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

12-1-1928 Volume 46, Number 12 (December 1928) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 46, Number 12 (December 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/47

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]. PRICE 25 CENTS December i928 32.00 A YEAR THE ETUDE DECEMBER 1928 Page 893 I DO NOT CARE TO

▼ YetE thTHINK of singing as a com¬ wplete art, an entity in itself. And so I Berkey SING ALONE am called a soloist. BY Yet to me the gift of the human &opera, flute or piano trill cadenzas with the coloratura; the full orchestra thunders the chords of a chorus. Opera stars do not sing alone. If accompaniment is important in opera, it is absolutely SOPRANO vital in concert work. Here the singer must rely entirely on METROPOLITAN OPERA one instrument—the piano. And only when the tone of the COMPANY piano harmonizes completely with the singer’s voice do you ★ have that “sweetest strain” the poet described—“a song in which the singer has been lost”. I realized this during my concert tours on the Continent. But it was not until after my arrival in America that I found the piano which possesses this sympathetic quality in the highest degree. This piano is the Knabe. When first I heard it, I was startled, so humanly eloquent was it. In its warm, rich tone, I seemed to hear myself singing. And soon I was singing. But I did not sing alone. The voice of the Knabe rose with my own and blended into it. My solo was a duet—and RADIO or recorded music at the turn our duet was a solo. of a switch... SYMPHION through an entirely new principle converts the Since then the Knabe has been my closest musical com¬ ordinary 60-cycle AC house current to panion. It sings with me in my home in Vienna. Each Fall 3,000,000 cycles . . . This makes possi¬ when I return to New York, a wireless from my steamer ble the use of the 201A tube with its far makes sure that the Knabe will be waiting to welcome me to wider range of frequencies and excludes my hotel apartment. The Knabe is with me on the stage of heterodyning and hum . . . Result: the Metropolitan Opera House, and on the concert platform. every tone is reproduced—as it is played. And whatever I sing, the Knabe seems to sense the emotion in my heart, and to express that emotion with a delicacy that defines every subtle shade of feeling. Because the Knabe is so responsive to my moods, it has become even more to me than the perfect accompanist. It has become an inspiration, ever urging me to sing my best.

Like Madame Jeritza, you want a piano that can mirror your moods in music—that can echo your every emotion. Hear ruw iaJotU of.yi/iuAui the Knabe—the humanly sympathetic quality of its tone. Then you will know why Madame Jeritza chose it—and why Ponselle, Martinelli, and many others have chosen it, too. true of the Symphion playing recorded music or music over the air. NEW music instrument, the Why it is the official piano of the Metropolitan Opera Com¬ BALKITE SYMPHION, plays both Ask your dealer to play Schubert’s Unfinished Symphony for pany, and the artistic medium of those world-famous pian¬ you—its purity of melodic form requires perfect fidelity in re¬ ists, Rosenthal and Orloff. Why it is the ideal piano for broadcasted and recorded music production; you will find that the Symphion gives this perfect your home. tonally complete, with the long- fidelity. Music over the air will be played in the same tonally A 10% down payment places the Knabe in your home—you have complete manner. years to pay the balance. Prices from $875 to $2,500. sought overtones and subnotes. Period models from $1,500. Your dealer will be glad to demonstrate the Symphion. Fansteel

Both the phonograph and the radio have captured the general Products Company, Inc., North Chicago, Illinois. Wm. Knabe & Co. public. But there has always been a special public—musicians New York Baltimore and music connoisseurs—who have not been satisfied. Their attitude has been that reproduced music leaves out cer¬ tain notes in the upper and lower register, and esthetically im¬ portant overtones. This is the attitude of extreme fastidiousness. Yet this attitude has constituted a challenge to radio and its marvelous achievement. The Balkite Symphion meets this challenge. It is radio for the musician and the music connoisseur. It is tonally complete, and with the long-sought subnotes and overtones. The same thing is Jdiancr

Photo by Setzer, Vienna Official Piano of the Metropolitan Opera Company SANTA CLAUS CHICAGO jggig IS COMING! Outstanding Vocal and Instrumental Novelties Memory (Vocal).C. W. Cadman 9i CINCINNATI £E#^Sgg Adoration (Four Hands).F. Borowski 9; Will you kindly help me with March of the Classes (Four Hands).. .M. L. Preston 9! my Christmas burden ? Half a A Song to the Stars.R. Kinder 9‘ DETROIT million deserving poor — men, Berceuse (Violin and Piano).J. Donaih

Kindly mail your check “Etude” readers, who desire to locate articles nuh without delay to lished in previous issues of "The Etude’’ are Seed to consult the Reader’s Guide which is to he found in most public libraries. Copies of previous issues may be supplied Commander when not out of print, at the regular price—is oents. ' EVANGELINE BOOTH The Salvation Army 120 West 14th Street, New York City DECEMBER 1928 Page 897 THE etude THE ETUDE

Page 896 DECEMBER 1928

<5he 'Musical Home ‘Reading ‘Cable Anything and everything, as long as it is © The Etude Music magazine Instructive and Interesting

Conducted by

A. S. Garbett Twelve Months heard these appealing songs? of You will find Oliver Music Company Beethoven's Weaker Side Real Musical Delight songs a welcome addition to your pro- filled. There are few more regrettable So much has been written of Beethove grams. The; imagination and color of The countless letters of unrestrained enthusiasm for of late that it is refreshing to dlP _mto EaUI episodes than that of the publishers’ rivalry these poems by Oliver Murray Edwards Bekker’s recently published life of the reat for the great Mass which Beethoven prom¬ the new Etude assures us that in no way can the have been finely translated into music composer and discover that along with his ised, almost simultaneously, to six firms, music lover get more pleasure and profit than from a by Dr. William Berwald, internationally only to hand it over to a seventh in the end. many virtues he had his little weaknesses, regular subscription to The Etude Music Magazine. known as a composer. chiefly with regard to money matters. _ The request for monetary support, couched Every singer and vocal teacher should “Beethoven’s conduct in money matters, in the most moving terms and sent to Lon¬ hear and have Love’s 'Wildwood, Trail says this frank admirer of the great genius, don from his deathbed, is a conscious mis¬ Only Two Dollars for Twelve Splendid Issues "was one of the weak spots in his charac¬ representation of the state of affairs; even and a number of other Oliver Music ter and cannot be presented in a favorable the fact that it was prompted-by love of Company songs. light. Like many another man of genius his nephew cannot excuse it.1 aThe Music Gift Supreme!” See copies at your local dealer...or whose predominating interest lies in the “Signs of a fine magnanimity are not realm of ideas, he overestimated the value write us for thematics. lacking, however, as some mitigation of of money. He would never prostitute his A GLANCE AT THE COVERS FOR 1928 IS A PORTENT OF this darker side of Beethoven’s character. art to pecuniary needs, but he was often THE TWELVE SUPERB ISSUES THAT WILL APPEAR IN Love’s Wildwood Trail _ A proof of his inherent generosity is found 1929 unscrupulous to a degree which cannot be in his support of Carl’s mother when she explained away. “He not infrequently broke his word, fell on evil days, despite all the wrongs she Some of the Feature Articles Which Will Appear struck a bargain and then withdrew on had done him and the quite righteous de¬ receiving other offers; he took payment in testation he felt for her ... He was IuThe Etude for January, 1929: advance for work which he did not carry always ready to give, even if equally ready out, and for his own purpose aroused ex¬ to take—a trait often completely ignored THE OLIVER MUSIC COMPANY pectations which he knew could not bGermany, with distinguished success. Later he migrated to America. Presser Co. stands ready to give the teacher every possible service. noise', being at a meeting of fancy music, words” when a. neighbor disturbed our only for the viols-and organ, here many hearing of an Orchestra or even opera? His struggles for triumph in his profession are among the most dramatic we have ever read. We also carry the World’s largest stoc\ of music publications Every paragraph will prove an'inspiration to the student. and our direct-bymail service is unequaled “Phrasing” “Music Always Pays” ter 1 uu Gentlemen” THEODORE PRESSER CO. ’ , -By Jan Chiapusso By Professor Christian A. Ruckmick 1712-17H Chestnut Street Philadelphia, Pa. *N his book, “My Musical Life," Walter has given my symphony in America!’ he This famous Dutch piano teacher, long es¬ THE ETUDE has asked a great psychologist Damrosch characterizes Anton Bruckner proceeded, to my great embarrassment, to tablished as one of the leading pedagogues of to tell in simple terms the scientific reasons for as “a man with the brains of a peasant but cover my hand with kisses. 1 Chicago, writes a very clear and understand¬ the great practical value of Music in Education. the soul of a real musician, and with a “Vienna is full of stories of his child¬ able article on a vital problem. It is filled Every parent, every teacher, and every stu¬ SCHOOL MUSIC marvelous gift for improvisation, although like gentleness r.nd modesty . Hans Rich¬ with information most helpful to the student. dent, should read the article. CATALOG he was, intellectually, incapable of devel¬ ter once invited him to conduct one of his Sent Gratis Upon Request oping and balancing his themes properly ” own symphonies with the famous orches¬ •d-—--cd&V rentury Damrosch tells one or two amusing tra of the Vienna Society of Friends of •a--»• The Quality of THE ETUDE is Uniformly Excellent Sheet Mxjsic A very helpful catalog for School aftd College stones about Bruckner: “Several years Music. At the rehearsal lie stood on the SAY “CENTURY” and get the best Directors and Music Supervisors. It lists after my performance of his ‘Symphony conductor’s platform, stick in his harm, Readers can depend upon each issue to be an unequaled reservoir of musical interest, from cover to cover: New Certified Music. It’s 15c (20c in Can¬ numbers for Unison, Two Part, Three Part -n D I was in Berlin, and Siegfried Ochs, with a beatific smile on his face. The Ideas, New Music, New Features, New Covers, New Press-work, Fresh and Inspiring in Every Detail. ada). Most teachers nse it. Parents ap- and Four Part Choruses; Music for-Special the conductor of the famous Philharmonic eciate the saving and the pupil gets Occasions, Operettas, Sight Reading Material, orchestra were all ready to begin, but he Thousands Give Subscriptions to THE ETUDE as Christmas Presents le best. Get free catalog of 2500 se- Orchestra Collections, Writing Books, Etc. Choir, brought a little bald-headed man of would not lift his stick to give the sigma• •«---»• over seventy years of age to mv table at Finally Rose, the concert master, said to So easy! So satisfactory! Simply send the name and address of the one you Century Musi fling Co. THEODORE PRESSER CO. the Kaiserhof. On my being introduced him, ‘We arc quite ready. Begin, ^ Her desire to remember in. this way, and your remittance of two dollars. It is the 1712-1714 Chestnut St., to him, he suddenly grabbed my hand and Bruckner.’ ‘Oh. 110,’ he answered. ‘After PHILADELPHIA, PA. saying, ‘You arc the Mr. Damrosch’who Christmas prfcsent without bother and without regrets. you, gentlemen!’ ” --- Only $2.00 a Year --- WHAT SHALL I GIVE MY PUPIL? TM In Canada $2.25 — Foreign Countries $3.00 at Standard Teaching Music at 20 CENTS a C Ghe Sincerity of Bristan” iverTfooUim u'th” t”thjr,afsCthoEM«t’RG,iLi*hfe Edition Ever ' Romain Rolland's “Musicians of To- lumbers — Ask Your Denier for Compl* Catalog “is the evidence of honesty and sincenJ The Etude Music Magazine I Grande Polka da Concert (Bartl day contains a revealing passage on in a man who was treated by his enemie Theodore ‘Presser C°-> ‘Publishers . r»xr Wafers “Tristan und Isolde” which in Rob?n^'Retum^(Fi^ier^^^^^ ~' itself ls a lesson to music lovers forgetful as a charlatan that used superficial an 1712-14 Chestnut Street, Philadelphia, Pa. Song of the v" Iga®Boatmen3(Tra^) grossly material means to arrest an In Old Vienna. Viennese Folk Song (Ti Waltz at the Flowers (Techailrewsky) Song (Trans, by Kern) much ofnour iSinCerity 50 apparent in amaze the public eye. What drama ,s McKinley music company. Si finds maS1Cal activi,ies of more sober or more disdainful of e* The quality that touches' me ‘most terior effect than Tristant Its restraint 1 deeply m Tristan" says the French critic^ (Continued on page 949) THE etude DECEMBER 1928 Page 899 Page 898 DECEMBER 1928 THE ETUDE FASCINATING PIECES FOR THE MUSICAL HOME The Speed"Accuracy^Economy and Helpfulness of

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Bela Bartok Leading composer of contemporary Hungary. Ottorino Respighi The most versatile and popular of living Italian creative musicians.

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PIANO THE ETUDl DECEMBER 1928 Page 905 THE ETUDE Page 90 U DECEMBER 1928 DON’T WORRY about Xmas Presents for musical friend®’ Musical Education .4 Just send them appropriate volumes from in the Home “WHOLE WORLD” MUSIC SERIES Conducted by . . , witi enioy “Whole World” Volumes Margaret Wheeler Ross For your convenience in selecting your gifts for musical “'ien“>! [ 4 tue different collections more than any other gift you could choose) we have j'assl . ” the child. Ho questions will be answered in The Etude imiesi accompanied by the /ull name so that you can easily select for the player, the student or me and address of the inquirer. Only initials, or pseudonym given, mill be published.

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FOR THE HOME VOCALIST brings us the birthday of the adored Schubert at Home. 1.50 Saxophone Pieces.$2.00 Christ-Child and all the beautiful and of books catalogued and ready for dis¬ Tschaikowsky at Home. 1.50 Encyclopedia of the Violin... Ballads Whole World Sings.. .$1.25 inspiring customs and music associated tribution we visited the various schools of Piano Duets. 1.25 FOR THE ORGANIST Love Songs Whole World Sings 1.25 FOR THE HOME Songs Whole World Sings. 1.25 with His Nativity. And again, as we music and private studios in the community Dance Music . 1.25 .$3.00 Standard Organ Pieces (Paper). American Home Album.$5.00 have done for the past two years, we are and asked that a notice of these music Piano Pieces . 1.25 Standard Organ Pieces (Cloth). Sacred Music. 1-25 urging the parents who have children books be posted and that the students be studying music to make them musical trained and urged to use them pointing out The Permanent Tonal Beauty of the rpxTl? \/IT TCTF1 FIT? A T T?T) in your town can supply any of these books you desire. If you can t presents, to stimulate their interest and to that, when this was done, the library board 1 Filly MUML UllALllK get them from him, just write your wants direct to the publishers. create in them an appreciation of their might realize that the books purchased great privilege in taking music lessons. If were appreciated by the patrons of the you make them musical gifts you empha¬ building and that a real necessity for this KIMBALL is now ready for free distribution to every music-lover, teacher or student who is a subscriber to The size this privilege to the exclusion of other type of literature existed in the com¬ THE NEW 1928 Etude ” (Do not ask for it if you live in Canada or abroad.) An entirely new catalogue, containing less worthwhile activities. We would sug¬ munity. YOUTH and the opportunity to know music! Was there Whole World” descriptions and contents of every book in the “Whole World” and “Master-Composer” Series. Printed gest that you study each child’s individual Parents must be made to know that musical needs and select gifts that will merely taking lessons and playing an in¬ ever a better time than the present? More homes are Catalogue on good paper, every book illustrated. Just drop us a post-card and catalogue will be sent by return mail. meet them. If you do this there will be strument does not make a musician. The considering the value of a musical education and realize fewer knick-knacks purchased to clutter up educational requirements of the musician more than heretofore the importance of the piano. It is, in your home, your child will be quite as were never so exacting as they are today. D. APPLETON AND COMPANY, 29-35 West 32nd St., New York happy and there will be some beneficial Therefore every child who is studying the fact, the basic instrument in the study of music. results from your Christmas spending. subject should have access to a well- This year we are going a step further stocked library of musical biography, his¬ In this age the young people are looking for the best in and recommend that you give your home tory and inspirational essays. When these whatever they attempt. Their fresh young lives are calling town a Christmas present by arranging, have been supplied an effort should be for the new things—the very latest—pleasing to the eye as with the cooperation of other parents and made to include some scores of the great THE BOSTON MUSIC CO. masterpieces in the higher forms and of the music teachers of the community, a well as the ear. And they are entitled to the reward of a the best known operas, for the use of the music-book shower for your public library. new piano to better advance their study. Let it be a Kimball 116 BOYLSTON STREET BOSTON, MASS. In the majority of the small towns the advanced students who are financially un¬ music section of the public library is the able to visit the larger music centers where for tonal beauty and for the outward charm of refinement weakest and most neglected. This is to operas are actually given. of design and distinctiveness of finish. Announces be expected because music is a specialized subject and the requests at the application Mothering a Library The choice of the young people may or may not be for the desk for musical literature (the trend of A New Educational Series of Teaching Pieces larger and more expensive in Kimball grands. The little which is usually reported to the govern¬ WHILE YOU are arousing interest ing board) are naturally not as numerous in this “shower of blessings” in the “grand or one of several classic-modern designs in uprights Selected, Edited, Annotated and Fingered by as are those for fiction, biography and form of hooks on music, try also to get some philanthropically-minded person, full may more fittingly express their ideals. other general subjects. of the Christmas spirit, to present sub¬ Furthermore, there is seldom found a Whatever the selection, the inspiring tone of the Kimball and musically interested person serving on a scriptions to the music magazines to the JOHN M. WILLIAMS library board. Perhaps a bit of personal library. Besides inspirational and instruc¬ the perfect action will continue through the years. The utmost experience might be apropos. A few years tive essays, they contain many fine and resources are enlisted to- produce permanent tonal beauty. ago we were elected to membership on helpful articles on technic and keep the npHOUSANDS of teachers who have successfully used Mr. Williams’ Books of Instruction will the board of directors of our local library. interested, isolated student posted on the Our associates werq a lawyer of distinction, progress of music and musicians through¬ find this new series just what they have been looking for. There will be six or seven numbers who had been serving many years and out the world. whose hobby was astronomy, and a learned So remembering it is more blessed to W. W. KIMBALL COMPANY published each month. Compositions in this series have never been offered to teachers before. gentleman interested in archeology. We give than to receive, may we hope that (Established 1857) found both of these subjects adequately this Christmas suggestion will meet with Department KE, 306 South Wabash Avenue, CHICAGO, U. S. A. Order from your local dealer or cut out this Ad and mail direct to us. We will gladly open an covered by well-selected books on the hearty response from The Etude mothers. account for your convenience and you may order this material on approval, if you so indicate on shelves of the library, books which had If you can summon the courage and en¬ aroused a considerable interest in the com¬ thusiasm to go into it, you will enjoy your order. munity in these two unusual fields of re¬ “mothering" this section in your library. search. It will furnish you a direct contact with No. Copies Price No. Copies price people seriously interested in benefiting .A Simple Story.Mathilde Bilbro .35 the community and will give you some¬ Enlarging the Music Section .The Sandman.William B. Coburn .35 .It™!?? Butterfly■ • • • T. Robin MacLachlan .40 thing definite to do in furthering the IITE DECIDED at once to enlarge and musical education of your children. .The Scissors Grinder.Mae-Aileen Erb .25 .On Z t Vi.1Michael Aaron .35 ’ Y strengthen the music section, and, Doubtless you will soon find yourself .Trestle ■ ■ • . Mildred Adair .35 .Up in an Airship.T. Robin MacLachlan .40 when new lists of books to be ordered were interested in reading these book-children, .Skippity Skip.Louise Christine Rebe .35 .SwinV^6 and Smg-'' Louise Christine Rebe .35 prepared, presented a request for a reason¬ created by your efforts, and a new and fascinating field of literature will be .Playing Jackstraws.Walter Rolfe .35 .Mammv^r ’ m • c.Mae-Aileen Erb .25 able number of volumes on music in the ratio of those to be purchased. We met opened up for you, while you find closer y Engravers .Gavotte.Paul Zilcher .35 cuS^ (53d e Song.Mature BUbro .35 no opposition on the part of the board companionship with your children’s mu¬ .Sarah Coleman Bragdon .35 but, on the contrary, their heartiest co¬ sical activities. Lithographers operation. They were delighted to get Write this department if you want a Write to us about anything in this line list of desirable books and get busy at once Name. the list of music titles and echoed and SEND FOR ITEMIZED PRICE LIST reechoed the famous demand made by on a music book shower for your public The Music Supplement of this Magazine is Printed by Us Oliver Twist. It was plainly evident that library, as a Christmas present for your Street. this section of the library had been neg¬ town. .State. Please mention THE ETXJDE when addressing our advertisers THE ETUDE DECEMBER 1928 Page 907 THE ETUDE Page 906 DECEMBER 1928 .—“SCHOENHUT” TOY PIANOS—i SUMMY^S CORNER Qm You 'Bell? = CHRISTMAS and SONG ■ The first Christmas was heralded by the song of angels, and ever since that time the joyous spirit of the Christmas season has been expressed in Music a 1. For wte« W * «*%£££* S°n From many nations, the Christmas traditions and quaint customs have come down through the ages to us in Carols, rich in native color and charm l the stick USB! by the conductor of an Christmas music embodying a wealth of traditional and modern Carol litera ture is represented in 4 Wtofwa7irfi«Tgt7Ssymphony to be written with CHRISTMAS SONGS OF MANY NATIONS. 25c By Katherine Wallace Davis ’ negro melodies as leading themes:* A unique entertainment for children with suggestions for costuming. 5 Who was the librettist of “Madame Butterfly^ CHRISTMASSE IN MERRIE ENGLAND. 25c 6 What little boy followed, on foot, after h,s father s carnage Arr. by Mari Ruef Hofer in order that he might hear a famous organist play? Carols and Dances presenting the Christmas customs of old England, including a Masque by Ben Johnson. 7. What is an Eisteddfod? CHRISTMAS IN PEASANT FRANCE. 50c 8. How many strings has a guitar ’ Arr. by Mari Ruef Hofer 9. Who write the music of Dixie? A Christmas play introducing the Noels, Chansons and traditions of the French Peasant. English and french texts. 10. What is the meaning of legcr lines. TEN CAROLS FOR CHRISTMAS . 10c Selected by Roy R. Murphy The finest of traditional Carols for Choir or Community singing. FOUR CHRISTMAS CAROLS 6l of e«ly pupil* or nibei* w Noel, Noel,—His Birthday . 06c Christmas Joy,—Christmas Hymn . 06c By Joseph W. Clokey Written in the style of the old World Carol, but modern in har¬

CLAYTON F. SUMMY CO., Publishers Counting out loud of e n silently is a way: bugbear to many pupils ; THE A. SCHOENHUT COMPANY 2184EaStH^le^.Pa. most teachers. Sometimes a pupa does nui /i . feel rhythm easily. In this case, before at- J J. tempting to play a note of a piece, the *J • • • • » '

SHEFTE RAPID COURSE and eighths. Jolly Raindrops, by In Modern Piano Playing in perfect time by A RAPID SYSTEM for those who wish to play

POPULAR MUSIC in the shortest possible time and also for forming tuning For\s and Qanary (Birds an excellent foundation for those who wish to pursue the CLASSICS. By Hope Stoddard Shefte Rapid Course - Vol. 1-Price $1.00 in U. S. A. For beginners with no knowledge of music or who nave had little teaching. Shefte Rapid Course — Vol. 2—Price $1.00 in U. S. A. • - - ”? Is it always For those with fair knowledge of music. Shefte Rapid CoursevVol. 3—Price $1.00 in U. S. A. !’.zr r For the advanced student and professional pianist. A legitimate- ET*

( (£ ) is called the “barred C.” It represents either 2/2 or 4/2 time,^ and the

..,T„ ■ \ -' P.n irT'-n- A the

of the scale. The harmonic minor scale Is similar to it: but it has the seventh degree sharped: A-B-C-D-E-F-G#-A, thus giving a semitone between the second and third and between the seventh and eighth degrees and three semitones (an augmented second) be-

saxophone ii be played in triplets, as in the h the Jp7anor *5. This is an editorial .. Consult “Baltzell s Dictionary of Musicians.”

i. 1. How should a slide like this be

makes an excellent foundatio, FORSTER MUSIC PUBLISHER, Ir 218 SOUTH WABASH AVENUE, CHICAGO, 11 th told it Should he lingered like a scale, 's it wrong to use the 5 / h finger ori black s in octave playingT The music is usu- Please mention THE ETUDE whe; 1 marked for the !,th finger, but I find it (Continued on page 955) Page 908 DECEMBER 1928 EDITORIALS

he Music of Qhristmas ^Dawn

of the Chair” now in the Pitti Gallery at Florence. In simi¬ HRISTMAS wakes to music! lar manner Christmas brings the glow of loving kindness to e When your soul comes back from slumber on Christ' the humblest homes, even in this age of unnumbered and un¬ mas morn, there will be music—the wonderful music resting machines. of the Feast of Nativity—the tinkle of the ornaments on With the skies filled with aeroplanes and Zeppelins, the the redolent Christmas tree, the squeak of Junior s new trum- The Curtis very ether vibrating night and day with magnificent music, pet, the bleat of Mary’s little lamb, the strains of belated pictures flying over the globe through the very air we carolers, the laughter of little children (loveliest music in breathe—marvels and marvels uncounted—we realize that all the world), the sonorous clanging of great bells— Institute of Music we are living in an age of miracles. The miracle of all is Dor-room'm'm'mb! Clang!! Dor-room-m-m-mb! Clang!! the survival of the spirit of Christmas, Arise! Arise! despite all agnosticism, all the tur¬ JOSEF HOFMANN, Director Christmas is here! moil of materialism, all the waves There is no finer way in which of crime, all the horrors of war. the Christmas spirit may be Shining down through the vitalized than through the ages, as the great beacon of music of Christmas morn. The Curtis Institute of Music announces that with the beginning of the modern civilization, is Some years ago the great school year 1928-1929, and in accordance with its policy of promoting musical this Light of the World. hotels at Atlantic City education in the United States, free tuition in all departments will be offered to Love of fellowman, hu¬ encouraged the carolers students. man sympathy, for¬ to wait in their court- giveness, kindliness, Admission to The Curtis Institute of Music is by examination only, and yards until Christ¬ courage to combat mas dawn, so that henceforth every student will be a scholarship student. Entrance requirements mercenary environ- the day for their lay stress not so much upon the degree of advancement already attained, as upon I ment, faith in the guests might break the talent of the candidate and capacity for future development. best—these are the in music. It is an un¬ dominant tones of the In addition to free tuition the policy announced by Mr. Josef Hofmann, forgettable experience Christmas bells. Director, offers to students: to welcome Christmas Many homes have a at sunrise with heavenly Personal instruction by world famous artists. way of gathering the music. Our idealistic family at the piano the readers have at this Financial aid to students when required. first thing on Christmas blessed season a glorious op¬ morning and joining in the Steinway grand pianos, string and wind instruments, rent free, to those portunity to do their part in singing of carols. It is a splen¬ unable to provide such for themselves. The pianos will be placed at the disposal bringing the music of Christmas did idea. The meaning of Christ¬ of students in their respective homes. dawn to others. mas as the celebration of Christ’s Poor indeed is he who has no music birth might easily be lost in a pagan carni¬ Free attendance, as part of the musical education, at concerts of the Phil¬ at the dawn of Christmas! This of all days val, an orgy of extravagance and gluttony. adelphia Orchestra and important visiting artists, and performances of the Metro¬ in the year is the one in which the music of THE MADONNA OF THE CHAIR The spirit of Christmas is the spirit of politan Opera Company. joy should ring in our hearts. 1928 gives to (MADONNA DELLA SEDIA) Christ. It means, first of all, love for others the music of Christmas a new significance. A RAPHAEL MASTERPIECE It means abnegation of selfish interests, Summer sojourns in the United States and Europe, to advanced and excep¬ Just ten years ago the ugly fog of battle hung thoughtlessness, smallness, meanness. It means the expansion tionally gifted students, under the artistic supervision of their master teachers over civilization. Peace had come; but the world still trembled of the Curtis Institute. from the greatest shock of history. Cynics sneered at the of the soul to encompass the poor and the rich, the sick and the well, the friend and the enemy. Christmas is the hour Christmas music of the Angels, “On earth peace, good will Regular public appearances during the period of study when warranted by of hours when the whole world is in tune with the harmony toward men!” their progress. But ten years brought us the finest demonstration ever of the firmament. Christmas is the time of giving. To give is to bless one’s Financial assistance in setting out on a public career. known of the world’s valuation of peace. America is proud of her part in the Paris conference to outlaw war. Not in self with true happiness. nineteen hundred and twenty-eight years has anything oc¬ All the Christmas gifts of the entire world do not equal in curred to give us stronger faith in the wondrous potency of • value the Christmas Spirit. It is one of the great treasures of modern life and is by no means confined to those who are. Christianity. professing Christians. Its economic, sociological and spiritual THE CURTIS INSTITUTE OF MUSIC The music and the art of Christianity have embellished the world beyond belief. They have taken the most mundane importance towers to the clouds. Rittenhouse Square, Philadelphia things and turned them into works of eternal beauty. Raphael, Make this Christmas spirit vocal with the most beautiful, said, used the top of an old wine cask for his “Madonna the most sincere festival music of the year!

DECEMBER, 1928* (Bhe ETUDE MUSIC MAGAZINE Vol. XLVI, No. 12

Page 909 DECEMBER 1928 THE ETUDE the etude age 910 DECEMBER 1928

A PART OF THE PAGEANT OF THE MODEL OF A NEW SCHUBERT STATUE, SCHUBERT CENTENNIAL CELEBRATIONS IN VIENNA REVEALED AT THE SCHUBERT CENTENNIAL

A MAGNIFICENT OPEN AIR TRIBUTE CONCERT TO SCHUBERT, IN THE GREAT PUBLIC SQUARE OF VIENNA 3he World Bows in Homage to Franz Schubert

A Graphic Word Picture of the Great Schubert Festival at Vienna

43y Julia E. Schelling

Miss Schelling, well-known pianist, lecturer and sister of the dis¬ one of the most gigantic tributes ever paid to a musician. Poor, tinguished pianist-conductor-composer, Ernest Schelling, went to humble, trusting, loving Franz Schubert never dreamed that one Vienna this year, accompanied by a group of musical friends, and hundred years after his death the world would thus bow in tribute to commissioned to bring to The Etude readers her impressions of his transcendent melodic genius.

posed mostly of Schubert’s immortal the size of the Vienna Concert Hall, one rafters were hung with thousands and A FLOAT IN THE PARADE AT VIENNA, INDICATING A SHORT account only is here at¬ works. The perfection of the ensemble THE “HOLDRICHS MILL” WHICH WAS THE INSPIRATION must turn to the seating capacity of out¬ thousands of banners brought by every tempted of one of the most im¬ was marvelous, the artistic beauty ever THE WORLD CONQUEST OF SCHUBERT’S MUSIC pressive musical events that has door structures: singing society represented; and in their of schubert’s “the miller's daughter" new and overwhelming. been staged in the modern world of music. brilliancy of colors created a festive can¬ The last day of the fete was given over In this age of “Sounding brass and a tin¬ —New York—Eighty th opy floating and shimmering overhead. Baltimore Stadii n—Seventy thousand. The singers, forty thousand strong, were to an outdoor pageant marching through kling cymbal,” the magnificence of the —Fifty thousand. Schubert Festival at Vienna came as a sur¬ seated in rows reaching across one entire the streets of old Vienna. Bands of prise to many of the thousands who end of the building, the seats rising tier singers came not only from all the great It would be possible to put the Yale Bowl gathered there from July 19th to the 23rd, upon tier, from the ground almost to the cities of Germany but also from Poland, and Harvard Stadium side by side in this roof. The choir was regularly placed, Switzerland, Belgium, Czechoslovakia, 1928. Vienna Concert Hall and still have room Advance notices announced that the with first and second tenors at the left, Jugoslavia, and America. Jdusical visitors Deutsches Sangerbmdcsfest (German to “swing a cat.’’ first and second basses at the right. For came from all parts of the world. They Singing Societies Festival) would send Also the furnishing of this huge build¬ singing, all rose with military precision came not as the bards of old, the minstrels, their best representatives to honor the One ing was interesting, rows and rows of and remained standing throughout their the meistersingers or minnesingers, eager nartow rough board benches, with the Hundredth Anniversary of the death of numbers on the program. The orchestra for the contest so popular all over Europe number of the reserved seat alone for Franz Schubert. These societies, prepared of five hundred musicians was placed in decoration, stretched in straight lines in mediaeval times. This Schubert festival by their own leaders, would join together the foreground, the Director on a dais across the building, with wide aisles be¬ was not a contest; it was such a Bundes- and form a vast chorus of forty thousand raised twenty feet above. fcst as was never before known in history. voices-—forty thousand men form a large tween every one hundred seats. These aisles led to doors on both sides. We were Men who differed in politics, in religion, army in either war or peace! Such a Four Days of Music who even had faced each other in battle, chorus had never before been attempted; permitted to enter only the door nearest to our seat, which was thus easily located. EVERY MORNING for four.days, en¬ were here united in Art, lifting their voices not even Berlioz or Wagner ever dreamed semble concerts' were given in this as one man to honor the memory of one who of such augmented harmonies. We also When all seats were filled, the doors were closed—no standing room permitted. The great Spriggr-t Hall, \the programs com- had so little joy in his own life and yet read that these concerts were to be held in who left the richest legacy of joy ever a monster building erected for this oc¬ bequeathed to the world of music. casion, with a seating capacity of one hun¬ dred and fifty thousand persons. Life of Franz Schubert Jsjo richer recognition of the limitless value of great art and genius HE MASTER MELODIST, Franz A Mammoth Auditorium T has even been known than that which was shown on the occasion of Schubert was born in Vienna, Jan¬ TO GRASP in some small measure the centennial anniversary of the death of Franz Schubert. When uary 31, 1797. His father was a school the immensity of this colossal struc¬ this glorious soul passed on, his total earthly belongings were sold for THE BIRTHPLACE OF SCHUBERT IN THE master, his mother a cook. The family ture, one must compare its size with that twelve dollars; yet, one hundred years later, multitudes came to pay was a large one, Franz being the thir¬ NUSSDORFERSTRASSE OF VIENNA -- ^ uuunrLAV/C wnui of other buildings familiar to us. . The homage to him. Rothschild was the Croesus of that day. How teenth child. Franz’s talent for music was the COMPOSER PLAYED AS A LITTLE BOY largest covered auditorium in America is many paid tribute to him one hundred years after his death1 Thus discovered at an early age. It was culti¬ Madison Square Garden, New York. This do we appreciate real wealth. vated by his family, his brothers helping building seats eighteen thousand. The him in its development. When very young Washington Auditorium seats six thou¬ The World’s Tribute to Franz Schubert he sang in the school choir and organized sand ; so, even to understand approximately DECEMBER 1928 Page 9IS THE ETUDE Page 912 DECEMBER 1928 kept a secret. Pictures and post cards of The Pageant a school orchestra. His play-time was of such an immense audience. As I sat it were to be released only on the f0ll0w. LAST DAY of the fete was de- devoted to writing music, composing songs, waiting for I knew not what, I pictured nb Thp reviewing ing day. No “write ups” were permitted. operas, masses, overtures, sonatas, sym¬ before me the modest, unaffected, kindly How to ‘Play cRgpedts phonies, songs, and then more songs. Six young Schubert of a century ago, as he “Sunset and Evening Triumph” hundred songs enter into the eleven hun¬ listened for the first time to Mozart’s TUST AT SUNDOWN the bells fr0m dred compositions mentioned as his life St swh..'. msw CQy Francesco Berger Quintette and the beautiful words of his K “ J all the churches in Vienna burst forth work; and he died at the untimely age of unselfish tribute to “the musician’s com¬ hidden unde, ,he thirty-one. stand where each group of singers, wu in chimes. Military bands and singing so¬ poser” echoed in my heart. His early life was dreary and colorless. ts band, its float or floats, paused to^e cieties paused before the reviewing stand Hon. R. A. M.; F. G. S. M. reviewed by the “Powers that be We as the long-expected Denkmal approached He suffered from constant poverty; he had "I shall remember this clear, bright, Professor of Piano at the Guildhall School of Music, London a few devoted friends; yet he was always beautiful day for the rest of my life. Softly, were most fortunate m having our seats —a collossal statue of Schubert reclining as if from afar, the magic tones of Mo- happy because his wants were so few. At directly opposite the reviewing stand. on a float drawn by six black horses and If a fortune teller had predicted that I, the age of twenty-one he became music surrounded by fifty pretty girls, with their interestingly employed on fresh music. tuates all these changes is to secure brevity a sane woman of voting age, would gladly OT LONG AGO an article ap¬ make the movement more attractive in teacher in the household of Count Johann escorts, dressed in the costumes of Schu¬ N We would prefer to hear the entire works and concentration. In omitting the repeat peared in a musical journal, in proportion as they are accomplished with Esterhazy, a noted patron of art and stay on that grandstand for nine hours bert’s time, waving garlands of flowers. of the Exposition, we restore symmetry seated on a hard wooden bench without a which the writer lamented the pres¬ skill and discretion. But after this highly without repeats on some future occasion, music. This change from poverty to the The monument represented perfectly the to the work as a whole, and at the same back (I developed one before night), with ent fashion, observed by conductors and imaginative and fertile section, we are, in rather than to have them presented to us comforts of a home in the glorious old simplicity and modesty of the master, all time we conform to present day fashion no protection from an almost American soloists, of omitting the repeat in the Sym¬ the third one, known as the Recapitula¬ blown out to fill a prescribed space in the chateau of Zselesz, Hungary, was a revela¬ unconscious of the admiration of the as opposed to rococo manners. tion to young Schubert. His duties were sun I would have answered Prophesy phony or Sonata. He urged that to do tion, faced with a note-for-note repetition program. world. Shouts from thousands greeted Here is a paraphrase, in the form of a few, teaching the three children of the Then, as if echoing Schubert’s tribute again!” but there we sat from nine m so is not only to act in contradiction of of the opening part, with the slight modi¬ We are living in an age of quickened this silent figure as it glided through the letter, of what a piece of music built on Count being the most exacting. To quote to Mozart, “softly, as if from afar,” the the morning till sunset, watching the ever- cherished tradition, but that it is also in fication of transposing the second subject pace and crowded hours. We have crowded streets of Schubert’s native city th6 Sonata Form sounds like, when per¬ his own words recorded in his diary: “I magic tones of Schubert’s Der Linden- changing pageant before us. Some socie¬ direct violation of the composer’s indica¬ from dominant into tonic harmony. Thus, shortened our sermons and our banquets. formed with the conventional repeats. was without care or anxiety of any kind.” batim (The Linden Tree) reached our ties chose a historical event, knights in where he had so often wandered in soli¬ tion for the expression of his thoughts. The by the time the end is reached we have Our concerts are but half as long as those ears. It was as if we floated in a sea of armor with prancing horses, glittering tude. following remarks, embodying the present been regaled with identical music no less of our fathers. Our theaters play but So ended one of the most remarkable Exposition A Romantic Episode song; gentle waves enveloped us; the very equipage and tossing plumes. Some rep¬ writer's views on the matter, are in com¬ than three times. one piece per night instead of the regula¬ resented an industry of their particular musical events of this generation, remark¬ tion three of olden times. Our novels are tt/TjMRST Subject)—My dear Friend: npHE NUMBER of his finished works air we breathed was music. Impossible plete support of the fashion which the able not only for the perfection of its musi¬ Modern Taste Spea\s compressed into one volume instead of The weather here to-day has been -*• reached five hundred at this time, so that forty thousand men were singing, it city or province, such as the Vintage or other writer condemns; but they are sub¬ cal success, but also for the deeper and overflowing as formerly into three. The lovely. I cannot remember so fine a day he must have had time for composition. was so soft, so quiet! Then a wonderful Harvest Time, others the ancient costumes mitted with the reservation that all ques¬ IT IS TO THIS reiteration that modern more far-reaching success f bringing to¬ tutti passages in our concertos are being in some weeks. (Bridge)—But, of course, But Schubert pined for the freedom of crescendo opened before us and at last of the society or of the time of Schubert. tions of Art resolve into questions of in¬ taste objects: and I concur in the ob¬ gether in the spirit of music, peoples of it is impossible' to foretell whether it will the city. The pomps and vanities of the the whole world seemed to join in praise When all the ■ visiting societies had dividual taste. Every artist is entitled to jection. Not all of us belong to the fash¬ cut down, the opening one frequently being many countries ready to forget the last absent altogether. We abridge distance by or will not continue. (Second Subject) superficial life at Court puzzled and an¬ and adoration; a full blast of trumpets, passed in review, Vienna crowned this last his own opinions; and so long as he ex¬ ionable, leisured classes; nor have we few years of suffering and estrangement rapid transit; our letters are reduced to —We may get rain this evening, and that noyed him so that he returned to his chimes from the distant churches of old day of the fete with a Denkmal (statue) presses them with cciurtesy to others these all dined so plentifully, before attending in their eagerness to do homage to the messages. Even opera shows its prefer¬ would be welcome; for it is good for the humble lodgings and joined his friends Vienna joined that vast army of musicians, commemorating the death of Schubert one others will accord him their courteous con¬ a concert, as to feel drowsy when there. undying genius of Schubert. ence for one act in place of the former land, and the farmers are beginning to again in the beer gardens of the city of and that vaster audience, so silent a mo¬ hundred years ago. The Denkmal was sideration. Not all of us care to have a portion of a three or four with the addition of half- call out, for it is needed for the crops. the Danube. There he_ wrote some of his ment before, burst into wild, enthusiastic work three times, when some of the time an-hour’s ballet. The one object, that ac¬ (Double bar). immortal songs while listening to the mili¬ applause. The Sangerbundesfest was a A Studio Slogan A Modern Creation thereby involved might have been more tary bands, chatting with his companions, reality. IT IS WELL to remember that what we Repeat or dreaming, perhaps, of the charming Each afternoon small bands of singers By Clara M. White now call the “Sonata Form” is a com¬ i i A/T Y dear Friend: The weather here daughter of his former patron, Count met in different concert halls. One was paratively recent invention.. There was Esterhazy. At any rate, he once again him that if he is continually looking down -fYl to-day has been lovely. I cannot forced to choose between a concert from A child often presents himself for a an abundance of good music before it was returned to court life, when Caroline music lesson in body, while his mind and at the keyboard he is sure to miss some¬ remember so fine a d:.y for some weeks. Munich, Weimar, Warsaw or Brooklyn, evolved. To Haydn belongs the credit of Esterhazy was about seventeen; and, at¬ But, of course, it is impossible to foretell New York. These Stundenkonserte (con¬ spirit are far away on the football field or thing he should have seen—an accidental, having thoroughly established it as an ac¬ tracted by her beauty, quite naturally he whether it will or will not continue so. cert hours) were very interesting. Some in the “swimmin,” hole. The result is a slur, a tie, a very important fingering cepted musical form, by his many admir¬ fell in love with her. The social gulf We may get rain this evening, and that had soloists, but oftener only ensemble wrong notes, uneven time, disregarded mark or something equally necessary to able examples; and it may have originated fixed between the beautiful princess and would be welcome; for it is good for the works were rendered with a piano for ac¬ signs, incorrect fingering—in short, a most correct playing. This looking at the music in some such combination of conditions as the poor unknown musician seemed to. land, and the farmers are beginning to companiment. exasperating performance. A fitting slogan and not at the hands and key lioard should are here explained. Schubert an unsurmountable obstacle; and to counteract this sort of thing, printed on a call out, for it is needed for the crops. In this age of jazz, excitement and be taught from the first lesson. Make it The concert audiences of former days he, accustomed all his life to submit to good-sized card and hung in a conspicuous whirl, it was a real adventure to hear a a habit. consisted of far smaller numbers than what seemed the inevitable, wrote to his place in the studio, or brought out and Wor\ing Out Section charming ^example of chamber music of Lastly, tell the pupil that a pice long those of today, and they were recruited placed on the piano rack when especially the past, rendered by the best musicians of word that covers all three parts of the from the fashionable, leisured classes. ttTT IS A QUITE rare occurrence to “My rest is gone, my heart is sore, needed, is the following: A have a fine day at this season of the Never—alas—shall I find it more.” the present, in the true spirit of the time slogan is CONCENTRATION. When these, having dined plentifully, in¬ of Schubert. dulged in music, they may have felt so year. Generally the spring is remarkable Goethe’s Faust. for, etc., etc. So that after such an excep¬ Once' again he returned to Vienna; and At night, the once gay city of Vienna, I overcome by its soothing, somniferous in¬ II III tionally warm day, this evening or to¬ there among his few boon companions he the Paris of Austria, put on what festive fluence as to require a “Surprise Sym¬ H LOOK THINK Tohe Essence of Opera or morrow may, etc., etc. In any case, should worked incessantly. We need only to look remnant of its old splendor it could mus¬ PLAY phony” to arouse them. It may, therefore, have been a wise custom and a called-for you be going out after dark, it would be at a list of his compositions to realize that ter. The once magnificent Palace of Jus¬ (sharp) (hard) (right) Almanzor and Imogen precaution to repeat such portions of a safer to carry an umbrella with you. Not Schubert was one of the most industrious tice, burned a year ago by the Reds and work as a composer, conductor or perr in every country is that useful article of composers. The master’s short span now a ghastly ruin, served as the inspira¬ Explain that if the pupil will first look AN OPERA IN THREE ACTS former wished to impress upon his hearers wanted as protection against wet; for in of life was now drawing to a close. tion . for illuminations and fireworks. sharp so as not to miss any mark or sign as the distinctive feature of the whole. the east, etc., etc. And is it not curious Quoting from his diary of March 27th: These brave Austrians covered up their and if he will next think hard and quickly By S. G. Ashe There does not appear to have been any to note that in "some countries the color scars with glowing smiles. Memories of just what each of those marks and signs other reason, musical or aesthetic, for this of the umbrella denotes, etc., etc. Many the glorious fetes of the days of Maria means, as well as the name, of each note, ACT I. proceeding. persons, on alighting from a railway car¬ Theresa, of Francis Joseph, of Napoleon he will then be able to play his study or riage, forget, etc., etc. Have you ever and Marie Louise, floated like silent ghosts Imogen: My love! piece correctly. Tell him that it also The Outline attended a “lost property” sale ? The vari¬ over the graves of the past, and only the Almansor: My soul! ety of articles there collected might sug¬ means that in playing from the printed HE FIRST SECTION of the Sym¬ real spirit of art seemed to live in this Both: At length then we unite! T gest to you a story in which, etc., etc. page he is to use first his eyes, then his phony or Sonata, now known as the city of the dead. brain and last of all his fingers. Show People, sing, dance, and show us your Have you read Johnson’s latest one? I delight. Exposition, was, and has remained, limited like it very much; but many critics assert to two distinct tunes, connected often, but In poverty and solitude, this great man, Chorus: Let’s sing and dance, and show that his long residence in China ruined his not invariably, by a short passage now beloved now by all the world, died Novem¬ 'em our delight. style, the climate there being, etc., etc. spoken of as a “bridge.” When this sec¬ ber 19, 1828, and was buried near the grave Flaring worked round the "climate,” this4 tion is completed (amounting practically of Beethoven. ACT II. to little more than an, announcement of is the moment for After his death all his worldly posses¬ Imogen: O love! texts), a point has beeh reached where a sions, including his books, some of his (A noise of war. The Prince appears, double-bar indicates its ending; and it is Recapitulation priceless manuscripts and his clothing (of pursued by his enemies. here that the question Of repeat or no ttA/TY dear friend: The weather here which it was said that he never owned a Combat. The Princess faints. (The repeat arises. The old masters did not -LY1 to-day has been lovely-.- I cannot complete outfit; if the coat was new, the Prince is mortally wounded.) hesitate long in their choice. They pre¬ remember so fine a day for some weeks. trousers were old; if the hat was new, its Almanstor: Alas! fixed dots to the double-bar and washed But, of course, it is impossible to foretell band was old), were sold for not above Imogen: Ah, what! their hands of the consequences. We whether it will or will not continue so. $12.00. Among this motley collection was Almansor: I die! shall return to this presently. We may get rain this evening, and that the precious diary of Schubert. This was Imogen: Ah, me! In the second section, known to us as would be welcome; for it is good for the bought by an autograph collector who People, sing dance, and' show your mis¬ sold the leaves one by one; and thus the ery. the Free Fantasia or “working out” sec¬ land, and the farmers are beginning to greater part has been irrecoverably lost. tion, wide scope is given to the composer’s call out, for it is needed for the crops. Chorus: Let’s sing and dance, and show fancy and inventive resources. He can Herr Aloys Fuchs recovered the few re¬ our misery. maining fragments of this dairy and it is elaborate or diversify preceding matter. FRANCESCO BERGER, R.A.M., 1859 Coda ACT III. from these that quotations are made. He may modulate into remote tonalities. This portrait of the author of the accompanying article, who is (Pallas descends in a cloud to Alman- 4 4TT is just beginning to rain. I thought He may employ contrapuntal devices. He still actively and successfully engaged in teaching in London, was Z0R. and speaks.) it might. Remember your umbrella!” First Day of the Sangerbundesfest can explore untrodden by-ways leading to Pallas: Almanzor, live! ta\en two years before the outbrea\ of the Civil 'War, or nearly Would not such a letter be considered as UGUST 19TH, at 10 o’clock, found refreshingly new scenery. He may meta¬ A Imogen: Oh bliss! seventy years ago. Professor Berger’s fresh and spirited style of intolerable tautology? And yet it is no our band of musical pilgrims in their morphose his texts into most ingenious Almansor: What do I see? . patterns. All these resources, and many writing, combined with his extraordinary experience, give remar\• more so than that to which we have to seats, overwhelmed by the exceeding quiet Chorus: Let’s sing and dance, and hail more, are legitimately at his disposal and able interest to his articles. submit when the exposition section is this prodigy. THE ETUDE DECEMBER 1928 Page 915 the etude

Why a (Conductor?

Some Lines to the Layman

(Qy Hon. Tod Buchanan Galloway

WELL-KNOWN JURIST AND WRITER, COMPOSER OF “THE GIPSY TRAIL,” “alone upon the housetops” and other widely used songs. ARTURO TOSCANINI LEOPOLD STOKOWSKI melody. He patiently instructed, and his came about as a natural evolution. Spohr, said, with very good results,” but com¬ men obeyed him. This exhibition of the 4 41 DO NOT SEE,” said the Layman, Mendelssohn and von Weber were among ments no further. The best example of result of preparation and instruction had 1 “what is the object in having that the earliest of this kind of conductors; man stand there and beat time or the necessity and value of orchestral a profound effect upon Wagner, by which and their work and methods were make gestures before the orchestra. They leadership is when one hears the same he eagerly profited and from which the broadened and diversified until we come never look at him. The orchestra could body of men play under the direction of music lovers of to-day are reaping the a competent leader and one who is not. to Richard Wagner who not so much play just as well without him.” results. “Wait a moment,” said his musical by his actual leadership as in the lasting An Unanswered Query effect of his written words produced a friend. _ . The Bond of Sympathy The orchestra was playing the Rrelude IN TRACING the development of the great intellectual change in the art of con¬ ETWEEN a commonplace reading of ducting. Aided as he was by Liszt and B and Finale of “Tristan and Isolde, and art-of music it is not possible to learn a composition and that intended by von Billow, his wonderful work has been soon swelled with throbbing intensity to when the conductor first made his appear¬ the composer, there is a world of differ¬ handed on and absorbed by all great con¬ the climax of the Liebestodt. The air ance. That from the earliest times some ence; and that difference depends upon the ductors since his time; and to no other fairly vibrated with the passionate beauty sort of leadership has existed there can conductor—a result achieved only by con¬ master does the world owe more of its of that immortal love song, and its con¬ be but little doubt. Such a leadership scientious diligence. “To look upon music enjoyment to-day in the interpretation of clusion left the audience thrilled and would have been as natural and necessary as a singularly abstract thing, an amalgam music. It was Wagner’s violent tirade, breathless. as a drill master for a group of soldiers. of grammar, arithmetic and digital gym¬ published against German conductors in “There,” said the Musician, “The per¬ In the fifteenth century, we learn, it nastics, is not sufficient to fit a man to 1869, in which he claimed—and justly— fection of that climax never could have was customary to beat time for the Sistine be a conductor,” says Wagner. He must that many got their positions through been achieved by the orchestra alone. It Choir in Rome, with a roll of music called be able to put life and purpose into a per¬ court or high influence, which stirred the was due to the guidance, the leadership of a sol-fa; and traces of the use of a baton formance—to keep the players from going lovers of music to a realization of the the conductor, who played upon his men have been discovered among the Minne¬ to pieces and becoming individuals instead truer state of affairs. As a result, to-day until they responded as a perfect whole singers. However, between that time and of a compact body. How often we see a no conductor can obtain prominence as and gave us the overpowering beauty of the seventeenth century, we can learn but leader literally pulling the orchestra to¬ such by having greatness thrust upon him; Wagner’s music.” little, save that it was the custom to direct gether when for a moment they have but, rather, he must achieve greatness by operatic performances by the use of the seemed on the point of disintegration. hard work, slow laborious steps and a Eradicating an Error harpsichord. This we know was the prac¬ Again, how pained we have been when tice, first in Italy and later in Germany realization of his responsibilities. Other¬ HE MISTAKE of the layman was from some cause, personal dislike or other T and England. Lulli, Bach, Purcell and wise he cannot “arrive.” Not only must the common one of thousands who, in reason, an orchestra and the conductor ‘ THE MUSICIANS, BY CARO DELVAILLE Handel pursued this method. a conductor be deeply schooled in the art listening to an orchestra, are ignorant of are “on the outs.” How instantly the With the development in orchestras, of conducting, but he must also be deeply One of the recent Triumphs of the Paris Salon the relationship which exists between a audience realizes that the perfect unity of however, as the wind instruments increased cultured in the highest realms of music. repeated at a concert performance. Is it Affinity JNecessary can contrast the scream of the mighty conductor and the players and who do purpose and harmony of ideas, which make Opera, too, may be doomed in the'not in power and number, it was no longer Wagner tells us that he was so disturbed not time to reform this silly custom? not realize that the gestures and move¬ a perfect accord and therefore a satis¬ A MOMENTARY digression may be eaSIe> as he pounces upon his prey, with distant future to be superseded in public possible for the notes of the faint harpsi¬ and confused by the indifferent conducting ments of the leader before, an audience factory performance, are lacking. Even here permitted. In constructing a co- the sweet warbling of the tiny lark, when, favor by some other form of entertain¬ chord to be heard; and a leadership by of Beethoven’s “Ninth Symphony,” which are only a part of his skill and work; that the layman knows that something is wrong, Art Permanence herent statement, I cannot admit a snuff- at invisible altitude, it pour forth its lay ment. It would not be difficult to invent which the directions could be effected was given every year at the Leipsig Ge- the conductor, not only by the magnetism though he may not understand the why IT MAY BE questioned whether the box, an eagle', and a pianoforte as con- at heaven’s gate. I can contrast Chopin’s one that would be more logical, less patchy, through the eye rather than the ear of wandhaus Concerts, that, although he had of his baton but also by carefully rehears¬ or wherefore. Sonata Form is destined to survive for trasted subjects. They represent such Nocturne, played by de Pachmann, upon and not so overburdened with repeats as necessity came into existence. At first, copied the score himself and had made ing his men beforehand and fully in¬ all time, or is doomed to be succeeded totally different objects that they can be a concert grand, with the fox-trot of a what we now possess in this line. Wag¬ and for a considerable period of time, an arrangement of it for two pianos, he structing them in his ideas and wishes A Moving Picture gradually by some other, as former fash¬ neither compared nor contrasted. I can jazz band in a restaurant. But I can not ner, the later Verdi, and Puccini, already such conducting was largely a matter of lost courage and for sometime gave up contrast a snuff-box, small enough to slip contrast utterly incongruous materials; until they have a complete understanding ions have been by subsequent ones. have done much in this direction. They beating time only. the study of Beethoven. It was not until BOULT, in his Technique of Conduct¬ Provided the objectionable repeats be into my waistcoat pocket and once the and potpourris of incongruous materials of his plan of interpretation, accomplishes have knelled the passing bell of that class he heard a rehearsal of that symphony by ing, says that if one were to watch a omitted, I very much doubt whether any property of Napoleon, with a much larger do not appeal to me. So give me a Bee- his result. If each player were a real of opera, which Rossini, Bellini and Don¬ A J\[ew Art Born the orchestra of the Paris Conservatoire moving picture of a good conductor at form can be devised that is more logical, one, said to have belonged to Washington, thoven Sonata, and I make you a present artist, perhaps a conductor might be dis¬ izetti so readily supplied. Even the word ITH THE PRODUCTIONS of the that the scales fell from his eyes and he work it would be possible to tell what he more symmetrical, more satisfactory in its which, when wound up, emits a tune. I of a Liszt Rhapsody, pensed with; but that is asking for a con¬ W “Opera,” which, literally translated, means wonderful group of composers in understood the value of' correct conduct¬ was conducting without hearing the music. duplex simplicity, than tha't of the Sonata. dition almost superhuman. It would de¬ “This,” he adds, “is a very different thing a “work,” may have to go and some more the eighteenth century, something more ing, the secret of a good performance. The To crowd more than two “leading sub¬ mand that each player must have a knowl¬ from suggesting that the audience should easily pronounced term, such as "Buhnen- than mere time beating became necessary conductor, Habeneck, had taught his or¬ jects” into one movement appears to be edge of the composition to be performed watch the conductor at a concert. His festschauspielwerk,” may take its place. for their proper interpretation; and the chestra to look for Beethoven’s melody in about as reasonable as to supply a statue as a whole—not only his own part—and work must be directed towards the eyes art of conducting, as practiced to-day, every measure; and the orchestra sang the of Venus with four legs; and to reduce also that there must be unlimited re¬ of his orchestra and only towards the the Sonata Form to one single motive In Conclusion hearsals. ears of his audience.” . would be as unreasonable as to endow her Grove mentions that as late as 1924 an V/fV objection to repeats in general in- Not infrequently the layman ob¬ with only one. interesting experiment was made in Mos¬ ’•*' eludes the accepted method of per¬ server declares that “the conductof Attempts have been and are still being cow, with an orchestra playing without a forming those delightful little movements, was of no advantage as the players made to induce us to accept other forms conductor. He adds guardedly, “It is looked at him.” Certainly the for our daily food, under the high-sounding the Scherso and Trio, the Gavotte and titles of “Rhapsody” and “Symphonic Musette, and the Mcnuctto con Trio. In Poem.” They strike me as fit banquets these it is the custom, after twice playing for special occasions, tolerable at those each part of the first, to proceed without times, but not suitable for daily consump¬ a break to the second one, and to treat tion. There is too much license about it in the |ame literal way, concluding by them, not sufficient restraint, or propor¬ returning to number one without an in¬ tion, or control. One loves to feel, when termediate repeat. This means playing traveling by unfamiliar roads to unfa¬ number one no less than three times; and, miliar regions, that one is still within hail if this is tolerated, I see no reason f°r of home. That beloved spot may be out stopping at that—why not make it six, of sight, but it need not be out of mind. and let that suffice for two days? While strongly opposed to unnecessary Some enterprising music publishers, m repetition, one wants to feel that the “first stead of marking the repeatable portion o subject” is not completely wiped out, and a piece with a double-bar and dots ( l|| )• that the contrast between it and the second one is, to some extent, an emanation. In have seen fit to print that section twice in other words, that the two are “related by full, thereby elongating their copy and contrast.” thus adding to the purchaser’s expenditure. THE PHILADELPHIA SYMPHONY ORCHESTRA (Continued on page 951) DECEMBER 1928 Page 917 THE ETUDE THE ETUDE Page 916 DECEMBER 1928 vision, created by a controlling heart and mind, and causing listeners to ask them¬ = r““rSsr. Style in Singing selves how it is that a composition with which they thought themselves to be thor¬ oughly familiar should all at once become E£-2=;fiS£and warmth which show the d (By a different thing. As Weingartner says, of Stokowski’s leadership. Itstands^ forth Herbert Witherspoon “Out of the garment of tone there emerges as a ripened organization with a prestige the FAMOUS BASSO OF THE METROPOLITAN OPERA COMPANY, NOW PRESIDENT OP CHICAGO MUSICAL COLLEGE the spirit of the art work; its noble coun¬ second to none in America. Stokowsk., tenance, formerly only confusedly visible, although of Polish extraction, is of E g is now unveiled and enraptures those who lish birth and English Speed and Mood may be said to be an American conductor, are privileged to behold it.” It is the im¬ WHAT IS musical style and how is SPEED IS definitely related to mood. position of the will of the conductor upon as all his experience has been with Ame it best obtained? This question For instance, we may play a march in ican orchestras. May we not therefore the players which mystifies the laymen. calls up the matter of compari¬ regular march, or walking, tempo. In¬ Temperament is a much abused but neces¬ say that his success is the outcome of the sons between the artists of the past and crease the speed and the piece is no longer opportunity which an American orchestra sary word to describe certain results. It the artists of the present. The decision a march but an expression, perhaps, of cannot be acquired by education, hard offers? • , . on the part of a good many is that the elation or enthusiasm. If. the speed is Sometimes the layman is annoyed at work or favor. It is an inborn free gift present-day singer is not the equal of his augmented beyond a certain degree, the what he terms the antics of a conductor. of nature. It is an endowment of the forerunner in real art and style. But the piece becomes confused and incoherent. Let him remember that gesture is the con¬ heart, not of the understanding. habit of slighting the present by praising The march becomes a riot. But if the ductor’s means of expression to the or¬ the past is not unusual and always brings speed-is decreased the march becomes a The Source of Power chestra, not to the audience. What good to mind two very important questions. funeral march. If we keep on decreasing touch and tone are to the pianist, gesture AT THE SAME TIME the best results The first is, “What is Style in Singing?” the speed, all semblance of rhythm and in conducting arise from the heart be¬ is to the leader. By it he quickly and and the second is, “Does Style Change accent is lost and expression destroyed. accurately translates to the players the ing directed by the mind. In other words, with the Times?” So we learn that, while speed may be they come from feeling guided by intellect. rhythm and feeling in his mind. This Style, of course, must depend primarily adjusted to the requirements of the voice, Art works or art performances exist only quick response of the hand to the brain upon technic and good taste. A perfect A CARICATURE OF RICHARD STRAUSS A CARICATURE OF ARTHUR NIKISCH (whether, for instance, the voice is a light for themselves or for their own beauty. is the quality which distinguishes a good technic and unfailing good taste once ac¬ coloratura soprano or a heavy bass) -yet conductor. It must be remembered that players do not look at their leader all the If they are trifled with for the purpose quired, all other accomplishment is a com¬ we cannot transgress certain limits with¬ eccentricity in action or dress impresses sent from the connection between the con¬ paratively simple matter. Technic has time, as they must be reading the score be¬ of producing sudden, erratic or startling out destroying the expression supposed to only the simple-minded. The real lover ductor and his players. come to be looked upon, unfortunately, as fore them;- but they do look at him fre¬ effects, then the beautiful, unblemished be in the composition. Therefore, we find Venus becomes a tinted Venus. of music looks beyond to what the result As to, “Why a Conductor;, perhaps no some special form of study and procedure quently. A mere glance is all that is neces¬ that speed is a vital element in coherence. The untutored auditor misses the fact one has answered the question quite so which gives to the student extraordinary sary, especially if it is given at essential Just as we must not stop the motion (or that artistic interpretation of a musical well as Henderson who says; "He is one development and control of his physical - going) of a piece, so we must also not places. This is particularly noticeable in composition originates in deep feeling; but “Toiling Upwards in the Wight" of the princes in the kingdom of music. powers without relation to expression. unduly increase its speed, lest the coher¬ the performance of a concerto, either piano the conductor must see to it that his in¬ HE CAPACITY of the orchestra to This man who turns his back upon us all, As men have investigated physical law ency be lost. Is not this a little like speed or violin, where the conductor watches both T tellect dominates everything which pertains perform and of the listeners to that he may play with his little stick upon of the vocal organs for singing and of used in talking? We can easily become the soloist and his men, while the latter de¬ to it, such as technic and the calculation enjoy is stimulated by the imagination of this hundred-voiced instrument. And if the fingers and arms for violin and piano incoherent when we talk too rapidly, or pend entirely upon their conductor. of effects. He prevents the deep feeling the conductor. Remembering this, the sometimes we lose ourselves in hysterical playing, each investigator has developed very dull and uninteresting if we speak In 1916, G. B. Robinson, conductor of from becoming false sentimentality. The personality of the conductor will merge wonder at the results he produces, and some special method of training these too slowly, both speeds depending upon the Public Orchestra in Bath, England, conductor does not ask of the score, into the personality which created the come to think that the baton is a musi¬ organs. Sometimes they have proclaimed what we say. So speed (or tempo) is a performed an interesting experiment in a “What can I make of this?” but “What cian's wand, perhaps we arc not so much real truths. Sometimes they have indulged fundamental of every mood. lecture-concert there. The orchestra was composition, and we find ourselves saying. has the composer endeavored to say?” In¬ “How great is Beethoven, Bach or in all kinds of fanciful theories, their im¬ We find also that intensity immediately reversed and the players had their backs to blame after all.” stead of being a mere time beater, a con¬ Strauss;” not, “How great is such or aginations running away with the afore¬ affects the tone in its vital character. Cer¬ to the audience. Mr. Robinson took his ductor is the most important personality mentioned physical laws, preventing rather such a conductor.” Of prime importance TEST QUESTIONS ON MR. tain moods will call for very concentrated place, facing the orchestra and in full view in the realm of recreated music. He either than aiding their operation. So there have is it for the layman to bear in mind that, GALLOII'AY’S ARTICLE intensity of tone. Other moods demand of the audience, to interest and instruct can educate and elevate by a performance been developed in the past three or four great as the result of a performance may 1. What early form of conducting was less intensity, less concentration and the latter in the art of conducting. In or, by poor leadership, can create in an decades some most extraordinary fads and be, it has not been achieved suddenly or used in the Sistine Choir? therefore more warmth and breadth. This his lecture before the concert he explained audience not only indifference but even dis¬ fancies, especially in the art of teaching on the spur of the moment. At a per¬ 2. How did the great group of eight¬ intensity is closely allied to the color of that “An instrumentalist plays on his in¬ like for the noblest of arts. singing. strument and a conductor plays ,on his formance the conductor is only recalling eenth century composers affect orchestra tone. The expression of love and affec¬ orchestra. As an instrumentalist can to the players what he has laboriously leadership? tion, for instance, would not require such A Landmark in Conducting A Division That Slays Art learn to play only by experience, so is the taught them at rehearsals—not once, but 3. What are some of the qualifications intensity as would the tone expressing de¬ art* of conducting learned by experience. AN INTERESTING instance of the many times, with careful explanations of necessary to a successful conductor? THE RESULT of this has been that termination, or revenge, or hate, or com¬ But a conductor has to rely upon the good power of a conductor, who by the the “whys” and “wherefores.” 4. How is "team-work" achieved in technic has been divorced from ex¬ mand. Volume or loudness may also vary pression. There are too many teachers who will of his performers, whereas an instru¬ combination of feeling and intellect pro¬ A conductor first takes the composition an orchestra? in intensity and must be obedient to laws duced a triumph, was that of von Billow. to himself, absorbs its contents until it have specialized in what they call vocal pro¬ mentalist does not have feelings to con¬ 5. What is the "source of power” in a of mood value. When he was conductor of the Meiningen is almost a part of himself; and then he duction, or diction, or have proclaimed sider.” After explaining the various com¬ conductor? HERBERT WITHERSPOON All such aspects of the vocal art go Orchestra, it was rather poorly equipped passes it on to the orchestra at rehearsals. themselves “tone specialists,” all v>f their positions to be performed, he proceeded 6. How have such, men as von Biilow hand in hand with technic. Otherwise we and by no means equally proportioned. The old saying that, “When one can energy being expended upon the develop¬ to illustrate his point by his conducting. and Stokowski achieved their results? force the voice, or we allow it to become Yet with it he surpassed larger orchestras neither play nor sing he becomes a con¬ ment of some peculiar kind of technic, cal tone really is and what its component 7. What is the secret of llie thrilling does not execute on the concert stage. On too spongy, soft and indefinite. In every world-famous for their superior artists. ductor,” came from the inability of the without regard to expression and without the operatic stage every gesture made af¬ parts are. We find some very marvelous “Team Wor\” Essential interpretations heard at concerts? case the throat is wearied. The latter were led by mere beaters of uninitiated to fathom the mystery of con¬ taking into consideration that expression fects the color of the voice and therefore things, the knowledge of which may en¬ T IS NOT difficult to imagine what the Color is associated with all. Nobody I time, whereas von Billow moulded his ducting. Ossip Gabrilowitsch recently de¬ and technic must be complementary to the expression of the singer. hance our powers far beyond what we result would be if each member of an could possibly sing two diametrically op¬ little orchestra into a complete unit—the clared that America leads the world in the Teaching the Triads each other. may imagine. orchestra had his own ideas of tempo; posed rates of speed with the same kind perfection of ensemble. It seemed like a care given to preparing a symphony con¬ There is no such thing as acquiring Some of the fundamentals of style will what hopeless confusion if there were not By Earl C. Jones When Scales Are a Waste of Time of color. Color, intensity and volume, single instrument upon which von Biilow cert. Rehearsal is piled upon rehearsal some peculiar form of technic and then be brought out by investigating the re¬ a master mind to dictate—a leader who by EXPRESSION and technic must go therefore, are mutually interdependent. played as upon a pianoforte. His name He said, “We worked four years in De¬ The following is a good method for hitching it up to whatever expression the lations between the various constituents his conducting virtually said, “Whatever hand in hand. This does not mean that became a landmark in the evolution of the troit on Bach’s ‘Passion according to St teaching the triads, especially to the artist wishes to ally with it. Expression of musical expression. For instance, we may be your individual opinion upon this we do not have to practice scales and A Sense of Proportion art of conducting. Matthew,’ before the performance was younger pupils. develops technic and technic develops ex¬ or that passage, remember that you are exercises. It does mean that it is per¬ say the elements of form are rhythm and Another example, more familiar to the taken to New York.” Some one has well In the first little piece which has the pression. Even the singing of exercises WE ARE BROUGHT to the realiza¬ to take mine and thus insure harmony and fectly useless to practice technic in a melody. The elements of expression or present day lovers of the power and notes, C. E. G, explain to the pupil that should be done with some definite mood tion that style is dependent upon said that the power of a conductor over mechanical fashion without any expres- style must be the same as the elements of leadership of a conductor, is shown in the his players is even greater than that of these three notes, when played together, value—such as that of elation or enthusi¬ good taste, a sense of proportion and A good conductor generates a “family” form. Then we must recognize that the case of Stokowski and the Philadelphia a player over his instrument, in as much form what is known as a triad. Explain values, coherency, and the association of feeling in his orchestra. The leader is asm or repose. Now, we must consider one of the ques¬ expression of various moods is concerned Orchestra. When he took over that or- that the first three letters of the word In the coordination of vocal technic with these items of rhythm, melody, speed, in¬ sympathetic and the men responsive. A as the mechanical element is entirely ab- tions given at the beginning of this article; with certain other elements of form and (tri) means three: hence a chord of three facial expression and bodily position we tensity, volume and color. Much of this fellowship is engendered by mutual under¬ “Does style change with the times?” Of style—accent, speed, intensity, volume and notes. Also at this time it is well to tell find a fundamental of style. Concert association can be learned by the common standing and pride in cooperation—a rule course it does change in its outward forms. color. We also find that each one of the student that all chords, no matter how singers little know what a great part in sense application of expression to technic so to speak of “one for all and all for But the fundamentals of style do not these elementals is vitally concerned in ex¬ their performance the expression of the and of technic to expression. We can many notes they have, are formed from change. They exist always and are ap¬ pression and that expression depends upon face plays, and how also the position of readily see that even the practice of scales Poor conducting or interpretation on the the triad. The teacher can make this more plicable to every kind of music sung or these elementals. the body affects the tone. Even the opera at different speeds, intensities and volumes part of a leader not only completely de¬ explicit by showing the pupil an example played. So the artist should go back to Accent can alter the feeling of rhythm. singer knows all too little regarding this will bring about different colors and ceives the uninstructed in an audience but from some concerto or piece. the very beginning of music that he may It may be used purposely for all kinds of also destroys the enjoyment of the en¬ Let the pupil play C, E, G. Explain that subtle form of expression. understand not only from what sources effects or to enhance the value of musical moods. We have already found fundamentals lightened. What the layman fails to ap¬ this is the root position of the C triad- music came originally but also what musi¬ interpretation through the musical phrase. The weakness of a stereotyped vocal preciate, in watching the conducting of an For the other positions, in order to avoid of style, first, in natural freedom in tech¬ method whereby the voice of the singer orchestra, is the fact that the leader brings any confusion, tell the student to keep the nic which allows the vocal organs to ad¬ is limited to one placement, and, there¬ out not only the correctness of execution two top notes of the root position and Put just themselves in an almost limitless fore, to one color, one intensity, and, only but also that musical message to which the bottom note (C) on top. Tell him number of combinations for the forma¬ too often, to one degree of volume, is notes and sounds are but means of ex¬ that he is now playing the first inver¬ tion of tones of all colors, expressing all Etude readers interested in vocal study will be glad to know readily observed. Colors of the human pression. He does not realize that he is sion of the C triad. In like manner have kinds of emotions, second, in facial ex¬ that a number of valuable articles by distinguished specialists voice are caused by changes in resonan¬ pressions which definitely affect the technic ces in the voice. Moreover as resonances witnessing a psychological effect, the invit¬ the pupil keep the two top notes and put will shortly appear, including one from Frantz Proschowsky. ing thread of influence which transforms the bottom note (E) on top. Explain and the formation of tone, and, third, in change, we not only get different colors bodily position including the gestures as if by magic a more or less indefinite that this is the second inversion of the (Continued on page 941) which the singer feels and suggests but sound picture into a beautifully formed C triad. The other triads may be taught w the same way. DECEMBER 1928 Page 919 THE ETUDE THE ETUDE Page 918 DECEMBER 1928 Evolution of 'Piano Playing and VJirtuosity

[Master themes the World Loves Best

PROFESSOR OF PIANOFORTE PLAYING AT THE PARIS CONSERVATOIRE

Translated from the French by Florence Leonard

(This is the Sixth and Last, in the Scries of Hotable Articles Which Began in the July Etude.) half. The volume of tone, modified by original expression. His marvellous vir¬ Moderato masterly “School,”' a work of the greatest the pedals, has been increased to the Hans schmitt (i835-i907), of tuoso talent is uncontested and incontest¬ Vienna, was the author of numerous significance, which will be epoch-making. greatest proportions. , Josef Lhevinne has a boldness of technic able. The evolution of the hand in playing interesting works for teaching pur¬ There are many names of virtuosi which which is not surpassed; Guiomar Novaes was gradual. Before the day of Johann poses, and very much the same were Wieh- might yet be mentioned, some of them very mayer, Teichmuller and Ruthardt of Leip¬ controls infinite modulations of tone by her Sebastian Bach and Couperin, the thumb remarkable. But I shall content myself zig, Tobias Matthay (1858) in London, skilled fingers, and knows beauty of detail, was not used at all, upon the keys. It with adding only a few. Wanda Landow¬ and his excellent disciple, Cuthbert White- of nuance, of soul, and the style of each ska is a very intelligent musician, remark¬ was placed upon the wood, to support the more (1877-1927). The method of Mat¬ composition. Wilhelm Backhaus has every¬ able clavecinist and pianist of charm. hand. thing—fullness, power and delicacy. thay, like that of Breithaupt in Berlin, Among the French virtuosi are _ Youra The following is the fingering of the col fjva ad lib. There are still others, whose names escape contains many ideas of Ludwig Deppe Guller, whose pure, expressive style is most scale of C, used by Purcell in 1684; (1828-1890), an interesting teacher though me, since I have not heard them. Siloti captivating; and Jeanne-Marie Dorre; the Right hand: 123434343434345 (2 Oc¬ little known. (Certain ideas of Deppe may ranks among the greatest pianists of the new Cqrreno, whose prodigious memory, taves). be found in the Breithaupt technic; but day. magical technic, bravura, all combined with Left hand: 543232323232321. Breithaupt’s method includes many points grace and delicacy, make a rare artist. Bach invented a fingering which hot not known to Deppe; and some of his fun¬ Some Living Titans Side by side with the ever increasing only used all the fingers but also made T3he Hallelujah Qhorus damental principles are quite opposed to AMONG THE VIRTUOSI of world¬ skill Of the virtuosi, one must inscribe in the thumb of the first importance. It be¬ ity and took place on April 13, 1742. Incidentally, Handel those of Deppe.—F. L.) wide reputation must be mentioned the book of gold, of Progress, the names came more important than the other LTHOUGH Handel's success with his Italian operas Two charming pupils of Matthay are A had taken only twenty-three days to compose this master¬ Arthur Rubinstein, of miraculous technic, of the makers of pianos—the artisans or fingers. According to Forkel, Bach played in England had been at one time phenomenal—Kin- Myra Hess and Irene Scharrer, both re¬ , ideal sonority, surprising style, animation, as follows: the five fingers were curved piece! At the first performance the audience became more inventors who were geniuses. The ideal aldo having been particularly liked—he grew finally to have markable, both interesting exponents of contagious passion, soul, sensitiveness- tone quality of certain instruments, their so that their tips would fall perpendicu¬ and more enraptured as the singing progressed, till finally, such a distaste for the storm and stress of operatic perform¬ his method. William Mason, a pupil of one of the most extraordinary virtuoso power, their clearness, are prodigious. larly on the keyboard, upon which they with the beginning of the Hallelujah Chorus, excitement ances, with the temperamental singers, carping critics and Liszt, is another pedagogue whose works temperaments of our day. Ignaz Fried¬ From. Hans Ruckers and Cristofon to formed a parallel line. He played with so reached fever pitch. Suddenly the king rose in tribute to the inevitable financial responsibilities, that he decided to aban¬ ' on the technic of the piano are Of the first man, whose interesting works are not yet Steinway—what a road they have tra- controlled a touch and one so little em¬ don this type of composition in favor of oratorios. In 1720 composer, and the audience joined him in standing till the rank. But there is only one good method— well enough known, is also a player of phasized, that the movement was scarcely formidable technic, of delicate and sensi¬ he wrote Esther; and this was followed by various works very end of the chorus'. which is, to be able to play the piano! To Growth of the Piano perceptible. Only the first joint of the change method is not, always to improve tive talent, spiritual, vivid. Last, but not finger was moved. The hand kept ' its such as Deborah (1733), Athalia (1733), Saul (1738), Israel Even Handel seldom trod such exalted ways as exist in HE PIANO at its birth had but 61 ■ method. least, is Sergei Rachmaninoff, whose Con¬ T rounded form, even in difficult passages; in Egypt (1738), and then, in 1741, the Messiah. This lat¬ this Hallelujah Chorus—and he is said to have told a friend keys. To-day it has 91. The field certos, Preludes, Sonata and Etude Fan- the fingers were lifted very slightly above ter is surely the world’s most beloved oratorio. Perform¬ that during its composition it seemed to him that the very for the pianist is thus expanded by a “The Val\yrie of the Piano” works full of strength and of the keys. Kalkbreuner says, in his ances of the Messiah are yearly events in hundred of cities. gates of Heaven itself swung wide and he could glimpse for TITE HAVE almost reached the end of “Method,” that the hand should “attack” The first performance of the Messiah was given for char- a fleeting moment the sublime wonder of the land above. W our list and have not yet mentioned the key sometimes by caressing it gently, the admirable Teresa Carreno (1853- sometimes by approaching it suddenly as a 1917) who had rare musical intelligence lion on its prey! and whose passionate, superb talent is fa¬ Thalberg says: “It is necessary to mous. She studied with Georges.Mathias. knead the piano with a hand of steel and So did Raoul Pugno (1852-1914), exuber¬ with fingers of velvet.” ant and charming; and also Theodore Rit¬ ter (1841-1886), the most finished pianist Piano Literature Expands of the French school, having wit, finesse, THE MODERN MASTERS of the rhythm, vivid color, sentiment and style— piano have enriched its literature with all these qualities. Three' admirable new effects which tend to transform the virtuosi of this period were Francis Plante, descendant of the modest clavichord into a Andante maestoso with clearness of style; Louis Diemer, most sort of miniature orchestra. Tschaikowsky, accurate; and Delaborde, of fiery spirit. C6sar Franck, Grieg, Widor, Scriabin, Alfred Cortot was younger than these, but Liapo'unoff, Debussy, Ravel, Albeniz. also remarkable. These are the most fam¬ What technical inventions are the results of ous of the French pianists. their genius! Subtle and complex, the art Throughout Italy, Germany, England of Debussy or Ravel , is revealed in the and America, many conspicuous artists con¬ refinement of their harmonies, the elas¬ tribute each his share of novelty to the ticity of their rhythms, and their delicate art of the piano. Space permits the men¬ sense of tone quality. Both are like silver¬ tion of only those who are best known. smiths in music, often producing effects rather for the brain than for the ear. An Italian Group They love the piano; they know it well; IN ITALY, Giuseppe Martucci (1856- they have produced masterpieces for it. 1909) was a very remarkable pianist (Preludes and Estampcs by Debussy, and a professor of the highest rank. En¬ Sonatina, Ondive, and Scarbo by Ravel.) rico Bossi was another. Beniamino Cosi These observations shall close with a (1845-1907) wrote a work on piano OEL is a French word—derived, incidentally, from the thought of Anton Rubinstein: “Instru- N Adolphe Adam was famous for his operas- technic which will be a classic. Mugellini mental music is the most intimate friend Latin natalis, meaning “birthday”-—and noels are carols one called Le Postilion de LongjumeauP M (1871-1912) was a charming virtuoso and of man. This we must admit, particu¬ and other songs celebrating the birth of Jesus in Bethlehem muslc with such famous French masters as Ber an interesting teacher. His Mctodo d'Ex- larly when we are suffering. But of all in Judea. How natural that there should be so many peans ercizi Tecnici is strikingly original. Gio¬ instruments the piano is the one which hailing this, the most astounding and most blessed event in SSJti* hfe he waf made Pressor of the Pans Conservatoire, though this same insti vanni Sgambati (1843-1914), and his pupil, responds best to this feeling. Therefore history! Among them, one of the most popular is the Tvjoel looked upon liim during his student days as 1 Felice Boghen, produced some “Exercises I consider the study of the piano a bene¬ by the French composer Adolphe Adam. This composer Journaliers (Daily Exercises)” and in¬ a talented dilettante and not to be too grlat fit to humanity, and I should make it was born in 1803 and died in 1856. structive editions of unusual worth. Er¬ obligatory, in a school curriculum, in It is said, m fact, that he was allowed to ent This is certainly a perennial, and each year school chil¬ nesto Consolo, the pianist, is a remarkable order to insure to the pupils this personal vatoire only on the amazing condition th dren, church singers, choruses and radio broadcasters per¬ artist. pleasure. ,^jS"had played so much in public solemnly never to compose music for the stag, In Germany we have Ansorge, - Edwin form Adam’s 7<[oel. Somehow its creator caught up in his ;rved that I did better before discover from a list of his wnrU u “g Fischer (a pupil of Breithaupt), Gottfried melody all the flooding joy of the Savior’s birth. • ‘. than for myself alone. And condition as soon as he had Ut j°-m^ Galston, Arthur Schnabel, Petri and Giese- >erved that I played better for king. In America are Ernest Hutcheson, n for others—from that day an exceedingly worthy artist, and a long jsed.to play ip public.” Other inter¬ list of foreign artists who have become s' thoughts in this field of study will naturalized Americans. Among these lat¬ LEOPOLD GODOW/SKY AND ISIDOR PHILIPP • hesjound Th “Mezzotints in Music” and ter must be mentioned Alberto Jonas of A RECENT PORTRAIT, TAKEN IN PARIS “The Royal Road to Parnassus” by James rare cultivation, who has brought out a DECEMBER 1928 Page 921 THE ETUDE tiie etude Page 920 DECEMBER 192S Op. 57a. Appassionata .1803-04 Op. 2, No. 3. Op. ..1809 Sonata, Op. 54. .Huneker, and in “Great Pianists on Piano Op. 49, No. 2 . Op. 79. Milan, the Shrine of the Opera Playing” by James Francis Cooke. Sonata, Op. 27, No. 1. Op. 81. L’adieu .1809-10 Sonata, Op. 27, No. 2, Op. 7. Op. 10, No. 1. 17pg Op. 90.1814 A Table of the Sonatas of Beethoven Sonata, Op. 90. Op. 10, No. 2 . Op. 101.1815 FOURTH IN THE SERIES OF MUSICAL TRAVELOGUES-VISITS TO THE SHRINES OF MUSICAL ART IN EUROPE Sonata, Op. 31, No. 3. Op. 106 (Hammerklavier) .1818 In Order of Difficulty Op. 10, NO. 3. Sonatas, Easy, Op. 49, Nos. 1 and 2. Sonata, Op. 31, No. 2. Op. 13. Pathetique. Op. 109.1820 Sonata, Op. 81a. Op. 110.1820-21 Sonatine, Op. 79. Op. 14, No. 1. glass, if, with which he is familiar, memorizing low longer concentration on the same concentration is required in approaching and it became one of the most widely (although they arc snow-crowned) be¬ in other words, the sun is. made to concen¬ which has passed through the analytical tonal group. anything new. If he follows his plan re¬ cause nestling at their feet, one finds that trate its heat, we can burn a hole through sought of all European musical seats of stage, and all work which requires mere 2. For Less.Intense Periods: ligiously for a few weeks he will soon semi-tropical paradise known as the a block of wood. So, in practicing, if we learning. Monteverde in his day was re¬ repetition, may be studied when the con¬ Etudes or, Drill Exercises—30 minutes establish such regular practice habits that Italian Lakes. At no place in the world can focus the mind’s energy through the garded as a great modernist, even a dan¬ TEATRO DELLA SCALA, FROM THE STAGE centration is not quite up to par. The Working for endurance, speed or a he will actually be uncomfortable whenever is one so overwhelmed with beauty. Logo glass of sane practice methods we shall be gerous iconoclast. He abandoned many of morning is, of course, the best .time for particular tone quality. Patterns in he is forced to miss his practice hour. He able to absorb completely the most difficult the old rules of counterpoint and intro¬ Garda, Logo Como, Logo Maggiorc, Logo work demanding analysis, for new work broken chords, scales or arpeggios that knows that irregularity in the habit of heights. We have not, however, the eco¬ page of music. It is the business of the duced boldly unprepared sevenths and Curiously enough it takes its name from Lugano—dreams of beauty, incredible in of any kind. The following schedule is are well learned may now be done eating makes him uncomfortable and is nomic situation which permits the Milan teacher or of the good musical magazine ninths, to say nothing of the diminished a church, since when it was built in 1776 their charm. Here color runs riot with ro¬ planned for two. hours’ practice. metrically. not conducive to good health. In a similar house to employ artistic labor at a vastly to furnish the glass, but it remains for the triad, with an audacity which shocked his under a decree of Empress Maria Teresa mance. Small wonder that it has been for Interpretation and Repertoire—30 min- manner he will let him feed his mind with lower figure and therefore give an immense student himself or for the parents of the contemporaries and delighted posterity. of Austria, it was erected on the site of twenty centuries the incessant inspiration daily practice if he is to be healthy music¬ amount of attention to necessary detail. very young child to hold the glass in posi¬ 1. For More Intense Periods: Among other things he invented the de¬ Santa Maria della Scala (St. Mary of the of poets, painters and musicians not merely Memorizing in a more advanced ally. The admission prices at La Scala are by tion, that is, to see that the daily practice Technic—15 minutes vice or recitative for dramatic music. of Italy, but of all the world. stage, requiring not mental but phys¬ Again, a just balancing of the amount of Stairs). no means cheap. Five, six and seven dol¬ schedule is carried out. Xew exercises involving special con¬ The cost of the original building was Milan, of all Italian cities, is most like ical repetitions for permanence of re¬ time for each practice item is as necessary lars are asked for good orchestra seats The length of a practice period should cepts of touch, motion or weight re- • about $200,000, an enormous sum in those America. In fact, in its hustle and bustle tention. Emphasis on expression and as a balanced diet for the best results from when they can be obtained. even Americans are somewhat nervous. depend entirely on the ability of the student lease; new patterns in .broken chords, Hap.oleon's Encouragement days. It was the largest and finest theater musical feeling will delight the esthe¬ each meaj. Let the student, therefore, rule The ensemble, wise cn scene and “atmo¬ The people are extremely intelligent and to concentrate. For the average student scales or arpeggios. THEN FOLLOWED a period when in the world at the time. The horseshoe- fifteen to thirty minutes is, the proper tic sense, make the student forget that off a sheet of paper each week into half- sphere” at La Scala are simply unforget¬ affable. In the older days, largely be¬ the musical traditions of Milan were shaped interior has five tiers of boxes with length for maximum results, though an ad¬ Memorising—15 minutes he is tired and even give him new hour blocks with the days of the week at table. Let us suppose we happen to be cause of the prestige of La Scala, it vied largely focused upon vocal music; and in a gallery above them. The building is 330 vanced student or professional may at¬ In its first stages or the committing of energy; one old piece every day. the top and the half-hour periods along there for a performance of the spectacular with Paris as a center of voice culture. 1807 Napoleon Bonaparte issued a decree feet long and 122 feet wide. . Its greatest tempt an hour period. After a few min¬ particularly difficult passage Harmony—15 minutes the left side of the sheet. He ran then in¬ “Andrea Chenier” of Giordano. We are Vocal music and opera are still para¬ founding the present Royal Conservatory feature is its huge stage going back from utes of physical exercise or a walk around which v t mastered the day be- At the keyboard or written. Creative sert the names of the composers of his first confronted with the fact that the au¬ mount ; and in this way it is characteristic¬ the block, another period may follow im¬ fore. expression in the simple ternary form pieces, etudes or exercises as he practices of Milan. The order was issued by Eu¬ the footlights 145 feet, with a width of 98 dience has come eager to hear an opera, gene Beauharnais, stepson of Napoleon feet. The proscenium opening is 54 feet ally Italian. mediately. If a longer period and bring the record to his not merely as a part of the social whirligig. There is, of course, a marked contrast and son of the ill-fated Creole Josephine. wide. The capacity of the house is 3600. is attempted there are bound teacher. Keeping a record There is some difficulty in announcing the between such a conservatory as this and The Empress was six years older than Approximately one thousand employees are to be lapses of attention in of his practice in this man¬ beginning of the acts. This is accom¬ the modern conservatory equipment. It is Napoleon, and Beauharnais who later as¬ required to maintain it, including one hun¬ which mistakes will occur ner will help him to form plished by turning out the lights at inter¬ the same difference that one finds between sumed the name of Napoleon was only dred and fifty dressmakers and tailors. or hazy impressions will the habit of regularity. vals in threatening manner. Finally, when Magdalen College at Oxford, England, twelve years younger than his step-father. At times it operates a school in which be formed, thus canceling absolute silence is secured, the Maestro’s and, let us say, the prodigious and marvel¬ He was, himself, a soldier of no mean some fifty choristers and sixty dancers are the effect of the con¬ baton descends, and one is instantly lost in ously efficient new Law School of North¬ great interest in the new school, and it kept in training.. Far be it from us to centrated study which pre¬ the music drama. western University at Evanston, Illinois. In a lecture delivered at was soon in flourishing condition. Its ac¬ make comparisons of the performances at ceded. By dividing the Probably no more beautiful hall exists in the Training School for Mu¬ tivities were not interrupted until the Aus¬ La Scala with our own magnificent Metro¬ available time into a num¬ As the Milanese Know It America than this one at the Northwestern sic Teachers, in London, Er¬ trians seized the building for military pur¬ politan Opera Company. With Gatti-Ca- ber of short periods the at¬ University Law School, modeled after the nest Fowles declared: poses in 1848-1849. It occupies a building, sazza and Toscanini on Broadway, we have THE colossal stage permits of the move¬ tention can be kept at a English Parliament Building; but it is as “The appreciative study of once a convent, annexed to the church of the managerial and artistic brains that have' ment of huge masses of singers and white heat. Moreover, in different in its atmosphere as a Roman music implies the develop¬ Santa Maria della Passione. The conserva¬ brought La Scala to its greatest recent choristers ill wonderful semblance of life. the interval between, the burial lamp is from a Klieg light. tory is now under the direction of the impressions will have had ment of taste. It is impossi¬ The problem of education is to deter¬ brilliant Italian modernist composer, Ilde- time to deepen, to become a ble to obtain a refined taste mine whether the atmosphere of the ancient brando Pizzetti. . It has one of the finest part of the student’s mental from music alone. The mind building, often approaching ruin, is more musical libraries in Italy, directed by the life. empty of all things save mu¬ suitable to the education of the young than Perhaps one of the rea- gifted Fausto Torrefranca. sic is a danger to the race. is a modern building equipped with every spns why busy men get so Students are admitted subject to pro¬ Taste requires the stimulant imaginable convenience and improvement ; muqh done is that they vary bation for one year. If they then succeed which follows a living in¬ as, for instance, some of the new Ameri¬ their activities but work on in passing an examination they are per¬ terest in the unde concerns can conservatory buildings which, from schedule. Students may do mitted to continue. The course for com¬ of humanity. Literature only the standpoint of artistic beauty and physi¬ the same; there is no reason position and string instruments is nine can provide the need. The cal effectiveness, transcend many of the for keeping the school home¬ musician is known by hts years long, that for wind instruments ten work and music practice years, while the course in singing is eleven finest in Europe. books, and the same law op¬ People in this day and age of the each in a separate long years. erates in the case also of wqrld are becoming insistent upon results period. Punctuating with Among the celebrated musicians who teachers of music. Music rather than upon dreams. The magnifi¬ music the several hours of have studied at the Milan Conservatorio is the most responsive of the cent record of the Milan Conservatory is mental effort required for are Giacomo Puccini, Mascagni (one year) arts to the claims of taste, history. We are of the opinion, however, school lessons will leave the and Italo Montemczzi. It was here that and a cultured taste in litera¬ that the new era in musical art which we brain less fatigued. Short our own Amelita Galli-Curci graduated as ture finds a ready echo are entering, while depending for its periods of instrumental study I a pianist (first prize and diploma) long the imagination of those who dreams upon contact with the old, will may be sandwiched between before she dreamed of becoming a great live by music. The world is flourish more luxuriantly amid modern school studies, with advant¬ singer. ruled by taste, and it is the surroundings, provided those environments age to both. privilege of the teacher so to La Scala are in keeping with the finest translations In order to secure the best develop his own, that insensi¬ THE GREAT musical glory of Milan, of artistic ideals of yesterday to those of results the student must be ROOM IN THE FONTAINEBLEAU PALACE, FRANCE, DEDICATED TO THE MEMORY OF THEODORE Puerto bly he becomes an influence however, is La Scala, the most fa¬ ENTRANCE TO CONSERVATORIO DEL VERDI today. reasonable in taxing his MARCEL DUPRE, WITH A CLASS OF ORGAN PUPILS tending to the uplifting of mous opera house in the entire world. taste in his students.” DECEMBER 1928 Page 928 the ETUDE THE ETUDE Page 922 DECEMBER 1928 kow’s “Sadko,” the opera from which the familiar Song of India is taken. department of Elsa Alsen, the dramatic soprano, has iMaster Discs sung the Liebestod from Wagner’s “Tris¬ tan and Isolde.” It is beautifully ren¬ ‘Bands and Orchestras By Peter Hugh Reed dered with a fine regard for diction, and the recording is excellent. Alsen inter¬ Conducted VMonthly ‘By Wise Enough to be Modest prets Isolde’s Love-Death much more THE GENERAL trend, of interest REINALD WERRENRATH, emi¬ THE DIRECTOR who feels that it seems to be toward recorded sym¬ slowly than we usually hear it. She evi¬ nent concert baritone, was inter¬ Victor J. Grabel would be an acknowledgment of dently conceives Isolde as being in an en¬ viewed some time ago by a repre- weakness upon his part to seek the assist¬ phonic music. But there are many FAMOUS BAND TRAINER AND CONDUCTOR music-lovers who are also interested in tranced state, somewhat dazed, which pre¬ •ntative of one of the leading magazines. ance of someone more advanced in the unusual vocal discs. When a voice is dis¬ vents her from quickening the emotions of Mr Werrenrath closed the lengthy inter- profession, or that it might result in a tinctive in quality and ingratiating in its the scene. It is an interesting conception view by pleading another engagement, stat- L lessening of the respect shown by mem¬ production, surely then it is welcome for and ope that conforms with the character. •na that he was soon due at the studio of a bers of his organization or by those who certain prominent vocal coach ‘‘for a les- itself. And when a singer combines fine This aria can be heard on Columbia disc employ him, must realize that this step n” The interviewer was astonished to musicianship with the imaginative ability 50083D. Before leaving vocal discs, men¬ serves to increase the respect of his asso¬ earn that America’s outstanding baritone ciates. For it clearly demonstrates his to present a real story, then that singer tion should also be made of Rosa Pon- who receives $1500 or more for a single Coaching of Bands and high regard for his work, his seriousness becomes also an artistic necessity. selle’s singing of Miserere from “II Trova- concert was still “taking lessons. of purpose and his whole-hearted interest tore,” with Martinelli and the prayer La Such a gifted artist can make a song, Nothing strange at all about it! The in the welfare of his organization, and in¬ an operatic aria or even a vocalise a very vergine degli Angeli from “La Forza del fact a musical artist continues to coach dicates that he is neither conceited nor definite work of art, particularly if the Orchestras Destino.” Miss Ponselle’s luscious golden with specialists is but an evidence of his shallow-minded. technic of the voice is perfect and unob¬ voice is heard to great advantage in these ever-burning ambition, his seriousness, his Some of the outstanding bandmasters trusive and the tonal flow a pure sound operatic excerpts. In fact, she has never progressiveness and his high respect for art of conducting in all its ramifications, who have entered various contests have profession. There has occurred the most which presents a satisfying and pleasurable been more vocally opulent or, for that his art There are many great teachers who know but little, often nothing, of the not hesitated to engage the services of remarkable advance in the development of reaction to the listener. From such sing¬ matter, more satisfying, than she is in this who specialize in coaching grand opera science of harmony and arranging, who others in coaching them and their bands bands within the last ten years with the ers, upon occasion, one cannot help but disc (Victor 8097). and concert artists. have formed but slight acquaintance with before concerts or contests. In England, result that there is a most urgent need for derive a delight equal to that received Passing on to some instrumental records Fully fifty Per cent °* the artists °} the any of the masterpieces of musical liter¬ where contesting has been general for conscientious, serious-minded and well- from a perfect instrumental performance. the Victor release of Schubert’s "C Major New York Metropolitan and Chicago ature, who have learned but little about many years, it is the usual procedure to In view of these facts the writer has de¬ Symphony,” the work which Schumann Civic Opera Companies, two of the equipped directors. correct and efficient methods of teaching. secure the services of a special trainer or cided to present a series of vocal discs said was of “heavenly length,” is a superb world’s most excellent operatic organiza¬ Yet one rather often meets such men who coach. which he has recently heard and found recording. Dr. Leo Blech and the London tions, spend some time each year coaching Higher Training are largely lacking in the essential equip¬ Mr. A. R. McAllister, director of the worthy of critical praise. in new roles and new repertoire (for con¬ ment Of teacher and director who will Symphony are its exponents. What a THE MAN who, ten or fifteen years Joliet High School Band, which has won To begin with, there are two records of cert) with distinguished vocal coaches and most readily “admit” that there is prac¬ the national championship for three suc¬ healthy job he made of it, too! Although ago, was considered a capable di¬ Schubert songs, which all admirers of his securing aid in further vocal development tically nothing more for them to learn cessive years, has secured coaching in the he is somewhat too ostentatious in the first rector of amateur and school bands would music should hear. They are issued by and interpretation. The same is true of not necessarily be deemed efficient to-day about the musical profession. Some of revision and interpretation of his num¬ movement of this melodious work, he is, many of the concert violinists and pianists. them do indeed have an awakening and, Victor. Elizabeth Schumann who pos¬ unless he had studied and kept step with bers and in the performance of his band in the second, most poetical. Again, in It is only through this continual study upon, a realization of their deficiencies, at rehearsal. He has sought criticism in sesses a perfectly floated lyric soprano' the rapid advancement made by school the Minuet, the graceful resiliency that and striving for higher attainments that begin a course of serious study. Some of the presence of his band at rehearsal and sings with ingratiating quality in Die Post, bands and orchestras. Now that these Blech attains is all to the good. We re¬ they are enabled to gain added prestige them, however, continue to be blatant lost none of its high respect by doing so. Wohin, tin Abendroth and Die Vogel, school organizations are playing many of call the set issued by Columbia, where and public favor. They know that they egotists who wander blindly through the He has no hesitancy in stating that he which are all recorded on disc number the classic overtures and suites, Liszt Hamilton Harty was conductor. Harty’s would begin to stagnate artistically and has sought expert advice in the prepara¬ 6837; and Elena Gerhardt, that justly fa¬ rhapsodies, portions of the great sym¬ mist of their own stupidity. reading was preferable here in the last would soon lose their popularity if they Many bands are heard, in contests, bands mous . lieder singer whose work has phonies of Beethoven, Schubert, Haydn, tion of his programs. failed to continue their artistic growth. which clearly .indicate potential artistic Mr; Peter Michelsen, director of the reached a maturity of perfection, presents movement. But for perfection in sym¬ Tschaikowsky, and so forth, the ability to Each year sees large numbers of capable possibilities beyond the ability of their Richland Center (Wisconsin) High School Der Leiermann and Der Wagweiser from phonic reproduction, combined with a vi¬ conduct overtures, gavottes, simple sere¬ and progressive teachers flocking to New directors to realize. Some of them could Band, which has won the state champion¬ “Die Winterreise” on disc number 6838. tal performance, the Victor is infinitely nades and amateurish potpourri will not Margaret Sheridan, an Irish soprano better. The disc numbers are 923S to York, Chicago, Paris and lesser music have, with more competent direction, se¬ ship for five years, has sought special centers to enroll in artist classes for ad¬ longer suffice. cured first honors rather than third or coaching for several years. He has had with a voice of considerable youthful 9240. Furthermore, it requires much more vanced work, to improve their technic, a well-known bandmaster assist in revis¬ charm, and Aureliano Pertile, a tenor ability to secure proper results from a fourth places. their style of performance and their Their failure was generally due to a ing and interpreting his numbers. He has with a rare dramatic quality, unite in an Schubert Contributions band containing a full complement of repertoire, but more especially to learn misconception of the music performed to had this bandmaster at some of his re¬ excellent performance of the Love-Duct flutes, oboes, clarinets, bassoons, saxo¬ A” OXTINUING their Schubert contri- the most advanced methods of teaching. a lack of knowledge of the correct tempi, hearsals to suggest changes in tempo, from “Madame Butterfly,” on Victor rec¬ phones, horns, tympani, and so forth, than ^ butions, Columbia recently issued his These teachers find it necessary to make phrasing, dramatic content, correct tonal phrasing, tonal balance, dynamics and ar¬ ord number 6832. The duet is begun at from the old time band of twenty pieces Sonata in G major. Opus 78, ofttimes er¬ new artistic contracts, to glean ideas from balance and contrast in coloring and dy¬ rangement of parts and has asked him to the point in the first act where Butterfly in which a piccolo and three clarinets con¬ roneously termed Fantasia Sonata. This other teachers and great pedagogues. The namics. In many such cases I have felt demonstrate his ideas by taking charge of has completed the change from her “pon¬ stituted the woodwind section. Consider¬ composition is an excellent example of its fact that they go away- for further study sure that, had the director sought the the band and conducting it through va¬ derous” wedding garments, and her angry able ability and imagination are required to form conceived in a spontaneous and bril¬ gives them added prestige at home and advice and coaching of a capable con¬ relatives have definitely dispersed. The be able properly to revise and arrange rious passages or whole numbers. liant manner. Schumann once cal! it “the enables them to demand a higher fee for ductor who was thoroughly conversant Has Mr. Michelsen lost the respect of lovers are left alone in a dusk-filled gar¬ the parts so as to secure satisfactory most perfect work, both in form and con¬ his members in consequence? He most den. “Child from whose Eyes the Witch¬ their instruction. balance and color. Mere time-beaters will with the music being studied, the perform¬ ception,” which Schubert left; but this It is just as essential that teachers and ance might easily have been improved assuredly has not. He has instead m- ery is Shining” sings Pinkerton! The love no longer suffice. We need conductors. scene which follows is recorded to the end opinion should be applied only to his piano directors of bands and orchestras should from twenty-five to fifty per cent excellent Directors can be found everywhere who (Continued on page 949) of the act with only a short cut between music. As a sonata it is simple in its develop the habit of coaching with those have made but slight study of the complex in a few rehearsals. the two parts of the record. Sheridan and musical expression and is therefore a who are able to advance them in their Pertile sing with fine youthful animation, work which requires fine tonal gradations and the finale of the scene is built up by from the interpreter. In its twenty-odd them into a gloriously impassioned climax. pages, Schubert has conceived some truly On Victor disc number 6843 Pertile is lovely passages of poetical lyricism. heard to further advantage in two differ¬ Leff Pouishnoff, the Russian pianist, ent types of operatic arias. From “Luisa who plays the work, is a skilled and gifted Miller,” an early Verdi opera, he sings artist. He renders it in an admirable man¬ “Quando le sere al placido,” which is writ¬ ner, since his interpretation tends to per¬ ten in the lyric style of a serenade. Re¬ mit Schubert’s music to speak for itself- versing this record, we hear the tenor’s In a way his performance is nearly per¬ frenzied outburst in the third act of Puc¬ fect, yet many people may consider his cini's “Manon Lescaut.” “Behold, I am masculine concept somewhat too vital for Grief-stricken” sings des Grieux to the the delicacy of Schubert's melodic lyri- captain of the ship upon which Manon is to be deported to America. The young Speaking of sonatas—that delightful lover’s sorrow so .moves the captain that and all-too-brief one by Beethoven, The he asks him if he would care to go to Sonata in E Minor, Opus 90, has been re¬ America also; and the cene ends with corded by Polydor in a most commend¬ des Grieux boarding the ship to be de¬ able manner. The piano reproduction is ported with Manon. just about perfect, and the playing of Wil¬ helm Kempff, the interpreter, is equally Arias from the Russian Operas fine. This little work was written in 1814, a year generally free from worries and A NOTHER interesting vocal record is illness for Beethoven. It is most expres¬ offered by- Nina Koshetz, the Russian lyric soprano. Her voice, although vi¬ sive of an inner happiness from that most masculine of tone-poets—particularly in 'ts brant, is nevertheless sympathetic in its quality. On Victor record 9233 she can song-like second movement. The disc be heard in an interesting aria from Boro- numbers are 62639 and 66712. dine’s colorful “Prince Igor,” and also in Three Schubert sets of recent issue, HAMMOND HIGH SCHOOL ORCHESTRA, ADAM P. LES.NSKY, DEBTOR, INDIANA STATE CHAMP,ONS: 19271928 a charming lullaby from Rimsky-Korsa- which duplicate others already available, (Continued on page 966) DECEMBER 1928 Page 925 WB STPDR the etvde Page OH DECEMBER lets T3he Teachers’ Round Table (Conducted by

School Music Department Prof. Clarence G. Hamilton, M. A. PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE Conducted Monthly by GEORGE L. LINDSAY DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS

Even then the matter of correct assign- THE THREE phases, vocal music,- ment to the, proper voice part in the reached. Arpeggio and finger «■« J"* abandoned ihe ida ol. ram* appreciation and instrumental mu¬ chorus is not completed, for, in making the sic, form the curriculum of the 'Vocal VYtusic in the Junior assignments, the vocal quality must be music in the Junior High School. The considered as well as the general physical <££££’& SBMSWrotation of the forearm. Some finger pure technic ought to react on all his work. present discussion has to do with the first development of the boy. 1Defective Eye'Sight raising may be resorted to, however, to phase only, and, more specifically, with Tone quality has also a most important produce clearness in rapid passages. These exercises, practiced for ten or the many problems involved in properly High School TJon'Legato T5 ouch (2) Each phrase closes with a U (.the place to fill in determining the correct fifteen minutes daily, ought to cultivate relating the pupil’s singing experiences first note in measure 3 and S respectively). placing of the girl’s voice for part sing¬ Will you kindly tell me how the the proper habits for performing long ar¬ with the purposes and functions ofxthc following passage should be played? While each new phrase then logically be¬ 1By Osborne McConathy ing. Most girls whose voices have been It is taken from Study No. 48, on peggios connectedly. Junior High School. These purposes gins on the following D, the phrase mark well treated in the earlier years will have time* an(ldBis! prepared to save her page 29 of Mathews’ Graded Stud- have been stated in many easily available sister’s Sight as much as Rnnlr 1 • is made to begin over C to show- that the a wide compass in the seventh and eighth books and articles. Two quotations may- hrevUSil' ready ‘to df anything" phrases are not separated in performance. Advantages of Forearm help to place' music instruction in its grades. The teacher must decide on the to help herself along, if I come. And it is a real “break,” a real part assignment frequently by the quality Station proper' light in the Junior High School Regular chorus practice is held with £°Mnyvoun?folks) Knot n7aTly Short thumbs plan. eighth and ninth grade students, sometimes injury, that may do a lasting harm. This of the tone. This is a matter which can¬ In the following letter from Mr. Russell may be avoided by gradually changing I have always taught my pupils in “In brief, the purpose of the Junior with both- grades together though more not well be illustrated in a written article, to play the notes with the dot un¬ My thumb is unusually^ ! Vincent, of Los Angeles, California, the High School is to be a friend of the commonly with two choruses each formed the compass requirements of the voice, especially in one as brief as the present. derneath in a detached manner, hand advantages of forearm rotation are well adolescent boy and girl by giving them from the pupils of a single grade. The placing the pupil from time to time on a But it is one of the most vital and im¬ to play arpeggios, especially won StMyamtle boy, now taking lessons right hand. Can you suggest summarized: lives full and rich and joyous in the pres¬ eighth grade chorus is usually required, lower voice part. Thus a boy who has portant duties of the teacher to place the There ought to be seme way out of the from a teacher who is a concert piam been singing soprano, may be changed to difficulty, since many totally blind people ist. savs that he has Been playing >rmit me to express my appre- ent and thus full and rich and joyous in and there is about an even difference in pupils in the division best suited to their this wrongly according to her anil the days and years to follow” (Junior the practice of making optional or required the second soprano, then to the alto, the have become good pianists. that the passage should be played You ought to overcome this difficulty, As to technic, one can get along with verv smoothly. She gives the equiv¬ partially, at least, by keeping your right High School Education, Calvin Olin the. attendance on the ninth grade chorus. alto-tenor, and finally, with the real chang¬ The teacher must guard against the alent tor “very smoothly” as non-le- and*i ts' impor tant'auxflfary, fore- Davis). Glee Clubs are generally formed of the ing of the voice, to the bass part. natural temptation to determine an assign¬ very little note-reading, since scales, ar¬ nato I have always thought that hand turned decidedly to the left and your peggios and finger exercises may be taught this term meant not smoothly. left hand to the right, thus: Vreaour’ concert pianists more • “To the Junior High School is ascribed particularly interested and vocally talented The skill of .the instructor must be care¬ ment according to the needs of her chorus. This teacher also lays great stress of their own u«*» of these the task of acquainting the pupil with an pupils selected by the teacher from a list fully exercised in making these assign¬ A musical soprano, able to carry the lower directly on the keyboard. Explain scale- on the fingers always being raised aids greutfi ever-broadening environment,, thus en¬ ments. He must anticipate the gradual formation to her, for instance, and have high. It seems to me that this te not of applicants. There will be a Boys’ Glee part because of her superior ear, may Si necessary as the way in which riching and socializing his life. The Jun¬ Club, a Girls’ Glee Club and sometimes a relaxing of the muscles in ample time to easily have her voice spoiled permanently her construct scales directly from the pre¬ the fin-ers are pressed down on the conservatii while scribed formulae of steps and half-steps. 1-evs to preduc? the desired tone. ior High School should provide oppor¬ Mixed Glee Club. Most frequently the make the change of assignment before by an assignment which helps the choral Yet it seems that in brilliant pas¬ tunities for that type of leadership which Mixed Club is formed by combining the there has. been any vocal strain and yet In giving finger exercises, teach' her to sages it is natural to raise the fingers trom All. ljrOUU»ai\.> tt Loucvpi *■ “ effect but carries her voice out of its value of arm rotation, and I immedi¬ in democracy makes for profitable leisure two other organizations. The Glee Clubs not until the lower part may be sung natural range. transpose them into various’ keys, as she higher.^e fojiowjng passage ately began to incorporate these as well as for a well-planned vocation.” usually practice outside school hours, comfortably. Frequent voice testing is becomes familiar with their scales. principles into my playing a°d teach¬ ing, with marked results. Adian- (Junior High School Procedure, Touton though there is a' growing tendency to necessary to keep him informed- on the Choose for her reading studies and and Struthers.) schedule this activity as a regular school rapid shifting of the boy’s voice. It is Types of Material pieces which are printed in clear and large tai?SEcouOTn£tod 8 motion'Siu finger In these, and indeed in practically every subj ect. usually advisable to hold regular individ¬ T N DIFFERENT localities we shall find type. Many elementary books, such as trom tne sides a .ui.iv. W°2U Increased flexibility in the summary of the province of the Junior ual voice tests at the beginning of each * different vocal conditions in the Junior John Williams' First Year .at the Piano, In this position and with the wrist held rather high, practice the following exer¬ Afore perfect cc :rol against High School, there is clearly expressed the Classification of Voices semester and additional individual tests High School. Usually there are few fill this requirement. cise slowly with the right hand: important place which music must play in ty COURSE, the greatest problem of whenever the attitude or the facial ex¬ basses in the seventh grade, though there For the rest, you will have to emphasize operating the8 fingers. a well-rounded course of study. 4. Greater power i i fourth s the singing lesson in the Junior High pression of a boy leads the instructor to are places where big seventh grade boys memorizing. Let her learn a piece by fifth fingers and more correct, i School is the changing voice of the boy. suspect that difficulties are being experi¬ form a distinct bass part. Where there playing each measure or phrase two or (1) You are correct in assuming that °f s‘bBetter relaxation resulting Singing Opportunities Formerly there was a widespread opinion enced. The boys should be encouraged are only a few seventh grade basses, three times from the notes and then repeat¬ c ..e and general the notes are to be detached, but staccato HE PUPIL'S opportunities for sing¬ that the boy should not sing at all during to ask for a test when they feel that those boys sing with the eighth grade ing it without them until she has it gradation improved in consecutive T is too strong a term for them since, when ing are usually offered in four ways, the change, but few leaders in the field the assigned part is growing uncertain or chorus. In this way the seventh grade thoroughly in mind. t0'(LSReadier mental control over dots are used with the slur, the notes through class instruction, assemblies, cho¬ of school music now hold this view. difficult. class can confine its study to music for She ought to taken at least two lessons physical motions. should be rendered much more nearly le¬ 1 7 Increased freedom throughout ruses and glee clubs. Class instruction is Singing is not nearly as trying to the voice unchanged voices, a much more desirable a week since she will need more than the the whole arm-structure, from shoul¬ gato than staccato. You may illustrate der to finger-tips, conducive to m- usually confined to the seventh grade, and of the boy as is the calling and yelling i nc ranging v 0ice plan than having the bass part inadequately ordinary- amount of supervision. It would by hopping along on one foot. Evidently creased breadth in playing. the classes frequently are treated very ordinarily indulged in in his games; it XT OT INFREQUENTLY w o m e be a good plan for the two girls to be represented. your weight is on the ground, except dur¬ Every time you play a C, let the fore¬ similarly to those in the old 8-4 plan. will even have the tendency to help his 1 ’ teachers find serious difficulty in d present at each others’ lessons. No doubt Unless conditions definitely demand an¬ ing the instant that the hop takes place. arm rotate to the left (1), and, conversely, ‘Dominant and Diminished Definite, instruction is usually given in ad¬ voice under proper conditions by requiring termining (the exact place to assign tl the younger sister will prove a valuable other treatment it is advisable to treat the Similarly, in the non-legato touch, you whenever you play the alternate notes, let vanced sight-reading and in the practice him to sustain an even and pleasant tone. boy. Women, not having the experien help and will herself be benefited by aid¬ seventh grade as a singing class, studying should sustain each note until just before it rotate to the right (r). Sevenths of suitable songs and part songs, generally This refined use of the voice serves as a of the changing voice compass, are n songs for one, two and three-part un¬ ing her sister. Similarly, practice the following exer¬ for three unchanged voices. the next note is due, and then ‘hop to I am puzzled as to some points in form of vocal exercise, gentle yet stimulat¬ always able to determine whether or n changed voides. There is a wealth of cise with the left hand, holding the hand Assembly singing is commonly held Once it as it were. Each of these hops is ef¬ harmony and would like your defim- ing, providing the relaxed muscles of the the boy is singing in a lower or high beautiful material available, and the turned in, as in the above diagram. Ro¬ a week. The entire school is brought to¬ Speeding Up fected by throwing the hand slightly from vocal apparatus with an opportunity for. octave. For this reason many worn, seventh grade, if free from the problem tate to the right in playing with the thumb gether for some form of general instruc¬ controlled practice. the wrist, so that the finger is drawn mto nave nearu u™ ■ - ...... teachers are apt to assign all the boys of the immature bass, can do much de¬ tVhat do you do with pupils who and to the left in playing with the other this chord is reckoned from the tonic tion or entertainment, and the singing is One of the things most to be avoided is simply cannot seem to "speed up .' the key (band touch). of a key, sharping that note to start a single part and arrange their chorus f, lightful and interesting singing. Frequent Mrs. J. C. V. an incident of the occasion. Music teach¬ the “break” in the boy’s voice. By con¬ Since the word smoothly is usually ap¬ fingers: building the chord, rlease give me a three parts only, soprano, alto and ha: singing of songs with a good piano accom¬ definition that I may use in teaeh- ers are..well aware of the importance of tinuing the use of the singing voice on This is a fault that is cn the right side plied to a perfect legato, it seems a little One of the most important tasks f paniment will add interest and variety to anticipating these meetings and prepar¬ the soprano part until the relaxed muscles of the fence: for it is much more important out of place here.. Evenly would perhaps BX’3r / r / 1U 2. Dominant seventh chords. What every woman teacher of singing in Juni the lesson. is the difference between the domi¬ ing in advance suitable music for the of adolescence can no longer sustain the High Schools is the correct determinii for a pupil to play with care and precision be better. . . , nant and major seventh chords? The eighth grade is usually ready to I see no reason for raising the fingers m.n refer to n chord.' calling it assembly to sing effectively. tension, the “break” is almost Sure to ot the exact compass of every boy’s voic than to push on before the foundations (Continued on page 959) are well laid. in this instance. Most modern teachers But there often comes a time in the study of a piece when a “dead level” seems to be reached. Here is where you must furnish a fresh burst of enthusiasm in seventh and a G dominant seventh? How should I explain the formation some way or another. While the pupil is of the dominant seventh to pupils? playing his piece, try playing the melody A. R. Q., with him in an upper octave, putting a 1. The chord of the diminished seventh lot of added rhythmic animation into the consists of three minor thirds, placed one .performance. This ought to fire him with above the other, thus: C# E G Bb. From new ideas and get him out of the fatal its root to its highest note is therefore a “dog-trot” of his playing. diminished seventh—whence its name. Similarly, spend a few minutes of each Evidently, if this chord is reckoned from lesson in playing duets with him, pushing the tonic of a major key, this tonic must him on gradually to more speedy tempos. be sharped; also the seventh above must Finally, attack the problem from the be flatted, as in the above instance. standpoint of technic. After a scale has But in reality the diminished seventh is been mastered slowly, for instance, let the (Continued on page 957) A DOUBLE QUARTETTE, AS OUR CONTEMPORARY, '*LE COURRIER MUSICAL,” SEES IT speed be quickened gradually by the use of the metronome until an allegro has been THE etude DECEMBER 1928 Page 927 Page 926 DECEMBER 1928 TEH ETUDE Lesson on 0iopins ‘Polonaise in CLASSIC, MODERN AND CONTEMPORARY MASTER WORKS A'Flat, Op. 53

A Master Lesson by the Great Russian Virtuoso

Mark Hambourg

See Hew Annotated edition in Succeeding VYtusic Section

The last beat of measure 32 should then passion, which prove that on the second beat of measure 7, must be retarded a little in tempo in order to his mentality was truly be treated in a corresponding manner. In capable of the highest measure 10 there is an accent on the last take the theme up again in measure 33 flights of imagination and beat and the chord on this beat and the with increased zest and power. power. following one should be heavy in tone. The next ten measures are a repetition It may be that this The figure commencing on the second of the main subject as introduced in power became sapped beat of measure 13 in the right hand measure 17, only an octave higher and later, by Chopin’s con¬ should give an impression of weighty somewhat elaborated. They should be stantly recurring illness; dignity; whilst the staccato octaves in the treated in the same manner. At measure " also his surroundings in left hand must sound like a scale passage 43, there are the following notes to be Paris may have tended played by trombones and end with an found, namely sixteenth-note G, the first to effeminize him ; but to accent on the top note of the passage, note of the sixteenth-note group on the dwell only on the charm¬ namely, on D-flat which occurs on the first second beat in the right hand, and A-flat, ing sentimentality of Cho¬ FREDERIC CHOPIN beat in the bass in measure 14. Accents the first note on the third beat of the same pin’s music is to rob him measure in the treble, which must both be A Portrait by Delacroix of the nobler and more should be given also on the other two enduring qualities of octaves in the bass in this measure, on specially brought out. CHOPIN is a unique figure in the greatness, which he certainly possessed. the second and third beats. In measure 48, where the first subject musical world, in that he confined Some of the most delightful examples closes for the moment, there should be a his genius and his interests to one of Chopin’s music are those of his works The Main Theme break in tone after the staccato chord on instrument alone, the pianoforte. He un¬ which, typify national dance rhythms, such HP HE LOWER NOTES of the six- the first beat of the measure, and the other derstood its possibilities to perfection, he as the Polonaises. These express pre¬ -*■ teenth-note groups, which continue three chords in this measure are then at¬ wrote for it with a wealth of charm and a eminently the Polish spirit of romantic throughout measures 15 and 16, should tacked with great vigor, the top note of variety of fantasy unequalled by any other chivalry, and, under Chopin’s magic im¬ slow down about the second beat of the chord in the treble on the second beat composer for this instrument, and he seems agination, they develop into poetic fan¬ measure 16, to prepare for the entry of the of the measure, namely, B-flat, being taken to have found in it an ideal medium tasies, inspired, elegant, stirring. Our main martial and triumphant theme, which by the left hand, to give it more signifi¬ for his creative faculty. present Polonaise in A-flat, Op 53 some¬ opens a tempo in measure 17. The cant utterance. In measure 49, there Born in a suburb of Warsaw, in Poland times bears the title of "The Heroic,” and dotted eighth notes on the first beat in should be accents on the third note of the on February 22nd, 1810, of poor but re¬ there is an anecdote associated with it the treble in measure 17 should be held first beat in the middle parts which are fined parents, Chopin’s nationality was a that when Chopin played it through for a trifle over their value, and a slight breath thirty-second-note C’s, and also on the mixed one, his father being a Frenchman the first time the room seemed to him to pause should be made before attacking the notes to which they lead, which are D- and his mother, a Polish lady. He started fill with the spectres of the warriors he sixteenth-notes which follow, in order to flat eighth-notes on the first half of the his life as a pianist very young and played had evoked (for the Polonaise hi A-flat emphasize the lilt of the rhythm. In meas¬ second beat in both hands. as a prodigy, already at the age of ten, is a true war song) and that he rushed ure 19, the last eighth-note chord on the in the salons of Warsaw. As a public away, struck with terror, before the cre¬ second half of the third beat must have Martial Features ations of his own fancy ! performer, however, his greatest successes an accent, also the subsequent three eighth- CIMILAR ACCENTS should be in- were achieved with his improvisations note chords in the beginning of measure troduced on each of the rhythmical A Grand Entrance which he performed at most of his concert 20. There should be accents on the first progressions which succeed each other appearances. But there is no doubt that THE COMPOSITION opens majes¬ octave sixteenth-note of each of the de¬ throughout measures 49 and 50, while the he was a very fine pianist; and both by tically, and ponderously in an atmos¬ scending groups of four, in measure 23 tempo gradually accelerates until it reaches the delicacy of his touch and the brilliancy phere of suppressed excitement. In meas¬ and also on the trills on the second and measure 57, when it steadies down again. of his interpretations, especially of his own ure 2, a decided accent must be given to third beats in measure 25. Meanwhile, the rhythmical figure in oc¬ compositions, he was able to thrill his the quarter-note chord on the third beat. At measure 26 the first four sixteenth- taves for the left hand in the treble clef, In the third measure the running sixteenth- audiences. notes in the treble should be well brought in this measure 51, should be made to note figure, starting on the second beat in out, with a little crescendo in tone, whilst sound like a trumpet call. The thirty- both hands, should commence somewhat The Chopin Myths in measure 29 there are accents to be second-note progression, commencing on slowly, and increase in tone on the third HE TRADITION about both his made on the second half of the second the second half of the first beat in measure T beat of the measure, grow faster on the beat, and the second half of the third beat splaying and his music, that they ex¬ 51, must be played in strict time, with first beat of measure 4, and reduce speed on the sixteenth-note chords, with a slight cel essentially on the sentimental side and accents on the two octave eighth-notes on again on the second and third beats of this ritardando in tempo, leading to the cadenza by a kind of sweet efficiency, is to my the third beat of this measure. measure, with another crescendo, culminat¬ scale in measure 30 which must also com¬ mind a mistaken one, which tends to de¬ Measures 53 and 54 have accents on ing in an accent on the sforzando chord mence with an accent on the first note tract unfairly from the measure of his the notes of the rhythmical progressions on the first beat of measure 5. The A-natural, in both hands, and then pro¬ greatness. Schumann was the best advised in the middle parts given in the same man¬ similar figure, commencing a tone higher ceed upwards with a tremendous crescendo when he described Chopin himself and ner as in measures 49 and 50. In meas¬ his compositions as “Sweetness combined ure 55 the trumpet-like figure occurs with strength.” For, though it is to a again, in the left hand, as in measure 51, certain extent true that Chopin exercised and must be emphasized. his art most successfuly in an atmosphere In measure 56, accents should be made of Paris salons, amongst ecstatic ladies, oi. the chord on the second half of the still Liszt and others of his distinguished first beat, and the second-half of the sec¬ contemporary fellow-artists declared that, ond beat, with a ritardando oi tempo, to when he was playing at his best, he pro¬ enable more emphasis to be brought to duced a noble and powerful sound from the sostenuto notes in measure 57 which the piano, and that then often his ideas must ring out proudly in the right hand, would seem too great for him to be able the rhythmical accompaniment in the left adequately to express. At such times he hand being also brought out with stirring would transport hearers by- the grandeur tone. In measure 60 the last phrases of and exuberance of his delivery. Also in some of his finest works, such as the P four sixteenth-notes on the third beat tninor Ballade, the Sonata in B minor, in the right hand should be given with a and the Polonaise in A flat, which I am singing quality of tone, and the tempo about to consider in this article, he evinces eased; but they should return to time again a' virility of inspiration, and depth of in the following measures. The trills in (Continued on page 973) Other Music Sections in this issue on pages 899, 935, 967. DECEMBER 1928 Page 929 the ETTJde the ETUDE ,@® POLONAISE IN A FLAT MAJOR FR. CHOPIN, Op. 53 See a Master Lesson by Mark Hambourg on another page of this issue.

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t^From herego back to K and play to A; then play Trio. . DECEMBER 1928 TER ETUDE Hold D natural a little longer

*** * From here go back to % and play to then go to Coda. u DECEMBER 1928 Page 933 THE etude rifenuto

WOODLAND STROLL

® Prom here go bac-t xo the beginning and play to <)►; then play Coda. Page 935 THE ETUDE rrjTE ETUDE DECEMBER 1928 Page 934 DECEMBER 1928 CONTRA DANCE OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES Another of the delightful lighter No. 2 The latest song success by the composor of compositions of Beethoven. Grade 4. L. van BEETHOVEN “At Dawning” and “From the Land of the Sky Blue Water MEMORY CHARLES WAKEFIELD CADMAN Allegretto m. m. J=96 Uu Lu. L S.H.M.BYEttS

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% From here go to the beginning and play to Fine,- then play Coda. DECEMBER 1928 Page 937 Page 936 DECEMBER 1928 the etude A new arrangement of this ADORATION

Copyright 1928 by Theodore Presser Co. British Copyright secured DECEMBER 1928 Page 939 Page 938 DECEMBER 1928 THE ETTJDR JfHE etude~- SECONDO PRIMO

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In processional style for indoor marching. MARCH OP THE CLASSES SECONDO Maestoso m.m. J = ios

Copyright 1928 by Theodore Presser Co. DECEMBER 1928 Rage 941 ■Page 940 DECEMBER 1928 THE ETUDE the ettjde Sw. Strings Gt. Flutes Ch. Flutes A SONG TO THE STARS Ped. 16 & 8

BERCEUSE JENO DONATH An old-world cradle song. Very melodious. 2-do pp Andante m.m. J = 72

Violin

British Copyright secured Copyright 1917 by Rozsavolgyi & Co , Leipzig-Budapest the etude DECEMBER 1928 Page 91,3 Page 942 DECEMBER i928 theetudr DWELL IN MY HEART Educational Study Kotes on Music ERNST F. GRADOLPH HAROLD N. WANSBOROUGH IN *5his 6tude By Edgar Alden Barrell

Mirror Dance, by William M.^ Felton. A Woodland Stroll, by Edmond Ribiol- rn 0bf0theI’oct^l)er^ j928e issue "of The Etudk. -- 1®t'

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Ivers & Pond Piano Co. 141 Boylston Street Boston, Mass. DECEMBER 1928 Page 91,5 Tnn tio'Bt THE ETUDE Page OJ,J, DECEMBER 1928 Style in Singing (Continued from page 917) ■ but a[s0 get different intensities and dif- mus destroy its entity and 'Bhe SINGER’S ETUDE ferent degrees of volume or loudness, ing. Augmentation of speed will demand a very Each great composer has brought about Edited for December by forward, small form pronunciation which certain changes in his development of the di canto of the old Italian school--Sl t, in its turn will alter the intensity of the musical idea. That is to say, Mozart, VERY EXPERIENCED teacher of men, for example, as Tosi, Porpora, Rr«l E voice and change its color. How, then, Haydn, Handel and Beethoven each had singing knows that his future suc¬ Homer Henley erici, Agricola, and later, that great Ga -an there be any other result in acquiring his own style. All of a composer’s pe- cess with a new pupil depends in a cia, the Lamperti’s, Sbriglia and Shakes ! certain stereotyped method of place- culiarities must be thoroughly understood; great measure upon the first lesson given. IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMEN peare—then i think you could scarcely K. otherwise we cannot sing in the style in At. that lesson he must so firmly entrench “a vocalist’s magazine, complete in itself. ment, or singing, without regard to quire more precedent or authority for imi. press'ion, than that of killing expression which he wrote. If we understand all of himself in the confidence of the new pupil, fating them. the fundamentals, as already partly de¬ he must so win the respect, admiration and and therefore killing style. fn”A- scribed, then when we take up the works personal liking of the student, as to make Just How Did They Do It? succeeding lessons friendly periods of un¬ Acquiring Style of any composer we shall understand that Inculcating Accurate Tone Perception embarrassed and authoritative helpfulness. JUST HOW did all these great ones OTYLE MUST also, of course, be although the fundamentals of style do not HE modern type of pitch-pipe, be¬ York City, says: “After experiment¬ T ing extensively for a number of years with It must he taken into consideration that ’ breathe? Very simply. They held the "quired through playing and singing a ^ange’ the Use °f them does ^ange and cause of its absolute accuracy of tone, has become the choice of progressive every type of musical instrument used in the teacher of singing, through the unfor¬ chest moderately high without raising the vast amountme nfof musical literature, through that’ as' has Sone on through its 13he First Uocdl Lesson extraordinary process of evolution, it has music instructors throughout the country modern times, I have come to the con¬ tunate pretensions, and, in many cases, the shoulders. The abdomen was slightly flat, studying Appreciation and' through hear¬ clusion that the harmonica is the logical developed changes in style which, after —and its superiority for practical teaching downright knavery of a large body of tehed, but the diaphragm was not. That ing and doing. Therefore, we should play ^jv instrument with which to begin a musical understandable, concrete and of music classes and choral groups has led charlatans in almost every community in useful memlier did its part in helping the all the literature of the various composers, defjnite to a widespread use of its “mate,” the har¬ education. (America, is put under a certain amount of “The simplicity of its technic, the purity Homer Henley is an exponent of "Bel Canto” methods of such musters as muscles of the sides and of the back hold which we can lay our hands upon, until monica, in elementary musical instruction. skepticism and even suspicion, on the part The construction of the modern harmon¬ of its tone, the absolute correctness of its Giovanni Sbriglia, Sir Charles Santley and William Shakespeare. He is Chair¬ the breath firmly pressed against the arch we are saturated with the peculiarities of of the general public, until his knowledge SELF-TEST QUESTIONS ON ica is identical in all essentials with the intonation, the ease with which it of the chest with a central point at the each composer and of each nation. and ability are proved and he has taken man of the Pacific Coast Academy of Teachers of Singing and is an authority MR. WITHERSPOON’S ARTICLE pitch - pipe, and sternum or breast-bone. Briefly, breath¬ his place among teachers of recognized on the traditions of Oratorio style as developed by the great British interpreters. If the subjects already discussed are 1. What are the three fundamentals of thus assures the ing for singing may be summarized in the thoroughly studied and understood, the styjff tonal accuracy so standing. versal appeal, and statement that if your body be inclined a art of phrasing, which is also such a great 2. In what way „.. important in the The teaching of singing, now that the style be said to teaching of music. its small cost make public has become conscious of vocal aloofness which alone can protect his per¬ little forward from the perpendicular, your part of style, will soon become a part of change with the times? Mr.C. I.Valen¬ it the ideal in- standards, is not at all what it was twenty sonal dignity and the dignity of his office. . chest held high by the rib-raising muscles the artist. He will phrase intuitively, 3. What is the relationship between tine, Chairman of strumentfor train¬ or. even ten years ago. In the older days The first duty to the new pupil is to and your shoulders never suffered to rise, rectly and musically. He will not be under speed and mood? Music Depart¬ ing the ear and for there was only the vocal teacher’s opinion hear his voice and give an opinion of it. you may then breathe where you please! the illusion that phrasing simply means 4. What is the danger of limiting the ment, Newtown practice in reading music notation.” to rely on. But the phonograph and the And here arises a question vexatious to For, in spite of yourself, you will find where the singer must take breath. The ■)ice, in practice, to one intensity ? High School, New radio have changed all that. After all, all teachers, old or new. Shall a separate that you are then breathing correctly. singer .must know what a phrase really 5. How may correct phrasing be culti- the musical ear of the great public is not charge be made for this first voice-trial? Does that appear a somewhat dogmatic is and how the composer i The question has been answered with equal such a bad ear, and hearing so much that or presumptuous statement? Let us try it vehemence in the affirmative and in the is vocally good, and hearing it so often, and see. You find, it the tody inclines has given the people standards of com¬ negative. The teacher, admittedly, should ‘Beauty and the (Crescendo forward whilst balanced on the ball of parison of their own. They now know be paid both for his time and for his ex¬ (Continued from page 944) pert opinion, but he is often prompted to one forward foot, that your chest arches with a fair degree of accuracy just what TO TEACHERS and others interested in they want in vocal values, and, if one sacrifice these on the chance of gaining a more naturally and that your abdomen The mouth, probably somewhere in the region fostering musical development, the Brochure teacher cannot give it to them, they soon pupil. automatically retracts (Galli-Curci told ot so of the soft palate. When that singer illustrated at left will be sent gratis on re¬ quest. To students desiring to play the har¬ find this out and go elsewhere. The re¬ But pupils are like all other human be¬ the writer that her entire breath-support difficult to understand and apply, but the essays a crescendo, it will also be dis- monica, the instruction book shown at right sult would be surprising if a census could ings in that they value that most for which was obtained by drawing the upper abdo¬ question of “singing in” puzzles many, covered that the tone direction is moving Will be mailed free. Wm. J. Haussler, Dept. 550-M, 114 E. 16th St.. New York City. be taken of the number of readers that they pay. Accordingly it seems best to men and diaphragm inward more and One very good way of easing the bewilder- forward in the mouth in strict company watch for and omnivorously read the in¬ levy a fee of five dollars for a voice-trial more as ,the phrase was sung.) Now ment is by directing the tone, in your with the increasing pressure of the breath, terviews with great singers on the voice, and opinion, with the understanding that breathe without raising the shoulders. thought at least, toward the very top of The consequence is that the singer’s tone and the numberless articles printed in the this fee is remitted if the applicant de¬ Very well. Do you not find the entire the head and coincidentally intensifying goes on the forehead and a whooping popular-priced magazines relating to sing¬ cides to begin study. Many experienced the head resonance. For the more head sound results. But mark, please! Had framework of the chest, particularly the THE FUNDAMENTALS ing, its makers and teachers. teachers of my acquaintance have found resonance the singer employs, the less the soft, beautiful tone, as ’ it increased lower ribs, expand? And does not this These things being so—and their obvious this rule to work out most satisfactorily HOMER HENLEY breath will surround his power, remained in exactly the same OF truth cannot well be denied—it devolves in the long run—though the amount of the appear to free the throat-region by con¬ is tone, and breath if escapes unchecked place, its loveliness would have not MUSICAL READINGS TONE PRODUCTION upon the young vocal teacher to pursue fee may be varied to suit the conditions centrating the necessary physical support is tone’s adulteration. only been unimpaired, but, in all proba¬ The clever pianologue merits a place on every enter- a course at this first lesson with a new surrounding the individual teacher. are the rocks upon which rest the vocal employed below the level of the shoulders? In the head voice, especially in the high- bility,' enhanced as well. ■specially recommend the following as musical readings student which shall at once establish his When the student asks the teacher’s teacher’s reputation and success. Very well, again. :s of that register, the loss of beauty And here, as in the case of the lower and By prestige and authority. William Butler terms of tuition, much embarrassment As to the actual first singing lesson, it (Part 11 of this interesting article mill during the progress of a crescendo may middle tones, you will find the same ap- Counting Daisy Petals (Humorous) should embody in large measure the main Joan O’Vark Yeats, the Irish poet, says, “There is a may be obviated in this sometimes delicate appear in the January Etude.) ' be found to lie in another direction. Any plication of the old admonition, but Hats.. '(Humorous) relation between discipline and the theatri¬ moment, if the teacher hands the questioner principles on which the art of singing is singer will discover, by experiment, that phrased, perhaps, in a different and more Keep a Smilin' .... (Inspirational) founded, that is, the breathing process The Ladies’ aid .... (Humorous) In this excellent work, tone production cal sense. If we cannot imagine ourselves a small printed card reading somewhat the higher tones, when sung softly, are helpful way: If you hold back the breath THE LADY Who LIVES Next Door (Humorous) as different from what we are and assume after the following manner: Mr. Blank’s and the vowel formation and placement. Legend op A TWILIGHT Bell . (Inspirational) is reduced to its simplest and most natur¬ l.Beauty and the Qrescendo situated well back in the line of the you will sing in. The Missionary Barrel . . (Humorous) al basis. Under its guidance any voice that second self, we cannot impose a disci¬ terms for tuition are ———- dollars One need never be afraid to give the stu¬ A Perfect little Lady (Humorous Juvenile) can be formed or re-formed. pline upon ourselves, though we may ac¬ for each half-hour lesson, payable every dent plenty to think about at his first lesson. SPEAK FOR Yureself, Yohn . (Swede Dialect) The Pianissimo tone in the human voice Speak Up. Ike, an’ 'Stress Yo'se'f • (Negro) cept it from others.” four weeks strictly in advance. No ex¬ In what follows, it may be imagined that Singing—on a Percentage Basis Price, $2.00 is always more or less beautiful. It IS Talk. Talk, Talk . ’ . ’. . (Humorous) ceptions will be made to this rule. Missed the teacher is addressing a new pupil at Cloth Bound when the singer essays to increase its loud¬ By George Chadwick Stock Tony on da Phone . . (Italian Dialect) lessons are to be made up, if possible.” the very beginning of his first vocal lesson. When Mother Sang to me . (Inspirational) Assuming the Robe of Authority ness that the beauty begins to vanish. This The Youngest in the Family us j ve 11 ) It will be seen that the wording of this Our first concern is with your breath¬ HE average type of singer uses sev- of his latent mental and spiritual powers. is due, in many cases, to the “ballooning T Mme. JOAN O’VARK T N THE relation of a young and inex- •card covers and settles at once many ing, for that is the solid foundation on enty-five per cent, of physical energy, It is propitious for the singer when he of the tone with the increasing sonority- The1 set^of^ETU^'l^^CoL^ECTicml’^^riio?^^ ’35C 1 perienced teacher to a new pupil, this points which otherwise might readily be¬ which your whole house of song must fifteen per cent, of mental power, and wakes up to the fact that he is getting only Studio 706 Steinway Hall statement may be read to mean that, for In other words, the tone increases in size come sources of misunderstandings and be built. The old Italian masters of song ten per cent, of spiritual inspiration in a minimum of vocal artistic results with 109 West 57th St., New York City the nonce, and until the years have in¬ in exact ratio to the breath pressure ex¬ T. S. DENISON & CO. awkwardness. A signed receipt should in¬ s/a,d’ ‘^e who knows how to breathe singing. a maximum expenditure of brute force and Dramatic Publishers vested this teacher with the ex cathedra variably be given by the teacher, as it (rightly) and how to pronounce (beauti¬ erted. Needless to say, this is quite wrong, He cannot help this excessive physical yelling effort. At this psychological mo- 523 S. WABASH AVE., DEPT. 73 CHICAGO robe of one who speaks with conscious protects both parties to the transaction fully) knows well how to sing.’ First, for mere size was never a substitute for effort. It is the natural proclivity of hu- ment he should turn about face and work and high authority, the teacher must as¬ from, error or dispute. then, let us state an incontrovertible fact beauty— neither, indeed, can be. man beings to waste physical energy and, intelligently and indefatigably for artistic sume that imposing robe at once and wear It goes without saying that the teacher What is required is not size but in¬ as the Bible says, to' follow blind guides, achievement through repose and well-bal- it with what dignity and impressiveness he “d*r§“ from The great singers must give an honest and impartial opinion all breathe in precisely the same manner tensity. -Intensity may to applied in mu'-1 which “strain at a gnat and swallow a anced play of the vocal organs, can. The merit of this lies in the psycho¬ of the applicant’s voice. Indeed, it is well the same proportion and manner to camel.” The other way ’round should immediately logical effect of repetition upon the and m precisely the same place. (No to understate the case somewhat in point later than October of the year 19?6 tone as electricity is fed to its conductor, After a while, if the singer thinks enough, be abolished, namely, the one of using fifty teacher himself. The constant donning of of the excellence of the voice. and its the wire. As the voltage increases » ne will become aware of the fatuity of physical units of strength to accomplish the habit of the oracle, the sage, and the owner’s musical gifts and aptitudes. The "one fitted to command,” soon begets the with Tito Schipa, Amelita Galli-Curci the electrical current the power intensity thus striving, consuming far too much in singing what ten can do when correctly student will come to respect such modera¬ Mme. Louise Homer and Mme. Luella is raised in the wire, but the wire remain physical energy and using only a tithe applied. actuality itself—always provided that the tion and- fairness. teacher has the training and knowledge Melius each of whom devoted that time the same size; there is absolutely , which must form the basis of any such change either in its girth or its d}ameL George Sand Again Building for the Future In the case of the singing voice,^ C'VERY SINCERE instructor of the analogy remains precisely the same, Many are the stories about Madame very poor .indeed and whose respect for ure his personal attitude with the greatest singing voice must build for his future tone stream should become electrical Sand, the great French writer (1804-1876) every word proceeding .from Madame circumspection. He must be impressive in the community where he has chosen singers breath, i„ exactly’jhe3same man’ energy and vitality, blit it should whose friendship with Chopin and Vol- Sand’s pen was profound, thereupon com- but not top-heavy or pompous; he must to teach. His chief asset in that com¬ ner would seem sufficient warrant fo^as widen. taire is so famous. Here is one which is posed music, not only for the libretto it- be cordial but not ingratiating; he must munity must be his reputation for honor¬ ample. ’,OUn® smgers to follow their In the case of the lower and •-W to us, and which explains, perhaps, self but also for all the stage directions be thoroughly interested but not over- able dealing and for decent morality. A notes, this is nearly always due to ^ adame Sand’s dislike for German music, contained therein! eager, and, ever and always, under the vocal pedagogue is always a noteworthy crowding the voice with breath. « Seized with a sudden enthusiasm for a Thus the librettist, looking over the suavity and charm that may be his, he figure in the public eye and he must walk nr."«r5hSehd',,yW,l'"fa certain young German composer, she wrote score, found eloquent musical passages de- breathe for singing haonenl Smgers here that the admonition of the old . ,j must treasure in the depths of his eye the more circumspectly because of his a hbretto which he was to use for a new voted to such expressions as the following: every detail whh?he” masters finds its true application: , the remote but inexorable cold spark of prominence. Character and competence back (the breath), sing in (seem to m opera. The composer, whose French was “Raymond exits off stage left.” When you write to our advertisers always mention THE ETUDE. It In touch with the higher Ideals of art and life. emP^d and taught by th^gt^S (Continued on page 941) the ETUDE DECEMBER 1928 Page 947 Page 946 DECEMBER 1928 THE etude

T3he Origin of Christmas (parols White Teeth Deceive Tohe ORGANISTS ETUDE By Charles V. Foreman BECAUSE.. THE WORD, carol, is defined as a sixteenth century, and the literature of Edited for ‘December by hymn, especially as a hymn of Christmas was enriched in the century by others, that can be. obtained from the praise sung at Christmas time in poems which are often included in collec¬ TO BECOME a good organist many Eminent Specialists organ mentioned. But these would not be the open air. The origin of the word is tions of carols, though they were probably qualifications are necessary in ad¬ possible by means of the set pistons which obscure. Diez suggests that the word is written to be read rather than sung. however, can still be used. dition to a sound technic, and not IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT derived from chorus. Others ally it with the least among these is the skill to use The late Dr. E. J. Hopkins, organist of corolla, a garland, circle or coronet, the Varied Carols “AN ORGANIST’S ETUDE, COMPLETE IN ITSELF and to combine properly the various stops the Temple Church, London, possessed earliest sense of the word being apparently THAT CAROL-SINGING early be¬ of the organ. Like the painter, the or¬ great skill with manipulation of the famous “a circle.’’ “ring,” or “a ring dance.” came a pretext for the asking of ganist has a palate of colors at his com¬ organ in that church. Stonehenge (often called the Giants’ alms is obvious from an Anglo-Norman mand, and the manner in which he uses The following combination of stops dance), was also frequently known as carol preserved in the British Museum these colors will largely determine his used by him, is worthy of note as he “the carol.” success in gaining the ear of the listener. which is little more than a “drinking” seemed very fond of it; it is quite useful , Clarence Eddy, The crib set up in the churches at song. Carols were an important element Owing to the generally accepted custom especially for a soft effect in a large build¬ 11,1 iMP "Y famous dean of Amer- Christmas was the center of the dance, of providing a certain set combination of Helps on Organ ‘Registration in the mystery plays of the Nativity. ing: Great Organ, Bourdon, stopped Dia¬ j”' i icanconcert organists. and some of the Latin Christmas hymns P.nXa^thyWSr stops by means of combination pistons or There is a long English carol relating the pason, small open Diapason and Flute. were written to dance tunes. The songs composition pedals, many an inexperienced chief incidents in the life of Christ, which To obtain every variety of tone color were called Wiegenlieder in German, noels performer places too much reliance on these o Observe the unavoidable break (necessi¬ Principal 8 feet. playing of perfect time, the music is apt beat. Notice how the rests clarify these mentioned at his command, the useful accompaniment. times with instruments of smaller scope. i tating a momentary pause) between the Couplers: Great and Swell to Pedal; to fall meaningless on the ears of the motives at each beat. As a motive, accord¬ performer should try Full The Swell to Great unison note E and the sf. chord in the extract Swell to Great; Swell Octave and Swell Great coupled to listeners. AUSTIN ORGAN CO ing to nature, is composed of an unac coupler may occasionally .1 from the Presto Agitato of Beethoven’s Suboctave, both on its own manual and Swell without reeds Accent on the organ is an elusive thing, 165 Woodland St. Hartford, Conn. cented note followed by an accented TINDALE enjoy a well-earned rest, “Moonlight Sonata:” also through the great. There would with the swell box difficult to attain as it cannot be produced Music Filing Cabinet for great diapa¬ (compare to the tick-focfe of a clock or probably be four combination pistons or open. This will by the usual means—the employment of Needed by i sons make a fine the fall of the horse’s hoofs while walking) Music Stu pedals to both Great and Swell organ, give him a quite force. Therefore it must be obtained one cannot but hear distinctly every motive- School a which would perhaps act thus: contrast on occa¬ good volume through artifices, usually through' the con¬ GU1LMANT division belonging to every beat, separately Great Organ for a ff pas¬ sions with a trast of legato with staccato touch. delimited by the performance of such 1st piston Small open Diapason, Hohl sage should Firstly, a semi-staccato touch upon the ORGAN SCHOOL invisible interposed rests. This gives the Flute and 4 feet Flute. he desire to Thirdly, since “an unaccented beat be¬ Send for list of 2nd piston would add Large open and initial unaccented note of a motive or DR. WILLIAM C. CARL hfcarer an adequate and complete compre¬ most popular style, use anything phrase will produce the effect of accentu¬ longs to the following accented beat,” and Principal. hension of unaccented and accented notes. \ TINDALE CABINET CO. ation or stress upon the following note or “the sub-divisions of any beat belong to 3rd piston would add Bourdon and It is with the idea of rhythm and accent chord. For instance, in playing the tune, Students Aided in Securing Positions the following beat,” rests will also induce Fifteenth. that the organist may now take up the Ariel, if the left hand is sustained in pure accent. Study the following extract from 4th piston would give Full great. study of the eight little preludes and organ style by tying all similar tones, the Bach (condensed to two staves) : Swell Organ fugues of Bach, being careful to attack right hand may be made to convey an un¬ Ex: 3 aEEEBzsanns 1st piston would give Echo Gamba, Vox New Prospectus Ready the pedal and manual notes simultaneously, Celestes and Stopped Diapason. mistakable idea of accent by being played when called for, without any error of 2nd piston would add open Diapason thus: 17 E. Eleventh Street New York i anticipation (one note sounding before an¬ Principal and 'Oboe. Ex. I 3rd piston would add Bourdon and other) and in strict time. Several of these Fifteenth. numbers may be utilized in the Church NEW 4th piston would give the full Swell. HOPKINS ORGAN SCHOOL Service, as all of the works of Bach display The use of these combination pistons (Peabody Institute Diploma) strength, virility and dignity. 3025 Rosalind Ave., Baltimore, Md. would enable the performer to get several The next important subject in the study degrees of strength of power from either Study pipe-organ in your home course is phrasing. manual singly or combined. But, unless from nationally known organist. Send $1.00 for self-instructing col As phrasing is one of the best means the organ were provided with adjustable of five lessons. .of making organ music interesting, under¬ pistons also, there is always the tendency Notice that the semi-staccato touch 11 standable and attractive (notice the advis¬ to rely upon one particular kind of color not used between the fifth and sixth i -i i l ability of even the small motive-phrasing for every degree of power required. r««$s -ife

Musical Home Reading Table (Continued from page 896)

of tragedy. There are hardly any cho- than that of Parsifal"

“T3oo 'Many Qooks”

MUSIC ENGRAVING

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C. G. CONN, Ltd. FIVE charming pieces 1213 Conn Building For Flexible Fingers Elkhart, Indiana By T. A.' Hitchings Gentlemen: Please send literature

with suggested, is not a cure-all. But words a minute, that sort of thing was those who make the effort will find it will child's play Jor me, simply because nm

aldInthS' senior year of high school I the use of the machine. set out to learn the typewriter. Two To those who are not above a little ex-

i the act of doing the Coda of ! say, “Type your way through Paderewski’s Mamet a L’ Antique with- cadenzas and arpeggios and spare the ears C1*- out a break. Other former bugbears were ofjhejong-suffering household _ who is DECEMBER 1928 Page 951 ' ETUDE THE etude Page 950 DECEMBER 1928 HAKKERT” Keeping Pupils Waiting The World’s Finest in Gut Slringslor By Edith Lynwood Winn The VIOLINIST’S ETUDE There is no more pernicious and nerve- the result! Every sensitive pupil is un¬ ■murmr' Gut end “JOACHIM" Wound Strings racking state of affairs than the habit of favorably affected when the teacher is each. Violin A, “Hakkert" 30c; Violin J, "Hakkert" 35o keeping pupils waiting for lessons. Cer- “fagged.” Edited, by Violin 0, “Joachim" (aluminum) 75c evening it g “Joachim" (pure silver) $1.00 tain artists often have pupils linger in There should be a strict schedule, with which the bowings are not marked, but „ * ’“Hakkert” $1 00; ’Cello D, “Hakkert" $1.25 corridors for hours, a practice causing time for lunch and for the passing of Robert Braine others prove quite puzzling to the stu¬ __ oG, “Joachim” $1.20; ’folioC/‘Joaohim" $1.60 them to become nervous and distrait. To pupils in and out. If possible there should <<"V 'T EVER a day without a line," said “HAKKERT’’ Gv ' * * X\| a famous author, when asked dent, especially if his talent is of a rather certain temperaments this is even disas- be no social life in the studio. Teachers for the secret of the enormous IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEP doubtful order. For instance, suppose it trous. No teacher, however great, has any who visit with pupils and who respond to is desired to apply the third bowing to amount of literary work he had been able “A VIOLINIST’S MAGAZINE, COMPLETE in ITSELF. right to impose such a strain on pupils. repeated knocks on the door or to tele- to produce. Literary men sometimes let the 8th study in Kreutzer, which is writ- A short recess between lessons in order phone calls invariably get fretty and lose weeks pass without putting pen to paper, ten in single notes, without slurs (except that the teacher may catch up would do concentration. Pupils grow, restless and but this man kept eternally at it, never a single one in the next to the last meas¬ away with all such difficulty. Then there inattentive during the periods between letting a day pass without doing his daily ure). In this bowing the third, fourth and should be no going over time. One these interruptions. fifth notes of each group are slurred, as teacher hammers away on a defect until Music teaching should be as definite as For the violin student I would para¬ in the following: the pupil and teacher are worn out. An- public school class room work. A busi- io phrase this author’s motto to read, “No Ex.l other teacher teaches from early morning ness-like teacher who gives his pupil un- evenings day without a bowing.” Every day some A ‘Daily Bowing until late at night without food. Imagine divided attention may be sure of success. one of the most useful bow-strokes should A few simple exercises, practiced In Schradieck’s “Scale Studies” we fi be faithfully practiced. A bowing a day the beginner, after about c months’ i quietly for one hour or so each the double-stop exercises t (Rings on the Fingers corresponds to doing the “daily dozen to struction. When the pupil first tries to play the evening, and before you know it keep one’s general health up to standard. Kreutzer, his immortal “Forty-Two and octaves marked for differ®"* ^,nfgS’ study he is likely to get his slurs in the By J. W. B. Additional bowings are also provided for you’re playing popular tunes on In time a complete mastery of the bow Studies for the Violin,” has given us sev¬ wrong place and the bowing mixed up your easy fingering will result than which nothing in violin eral valuable bowing exercises intended to some of the scales in single notes and generally, as he has no slur marks to Rings on the pianist’s (or violinist’s) at least chime in with the music, but, no! playing is more important. be bowed in different ways. The second chromatics, guide him. I had so much trouble in fingers are out of place. Not only do they As sure as a soft, legato movement occurs, , .. large number of Good bowing is the life and soul of exercise is the most famous and widely Besides the above, teaching bowing exercises of this charac¬ hinder the perfect play of muscles but, by out come the arm bands with their own various methods and their twinkling, also detract from the particular tune—about as welcome as flies violin playing. A famous violinist 'has used bowing exercise ever written for the bowing exercises ter that in trying to find a remedy I hit The AESTHETE Magazine HENRY FRANCIS PARKS, Editor performance. Bracelets are worse, because buzzing during church service, and far (True Tone Saxophone said, “The right hand is the artist, the violin.violin, Mostmost oxof methe editionseumons give uit twenty-iw™*- 'books°of ' studies could be cited, as the on the following plan, which solved the A monthly resume of progress in music^and^the other five bowings. Massart, French violinist, importance of this branch of violin technic problem. I had the pupil count each note they tinkle as well. One hopes they will more noticeable. The perfected Buescher Saxophone is a left hand the artisan,” meaning that a per¬ ir appeal to the marvelous instrument. It is one of the most fect bowing is the most important element who wrote a work on studying Kreutzer. is universally recognized. of each group as he played 1, 2, 3, 4, 5, 6, beautiful of all musical instruments. By the got the number up to over one hundred and 1, 2, 3, 4, 5. 6. Now the third, fourth and in supremely excellent violin playing. The Two Mince Pie Meal Spy-fo maildirectJ^TcentsTsubscription $2.00 a year. T5he (Violinist in Qhurch range and wealth of its tones it may take the All the great writers of violin studies fifty. Every serious student of the violin fifth notes of each group are to be slurred. place of almost any other instrument. Yet IN TEACHING bowing exercises, where The AESTHETE, Inc. Boon, I6306hfc*;.iSf1"b st- (Continued from page 950) and methods have devoted much attention in the world knows this study by heart; So in counting, he could readily remem¬ it is so perfected and simplified that it is and it should always be played from the exercise is to be played with a variety the easiest of all instruments to play. to bowing exercises. Ottakar Sevcik, one ber that when he said 3-4-5 he was to slur. good experience to play sometimes with of music stand, audible turning of Pages, of the world’s greatest violin teachers (and ory smee m this way the student can give of bowings, the teacher should not make more attention to the bowing. Care must the mistake of giving too many bowings Here is the way it looks with the slurs an instrument other than the piano. The signals to organist to begin or not to begin writer of technical works for the violin), Only a Buescher be taken by the teacher to indicate what for a single lesson. Some try to clean up organ is capable of very beautiful and in- and long-drawn-out tuning! Such prelimi- has devoted a large portion of his en¬ added: 1, 2, 3, 4, 5, 6, 1, 2, 3. 4, 5, 6, part of the bow is to be used for each the exercise and all the bowings m one teresting effects that may greatly enhance naries detract greatly from the dignity and Oives luu nit a. aicOC x—- cyclopedic technical works for the violin ...... „r- twrt leccnni The pffpi-t nf this On the Take another example the ninth bowing the accompaniment. Furthermore, people seremty of a service ^ are “e!iy un- bowing, when this is not marked lessons. The effect of this to bowings. His “Four Thousand Bow¬ of the fifth study of Kreutzer. The exer¬ seem to enjoy violin music especially in necessary. Let the violinist arr ve y, K£y _ perfect Scale Accuracy — convenient key edition which is being studied. student is a good deal as if he tried to ings” is famous, and he has said that his eat and digest two mince pies at a single cise has no slur marks, and the student , , ™ n • .u_a get everything in readiness, sit and stand arrangement. insistence on a thorough mastery of all must learn to apply the slurs in the right Mastery as a Whole meal. It is best to give only one or two ,W Le ,.WW Always Welcome Everywhere possible bowing has been the secret of place from memory, as follows: of the bowings to be practiced and brought very <,»«• There >’ more en- Akiy, ^ ,he vWin sho„M tuned ,ery the production of his many world-famous THE SHIFTING is not marked Ex. 2 .. . - , .... , for the next lesson. They should be couraging to the young violinist than to softty without using the bow. This can be of all ages, have round it an infallible key to social pupils. recrectly y in many ofo thee editions;e i ions, an thoroughly learned, and then the student Kill The Hair Root therefore'fnrp the teacher must make correc¬correc- . ? , , ...... know that he is giving genuine pleasure don£ almost inaudibly. And, if the violin ^“Ke'affaK MS One of the most valuable of the Sevcik is ready' for another. Meanwhile he can If he plays at all well, he may be sure ot js kept jn tune throughout the service, tun- popular and adaptable instrument. Saxophone works on bowing is his “Forty Variations tions where necessary. The student must proceed with other exercises of a different By counting six twice in each measure, such appreciation from the congregation. ing need take only a few seconds before dem^id for the Violin,” Op 3. This includes a also be instructed to piay the entire ex¬ character. thus giving a single count to each note Finally, since church comes every week, tbe scdo. Even this slight interruption orchestras. large number of bowings, since some of ercise, not the first two or three lines. Some teachers have the pupil mark the there is the chance of securing _ regular may be dispensed with when the player (j Days’ Trial the variations are bowed in many different He might be able to play the first two ^OPERETTAS AND CANTATAS exercise all through for the particular and slurring them when he says 1-2-34, employment. gains the ability to tune by plucking his you may h ave in your own home for 6 days ways. The text is in five languages: lines with a certain bowing correctly but bowtog^hichTs^bring studied? awfT^- Yet, for all these advantages, how sel- strings softly while the organ is playing of these latest ~ ' " English, French, German, Italian and fail completely on the rest of the exercise, cil being used so that the bowjng marks he cannot go wrong, thus: 1, 2, 3, 4, 5,6, dom we find a violinist, even of experience, something else. In fact, one can play the ga^.'?,n Russian. The studies are melodious, and on account of the difficulty in shifts, string can be erased and different marks sub_ __ ipon for full informatioi UM, 5, 6. who knows how to play properly in church! violin in church with as little fuss as that Mention instrument in which you are interested. a piano accompaniment can be obtained, transferences and different combinations stituted when the next bowing is taken This principle may be applied to almost To be sure, the difference between the displayed by the singer, if desired. This work is very valuable of notes. This advice also holds good Buescher Band Instrument Co. The best teachers do not favor this any bowing combination and is of great right way and the wrong way may not Some violinists never seem to know what for learning the division of the bow and for almost any bowing exercise. 2616 Buescher Block Elkhart, Indiana plan, as it is much better for the pupil to seem very great to the player. But it to do during the hymns. If they play for all forms of staccato, spiccato, martele help especially to the backward pupil Attention, Piano Teachers! ""BUESCHER" BAND"lN STRUM ENT CO. The student who really masters this re¬ apply the bowings mentally and without most certainly does seem great to the min- them, they do it perfunctorily, as if they flying staccato and all the various forms when he is trying to learn bowings, for markable study with marking. This forms a splendid mental METRONOMES ister and the congregation. They may not only wanted to avoid the embarrassment of bouncing bow. The studies are care¬ when he counts the notes of each group twenty-five different bowings will have musical drill, with the effect of impressing An Invaluable Aid in the know much about music ajid violin play- 0f not doing anything. Playing with the fully marked so that the student can tell he remembers readily enough the numbers Training of the Piano Stu¬ a quite respectable foundation for ordinary the different bowings strongly on the mind ing, but they do know when music fits into hymns ought to be at least as important as what kind of bowing and what part of the of the notes which are to be slurred. dent. Gives the Correct violin bowing. Exercise No. 3 in Kreutzer of the pupil. Besides, when there : Tempo and Teaches ar ‘ and heightens a service and when it merely playing a solo, for the violin can lead the bow to use for each passage. For some As soon as the student learns to apply preciation of Rhythm. can be played with the same bowings many bowings to be marked and after¬ interrupts it. Unless the violinist seeks to singing better than the organ. For this reason or other teachers do not give the bowing properly by counting in this Our Met No. 2, but few students play it in that wards-erased give way to the next, the be a vital part of the service and to har- purpose it is well to play the hymns an enough attention to this work. The manner, he can resume practicing in com¬ he fines manner. Exercise No. 5 can be played in music gets u awful muddle on account ully gua monize his music with the spirit of wor- octave higher than they are written. But teacher is wise if he insist that this entire mon time, 1, 2, 3. 4, in each measure. the first position with sixteen or more of the multiplicity of marks and erasures. ship, be cannot expect to be successful. to gain variety one should occasionally play work, from cover to cover, be mastered by bowings. Many teachers use this before It must also be understood that in the First as to what to play. Violinists are a verse in the register indicated, or in the Faust School of Tuning every serious student of the violin in his T5he Violinist in the Qhurch studying No. 2, as it is much easier. No. case of almost any bowing exercise, many fond of saying, “You don’t have to play alto either as written or an octave higher, class. It can be taken up as soon as the Service religious music in church. People like I have known people who enjoyed the student has completed the second book of -•- .. , another usc- cheerful pieces as well as sad ones.” Both hymns more than the solo; and everyone Piano Tunim, Pipe and Kayser, Op. 20, and can be used with By Robert C. Francis Reed Organ and Player these statements are true, but why assume likes to feel that the player is taking part profit during the next two or three years, he YOUNG violinist just begin¬ Piano. Year Book Fret T that religious music is necessarily sad? whole-heartedly in the service. especially during the study of Kreutzer. ning to play professionally canJiave 27-29 Gainsboro Street And why go to the extreme of playing any if comparatively few churches employ BOSTON, MASS. no lietter opening than the chur LEARN JAZZ PIANO PLAYING and every kind of thing short of dance violinists, it is largely because the latter service. There he enjoys .several a Axel Christensen’8 wonderful Instruction book shows how D Bowings, Varied, and Combined music ? The only suitable music for church have not always made a good showing in vantages over concert performance, a IN THE easier studies we find many 22JS* etri Sent Postpaid for^W^Send for free ^booklet re- is worshipful music. This may be either church. But the opportunity is great, and bowing exercises, with variants, in the vantages particularly helpful if he n® Teacheraiw£mtedUwherelwe^ire mlt0represeriltcdStrUmerlt3* strictly churchly music or music of secular intelligent, enterprising violinists will not PIANO JAZZ difficulty in playing his best in public. book, of Wohlfahrt. In Wohlfahrt’s AXEL CHRISTENSEN SCHOOL origin. But it must tend to exalt the lis- let it slip by unnoticed. Easy rapid lessons for adult First of all there is the advantage Suite 462. 20 E. Jackson Street, Chicago, III. “Sixty Etudes,” Op. 45, Book I (in the tener and blend with the atmosphere of - so Self-instruction system for using simple, fairly slow music which ists. Learn 358 Bass Styles, first position), we. find bowing exercises worship. Handel’s Largo, the Ave Marias ^or( cuf tg mus{cai supremacy save is, hundreds of Trick Endings, has thoroughly mastered from a techm 976 Jazz Br< with various bowings, Nos. 1-2-3-5-7-11-19. A A MUSICAL TOUR of Gounod and Schubert and the Cava mas ^ ^ making good exists {n this country Hot Rhythm Sock, Stomp and Dirt Effects; In Book II of this same work, Exercise standpoint. Nervousness in public P Symphonic ; d Wicked Harmony in latest «| of of Raff and Bohm are of this wors ip u do'lng that requires not only the musi- ird Style. Write for free Booklet, No. 34, which lies in the first and third formance is often due to the fact tool, 1836 W, Adams St.. Los Angeles, Cal, the player feels obliged to choose ms I EUROPE type. . cal talent but neatness and taste in dress, positions and which is to be played with But the manner of playing is as impor mfamng courtesy, unruffled temper, per- twenty-one different combinations of bow¬ which is close to the limits of his tech®, At no expense or obligation the selection. 'What could be more - ■ ability and which, taken with unfavor ^ lain. « -- , . fection of enunciation and receptive mind ing, is very valuable. Exercise No. 49 in to you! distracting to a congregation and irritating ^ „lood> Incidentally I lament the ten- Win This $250 the dame book has nine different bowings. circumstances, is actually too difficult, minister than last-minute adjustment ^ ^ mdiences (J Uve in the past The universally used “Kayser Studies,” a church service conspicuous techmea Seepa6e954 Phonograph! reputations, to place standards beyond limi¬ Op. 20, include a number of bowing ex¬ are out of place. So the player has tations of the modern artist by calling for No expense or ercises to be played in different ways. temptation to try music beyond his re , >,.ou. uaen uy ... Most Succeaeful Teachera-Thouaanda of copier the work of a Patti, Gerster, Jean de Reszke obligation to you! Among them are Nos. 1, 10, 11, 21, 32, 33. Another decided advantage is the HOAREComposerlonpoaer of “Vf■VleUnBoiT Conciae-Direct-Melodious-Perfectly Craded-ModeenF.nger.ng. Uw.nPr;^ or others of the famous ones.” See Page 954 The first exercise in Kayser, with its Technic." “Vic portunity to “warm up” before the Thraring,"*te:aaSfil “Co ■~rnS-« —L. E. Behymer. six different bowings, can . be started by by playing with the hymns. It lS l THE! ETUDE. It i 1 touch with the higher ideals of art a (Continued on page 911) ertisers always r DECEMBER 1928 Page 953 the etude Page 952 DECEMBER 1928 the etude “cPolonaise in A'flat,” a Jtfaster Lesson Violih Questions Answered (Continued from page 926) American By Robert Braine the treble, in measures 63 and 64, can be brought out, together with the same figure broadened out and the tempo be here arising in the middle voice in measure Conservatory slightly retarded; whilst accents should 99, in the right hand, on the second half CHICAGO accompany the three last chords in the of the first beat, and on the second beat, tess, in measure 64. At the end of measure 96, on the last six-

Rhythmical Life and the^A-sharp hTthe right hand lead MUSICAL JN THE. FIRST phrase in the ^treble to a very abrupt change of key, which ' iitessS '“^intensified' (as was the case pre- ure 99, the two viously, in measure 17),'by holding the on 1 Sissies! — COLLEGE first dotted eighth-notes a fraction of time the HERBERT WITHERSPOON, President LEON SAMETINI, Vice-President RUDOLPH GANZ, Vice-President CONSER'LRVATORY d ofMUSIC WINTER TERM NOW

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So many positions are available in concert, teaching and theatre organ playing, that qualified students are prac¬ COSMOPOLITAN tically assured of engagements thru the College. Tuition ~ MUSIC4TRr,c reasonable. Musical advantages unequalled. Central Theatre and Recital Halls in College Building for debuts in all branches of Music and Dramatic Art. i

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in tempo ’. Measure 83 introduces a great first and second beats, and retarded to staccato octave figure which runs through tempo again on the third beat. Arriving onerwooa ivtusic ocnooi 150 Fine. maktage"tl^tyS-fcm'a,measuresreofa*oCtaves in this" measure’ should be given a mys- jn au terious atmosphere, by playing them very The DENVER 410 S. M PARTIAL COLLEGE of MUSIC, I FELLOWSHIPS THEODORE PRESSER CO. to be awarded this season to students who are most gifted in playing or singing.

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Detroit Institute of Musical Art DECEMBER 1928 Page 955 THE etude THE ETUDE Page 954 DECEMBER 1928 How Tjo 'Play Repeats (Continued from page 914)

I have before t this moment several SELF-TEST QUESTIONS ON works so edited by an eminent MR. BERGER’S ARTICLE WANTED London publishshing firm. To tamper with 1. With what composer did the Sonata Form take definite shape? 2Xe'””y 2. Name, in order, the sections, with their constituents, of the Sonata Form. able Repeats, by what once happened to a 3. What indications have we that musi¬ lebrated actor in Dublin. He was per¬ cal forms are to be shorter in the future? forming “Othello ” and in the scene where 4. What qualities are desirable in the two principal themes of a musical move¬ ment? Theatre Organists 5. Which “shorter musical forms” are replete with repetitions? 6. What three modern composers have Positions paying salaries of $50 led in the reform of opera? to $150 weekly are so many that Polonaise in -A'flat finished players are practically (Continued from page 953) assured of engagements through SELF-TEST QUESTIONS ON MR. HAMBOURG’S ARTICLE the College. 1. What was Chopin’s parentage? 2. When and where was he bom? 3. Has his character been mistaken? Student, have le».on, and practice before the Screen, provided by the Col¬ 4. What is the general atmosphere of lege in it, studios. New two, three and four manual Wurlitzer and Moeller his "Polonaise in A-flat?” theatre organ, for lesson, and practice, owned and operated by the 5. What vision is he said to have had College. while writing it? Direction: CHARLES H. DEM0REST and HENRY FRANCIS PARKS oAcross the broad oAtlantic for * * * Questions and Answers Famous Theatre Organists (Continued from page 907) Eleven Weeks In Europe! Winter Session Now --Including Sailings --- X Grand Prize Ceeer For New Jeb/crirticnx T© THE ETUDE MUSIC MAGAZINE First ‘Prize A Musical Tour of Europe Value ^1255 Plus $200 Cash Spending Money

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- Grasp This Opportunity to Realize The Dreams of Lifettme!^,n ToJav! DECEMBER 1928 Page 957 fBE ETUDE Getting the VXlost Out of the (Country Organ (Continued from page 947) (fincinnati (fonseroatorig ^Xtlusic

,hould always pay attention to it. Let should not be turned into a kaleidoscopic University of Cincinnati him not keep up a meaningless continuance formation of a musical rainbow by con¬ Piano, Violin, Voice, every solo and en¬ nf sound, but allow intermissions, espe¬ stantly pulling out stops and giving every semble instrument, full symphony orches¬ cially in *e main theme, at the sectional little phrase a different color. If the or¬ tra, opera, all branches of theory. Dramatic and full phrasal endings. No one would ganist uses an 8 ft. Flute stop, a 4 ft. stop Art, Languages, Dancing, Public School enjoy a monotonous, incessant recitation of the same character may be added before Music (accredited). without any punctuation; and, after all is beginning a phrase; or, at the end of a All credits apply towards certificates, diplomas and -aid these phrasal separations are only sentence, before beginning another, an en¬ degrees. Faculty composed of outstanding and inter- points of breath-taking or punctuation in tirely different stop may be used. For such lined and conducted by the Conservatory. work, orchestral scores should be studied, Ten acre wooded campus. All dormitories and other buildups c BURNET C. TUTHILL, General Manager BERTHA BAUR, President and Director. Tis advisable for any musician, whose or, in lieu of these, organ arrangements For Catalogue and information, address Registrar. Dept. E„ High! ad and Burnet Avenues and Oak St„ Cincinnati The THEODORE PRESSER COMPANY has the honor of informing the musical public that it has understanding of phrasing is at all misty, of such scores. For example, the Pil¬ to purchase some work on this subject and grims’ Chorus from “Tannhauser,” ar¬ secured for both North and South America the exclusive publishing rights of study it carefully (it will be money well ranged by T. D. Williams, shows many spent) as the examples of regular and stop changes at proper places, and the irregular phrasal formations are too nu¬ slurs designate the many smaller phrases QlpbplanfiXnstitutf nf (Dusir THE LATEST AND GREATEST merous for 'short treatment. However, where, at the end of each, the organ may PRIVATE LESSONS IN ALL BRANCHES OF MUSIC phrases may be frequently enhanced and be momentarily soundless. Courses Lead to Teachers Certificate, Artist Diploma ^Degrees _ remarked by a change of stops or manual. {Part III of this Article zvill appear in The character of a movement or piece the January “Etude." OPERA SCHOOL ORCHESTRA SCHOOL PUBLIC SCHOOL MUSIC “SCHOOL OF VIOLIN PLAYING” give students actual experience and train for professional careers FACULTY OF NATIONALLY KNOWN ARTISTS Free Competitive Scholarships in All Major Subjects. Semi for Catalogue E and ^ Ohio By the Renowned Teachers1 Round Table 2827 Euclid Avenue MRS. FRANKLYN B. SANDERS, Director Cleveland, Ohio

(Continued from page 921) OBERLIN CONSERVATORY of MUSIC EVERYTHING IN MUSIC PUBLICATIONS All branches, sdvsueed study. 40 specialist teschers. Course, would like a class of early grade MATHIEU CRICKBOOM a seventh chord formed on the seventh tone pupils in piano. Our mail order service is prompt and accurate. lead to Mas. B. ^1 j,°f semeVtel of the minor scale. Thus in the key of A How shall I go about getting a Teachers’ needs given specialiai attention. no^h Catalog.000”6 °r eqUI Head of the Department for Violin at the Royal Conservatory at Brussels class in a larger town or city or Philadelphia, Pa. oberlin conservatory of music oberlin, ohio minor the diminished seventh is built on securing a po?'*“— i studio?— THEODORE PRESSER CO. Gl, the seventh of the scale, and therefore M. L. C. consists, of GS B D F. a difficult thing to “break into” a Z2. Youryour ucndefinition utiox. is correct,■ that““V the « large city, unless you have personal friends DANA’S MUSICAL INSTITUTE dominant seventh is a seventh chord bu.lt ^ tQ You should Professional and Teachers Courses on the Daily Lesson Plan. Degrees granted. HIS method or school, the volumes of which are listed n the fifth of any key. Thus in C major T Departments in Piano, Voice, String and Wind Instruments opposite, is at present the SENSATION OF The Modern School of the Violin Write to your D F. Supports its own Symphony Orchestra and Concert Band—Daily rehearsals. VIOLIN TEACHING CIRCLES IN EUROPE By Mathieu Crickboom from the root friends there and if possible arrange to Catalogue on application to Lynn B. Dana, Pres., Warren, Ohio, DeskE. In this chord the disi play for a group of people in that town to the seventh is a minor, not a major who might be interested. If you are able seventh. To make the above chord a Comprising: to, you might give a more formal recital. major seventh, therefore, would require It is the Very Last Word in Violin Pedagogy. If matters look promising rent a studio sharping the seventh: G B D F#. Hence COLLEGE of MUSIC of CINCINNATI THE VIOLIN—Theory and Practice or part of a studio, send out cards to ADOLF HAHN, DIRECTOR the seventh chord built on the tonic of a The glorious traditions of the Royal Conservatory at Brus¬ names furnished by your friends and in¬ One of the earliest endowed Schools in America in Five Books. Price, each book, $1.00. major key is a major seventh chord: thus in sert a card in a local newspaper. It would Highest Approved Standards Maintained sels in violin playing have set European standards for the scale of C major we have C E G B, be wise also to study with some well- nearly a century. They are marvels of meticulous artistic in which B is a major seventh above C. MUSIC — OPERA — DRAMA As Supplement to the above Work: known teacher in the city who may fur¬ Affiliated with University of Cincinnati and St. Xavier College_Dormitories and scientific care. They reach their greatest height in ther your interests by his name, at least. the recently completed works of Mathieu Crickboom, THE TECHNIC OF THE VIOLIN Getting a Qlass If the above does not seem practical, register with a reliable teachers’ agency which have attracted international praise as the very last I am about forty-five and have Michigan State Normal College Conservatory of Music Exercises, Scales, Arpeggios in all the tones and and seek employment in one of the many word in the art of teaching the violin. positions. educational institutions where piano teach¬ of piano work t In Three Books. Price, each book, $1.25. ing is given. Letters from former patrons The books are published in the English and Spanish lan¬ ic School Music. will help you to get such a position. Total living expenses need not exceed twelve aouar^pe^wrcx. . an.au --—.. . guages and form a Graded Course of Studies in the mas¬ Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. Also as Supplement to each book of the Method: tery of the instrument. There are five graded instruction books comprising the "Method Crickboom” and these are CHANTS ET MORCEAUX DE MAITRES Educational Study Notes LAWRENCE CONSERVATORY of MUSIC supplemented by a wealth of supplementary materials of Five books of classical pieces for violin and piano (Continued from page 943) A Department of Lawrence College the highest character. from the works of Pugnani, Tartini, Nardini, Du¬ Piano, Voice, Violin, Cello, Organ, Composition, Public School Music and Y Song to the Stars, by Ralph Kinder. section i^interesting^Thi rante, Benda, Lully, and so forth, annotated and made up of a sequence w*»«. Instrumental School Music Supervision. Courses Lead to Mus.B. Degree. Crickboom is now approaching the height of his fame and Ralph Kinder was yu... revised by Manchester, England, in For free catalog address Mathieu Crickboom. studied music has introduced many fresh and original ideas in violin -2-io PP"'means that when the section specified is CARL J. WATERMAN, Dean, Box E, Lawrence Conservatory, Appleton, Wisconsin Price, each book, 60 cents. with Pearce, Lemare. Tur¬ repeated, the repetitioi playing and violin instruction which have won for him pin, and other well-known tuple opportunities for teachers, and, when only a first, but pp. There i the highest praise from the greatest authorities in the boy, had already secured an THE MASTERS OF THE VIOLIN organ position in Rhode School of Mus world. Island. For nearly thirty well-known H ng an o n \1uB\M5r • tJ is now a resident of Philadelphia. He has UNIVERSITY Orgao^brches^^^ Twelve books of studies, from the works of Cam- years now he has been the indicated lavishly the best fingerings for this N.Uf pagnoli, DeBeriot, Dont, Fiorillo, Mazas, Kayser, Hofy'StT?biity °Church in lullaby. SCHOOL°fi imas and Degrees Philadelphia, where his Spohr Leonard, Wohlfahrt, Kreutzer, and so forth, ^Kinder has Dwell in My Heart, by Harold Wans- MUSIC » Progressive Violin Teachers will be Delighted upon borough. NORTHWESTERN I f, revised, annotated and fingered by Mathieu Crick¬ UNIVERSITY I i Making Acquaintance with These Crickboom Volumes. boom. Mr. Wansborough is a^bnlliant^ young Chicago Year 1927-1928 Price, each book, 75 cents. nfelodv of° a devotional4 character, and we hope CONSERVATORY OF MUSIC MILLIKIN CONSERVATORY OF MUSIC cue next1, two measures ai 7. aSLoLi- will return often to our pages. DECATUR. ILLINOIS OF SHENANDOAH COLLEGE an’f E in measure3fiv<^S*rig] Offers thoro training in music. Courses leading to J, ‘he fourth and fifth finge trenm” In the heart of The Shenandoah Valley, near'Washing¬ Bachelor of Music Degree, Diploma, and Certifi¬ the first •at. ‘TtdsTiTdone ton. Full Courses in all branches of Music. Pupil, this cate in Piano, Voice, Violin. Organ. Public School m a nicely compact whole, and the key re- my—a quality k intoler- year from fifteen States. Rates most reasonable. Large Music Methods and Music Kindergarten Methods. onships are unusually satisfying. The harp- School Orchestra and Band. Piano Tuning and Pipe harp effect—used in the Trio is always good. Organ. Ask for Catalogue Bulletin tent free upon request >ugh Mr. Kinder suggests the Doppel Flute “kgbeafs!°WIn TouVTour an alternative to the harp, it is our own SHENANDOAH COLLEGE :: DAYTON, VIRGINIA W. ST. CLARE MINTURN, Director. THEODORE PRESSER CO. ‘erience that the following combination of Ps conies especially close to sounding like the Direct Mail Service on Everything in Music Publications P—Bourdon 16', Stopped Diapason, 8 , and ESTABLISHED 1857 ^very 4'’ Wit^ Tr™f°> youthwish'ttractive Atlanta Conservatory of Music THE FOREMOSTtSCHOOLtOF FINE ARTS 1712-1714 CHESTNUT STREET ESTABLISHED 1883 PF AROnY CONSERVATORY ■ - PHILADELPHIA. PA. rceuse, by Jeno Donath. Adviotsgss Equal to Those Found Anywhere. r L/lDUU I BALTIMORE, MD. Publishers OTTO ORTMANN, Dire Dealers he main theme of this straightforward Calalof * m,T '"fflBO. F. LIND NEB, Director Importers ist classically simple lullaby is in A maj then there is a contrast s One of the Oldest and Most Noted Music Schools i fSfc e higher Ideals of a TRE ETUDE THE etude DECEMBER 1928 Page 959 Page 958 DECEMBER 1928

Public School Music

(Continued from page 924)

is most successful who assumes that the A Teachers Diploma study material which includes the bass to them and which they have not yet only a few times. Naturally this is not Junior High School chorus is a body s , a certain amount of three-part learned to manipulate. Secondly, they the most helpful plan. similar in most respects to the volunteer P gs f0r soprano, alto and bass is often are asked to carry a choral part in which choir or the amateur choral society. If the desirable in first studying the bass. In they have had only slight experience, since Suitable Material the previous practice in carrying an alto WHAT MATERIAL is most suitable chorus period becomes a rehearsal similar using this material the boys with alto- to those of the adult choral bodies then " ABaehelorsDegreell' i tenor voices may carry the bass part an part does not prepare them for the dif¬ for Junior High School pupils? there is the best chance for success. octave higher, but care should be ex¬ ferent effects of a bass part. In the third First of all, to be constantly borne in mind, EARN place, they are asked to read from a new is the importance of selecting material The music should also be selected on the ercised in choosing material which is staff on which the relationship of the notes which is interesting to the pupils. Very same basis. Boys and girls in the Junior In Your Spare Time at Home suitable for this disposition of the voices. High School want music that makes them The teacher of Junior High School sing¬ to their voices is different from the music frequently the teacher makes the mistake previously read. of choosing material which is technically feel grown up, not music that seems to ing must realize that the very presence of them suitable for little children. They In order to. have good part singing it is simple, because she thinks that her class l,ass voices almost infallibly argues that should have music that treats of mature Thousands of musicians and teachers feel the need of higher and more advanced training in music as a there are also present boys with alto-tenor essential that each part of the chorus shall will be able to learn the music. But it holds no real interest for the pupils. themes. The treatment should be simple voices. Even if she cannot easily detect be well developed into a unified singing A few such pieces may be endured by and readily understood but should be adult means of greater accomplishment and increased income. There are endless hig er po them, the teacher must realize that the group. This can be best effected by giving the pupils in their interest in learning to sentiments expressed as they feel adults greater opportunities—ready and waiting for you just as soon as you are ready tor them. changing voice usually goes through the to each part a certain amount of song material to be sung by the group in sing advanced part songs. But sooner or would express them. process of gradually dropping in pitch. There is no music too good for the unison, with piano accompaniment. For later the longing will assert itself to find For this reason, the most comfortable school boy or girl. There may be music example, the basses should sing a number expression in music which is really in¬ Study in Your Own Home Under Master Teachers material from the standpoint of the boy too mature or too difficult. But the teacher of songs adapted to their voices and their teresting. Then, until this desire is real¬ If, like thousands of ambitious men and women, you must pursue your musical training in the time left over from your regular is that which provides the basses with a ized, the teacher will find herself con¬ •who assumes that young people can appre¬ bass part of limited compass and an alto- interests, without the problem of fitting duties, and at a'nominal expense, then the University Extension Conservatory offers you the sure, proven and guaranteed their singing to the parts sung by the fronted with questions of discipline during ciate and enjoy good music will soon com¬ tenor part of limited compass. mand respect. The teacher who caters to other members of the chorus. By this the singing lesson. means to the attainment of your highest musical ambitions. But here arises the serious difficulty procedure the boys acquire a vocal ease In their sincere desire to make better the rowdy element by giving them the pop¬ experienced by many teachers in clearly ular music which they often ask for is and freedom and the group becomes uni¬ musicians of their pupils many teachers Musical Training of University Grade hearing four separate parts, especially quite likely to find it difficult to turn to fied into a solid mass of tone which carries turn the Junior High School chorus period when the parts arc sung most uncertainly This great Musical Organization—now in its 25th successful year—offers to ambitious over into the bass part of a chorus. The into a sight reading lesson. This is un¬ any other kind of material. by indefinite changing boys’ voices. The men and women Musical Training in Normal and Advanced Subjects of the highest grade. same plan is helpful to all the other voice fortunate. Music, first of all, should be a means best way to meet this difficult situation is Our Diplomas, Teachers’ Certificates and Bachelor’s Degree are granted by authority of the parts. The Junior High School is not the time for self-expression for our young people. to use both three and four part music, for elementary drill in music or in any¬ There is no better time than during the State of Illinois. ' While this procedure is being followed keeping the material extremely simple un¬ thing else. It is time for expression. Junior High School days to learn that mu¬ Extension Training has received the endorsement of the World s greatest Educators. simple part songs may be studied. Too til some vocal control has been developed. often in the past the teacher has assumed Even though much actual rote instruction sic may say the deepest, most lofty and the Practically every great resident University now offers accredited subjects by Extension In the ninth grade, where conditions are that each part should leave out of con¬ becomes necessary to attain this end, that most beautiful thing that hearts con¬ Methods, and it has been found that such work is often of a higher grade than that done reasonably favorable, the development of sideration the music which the other parts is far better than technical drill,' if it tain. And these young people do think and in the class room. four-part singing is usually quite practi¬ are singing. This is an unfortunate atti¬ really gives the pupils good music which feel beautiful things. It is the province The highest type of Musical Training by Extension Methods, as developed and per¬ cable as there are plenty of brasses and tude because good part singing can never they will enjoy singing. of the music teacher to enable them fected by the University Extension Conservatory, is not an experiment, not a makeshift, alto-tenors to carry these parts solidly. be developed until the singers can hear We must always bear in mind that the through singing to give utterance to their but has proven its value and soundness in the careers of thousands of musicians and teach¬ each other. It is desirable to attack the young people of the Junior High School finest thoughts and feelings. ers who owe their success entirely to the personalized and painstaking coaching of this Developing Part Singing part song with all the voices at once. At are no longer children. They are men and first there will almost inevitably be a break. women, immature, to be sure, but none the great school. npHE DEVELOPMENT of good part “In America, where the racial stocks are Instead of going back to the beginning of less adults. If we can only bear constantly -I singing is not a simple nor easy so incredibly mingled, our music is in¬ the song the instruction should drill on in mind that they are immature adults Courses of the Highest Authority matter. The boys, naturally, offer the evitably eclectic, and no amount of wishing the place where the break occurred, and and not mature children we have the key All University Extension Conservatory Courses are the work of America's greatest more serious problems. We must remem- that it were Anglo-Saxon, or Negro, or then go forward. Some teachers rehearse to many a difficult situation. As adults Authorities and Teachers. The names of Sherwood, Protheroe, Rosenbecker, Gunn, Heft, . ber that the boys have a difficult situation Indian will make it so."—Daniel Gregory the first few measures of a song innumer¬ they respond to the same treatment that Weldon, Clark, Crampton, Siegel, Wrightson, Stiven, etc., are known and honored through¬ |before them. In the first place they are Mason. able times and get to the final measures appeals to adults. That chorus instructor out the Musical World. The Extension Courses in Music they have prepared for you have performing on an instrument which is new received the endorsement of such great Masters as Paderewski, Damrosch, Sauer, Mosz- kowski, Sousa, and countless others. JOHN M. Send for Sample Lessons—FREE You are cordially invited to send for full details of our wonderfully successful method of lvime. Cecile de Horvath WILLIAMS SERVICE SHEET Extension Training in Music. The coupon needs no letter. Just give a little information International Concert Pianiste about yourself by answering the few questions. If you are seeking new ways to add .to your FOR heads the Piano Department in our resident school knowledge of music teaching, you will be interested in the advanced courses mentioned here in the Lyon and Healy Building, Samuel Block, but we want you to decide for yourself, whether or not the lessons are intended for you. Director. TEACHERS OF PIANOFORTE You will incur no obligation whatever in sending for this interesting and convincing Information and Booklet Upon Request evidence. R1TI7N RESUMED FOR THE SEASON OF 1928—19*9 beginning with the OCTOBER ISSUE " A* \ , 7 ew teaching pieces each month selected, edited and annotated by Mr. Williams together with a lesson analysis for each number. There will be nine issues.) Check and Mail the Coupon Now (This Service entitles subscribers to 6 or 7 WILLIAMS SERVICE SHEET, P. O. Box 271 - Madison Square Station, New York City Ideal Courses for Beginners Our advertisements have been appearing in The Etude for nearly 20 years. Doubtless For detailed information, apply to management of JOH you have often seen them and thought of investigating the value that this great school and Students might offer to YOU. Do not delay any longer. Mail the coupon now.

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The names of the old masters are might also tell the child beforehand what VIRGIL SCHOOL OF MUSIC T5he Gift of the Fairy Founded by the late A. K. VIRGIL oftentimes difficult for the young child to master’s picture is to be used as a lesson- (Originator of the Virgil Method, Inventor of the Virgil Practice Clavier) pronounce and, consequently, to. remember, reward so that he may review his biogra- ??? Ask Another??? (Christmas Songs of the Rations A way of eliminating this difficulty is to phy and standing in the musical world, Santa Qlaus ^npeia 1 rmifeoc For Teachers, Players and Earnest l What was the nationality of Bee¬ ijpcClul V/ OUlScS Students of All Grades paste a picture of the master in the pupil’s Thus both good lessons and a knowledge By Stella Whitson Holmes thoven ? c.By Mrs. Paul J. Leach For all particulars address: THE A. K. VIRGIL CLAVIER CO., or book as a reward for a good lesson, in- of musical history are encouraged, as the 2. Who wrote the Christmas Oratorio? MRS. A. K. VIRGIL, Director stead of the usual gold star. The teacher faces of the composers become familiar. 3. When was Wagner born ? BETTY SAT beside her toy-box mak¬ Phone Trafalgar 9349 411 WEST END AVENUE 4. If a scale lias three sharps what is ing two heaps of its contents. It NO OTHER ADDRESS NEW YORK the leading tone nf its relative minor? Since the first Christmas, when the in both words and music, expresses the joy was almost Christmas, and Betty was 5. How many thirty-second notes equal angels sang “Glory to God in the Highest,” of Christmas is “Joy to the World.” selecting some of her last year’s toys to be a dotted eighth ? music has been a vital part of this happy given to the orphans’ home. Betty looked 6. What scales have a double sharp for season. Schools, churches and homes out of the window. A soft, warm, silent INSTITUTE OF MUSICAL ART leading tone? should ring with the joyous Christmas i fast blanketing the lawn below. of the 7. Is the bassoon a wood-wind or songs. We must have as much music as Soon Santa would come. He would find JUILLIARD SCHOOL OF MUSIC brass instrument. possible throughout this season, as we the toy-box almost empty and would leave Borodin, the Man and His Music study music must know. lie has “told the then sing some of the most beautiful songs more toys for the good little girl who old, old story” with remarkable freshness and 8. What is meant by mol to meno 120 Claremont Ave. New York City we have ever had written for our use and divided with others. By Gerald E. H. Abbaham may ^’ave^os'*1 6nef * hlut, that tbe topic mosso? FRANK DAMROSCH, Dean 9. What is a carol? pleasure. Glo.t? to the new-born JCingl Betty sat happily musing over the jolly This is an interesting study of Alexander vai lous kinds of type used in Dr. One of the oldest of our Christmas holiday and did not hear the window as Isaac Watts, who wrote the words, is often A school for serious students. All branches. Moderate tuition fees. book are wisely chosen and help songs is “Adeste Fideles” or “Come, All it slowly lifted. A tiny stamping of the Kss ssajvs.s; emphasize the division of ma- called the “Father of English Hymnody.” Ye Faithful.” The author of this beautiful snowdrift on the window-sill, and some¬ SPECIAL ANNOUNCEMENT Christmas has always been a specially All talented advanced violin students will come under the personal sian music from the pioneer days of Glinka iCes '• • song is unknown, but we do know that thing small and red swung itself down in down to the present time; then he carefully PuBluiie it dates from the seventeenth century. It happy day to the Germans, and many of observation and instruction of a locates the .position which Borodin occu - - Sbe front of Betty. was originally written and sung in Latin, our best loved Christmas songs are of pied in the mighty Koutchka” and«nd nronnndcproceeds “Why, who are you?” cried Betty. PROF. LEOPOLD AUER to trace the influence which, in eoncommon with but it has been translated since into various German origin. There is one song which this composer But she did not need to ask, for the Whnt 1 ’ s comP°ser exerted. languages and may be found in the hym¬ always comes to mind when we think of little tike was a miniature Santa Claus Moussorgsky^amljyioussorgsky, and doth b< nals of many different denominations. The Christmas—“Silent Night.” Both the words and music of this song are simple; scarcely twelve inches high. His red and would indeed be ! the"poorer°theThooorrr“Mwithofit Boris IL$2.5anN0°rt0n1 and C°” Inc” ppbIisb- music is very rhythmical and may serve as a Christmas march. „ but it is known, loved, and sung in many white fur coat was trimmed in tiny sleigh- countries, and in many languages. There bells that tinkled as he bent to and fro velous worksThaTcameworks that came fmmfr m tin.their pens,..„ The French call Christmas “Noel,” The analyses of the m end. ’ For we i the matter-of-fact Virgil Piano Conservatory ire important eom- u innrill thenmen exert tne same old pressure, and their Christmas songs are always is a story that the words were written by putting the toys back into the box. And ■ — e skillful and in- aim we shallsunii uebe omvonly a ntnelittle more able to Send for r attention ‘ *Piano Lessons what do you think? They were not the tne nrst and second symphonies18 and”5 the ffiStandhl‘- But thank goodness a me 1928 Catalog Steppenskizse. symphonies and the book can help even that little! White pag ones that Betty meant to save, but the By Elizabeth Winslow ones that were old and broken. Seffe' RjW- £5£ “I,” said the sprite, “am the Fairy Santa Rlmsky-Korsakofl. However*tterefa Mend®0 all ^^the" Un^StaJ'es^tb ITW APA “ --unusually littie in the book °aseVif^who^p0 to S2h?d/ a11 ?ver the United Slates what I take piano lessons Claus. Every year I visit the little chil¬ JTHACA(]ONSERmTORY pDAMornny And practice hard each day; dren of Fairyland with my sleigh full of Revistered with NY state Board ol °T VJI I\/A O ill I\ I\ I careful attention. “ merits pendence. Spontaneity, Workmanship. Orij But I’ve so many fingers foys. I also visit the good children of iirv universality and Fellowship.” In a lisi A - dea -te Pi- ae- les, Xae-ti tri-um- utctp __ 1 Pagesi 205th' S!te01 sixteen v=books tJecompileda^"r by h;i::the National They’re always in the way. Earth, who have found the Christmas Music Week Committee such as ‘‘would quicker PIANO SCHOOL the average person’s musical perceptions” fiv< 0 come, all ye faithful. Joy-ful and Spirit.” were by Mr. Mason. We do not wonder al My Third comes down in Thumb’s place. “And what is that?” cried Betty. SftSdAdmuS'S: 149East61stSt., New York, N. Y. the choice. And Thumb and Second fight; “Love,” jingled Santa, “and unselfish sflvfnM6 +ltart *4? ^ot flown a11 the Quotabl< «, begins January 24, 1929 For PIANISTS, ACCOMPANISTS and sayings, those of the author as well as thos< I make so many blunders, spoken of as “noels.” The English spell the pastor of a small church in a little giving.” Cycles of Taste of others who are admitted to the discus I seldom get things right. Bavarian village, when, looking out on the Sr~su£h as Mtilllam James. R. W. Emerson the word “nowel,” and call their songs TEACHERS By Fbank P. Chambers “nowels.” One of,the loveliest of these white, moon-lit snow, the words of this song came to his mind. He wrote them MUSICAL DEVELOPMENT THROUGH M B^«w^8hHara S5KS My Fourth and Fifth are weaklings is “The First Nowel.” It is so old that down on a scrap of paper and gave them SIGHT-TOUCH and HEARING. Booklet fXth’evthA0"tghm‘be8“ftbe And quite unfit for work; no one knows exactly when it was written Is of years down to the church organist who wrote the civilization where TFwas"'■n past the Greek Yet if they are not playing, or whether it was originally French or its truest and noblest sense. My teacher says I shirk. music that night; and, on Christmas morn¬ English. ing in 1818, this hymn was first sung at -My mother often sighs for the Christmas services. The Borderland of Music and We in America have two well known An extra pair of hands. Psychology Christmas songs to our credit: “It Came Because her “growing children upon the Midnight Clear” and; “O Little A book such as “Cycles of Ta.t." „,, , By Frank Howes Do make such big demands.” places before the eyes direct state™.rhich In th- Town of Bethlehem.” Two Massachusetts men, Edmund Sears and Richard Willis, But oh, if extra fingers wrote the words and music of the first. Betty was going to ask more about the Grew on my hand some night, It was written in 1850 and is a great Christmas Spirit, but she found herself attitude regarding aestheticsthen hpOFmS ure *011 °n and, t0 £et something of plea fhen I’d have twenty fingers favorite in various churches to-day. The YOUR LIBRARY alone. She jumped up, but no Santa was Jays. fan" And never get things right! Ari-ffels aia say, ^ xo words of “O, Little Town of Bethlehem” ALVIENE UNIVER1 drawing some conoliisinn* well as of _Audiences, Performers, and Their C 66 WEST EIGHTY^ drawing some conclusfons^regardin^'th”” °f operatin'n”068’. rPerformcrs, and Their C are by one of America’s best known to be seen. Martin *Harvey There are two beautiful Christmas “Mother,” said Betty at the dinner of Art. irrel Rhythm;- are tile" them^heid”! preachers, Phillips Brooks. It is said to hymns written by English poets and set table, “What is unselfish giving? Is it v,,.™,, e„„ ana-J®? Schumann have been written in the study of the fine ,y miicir hv two of the worlds great giving something that you would like, to Musical Literature and Theoretical Works.” old Holy Trinity Church of Philadelphia. : ”* ;‘S! Scenes from Childhood, composers. The music of “While Shep¬ INTERNATIONAL cational^ agency THEODORE PRESSER CO. There are many other beautiful Christ¬ have yourself.” 2-1714 Chestnut St. Philadelphia, Pa mpantt.b,ro®ae.r. v*ew and tells why the func herds Watched Their Flocks By Night is MRS. BABCOCK itself n ■, hm of a compos,Hob establisi Carnival scenes for piano, mas songs, too many even to attempt to “That,’’ spoke up Father, “is a very £ Handel. This tune is very appropri¬ /"OFFERS Teaching Positions, Col- Rudiments of Music Hunting Song and Jolly Peasant, mention them. These which are chosen good definition of the spirit we should ately known as “Christmas. The other ^ leges, Conservatories, Schools. The Courtright i'ereatopportMi" are treated"d wirnWith facil Gpsoaring and Butterflies, as representative of the various countries have at Christmas time.” By Dr. Orlando A. Mansfield lne stllden(. _ the reader well known composer of music for a Also Church and Concert Engagements System of Musical •« upeoimlite in t the3 student ^"hookfor Many melodious compositions, appeal to all nations and peoples because When Betty wen- to practice that even- Kindergarten °or?Mpm,denoe°oii Cover: cioth CARNEGIE HALL, NEW YORK Album leaves, Christmas tom, » .%”i'»“hVrSa they stress the real spirit of Christmas or Mr,..Lillian Courtright Card, 116 Edna Ave.,Brid] 'fly^ltlortrin tl8 ap^ |aff [ 244^ indexed. ____ mle'tilryty H facts ^Prtb an“ ^ this modest work^ththe T°ele- PubIisbPPI„L?vXfor'i University Press. Novelletten, Christ’s birthday. write to onr advertisers always mention THE ETUDE. It I den tltU-s tn., ^ deflnitions which all" who price . eo"os“' Night pieces. • « one >n ton eh with the higher gdeaiso. 0E ETUDE DECEMBER 1928 Page 965 Page 96b DECEMBER 1928 THE ETUDE COMBS CONSERVATORY PHILADELPHIA FORTY-FOURTH YEAR Junior Etude Contest Member of National Association of Schools of Music A School of Individual Instruction for the Beginner, The Junior Etude will award three Office, 1712 Chestnut St., Philadelphia, Pa., Ambitious Amateur, and the Professional tty prizes each month for the best and before the tenth of December. Names of No Entrance Requirements except for Certificate, Diploma and Degree Courses neatest original stories or essays and an¬ prize winners and their contributions will be published in the issue for March. Four-year Counts__ in Piano,_ Voice,_ . Violin,olin, OrgaOrgan, Daily reports keep the Director personally informed Little ‘Biographies for Qluh ^Meetings Gift of Fairy Santa Qians swers to puzzles. Theory"._ School Music, leading to Degrei.. „- ss-DailySi.- - - Subject for story or essay this month— Put your name and age on upper left Teacher’s Training CourseB including supervised prs to work. Two complete Pupil Symphony Or- Ho. 14 (Continued from page 963) “Care of the Piano.” Must contain not hand corner of paper, and address on upper ranches taught from elemerUary to the highest chestras offer exceptional privit 0Ver one hundred and fifty words. Any right hand corner of paper. If your con¬ artistic standard. Orchestra Chopin of the Tiny Santa she had tried to think Father looked at Mother; they had boy or girl under fifteen years of age may tribution takes more than one piece of pa¬ Dormitories for Women* what she loved that she could give away never seen Betty so happy before. But per do this on each piece. (The Only Conservatory in the Slate with Dormitories for Women) Of all the great composers, Chopin is posing; but his health was not good, and compete whether a subscriber or not. for Christmas. Betty loved her piano, and behind the happiness, Betty’s heart ached Do not use typewriters. In addition to delightful, home-like surroundings in a musicaUndinspirationaiatmospherejnthc perhaps better known to pianists than any he made several trips to see if he could All contributions must bear name, age her books, and her music teacher more as she went to her practice and saw her Competitors who do not comply with musical city in America, dormitory pupils have advantages not offered m any other school ol music. of the others, because he wrote almost improve his health and strength. One of than anything she had. No, she could not piano with new eyes—now that it was and address of sender written plainly, and Daily Supervised Practice and Daily Classes in Technic. entirely for the piano, and in this respect these trips was to the Island of Majorca ALL of the above conditions will not be give away her music teacher, goodness going away. She felt sad because she was must be received at the Junior Etude considered. Seven Spacious Buildings, Faculty of 95 he is very different from the other great in the Mediterranean Sea. He stayed knows! And she did hate to spare her playing on it for the la'st time, iatioris ftir 2500 Students composers. He was a fine pianist him¬ there several years and wrote some of piano; but—oh, she was thrilled! She Christmas morning dawned cold and History of Music A School of Inspiratio Enthusiasm, Loyalty and Success self, .of course, and seemed to prefer to his finest music there. He died in 1849. would give the piano away as a Christmas clear. Betty ran down the warm hall to History of Music rated Year Book Free write for his chosen instrument rather than His compositions are, like his character, gift. This was unselfish giving — the the living-room. Around the glittering tree (Prize Winner) (Prize Winner) Germantown Extension, 123 W. CheltenAve. for orchestra or organ, or voices or string refined and delicate, combined with strong Christmas Spirit! were beautiful dolls and toys, gay robes Years ago people of each different quartettes or any other form of music. emotions and ardent feeling. He had a According to my imagination there is GILBERT RAYNOLDS COMBS, Director Adm!ni8tratiox?3?s.Blof Betty did not stop to wonder to whom and slippers, and boxes of candy. But no beginning to music. Always there has country had their own belief about the His father went from France to Poland fondness for delicate detail, and for curved she could give her piano, because she what was that in the corner where the origin of music. and married a Polish woman, so Chopin melodies combined with rich harmonies; been some sort of music. Even in the knew Amy wanted a piano more than any- piano had been ? Why—it was another The Greeks believed that music was nnir'MnT r ITMTT/Ii'D CI'TY but he lacked a deep feeling for “thematic beginning, when God created the heavens was really half French and half Polish. thing in the world, but her family could one—a beautiful baby grand—new and first played, by the little Greek god, Pan. TEMPLE UNI VLK&A I I School of Music Frederic Chopin was born in Poland in development,” which is stronger in the and earth, there was music; for He placed not afford to have one. softly gleaming in the glow of Christmas However, they were mistaken; for music * OI MUSIC — 1810. In his early life Poland was torn symphonic writers. He was a real lyric the birds in the air, and one of the sweet¬ School Philadelphia Polytechnic Institute Betty was filled with the Christmas candles. The polished ivory was cold of some kind has been a part of the 1521 LOCUST ST. PHILADELPHIA, PA. • of The Y. M. C. A. of Philadelphia by wars and insurrections, and he left artist. He did much to develop the art est things to hear is a song from an Spirit thinking how happy she could make under daring little fingers—but its touch life of almost all races of men. &,Thaddeus Rich, Mus.Doc., Dean^ Nineteenth Season Poland when twenty-one years old and of piano playing and was one of the first oriole or wild canary. poor Amy on Christmas. was light. Betty found a card. Beneath As people rose above being mere sav¬ E. F. Ulrich, Associate Dean DIPLOMA COURSES—Piano, Organ, Voice, Violin. to discard the old method of playing, Besides, we have instruments of many HIGHEST STANDARDS of MUSICAL INSTRUCTION THEORY. Also courses in Conducting. Teach¬ “Daddy,” she cried, “I know what the a tiny Santa Claus had been written these ages, the art of music became finer and er’s Training, Appreciation of Music, Band and which was somewhat stiff, in favor of varieties for making music, and the ancient Orchestral Instruments. a much more elastic and supple manner Fairy Santa Claus meant. I’m going to words: “For a good little girl, who has finer. Each old nation had a music system ages probably had their own instruments. EXCEPT F< IE COLLEGE COURSE 01 PHILA.’S FINEST THEATRE ORGAN SCHOOL which his delicate embellishments and lyric give my piano away for Christmas—to found the true Christinas Spirit.” And of its own. Direction Irving Cahan, featured organist, Stan¬ Amy.’’ Betty’s cup of happiness v s full. The first stringed instrument was the harp, At first music was written with letters ley Company of America. Three organs including melodies required. used by the Hebrews. Later many other without Other Branches. a new Kimball Unit Organ and a modern projec¬ His compositions include twenty-five of the alphabet. Later shapes that looked —DISTINGUISHED FACULTY- tion machine and screen. instruments were made, finally leading up FART 31 ENT. Preludes, nineteen Nocturnes, twenty-seven something like our own may be found in SUPERIOR piano, VIOLIN AND VOICE REP** OPEN TO STUDENTS OF BOTH SEXES to the piano. There are a great many ^ ^ TRAININGJFOR OPERA ^ Send for Catalog E. Etudes, four Ballads, four Scherzos, three Phrases the works of very old composers. varieties of instruments in the world to¬ BENJAMIN L. KNEEDLER, Director Impromptus, fifty Mazurkas, three Fan¬ Guido d’Arezzo made the first real aTlDKOT'REtrriS^OFl'oRTtNITY FOR ORCHESTRAL 1421 Arch Street, Phila., Pa. By Mary Black Diller day. The first piano was made about two tasias, fifteen Waltses; besides Polonaises, staff, and Franco of Cologne showed the CLASSES IN'harmony AND HISTORY OF MUSIC. hundred years ago. In my opinion there Rondos, Sonatas and a few songs. For first good way of marking time. PUPILS MAY ENTER AT ANY will always be music and, consequently, a About 1300 great changes took place in TIME DURING THE YEAR orchestra he wrote two piano concertos Student Dormitories. Branch Schools. Write for Catalog ZECKWER-HAHN and a few smaller works. All of his history of music; but music will last as the musical world. Instrumental music long as the world will last. Philadelphia Musical Academy compositions are heard frequently at con¬ 59 years oi continued success in training musicians certs, and all pianists include some of his Walter F. Anderson (Age 13), Between 1494 and 1694 music made big i—College of Fine Arts— Highest Standards of Musical instruction compositions in their repertoires. Ohio. strides. Since then it has been enjoyed by Syracuse University For year book, address Some of his pieces are, of course, ex¬ all people. Frederick Hahn, President Director Helen J. Michel (age 13), . Harold L. Butler, Dean 1617 Spruce Street tremely difficult; but some that you can Syracuse, N. Y. play at your club meetings are: Musical Chops Mississippi. Prelude Op. 28, No. 4. ONES into a group are brought. They are the stones which must be laid By E. Mendes MUSIC, ART, ARCHITECTURE r History of Music Fall Term Booklet Prelude Op. 28, No. 6. To tell us of a music thought. Before a sentence can be made. 1— Use the last 3 letters of a musical 900 STUDENTS 42 INSTRUCTORS I8IO-CHOPIN-I849 (Prize Winner) Began Sent on Prelude Op. 28, No. 7. instrument for the first of a 5 lettered Four-year Courses in Sept; 10th Request They cannot tell a thought alone. 3,000 B. C. the Syrians and Egyptians Prelude Op. 28, No. 20. The next time any person plays, word meaning late. Piano, Voice, Organ, Violin, Com¬ But each group is a stepping stone. See if you can tell a phrase. had musical instruments, which is proved position, Public School Music Nocturne Op. 37, No. 1. 2— Use the last 3 letters of Pll instrument for the first of a by stone carvings. leading to the Bachelor’s Degree A few centuries before Christ the Greeks lived in several cities in Germany and Nocturne Op. IS, No. 3, name of a bird. had music; the earliest piece was found on then in Paris. At the age of nine he Macurka Op. 7, No. 1. 3— Use the last 3 letters of a fragment of stone at Delphi. It was a with 42 p, played in public a piano concerto with instrument for the first of the orchestra; and he is therefore a fine ex¬ name of a world hero. “Hymn to Apollo.” ample of a child prodigy who remained a In 600 A. D. Pope Gregory established 4— Use the last 3 letters of a musical great artist all his life. Child prodigies choristers’ schools and wrote the Gregorian eSSy PTHEODORE PRESSER1PCO?qU' Questions on Little Biographies instrument for the first of an 8 lettered 1712-1714 Chestnut St., Philadelphia, chants, among which is the Doxology. do not always turn out so well, you know. animal. As he grew older he played in public 1. When was Chopin born? Bach is the father of modern music in Dear Junior Etude: Dear Junior Etude : 5— Use the last 3 letters of frequently; and the people found a great 2. Of what nationality was he? the classic school. He established the I have taken piano lessons for only two instrument for the first of a charm in him and in his art. He made 3. On what instrument did he excel 1 I am writing to tell you about our re¬ of Improved Music Study years. I stopped when I was twelve, be¬ piano as it is now. many friends among the prominent mu¬ 4. For what instrument did he write cital. Louise Lynch and I gave a public word, meaning trifling-small. Beethoven, standing between the classic DUNNING SYSTEM for Beginners sicians of his day, including Mendelssohn, most of his compositions? cause I could not get interested in prac¬ recital last May and we each played eight and romantic schools, was a great orches- ticing. Now, however, I do two or three solos. I am ten years old and Louise is Schumann, Liszt and Berlioz. He also 5. What were some of the characteristics Hands Alone The Demand for Panning Teachers Cannot taught, and spent much of his time com- of his compositions? hours a day, and love to “explore” the nine. We have also played on several other ‘"schumann, Brahms and Schubert were works of the masters. be Supplied — Why? public programs. I am practicing an hour (For little Juniors) . the leaders in the romantic school. Maybe this is a queer idea, but I have and a half a day for a program that I shall The Italians were the leaders in opera, NORMAL CLASSES AS FOLLOWS: a “one-man” music club. That is, I am By Marion Benson Matthews give soon.. My teacher says I have talent, till Wagner of Germany became famous. the only member. Out of The Etude every so I am working hard, as I would like to (Said Betty Rose to Mary Lou, MRS. CARRE LOUISE DUNNING, Originator, 8 W. 40th St New York City. Many people are experimenting with new KATHARINE M. ARNOLD, Arnold School of Music, 93 Madison Street, Tiffin, O. month I cut pictures of composers and be a concert pianist. J w'sh that I could play like you. ideas in music, chiefly orchestrated jazz; ALLIE EDWARD BARCUS, 1006 College Are., Ft. Worth, Tex.—4314 Vista Terrae ELIZETTE REED BARLOW, Box 1244, St. Petersfr— cl- scenes from their lives; and some of the From your friend, Your playing sounds so smooth and Sit it remains to be seen whether it will covers that have been pictures of com¬ Thelma Duncan (Age 10), clear— have a place in the history of music. GRACE A. BKI AIN 1, ZUi turn Aye. IN., i win rails, loano posers I have framed and hung on my MRS. JEAN WARREN CARRICK, 160 E. 68th St., Portland, Ore. Dear Junior Etude: Dear J unior Etude : Oklahoma. The kind that people like to hear. Ernestine Warfel (age 12), wall. The small pictures I paste on back¬ DORA A. CHASE, Carnegie Hall,New York City, Pouch Gallery "8 We have organized a very interesting and I and several of my friends have organ, 1 try to watch both staffs at once Illinois ADDA C. EDDY, 136 W. Sandusky Are., Bellefontaine,e, Ohio, DDec., Wichita, 1 educational club consisting of nine members grounds, tell a few facts about their lives U fear you’ll think me such a dunce) BEATRICE S. EIKEL, Kidd-Key College, Sherman Tex of which three hold offices. It is called the ized a musical club, but it does not seem Answers to As\ Another Honorable Mention for, September IDA GARDNER, 17 E. 6th St., Tulsa, Okla., throughout the season; Paris, France, Summer. “Keyboard Club”; and we have chosen black to arouse much interest. Will some ex¬ and hang them up too. So you see my And soon my left hand falls behind; GLADYS MARSALIS GLENN. 1217 Bowie St.. Birins Place Amarillo, Tex. FLORENCE E. GRASLE, Michigan State Institute of Music, Lansing, Michigan and white as our colors which are symbolic perienced club member please write and room is quite a gallery. But I enjoy it and 1. Beethoven was German. What can I do to make him mind?” Essays of the black and white keys on the piano. HARRIET BACON MacDONALD. 13434 Detroit Ave., Cleveland, O.: 6010 Belmont Aye., Dalla give us some suggestions? find pleasure in having the masters for my 2. Bach wrote ‘the Christmas Oratorio. MRS. KATE DELL MARDEN, 61 N. ltd.i St Portland Ore. Our motto is “Practice Makes Perfect.” friends. MRS. WESLEY PORTER MASON, 302 Mid City Bank Bldg., Chicago, ill. We meet twice a month. At our meetings From your friend, 3. Wagner was born in 1813. “n°Ure not a dunce,” sa'd Mary Lou, MRS. LAUD GERMAN PHIPPEN, 3435 Aabury Ave .Dallas,Tex. some of the pupils play a selection, others Helen Domin (Age IS), From your friend, 4. E sharp. But there’s one thing that you should ELL1E IRVING PRINCE, 4106 Forrest Hill Ave., Richmond, Va. Jan., June, Nov. oi each Year talk about the life of some composer, while VIRGINIA RYAN, 1070 Madison Ave., New York City. 225 Broad St., 5. Six. do; ^etE^rDborrthrFeren?CEllf“e|h Angle6, Char- others recite little musical poems. Mary Yoerg (Age 14), voo, fc*e,auY. aiJo Ann Bachman, Edith STELLA H. SEYMOUR, 1219 Garden St., San Antonio, Tex. . Bridgewater, Massachusetts. 6. G-sharp minor and D-sharp minor. P*aY slowly, with each hand alone. GERTRUDE THOMPSON, 508 W. Coal Aye., Albuquerque, N. Mel., Normal Classes during tt We are making scrapbooks in which we Hoyt. leufRobinson, ISOBEL M. TONE, 626 S. Catalina St., Los Angeles, Cal. paste pictures of musical instruments and N. B. In this case the address is pub¬ 7. Wood-wind. Attending well to time and tone. MRS. H. R. WATKINS, 124 E. 11th St., Oklahoma City, Okla. composers, besides clippings of various arti¬ ■N‘ if a uMary’S Iast name is Probably 8. Very much less motion (much lie Epstein. 5 ““mmy Dweyer, Vernal Mar- cles pertaining to music. lished , so that some one may give Helen mispelled here, as no one could read her When many times you’ve played this Ew‘ Mary Hench^l Doris M^ee, Arello slower). way, INFORMATION AND BOOKLET UPON REQUEST From yonr friend, some ideas for her club. This is quite an writing! Why, oh why, Juniors, do you 9. A carol is a happy Christmas hymn. Elenobe Zimpeluax, unusual condition, as most of the Juniors not write more clearly? Lots of mistakes “°th hands together you may play; 10. Kettle drum, property called “tym- Wisconsin. find their clubs so very interesting. could be avoided if you only would do so i,«en, Betty Rose, I’m sure you'll find Please mention THE ETUDE when addressing o hat hand will never fall behind.” Page 966 DECEMBER 1928 THE ETUDE THE etude DECEMBER 1928 Page 967

* educational STUDY notes ON MUSIC DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS

dfjotrmaHfrrB (gwii? IN THE JUNIOR ETUDE FOR THE MONTH OF FEBRUARY, 1929 By Edgar Alden Barrell ROBIN SINGS A SONG

One day when I was resting Date MORNING SERVICE EVENING SERVICE Beneath a forest tree, N9 2, from a set There came a tiny twitter SSE'^#r?^v.-.'.21S2 “There's Music Everywhere” From high up over me. A soft little musical twitter, T A gay litte pitter- pit - pitter, H (a) Ci«A™-eat G b . A sweetly chirping chitter- I (b) Jesus, *0 Thy- Table'.'.'.'.'.'.'. BaftieU Its A Robin in that tree! D T”^#™aVT.VA"1”” *— - MATHILDE BILBRO Time Flies, by W. P. Mere Moderato pS,' £££££, £3::: JISS

Flower Waltz, by H. P. Hopkins

I !i!S| si T H —-~Y. la tewSSLaias liisf Sifta ™

PianoV Prefude Opfls; No. 'i6.' .'chopiS 1 8s? Bg^fesa

l

T itffiiS™!!! W ? Master Discs Y (Continued from page 922) F OFFERTORY Romance ..Tschaikowsky O Bow Down Thy^Ear...^.Williams (Violin, with Organ or Piano) - worthy of mention, because of their Victor disc No. POSTLUDE -.timable interpretations. The first is the R Organ: Polonaise Militaire. .Chopin-Gaul B Flat Trio for Piano, Violin and Cello T POSTLUDE Piano: Allegretto (7th Symphony) H Organ: Marche Moderne .Lemare Beethoven played by Myra Hess, Yelly d’Aranyi and Piano: Minuet ... . .Bolzoni (4 hands) Felix 1 Salmond (Columbia set No. 91). The second is the “Unfinished Symphony” „Answers to Anyone interested in any of these works may secure them for played by the Cleveland Orchestra con¬ ducted by Sokoloff (Brunswick set No. * * 12). The third is the String Quartet in D Qan You ^jell ? *31 Minor, known as the “Death and the Mai¬ SEB PAGE 906 THIS ISSUE den” Quartet because of the variations TIME IS MONEY!—Your Spare Time Can Be Used To Profit! of the second movement, which are based 1. Operas. Write for information as to what you can earn securing subscriptions 2. Between the sixth and THE ETUDE, 1712 Chestnut Street, Philadelphia, Pa. Schubert’s song of the same name. It interpreted by the Budapest String seventh degrees of its scale. 3. Baton. Quartet (Victor set No. M34). Music- 4. Dvorak’s “From the New lovers who have not already purchased World” Symphony. these works should compare the different 5. John Luther Long, American versions in existence before buying, as author and playwright. each one is worthy of individual praise. 6. Handel. .Personal discrimination in such matters 7. An assembly of Welsh bards, wiH inevitably make the interpretation minstrels and literati, for purchased doubly pleasurable. competitions in harping, sing- >ng, poetry and oratory. Etude wishes to recommend several 8. Six. records which are meritoriously per¬ 9. Dan. K. Emmett, a black¬ formed and recorded. These are the Pre¬ face minstrel, born at Mt. ludes to the second and third acts of Du¬ Vernon, Ohio, who had not kas’ “Ariane and Blue Beard,” which can visited the South at the time be heard on Victor disc number 59017 ef¬ of writing the song. fectively played by a French Symphony 10. Short line placed above and under Piero Coppola. Grainger’s Morris’ below the staff to accommo¬ Dance, S heperd’s Hey coupled with date pitches beyond its com¬ pass. Piernes musical trifle, The School of the Little Fawns, is well recorded on Bruns¬ WATCH FOR THESE TESTS OF TOUR STORE wick disc number 15181. It is played by OF KNOWLEDGE, APPEARING IN EACH the Cleveland Orchestra; and the ballet ISSUE OF THE ETUDE MUSIC MAGAZINE." music from Gluck’s “Orfeo” is delight¬ fully rendered by Leo Blech and the State 899, 927, 935. Other Music Sections in this issue on pages TEE etude DECEMBER 1928 Page 969 TEE ETUDE A SLEIGHRIDE PARTY Jingle, jangle-ting- a-ling! Tingle, tangle-ring a ling! 0,but won't the food taste fine and hot, when we get there ! Turkey, fixings, chicken-pie, THEODORA DUTTON Grade 2 T,, Cake, ice-cream, nuts, cheese- O, my! I d rather go to a Christmas party than ’most anywhere ! Vivace non troppo m.m. J r ios

British Copyright secured "'n,,*T*“40"P“ PRIDE OP THE REGIMENT C.C. CRAMMOND, Op. 143 Allegro M.M. J =; 144.Z.R..IM0

Copyright 1988 by Theodore Preseer Co. British Copyright secured THE ETUDE THE etude DECEMBER 1928 Page 971 Page 970 DECEMBER 1928 FLOWER WALTZ H.P. HOPKINS, Op. 125, N? 3 Waltz tempo m.m.J=144

The Infallible Test of Time

No Course of Studies, Series, Method or School has a Record of Acceptance Comparable with that STANDARD British Copyright secured I GRADED COURSE Copyright 1928 by Theodore Presser Co. OF STUDIES Shown by the Very Great Number of Copies Bought fOR THE PIANOFORTE CHRISTMAS BELLS Annually by Leading Teachers Everywhere of the For Rhythmic Orchestra A. SEIDEL STANDARD GRADED i'ili i - la ifS 1 - IJJJt 1 - IIH - : * f-J- D D I ) D RSS RSS Iff DDDD t ft D D D I) f t T D D - - f g ^ R R S 1 S « BBB R RSS B B B R R S S B B B R R S S R S S c 0 c! 0 COURSE OF STUDIES C C C C - - C C — Fine Temp9 diValse Each Grade Sold Separately FOR THE PIANOFORTE

§ Eg p% The Qreatest Studies Selected and Arranged by World Famous Editors < *ii ./ t *# Si rT ~ j J H THE INFALLIBLE TEST OF TIME has made this de¬ s lightful and practical piano study course the leader of all.

Representing the most brilliant brains of the foremost edu¬ cators in the art of music, the “Standard Graded Course of Studies” has been continually enlarged, re-edited and kept up-to-date by eminent experts. This has been done regard¬ less of expense in order to keep the work in step with the most modern conditions of the art.

This ceaseless improvement has been going on from year to year without ostentation. For instance, the great Spanish virtuoso-teacher, Alberto Jonas, revised a volume a year or so ago, and this is the first public mention of the fact that such a'notable editing had been given that volume.

This indicates our determined policy of keeping the “Stand¬ 1 1 ard Graded Course” up to the latest and highest standards T — — T — — R SS RSS RSS RSS RSS RSS RSS RSS T - - -BB -BB -CCC -CCC CCC -CCC ccc CCC ccc CCC - B B of musical education. D ~ - I)~_ D ~ - D - BBB BBB B.BB BBB D - - D - — D - - D — — D - - T THE STANDARD GRADED COURSE, Originally Compiled and Edited by W. S. B. Mathews and Theodore Presser, is Published in Ten Grades, Each Grade a Separate Volume, covering / -C-^-—rr:-.Jv ~r -1 . -k-_-*-^ ~ « . 1 - - b. . , Piano Study from the Very Beginnings to the Highest Degrees of Virtuosity. l fly 1 - -j--- PRICE, ONE DOLLAR EACH GRADE \ , /TL. Teachers may adopt the “Standard Graded Course” for pupils at any stage of study since any grade is sold separately 4 — f J j-T — - -J- I THE PORTRAITS SUR- WRITE TODAY FOR f ROUNDINGTHISPAGE OUR “GUIDE TO NEW SHOW BUT A FEW OF TEACHERS” IF YOU THE HUNDREDS WISH A FULL OUT- WHOSE STUDIES, COM¬ LINE OF PIANO STUDY POSITIONS AND FROM GRADE ONE TO GRADE TEN TO- KNOWLEDGE HAVE GETHER WITH SE- BEEN UTILIZED TO LECTED LISTS OF MAKE AND TO KEEP THEODORE PRESSER CO. PIECES, STUDIES AND THE “STANDARD COLLECTIONS IN GRADED COURSE Music Publishers and Dealers - Specialists in Direct Mail Service SUPREME IN ITS EACH GRADE. FIELD. 1712-1714 CHESTNUT STREET PHILADELPHIA, PA. - ccc - CCC - CCC - CJ!C - c C - c c C CCC C -- R-_ R-_ R__ R-- RSS RSS RSS R-

^ . the etude DECEMBER 1928 Page 973 Page 912 DEC EM BEE 1928 Tunes for Little Folks Necessary Jingles Piano Pieces for Boys World of Music For the Pianoforte Foe the Pianoforte Because the red-blooded, American boy By M. L. Preston By Blanche Fox Steenman does not enjoy any pieces with titles and (Continued from page 895) Publisher’s Monthly Lfett This little book represents about the .,,, The author.., of this work is eminently sentiments such as “Dollie’s .Asleep” . . ms. i>^. je.st grade work that Mrs. Preston has fitted to write such ani interesting book “Little Mother” or other juvenile feminine cANISTS n eyer done, and may be used to supplement fo^tiny tots. She ^ has made a special touches, teachers always have found ^ it .. mbership numbering four A Bulletin of Interest for All Music Lovers any beginners’ course or instruction book, study of the musical training of children necessary to seek out special numbers for Theine uwolittle r--,pieces start out from Middle C, and in this-, little folio, each technical-^.....vul prob- boy pupils, in fact the demand along this ---a players as 2 working through the five-finger position le'n is cleverly and tunefully worked out line is so strong that we are to issue a Charles Peaker (repre: and developing musicianship by degrees, with appropriate verses and pen drawings, book of piano pieces for boys. mg the Colit'lege of Organists), Mauro-f „ Raymond Cronham, i They are all extremely tuneful, which which appeal to the child’s imagination. Even in early youth the masculine love Lockwood, Adoljjh Stet might be expected of Mrs. Preston. L'e necessary jingles are: Independence of the picturesque, ruggedness, the heroic n^and Henry"'s! The special introductory price in ad- Fingers; Thumb Preparation for and the lively is noticeable. Pieces having suet the principal * Mr? °Cyrus it Portlandtland Muni:IV Music for Christmas vance of publication is 35 cents per copy, Scales; Key Grouping In Scales; Fingering these qualities told in strong rhythms and donor of Christmas Gifts for Musical MERRY, MERRY CHRISTMAS TO YOU, postpaid. attractive melodies will be included — By this time most choir leaders have Hunds); Wrist Work;t if,- Chromatic.. , Scale.. book. It will do any bpy in the second Folk rehearsals well under way for the Christ¬ The adi- -* ”’ THE “VIOLINISTA,” OUR BEST OF FRIENDS mas program, particularly where the pres¬ STORIES TO Sing To is thirty cents at CODVcopy postpaid,DOCstnaMC ^ and third of study «°°d to *“"**“* a^ecindYn Each year we offer special holiday volume as' none of the pieces will be prices on music publications that are suit¬ entation of a cantata or some ambitious r Easy, Effective and Interesting CHRISTMAS morning greeting to you—hearty and sincere. ■beyond the third grade, many as easy as able for gifts, not because we hope to urge A anthems is planned. There are cases Our work is one of unified interests with our friends and patrons Method of Developing the Sense of BlUE RlDGE IDYLS the second grade. The advance of publi¬ upon anyone the substitution of a nom¬ where a quartet choir may not have made in Young Children inally priced music album for a beautiful everywhere. the selection for this year’s program, and Suite for Pianoforte cation cash price is 35 cents a copy, JOAQUIN NIN, ent Cuban pianist- postpaid. ___, _as been made Corn- necklace or some handsome piece of jewel¬ We realize that all that we aspire and labor to do would be impossible possibly some larger choirs have not By Gladys Taylor By Lily Strickland aandeYYf ~ Order of Isabella the Catholic, ry for Mother, Sister or Daughter, but without the fine wholehearted co-operation you have so enthusiastically begun rehearsing. We are prepared to The Stories To Sing To are entitled, The or distinguished ndered to Spanish Most of nusic. He has because we have found that in addition accorded us. be of service in such instances and a re¬ Rainbow Cat and Ding-Dong. By reciting H ‘ our readersreVae™ ariare familiar with VlOLIN, CELLO AND BaSS PARTS’ to a “breath taking” gift many love to quest from the customer for copies or scenes of which T ’ , _ w With gratitude in our hearts for our rich blessings and a pledge of these stories, and singing the illustration, s' to Lehrer s Ensemble Method add what might be termed “stocking samples will be taken care of promptly, t is intended that the sense of pitch shall YJ" ? t. !nterefstm« sectl°" our fillers.” Others who are music students friendship to all of our wonderful co-workers in the home, the studio and and if received at once the delivery will A NATION-WIDE STUDY OF COMMU¬ the class room, we reach out in spirit everywhere to clasp your hands and lie developed. Some children are unable “ " ,7'. *>“*«*“• arf By Will H. Bryant NITY MUSIC ACTIVITIES has been under- or accomplished musicians often are for¬ probably avoid the delays incident to the aken by the Playground and Recreation Associa- tunate enough tp receive money gifts at shout, as though you were crossing our threshold on a sparkling, frosty, usual holiday congestion of the mails. to reproduce a mere sound at definite t,ustoiys faitt,fully portrayed'1 Would you The giant strides made in tbe school t the Christmas season, and to enable them cheery Christmas morning—A Hearty Welcome and A Merry, Merry New anthems which have proved suc¬ pitch, but if that sound is translated into knQW someth;ng yfPthe myusic of these'in- ehestra field the past few years have pro- to get greater value in their desire to Christmas to You—Our Best of Friends. cessful are: ’Twas Long Ago, by H. P. ihe cry of an"1 animal,“''imal, the correct pitch Isis teresting people? The author btiiSsptoxoof this piano dutduced'ed a demand "forfor easy/rapide methods organizations"1 taving' sfj|jj£r pv£«. eel. This £fl\CS the geiurul C11{4.„ Ual.cuU « nf instruct inn fnr • obtain with that pioney some music works, Hopkins, 12 cents; The Angels’ Christmas often obtained. This gives the gentral slljtc, herself a native of the South, is emi- of instruction for the various instruments. to find af mu“h*delightInd not in which'.they would find great joy in Message, by Philip Greely, 12 cents; No >dea- . . , nently qualified to write in this vein and Particularly is this true of the string sec- ment 0f spirjt as he or she can through n possessing, we make these special holiday Cradle for Jesus, by Ernest A. Dicks, 10 in Blue Ridge Idyls, the latest contri- tion. When Mr. Lehrer’s Ensemble especially through actually participating in cents; and Rest, Holy Babe, by Cuthbert < bution from her prolific pen, she presents Method appeared, with each exercise ar- Advance of Publication Offers—December, 1928 Harris, 12 cents. a work that will appeal to every pianist, ranged for three-part playing by the vio- THE PHILHARMONIC-SYMPHONY SO¬ It is encouraging to the young student CIETY of New York, formed by the merging when music teachers, parents or others The introduction of a vocal solo by way These compositions are not difficult; the ]jnSj leaders and supervisors eagerly of the formerly two great organizations, began Paragraphs on These Forthcoming Publications will be found under These Notes. of contrast in the Christmas program is average student in the upper intermediate adopted it, and so great has become its demonstrate an 1 interest in ;the child’s These Works are in the course of Preparation and Ordered Copies will be Studies in Musicianship its season on the evening of October fourth, musical studies through the presentation usually quite effective. There are many grades will easily master them. As re- popularity- and so many requests received with Schubert’s “Symphony in C” as the major delivered when ready. Select Studies for the Pianofort vital numbers they merit consideration, offering of the program. With one hundred of some album or musical literature book. .splendid numbers for this purpose anil ------^ —----- , ■ iurfor them,mem, thatmax iui.Mr. DijauiBryant has arranged and nine musicians in the personnel, Mr. Mengel- .Many such suitable gifts will be found in Algesias Dances—Piano—R. S. Stoughton.60c Light Opera Production—Gwynne Burrows.60c iimong the more recent may be mentioned By Stephen Heller [•specially where decided novelty is de- g f the vi6la cello and bass to berg conducted on the opening night and other LWViIIa this Clllfp for null- ' . v. . . . _ mi_ our Annual Holiday Offer, a complete Blue RiOge Idyls—Piano—Lily Stricki.and.60c NecRssary Jingles for the Piano—Blanche There’s a Song in the Air, by Ambrose, Books Two, Three and Four sired. While preparing this suite for pub¬ •ompany the violin sections. These will performances to the fourteenth; then Walter Book of Teios foe Piano, Violin and CelLo.75c Fox Steenman .30c DamrOsch was on the conductor’s dais from the copy of which will be sent to anyone re¬ 50 cents, a beautiful solo for soprano or lication we have placed upon it a Special give tnethe Jeaaerleader sumclentsufficient elementary en- fifteenth to the twenty-ninth, after which Mr. Classic and Modern Band and Orchestra Piano Pieces for Boys.35c tenor; also And the Angel Said, by Grant, Edited by Isidob Philipp questing it. Some of the more popular Collection—Jos. E. Maddy and Wilfeed Pirate’s Umbrella, The—Operetta—Mrs. " ” :rg began a second series. numbers upon this Holiday Offer will be R. R. Forman.35c 40 cents, published in two Keys, one for Now that Book One of this series ehestra and should prove, not only useful, found brought to attention in the adver¬ Shepherd, The—Musical Play—Mathilde high and the other for low voice. been placed on the market, the but an economy. In advance of publica- A SERIES OF “SUMPTUOUS SONG tising pages in this issue. Bilbro .35c Then there are many excellent pipe or¬ preparing the remaining volumes is going tion these three" new parts may be ordered ^STIVALS, ^organ^zed by t^Pres^ Associa- The holiday Offer also includes many Six Study Pieces for the Left Hand gan numbers suitable for Christmas, and forwardr/1 M.\f Philfnn.Philipp, whnspwhose Authoritativeauthoritative QLASSIC AND MODERN BAND AND Concertino No. 1—Violin—F. Seitz- at the special price of 35 cents each. The tra> was given during t' ’ works suitable as gifts to the average Alone—Berger .25c some attractive piano arrangements, too. articles on piano technic have been a Ensemble Method contains the three vio- municipal gardens _of 1 Soldiers of Christ—Sacred Cantata— We will gladly send samples of reason¬ source of instruction to many readers of Orchestra Collection s succeeded each music teacher, music lover or profession¬ Easy Pieces for the Development : and is priced at $1.25. 0?her al musician. —Wright .25c Sonatina—Organ—James H. Rogers... ably priced Christmas Services, consisting Etude, is the foremost living pupil B j08EPH e. Maddy and Wilfred Wilson lm Pslts “ Make it a point this year to show a How to Master the Violin—Frederii Stories . .. of readings, recitations, anthems and solos musical thought for the musical by utiliz¬ To A Katydid—Children’s Cantata—Carl for the Sunday School or for Sunday four-volume^ work is a tribute of the fa- Th® rnt‘<|nrlour0fpi!beiicasch6oL How TO MASTER THE VlOLIN COMPETITIONS ing, through the fullest money-saving Busch .30c School and Choir combined. to'In'increMii^demand for musical mate- B)J Frederick E. Hahn ^ possibilities, the 'special price offers in Tunes for Little Folks—M. L. Preston_35c Possibly you are planning a Christmas school or community entertainment? For knows the value to the piano student of ' Js^ttSe dollop', This book’ b7 °“e °f -America’s best- for symphony orctot the Annual Holiday Offer of the THEO¬ i pedagogs, gives promise of DORE PRESSER CO. this you may wish to use an operetta, a the Heller Studies in the .development of ^“Sle, mJc known violin peda musicianship. To have the very best of more advancea m difficult ’wju be being a most unusual work, it is tne re- may be had from the Hollywood Bowl Association, toy symphony or some clever little musical 7046 Hollywood Boulevard, Hollywood, California. The Presser Catalog alone, embracing as Easy Pieces for the recitations ? thes.- studies arranged, annotated and "’'ijYIJ'Ind'satisfying. This is the aim suit and contains the experience of many Mail Order Music Buying it does, upwards of 30,000 distinct’ items, All of the material mentioned in the edited, as has been done in these volumes, brilliai .. J \v Messrs. Maddy years spent in the concert and teaching is an almost inexhaustible source of Development of Technic foregoing suggestions is listed in our is a real boon to the teacher. Although ” ‘ ^ These eentlemen are so profession. Mr. Frederick E. Hahn has THE LORENZ ANTHEM COMPETITION. Recently usfed as a display in one of our supply, while our general stock, represent¬ Foe the Pianoforte folder entitled “Christmas Music.” We Book One is now obtainable only at the an puWic “chooi music that been one of the most successful of Ameri- mnounced5 and8 wilf‘dOTe/February Jl fm29Y Y uti Chestnut Street windows, a map of the ing all publishers, both domestic and will gladly send a copy of this folder to world Elaborately decorated with foreign By N. Louise Wright regular i..uirket ,_,price, Book- Two, Three nQ f,Pther introduction. They can violin teachers; not only in the foreign, takes care of the most unusual anyone requesting it. and Four may still be ordered for o their sub¬ g Company, Dayton, Ohio. postage stamps, each stamp or group of . *“ ,>f1 fnr a y , preparation a very remarkable her of students taught but demands. This is a set of five little pieces to be limited time at the special advance of pub¬ sequent accomplishments. The book is in stamps with a line pointing to the coun¬ Ordering music by mail is one of the sim¬ published in volume form, which may be collection which will be suitable both for try represented, gave striking visual evi¬ lication cash price, 60 cents each. hand and for orchestra. . . no sense an instruction book. It is much ONE HUNDRED DOLLAR PRIZE plest processes imaginable. The THEO¬ used to follow any of Miss Wright’s other Six Study Pieces dence of the widespread character of the The special introductory price in ad- Mr. Hahn lays down all the DORE PRESSER CO. gladly accepts and very easy teaching pieces. The pieces are * fnr thp instrumental ■est closes January 15, J_929 , _ full parti* mail order business conducted by the fills orders from teachers, and others pro¬ all short but they are very attractive and For The Left Hand Alone Book of Trios vance*of publication for the instrumental n|les and prescriptions for successful .... . Ed. R. -Bentley, THEODORE PRESSER CO. In this fessionally connected with music, and does each one of them has some special technical parts, either for band or orchestra, will )jn mastery. it contains illustrations and Lakeland, Florida. By Francesco Beroer # Piano, Violin and ’Cello he 25 cents each, postpaid; the piano ac- [liagrams explaining the difficulties in exhibit there was not space enough to not hesitate to open accounts with re¬ point of merit. This book would be classed Francesco Berger, the’Dean of all piano book is planned for the instruction (.oinpanjment to the Orchestral version, 4 niany ot- the standard selections in violin give the public any idea of the volume of sponsible people wherever located. Dur¬ in the second grade. The pieces are as This SIX THOUSAND DOLLARS IN PRIZES business transacted by mail by this house, teachers, has an interesting musical lin¬ and edification of those who wish to prac¬ nts, postpaid. ing the past 45 years it Is safe to say that follows: My Dolly (A-flat, 6/8 time); literature. The number of orders received for a new National Anthem are made available by particularly in the United States and eage. He was a pupil of Moscheles, who tice ensemble music, but who are not yet for this book since its recent announce¬ Florence Brooks-Aten, founder of the Brooks- the THEODORE PRESSER CO. has en¬ Merry-Go-Round (D-flat, 4/4 time); I’.right Foundation for the promotion of inter¬ Canada. Such an exhibit could have been in turn was a pupil of Beethoven. Any¬ ready for the classic and modern trios in ment testifies to the demand for a volume joyed more intimate relations with a March (C, 4/4 time); A Dance (G, 6/8 thing that he may say or do in a musical The Shepherd national understanding. The competition doses nothing but a huge blur of cancelled post¬ time); Lots of Fun (E-flat, 4/4 time). chamber music style. These are special February 1, 1929. Particulars from the National way has authority back of it. His new of this kind. age stamps. greater number of professional musicians The special introductory price In ad¬ arrangements of some of the finest num¬ Musical Play for Children Anthem Competition. Room 2017. 342 Madison study pieces for the left hand are of inter¬ The special introductory price in ad- Avenue, New York City. Music buying by mail is nothing new and music lovers than any business or¬ vance of publication is 25 cents per copy, bers in our eatalog together with some By Mathilde Bilbro of publication is $1.00 per copy. and there are many houses supplying their ganization now in existence. We get so postpaid. mediate grade and the practice of them customers by this method, but none, we many unsolicited testimonials from our will certainly lead to the strengthening THE PRIZE OF ONE THOUSAND DOL¬ venture to say, does so on a scale com¬ friends, both old and new, that we are and development of the hand, besides LARS, offered by Alfred Seligsberg, through the Concert Orchestra Folio broadening the musical intelligence. Society of the Friends of Music, for a sacred or parable with that of the THEODORE naturally led to believe in the general cor¬ m'"’ Light Opera Production secular cantata suitable for use by that organiza¬ This work is about ready to go on the The special introductory price in ad¬ 2S*TThe special •" introductory— price in ad- itsexcellenceand smta“ J’uptiom th(T0en- PRESSER CO. The explanation of this rectness of our business policy. The repu¬ For School and Community tion, is again open for competition till Novem¬ enormous mail order business lies in the press. We have been unavoidablv de¬ vance of publication is 25 cents per copy, vance of publication is 75 cents per copy, which is very easy ot.pjo^ ^ ^ hou|. ber 1, 1929. Particulars may he had from tation that we have created by this policy tire performance taking about Richard Copley, 10 East 43rd Street, New York fact that the THEODORE PRESSER layed with it as it is a very large under¬ postpaid. postpaid. iV"“ ”“rf By Gwynne Burrows is so valuable that we guard it with the taking. This will prove to be one of our City. CO., above all others, carries practically This is a practical and valuable work, a every known piece of music or music book utmost caution. While occasional errors best collections. It contains such favorite anThenespecfal introductory price in ad¬ Algerian Dances vance of publication is 35 cents per copy, •opy of which should be in the hands of regularly in stock and is always prepared are always possible, we never lose sight numbers as Hungary by Koelling, Con¬ To A Katydid * cert Polonaise, by Engelmann, and Over¬ postpaid. everyone who is interested in the produc¬ to supply even those items for which the of the importance of giving each customer Suite foe the Pianofoete Cantata for Gjnibiitx’s J/horus tion of light opera or musical plays. It is demand is so limited that the average ture Comique, by Sartorio. the best possible service, regardless of the By R. S. Stoughton By Ca*i. Btfstfi^V1 ' ntensely practical in character and readily forty-five' dealer could not possibly afford to carry size or importance of the order. The The special introductory price in ad¬ The Pirate’s Umbrella vance of publication for the instrumental This is a musical setting .of the well- nulerstood. The subjects covered in the them in stock. In ordinary business prac¬ smallest order is just as important to us Originally designed as the musical set¬ T? CC. Donovan, 1633 Shady Is parts is 15 cents each, postpaid, and of the tings for a series of Oriental terpsichorean known poem by Oliver Wendyll Holmes. Operetta for Boys various chapters are: The Spirit of Light tice, items of this kind once sold are never as it is to the customer. re-stocked but it must be a very obscure piano part, 30 cents, postpaid. novelties presented by the famous dan- 11 's a musical effort entirely apd ™ By Mrs. R. R. Forman Opera Production, Selection of an Opera, piece of music, or a much out of date music seuse, Ruth St. Denis, these unique piano he sung in costume, or with'pcfion -.' Tt;4s of the best productions for Mounting the Production, Directing and THE ELIZABETH SPRAGUE COOLIDGE book, that, if sold, is not immediately re¬ numbers are most attractive from a rhyth¬ writtenwniien torfor a two-part chorus 'whirwan «*•«>*-consid- - ...... j,ave ever seen. To begin Rehearsing, Financing and Publicity, PRIZE of one thousand dollars for a quintet placed'in our. stock. That is why so many mic and melodic standpoint. They are not Table independence in the voices and by boys tcns a g00d story, then the Recommended List of Productions, Light for flute, oboe, clarinet, bassoon and French horn, people, not merely in North America, but Desire fif knowledge, li\e the thirst of riches, increases with overly difficult to play and should prove the introduction of an alto‘part, it ^STa-Wne is extremely interesting and witty opera Terminology, Stage Deportment, to composers*of a°rrnationatitiesUmAJso another also throughout a great part of the world, invaluable to the motion picture per¬ he turned into a three-part thofus. This- ciiai y j is fuh 0f snap and go. Al- The Art of the Theatre. prize of $500 is offered for a suite or similarly have learned to depend upon us for almost the acquisition of it. former and splendid recreation material The special introductory price in ad¬ extended composition for two pianos (two play¬ cantata will__ a splendid °f boys ^iU tnj°y re‘ “ ers), open only to composers who are citizens anything needed in their work, either as for the advanced piano student. While Piece displaying the general^®r!d .JYl^^ ^hemsing'and, producing,_ this. work. vance of publication is 60 cents per copy, of the United States. The competition closes teachers, players, singers or in fact, in any , -‘-Sterne this suite is being prepared for publication and attainments of the school chorus. „ ne S ecial introductory price postpaid. April 15, 1929. Particulars from the Chief of capacity associated with music. copies may be ordered at the special ad¬ The special introductory price m ad- ine p bUcation is 35 cents per copy, the Music Division, Library of Congress, Wash- vance price, 60 cents a copy, postpaid. (Continued on page 974) ington, D. C. Advertisement v«nce of publication is 30 cents per c0Py‘ F the ETUDE DECEMBER 1928 Page 975 Page 974 DECEMBER 1928 THE ETUDE recitals. Our new editions, which will soon usable Heller studies, progressively be ready, are being prepared with the arranged. The price of Book One is $1.25. utmost care. The advance of publication cash price is thirty-five cents for each vol- The EtL'DE MUSIC MAGAZINE ^{Cornpamorf5kj ume, sixty cents for both, postpaid. New SUBSCRIPTION CONTEST AnvANrs OF PiTRTTrATTnw The contest is moving along smoothly. ADVANCE OF PUBLICATION Music|j friends all over the country are Offers WITHDRAWN enthusiastically working for new subscrip- Introducing our Our Editorial and Mechanical Depart- tions. Are you doing your part to spread patrons to the ments are preparing for publication the Etude influence for the good of music and works mentioned in the foregoing para- at the same time earn a splendid reward highly trained graphs and as soon as the work appears for your effort? Send one subscription a members of our from the press it is placed on the market day. You will be surprised how they and the advance price withdrawn. mount up. A subscription a day will drive staff who serve HI The following works are now off press the blues away at the close of the contest, them daily. and obtainable at regular prices. Teachers Everyone rewarded. There are no blanks, and active music workers may obtain these Send post card for detailed information, Jenry Albert Lang is one of the books for examination upon application. distinguished members of the Edi¬ Italian Lakes. Suite for the Pianoforte, MAGAZINE CATALOG torial Staff of the Theodore Presser Much might be said about his by James Francis Cooke. Compositions The new catalog combining all high-class inspired by beautiful Italian lake country, publications with The Etude Music Maga- sic manuscripts considered or They are well within the ability of the ZINE at special prices is ready. Send post put through for publication, but in student m the fourth grade and will make car(j for vour copy You can save a sub- **-=1 short space it is more due very attractive recital numbers. A'll have stantial sum by buying The Etude com¬ Ideal Chris tmas Gifts — t his musical achievements be be™ published separately in sheet music bined with .Qne or two other of your fa_ mentioned. I lie was born of German parents form and it was the success with which vorjte magazines. | in New Orleans, La., perfected his musical talents at the Royal Con- book form. The volume will be quite Warning servatory of Music, Stuttgart, study¬ attractive in appearance. Price, $1.50. ing piano with Lebert and Pruckner Beware of dishonest, so-called magazine MAGAZINES (pupil of Liszt) and composition On Our Street. Twelve Piano Pieces for Beginners by Allene K. Bixby. Hav agents. Daily receipt of complaints where I with Faisst and Lachner. Later he musical friends have been swindled Different -- Appropriate -- Inexpensive taught at the Conservatoire in Riga, you a backward pupil among your begin- ur m’usical Ir.leI*as . Koenigsburg and Carlsruhe. ners, one who “hates” to practice? Try Prompts us again to warn all music lovers, By taking advantage of these special offers, you can remember all He first gained enviable recognition this little hook with such a pupil and Look °ut f°r thf, P,°or b°y w°rklnS hls your friends this CHRISTMAS with worthwhile gifts—and actually as an accompanist and as a concert you’ll be delighted with the results, we wa^ through college or the “ex-service pianist .in tours of Germany and, as save money! With each gift subscription a bright colorful announce¬ early as 1882, attracted no little feel certain. The author is a practical and man tr\m% V? makf a. llvm&” Nmety-nme ment card bearing your name and good wishes will bb mailed to experienced teacher of tiny tots. The Per cent, of these stones are fakes. If the ■“ ntion with his compositions. arrive by CHRISTMAS. ie of his sonatas, symphonies price of On Our Street is 75 cents. aSe,nt “honest, take his name and address suites for orchestra and his Priscilla’s Week. Seven First Grade send your subscription to us. We will Subscriptions may be new or renewal, may go to || chamber music works have won flat- different addresses and may begin when you desire. | tering acceptance in Europe and Pieces for the Piano, by Mathilde Bilbro. ®Ive blm credlt for anythmg due in the this country. The Symphony Or- When this set appeared from month to wa-y commission. If the canvasser is re- | chestras of Philadelphia, Chicago, month in The Etude it created a most sPonslble> he wlU have no objection. Pay Don’t Delay! Order Now! Minneapolis and elsewhere have favorable impression among piano teachers no m°??y *° strangers. We cannot be re- . .$2.00) Both ..$2.00) Both performed his larger works. Nu¬ Several of these pieces rank with the “best sPonslblf for the work of unscrupulous merous prizes for musical composi¬ l and women. ■ 100 >$2.35 • $10°y $2.41 tions have been awarded Mr. Lang sellers” of the past year. They are little m'‘n anr wnrnpn ..$3.00/ Save 60 and he also has been honored with pieces with cute verses that the juve ..$3.00.) Save 65c the degree of ‘‘Doctor of Music.” student can both play and sing. E TheThTen- ... PREMIUM WORKERS—ATTENTION ETUDE MUSIC MAGAZINE... .$2.00) Both ETUDE MUSIC MAGAZINE_$2.00) Both He has been a Philadelphian for WOMAN'S HOME COMPANION. l.OOl $2.75 AMERICAN MAGAZINE .2'5Ql$4.25 the past 3© years or more and in tire set it now obtainable in book form The following attractive list of pre- those years he frequently accepted at 75 cents. miums suggests splendid Christmas gifts. Regular price .$3.00 ‘ Sum 25c Regular price .$4.507 Save 25c | commissions to edit works going into Second Tear at the Piano, by John M. You can do all your Christmas shopping our catalog. It is an achievement Williams. For those teachers who have’ without one cent cost to you if you will ETUDE MUSIC MAGAZINE... .$2.00) Both I that we have been able to claim him used Mr. Williams’ First Year at the Pi- interview those musical friends in your CHILD life .3-°°V$3.85 a member of our staff in Regular price ..$5.00/Save $1.15 ano this book needs no explanatory re- circle who are at present not subscribers ETUDE MUSIC MAGAZINE $2.00) Both marks. Naturally, it takes up the work to The Etude Music Magazine. All the COSMOPOLITAN .• 3'00y$4.5Q where the first book ended. To those merchandise offered is standard and is teachers who are not familiar with Mr. well worth the little effort necessary to Regular price.$5.00.) Save 50c Williams’ works we offer the suggestion secure it: CHILDRENThe Magazine for Parents ETUDE MUSIC MAGAZINE... .$2.00) Both that they procure both volumes for ex- Manicure Roll. Real leather, satin lined, CHRISTIAN HERALD . 2 00 V $2.85 amination. The price of each volume is seven pieces with amber handles trimmed _ with pink pearl, fine quality steel; only Regular price .'.$4.00.) Save $1.15 Soldiers of Christ Unfinished Symphony, Piano solo, by four new subscriptions Salad Fork. Sterling silver handle; a ..$2.00) Both Sacked Cantata Franz Schubert. One of the best known Suede Envelope Purse in blue, green, red, worth-while gift for an appreciative - 250 > $3.25 Regular price .$3.00/ Save 65c By Philip Gkeely of all the master orchestral works, this brown and rose; choose your color; only housekeeper; only three new subscriptions ..$4.50.) Save $1.25 ETUDE MUSIC MAGAZINE.. symphony lends itself readily to piano one new subscription This new work is on the press and copies Desk Set. Three books—for engage¬ ..$2.00) Both McCALL’S . +-uur solo arrangement. The new edition has Dainty-Maid Portfolio, 11 inches by 5 WOMAN’S HOME COMPANION. 1.00 $3.35 should be ready in a very short time. It ments, notes and addresses—all in a stand; I •• 3-°°>$4.7i is an excellent cantata for special produc¬ been carefully made and we feel certain inches; contains 12 envelopes and pad with only two new subscriptions it will bring pleasure to many pianists of pencil. You will be delighted with this . .$5.00.) Save 2! tion of any musical church service. While <- I ---J I...... I ... t--- ' UUI^IRCU W1L11 LI11S Ladies’ American Beauty Billfold. Dainty moderate abilitv.ability, who eninvenjoy playingnlavinir thefhandv handy arvptsnrraccessory i-nto +1the™, writing desk;j__i,__ only ETUDE MUSIC MAGAZINE... .$2.00) Both ETUDE MUSIC MAGAZINE... .$2.00’ brilliant and telling in effect, it is not diffi¬ three-fold change purse, bill compartment McCALL’S . 1.00 best music. Price, 60 cents. one new subscription HYGEIA . 3 00 >$4.00 cult. The well-known hymn Onward and two card pockets, folds up neatly to BETTER HOMES & GARDENS. ““ $2.90 Christian Soldiers is introduced in a mas¬ Studies in Musicianship, Book One, Se- Leather Desk Calendar with Memoran- drop into the handbag; one new subscrip¬ Rocular price .$5.Qp) Save $1.00 terly way. lected Studies by Stephen Heller, edited dum Pad, 3 inches by 5 inches by 1 inch; a tion. The special introductory price in ad¬ +k u l ,ilip,p‘ We have just published fine ornament for the writing table or ETUDE MUSIC MAGAZINE... .$2.00' Remember these gifts are given for new > $2.35 McCALL’S . 1.00 vance of publication is 20 cents per copy, i urn ,k . tke sph’ndid compilation desk; only two new subscriptions subscriptions (not your own). PATHFINDER . ’ “ postpaid. r „.er/ studies made by the Professor Bridge Score, Japanese wood fibre cover, Regular price .$3.0o) Save 65c of Pianoforte at the Paris Conservatoire, extra pad and pencil, 3% by 7y2 inches. Send post card for circular showing numerous other gifts given in exchange V$5.25 Sonatina for the Organ vnbLW°rka1S- t0 bei Published ,in four Every bridge player will appreciate this IVICbMLL S . -L.UU . volumes and is a selection of the most gift; only two new subscriptions for new subscriptions to The Etude By James H. Rogers Music Magazine. Regular price.$6.00 ) Save 75c YOUTH’S COMPANION . 2.00 V $4.00 We like this number about as well as ETUDE MUSIC MAGAZINE.. .$5.00 ) ®ave $1-0° Mr. Rogers’ Miniature Suite which is of ETUDE MUSIC MAGAZINE... .$2.00' nearly the same difficulty, and this is say¬ Save $1.00 McCALL’S '7'... .7..'.' 1.00 f ^ Tl- ing a great deal, because the Miniature A $50,000.00 Investment for Etude Raders - CHRISTIAN HERALD . 2.00>$4.1O Suite has proven very successful. The 3 00 V $3.75 Regular price .UToO > Save 90c Finale to this work is especially effective. Beginning with the January issue THE ETUDE Music Mag¬ ., $5.007 Save $1.25 ETUDE MUSIC MAGAZINE... .$2.00' It is called Carillons and it is in the style AMERICAN MAGAZINE . 2.50 of a Toccata. azine will he printed in its entirety upon the finest modern WOMAN'S HOME COMPANION.. The special introductory price in ad¬ presses, built exclusively for this publication. For over a quar- >$4.75 vance of publication is 40 cents per copy, ter of a century THE ETUDE has been printed in the giant Regular price ... .$6.00/ Save $1.25 ETUDE MUSIC MAGAZINE... .$2.00) A|| postpaid. McCALL'S . 100

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