1.963 43 Grade 2.~. Rosie Nell Ride a Mountain Goat Tradi tional 0.130-41117 a rr: b~ M ane. IV:es t erve it fade 212' MICHAEL BRODSKY Fl owing (J ,-69) 1 1 3 Not too fast (J = 108) 2 s 2 4~ 2 3 " 5 et:;: 2 I 5 3 ..:. · I ~ ~;';) '" - f. mp_~ , r How I dream child -hood days, of we used to Up - PIANO s. tri~ts 3J, _____ 1 1~ p~r ;h ~ 2J. r:. , _ r--- • ~ ..... 1'Ur 11'~' . Itr - . , , . . lAND mf 2 4, •• . L.H. 2 , - . · . 5 I, I, 2 3 s s 4 ~ , 2 1 2 3 , 3 2 1 1, 2 3 ;-:-- 5 - 3 .. ------..:.. I~ I· ~ r !J .. . -\ JJl"~ ~~~if~ib,.et~. t~~iJle~ Jl~ on each oth- er when at school, to pass the time a of . ten wish'd me with them, but they 1 2 3 \ Jl'.~ way.'Jl They t--- 3 2 b.:1, 1 2 ~, ,J, ~ :! :!. t---J. H'J. ~. . . . -,, f. p- K ~ f . . · • 0 - a poco cresco - .poco 3 I r 3 , 3 1 S 3 , 5 4 3· s . • 5 5 , 2 __ 2 1 2 , 2~· , , , 1"'------s ~ RH RH 4 Last time to Coda ~ • s.~ 3 , R.H.t R.H. R.H.\ , ,,;.. ,,;.. -; /~ I! *d'7 h JlJ I al-w ays wish'd in vain; I'd r at h- er be with Ros-ie Nell,'-~' . n -i ng down t e lane.------" I - .~ .-~ 2 uj 1 1-: 1, , :J.-----J j f. ~ ,~.~ L.H. , : ~-, - - ~:1 , • .. 2 1J I.-! ... mp .. , • , ur 4 poco a poco ·dim. I!'P L.H. (~~- · , . s I ' • From" The American Traveler, " by Ma rie Weetervel t and Jane Flory. [430- 41013] '" 3 ~ 5 Gopyright 1952 by Oliver Diboll Company International Copyright secured 5 \5 3 2 I • RH :> 2 2 No.HO·40203 4 ~H~m ?:> :> I I 3 R.H. Grade 2. Little Tambourines I R.H. RH. .~ ~~bJ b, , 4 2 1 3 2 1 f'1 I - :::.;------' Swiftly (L,38) BOBBS TRAVIS 2~ 1 321 _ 3 f'1 i~s -...... 13 132 1 3 2 1 212 2 , :>. 4- . ::.. I. "I 1- • f. • :;;-~ ... 2 . r:,-- I L.H. f1 :> :> 2 ,. 3 ~ ( ~ L.H. :> m? , - . •••• " 3 :> ~r; L.R mp , ... 1·/1.·'::'----- ,/ • < I ~ "'p -= PIANO - "'P . ~' 1-/1-: . , ~~ ~ 2 -. I~' . . -. -. 'v. . .' · . . R Ht1~__ ~R,.H 3 .~Q 3 1 RR 1 2 1 , s 4 • 3 •3 ~ s~ '1\ 1r,-n I R.H·i I 11S t t'nne on y IlLas t tllne , 1""1""I ...... , 3 21 2 ...... 1 ~ 1 . 2 " > I. I. I. I, ''* j'" L.H. ~ J \. I""r J. 'v. I - 2 ./ -.-. T ~ > I ~ --'if"· '../ ~ ~' f> 4 ( f • ==1==- mf~ L.H. ....-== - 'C:r Pz''}le - 17'P :: ~f , 1-/1.-: , ~ ~ -f-' 1-/1-' ., , . . . D.S. al Coda · .' 5 3 2 1 5 1 3 ~ , a tempo 2 'I ~-- ~2 4 3 1_~ ,~ 3 1 2 1 2 n !l ~ ~ ----. ~ " ... " I ------. , I! r 1 , r u..... 1 - ,-it P. 0.alPine ::;, --';::--1=r up CODA P .. , , 2 • . .' .' .' .' . .' . .' s 1 , 3 , 5 9 4 3 2 3 1 Copyright 1952 by Theodore Presser Co. International Copyright secured Copyright 1952 by Oliver Ditson Company International Copyright See",·d ETUDE-MARCH 1953 15 44 ETUDE-MARCH 1953 r No. 130-4H18 Jim Dolan, Private Eye No. 110·40204 Oaterpillar Ride Grade H· Grade H· A. LOUIS SCARMOLIN ADA RICHTER Misterioso, con moto 2 , 3 , L.U. 3 3 3 Allegretto (J-132)- >- 3 3 ;J, I'} 1 • , PIANO . .p ...... e mf - p : PIANO rr ...--;;- , «< 1_-"""" ~ Ir--. I ...----:---- ~---...... ~- .. 5 5 5 '- ,3 4 • 2 {o • • 2 , 3 1 2 3 L.U. >- f'1 1~ It .~mf ;::r 1£-_____ ,,'"1;' ~ = ~~ -----.. _---...... ,..------1-9---""" .....------5 5 , {o 3 5 1 1 1 , 2 3 4 3 • L.U . ! ~ >- .p P .__---1____ L.U. ":f :._----1-_ >- , ~ ~ fJ ~. , . 1 3 3 {o 2 2 S -....:: • • It """. Elj -- - -. 1J .p : Pine 5 {o .,,---...... /jj ,.,------;;-. ...----u ,,~ ,..---. 1-9' 1 2 3 5 2 • .--::--- , · , S 4 , , I , " ~ mf (The top goes down) ....---..... ~ ...... fJ ~4 ~ ~ , ' ...... 1 3 , , . • • , -rr a tempo I~ mf ride .. Wete not a - 'Round and a - round, then up and down, Un-der the cov-er we 'Round and a- Whirl-ing a - round, high off the ground, Ev!ry one hap-py in - side, ...... r-, --..... ~: t--.. ~ t--.... I.e:' uP: " 12', .p , , . . . · , , , 15 I I 4 , 3 ... 2 5 11 112 ~ ...... , ...... -- ...... - , , . . , , , It I .D. S. at Pine fraid,- here in the dark, Snug as a bug in - side. Oh! what a thrill - ing ride. pp Tall. round, now up and down, ~ .~, 1--...... ,.; -...... f 'l~', I-..... · , , , , - I , I , I I • 4 • 2 5 5 • Copyright 1952 by Oliver Dltson Company 8 International Copyright secured. Inlernationa.l Copyright s.curtd COPyright 1952 by Theodore Presser CO. 46 ETUDE. MARCH 1953 ETUDE-MARCH 1953 47 Mach the Hammond O{tan- EXERCISES IN MUSICIANSHIP LET'S MAKE OUR STUDENTS WANT TO PRACTICE speed. cert with his teacher. This incentive Chords are easy. Boys like to know keeps the whole class practicing and really works, Other teachers give cer- (Continued from Page 9) the mechanics of things. Jack thinks fOr a !Jetterincome (Continued from Page 20) he has a good trick because he can tificates for which students work. make so manv chords from the ma- Some give pins, dictionaries, and that we never can predict what he is jor chord. He'lowers the middle tone books. take the crossing of hands. Why him music for his sight reading ad- nite beginning, accentuated, building going to do with them. Unlike sonata to make a minor, and the top tone Speaking of contests, these present cross them if it isn't comfortable. ventures. So does the Etude. up to a climax or peak as excite- themes, Bach's melodies follow no also, to make a dimiriished chord. a real incentive to practice. The Na- I play such (and all) passages in Because students love companion- ment increases and an end, indicated rules; they pop up, now in the treble. He calls it a "double minor." Then tional Guild of Piano Teachers the way that is .most natural to ship, they enjoy class lessons, play- by raising the hand. We sing through now in the bass , they are of no set he stretches a major chord, raising sponsors auditions where students me sometimes crossing hands, some- ina duets and ensembles. Children our fingers and leave "breathing length; nothing repeats. We can the top tone hal f a step to make an play certain required music and are times taking the higher parts with do~'t mind practicing nor counting places" at the end of phrases. Ac· never count on learning them as augmented chord. Show him these given awards and ratings. the right and the lower with ~he to keep together, and two little stu- curacy is stressed, because teachers melody and accompaniment; we can chords in the latest popular music. The recital, that big event of the left. Conversely, I often pr actrce dents do sound big playing a duet. know students wiJJ not be any more never say. Here is a theme-for SO He takes them seriously (or you are year, is an incentive for doing that arpeggios by breaking them up Jane loves old folk songs which accurate than they have to. talking his language, giving him extra practice which makes the dif- between the two hands. It is nec- many measures it's going to do this' appeal to young and old alike. The Gary likes that mysterious metro- from there on it's going to do that something of immediate use. He ference between a mediocre perform. essary, of course, to learn to play enjoyment her parents show is her nome. This reward he really works makes his own accompaniments while auce and an artistic one. Parents like smooth arpeggios, up and down. 'Ve have only the progress of the reward for practicing. The radio has (or, because he cannot "keep in his gang sings the latest hit. He finds seeing their children play in public with both hands; but once that is music it 1£ to guide us. And by madeher friends folk song conscious, step" if he plays easy measures fast the same chords in the classics and to compare their progress with oth- learned. there come times when. master ing each step of its free and though they might be surprised to and hard ones slowly, So he prac- sees how music is made. This is all ers, so they lend a hand getting prac- without' sacrificing musical meaning, wonderful d velopmeut, we gel to know they were listening to ancient: tices the hard ones. He is shown how important incentive to practice. ticing done. There is nothing Jike it is more comfortable to break the know music in addition to developing tunes. She plays popular music for he can avoid work-he abhors it-by Bright stars on completed work this competition to get students to arpeggios between the hands. Nat- our fingers. her friends as well. The apprecia- practicing hard parts three times cheer the youngster and give him practice. urally, this break must not be heard; Each part of a Dach fugue mustbe tion of hath groups is good pay for each hand, then three times both something to work (or. Nola went The recital is the culmination of the arpeggio must flow smoothly. learned separut Iy, a lour-part fugue practicing. hands. The whole piece doesn't need home with one on her forehead. Yes, the best efforts of al.l three. the evenly, without interruption. It's Iun involving four separate m lodles a~ The teacher makes practice casy to be played as many times as the you guessed it! For using bel' head. teacher, parent and student, with the to try these broken arpeggios, be- well a th· n ed for making tbem and fun with all eye to quick results. hard parts. When her lesson is good, her teacher student's success the object and the sound separu t ly. kimping or blur- A little technique at every lesson ginning slowly and progressing in She goes over the new lesson with reward. He gets satisfaction and is goes well if Jack is reminded that plays a piece, the original of her speed. And they, too, have a definite ring any part robs Bach of his due! students marking fingers and diffi- proud of his accomplishment. The he is like the pitcher in the ball simplified one. Does she love that value in playing certain passages Fugu study ill aided b)' practicing cult counting after he names the praise and appreciation of family game doing his "warming up exer- and will she work? Sometimes, when of Debussy, where the desired effect each part s Ilarately-as if you were notes. and chords if possible, play- and friends is his reward and incen- cises." But too much technique is fa- she plays a piece very well, her requires evenness and clarity, yet a quartet. And thinking in terms or ing hands separately listening to tive for more and better practice. tal. It kills interest. Jack takes one teacher makes a recording of it. IN THE LAST FEW YEARS the number of people who want lessons on the at the same time a certain typically- voices and of chamber music leadsto each hand sing, then playing both Ask your students why they prac- scale, chord and arpeggio all start- Nola hears her own playing objec- Hammond Organ has grown by many thousands. That is why you can Debussy murmur iness. a gradual und rstanding of styles. hands together, counting. Rhythm is tice. You will be surprised at the ing with the same note and name. tively and sees places to improve ex- earn more by teaching the Hammond Organ than any other keyboard This kind of practice accustoms I beli "C Ihat one should approach easy if called swing. Phrasing is answers. You will learn what they These he plays slowly, hands sepa- pression. one to a musical use of the hands. not a single piece-to-be-learned, but easy if phrases are called the "build- like best and least. This knowledge instrument. rately the first week, one note to a A nother teacher has a contest to But musicianship requires more than u compos r. rtninly thi'i is so of ing blocks of music. Children under- helps answer the big question; How But there's more in it than extra income. You'll find the Hammond count with rhythm accents, later two see which student practices most. finger work! When beginning a new Bach. B ethov en, and Brahms. And stand building blocks. Music must be can we get students to practice? Organ easy to play and interesting to teach. In a very few weeks you notes to a count. Playing in rhythm The one with the best practice rec- composition, one makes better prog- you get t know the composer by related to familiar things in life. THE END will play surprisingly well. "VeIl enough, in fact, to begin teaching. is fun, a painless way of gaining ani, kept on his honor, goes 10 a con- ress by learning not just its notes. ste ping )' urself completely in all Phrases are like stories, with a defi- Special Plan for Music Teachers but its entire development. Thus one his work, A cooperative purchase plan devised especially for qualified music acquires both deeper intimacy with For the ludy of S1yl•. I ad,ocate teachers is now open to you. Your dealer will explain how easy it is the composition. and a firmer grasp ales~ d tailed uppr 8eh than ill tbe on musical form. From the vcry to own a Hammond Organ on this plan. st udy of form as uch. Learning to start of one's study of sonatas. one know Beetho"en need not in\'ohe the A promising future for you should learn what is meant bv picking out of theme:. and de\·e!op. Of the many thousands of families who own a Hammond Organ, a themes, sub-themes, development, ment, or whether this fc-"Ohes on the large number want teaching help to extend their study. Far more recapitulation, etc. Identify them in dominant and that on the Ionic. You adults choose this instrument with the result that student turnover the work; find out which figures will need only li~t n to Beetho\"en's Viorks repeat, which won't, and why. Such is lower, your income higher. Playing engagements and rental fees -sonata. songs. chamber music. practice of the early sonatas of can bring you additional profit. s)"mplltmie~-lraining your::elf 10 rec· Haydn opens the door to a more The Hammond Organ is the world's leading organ. It is the one ognize their unique qualiti - of feel· musical comprehension of Mozart most people afe interested in playing. It requires very little space in ing. A knuwledge of Beelhol"tn's and Beethoven, as well as of the orche8tral habits helpj enormously your studio. It is true to pitch, never needs tuning. individualities of works written in with the phrasing and colorin~ of hi: You will thoroughly enjoy playing the Hammond Organ. Its respon· non-strict sonata form (which in. piano sonatas, This i:-. equa.U)·trUcof siveness and vast range of beautiful tones give your music added depth clude some of the classic sonatas Brahm~. ',; hen 1 first studied his CONSERVATORY-TRAINED MUSICIANS COMMAND BETTER iNCOMES and vivid color. and many such works of the Roman. F· minor nala. I had only to think of You can receive the highest type of musical training in your own home. These Extension methods and the This is Your Opportunity-Mail Coupon Today! There are Hammond Organ models suitable for every teaching tic school), ~ •••••••••••••••••••••••••••••••••••••••• I curriculum have been developed and perfected by the Conservatory over years of time. Th.eir value his Fifl:t )'mphon)' to knoVl'whomI UNIVERSITY EXTENSION CONSERVATORY. Dept. A-768 need. The Spinet model is only $1285 (f.o.b. Chicago) including tone A knowledge of strict form is ond soundness is proven in the careers of thousands of music~ans and teachers, who owe their. success • was dealing with and VI'halto do 2000 South Michigan Blvd., Chicago 16. lllinois equipment and bench. Other prices on request. Any Hammond Organ further valuable in understanding largely to the personalized and painstaking coaching of thiS great Conservatory. Courses Include: • • Please send me catalog, sample lessons and full informa- Bach because he is perhaps the about him. • can be the beginning of a lifetime of profit and pleasure for you, • lion regarding course I have marked with an X below. freest, least form-ridden master of Before you study 3 De,",' work.soak HARMONY:-Written by two of the fine~t Mail the coupon for details, CHORAL CONDUCTING:-Brend new course • Piano. Teacher's Normal Course 0 Voice yourself in th compo~r's othel theorists in the country. Simple, yet thorough • o al~! If you have been brought up to include~all the modern techniq ues-even broed· o Piano, Student's Course 0 Choral Conducting costing. in every way. From basic fundamentals right dunk on.ly of his struct.ural sha peli- 'works; play o,'er a record of your through to Counterpoint and Orchestration. o Public School Mus.-Beginner's D Clarinet ness, tIllS may surprise you-until favorite among them and li~len for o Public School Mus.-Supervisor's 0 Donee Band Arranging .ElAMMOND OIiGAN NORMAL PIANO:-Especielly designed for o Advanced Composition 0 Violin you reflect that the fugue is the chnracteri::.ti eRecls. Theme! and teachers or future teachers. Treats and solves HISTORY:-A modern course including all types o Ear Training & Sight Singing 0 Guilar MUSIC'S MOST GLORIOUS VOICE melod ies will. of cour~. be different eYeryproblem of the progressive teacher. ~ree.st of all for.ms. Actually, a fugue af music from ancient origins to 20th Century. o History and Analysis of Music 0 Mandolin l~ SImply a wntten-down improvisa_ and you needn't bother about fonn. Interesting-with emphasis on the analysis of o Harmony . 0 Saxophone -----MAIL COUPON FOR FULL INFORMATlON---- ARRANGING:_All the tricks of modern orrang- tIOn. If Bach were here today. I am J usL gel the feeling in~ide JOU and music-not a dull collection of facts. o Cornet-Trumpet 0 Double Counterpoint !,ng dr~wn from the experiences of the' biggest o Professional Cornet-Trumpet 0 Banjo Hammond Instnlmcnt Company perfectly certain that he would nev see how much more ea~iI)' ou c!Il name arrangers in the country. 4244 W. Divcrsey Ave., Chicago 39, Illinois play any of l~is fugues the same w:~ sub:-equ !lIly get it out. I .hnF Name' Age' _ I'lease send details about how I can become a Hammond PUBLIC SCHOOL MUSIC:-Fits you for actual EA,~ TRAINING:-Oesigned to 'give you the Organ teacher, twice. He'd elaborate here en b "d 1 work in Illi way.andwhatajoyitis work in the school room. Our model lessons de- 1 . 1 rOI er ability, to read at sight, to transpose and to Street No. t lere, c.hange things about exactly velop originality end give you an excellent guide in pla)"ing a piano com~itiop of tranSCribe, Invaluable training for vocal or in- Cily' State. _ SPINET MODEL Name .... as. he did when he improvised. It is 'Mozart or Beelbo~en or Debus-,"1"to strumental work. for teaching others. Hammond Organ for thl~ completely free articulateness ~ay. Goodness. he.re'! Va; cJa~soptft, Are you teaching now? --'If so, how many pupils have homes. schools and Address... churches. Ideal fdr begin· whIch helps make him so I . ' man'e au .. or Adelaide. or fA .1I~r. 1t i~thtio! you? Do you hold a Teacher's Certificate? _ ning organ instruction. I n studymg a Bach fU[rue "I "" City. . Zone -State .. 0 • we eam of such r-ecogniLion Ihlt hel~ add CONSERVATORY t herstfi th erne and the d UNIVERSITY EXTENSION Have you studied Harmony?" Would you like to earn @1953, HAMMOHD INSTRUMENT COMPANY , fi I seeon and musicianship La piano practice. na Iy we know them only to' find 2000 SOUTH MICHIGAN BLVD. (DEPT. A-768) CHICAGO 16. ILL. the Degree of Bachelor of Music?' _ THE E'\D 48 49 ET DE-MARCH /0;1 -ETUDE-MARCH 1953 NEW STYLE BOWING SUPERIOR TO OLD STYLE YOU MUST BE THE SONG AS YOU SING IT ~(1/ (Continued from Page 14) (Continued from Page 25) parties are more important than re- York and San Francisco, and a very c~ ~ A Beat you can ~ ... . Another value resulting from the I I dinz few minor ones. Suppose that these produce a given volume of tone by hearsals. The con ductor , t re ea 1 >:> inward turn of the forearm is the singers, sometimes all the orchestra scholarships turn up marvelous means of the German method is at extra flexibility it gives to the wrist. and the chorus, must attend these voices, where are the marvelous least twice as much as is necessary THE (~::f1120A Beat hear! when the modern method is used. The two fundamental motions of the y;;~::; functions when they should be prac- voices going to sing? Booking agents wrist are (1) the vertical, as when tieing or sleeping. It is certain the all over the country book the singers This has a decided bearing on the one waves good-bye to a friend, and people who give such elaborate par- who have on their cards 'From The relaxation or otherwise of the whole LEILA FLETEHER (2) the sideways or horizontal mo- ties are not so much interested in Metropolitan Opera,' and maybe the hand. Furthermore, when the thumb tion. This second motion is nothing music as they are in social lions." presenters of the cards were a fourth is pressed against the side of the PIANO COURSE METRONOMA second joint, the knuckle joint of like so free and natural as the first, Reverting to the matter of musical spear or a third slave in some obscure Electric Tempo Indicator and is in fact rarely used. Even when equipment, Maestro Breisach thought opera. It comes again to the matter the finger remains flexible-which is The most MUSICAL - yet the most writing a letter one uses the vertical with the flash Baton that a general education was help- of governmental interest. In Ger. not the case when the thumb presses against the undersurface of the first motion, for the right hand rests on instructive and logical piano course Now at a new lower price ... the Iul, and " ... of course, good health. many, one of the most musical its side. But in the German method published today! world's most dependable time beat! Every musician should realize that nations in the world before the war. joint. The suppleness of the knuckle the sideways motion is used to pro: Selmer Metronoma gives you correct his greatest capital is good health; every thirty minutes by train there is one of the most important-and tempos two ways ... (I) by a sound mote the change of bow at the frog. beat that can be set loud or soft, and this is even more important than was a town of considerable size, and least publicized-advant.ages of the BOOK ONE BOOK TWO ln the modern method. the inward (2) by a sight beat through a visible, musical knowledge. So far as I can in everyone of these towns there was Russian way of bowing. I shall re- (Primer) (Grade 1) flashing light. Easily set for any tempo t.urning of the forearm allows the I insist that my singers have enough a fine chorus, and a concert hall with turn to it a little later. from 40 to 20S-Largo to Presto- natural, vertical motion to be made BOOK THREE BOOK FOUR with a twist of the dial. sleep, and I recommend to them operatic company and orchestra. Many players of the Russian school have the second joint of the first in the direction of the bow stroke. 2) In playing with a band or orchestra, wholesome food. A Wagnerian Tole This was possible because the people (Grade 1'12) (Grade you are expected to follow the beat of This, plus flexibility in the fingers, makes a tremendous physical de- as a whole T alized that music should fingerbeyond the bow-stick, pressing Price, each $1.00 the conductor's baton-not the sound makes it a comparatively easy mat- of the bass drum or other members of mand upon the body of the singer. be for everybody, the poor as well as on the latter with the beginning of CAN'T WEAR OUT_<:on't slow down. ter to produce a smooth change of the group. The Metronoma, with its Thus, his rest and his food are of those who would sit in your diamond the first phalanx of the finger. In Each book - 56 Pages, beautifully engraved The beal is always steady, a<:<:urale01 flashing visual beat, helps you learn to spite of the fact that some of these bow. any lempo, do this. Simply turn the sound beat first importance to him. horseshoe at the Metropolitan. The and illustrated. players produce an excellent tone. A third principle of the modern NO MOVING PARTS-Ituseslhelhyra- volume as low as possible and follow "I am afraid America in one re- poor man cannot afford 10 pay for the visible flasher. Get it now- Metro- the method cannot recommended. school is to keep the forearm, wrist, tron "heart beet" lube developed for spect has put the cart before the even the cheapest seat at ew York be noma is your biggest tempo bargain! hand, and bow as nearly as possible radar. Exclusive design (U. S. Palent No. horse. Wealthy people advance or an Franci co, therefore he says for the flexibility of this joint is a in the same plane. When using the Write Dep't. E for your Free literature on the 2,522,492). On Sale at Better Music Stores money for vocal scholarships, some 'music i the bunk' and remains non- great help in maintaining a sensitive Disfributed Exclusively by lower third of the bow. the player LEILA FLETCHER PIANO COURSE VOLUME CONTROL-make the beal of them very great sums, but without musical. Even if h be poor because touch on the bow, and is equally es loud or 50ft as you like, or vary trom has his elbow up about level with providing sufficient outlet for the he is lazy. it is better he occupy helpful in changing the bow inuudi- sharp 10 mellow. bly at frog and point. the frog of the bow, the hand, wrist, singers. There are only two major himself with music than with AI your music dealer or djred NO CLUMSY ADJUSTING-no set But the greatest value of the Rus- and forearm being approximately in H.& A. ~tlmtr INC. opera companies in America, New bombs!" TliE E'D S<:reW5.Dial il like your radio to ony sian method is that it enables the a straight line. As the bow is drawn tempo-40 10 208 beals per minute. DEPT. E_32, ELKHART,INDIANA CHAS. H. HANSEN MUSIC CORP. forearm to rotate inward-c-couruer- to the point. this relative position of New Hyde Park, L. I., N. Y. clockwise-from the elbow joint, hand and arm is maintained until thus allowing the first finger to main- the middle of the bow is reached, Clarence Adler THE GRAND OLD MAN OF SWEDISH MUSIC tain a supple and sensitive pressure beyond which the arm straightens (Contimted from Page 10) on the stick without. any stiffening from the elbow joint. The knuckles of the hand are not vertically above HAROLD BERKLEY in the hand or fingers. This is where VIOLIN MASTER CLASSES {;ndol'jej (Juild the orchestra if they would object to would say to such an agreement" the suppleness of the first finger the stick, but remain naturally at 'just hands. I'll paint the music,' At this point Irs, A)fyen joined us knuckle becomes important. As the the side of it. This contrasts sharply Individual end cress lessees, doily chamber music. lectures at I explained. 'Then it came ... just as for refreshments and enjoyed the Dr. Clarence Adler, famous pianist, bowis drawn from frog to point. the with the German school and its low- BERKLEY SUMMER MUSIC SCHOOL -Godowsky exponent, teacher of many I wanted it. A wonderful, wonderful pantomime of her preparation for forearm rotates inward and the held elbow and abnormally pushed. t brilliant concert artists, writes as orchestra! !" America. Dr. AJfYcn humor was in- knuckle gradually collapses until. at lip wrist. The tonal results contrast now using buildings and campus of A look at the expressive hands fectious and we were in a gale of follows: the point, it is level with the back even more sharply. Brid9ton Academy, on Long Lake, North Bridgton, Maine and one could see the magnetic "The National Guild of Piano laughter as he treated us to an of the hand and is a little below the The foregoing paragraphs have teachers has become a force for prog- .ability qualified to draw every tone original farce-comedy. Then came line of the how-stick. There should covered the major points of differ- July 13 to August 22, 19S3 and shade into the sym phonic canvas. the most profound statement from ence between the old style of bowing ress. Its influence is Iar-reaohing and be a springiness, almost a epongi- All recrEational [ocilifies , FaT full information, write has done much toward supplying in- I realized why this "grand old man" the eighty-year-old composer: ness, in the knuckle. The inward- and the new. There are others of Berkley Summer Music School centives to light the torch on the road did take to the palette and brush "I did refuse. Yes. it was a band- turning forearm is a basic principle almost equal importance-the tech- at times just as a hobby. . Room 1011. 113 W. 57th St., New York 19. N. Y. Clarence Adler to pianistic progress." some contract but I do not wanl 10 of the modern school of bowing, dif- nique of chord playing, of arpeggios, 336 Centro! Park West -Clarence Adler "Before I "Wrote the Gusta f II have a professional conductor's po~1 of the spiccato, among others- New York 25, N. Y. fering essentially from the German Adolph, I saw the Battle Painting because. , . if I li"e my life always school.In the latter method. the top which will be touched lIpon as oc- NATIONAL GUILD of PIANO TEACHERS for full orchestra. I do not compose with another composer's work. then of the wrist nearly alwavs remain!' casion arises. Meanwhile, I hope . I paint music." This remark he some day it will show in my work that what has been said will do Wm. ~. J!)apneg '!CO. Founded 1929 by IrJ Allison, M.A., Mus.D. parallel to the bow-stick; in the mod- AUSTIN, TEXAS made many, many times. BOX 1113 and I won't know where I got il.~ ern method. the top of the wrist is something to halt the recrudescence "Tell me something of your tour July uite which is nO'" in the often at an angle of forty-five dt:grees of interest and belief in a method in the States. Did you like America process of compo_ilion is wTitlenin to the stick. It need not be arrrued that simply has no place in the vio- Cl~~ Dr. Alfven?" I asked. ' EDWARD BALLANTINE'S a cappella trle with text by Runne which method is the more nat~ral. linistic world of today. THE EXD "America! Yes, a wonderful coun- Lindstrom. Added to this gigantic Solid Silver Flutes - PiCCOlos Famous Variations for Piano on try .. America has such enthusiastic work i the recon tru tion of his a.udlences! They whistle when they Fifth rmphony which was heard THE GRAND OLD MAN OF SWEDISH MUSIC 108 Jlf(alll,adJusetls QIlJe. j§oslon 15. :fflass. MARY HAD A LITTLE LAMB ~Ike. yOll. You know in Sweden that this year and conducted by the com' IS like, when you say, 'throwing to- poser at the celebration of his (Continued from Page 50) in the styles of various composers matoes, no good.' So you may know eightieth birthdar. SANF~~~",!;I~~!:!?t"CAMP I was very surprised until I . 'I' saw "But. Dr. 1h-eo." T qu~tioned, ~r. Alfven's output to date com- means Italy and a short rest. One First Series-$l.OO Second Series-$1.2S t le tomatoes didn't come It • Coeducationol 13·19. Four & eigh1 weeks. COllrses io Bond Orches1ra Choru~ f . . was "Fifth ymphony is finished. is it pn~es four symphonies, three rhap- is prone to feel a bit heroic a bout En~embles, Music His10ry, Theory. Priv01e instruc1ion in pianO, all bOnd, orchestra irl$tru~ Also-Just Issued antastlc .. You have excellent or- not ?" sodies, several symphonic IJ'Oems, this romantic, life-loving, vivacious menh. Seminors and lec1ure~ by prominent musicians. Dormitory, sporh facilities on 170 chestras In America too "grand old man" of Swedish music, acres. Full information on request. THREE VARIATIONS for TWO PIANOS, FOUR HANDS "For me it is not finished; nowI numerous cantatas, choral works and "You do ev~rythi~g s'o quickly. I songs. With the reworkinO' of Fifth but the greatest. enigma is his in- Robert J. Rittenhouse. Direetor, Hoekessin 14, Delaware I. BRAHMS: A Minor Hun9arian Dance have conducted it. I ba"e beard it was ~n tour In Chicago when the Sympho.ny and the com~letion of exhaustible capacity for perfection, I in full orcbe lr8. I hne bad itlaped. II. J. STRAUSS: Gesan9, MCidchen, und Lamm (Waltz) Amencan Broadcasting C ompany I like the first mO\'ement best. Be- ~uly SUite,two prodigious tasks, one his keen sense of humor and the Ill. SOUSA: Mary and the Lamb Forever (March) $1.25 t.elephoned me about directinO' the tween this mo\-ement and the otbtr ~samazed at the indefatigable enerrry capacity for self-criticism. symphony. I was to arrange at>:>once THE ARTHUR P. SCHMIDT CO .. Inc. three. twenty years elapse. The..rorl ~~1lhis eighty-year.old compos;r. "1 must pause for greater con~ Bachelor of ~usic-Masfer of Music-Bathelor of Science in Education for my return to Sweden and be (B.S. In Ed. by arrangement wi1h Kent Sta1e University) BOSTON 16, MASS. needs more concentration. 1 mu~ The Pause" of which he speaks will centration" is the only recognition he 120 BOnSON STREET back In New York by July. All I BERYL RUBINSTEIN, Mus.D., Director pause then return 10 it,.·· wlS ~ come after the early winter season gives to his eighty years. could tlunk about was what m 'f 3411 Euclid Ave., ctevetond 15, Ohio Y WI e answer. (Continued on Pa&t511 of conducting in Sweden, and it THE f.ND MC",l>eT (;j tl'" Nntlo"ul ,IH~oelotlo" I)f Scho"ts f)f Mu..olc ETUDE-MARCH 1953 51 50 ETUDE-MARCH lqj) ltii / / JOujJlay- ~r9an !Questions and all that music means isyours EASTMAN SCHOOL OF MUSIC ~ iolin f(lluestions of Answered by FREDERICK PHILLIPS The University oE Rochester By HAROLD BERKLEY HOWARD HANSON, Director • Enclosed is the fioor plan of a 8', Flute 4', Dolce Fifteenth 2'. RAYMOND WILSON, Assistant Director CONCERNING THE VIBRATO label of one of these masters inside their violins. new church' we are building; the PEDAL-Diapason 16' Bourdon 16' Flute 8' (or Bourdon' 16', Gedeck~ Undergraduate and Graduate Departments total seating capacity will be 460. L. A. D., Quebec. It is pleasing Because of limited finances we are 16', Flute 8'.) COUPLERS-Great to know that you find my writings TRILLS ON HARMONICS cOHsidering the following alterna- 16' and 4'. Great to Pedal 8', Swell to interesting and helpful, and I hope tivesas regards the organ, and would Great 4', 3', 16'; Swell to Pedal 8', SUMMER SESSION you will continue to enjoy them. A_ J. L.. N/aillc. 0 far as I know appreciate your comments and sag- The following issues of Etude con- there is no book that deals with June 22-July 31, 1953 gestiollS: • Aly question concerns a two man- tained rather j mportant discussions "Trills on Harmonic." There are (1) Use present. organ wifh an uni H all pipe or gall. at the church of the Vibrato. You should write to not enough f them in the violin 0/ added Diapason, bringing the instal- where I (lin organist .. The organ is FALL SESSION the publishers of the magazine willt repertoire 10 warrant a book about 25 years old or more. The repair- regard to having them sent to you: t hem. As for the trill you quote, it lation cost /0 about $1,800. September 21, 1953-June 4, 1954 m.an says it should be electrified, October 1947. December 1948. April is plu yed by touching the E string (2) Purchase 0/ all electronic or- 1949, August'1950, September 1952. very light.ly with tb fir-t finger in gan costing jrom $2,000 to 5,000, which is not quite clear to me and For further information address some others on the committee, as The first of these is an article on the third position. F-Oundingthe higll depel/dingon selection 0/ inst nuncni we (Ire not familiar with the con- the Vibrato. the other issues contain E. and then trilling equally lightl)· and sale price 0/ present organ, ARTHUR H. LARSON, Secretary-Registrar struction and mechanics oj organs, replies on the Forum page. with the s eond finger. II is, of (3) Purchasc 0/ new organ at cost course. a fake trlll. hut it give. 0/ $5,000or more. but the repairman says tluu. to "clec- EASTMAN SCHOOL OF MUSIC Irijy" it would simplify repairs, and LEOPOLD AUER AND THE an effect often epprectet d by people Our prcsent organ is unified (flld who like that SOl'I of thing, duplexed IVith five ranks-Slopped th e console would be set on the side Rochester, New York TCHAIKOVSKY CONCERTO Illustrated obove: the Home Model Hammond Organ. Price on request. Flute, Tibia, Clonsa, Violin, Clarinet instead oj in center. Would this im- prove or alter the tone 0/ the or- R. E., Illinois. The world-Iamous THE LABEL MEANS NOTHING and Vox Hununuc (110 couplers or You play, and [rom the Hammond Organ flow the myriad voices of gan? The tone is jull and rich, but violinist and teacher who, when he pistolls). ffIe have been advised that music. Here is sunlight, here is peace, here is memory, Music LO match some folks are discouraged because first saw the score of the Tchaikovsk y B .. Jlirf:(in;a, Your violin bears the present organ, iouli addition of each mood- to sweep away each care "'I'. oj constant repairs being needed. a new leachin'J colleclion! Violin Concerto, declared that it a correctl y-worded Amati label. That a Diapason, wouhi be adequate for as casually as a cobweb. This is truly The repairman estimates the cost was too difficult to be played on the is all your leu r I II me. If the the new church. Do Jail, awee? The music's most glorious voice-a voice so 0/ a reasonably good repair job at violin, was the late Leopold Auer. violin is genuin it might be worth tOileis not coniporable 10 that 0/ versatile that thousands have found 5600, and to eleclrify from $2,000 to Music for Children It is ironic that this great man's as O1U II as 8000. if it is in good typical church organs. (lnd the vol· it a guide to new musical fulfillment. $4,000. IV auld it be advisable to go pupils became the foremost inter- condilion. but the odd.: against it· ume Sf'cms insufficient for our pres· 8 pieces for piano-grade II-III to this expense, or would it be better preters of the Concerto. However. being g Iluillc are $Om scores of ellt buildinf{, seating 300 per SOliS. You can play in a few weeks, even if to buy all. electronic organ? it is only fair to add that Prof. Auer t hOlisulld I ne. If you want it How do you feel about the suitabil- you have never played before. And, by George List -1. T., Iowa changed his mind completely when appraised. send it t one of the firm~ ity of eLectrollicorgans, and is main- like thousands of others, you will be he became better acquaint.ed with the Ihat ad'erlise in Elude. For a·s.mall te/Wnce an important expense? Ij surprised and pleased at how beau- 90 cenb - com.p!ele work. Later he prepared an edit ion fec you will gel a reliable "aluation. you suggest a new orgall, would you We rather think your organ has tiful even simple music is on the of it, somewhat simplifying a few oOersample specifications which yOlL what is known as a "tracker" ac- Hammond Organ. And those who Blue Gray Fog Follow the leader of the "un playable" passages (and A GIVE·AWAY DATE think would be adeqlLate. tion, which, in brief, means that the play other instruments will glory in Day Dream Mandarin Morch making some others more difficult I. -R. B., California sound is produced by a series of the vastly greater resources and ma- Discontented Cow On the Water that is now in use almost evervwhere C. R. McK .. W~Sl Virginia._~ levers and valves extending from the jestic tones of the Hammond Organ. The Factory Sq uare Donce the Concerto is played. . \ iolin labeled Dominicus ;\Iontag· The tOlllll sLrucLu.,.e of the pres· key to the pipe. This was· the com- Illon form of action a number of Your family life's a lot more fun with a Hammond Organ. You enjoy at your music deafer, or from nana and dated 1799 is nol likelyto ent organ leaves a good bit to be a closer companionship with your children. They, too, can quickly VALUE OF A BETTS VIOLIN be genuine. for Monlagnana died desired, largely through lack of years ago, but is rather cumbersome ASSOCIATED MUSIC PUBLISHERS, INC. and is quite heavy under the touch learn to play without previous musical training, and this can be the a buut 1750. It is nol eye" likely (0 Diapason quality, and possibly lack 25 West 45th Street • New York City 36 beginning of an engrossing hobby or career. VVlth music like this, their C. H. B., Waslll:ngIOI1. John Bell. .. be u fair imitation. because a con· of 4 foot stops (you failed to indio when a large number of stops are on. To "electrify" the organ would friends and yours come to listen- to play, to take part in the fun. employed skillful workmen. and a :"cientiou" cop)ist would alleal:t put cate the pitch). The addit.ion of the PIANO TEACHERS Diapason would improve this situa- be to change this action to operate violin from his workshop could he a pluu~ible date inside the inslI\l' The Hammond Organ offers you a choice of models that fit easily into This is your invitation to attend the INTERNATIONAL PIANO TEACH- worth as much as S850. But. as often tion considerably. but if it is at all by electricity or by a combination ERS ASSOCIATION 1953 Notionol Convention, ot the Hotel Stotler menl. "-hat it could be \\·orth I hl\e your home, meet your every musical need. Generous terms bring pay- New York City. July 13, 14, 15, 16. Convention will offer Americ,,'~ happened, unscrupulous copyist:' in. possible the usual couplers should of electricity and air. This would Illl l1l(>un" uf knowin~. bUI }-our menLs comfortably within your means. Hammond Organ prices start outstonding Teocher Troining Course for 1953. For complete informo- serted his label jnto many violin:- be installed. and then the organ give much more flexible keyboard tion and catolog 01 over 65 •. P.T.A. Teacher Aids write descri I>lion is not encouraging. at $1285* (for the Spinet :Model) including tone equipment and bench. worth not more than a tenth of Ihal might suffice. Electronic organs have action, and quicker response be- ROBERT WHITFORD. Founder-President For a lifetime of musical pleasure for you and your family, see your amount. Whether your violin i<; been improved greatly within recent tween the key and the pipe, but 204 N.E. 31st St., Miomi 37, Flo. A CELLIST WRITES Hammond Organ dealer now. genuine or merely a copy. no on;' years, and certainly some of them would not affect the tone of the instrument at all. Practically all or- COMPLETE COURSE IN HARMONY could say wit.hout examining thc in- i\/iss C. " Ohio. I 3m \·er~.-glad have given entire satisfaction in strument personally. gans today are built with electric or A '·SELF·INSTRUCTOR" BY JOSEPH A. HAGEN' to know dlat although ~-ouareacel\o churches of your size. Be sure that Formerly Editor of Mus;cal Theory for "The 111Ic''',,1;0''0/ M/ls;(:io,," th~. sound chamber:; are adequate, electro-pneumaUc action. We reany ElAMMOND OllGAN To comply with many reQuests fur.a Sell_Instructor a I(EY has been added to this course to eliminate studl"nl. you find In)" article~. eiC. the n~ed of a teacher. By checkIng the work don.e on.e~~rci~e~ of t.he le~sooi with the comlJleted AN AMATI MODEL usmg two if necessary. The mainte- believe, in tbe long run, you would helpfuL I don 'I tbink )-OU are doing MUSICS MOST GLORIOUS VOICE work In the key. the same benefits as those obtained In. lnlhvldual Instruction will be derived. A be more satisfied to go to this addi- thorough knowledge of Ilarmony may now be had from thIS Self· Instructor for the IJrice of a single an~thing "ery wrong in rollowing nance costs are not at all serious. personal leison. Details will be sent utlon request. J. So, Virginia. I am inclined Weare sending you a list of builders tional expense now for electrifica· JOSEPH A. HAGEN 70 WEBSTER AVENUE. PATERSON. N. J. J. ~ome of my id as in )our 0,","11 "iott. to dunk that your viol ill ·,S a G tion_ since the cost will not be 1----- MAIL COUPON fOR fULL INfORMATION ----., erman :i\lanr celli~G nowada)~ hold lhe boll of both pipe and electronic organs. copy of an. Amati. for the label. a~ Also descriptions of self.contained in the profession. Too many teach- gling teacher is looking for students ers are hard hit because they do and they are also looking for a not make their presence known. I teacher , .. "and never the twain know of one Iamil y which sent a shall meet" ... unless the teacher advertises. It 'is sad to think that in :Jhe !J-ncomparatle child two miles bv subway across m.: town to a piano teacher when there the high school of one city we was one Jiving next door. The next counted three hundred and fihy·one door teacher didn't even have a students who wanted private lessons shingle out because she felt it was but didn't know where to find a undignified. The family never knew teacher. Meanwhile not more than what her occupation was. Most cer- a quarter of a mile away we talked 01 tke a-: c.;»: tainly she would have had that pupil with an excellent teacher who was INNESOTA if the family had known of her he- struggling along with a mere nine- cause she was a good teacher. But teen students. ee what I mean? SESSION she failed 10 "make a noise" in her Well. it is your campaign Dr. community. Jekyl. Ask 1\1r. Hyde what he can THE BASIS OF PIANO STUDY AND RECITAL SPECIAL COURSES IN MUSIC AND MUSIC EDUCATION It is irony to think that a sn-ug- do about it for you. TIIY. IND It's fun to study on Min- staff of professors, augmented nesota's cool, friendly campus, by outstanding guests. flanked by the historic Missis- Preeminent library and labo- sippi, just 15 minutes from six ratory facilities present unusual AUDIENCE EDUCATION enticing lakes, and close to the opportunity for graduate work FOR CHAMBER MUSIC CELEBRATEDPIECES IN EASIER ARRANGEMENTS MASTER PIECES WITH MASTER LESSONS cultural, shopping and enter- and research ... an exciting pro- Twenty-eight selections, including works by Beethoven, Chopin, Dussek, Fifteen famous compositions with lesson analyses by eminent pianist- tainment areas of two big cities. gram of concerts, plays, lectures (Continued from Pnge 13) Gluck, Handel, Haydn, Mendelssohn, Mozurt, Rubinstein, Schubert, and teachers. More than 1,000 courses, em- and socia Ievents assures stimula t- 410.40162 $1.00 bracing every field of education ingrecreatlon. You may choose originally conceived by M1'. L. A. Fantazia for Viols Orlando and von \Veber. and scientific interest, are of- either or both of two independ- Strauss of Indianapolis, has germi- Gibbons 410.40117 $1.00 fered by a nationally-recognized ent terms of five weeks each. nated into a healthy riational group Finale from the "Rider" Quartet of over 2,000 members. The names, ...... Haydn FIRST TERM June lS-July 18 SECOND TERM July 20-Aug. 22 MUSICAL VISITS WITH THE MASTERS compiled by Bruce Carleto» addresses, and performing ability of Finale from the Quartet in C Ma· the players are listed in a directory CLASSICSFOR THE YOUNG edited by Pout Felix Sixteen simplified arrangements from the Classic composers. Also Write for helpful complete bulletin. jor. Op. 59, No. 3 Beethoven Dean of the Summer Session, 801 Johnston Hall. made available to the members for 62 simplified transcriptions of the favorite compositions of the great includes portraits of the composers to be cut out and pasted in to their ease of assembling players. Through Assez Vif from the Quartet in F proper places. such informal playing activities, a Major.. Ravel masters. Careful fingering and phrasing. 410-40174 $.75 UNIVERSITY OF MINNESOTA great enthusiasm for chamber music Valse Ridicule Alfredo Casella 420·40013 $1.00 MINNEAPOLIS 14, MINNESOTA is generated, and larger and more Wrestling. and From the Diary of appreciative, musically intelligent a Fly. from Mlkrokosmos...... _ _ .._ _---_ .._ _ , audiences are developed thereby. A Bartek- er-ly EARLYENGLISH CLASSICS edited by George Pratt Maxim wider participation in such activities SHORT CLASSICS YOUNG PEOPLE LIKE Du ring the concert the children are compiled and edited by Ella Ketterer by larger numbers is undoubtedly a grouped Jnforrnally around the play. Twenty-four selections o l prominent English composers of the Eliza- key to building greater support for ers. Claus Adam, cellist in the quar- bethanera, including Tallis, Byrd, Bull, Gibbons, Blon, Purcell, and Arne. Thirty-two selections easy enough for the grade 3 pianist. Most of the chamber music. tet, who is particularly gifted at 430·40019 $1.00 pieces are only one page long so they are quickly learned. Con:1ervalor'!J A more recent organization which speaking to children introduces the 410·40254 $.85 is helping to provide solutions to the various instruments. The players problems facing the area of chamber then demonstrate the different ef- by Mendelssohn music performance is Young Audi- fects the children are to listen for SONGSWITHOUT WORDS edited by Percy Coetschius OF MUSIC ences, Inc. The idea for such an in the musical compositions on the "'CElEBRATED COMPOSITIONS BY FAMOUS COMPOSERS organization originated with its pres- program. In the introduction various A superb edition of these classic selections, with excellent analytical A basic book for all pianists. Thirty-four selections of prominent and ent secretary, Mrs: Nina Perera items of interest about the string editing by Dr. Goetschius. Collier, of Darlington. Marvland. master composers. • For the serious student who wishes in- quartet and the music on the day's 430·40032 $2.00 Since its founding, Mr~. Ros~lie J. 410-40126 $1.00 tensive professional study of music, bal- program are explained in under- Leventritt, chairman of the national standable terms. After the perform- anced with participation in College liberal association, has aided the work im- ance the children participate in the arts progralIl and general campus activity. measurably by her devotion and program through a question and an- *PIANOCLASSICS DorD'litories, co-educational dining, exten_ "'FRAGMENTS FROM FAMOUS SYMPHONIES generosity to the cause Throueh swer period with the musicians. The Forty-sis familiar and Iavorite composruons of the great masters. compiled and arranged by William Baines sive concert series by guest and local Young Audiences, Inc., n~usical a;t- happy result is that enthusiasts are Superior edition! For intermediate grades. artists, excellent practice facilities. ists are brought to schools in various won for some of the finest in musical Simplified arrangements of favorite themes from twelve groat orchestral 43~40061 $I.S.0 l~rge cities in this country to pro- interprellltion and literature, and a works. Member National Association of SChools of Music Vide the best in music at the interest public for support of this medium 410-40154 $.75 a.ud attention levels of the young of expression is in its making. Iisteners. Chamber music has been Write for: Broadus Erle, first violin in the featured at many of these concerts ONCE·UPON·A·TIMESTORIES OF THE GREAT MUSIC MASTERS Conservatory catalog describing de- New Music Quartet. in an interview Grace Elizabetli Robinson and a very successful ensemble with grees awarded with the writer. suggested a practical MORE ONCE-UPON-A-T1ME STORIES Grace Elizabeth. Robinson these youngsters has been the New ~ perfect combination o[ a story, easy-to-play pieces, and interesting starting point for developing wider Bulletin on admission and audition Music String Quartet. Includes a story, easy pieces and illustrations of Rubinstein, Cham ina de. appreciation of chamber music wilh Illustrations of 12 of the great composers in musical history. Included procedures The programs of this quartet are Liszt, Grieg, Sibelius, Gounod, Dvorak, Tschaikowsky, Saint-Sacns, the statement: "When the aura of are Bach, BeethO\'en. Brahms, Chopin, Handel, Haydn, Mendelssohn, carefully planned as to informality and Strauss. Calendar of Dlusic events for the cur_ sanctity which seems to ho\'er abO\·e Mozart, Schubert, Schumann, Verdi, and 'Vagner. rent year o.f atmosphere, length of composi- 410-40139 $1.00 ~hamber music is removed. the en· 41040179 $1.00 tIOns, sequence of types of literature PrograDls of concerts and recitals ?oyment of tlus kind of pure music nature of introduction of the instru: given during past season 1S easily accomplished." A note· ments and the musical literature worthy observation made as a result and provision for participation of of. the Quartet's experiences with Director of Admissions. Oberlin College the children in the program through cll1ldren was summed up as follows a question and answer period_ A Bryn Mawr, Pennsylvania lox 533, Oberlin, Ohio by Mr. ErIe: "We have found in THEODORE PRESSER CO., typical children's concert consists of Our experiences with a great many a representative program as follows: --...•--_ -_ __ -._--_ ' (Continued on Pagp 64) 58 ETUDE-MARCH 1953 ETUDE-MARCH /953 59 STEPS TO ARTISTIC VOCAL SUCCESS THE FLOWERS THAT BLOOM JAMES MILLIKIN UNIVERSITY ROOSEVELT COLLEGE (Continued from Page 11) Chosen for its beautiful IN THE SPRING SCHOOL OF MUSIC SCHOOL OF MUSIC DECATUR, ILLINOIS singing tone quality by. , . Otters thorough traLnlnl: In lIluSlc. Courses Icad- Applied and Theoretical Music, Composition, (Continued from Page 13) willdo for you. . from vowel to vowel. Remember that tng to ceerees of; Bachelor of Mllslc. uacncroe of Music Education, Master or MlIs,c. pOll xtesece Musicology, and Music Education. Bachelor When you sing, do you use this the vowels are the music of your Rosemary Clooney uf l\ltlslc Education. of Music and Master of Music degrees. and hence the very slightest hint of approve (which they do). Just take songs. Purify the vowels and you 11Ternber of theN auonet A~socialionSchoolsofMusic instinctive voice emission? fU~I~I~' for her own home Bullelill sent upon request Bulletin (.171 Request tongue-in-cheek playing invites the in the fun -of the characters, the unusual the shock 0 crvr 1- purify the voice. This is accom- w. Sf. CLARE MINTURN. Director e 430 So. Micllig:m Ave., Chicago' 5. Illinois youar ' 'A'. danger of burlesque. Good players lines, the situations, and let go to , has robbed you of It. s It IS plished by forming every vowel at zanon .. '1 perform enormously seriously-like them. That is the only guide 10 instinctivewith every one,] It IS ea.sIIY the front of the open mouth, with the traditionally great clowns. Gilbert and Sullivan one needs .. nrred and it wil certain y the tongue always relaxed to the Just published and already In great demand- reC8p , • "I am sometimes asked if Gilbert except, perhaps, to observe the spon- italize your VOIce. Your singing lower front teeth. and Sullivan is alien to the under- taneous way that children enjoy the :vill again sound "natural. and ex - Consonants are hissing, buzzing, The new Ada Richter plano book standing of today'a audiences. Let performance. pressive" if your tongue, Jaw, an d or humming sounds which should be me answer that with one of the find- "Parents love to bring their chilo " EASIER THAN EASY" throatcolumn are open and relaxed. so lightly formed and quickly re- ;nas of music education. When dren to our performances because it's Tremolo,quivering, and hard, metal- leased that they do not seem to in- ." . . all wholesome, clean fun. Indeed, Grade I to price-60¢ courses in music apprecrauon were l"c nasal sounds are the result of terrupt the flow of the vowel tones. IV2' introduced, many schools began with we are extremely proud of standing using the palate, the jaw, or the When the ti p of the tongue swings Provides very easy sight reading material for the beginner and Bach, Beethoven, and Brahms, onl! in Number One place on the White mus~lessurrounding the vocal bands up to a spot directly back of the to find that the children couldn't List of the Homan Catholic Church, upper front teeth for the lingual con- supplementary material for the child who is not ready -ior the "next" in the wrong way. . grasp the material. After further ex- the many parishes of which often sonants 1, d, t, and n, the touch book. Mostpresent day singers of clas.sl- perirnents in lighter music {includ- give their chool children a half- cal songs have an added ?pporl.U1l1ty should be light and instantly released Pieces in the same key are grouped together. mg Victor Herbert), they tried Gil- holiday on \Vedncsday afternoons ttl to winaudiences if they smg popular into the following vowels formed at bert and Sullivan. And the children attend our matinees. We arc also SODlI"$ and ballads. Even Ezio Pinza, the 'lower Iront teeth. I, The material has been chosen for APPEAL as well as use. , understood at once. Thus, in many proud of being the text for sermons the"'great Metropolitan, opera ba~i. Here is an exercise that win help ELKAN - VOGEL CO., schools today, music appreciation in churches and ynugogues. spiritual tonefound it worth while to do this, to pronounce words at the front of THE NEW Jessefrench CRESCENDO INC. begins with G & S. The result is leaders of all denominations recom- and he made even a greater success the mouth. Sansom that the majority of the children be- mending us as fine entertainment.' In her studio work, and in personal appearances, 1716 Street Philadelphia 3, Pa. when he turned to popular singing. a. Drop jaw. Swing the lazy tongue Rosemary Clooney has sung to the accompani- come Savoyard fans in their earliest Gilbert and ulfivan is nothing The popular field demands that you tip up to a point just back of the ment of many different pianos. Hearing them all years. It has been estimated that new to American audiences. As far give up artificial "pear shaped" upper front teeth, and down to a in action, her final choice for her own home is VOU'LL BE AMAZED there are from 7 to 10 milfion such back as the late '70's, when pirated tones,and pronounce the words with point just back of the lower front Jesse French! See why. Inspect and play the new AT ITS REMARKABLY Jesse French Crescendo, Let-your dealer explain WHERE SHALL I GO TO STUDY? enthusiasts in America-c-one in every versions of "Pinafore" flooded the naturalness.Television demands that teeth. After swinging it back and LOW PRICE! 18 or 20 people. country in the absence of interne- its many outstanding quality features ... and the you unbend physically as well as forth until quick and agile, experi- . convenient budget terms which will put this new "Is there any special way. of listen- tiona l copyright law. Americans have vocally, All microphone technique ment with whispering dee, lee, nee, value triumph .in your home, now! PRIVATE TEACHERS(New Ye-k CHyl rug to Gilbert and Sullivan, of deep- crowded to enjoy good versions and CRYSTAL WATERS makes the same demand. lee, using this tongue action. ening one's appreciation of their bad, "gagged" and garbled ver ions, See your Jeue French d~aler, or wrife for free "Piano Fads" Booklet to Depf. f·3J Teacher of singing. I find that many singing personali- b. Jaw dropped, tongue relaxed. RICHARD McCLANAHAN unique works? There is! It consists authentic productions, and plain im- JESSE FRENCH & SONS PIANO DIV.· H. & A. SELMER INC., ELKHART, INDIANA Popular songs and Ctossics , ties have good natural voices. but Alternately stretch the lips smile- Teacher of Piano T. V.-Radio~Stoge--Concert. simply in going to hear and see them. itations. That is why the presence Motthay exponent, formerly his representotive. they have a narrow range of good wise and pucker them. 405 East 54th St, New York 22, N. Y. Experiments in visual education have of a permanent and definitive com- Private lessons, studio ledure-classes for teach· tonalquality. Yet the melody of most c. Read aloud for half an hour a ers: available also as visiting lecturer. established that people understand pany, headed by the world's greatesl Six_Doy Piano Seminars HERTHA ENGEL songshas a fairly wide range. At day. \Vatch yourself in a mirror. best the things they see for them- Savoyards. comes in the nature of 801 Steinway Bldg., N.Y.C. Former piano instructor for advanced students first,when high tones are attempted, Swing your jaws apart and bring at State MU5ic Academy in Brussels, Belgium. selves. Phonograph records are, of wish fulfillment. 1r. Chllrtock's cur- THE for information: KI 3·7677 the voice will "break" and become a more action into the tongue and lips . SF Ul EDWIN HUGHES 3103 Fairfield Ave. New York City course, valuable, but incomplete; rent tour has been arranged in co- thinsqueak, or otherwise show undue for your syllables. Breathe by ex- PIANISTSPREPAREDFOR PUBLIC Midtown Studio from the stage itself you get all the operation with the American Heart CE S strain. When low tones are called pansion befol·e each phrase. Read on C PERFORMANCEAND FOR COLLEGE, dimensions and hence, the complete Association, and if he "jsits alI the sU Mme. Giovanna Viola Hull (Desmond) for, the quality becomes rough and the lower tones of your voice. UNIVERSITYAND CONSERVATORY human values. And when you get in- cities on their list. he'll be touring TEACHING POSITIONS Dramatic Soprano raucous.Some students have inten- Perhaps you have already accom- side and watch the stage, relax- amongst us for the next four years. 338 West 89th Street, New York 24. N. Y. Teacher of Singing-"Bel Canla" pHshed these fundamental principles Experienced European trained Artist don't tell yourself that this is a During all of which, i\les!5Cs. Char· tionallyavoided these high and low PIANO METHOD Coaching Opera, Concert ond Radio tones because they are afraid of underlying enjoyable sjnging. You LEIMER-GIESEKING METHOD Corred voice production, defedive singing classjc (which it is), that it's some·. tack, Green_ Gilberl and Sullj"8n of Piano Playing corrected, "losing"their high tones, as though may breathe fOI' your vojce, and send Beginners occepted thing you 'ought to know' (which will be as welcome as the flowers for beginners and advanced students youcould lose the use of your left it up and down a scale with flowing Phone: Trafalgar 7-8230 it is), or something that. other people that bloom in the spring. THE E~D V. GODJEVATZ 1.08 West End Ave. New York City smoothness, and pronounce your Pupil of Karl Leimer hand because you use the right. (Teacher of Gieseking) Almosteveryone confides that they words clearly, but does your voice KEYBOARD FUNDAMENTALS P.O. Box #131 New York 19. N, Y. HELEN ANDERSON have"two voices" as though it was convey a wide varjety of thoughts Concert Pianist TEACHING RHYTHM by BEATRICE HAnON FISK (FRANK) (ERNESTO) somethingpeculiar and strange. All and feelings? Does your face say Interesting course-piano, harmony LA FORGE-BERUMEN STUDIOS TO INSTRUMENTAL BEGINNERS what yom words say'? Does your The purpose of this new approach to piano playing is to acquaint Mony Successful Pupils humanvoices are endowed b)' nature Voice-Piano 166 W. 72nd St., N. Y. C. Tel. Sc 4-8385 with two basic sounds. In common body move expressively with your the beginner with the fundamentals of reading and playing from Among those who have studied with Mr. Lo (Continued from Page 16) withall animals, we can both grunt singing? Look in the mjrror. Thjs Forge are: Marion Anderson, Lawrence Tib· the printed page. The pupil develops a skill to play the more bell, Richard Crooks, and Mme. Matlenauer. and nise it on the second, while In the study of aU instruments, and whine.The grunt has a low, full will help you to portray a beautiful 1040 Park Ave., New York PRIVATE TEACHERS (Western) difficult pieces with ease. Tel. Atwater 9-7470 at the sarri'e time his finger was doing the use of rhYLllIllic motions in ad. toned, robust resonance. The whine picture while you sjng wl:ich is half exactly the opposite, namely I'aising clition to those used in actual pla)- has a high, thin, light quality. of the enjoyment of the lJstener. . EDWARD E. TREUMANN EVANGELINE LEHMAN on the first note and going down on ing facilitates the learning lof rhythm. If you have a "break" in your Every artist wants a larger. audi- Concert Pianist-Artist·Teocher Recommended by Emil Von Sauer, Moritz Mosz- Mus. Doc. the second. By reversing the exercise because rhythm cannot be jell voice,it is merely an awkward transi- ence. The singer needs an audience. Three Volumes - I, II, III kowski and Joseph Holmann. Voice Building-Repertoire as follows: through mere counting. A s.Hght Pupular ballads and songs are. be- Studio, Carnegie Hall, Suite 837. 57th St. at Opera, Concert, Church, Radio g)(. ;) tion from one of these voices to the Each, $1,25 7th Ave .• New York City Tel. Columbus 5-4357 Studio address: 167 Elmhurst Ave. Fillgcr: DOWIl up do,,'u "1' down 0p swaying of the shoulders. swinging other. Your lessons should enable coming more popular all the t~me, Detroit 3, Michigan ~ ~ ~ of the body, raising of the hands. because the present day Ame'l:lCan WILLIAM FICHANDLER Telephone: Townsend 5-8413 youto blend the two voice into one WRIH TODAY ~ a:J .~ any of these will faciJitate the learn- smooth-flowingvocal line. composer is looking for an audience, Pianist, Composer,' Teacher For "Examination" Copies 314 West 75th St., New York Su-7-3775 EDNA GUNNAR PETERSON Fnol: Down- up d(lwn "I' '~o\\"n up ing of rhythm. Of course this does Once you learn how to breathe and he js writing the songs that Recent Compositions published by I was able to solve the problem and not mean that the student should G. Schirmer, Inc, Concert Pianist-Artist Teacher be properly and how to maintain an America is singing. 17447Castellammare Pacific Palisades, Calif. he began at once to play with better encouraged to adopt an erratic mall- If your heart is set on becoming a EX 4·6573 open relaxed throat column, the CHARLES LAGOURGUE 0.1. U rhythm. Afterward he had no dif- ncr of playing full of excess motion: vocal apparatus becomes a miracle great singer of classical songs and VOICE PRODUCTION-SINGING ISABEL HUTCHESON ficulty in learning the original ex· but used jn the earl)' stages. jt can of correct action, just like your ears grand 0 pera, let me be the one to for information: ercise. be a great hel p in enabling the encourage you to this goa1. Also be· 35~W. 57th St., New York Refresher Course for Piano Teachers: and your eyes. The robust full toned Modern Piano Tech nic:Coach ing Concert Piani5ts: Clarinet teachers encourage the student to carry o'er the rhythm voiceadds warmth volume and res- come a success at singing the popular GRACE L. FIELD Group Work: For further information address: pupil to beat time with the foot be- whjch he feels when he beats time to works of today and you will have Studio 202. 1005112Elm St., 001105, Texas onance to the en~ire ran~e 'while Harpist-Teacher cause they have found hom experi- music into the field where he makes the thin, clear voice smooths and both the time and money to put your- 345 East 61st St.• New York 21 ence that because of the fact that the music. (9 A.M,-I P.M.) Mu. 3-0045 SAN FRANCISCO CONSERVA· sweetensthe range and enables you self across. You will gain the ex· (after 2 P,M.) Te. B-5091) TORY OF MUSIC, INC. there is practically no ]lhysical mo· Because we cannot escape it. lei to sing softly at will. perience of public performanc.e t~lat 3435 Sacramento Street tion involved jn clarinet playin ..., us not forget that basic law of rhythm will make your classical smgmg CLARENCE ADLER Walnut 1·3496 the additjon of this motion help". II The secret of flowin ... this warm Bachelor 01 Music Degree Opera Deportment BOSTON 16 MASSACHUSETTS Teacher of famous concert pianists now tour- I I -a rhythm is motion. limpid voice through tlle words of more valuable, more naturaJ, and ing the world, Pupils now teaching in Harvard, Artists Diploma Pedagogy Certificate solve r Iyt lInic problems. THE END • THE END Eastman, Syracuse U., Smith College. Approved for veteran~ Your phrases is to sing continuously more picturesque. 336 Central Park West New York 25. N. Y. Children's Saturday morning Classes. 60 61 ETUDE-MARCH 1953 ETUDE-MARCH 1953 WHAT ABOUT STUDENT PRACTICE CHRISTENSENPIANO METHOD Successful through the years for SWillg, ON THE CHURCH ORGAN? Jazz Ragtime, Boogie, Blues, Breaks. key· board harmony, etc. At your dealer or sent g~~tga~~lofo~2·g~rrentmonthly bulletin of breaks and nu-tne for hit-songs, or $2 for (Continued from Page 17) 12 months. Mention jf teacher. CONTEMPORARY MUSIC ·1ianepianos in30days THE AXEL CHRISTENSEN METHOD Studio E-P.O. SOK 427 Cici, California divided among the girls, will go to. No mu~ical know!cUg'e n"cded. PI~no tuners in,l:rcal denomination, or by a church of a r..i~~~oi~Q:;~~;le'J)~ different faith. (Church A has de- wards buying the music whieh each :~';t~l~~;Oj':,~\';.',;~"lr"';p1rr~~~~nl,o':l~ilt~tIf,~~'i~:;.,,~~~~ L pended on Church B mostly duri?g must purchase herself. Practice and foc BHl carnllll~8. Send {<>tlay for free literature, appointments are restricted to church CAPITOL CITY TUNING SCHOOL CONVERSE COLLEGE':3:: the past two generations for ~ts Edwin Cerschetskt, Dean, SpartanlJurl:. S. C. for piano Dept. 340. 129 E. Michigan Ava.. Lansing 16. Mich. supply of organists.) Church B, "" members only. • cidentally, does not pay the organist Church G: This church makes no provision for student practice. but JEAN BERGER SONATINA· Clean idiomatic piano writing (Mr. Berger is now teaching in tlie I or any other musical talent. Music Depatunenc Middlebury depends upon a local college to sup. makes this three movement work a real contribu- 0/ Church C, in the same city also, College, Middlebury, Vt. Besides be- ply students willing to play to keep CLASSIFIED ADS now bas a large, beautiful organ tion to the repertoire. Difficult. ing a pianist, Mr, Berger is a Choir up their touch or to gain actual ex. 130-41119 $.85 HAu.no~\', Compoatt.Io n, Or-cneer.ra- LEARN PIANO '1·1).!\I"G A'I' HOlliE. played by an elderly woman said to Director and Organist.) tfon, Musical Theory. Private or Course by Dr. w m. Braid w nu c. perience. This church does nut Co r r eapo ndence Instruction. Manu~ world's leading piano technician and be poorly trained to handle an organ EFREM ZIMBALIST operate during lite summer 1lI1)lllhs, IMPRESSIONS FOR THE PIANO ° scripts revised and corrected. Music teacher. Write Karl Bartenbach, of such large specifications. Her (Mr. Zimbalist has been for many arranged. Frank S. Butler, 32-46 107 100lA wens si., Lafayette, Ind. so has little difficulty keeping the Ten short pieces in the form of musical reminis- sr., Corona, N. Y. position was 'inherited' through her cences. years Director 0/ the Curtis Institute "IOLINItIAKERS -Amateurs- Pro- Iamilv-e-her late husband years ago job filled during the college year. 0/ Music and has an enviable rep- LEAItN PIANO TUNING-Simplified, resstona ls. Fine tone European wood, J.10-40148 B1.50 authentic instruction $4.00-Liter- materials, supplies, patterns, tnatr uc- was ~hoirmastel-; her sister-in-law, The organ is very antiquated and uuuion. as a concert violinist. Recent- a tur-e free. Prof. Ross, 456 Beecher tions. Illustrated catalog 10¢, r-ef un d- badly maintained, but it does give ly he has devoted a large part se., Elmira, N. Y. ed. Premier Violin Supplies, Dept. whose reputation as a musician was 0/ V.E., 430 S. Broadway, Los Angeles well deserved, was the church's experience to one or two girls from his energies to coniposition-} NE'V PIANO ItIUTE LETS YOU 13. California, for chorus I PRAC'I'ICE DAY OR NIGHT WITH. first organist. No student practice the music department of the college. OU'I' IJISTUnnlNG O'['HEItS, Mutes FOR SALE. Rare records. Lists. ooi- is permitted, but the church pays It would seem that the list could piano about 85%. Easily attached or Iectlo n s bought. E. Hirschmann, 100 detached without harming mecuan- Duncan Ave., Jersey City, New Jersey. the organist $45.00 per week, wh ich be expanded ad infinitum, But what JEAN BERGER NO MAN IS AN ISLAND oA choral set- ism. State upright, grand, or spinet! are many an- Sold only on money back guarantee. ]<'OR SALFJ. Ebony Stet nway Grand fee covers services daily during the is the solution? There ting of the famous poem by John Donne, which Send $5.00 for mute and full instruc- 5'10lh", excellent condition-$I,250. week as well as on Sunday. A college swers to the problem. depending develops real power. Mixed voices, a cappella, tions. Richard Mayo, Dept. 004, 1120 Harry FaIlic];:, (;(;33 N. Smedley si., Latona Street, Phila. 47, Pa. Philadelphia 26, Pa. of the same denomination is located upon the particular need of the moderate difficulty. BUI 'VD.ITE SOl\'GS: Read "Songwriter's HAl\'D BUILDING BXEnCISli;S FOR near the city, and an organ is avail- church, of course. lite best -olu. 312-4·0130 $.20 Review" Magazine 16i10-ET Broad- PIANIS'l'S by 'w etdon Cu.rter. Seven able there for study. The organist tion, it would seem, would he unique. way, New York 19, 25f copy; $2.00 exercises with twenty minutes daily THE GOOD OF CONTENTMENT year. practice bring almost immediate re- of Church C, it should be noted, simple, and economical. and. I be- ° sults. Exercises concentrate entirely A dramatic setting of a text based on Ecclesi- BACH: POPULAR SHEET ItIUSIC TO on weak points of the hand. For bus y started playing the organ in the lieve, is one which is bound to take 1S:l0. Ballads, ragtime, everything. astes. Mixed voices, a cappel.la, difficult. teachers concert pianists and ad- old building (an old tracker action hold as time goes on, Catalogue 15e. Classics exchanged vanced s'tudents who wish to build a 312-40131 $.25 for popular. Fore's, E3151 High. Den- more perfect technlc. Send $1.00 for organ, by the way ) and moved into To reduce the puzzle to its aim- vel' 5, Colorado. COpy to Washington Musical Insti- tute. 1730 Sixteenth Street, N.W .• the new edifice when it was recently ple:;t terms, at least four points of ,vnOLESALEI Genuine Italian, V'irashington, D:C. sent prepaid. French, German, stringed instru- dedicated, acquiring the new four- the problem should be slated: ments and bows. Historic material, lor piano teflching YIOLINS for sale: Stradivarius, manual organ in the process, but 1. The church will have need of (Mr. Franco is now a resident oj tools. varnish, etc. R. Nusinov, 2918 Guarnerius del Gesu, Amati, Guada- W. North Ave., Baltimore, Md. gninis and others. Hill, Hamma, sllccessfully keeping away all other organists Ior many years to United States having come from. Hol- S'VIl\TG PIANO-BY ItIAIL-30 self~ Herrmann, Wurlitzer certificates. competition. come. JOHAN FRANCO SUNRISE AT SEA ° An impcessionistic land a number 0/ years ago. His teaching lessons, $3.00. Six folios Fine Arts, 402 East Third, Flint, (classical and popular), each $1.00. Michigan. Church D: This church permits 2. 1I organists are to he avail- study, of medium difficulty. works include orchestral, chamber, Chance to win $200.00 on new theory. practice by young people of the able, they will require access to 110-40210 ;3.35 and vocal compositions as well as Order 4G~page original classical im~ PIANISTS-Send now for sensational provisation composed on a new the~ book, "Modern Keyboard Harmony parish at a fee of $1.00 per hour. an organ, and usuaUr will have piano.) ory, price $20.00 (money back guar~ and Improvisation". Gives yoU skill TOCCATA • An excelJent "touch" piece antee), samples. Phil Breton Publi- in improvising, improves sight~read~ The student must exhibit sufficient to be trained within the church, cations, P.O. Box 1402, Omaha 8, ing. $1.50 postpaid. Free list of thou~ promise to warrant the privilege, 3, Tbe cost of operating a pipe emphasizing control of detached notes in alter- Nebral:!ka. sands of popular songs, boo In; and nate hands. Easy. folios sent on request. Lewis A rfine and must agree to play in that church organ is often lOO exces,ive to ACCOIUPANUIEl\'TS RECORDED ON Music. 117 W. 48th Street, New Yorl\: BO-41112 $.35 RECORDS OR TAPE BY FINE ART- City 36, N. Y. or a church of the same denomina- permit unlimited practice. and Is'r for any and a.ll vocal m tisic. Fot' tion for at least two years after he the church services must not be circular, write Esquire Recordings, THREE OUTSTANDING RECEN'I'LY AT THE CIRCUS ° A suil.e o! four elm'- 690 'Vasllington St., Brookline, Mass~ l-UHI,ISHED NU.lUlllj;RS; Mother of finishes his study. (This church disrupted. nor call daily wor· l\line. song. The Cro!:'s, sacred song. acterist.ic pieces; Jolly Jo-Jo; Trapeze Time; I achusetts. seems to have an abundance of or. Love Orchids, waltz. 50¢ copy. Beacon, shippers be bothered by the Parade; and Carousel. Easy. lUEl\IORY·PI,AYING and Sight~ Music Publications, c/o Alfred Sevig~ ganists. ) Reading by proved methods over 30 ny, 405 Bl'oadway, Lawrence, :1\1ass. praclice of the students. and a II 0-40 192 $ All years. Free syllabus with American Church E: A large church with a warm place must be available and Canadian appreciation. State ill~ HAn.~tONIZING ~(EI,ODIES AT strument and if elementary, moder~ SIGH'l'-24 pages of solid instruction large and well designed organ. A for the practice. BELA BARTOK BARTOK IS EASY! ° COMPILED AND ED- (Bartok has achieved pre· eminence and easy-to-follow cllarts on impro~ ate or advanced player. Director of full time organist is employed, and ITED BY DENES AGA Y • Fifteen pieces based among contemporary com.posers itS Studies, "MASTER ~ l\iETHOD" vising, transposition and harmo- 4. The musical future of the Courses, (Studio 16) 14. Edge'\'orth nization. $1.00 postpaid. Lewis Al'fine as part of his emolument, he is per- church must be viewed as a on Hungarian and Slovak folk songs. Ideal for auested by the growing interest in Crescent, London, N.V·l.4 England. Music, 117·W. 48th Street, New York City 36, N. Y. mitted to give lessons on this organ, worthwhile project. teaching rhythmic problems and phrasing. Me- his work, through performance and THE SCIENTIFIC l\IUSIC TEACHEU No restriction is made as to the recordings.) -MonthlY-$2.00 year_ Request sam- APPIlOXI~(A'l'ELY GO complete band With thct,c points in mind. why not dium difficulty. ple. Morong, Box 21, Brookl)'n 25, uniforms in good condition. l\1uroon number and faith of the students, consider the possibility of interest· 410-41020 $1.00 New York. concert style coat with Sam Brown belt, grey trouser'S with 11l'1.l·00n but a fee of $1.50 per hour is charged ing a church organization. a family. DANFORD HALL, COlUPOSEU.AR_ stripe and maroon cap. Contact for practice time, plus instruction A. C. Hollinger, Kilgore Hig-h School, or a substantial contributor in the RANGER. All types of compol:;iUons fees. corrected. Lyrics set to music. 1914 Kilgore, Texas. installation of an eleClI'onic organ for string quartet W. Lunt Ave., Chicago, Ill. Church F: This church is the main SONTaVIlI'.('ERS, Independent Music for use in choir rehearsals. and 35 PLAY BY SIGH'f. Pianists-Sight Publisher::! who wish New YOI']{ City church in· the city of its particular Reading made eas)'. IIllprove your rep res en tation. 'Vrite for free details. a practice inSlrument. The cost JOHN VERRALL STRING QUARTET NO. JII Al>sociated Song Vill'iters LP., 15S5-E denomination and has just installed playing by studying THE ART OF would -be low comparativel)'. the $1.50 SIGHT READING. 5 lessons complete Broadway, New Yor];: City, N. Y, a new three-manual pipe organ. A SCORE .134-41002 (An active composer all. t.he IVest S3. Danford Hall, 1914 W. Lunt, Chi- operating cbarges small. the choir PARTS .134-41003 3.00 Coast, lJilr. Verrall is presently cago, IiI. TJ:.:ACHll\'G AIHS, half hour sched- budget of 8400 per year is set up to ules, record cards, helpful reprints, room where the organ can he in· teaching at the University of Wash- compensate the organists, plural. PIANO TEACHERS. "THE PIANO_ advertising blotters, circulars. Gerst- STRING QUARTET NO. IV ner, Mt. Kisco, N. Y. stalled is usually open and easily ington in Seattle. In addition to GRAPH"-Note indicator and sight FoUl' girls or young women of the reading aid. Invaluable for beginner heated, and there is little transfer COMPLETE SET 134·41007 $6.00 being a composer he is also active as stUdents. Complete with 5 Discs, $2. A'I"I'ENTION-YIOLIN All.TISTS. church membel'ship are named as 2.50 Genuine Klotz violin (Josef Klotz. difficulty from the technique of the SCORE .. a pianist.) Danford Hall, 1914 W. Lunt, Chi- organists and they are given the cago, Ill. l\1ittennald, an no ] 721) for sale. electronic organ to the chancel organ PARTS. EACH 1.00 Send suitable offer to B. Fricl{, 101 privilege of practice time without Roehampton Ave., London, Ontario, when the student becomes able tit SPECIALIZED ARRANGII\~G AND Canada. charge, but must take a certain COlUPOSING. Piano, vocal, band begin to substitute for the regular (dance, concert) and orchestra scor- FAULTY~TONED VIOLINS revoiced number of lessons outside the church ing. Melodies composed for lyrics. organist. so that they have the tone of a gen- before being appointed. The youngest Manuscripts revised and corrected. uine "Strad". ':Vork done by an ex- Sometimes the knottiest problems THEODORE PRESSER COMPANY, BRYN MAWR, PA. Prompt service. Stein StUdio. 429 pert acoustician. l"ree information. player furnishes the music for the South Saint Andrews Place, LOI:;An- Chelsea PraseI' MV.M, 2025 Starke, have easy solutions when they arc geles 5, California. Saginaw. Mich. Sunday School, while each of the 70 years of Music Service broken down and analyzed. And three others is assigned a Sunday OLD AND NE'V VIOLINS. Cellos, 'I'REATI$JiJ ON TRAKSPOSITION, often the solutions are happy. eco- Bows, Supplies. Repairing. Eal{en, Second edition: $2.00. Charles La~ to act as organist, in rotation. It is 310 E. Washington St., Chambers- goul'gue. 35 W. 57th St., New Yorl\: nomical, and profitable. burg, Pa. 19, N. Y. presumed that the budget of $400, THE END 62 ETUDE-MARCH 1953 63 ETUDE-.\lARCH 1933 Studenh In'" Travel Assn.-2Dlh Anniversary AUDIENCE EDUCATION FOR CHAMBER MUSIC IUUSIC STUDY TOUR W1 '950 June 27th.lo Sept.51h (Continued [roni Page 58) . ~ oll-up .• mcl. &I~me, ~milmm14 ~ ,,~.J Featuring Bayreuth, Rome Paris LfARN ANOTHER , (t"/ and.4·week slayatSallblJ;g.Con~ children that they are not prepos- by their own functioning organiza- ~. genial group, open to non-music LANGUAGE by Ii• ?~ ~ majors and/or performers aswell • sessed with the certain prevailing tions, and by the exercise of leader- it as students. Your travel agent or a ...helfte • LlNGUAPHONE . ,. prejudices against this form of mu- ship in stimulating a variety of SIT4- 545 FIFTH AVE" N,Y.C,·MU "'544 World's-Standard CONVERSATIONAL METHOD sical interpretation and therefore chamber music activities in their folio"" FRENCH Are interesting career. travel. c111- can be easily fashioned into intelli- communities. Adult education pro- SPANISH tural opportunities passtrur )"011 b,l" Accordionigfg! leachem! because you need another IHlIgllilgc! gent. appreciative audiences through grams can show more ingenuity in selected piano materials built around a t~~~;~n A few easy costumes or propS. GERMAN AT HOME learn easily. quickly 1I;r proper educational procedures and tile planning and administration of For Easter Here ar~ d music are designed to appeal. to c I : of the music can mean the . RUSSIAN e ~~~N1:~'~H~lfrr'ci~~!I"YOl~Oli'~:JW~wise leadership." music appreciatdon courses by giving SACRED MEDITATIONS NORWEGIAN YOU heal' native men and women Thesublects an tion combined WIth the playing 't .like presentation. wavs JAPANESE sptak-.\·Oll un-terstand--vnu SI'~~AK In considering that a larger proper consideration to chamber mu- Contoins-Abide With Me, Agnus Dei, Ave haps a little story or nana .' . I delightful tableaux or even a SUIe -29 ~\'or~~mi~~l edl~;;~~~~~~:d.\?nd~~rt~~(\~~~~:public may be developed, it has been sic for the lay adult. They can de- Mario, 0 Lord of Mercy {Penis Angelicull, per. f lever and appeahng reclta , a longuoges Stop Wishing-Start Talking- pointed out that certain detrimental velop chamber music enthusiasts, o Promise Me, and 40 others. 0 I C1vailoble WIUTE TODAY ror Flml~ HOOK creation a c Linguaphone Institute. 3903 Mezz .• bugaboos must be eradicated and all perhaps more directly and certainly, 51.50 Rock Plaza. N. Y. 20, N. Y. Trythem-they're fun. segments of the population must be by stimulating group activities in EASY SOLO ARRANGEMENTS ------, EASTER PARADE ., 040 Linguophone Institute f included in a comprehensive plan for which there is emphasis on informal 3903 Melz., Rock. Pf czu I audience education. Chamber music playing of the literature. Coaching PETER COnONTAll 045 Ne .....York 20, New York I ~~~...... ,...~.,.,.-.., WHEN EASTER COMES AROUND AS Send me vour 1<'REI·j hoolr. 1 I is not intended for an exclusive mi- and guidance of such groups should want to learn. I ONWARD CHRISTIAN SOLDiERS lilnguage. 1 nority "intelligentsia" group; neither be exercised to the extent that the ond 3 other hymns.... . 50 xeme.. I MARDI GRAS Marie Westervelt is it intended to be "musician's mu- groups themselves desire it and profit 'Fhetc (lrc II/plcal of Ille lUore Uall 1,(}(J(} ateOfdlllll RIDING ON THE FERRIS WHEEL Address.. I sic." Herein lies the big challenge thereby. Adequate library facilities 11111,.Ikotlon, If.-/Cd in ollr frce ra'alau ••. /rfl!1 Illustrations and Lyrics by Jane Flory Phillips 2 110-26360 .30 lor lIallt caplI. C & S I to music educators, leaders of pro- IN THE GYPSIES' TENT ______1lJ"G'IJ~c~1tl~ere'1r' 'icter:li,. .JI will add much to the initial organi- D,pt, ET Mardi Gras time in New Orleans comes to full life in fessional ensembles,. and amateur zation and the survival of local activi- these easy arrangements of authentic Louisiana folk Crosby 2 110-07689 .30 enthusiasts who are interested in ties by indigenous groups. songs. Gay illustrations, and explanations of the JUGGLER, Op. 192. No.6 .. Kern 2% 130-40271 .40 occasion. 430-41014 $.85 creating a larger supporting public Throughout all the channels for MAYPOLE DANCE Bugbee 1% 1104)9631 .30 I, for this art. coping with tile problem there must 30 E. Adams St.-Chicago 3, Ill. CARNIVAL CAPERS ..... King 3% 110-27075 $.50 With proper emphasis in schools be a desire of the participants to MERRY -GO-ROUND De Vito 2 110-40152 .30 ViOlIN SPECIALISTS CARNIVAL PARADE .. Hopkins 1% 110-40133 .30 THE NEW CATALOG NOW READY on a wide participation in "haus- share the love of this kind of music, REVELRy Richter 2lh 110-27896 .35 PLAY VIOLIN BRILLIANTLY AT THE FAIR Thomas 1 110-27752 .30 FOR MAILING musik" activities, the pleasures of and an effective, forward-Iooking SILVER SLIPPERS Williams 3'h 110-26803 .40 Publishers of "VIOLINS & VIOLINISTS" A ~,><"'hllr"tr".h." «'ur.... f\lO' .. Ivlln'''-'~Im. this medium of performance can be leadership. with a view to suhstitut- plllled. mo"t "Irl'l"nlln,,", on"," luplrl./I n>el.l>od CARNlV AL DANCERS C"er dc .. I...' .F\INT£D lit THE U. S. A. U TH£ 'uno 'IUS. IKe. FOR MODERN liVING "Bring up the child in the way he should go" -holds for good music, too. And now you double the incentive-the inspiration-s-the Hundreds of Users Testify to Its Appeal desire to learn-with the organ that plays from your own piano keys. to All the Family Here's the miracle electronic instrument that brings you organ music or piano-or both together, There is no space problem-no "M~ two daughters play by note--t play "You don't have 10 be such an advanced strange keyboard-and the cost is surprisingly Iow. by ear-and I play the ORGANO as if il were player as some VllfY simple piec:es :wund so made for me. I thInk anyone who loves much better On the ORGAND," music can play perfectly in a shorl lime." Easily installed on your piano, rhe LOWREY ORGANa is a Edward Susanka 4« VineWO<>dAvenue new limitless source of thrilling inspiration for every member of ~;~aM#7.~::tkrakeRoad Wy.ndolte, Michig'D Dunkirk, New York "Hearing imp.irment, whic~ started your family, Regardless of previous musical experience, it is so easy "My 12 year old son and 9 year old about twenty ye.rs ago, t,uSed piano 10 daughter are not permitted to use the sound 'rattly,' 'dish·panny.'.and some notes, to play! Get complete information, now-or ask for FREE demon; ORGANO during their regular practica (E & F) at times sound alike. other hall- stration. Send the coupon on page 64, now. periods. ttis.sn edrs, and they both enjoy' tones somewtrat hard 10 distioguish at it, and derive great eenent from It," urnes. No trouble in dl!fi"ing Ihe organ Dr. E. E. Dunlap notes. so bought the ORGAItO." BOl217 Rob...1 L. Heck Sen Diego, Tens (Madoline Sireet "I teach plano iessons, and wilh the Pilt.burg. C.lilornia LO"WREY ORGANO I can give the advanced sludenls a chance 10 gal Iha feel of playing an "We Iruly believe ORGANO a fine inslru- organ keyboard." ment and, 100, Ihat il WIllcreale in children, Mrs. ferd Fischer as well as grownups, a desire 10 play Waco, Nebraska piano-ORGANO." James J. Breen, Jr. 40 Have" Drive Fort Smilh, Arkansas o 0 CHICAGO Only with the invention of the electronic tube could this amazingly compact ------_. source of orgaDmusic be developed, In less than two square feet of floor space are GET COMPLETE INFORMATION IN TIllS NEW harnessed the sources of the ORGANO's rich tonal rties. ORGANO BOOKLET. Use handy coupon on page 64. This saves your Etude cover. Complete Built-in Models available from dealers who sell LOWREY ORGAN DIVISION Janssen. Story & Clark Pianos Central Commercial Industries, Inc. 332 S. Michigan Ave., Chicago 4, Ill.