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

7-1-1952 Volume 70, Number 07 (July 1952) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 70, Number 07 (July 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/127

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]. Is CO,\TGRESS. JULY .i, 1170.

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.".." .. ,;"""""""""./ What About the -" ".. ,,~,' 4 1"••''.,'J< ·~0Z~:;~:~~~~~:-;j;~·:~·;,;·Electronic Carillon? .~.•':.:;:',';~'~,:' /.,,,,,,,,~~.1 ·HI.....'~." ,I, /'.,.;", II." d .."" .",.....~: ~,.../ ,,:., .-".1 -,...,../,.;.1'-" .. •. ,'''~,~,::~::1.:~,' (/,,,:,,,illl,. ....')'/;;';-';/":""~/r.~-,;, Arthur 1. Bigelow ~...."'''',(,./7''''')' ,....' ,.,(.,.,:'""'1' .;rl .. 1~~ II ,., /./ ,i"-,,, , 7""""I'£? 4:'., (,-.,,,/.:~ .. " ~"';'A ....'__",,". /",'1, .I , ,~,:' "J"·i,-··..j .~.....","'."... 1 .....11, ;",,~I I,,,,..,.,,, "'f'.' , 1, Iw-" "-r 1-4" ,..~,. '1;4:.1., ..' ( The Male Chorus ~ -.;:.~. d~r(t;'rl /I, /I~/It,.'ml.ll. "'" n, /I;:L. ,., ...f.,,, .-)'"" ..-£: _ ,( 'I.. I...." .,...1,;',,,.,,,, . .( {'"If, '7k~ .....,."/ !t ../.;""" The Step-Child of Music? St.Uct" I .,' M'j .''- /1".1,• .1 r ,..,.... M 1/.... , .. ,01.1, ;.,.£/', '" ,1 .#t1"'f /--: ...~t .1l!:'l.3-nt>rl"'Ii'tn ,1i·ZIt/1. "''!'I-:~*...."',.' Reinald Werrenrath .%,,,...' •. 'J ".,,1 ,/",.10.,0/',,/ 'C/"d ..",..t. ,",,;..

A Challenge to the

,:1.. ,,'v,l". Concert Violinist ·:I'-(-;4~~/,,~}...... Henri Temianlca

In march time ~ My Music Adventures in Alaska Kathryn M. Baker LeTTeRS ... andall their lives T 0 THE EDITOR fhtyJ! thank!lOft Articles "Careers of Service in Sacred Song" their-Acrosonic/ Sir: May I have the pleasure Sir: I would like to express .r of writing you relative to the my appreciation for the splen- deep interest I have in the did article, "Careers of Service ETUDE magazine. Needless to in Sacred Song," (May 1952), say I look forward to receiving by George Beverly Shea. it every month and my method Through Mr. Shea's inspira- ecause of the ualities of reading it might interest you Names arEi important b tion, I had already decided to All through life the joy because of its motive. make my career in the field of and ideas associate'd with them. The name of a flower I devote fifteen minutes every sacred music. of music will be theirs ... a new stirs the imagination with suggestioM evening after work to reading I was delighted to see the it instead of all or part of it at ETUDE giving attention to this poise, an enviable popularity, a one time. My reason for this is of rich fragrance and beauty of color. important phase of music. The deep satisfaction from the pleasure that sometimes I am very tired good advice given in the article and would not practice my mu- and the inspiring career of Mr. of music ... with the Acrosonic The name of Bob Jones University sic but the time I spend read- Shea as told there make the ing the ETUDE inspires me so ETUDE worth the cost of the by Baldwin. Its exclusive Full- has become firmly a1ssoc',ated w',th high academic standards, much that I cannot help but de- entire subscription for me. vote the evening to music prac- Adair Whisenhuni Blow Action and singing tone A cultural training, spiritual living, tice. I might add that I have Clayton, N. C. speeds learning and enjoyment. and evangelistic emphasis. A diploma started music lessons only dur- ing the last year. May Issue Watch your child's hidden from the "Werld's Most U usual University" marks a man Mr. Thurlow Lieurance's re- cent courage as told in the ar- Sir: I have just finished read- ability respond to the Acrosonic. or oman not only as well trained and capable, ticle entitled, "The Inspiration ing my May issue of the of Defeat," was wonderful to Give your child this chance ... but also as possessing strong qualities ETUDE, which is exception- read of, and the whole article ally interesting this month, write today for our booklet of eQ!lership, strength of character, and zeal was extremely well written. I from cover to cover. fail to see how anyone could The article on page 9 about "Planning Your Child's Future." in Christian witness and testimony. help but receive a great deal of Theodore Leschetizky is very inspiration from this article. good, and should greatly bene- May you continue to compile fit both teachers and pupils. I such a fine magazine and rest have truly enjoyed every word assured that no one will ever of it. discuss music with me but what Mrs. S. K. Searles they will hear all about ETUDE. Bridgman, Michigan De Warne A. Strate Rialto, California Sir: Indeed a real bargain, in these days of mounting prices Sir: I wish to express my ap- and questionable increase of preciation for the articles in quality in many daily needs, your magazine which I find ETUDE is most certainly the timely and interesting. I espe- exception! cially appreciate the outside cov- Nothing in my professional ers 'which have featured pic- needs brings me the valuable tures of composers. I have tried returns for like investment, to acquire some pictures this which the subscription to size for some time and find ETUDE offers. In my humble these suitable for framing. opinion you continue to im- Alice Deuen. prove your publication, month Panhandle, Texas by month. Long live ETUDE! BOB JONES UNIVERSITY Edward C. May Sir: I have been buying the Miami, Florida ETUDE magazine ever since I GREENVILLE, SOUTH CAROLINA came to the U.S. five years ago, A Suggestion and I find it invaluable as a THE BAlDWIN PIANO COMPANY help in my piano teaching and Sir: Though I started my Dept. E-62. Cincinnati 2, Ohio choir training. subscription to ETUDE only re- Bui/ders of: Baldwin Grand Pianos ACADEMY AND JUNIOR HIGH SCHOOL IN CONNECTION. Some of the articles are so cently, I couldn't resist writing Acrosonic Spinet Pianos good that I have readthem sev- to you to tell you that I have Hamilton Grand & Vertical Pianos eral times. Congratulations for found your magazine indispen- Baldwin Electronic Organs REGULARACADEMIC lUI1\ON. such a fine publication! ADOI110NAL COSl ABOVE sable. AND ARl WIlHOUl Leo A. Ward There is always something MUSIC, SPEECH, Old Bridge, New Jersey new (Continued on Page 6)

ETUDE-JULY 1952 1 be sure to see Thefe~ THE tire ..... sie ... afJazh,c a Reason ETUDE LITTLE Editorial and Business Offices, Bryn Mawr-, Pa. TREASURY • •• why so many prefer the Founded 1883 by THEODORE PRESSER James Francis Cooke, Editor Emeritus SERIES (Editor, f907-19-/9) METRONOM de Maelzel Just What You've Alway! by SETH THOMAS Guy McCoy, .Managing Editor Wanted in Piono Teaching ByGEORGEGASCOYNE Shirley C. Jefferis, Business JUanager Albums. Harold Berkley Maurice Dumeenil Karl W. Gelukens Elizabeth A. Cest Handel: Messiah conductor is Josef Messner. (Rem- Guy Maier Alexander l\'IcCurdy Nicolas Slonimsky A new recording of this famous ington, 3 LP discs). Clo$ely graded-yet contenk ere Teachers and students of music varied and int.resting Handel work has been issued at a Chopin: 12 Euules, Op. 25; 12 and dancing realize how impor- price considerably less than some tant it is to establish the habit of JULY 1952 Etudes, Op. 10 Vol. 70 No.7 CONTENTS A new beek gi...., th. dud.nt 0 feel. of the other sets. It is a satisfactory Hei-old r J!oriotions, Up, 12 correct timing. It's only natural ing of occomplishment . , . rendition, although there are noises A veritable feast of fine piano that this "time conscious" group FEATURES playing is provided in this record- should prefer the superb Seth little T realury Album, contoining which obviously are the result of Thomus'" Metronome de Maelzel-. HIGHWAY TO HEAVEN ... , .....•.••••••••...... Marifnl P. Fick,·. 9 ing made by Robert Ccldsand, a TRADITIONS AND lUETHODS ....•••••••...... Jean Calludf>II"1I I', only 16 pogu mo~" thi, pouibl.... making the recording during a a precision instrument made by an WHAT IS BEL CANTO? ...... •••••• _••...... _ .. }mel,h A_ 8QIII'''] 12 public performance, which took sterling keyboard artist, among American finn famed for fine time Porentl .....iII not f.. 1 mu,ic cOlh art AFTER THE STUDIO Eileer Ferrrtt '1:1 place in Salzburg. The work is contemporary pianists. Students of instruments since 1813. too grtot-th. LiHI. Troolury A1bulM AND WHAT ABOUT THE ELECTRONIC CARILLON? Arth"r L Biltelol41 14 sung in German. The soloists in- Chopin's piano works would do ON BEING A CONCERT ARTIST ..•• _ •••..•...... IJnmud Kir_MHlIIIII 16 C:05t only SOt toc:hcorCf/1 mon clude Annaliese Kupper, Rosette well to add these recordings to The Seth Thomas Metronome is uni- Seth Thomas craftsmen.pninstaktngly THE MALE CHORUS-STEP·CHJLD OF l\IUSIC? UP;1I01t1 Wt:rrt'"rtlil. 17 11Ioft 1110 c:o,; e sjlt9/e pim « 0' their libraries. Besides the 24 versally recognized as the finest made. fashion the sturdy key-wound mecha- l\'IRS. MUSIC TEACHER SPEAKS...... AIiOrtymolu 111 mUJic:/ Allday, Lorenz Fehenberger, and Etudes 01 10 and 25, the Renowned for dependability and ac- nism to assure that each Seth Thomas A CHALLENGE TO THE CONCERT VIOLINIST .. " ..•.... Henrt T.·",illn/':lI 19 Joseph Greindl. The chorus is the 01" 01'. curacy, it faithfully measures time Metronome is the very finest you can SEE THE LITTLE HUSUI! SElIIl FUN WITH RHYTHM...... Catheri n e Frrup"o Rrilt,. 20 Salzburg Dam choir, and the in- discs include the three Etudes audibly by a distinct tick ... visibly buy. Handsome hardwood case. Ask MY l\fUSIC ADVENTURES IN ALASKA ...... •....•..... K"thry,' ltt. Jl,d.:Pr 26 AT YOU! DEUEl'S NOW strumental ensemble is the Salz- without opus number. It is a joy by oscillating pendulum-with tempo your music dealer, department or • or ,end for Ir•• dllctlpti'l. l!lId'1 10 burg Mozarteum Orchestra. The (Continued on Page 6) easily adjustable from 40 to 208 beats jewelry store to show you this fine DEPAR1'~IEN1'S per minute. And it's portable, too. metronome priced at only $12.95.t you _111 be obi, 10 rllch,d. fitll~ LETTERS TO THE EDITOR...... • ...... • • . 1 -n<,ll'. u.s. Pat, orr. rdto In ~av' fall t.oehll'lg plorl tPrlc,' auhJ<,c1.\0 ('hllllgC NEW RECORDS ....•..•...... •...... •..•..•.. George C(16t;b,.,I" :, MUSICAL ODDITIES .. " ...... •••••••••..•.. ' .. _Nic(,la>f Stot/imilky '" COMPOSER OF THE MONTH complete with all the MUSIC LOVER'S BOOKSHELF •.•..••. " ...•...•...••... Dalt. Amt"rIl(U1 H CENTURY MUSIC PUBLISHINGCO. SUl\IiUER SCRAP-BOOK ...•. " .....••...•..••.....•...... Guy M"i"r 2-' basic JESSE FRENCH N .... YOlk 11, N. Y. T is fitting that our composer of the QUESTIONS AND ANSWERS _ .. _ •••.•..... Kurt JP. e/,erla·",. 22 quality features I month series for July should feature Thomaston, Conn. TEACHER'S ROUNOTABLE ...•. " ...•••••....•...... M""d", D"mp",iI 2:1 .Seth1hOlnas Clocks Div. of General Time Carp. You can pay more ... $100. $150. OPPORTUNITIES FOR ORGANISTS ...••.••.••••.... Ale:nllH/n M('Curtly 21 Stephen Collins Foster, since he was born even $200 more ... but you can't buy July 4, 1826. Referred to by John Tasker belt~r value in style, quality, and YOUR VIOLIN SOLO WILL GO WELL •..•• '" " • " ..•.... Kelvin MlliIiIOII 25 mUSical excellence! Yes ... in the new VIOLIN QUESTIONS AND ANSWERS. _ . . . . • . . •• • . . .. fI'"old B,..rl.·l,.y 52 Howard as "America's Troubadolll"," World Famous Jesse French Legend you sal'e the oif- ORGAN QUESTIONS AND ANSWERS .••.•••••••.•••..•. FreJprick P'/lillilJIf 53 Foster created melodies which have ~n- ference-yet you still get such out- JUNIOR ETUDE ...... •.••••••••••..• ' ... Eli:.ab,.,ll A. C,." 5 I st.anding features as the exclusive 7-ply deared themselves to the hearts of mil· WORLD OF l\IUSIC ...... •.• - ••••••••••••• _ .•.• _ • • • ...... (,0 BOSTON UNIVERSITY pm plank; Perma-Crown sounding lions. fie received no formal training in JOHN JUZEK VIOLINS board; individually voiced hammers' music and was apparently self.taught. It MagicTouch Action. Investigate befor~ Violas and Cellos you invest. See, examine, play the new ~I U SIC College of Music was as early as 1841 that he wrote his Legend today, at your Jesse French CO"t/JosiliollS lor Pirffto (Solo and Duet) first composition~ Tioga Wall.z-which was dealer! Only a small amount down All Bronch.s of MUlk ~ere must be some reason why The Story of Prince Kalender (Oriental Dance) (From and easy payments puts this new and Music Edu,atian later played by sevenl flutes at Athens the JOHN J UZEK VIOLINS are in "Themes from the Orchestral Repertoire") ..•.... Rims"'')'.Kor$llkotcl_/~I'r;itle Spinet sensation in your home! 27 Academy. In 1844, his first song. Open Thy Lauice, Love, was pub- Jeanie With the Light Browll Hair (From "Concert such a great demand all over the Dean Warren S. freeman lished by Willig, Philadelphia. This was followed several Children in your home? Transcription of Three Stel,hen FOllter IUelodies") Fosrer-'P"rren G. by country. Check the coupon below for 28 l\lazurka (from "COPI)elia") (fronl "Themell from the others which he wrote for minstrel performers in PitLsburgh. J tlst com pare the violins of other yovr FREE copy of "Music in Courses leoding '0 !-TD degrees /+.A yovr Child', Development" for Great Ballets") " ...... •...... •...... Dclibc#.I..er:i"c Among these were, Old Uncle Ned, Lou'siana Belle, and all, 29 makes at double or even tl·jple cost to the an,wers to many q...e,tion, Dal.lce of the PuI'pets ' .•.. _ " . : .. " . " . '" Anfl.e Robillaoll in Mus.; 8. Mus.: M.M.; M.M. Ed.In you should a,k abo ...t this im- 31 Susanna. the superb tone and excellent work- portanl , ...bject. We will also P~tlte Coquette ...... •...... " ..... Foreat 111. Sh"maker conjunction with the Grod ..ofe School His life seemed to be marked by a series of successes followed send, free, How 10 Cho.ose 31 manship 01 the JOHN JUZEK VIO· Slumber Song (SchluIIHnerlcid) ...•• " ...•...... •. Robert Schumann -M.A.: Ph.D. In conjunc 'on with I~e Ihe Best Piono, which will 32 by reverses. Although his songs gained considerable popular suc- LINS. help yov make the right final '" Square Dance (from "Pianoranla of the World's Favoritc Dances") .. Deflell II a School of Educofon-M.Ed.: Ed.D_ decision. Mail the co ...pon. r""'Chi/d", Valse (PolSthumous) (from "Waltzes for the {; y 34 cess, he realized little or no material return from them. He tried o.W'Iop,.,.,,/ We have innumerable finest com- Pianoforte." Presser Collection). . . . Fl' CI Y.ar-found Proj"h ondWolbhoplincludt- his hand in the business world as bookkeeper in his brother's firm R I (P - - . . .. re, prlC I/Jlli" 36 ments from teachers and professional on( 0 iano Ducl) (from "Cla,.;;ics for the Young") Coullerifl.-Fcli.t: Workshop in Music Education in Cincinnati, hut this did not prove a successful venture. His 38 violinists-many an artist prefers to "Ufrunlenfnl and Vocal COlnposifiorrs Opera Workshop marriage in 1850 seemed to he a turning point in his life. for in play on a ":Ma~ter Art" JOHN .JUZEK Pionim Worbhop the year immediately following this event, he wrote and published Black Is the Color of l\Iy True Love's Hair (Vocal). CI'O VIOLIN rather than on an expensive D' . 1\1 . (0 ' I Ortl Sh",o 40 some of his best songs-Old Folks at Home, Camptown Rrtces, IVlnum ?,stcrlum rgan) (from "Twch'e Compositions old imtrument. by American Composers for Organ with Bells") D . Eminent Faculty of Artists, Com· My Old Kentucky Horne, Massa's in de Cold, Cold Ground, COlne Romance in E-flat (Violin) .... " .. "vld Sianley Yorl.· 'II ...... ••...... •....•. Rubilllltein·/J(frr"Uu,,1 posers, Sc:holars and Educotors Where My Love Lies Dreaming and others. In 1860. hoping to Student outfits from the lowest price to fhe 43 Pieces lor Young Playera Master Art grade Mo"t., Clo$iu under I\let! r.adtrl CtS- better his situation which had sWlk to a low ebb, he moved to fIT e are the sale agents for the f{lfnOl~S F. N. Evening Serenade ...... •..... New York, where things went from bad to worse and jt is believed Famaus lor Musical Excellence Since 1815 Arthur Fiedl.r Roland Hayes Voirin Bows, Bourdain and Greville ClaT- The Big Bass Tuha...... ••••.• - •••••••..... - . Er;erctr. S,,.r.emf 45 that the only songs created after this move were Old Black Joe and The Kite ..•..••...... ••••.•...... - Albert De "'iiO Alb.rt Spalding inets. Ir------JESSE FRENCH & SONS 46 Beautiful Dreamer. He died alone and practically destitute in a Whoo's Wh~~'; Beryl JO')'lIcr Oepl.E-71, Elkhart, InclianCl -Ii For in/ormalian, calalogue, jl/gdro1ed boarding house in in 1864. METROPOLITAN WithOl,lt obligation, ,end me these free booklets: Love Theme ('f~:;r: :'~~~l~~'~I~d'iu'Ii'e~;')' " " - .. .4. Lor:ia Scarflloli" .7 falcler, ..rile . - TcI,UlkolJsl.-y-Qrem His memory has been honored by a number of outstanding MUSIC COMPANY o "MII,ie in Your Child's'Oevelopment" 48 projects, perhaps the most important being that of the Stephen o "How 10 Choose Ihe Best Piano" DONALD L. OLIVER Wholesalers, Importers, and MUIlu!ac. Director 0/ Acfmjuions Foster Memorial Association of Pittsburgh. A valuable collection tureTl; of all musical instruments Name _ of Fosteriana, originally collected by the late Josiah K. Lilly, of 222 fOURTH AVE .. NEW YORK 3, N.Y. Indiana, was given to the Memorial Association of Pittsburgh iu Street I BOSTON UNIVERSITY Publishers of ,.he famous books on I 1937 and is housed in the Memorial Building on the campus of Violin Playiug: $3.50 a. year in U. S. A. Jnd Possessions' al . I Ph" . Room 115 Cify zQne_Slare·_· _ : Republzc. Guatemala, Haiti Mexico Nica~~ In t Jp IlJpPines, Costa Rica Cub3 Dom' . the University of Pittsburgh. rPJiOd,aodd all South Ame~ic;n countries excepf~h~ G3,i?ama.. ,Republic of .H;'nduras, Sal~~~:rn 70S COMMONWEALTH AYENUE "SIMPLICITY Of VIOLIN PLAYING," Vol,. I, II o Please check here if yo ... are a teocher : OUI) an ; $4.50 a year in all other . S" uJanas. 3.75 a ycu III Canad d N ' An arrangement of Jeanie with the Light Brown Hair appears 'f hnuscripts or art. ~hould be accompa'ni~dtrbes. t lngle copy price; 40 cents. Printed i~u SeA- BOSTON IS, MASSACHUSETTS on Page 28 of this month's music section. "ALL VIOLIN TECHNIQUE" (complete, from beginner to artist) ------~ or return of UIlSollClted manuscripts or art. y re urn postage. ETUDE assumes no responsibiiitY by Robert Juzek 2 ETUDE-JULY 1952 1"- ETUDE-JULY 19;2 3 6 • , ,, ,.,., .. ", .. ""." .. ;"",.' .. ' .. , .. " ..... " 1 GERSHWIN • ROMBERG • HERBERT• 'RIM' • PORTER• YOUMANS ~ MADE EASY FOR THE PIANO by ADA RICHTER tune. As to "Romeo et Juliette:': it HEN A HOSTESS invitee I wonderful mu teriaf l Glade 2-21j~ puce only 75l! each album GERSHWIN Made Easy for the Plano Vol 1 Vol Z (8 songs In each) was a fine opera that enjoyed a W Paganini to dinner, she coyly ROl\IBF.RG Made Easy roi the Pinnu Vol 1 Vol 2 (8 songs In each) VICTORIIERRERT Made E'" 10< the Plano Vol I Vol 2 (8 songs m eecm ~ FRIML Made Easy for the PlanO (7 songs) succes d' estime, but it did not added in a postscript to her letter : PORTER Made Easy fOI the Plano (7 songs) YOUMANS Made Easy for the Plano (8 songs) bring a comparable fortune to the "And don't forget to bring you r Send for free ilsting of thousands of t it.les of all types of plano mUSIC LEWIS ARflNE MUSIC, Dept. 302, 17 W. 48th St., N. Y, C. 36, N. Y. publisher or to the composer. violin." To this Paganini replied : , ...... ,., ...... PRtSStR ... "Thank you for your invitation , at Kreisler's sense of humor made but my violin does not dine." what's neW a victim even of his own biogra - n: piano 'Jeachin'J pieceJ pher. A recent book on Kreisler Harold Barter made an ever 1 quotes him as follows: more pointed reply to a music "Les Jeunes au Piano " ADVANCE OF PUBLICATION OFFER loving hostess: "I greatly regre I that I must decline your kind in B Y N 1 COl, f\ S S I, 0 N 1 ~ISKY "Even today, the Coppelia \'Valt.z by ALEXANDRE TANSMAN is often played. Well, I can truth- vitation to dinner," I-;ewrote, "but composer of "Pour les Enfanfs" These books nt-e now in PI'cIHII'alioll. J have hurt my thumb." fully claim that the motif is mine. Val. I Mirelle & the Animals Ordea's arc limitcd to two COllies Per book. Delibes liked it so well that he Please send remittence with order took it into his ballet unchanged." Vol. II Marianne at the Newsstand CITAIKOVSKY AND NICHOLMt a ~lnalJ C(·n~'wll 101111.~haring the • (Check or money order- requested). Well, Coppelia was produced in Vol. III The Imaginary Busride RUBINSTf.IN at one Lime lived I~l"ograrn \\ It It a local pianist T 1870, and Kreisler was born in Val. IV In the Telescope As caeh hook com es off the lWCSS, in the same house in Moscow. I 01 P r wu horrif d when the AVEL was very strict in regard 1875. He must have been indeed to the quality of his own (1cli\'cl"}' (postpatd ) will he mndc, Tchaikovsky on the second floor, phmist, a small h -peetacled fel. R Each Val. $2.25 printed in France low. plnc ·d the muvie on the piano precocious to write such a jolly music. When the b~others Rodolfo Rubinstein on the first. Tchaikov- tune at the age of minus five! sky was working hard, and r.Cll ruck, llncrcd into signed a card for Adolfo Salazar, unviolin istic." the conversation. RubinslC'in Iwo TdHlikO\ ...l 'R car: I., om ..! go- the Spanish musicologist, as fol- 410-41020 list price $1.00 Advance of Publication Price $.80 LOW BELL-G LOW BELL-G lOW BELL- came agitated and said: ':T{·hni. lows: "Mauricio Jose Ravel! y \\ ill IHl"('t nU til the 'lil'iioleca" (a F 2nd Octave Deluarte," spelling Ravel with two below Middle C below Middle C kovsky is jm;t like a brother to ...rCf'inniz('d form of the Russian A. 1voman admirer rushed to above Middle C I's, and adding the middle name SCALE me, and imagine-he sits lh(,l"c word hibli l<'Cnl. The word Rachmaninoff after his perform- HIGH BELL- HIGH BELL-G HIGH BELL- Jose and his motller's maiden and writes something, and nc\ cr t1mu!.-('(1 TdtllikO\~k)" "0 much thai .:\Jlce of the Second Piano Can· G 2nd Octave 2nd Octave F 4th Octave TliE IIES FIlUI fl')Uj 1m EAT thinks of call ing me in to show he nllllo:ool "roane I from laughter. certo. "It is wonderful." she name, Deluarte. See cut betow. above Middle C above Middle C above Middle C h is work. You know how much 1 :mel \\ ith hi!oo lip... Ii hll) com· gushed. "Who arranged' it for am interested in his mu~ic, and you?" Rachmaninoff replied im· (The ink spot pattel'l1s above Adequate Adequate Inadequate I"e"ed. ran ouL of Ihe hnll. For, RANGE perhaps I could give him SOIll{' tunntcl hig "'('at \\a~ in the gallerr, passivel y: "In Russia, we com· Ravel's signature were caused by Acoustic Range Acoustic Range Acoustic Range posers were so poor, we had to The TheoJol"c Presscl" Company is pleased tn present. another in good ach'ice as a practicing musi· :-.0 tllat his I recipitou.::l departure the paper being folded before the this increasingly pnpular series o( ·'Themes", wil.h 1\11". Levint;'s ciano It is too had, because some \\ 3l' not Iuo (·on..pkuou!O. orchestrate our own works." ink was dry.) Requires Requires INSTALLATION Re uires Tower excellent arrangement.s for the pianist of moderatc accomplishment. (lay his new music is bound to No Tower MaSSive Tower q THE EM This new collect.ion contains pieces from 16 o( the favorite well· • come my way, and I should like 0" allo,her orfflS;on. le.a\'in~ known or,.'!LnriQs. Here are representative sclecliQns ran (Tin'; from to sec it in the process of compo- the opera house ahcr (I premiere, Under Approximately Approximately the 17th century 1.0 the 19th century, induding IV()J"ksby Carissimi, COST sition. " $2,000. $117,000. $5,000. Stainer, Bach, Handel, Mendelssohn, Rossin.i, and Verdi. Add this Tchaiko\!:o:k) commanded the door· Then Klimenko told Rubill~teill 10 youI' collection of fuvorile compositions! mAn: t'CnrrkTgc for General Tchai· about Tchaikovsky's grievance. kov5ky's carriager' The poor doo~· The comparison above shows C (high bells mean small bells). 410-41021 list price $1'.75 Advance of Publication Price Sl.40 carillons A and B offer 25 bells Prove this for yourseU. Play the Rubinstein and Tchaikov~k fi. mUn wag ~lill !'houtillg ,~henTchal· nally got together, whell Tchaikov- of comparable musical quality, melody of a familiar hymn on kov~k \\a.s "alking do\m the above and below Middle C. your piano using the keyboard THEODORE PRESSER CO. sky wrote his first pjano Concerto. ~lreet tilling hi~ laughter like a Carillon B is priced many thou· ranges shown on the chart above. BRYN MAWR, PENNSYLVANIA with the I\Tell.known results: Ru. pranki h :o'ehoolhlH. sands of dollars above "Carillonic You'll understand why it takes binstcin deelared the concerto un- Bells" because adequate cast bell "Carillonic Bells" or heavy cast ._------~------~--~------playahle and cleeply offended carillons must include low-bells bells to produce balanced bell THEODORE PRESSER CO. Bryn Mawr, Pa. • weighing thousands of pounds music. TchaikovFoky. The strained rela. each. 1 enclose $ to completely cover the following order: tionship between the two continued You'll decide your best buy is Ol '\00 \lET hi:-I)ublb,her Chou· Cast carillons of the C-type "Carillonic Bells" for fine carillon No. of Copies until Rubinstein's death. Then 410·41020 Bartok Is Easy!" dens on the Boulc\ard des have 25 bells, but note that their music at lowest cost. For more -- __ @ $,80 __ Tcha~kovsk~ felt a terrible pang G lLalieno;:. C!loudens wore a magnifi· musical scale is all above Middle information write- of pJty. HIS posthumous tribute 410-41021 Themes From the Great Oratories @ $1.40 cent fur coat. but Do rather :;habby to Nicholas Rubinstein was the hat. .tFau~t?·' ~aid Counod. fan· NAME _ A Minor Trio, dedicated ·'10 till' dlinrr Lhe lapel of Choud'"'' ,,,L Ilwmory of a great arti~t." ADDRESS and 0 lhen. pointing at the hat. SCHUlMERICH CARILLONS, INE.28248Corilion Hill, SELLERSVILLE, PA, CITY ~-- STATE, _ a>ked: "R~l11eo el J~1ieILe?~eed, "Carillonic Bells" is a trademark for producb of Schulmerich ElectroniC8. Inc. ZONE Davitl Popper, the celebrated Coullod ~ ··Vau ..l was.. IOd ~ &#t C cello virtuoso, played a COIlCcrt in thf? foundation of Choudens' for' ETUIJE-JULY 1952 5 I~ ETrDE-fl'LY IOilJltl _ ~III------~~~~-

GERSHWIN • ROMBERG. HERBERT. FRIML • PORTER. YOUMANS MADE EASY FOR THE PIANO by ADA RICHTER Wonderf ul m atet-ial! Grade 2-21j~ puce only 75r each album tune. As to "Romeo ct 1uliette," it HEN A PARIS HOSTESS invited GERSHWIN Made Easy fOI the ptano Vol 1 Vol 2 (8 songs III each) Paganini to dinner, she coyly ROMBERG Made Easy for the Plnno Vol. 1 .... Vol. 2 .... (8 songs III each) ~ was a fine opera that enjoyed a W VICTOR HERBERT Mod' E'" foe the piano Vol. i .... VoL 2 ... (8 songs in eecn) ~ FRIML Made Easj' for the Plano .... (7 songs) added in a postscript to her letter : PORTER Made Easy for the Piano. .. (7 songs) .secces d' estime, but it did not YOUl'tlANS Made Eas;' for the Piano .... (8 songs) "And don't forget to bring your Send for free listing of thousands of titles uf all types of piano music hring a comparable fortune to the LEWIS ARFINE MUSIC, Dept. 302, 17 W. 4Bth St., N. Y. C. 36, N. Y. publisher or to the composer. violin." To this Paganini replied : ...... 1.11 ••••••• 1 ...... "Thank you for your invitation , at but my violin does not dine." Kreisler's sense of humor made :leaChing- pieceJ what's neW a victim even of his own hiogra- new Rano pher. A recent book on Kreisler Harold Bauer made an even II quotes him as follows: more pointed reply to a music "L ADVANCE OF PUBLICATION OFFER loving hostess: "I greatly regIe t es Jeunes au Piano that I must decline your kind in ALEXANDRE TANSMAN 1\ ~f "Even today, the Coppelia 'Waltz by B y N leo L S S I, 0 N 1 SKY vitation to dinner," he wrote, "but is often played. Well, I can truth- composer of "Pour les Enfonfs" These books arc 1I0W ill IlI·cIHtr:ttioll. ] have hurt my thumb." fully claim that the motif is mine. Vol. I Mirelle & the Animals Order's arc Hmtted to two copies pCI' hook. Delibes liked it so well that he Vol. II Marianne at the Newsstand Please send remltmnce with or-der took it into his ballet unchanged." • CTIAIKOVSKY f\ '\0 NU..:1l0LM' a smu!l ('n11UII to\\/1, Elilaringthe Vol. III The Ima9inary Busride (Cheek 01' monev or-der i-equestcd) , Well, Coppelia was produced in T RUBINSTEIN at one time "lived J~J'()gram \\ ith n local pianist. Vol. IV In the Telescope As each book comes off the I)1'C55, 1870, and Kreisler was born in AVEL was very strict in regard in the same house in 1\1108cow, I opper w a hflrri6cd \\!ICII th • • e 1875. He must have been indeed delivery (postpaid) will he made. 'I'chaikovsky on the second floor, puuust. n small be..pcctacled fel. R to the quality of his own Each Vol. $2.25 printed in France precocious to write such a j oll y music. When the brothers Rodolfo Rubinstein on the first. T .ha ikov- 10\\, placed the mucic on the lliano tune at the age of minus five! sky was working hard. and JC'i1 rn -k, and proeeedcd 10 pIn) Bee. and Ernesto Halflter, Spanish com- ASSOCIATED MUSIC PUBLISHERS, Inc. posers, visited him in his Paris very much offended that Rubin- ~~)0\ ('n. \\ i~h al (nf'iouc;, \\ roug notes. 25 W. 45th Street New York City 36 villa in the 1920's, Ravel was work- stein never asked him \\ hal 11" I h pWIlI't1 rcnlir.ed him~l( that • (0' your locol dealer) ing on a manuscript. He kept wa~ composing. "He knows very hiq p rfornuHwr \\1111 lIol of Ihe bartok IS easy! shaking his head. as he went on , well that I'11l writing SOrl1ething best, anfl. in 1111"'green·room, re- URING HIS SOJOUHN in New Bela Barlok Compiled ond edited by Denes Agay and mumbled: "Pas bon-il faut YOU BE THE JUDGE- right next to hirn," Tchuikovsky marked 10 Popl",r apologelically: York, in the 1890's, Dvorak D faire du Ravel,"-"Not good-I complained to Klirncllko, a friend " ou kllow. thift Appnc: ..ionata is was asked to supervise the rehears· • • must do some real Ravel!" And Which IS your best buy In bells? Bela BarL6k, one of the four ()]" {j1'C great 111n51,cr5 of contempOI'ary who Llsed to slay 1n T 'haikovsky's If'rrihly hurd IH pill) otl'ighl." als of one of his string quartets, he tore up the manuscript before music, was in his yout.h a renowned teachcr of piano. Besides his apartment, "but he never exp" sse;: The second violinist complalm~d the horrified eyes of his visitors works in the larger forms, he produced several hundred piano any interest in my work. Aller all, • that a certain passage was unvio- pieces for children. For this collection ~Mr.Agay has selected 15 o[ f!I UJ tI TcanJlol force myself all him-my linistic. Dvoi'-ered inlo u nviolinistic." the Spanish musicologist, as fol· 410-41020 list price $1.00 Advance of Publication Price $.80 the l;onversalion. Rubinsl.C'in hf>· TC'haiko\ ....),.. 's car: ,,' must go-- LOW BELL-G LOW BELL-G LOW BELL- lows: "Mauricio Jose Ravell y came agitated and said: ~'Tehlli. \\ill 1l1l'C'1 ·oU at th "iI·lio/eea" fa below Middle C below Middle C F 2nd Octave Deluarte," spelling Ravel "with two kovsky is just like a brother 10 rccian iZl·d furm of Ihe Russian A tvoman adm.irer rushed to above Middle C l's, and adding the middle name SCALE HIGH BELL-G me, and imagine-he sits tlwre word hilliol(oca l- The word Rachmaninoff after his perform. HIGH BELL- HIGH 8ELL- lose and his mother's maiden G 2nd Octave 2nd Octave F 4th Octave and writes something, and never nmu~('(1 T('''{liko\~Ll "0 thai ance of the Second Piano Can· much above Middle C above Middle C thinks of calling me in to sho\v name, Deluarte. See cut below. above Middle C THEMES FROM THE GREAT he :111'110:-1 groan d from laughter, certo. "It is wonderful:" she his work. You know how much 1 and \\ itll hi~ lip~ lightl) com· gushed. "Who arranged it for Adequate Inadequate ORA'f 0 RIO S A,.,."ngcd ""d cdilN] hy l1p"r,' lA,,,i,," am interested in his music, and prC'!':-'f'd. ran out of the hall. For· you?" Rachmaninoff replied im· (The ink spot patterns above Adequate RANGE Acoustic Range Acoustic Range Acoustic Range perhaps I could give him some lunatel his C::t"(ll\,as in thegililery. passively: "In Russia, we com- Ravel's signature were caused by posers were so poor, we had to The Theodore Presser Company is pleased to present another in good advice as a practicing musi. E:O thaL his precipitous departure the paper being folded before th~ this increasingly p(Jpular series o[ ·'Themes", with Ml'. Levine's ciano It is too bad, because some orchestrate our own works.~l ink was dry.) Requires Requires \\ a!' not too (·O/l ..piC'UOU51. INSTALLATION Requires Tower ex~ellent arrangements for the pianist of moderate accomplishment. day his new music is bound to No Tower Massive Tower THE [:\"[} TIllS new colleeti

ETUDE-JULY 1952 ETUOE-JeLY 19> 11 A leading soprano of the sible, to judge from the recordings at.hand. tion must precede the introduction ~ licensing. WIll 10 What then can be said of the slllge.f5 TJus b~ a boon aspi. , singers and teachers alike whether lice ~ anterior to these? We know from the. wr it- concert stage and radio gives from her ings of the time that critics and audiences is established or not. It is high tim:~ raved about them. And here, too, number- task were undertaken and done. WHAT IS less people who never heard them ~lso rave This need was most emphatically undo. own experience many about them. In the circumstances rt would scored by an excellent and infnnn.ti seem foolish to have any opinion whatso- article which appeared in ETLDE (Au~ pointers which singers ever. Yet, it must be remembered, it was 1951), entitled, "The Decline of the Art01 the so-called Golden Age of Singing. Bel Singing," by Robert B a of England.n" BEL CANTO? Canto was at its zenith, and because of title of the arti Ie clearly expresse his will find invaluable what Bel Canto is, or was, there can be no point of view. There can be no doubtIIut doubt that vocal technique was very much the art of inging ha d lined. Butho, better than it has since been. By vocal my agr m l \\ith Mr. Boa ends. The technique I mean vocal production as dis- reas n h gal for th d lin lery&rongl, I Ii plea for tinct from musical execution and artistry. sub falHint m) ontention that e1arilYIlHi After And since vocal technique was so much agrc ment on terminolo ) ar ab~hlldf imperat iv . ' general agreement better it is reasonable to conclude that voices in general were better, musical exe- .\1r. 00 trnee I the decline of theall cution was better, and consequently, those of singing It> the di oppeoronee f fluriJ

f(,"(' the Studio and clarity who were artists were better able to 1 r - vocal must in mer nt open e mplo ject their artistry. In other words, it was sit i ns, nnd although he did 1101 ).!t. on the terminology easier for men and women with potentially plieitly, it (0110" quite unmi,takably fr.. great voices to develop into great inger his art icl thnt he regard th inginpl from (/ conference wil.h Eileen Farrell and artists. This was due predominentf y to n rid mu i· a good inging and er. and techniques the fact that differences and confusion on r Ier t it Bel nt. In other woro. as told 1.0 GWI.1Il/l· Asldl/.I/.d the techniques and terminology of vo al h I eli ve that the inging nf Roridm~" production were almost altogether ab nt. of vocal production. nnd Bel 111110 re nOIl\JUhU. There was one musical objective, Bel Canto, Thi bing it i n~t .' to u",,". based on one vocal objective, clarit y of stand wh he thinl the on of .ingingbl! tone. AU accredited teachers taught morc de lin d. TI '111 In hOle furgouen IlOl or less the same way and often met to. nUll! r U 01 rtHUrn "hpran " Ihe -intm A LTHOUGH singers never stop study- in i.l manlIer \\'orthy of public hearillg. At through tone alone. These are simply ex- by gether informally to discuss the vocal pr b. o( enrl i r oral rio. and the thnu-ond"i 1\.. ing, the time comes when official the same Ilme ] had to keep up my vocal amples of Idml one learns hl radio: each lems of their pupils. Some had student 'anl r... rolO the I n 'r, 8"i mu h ..intint lessons as such are over. On' his own, thr: work, shake off the insecurity of singing type of work hrings jls own problems, to- with better voices and more singing sen e, young singer is ready to go ahead with- of n rid Inll i mo be h .rd, 'IS I!Je for a vast audience, and learn to handle gether with the experience of solving them JOSEPH A. BOLLEW and some were better pedaCToCTues and out being quite sure where he's going. He en in rl Italian opera. \Thelb" IlOl myself and my work like a professional. ~and learn.ing from them! therefore produced better singers"" than, the is out of the studio but he~s not yet a pro- c' nl mporar of ratura~ tt ,I art as ~ This is all part of what we bracket:, some· After the studio. the care of your voice general run of teachers. But all teachers fessional-his formal education is done, what loosely, under the heading of experi- is your own Tf"sponsibility. It's wise to "DISTANCE lends enchantment" ex- a th ir pred '0 r nut. the ingflorid taught more or Jess the salTIe way. yet he has immense amounts to Jearn. This ence. And somehow· or other, the experi- remember that everything you do. in your claim young opera enthusiasts' when musi undo if "C u pt ~lr. e.o';tond The situation has changed drastically. is a difficult periodl and an important one, ence must be gained. ur inging B I unto. BUI con it be orid private 'life as well as In your practice they hear older people laud the superiority Very few teachers and singers agree on challenging the young singer to find him- lhat lh singing I nnrid mu ie. or I!Je My first ~uggestion to the young sjnger periods, shows in your voice. This means of the singers of their youth over those of anything pertaining to the techniques of self. today. agility it requir .. i I Canlo? To dM· fresh oul of the studio is to sing in public that the entire physical organism must be vocal'prod~ction. There is perhaps no other I had my share of this where-do-l-go- as much and as often as possible. Provided in good condition-this, in turn, means Nevertheless, our new generation is com. mine lhi • a d liniti n of Bel Conlo miN fie!d III whICh ~o much conflict of opinion from· here ? feeling~ ev.en though my start it is musically worthy~ any opportunity avoiding too many gay parties, keeping out pelled to admit that there is no galaxy as be reached. eXIsts on ternllnology and techniques. was unusually lucky. I began in radio. As will pro\re good-in church, in groups, of smoky rooms, gctUng to bed in time for bright now as, for instance, Caruso Mc- Despit the "ellcr of conRicting opinioo Many teachers of singing have voiced far as good music is concerned, the usual choruses~ summer hotels, small radio sta- proper rest. Many young professionals feel Cormack, Bonci, Battistini, Tita Ruffo, a Lo what it i . it ~ In::!' 10 me that iI a demand for licensing. The demand is process is to get into radio after one has tions. Nothing is too small for a public it's part of "the game" to rush about and Sammarco, Melba, Tetrazzini, Calve, Des- mean just \\.bat it ~~. i.e.. beautiful u~l~erstan~able. There are all-too-many in- asserted himself elsewhere. IlIad done no start~ and each type of work brings its own have a wonderful time. It isn't. Of course, tinn, Galli-Curci and Kirkby Lunn, to men. singing. Bel anto r fer1! to th. ,'oice and dIVIduals In the field with little more to professional singing before I went to CBS, experience. I'm not suggesting that one give up all tion only a few of the luminaries of that 8n indi\ idual'8 manner of ~inginl regard- commend them than glib tongues, sump- and the development of my work grows I began before a microphone, without fun; simply that experience teaches you to time. Their records are here to prove it, less of the t pc of musi being ,"ng. florid tuous .studios and the means for more or out of what I learned and experienced there. audience~ and had later to adjust myself say No before the demands of the voice and although recording was in its infancy inging T f r to u t 'J>e of HM:aI mu~ir. less wlde.sc.ale advertising. 1\1any of them I have sung all my life. I studied first to audience communication. However, I force you to do so. After professional when they were made, they reveal a supe- The Ihras "norid singing·· although get very lllgh fees but are low in th . lIiddr with my mother who is a voice teacher and learned much from that little black box! sjnging of any kind. it is just as well not to riority beyond question over the leading bT h I elf us d, is v r - in pt 8nd mb.leading.it singers of today. a 1 Ity to e p the poor victims they entice. organist. I came to New York at nineteen. The sensitivity of the microphone increases do any talking whatever for at least an hour M~re often they ruin potentially wonderful ?ught instead to u the pllIa.se"the 5W!' After a period of study, my money gave the hazards of audible breathing. Though YDung people are also skeptical when or two. VOIces. But how can licensil1!l'" be· I JlJg f florid mu~i ,. whi b is e..uct and out and I ·went home, takil,lg a job in _a I had~ fortunately, never had any difficul- they hear singers of a still earlier period " Just y The care of the voice also includes if d cannot lead t mL onceptiOD!. . store to earn more. J n time I resumed my extolled even ahovf'. such artists. They have e ecte .when no generally accepted stand- ties of this kind, I still took special care, practice. Today~ I depend on two favorite ards eXIst and when quite a f h . A w-jtb all other t -pes of HK:al m~1C studies and presently I got an opening in a right to be. As a matter of fact their . ew onest with the result that my breath control exercises to keep my voice in good con- weII-meamng but quite iallor ttl It sounds beautiful if the singer h.. J the CBS chorus. Then, a month after my today is surer. more effortless, than it might elders should, in all honesty, be equally • 0 an eac lers dition through any emergency of singing not mfrequently do irremediabl I beautiful voice and can .ing beaulifulh-. twenty-first birthday, I was given a con- skeptical. They too never heard them in the . . e larm to have been with a different start. I gaim~d or touring. The first is simply a grand very pronusmg voices? (not the sam thing). aud sounds roth« tract as soloist at CBS. I was out of the flesh, and what recordings of them there in diction values, too! The ~111ike'is also scale-on MEE, I sing 1, 2, 3~ 4" on one Mr. Victor Alexander Field' II d awful if the singer does Dol poss ;;~ studio, my career had opened. That's when sensitive to explosive sounds; consonants are were among the first ever made. These " s 've - ocu- breath, holding 4. as long as I can ",iul. men ted b 00k Trainina th S· . V. beautiful voice and does not Imo,' hot the real work began! are very poor and what can be heard of J ' 0 e IngulCT Olce" which are badly attacked come out with a out forcing. On a fresh breath, I si ng to sing beautifully. had, of course, studied reperto·ire but the singers hardly warrants the paeans they s lOWSthe alarming extent of t1 d?if ' J "pop." So I had to watch enunciation! from 5 to 8, again holding 8. Then down d f' le 1 erences nothing like the amount of material re- were accorded. There are reasons for be- an con USIon that exists even amon II If the singing of 8 rid mu.ic isBd And there was the matter of communica- again. I repeat this exercise several quired for thirty minutes of singing every lieving that, in the main, they were better, known and respected teachers d? we - Canto, OT in oLher words. il \'(»<:81aglhty tion, "\'i/ith no audience reaction to guide times, hut never carry it further than I' b' an sJngers week. Songs and arias were suggested, pro· but it is extremely difficult, if not impos- t IS 0 VlOus that agreement On terroi' is Bel Cauto, it would naltually folloWill. me, I had to be more than usually alert in one octave in my middle register. It is nology and the techniques of vocal produc: the. singing of ev ry coloratura. erery ~r" grams were planned, and I had to learn building interpretations that would convey extremely helpful for breath control, for tono siuger, and (Continued on Pog,;6/ thern~also, to learn how to produce them the fuB meaning and spirit of the songs tonal focus, (Con/inlled on Page 56) 12 ETUDE-JULY 1952 13 ET DE-Jr;LY J,.j: International Dictionary," a carillon is notion of bell-chimes, in this country at series. It is imperative, however, that what- "An instrument comprising at least' two least, where only the melody of a song or ever series of overtones these unnatural octaves of fixed cup-shaped bells arranged hymn could he -expressed, in a dirge-like instruments do possess, they must either in chromatic series and so tuned as to pro- tempo, one note at a time. The hells of be very few in number, and these must be Ear! B. Collins (Jeft) ol'g~lIlil'!t fi!'Sl P,'cshy1cdnll duce, when many such hells are sounded such instruments were-and still are, of harmonious-or, if the series be compll- Church, East Orange, N. J.~and (right) the u.ulhor together, concordant harmony. It is nor- course-too false to allow any other type cated, it must approach as closely as pos- of this al·tide with Dr. I uu.l M. Oberg, Dlr. or mally played from a keyboard which of music. Since the time when these bell- sible the series of natural harmonics. 'i\twi<' Uni". of Mich., at the console of the • .e , He il . D II n And to the class of instruments possess· SchldnlCl.ich 61-nolc .11'1 OOiC C ~ controls expression through variation of chimes were installed, our musical sense touch." concerning hells has developed. Musicians ing an extended and complicated series o-f and the man in the street alike often re- overtones, or partials, the bell belongs. Another definition of "Carillon," also mark now-a-days that the old chimes sound As with any vibrating object, especially listed in "Webster's," reads: "An instru- out of tune. They are quite right. But some one which generates a musical tone, the ment capable of creating electrically ampli- musicians, those' who know only this older sound of the bell is made up of a whole fied bell-tones by striking small variously (for us) type of bell music, are wont to series of tones in harmonious relation- shaped metallic bodies arranged in chro- classify ben music in general as "something ship. It is these overtones which, in their And What About matic series of two octaves or more and old, archaic, perhaps charming at times, particular position and intensity, give to so tuned as to produce, when sounded to- but still quite some distance from being the hell its timbre. We shall have all the gether chordally, concordant harmony exactly musical." They are wrong. Nothing more respect for the perfectly tuned hell- which is comparable in timbre and volume could be farther from the truth! and for those founders who make them- to that of a carillon of cast bells. (See Returning to the definition, the bells of once we understand that nature did not the Electronic Carillon? Carillon I in Dictionary.) It is normally a carillon are so tuned as to produce hur ordinate the series 0/ overtones in the Bell, played Irom an electrically or mechanically mony. Therefore, they are not just any as she did do in the case of the string and bells; they are tuned bells., A.nd what is a the pipe. Man himself first had to <1is· tuned bell? cover what form of bell embraced the most musical series of partials, and then he had In considering this question, we must to learn how to control these partials. disregard the traditional chime of bells. Pipes and strings are exceedingly simple Certainlv many times an effort has been in form. When they are set into vibration, made to see that the bells of our chimes they automatically divide themselves into are more 01' less 'in tune with each other, their several harmonic partials, each a The Bell-master of but in such a series one bell often differs ratio of the fundamental. When a plano enormously from another in tone quality or organ tuner tunes his instruments, he Princeton University and thus may belong to a tone family en- listens only to the basic note, the funda- tirely different from that of its neighbors. mental, and tunes that. Little does he makes a corn paris on So ever-y hell sounds just a bit different. worry whether the octaves, the thirds, the of the two types This is due. of course, to the differences fifths, preserve their places in the series in the partial tones of each individual hell of overtones. Nature herself takes care of of carillons- -differences in pitch, and also in the in- all that. tensities of the all-important partials. These Cast Bell and Electronic- chime bells are not in tune with themselves, Tuning a bell does not come so easily since the series 0.£ notes of which each bell . to the bell founder. Each one of the tones .with highly interesting and is composed is discordant to begin with . in a bell can vary .in its desired position. To understand just how this can all he, Indeed, they have no position until man informative results and to appreciate the perfection of a tuned masters them and puts them there, care- bell, we must first review the basic rules fully turning off the metal on the inside of tone itself. of the bell and stopping every few minutes by Arthur L. Bigelow Vie define a musical note as one made to check his tones. If he should go too far, up of a harmon ius series of overtones. The if he should tune even one partial too low, tones of a string and pipe are composed the bell is lost and must be recast. of noturol overtones. or harmonics, since So, to answer a question asked previ- Manual clavier- for cast ben Cm-ilfon by nature they divide themselves, when ously, a tuned bell is one which has had Sclmlmel'iclt 61 I "C I. producing tones, into two parts, three parts,' .J -no e :l!"i .Ionic Bells," Flemish type console all its partials put into pleasing relation- NTHIS DAY and age We often hear four, five. six, seven, eight, etc. parts, and ship to the "fundamental, an infinitely me. be more desirable in a particular instance operated standard keyboard, and dynamic each part is in perfect ratio to the funda- ticulous task. A perfectly tuned bell is often expressed: "It is the result that counts, that ruauer-c-« ith '·1 I reler--·'. without than the other? expression is achieved by electrical or Inot the medium by which it is achieved." mental; each part vibrates separately and described as a "perfect" bell, and it is a Let us compare the two and judge them all intimate kllow)ege of all points com- mechanical means. Often loosely called In our modern world we have discovered lends Its own harmonic tone to the note credit to any founder .who knows how to fairly, the one in the light of the other. parable and aU issues involved. not only electronic carillon." that a same result may be obtained by and thus helps to establish the timbre of achieve one. Let .us concede to each instrument all its shows his utter ignorance. but also elassi- It is readily understood that the carillon different means, and that one particular that note. What are the partials that the founder ~ents, all the points in its favor, weigh. ~es himself a pre] udiced and unfit to is an instrument of a good many bells and way lllay be more appropriate under cer- concerns himself with in making a perfect lllg th~m both .together. Surely such a ~udge, Ior there are usually man)" things one upon ·which not only melody but also tain circumstances than another-though But it is generally not known that a bell? How do they compare to the series companson, car ned out on a disinterested JI1 fa~or of each side of a question. How varied harmony may be played. In short, both ways are equally commendable. musical tone does not have to be made up of natural overtones? and scientific bas~s, can only result in a does It sland wilh the carillon? it is a musical instrument, capable of ex- The carillon is a good example of this of a harmonic, or natural, series of over- Looking at nature's overtones as ex. better understandmg of the two instru. Let us start Our discussion \\ilh lhe ae- pressing music as we know it, feel it, and situation. What about it? Is it true that tones. In fact, a good many of our instru· pressed in strings, pipes, reeds,-the so. ~nents and he of value to anyone interested ~ejJted definition of the two ill5"lrumenli' write it, complete with all its scales, electronic hells and cast bells can both ments Olye their particular appeal to notes called "natural series" of harmonics---and III b.eII music. Anyone who begins a dis. lIlvolved. According to the definilion dra\fn arpeggios, chords, and jzdl harmony. achieve the same effect? Why would one which are made up of a series of over· the series of overtones in the ben, we find CUSSlOn of the carillon-or of anything, {or up a~ the Carillon Congress held at Prine; This is indeed a far cry from the old tones which do not conjorm to the natural that there are some (Con-tinned on Page 62) lon JIl 19~J6 and acc..:epted by ··Wcb~ter;: 14 ETUDE-JULY 1952 15 ETUDE-JULY 195] ....._------~ HERE ARE countless centuries of background to establish the On Being a Concert Artist T fact that men singing together began all music. When John Tasker Howard was asked for an early example of men singing together, the eminent musicologist considered the question gravely. Then he came up with: "How about the Last Without a firm belief in tlie vital significance of Supper: 'And when they had sung an hymn'? I doubt that there music to his fellow men, the were any women singing around on that occasion." , We who find joy in male choral activities are carrying out the young artist has nothing to hold him tradition of countless generations of singing men. From the Glee- men of ancient Britain, the Troubadours of France, or the Master- steadfast through all the tribulations iruiirlenlni to singers of Germany, we have a priceless heritage; and where is the man or woman today who does not thrill to the ringing tones of a launching a successful concert career. male chorus? Men have always sung at their work and at their play-whether it is a finely trained Glee Club or just a crowd of old pals meeting together, inspired by that same impulse to express themselves in the universal language of song. by BERNARD KIRSHBAUM The writer is an avowed fanatic on the subject. He has discov- ered to his astonishment that there seems to be no volume pub- lished concerned exclusively with the history and development of achieve Iamc, wealf h, till 1 glory. 1BIly arc FYOU WERE asked to make a list of true object-my great object-already at concerted male voice singing. For some years past he has been as- concert pianists, whom would you put led to trtv tov ard h .oming '011 'crl pia- I the age of seven, was to be useful to my sembling what is turning out to be an incredibly large mass of clown? Josef Hofmann, Vladimir Horo- nist ir own country, which was then, as you know, becuu c or the ro y pietur th matcrial that gives conclusive proof (1) that men sang first, and witz, Robert Cusadesus, Artur Rubinstein, imagiuntion c ujurcs up of th wonrl 1'8 partitioned, having no existence of her own or (2) that they have a place in legitimate music. (The author hopes Alexander Brailowsky, Jose Iturbi, Rudolf and very oppressed. My great hope was to such a IHe. Th Inl ulcus urns certain ar- sometime, to attempt the chore of assembling this material into Sorkin, Egon Petri, Andor Foldes? You become somebody, and so to help Poland. tists have realized r rom 'on 'crt tours; book form-already he has collected a list by reputable composers "will immediately think of additions that That was .over and above all my artistic thr-i r hn t or ndmir rs in nil J> rts or the totaling more than 2000 titles, and the list is still growing.) would extend tI~e list to over .3 hundred aspirations." Padercwski was also strongly world: their way 0 er their 8udi ncC'!in To find a major premise that vocal music came before instru- . names. What would be your basis for de- motivated by the desire to make other-s which the)' app nr nlm st god-like, intnxi- mental music-and this should be axiomatic to anyone-let us ciding who should go such a list? The 0;1 happy. "I wish to see ever-y one happy, cates the UJ1;,u:,pccling ,Iud ut, nnd h is refer to Curt Sachs' monumental work, "The Rise of Music in the requirements might be that each must have The bovs give forth. Standing L. 10 R., J. Fred Ran, Bahimore; smiling, and enjoying himself." But deeper led to bclicv that that is nil there i to Ancient World," in which he avers: "Music began with singing," Paul B. Smith, Svrucuse; Rcinald WCl'l'em'ath. At the piano, given a successful debut concert in which still, we find strong convictions 011 the being an l1tti"t,-that, and n Hili prnctice. LewisJ. Marsh, Rochester'. How far back can we trace civilized music? The New Standard the critics acclaimed his artistry; that each place of the artist in music. In a chapter he In his {ream». h Q • 011 thi~ herallinrr Encyclopedia, in an article about ancient Babylon, states: has been recognized wherever he has played contributed to .Tames Francis Cooke's hiut, and, \, itltoul reuliaing ,dHI! he i "The Wolfe Expedition obtained more than 50,000 tablets and as an artist of the first rank; that each is Croat Pianists on Piano Playing, he 8ays; doing. \ \\8 to civ hi all to\'ard attnin- art objects in Nippur and determined approximately the period of acknowledged by the music-going public as " ... the public is generally inclined to ing ;-:u·h n IH . or 1 ('ri ..11 in lhl' nU<'mpl. occupancy of the site by the depth of the debris, placing the city's being "tops" at the keyboard; that the look upon all art wOl'kers as idealists con- The Male Chorus- \low or all the fa -.tor~ lIlUt can hinder beginning, at the lowest estimate, as early as 6000 B. c." name of each is indubitably associated with fined to a narrow road very much apart a ~LlldclIl from h{'('ornil1~ n concerl pianist. Again, Curt Sachs, who is the authority 011 ancient music, writes: piano playing. These are mere suggestions. from the hroad pathway of life itself. As a nOlle j:;: Illor<' hli~ltt ing ilion th gro\lIh or "The oldest records of organized and systematized music are Su- You may think of other factors wldch are matter of fact, the art-worker never ap. a false 'once-plion liS to \\hot /,luch tI lire merian and Egyptian. Sumerian texts written in the third millen- of far more "worth in determining who shall proaches the great until he has placed him- invoh C~. Othf"r ru<;tnrs cnn Iro\-e more The Step-Child of Music? nium B. C. (i.e. 4000 B. C.) speak of ecclesiastic music; in the go all such a list. self in communication with life in all its di~lret:'51ill~r at the mom nl. nnd nun' ,"en great temple of Ningirsu at Lagash, a special officer was respon- What we understand to be implied in wonderful manifestations." force the abandonmelll of nn ho,X:S or a sible for the training of the choir, and another for the training of designaUng a person as being a concert The sincerity of the artist in h_is ap- career, but in the long run, thnt Hudent A strong booster for the male chorus presents several classes of singers •.. The guilds of the temple singers at artist wHI determine whether our lists have proach to his work is clearly revealed ill will go further \, ho hus a renli ..tir under· pertinent facts .vhich should give the reader a last became a learned community, a kind of college which studied many or few names. It obviously implies the statement I){ Buson'l as regards his own standing: of tht~ r("~pon~ihililies onr r3ces keener appreciation of all such organizations. and edited the liturgical literature." that such a one gives concerts, playing the recitals; "At my own recitals no one in the in {Icciding to hecome 3 concert artist. If you are interested in definite background for male voice sing- works of serious composers. It also implies audience list'cllS more attentively than I The quotations from Pndt'rew~ki and Reinald Werrenrath ing during a still later period, here is a phrase from A. Z. Idelssohn, he is professionally engaged at it and con- do .... I have learned that I must con- by Busoll-j c-.;:prcss c1('arly thc uling that are Professor of Jewish Music, Hebrew Union College, New York City, siders it his occupation. He may prder to tinually have my mind alert to opportuni- of importance in the gro"lh of an arli5t. referring to the Temple of David and Solomon: "Participation of be known as a musician because he com- ties for impr~vemeJlt. I am always in quest There i!3 lIothing ahout them thai tht' ima~i- women in the Temple Choir is nowhere traceable." Mr. ldelssohn poses, conducts, and engages in other musi- of n~\V. b~autles. and even while playing in nation can find u8'eful for con ocling rosy writes in another part of his exhaustive volume: "Women are ex- cal activities besides piano playing. public It IS possIble to concejve of new de- colored \'i~ion;;; of Ii, iug in a hil!;her strala cluded from participation in religious music." It should imply a certain attitude of tails that come like revelations. J never mind toward the place of 111usic in society, than the m'eragc mortal being. Wide menial From the Bible, we read, referring to Moses' song of deliverance n~glect an opportunity to improve, 110 mat- \'i5-ioll. often referred to as breadth of out· from bondage after the passing of the children of Israel through for without a firm belief in the vital sig- ter how perfect a previous interpretation nificance of music to his fellow men. tIle look. is the outcomc of ~rious study in the Red Sea: "Then sang Moses and the children of Israel this may have seemed to me. In fact. I often 0'0 all branches of human kllo\~jled"'e. young artist has nothing to hold him stead- (~irectly home from the concert and pr:c- song unto the Lord, and spake, saying, I will sing unto the Lord, fast through all the tribulations that pre- tIce for hours upon the very pieces that I The majority of arList5 1118; not hold foi he hath triumphed gloriously." As David Ewen, author of cede the launching of a successful concert college dcgrce~_ hut the, hayc read \\ idel\'. 'lHebrew Music" says: "Moses immortalized the event with a song have been. playing: because during the COll- career. Paderewski, like Chopin, was urged cert c~rtaU1 new Ideas have come to me. al"p keen oht:'en"ers of .;ature and or man· -the first Hebrew song in history, and probably the first song in onward by a deep love of country. Speak. These Ideas are very precjous, and to neg- kind. are intere5ted in a wide range or ac- the history of music." ing of this in his Memoirs, Paderewski lect them or to consider them details to tivi.ties. and ha\'e a warm spnpalhy ror In view of these authoritative statements, it becomes apparent says: "I may say that I had a real ambi- be P?s~poned f?r future development wou lel thclr fellowmen. From lhis comes a breadth that verification is given to these points, (1) that vocal music tion to become an artist (speaking of his be ndlculous 111 the extreme." of vision that mere attendance at coIle~e came before instruments; (2) that men singing together made a boyhood). I perhaps did not realize it then, Ther~ .is a tendency among students to often fails to develop_ They are constantly system of harmonic and melodic schemes in prehistoric times; but there was working in me some inner romantICIze the life of the concert a t" t aler~ to .opportunities for impronment. un- and (3) very few listeners are aware of the majesty and charm force. I was sure that I would attain some- d' . . rIS, rca mg mto lt one pleasant triumph after ceaslt1g 111 their :-earch for new beautiC5. and offered by male choral music. thing, and it must be said now that my another. They see in it an easy way to never completely satisfied. no matter how L. to R. Miklos Schwalb, Reinald Werrcnrath, Harry Reginald We can discount the recent vogue of SPEBSQSA (Barber perfect a previous (Continued 011 POf!e :)9) Spiel', Geoff.·cy O'Hara, Harold E. Hartman, Franz Born. Shop, to you). That is fun, or used to be, when we youngsters schein at a concert of the Mendelssohn Club, Albany, N. Y. sang "Swipes" at Boys' High School, (Continued on Page 18) 16 ETUDE-JULY 1952 ETUDE-JULY /9;1 17 • ... ~------~.----

Continued From Page 17 A sl1wll·town teacher Here is a fine, practical idea, the adoption

Brooklyn, fifty years ago. Some of us still (who prefers to remain (/Ilon)''''Olls) of which uiould bring the touring artist enjoy harmonizing in hours of relaxation. reveals the sound !>hilosophy There is plenty of background for that sort of improvisation, since the modern glee which has been the guiding inflllellce club is the direct descendant from the Lie- closer to his public and render a genuine service derstafel, "song-table," reputedly founded throughout the crowded years of a blLsycareer by Carl Friedrich Zeiter, Berlin, 1308. But, to school musicians. It is truly like the Apostle Paul, most of us who have tried heartier fare, feel: "When I was a child, I spake as a child, I understood as a child ... but when I became a man, I put away childish things." (I Corinthians, Mrs. Music Teacher Speaks XIII, II.) A Challenge to the Concert Violinist To those who would state that there is no worthy material, the writer maintains OES YOUR CHILD take piano les- ciate the rec Ill» 11$ in tca 'hing (or its by HENRI TEMIANKA the contrary. There are magnificent male D sons? If he does, and if you do own akc, that I wn nev r on .ious choral works that are seldom now per~ not live in one of the larger metropoli- of suffering (rom the disappointment of formed, a Jist of which this writer has as- tan centers, it is more than likely that broken iIIusi ns, THAS OFTEN seemed to me that our tist regards this program as so highly im- for the local teacher, further strengthening sembled without much difficulty. Of seventy Ceraldin unv iu Ingl ignited the lat- your child studies with a teacher who is Iconcert artists, particularly those who portant, that he wishes to be linked ann the latter's prestige by his whole-hearted such works he is personally familiar with finding time to pursue a mild musical cnt tea hing spark which hit never are interested in musical education and associated with it. And the immediate re- endorsement of the teacher's aims and about ten. These range from Beethoven's career, while she also manages to be a n d I rekindling .. he \\8 mv hr ..r have some experience in it, are missing out action of his local readers and listening methods. "Song of the Monks" and Cherubini's wife and mother as welt. 1 am one of pupil, and I had n grcnt d -ire to prO\• on one of the most vital services they could audience is bound to be that it is important The press can be invited to report on "Mass in D Minor" through Brahms' "Ri- this large anonymous group. I have myself \\ ith her, beenu ...... he h the perform for others and themselves. In the to them, also. these get.togethers by word and picture, naldo" and Liszt's "Psalm 18" to com- been teaching music in a small town for little i 1 r f on of m . cia smate«, I course of a season, they will stop in eighty But the visiting artist-teacher can do and the students, finding themselves tern- paratively modern works like Malipiero's twenty years, and count the hours I have was at that time inexperi need with ehil- or a hundred towns, play every time for much more. \Vithin the time limits of his poraril y the center of public attention, "San Francesco d' Assiai," Poulenc's "Chan- spent in this companion career to my drcn, and if Thad known ahout Intel- two or three thousand music lovers, and stay in a community, he can offer to visit publicly linked with their teacher and the son a Boire" and Florent Schmitt's "De marriage career, equally rich in expe- ligcn c Qu t i nts in those do • I am completely bypass one hundred thousand one or more schools, and, if he is a string artist, witt begin to find as much or more Profundis. " rience. Now that my own children are sure 1 would hnv rmed her ver low: others, all potential music lovers and con- player, attend string rehearsals, accept in- glamour in string playing as in any other If the digest of the previous list of sev- grown, I can still share in the most actually ali that \HI the matter wirh her eert goers. I refer to our young people. vitations to talk to the students, conduct a occupation. enty seems too stiff-the seven named are delightful privilege of friendship with was that she WlIS onlv ven 'CM ld. Thousands of public schools throughout rehearsal. To the students this is of course Nor is the accent on glamour alone. The only a sample-possibly the following young children and at the same time Her parti .ulnr pr blem \\0 thai he the country have instituted instrumental a tremendous stimulus, lifting them out of experienced artist-teacher has a great deal ones may prove more attractive and less keep well acquainted with rny old, favor- could not lell lh lilT ren bet-,cen a training for millions of youngsters. While their everyday routine and bringing them to give to teacher and student alike. I have formidable. They are selected with care, ite friend-the piano. linc and a spa ; in on quencc, the the methods used and the level attained so into personal contact with the visitor to never yet met a colleague from whom I and have been performed under this writ- Six-year-old Michael has been coming musical slafT \\'llS n omll \: UlOIt r. far may be subject to some criticism, I their town. Often the resident teacher has could not learn something. This works both er's direction over many years. One organ- to me for piano lessons for a month now. Under landing th line wn n t too had: have found no one to deny that here is an found his students slow to act on certain ways. For there is no doubt that the visit- ization alone produced more than one hun- His energy was too big for the room; it was that po e-pcrhap. it \\ the unprecedented opportunity to raise a new suggestions. The visitor, briefed in advance, JI1g artist-teacher with his fresh approach dred male choral numbers which had been he came in as if he were entering an "not-theren " (it Ih t 'h8. I nIDing. generation of men and women who will can direct his remarks towards these points upon his arrival in a community, can be brought to his attention. Among these, the arena, the piano his opponent. I acted That spa c belw 11 lho I\\() lin . was love and understand good music. and thereby provide strong moral support of considerable (Continued on Page 51) following American choruses are worthy of as referee during the half-hour roulleI. apparenlly 1LS inlangibl a .11 .pace it· The obstacles are many, and the one notice: (These are all original compositions I have known many of his counterparts, selI. The not . di.p rl ing Ih on I, most frequently mentioned pertains to the -no arrangements.) but I always experience the same thrill wantonly on any old po ilion, line or string instruments. Ecce jam noct£s-George W. Chadwick when I have captured their interest, and space, c1utler d th whole thing up e\'en The complaint is heard, not without rea- Margarita-George W. Chadwick can begin to instill in them a love of more. A year passed. ea b week marked son, that the string program is supported Bugle Song-Dudley Buck music, as well as initiate them to the by a half honr trnggl "ith Geraldine: far less enthusiasticalJ~r~ by students and The Crusaders-Edward MacDowell rudiments of piano playing. My now suddenly One day sh understood what parents alike, than the band program. The Dance of the Gnomes-Edward MacDo- tractable Michael is reacting favorably I had been talking about for so long. argument advanced is that there is more well to my efforts, and I am knowing again "glamor" and "excitement" to hand play- The Lamp in the West-Horatio and this first triumphant f ling of W. the contentment of guiding a child into ing, what with public parades. uniforms, Parker accomplislull 11t OOn modified iL-e1f the soul-satisfying realm of beautiful football games and dances. Thanatopsis-Joseph Mosenthal into a gellujne and compl Ie inter ~t in and inspiring music. teaching. Well then, let us supply equal glamor Regret-Charles B. Hawley .I don't think my ideals werc quite this and excitement to the l'tring program. An Break, Break, Break-John Hyatt Brewer The human side of pinllo leaching hIgh when I was an eager girl expecting artist of standing who visits a community Bedouin Song-Arthur Foote should not be o"erl oked. 1 beli ,e lh.1 to astound the world. I remember think- for the purpose of giving a concert, is usu- Lochinva.r- William G. Hammond the relation hip b tw n a music teach r ing t~lat ~eachin~ would be a way of aUy the object of a good deal of gracious At the Play-Cecil Forsyth and a young stud nt differs ~ mc\\hat markll1g tune untIl my inevitable arrival hospitality and publicity in connection The Bell·Man-Cecii Forsyth fr~111 the relation hip of a '"' hoolleacher as a concert performer. Oh, I doubt that with the event. If~instead of directing all w1th a member of her class. Going to Sea Fever-Mark Andrews I went as far as thinking of it in terms this publicity towards himselfl the artist NolV Sleeps the Crimson Petal-Mark: ~chool for the average child is like eal· of national importance, but I was vouth_ shows his genuine interest in the public Andrews mg bread; music lessons are like cake. fully confident of at least modest fame school string program, he can channel The Musical Trnsf,-Wll1. H. Clokey The occasional child who does not like in my own city. However, even moving much of the public interest towards that Scandia-Samuel Richard Gaines cake is the music teacher's failure. ~Ian to thIS much smaller city did not grant program and render a considerable public A Hymn of Freedom-Eric Thiman times these are the chjldren whose am- me the ful.fillment of this aspiration; I service. To begin with, he should call at- The Aristocrat-Harry Spier b~tious mama want them to pia)' lhe hav~ remamed a tadpole who has never tention to the string program in his press City of Ships-George Mead plano for whatever prestige or persona] achIeved big froghood in even a small and radio interviews. This will have a Salutation of the Da,wn-Harvey Enders elegance they Laney ,dU be derhed from puddle. After a tirne I began to appre- strong psychological effect. For the inescap~ (Continued on Po.ge 64) their know_ (Continued on Page 52} Young musicians such as those shown in this group, would be greatly cncoUl'aged able meaning to be inferred is that the ar- by meeting with visiting artists in the manner hCl'c set forlh by MI'. Temianku.

18 ETUDE-JULY 1952 19 ETUDE-JULY 19j1 With careful guidance, it is tivities. So this year I inaugurated a Quiet possible to slww child,.en how to have Hour during the lunch period when stu- dents can get away from the noise of the SUMMER outside world and sit quietly, relaxed but attentive to the music that is presented. During this 20 minute period every Mon- FUN WITH RHYTHM day noon we bring them the music of the SCRAP· masters. Sometimes I play, or a faculty member or student plays the piano or vio- Public school music lea [i ers are findin lin, or sings. The doors, guarded by my Piano Club boys open at 12:55 and close that it pays to pro ide the "i/d BOOI( promptly at 1 :00. A maximum of 75 listen- ers is permitted to enter, since we want to keep the group small and intimate. Many By GUY MAIER 'with oPpo,.tunities [or '-"ythmic o "!JrI' ion students who are not in my classes come Stray Notes also. It is gratifying to note that when they meet me in the corridors they inquire when we will have the next Quiet Hour. Our by CATHEIUNE FllASETTO I( ~ ILL Y from lanches of sound .... And pianists have principal heartily approves and sometimes become too dependent on these masses of attends also. The programs are unpreten- notes. Thin-textured music frightens and Here and There tious of course ... short compositions of t!l frustrates them. ID YOU KNOW that we have added well <.IS the ear. He asks himself, "Wluu is \ (kr ~\ t·r,,' rqJChhulI.., ... ""'.... Chopin; a program of the gigues, lively Isn't it high time now to train our ad- _ another "H." to the 3 R's in educe- the music telling mc ?" Thou he ~11O":.o\ tln- \ ukc 'h ill SU up ,:lIuldo" preludes, ga vottes, etc. of Baeh; one of D A REST FROM MUSIC vanced students to play music in which the lion? "R" for rhythm is the latest addi- through physical movement what he has lite d,ilcl re,llii h.'. Itt • 'Mozart the Wonder Chad;' another of notes are reduced to a rninirnum-c-two- tion. heard. In the child's imaginary land of to tu II... "Ill,nn, /I u. "..bt IrM Ii 'Humor in Music,' etc. o ONE can teach piano (or anything voiced Bach pieces (of which there are Since rhythm is one of the fundamental "make-believe" he walks with nuuumoth ..l..l·pl ic' 11 1"- iJ It), ) 'JUt L , It "Best of all, the students, age 12 to 15 N else) winter and summer. ]f you stay hundreds-all beautiful) and lots of Scar- clements in music it plays a very important strides like the giant in his story book. lie t1(l"ltiJ In il! Itdl'"...i are learning how to listen .... No whisper- on the job the year 'round you will "give latti, Haydn, and Mozart? ... These corn- role ill the musical development of a child. imitates the ferocious animals ill the jungle. until )UU hCl\t· er .. h-~I 1\1 ing allowed." ... lessons" but not truly teach. For at least posers wrote solid stuff in which the pianist Rhythm is not new to a child. He hears He romps with his furry Io rr-st It-icnds : How about planning such Quiet Hours a month in the summer, do not work at must hear and project the music fro III be- it in nature, in the home, and on the street. Chippy, thc chipmunk, Peter, the rubb it, occasionally in your neighborhood school? your profession. Forget music, take a hi nd the notation. The drip, drip, drip of the rain on the roof and many others. He leads the parade of A project like this would offer excellent trip as far away as possible from your is a vcry familiar sound; the tick-rock of the tin soldiers and he drives the tov 1 rain outlets for your own as well as your stu- home, or if you can't get away, just rest SMORZANOO the clock on the kitchen wall has held him that chug, chugs around the truck. And \re' nu f.1,i,.fit'l'1 dent's playing. It would not be difficult to on your porch or in some quiet spot near I am surprised by the number of students spellbound even as a tiny tot in his play- best of all, he rides in the saddle" ith his 11111. run, run t1ln, 'Ufl~ , n. enlist the school music supervisor's co- your town. But no teaching! and leachers who do not know the mean· pen. And how many times has he raced into cowboy friends. "nit... IInlcl. r rnyt .... ,..)4 operation. You would be repaid many times After or before this rest period take one ing of this much used direction. But they the house for money when he has heard Are you asking yourself, HOf ,,·IHlt {'c!II- 11'1' ,·hiltl. \r'~r \ f I for your efforts by the excellent publicity of the excellent and conveniel1t Workshop- can hardly be blamed, for if they look it the gay ting-a-ling of the bells on the ice- cational value is aU this 1Il0\-elllC'lll tn HILI. 1I1l1il..d th" I..... mip'bl this would bring to you and your pupils ... Refresher courses offered by enterprising up in "Groves", they will find a false defi· cream truck? Unconsciously, the child is sic?" Through aetive doing 31ld allen! i\ c Ii",' thi .. : teachers all over the land. This will not only nition. ("Groves" is full of Aagrant jnac· developing an awareness of tone quality, listening thc child grows in musical di~. SINS OF SYNCOPATION prevent stagnation but will keep you abreast curacies.) pitch, and volume by listening and imitat- crimination and knowledge. He learns to There are three "sins," I think: (1) . ,~ of valuable and stimulating new teaching It says, "Smorzando ... Italian, fading ing sounds about him. Most children like recognize differences in tempi, mood. and dynamically accenting the syncopated note_ processes not to be learned from books. away; same meaning as morendo." to imitate the whirring of the motor as the meter. When the music is fast he rUll~ cllld • ... Don't forget that any syncopation is Many of these are so experimental that their On the contrary, your Italian language plane dips and dives and soars into the he walks whe;} the music is slow. He learn:;:; already stressed by its apparent rhythmic discoverers haven't yet found time to set dictionary will tell you that it means, "to blue sky. They also like to jmit<.lte the pierc- thaI: rul.1n~ng lllusi: looks like this I J. displacement. Therefore to accent it sharply them down in black and white. You need smother, extinguish, blot out." ... In short, ing waH of the fire siren as the fire-engine and walkmg mUSIC looks Ijke this breaks the music's flow. If you must bang personal contact with these inspiring lead- the composer is saying, "extinguish your races down the street. Sl?w mW~ic that tells hirn to wait looks 1 ik~ out anything, stress rather the shorter tone The Jwtul'al rcaction to rhythm is pri- ers in the piano teaching field. This you tone, blot it or snuff it out (like a candle). thJS d, tillS d· or this Q. Can \rou think of before the syncopated note . - a can get best in the summer courses. . . . Don't let your texture fade away as in marily muscular. Even wc, as adults, are 1110re un derstan dable Or satisfying "-:.:tv to (2) Being in too much of a hurry to play stirred to activity when we l,cal' a band So, I advise you to send all your students morendo, but douse it subito! learn note values? ~ the syncopation Always take plenty of playing a spirited march. Our feet want "packing", and take off six weeks. , .. If Srnorzando, used constantly by aU com· The teacher Illay often place a rhythmic time before it. Sometimes raise your to step right along with the marchers in you do this you'll be a happier person and posers, shows how instinctively they under- pattern such as this On the black) , 'd wrist and "dive" on it, but withont accent- lhe parade. So h is with little children. ) J . JOal so a much better music teacher. ... Hang the stand one of the effects pecul tar to the l 1at t 1e cluld can see as wei L f 1 1 uation. Music which is well accented holds great _ • • < as ec t le expense! You'll reap that reward later. piano ... that of letting a phrase expire 1ll0\'ement III JnUSIC. A good example is the theme of the last ,Ippeal to them. quickly by suddenly disappearing" 'round movement of Bach's Italian Concerto: Realizing that children are virtually bub· » » J> » J> JI JI J\ THE THREE T'S the corner." If you listen carefully to the Bach for Technique bling over with a desire for movement and r r F playing and recording of concert pianists ~&. I I . physical activity, the teachers in our mod. Mozart for Taste you will hear how frequently and effectively ; ] )Jlg r 'IFf! I' F The child may clap oul the 1"11\ . . de. ern schools provide the child with many Chopin for Touch they use their smorzandos. pattern with his hallds 01' a f _ . - lhllllC a\'Ol"lte I ) opportunities for rhythmic expression. How instrument. r lyt lin All Three for Tone Bach's mUSlC is filled with such synco- docs she do this? In many ways. HBut, where '15 Beethoven ?" you ask .... A QUIET HOUR pations. Chanting the rhythmic patt - As early as kindergarten age the child · ern IS very The answer is: Beethoven for Throb, Thrill, From Mrs. Alice Kitchen, an outstanding (3) Leaving the syncopation too soon. pea Img to the child in add't' ap- is encouraged, stimulated, and guided to r, I Ion to bei Thrust ... Beethoven for every-Thing! teacher of piano classes at the John Adams ... Better to over hold that lower F, and Ine approach for creatillO" ","0 d- I ng.R express himself spontaneously and creative- f '" lor::; ane Inu,;;: Junior High School of Santa Monica, comes to rest on it than to quit it too soon. a an ongllla SonfT F ~IC ly through songs, dances, dramatizations, chants: o· 'or example, he TOO MANY NOTES the report of a fascinating project: Have you observed that good popular and rhythm and melody instruments. Aren't you tired of hearing everybody "Like all teachers I am convinced that dance players never deliberately accent ;. j. The teacher may playa wen chosen mu- j. j. .~ ,j. play pieces cluttered up with notes? Many our young people have too much stimula- syncopated tones? ... It's that smooth. un- nm .~ j. sical selection on tl1e piano or phonograph. '"" '" '"" '"" run composers, especially the "moderns" con- tion. In our school we have about 25 clubs, broken tonal Aow which brings to syn~opa. i i .." '"" The child learns to listen with the mind as w,~lk walk I ceal their lack of substance behind ava· also dances, movies and endless other ac- tion its exciting or alluring lift. THE END bold 20 ETUDE-JULY 1952 21 rr (3) that you have the courage to work hard MY RECITAL PIECE and long, to begin humbly so far as pub. QUESTIONS lication is concerned, to take suggestiolls "The other day as I walked past the O'raccfully; and to support yourself by door of a piano studio't-c-writes Ruth M. doing some other sort of work while you Burke of Portland, Maine-"a youngster nrc becoming a composer. Good luck! came out, all excited, went up to her mother -K. G. who waited standing by the side of her AND car, and exclaimed exuberantly: 'Mother, Teacher's ADVICE TO TRUMPET STUOENTS I got my recital piece today. Guess! It's The Flight of the Bumble Bee.' Needless • I am studying the trumpet, and I should to say, Mother practically squealed with de- Roundtable Iilrc to have answers to the following ques. light as she joined in: "Ihat'Il make a big ANSWERS tions: (1) What method to you, recommend showing. Remember how Nancy Brown -one tluu has plenty of finger e.rercl~ses: stole the show last year with this number?' (:1) HOH) much: time ought I to practice, "Since a teacher is really an educator, MAURICE DUMESNIL, Mus. Doc., discusses recital pieces, and how can I best arrange Illy practice Conducted by «snt. /17. CEliRKENS, sn-out composers. JIl Lhis rCl.ltJillg ulwu ys re- it seems to me that her rule is to consider what is good musicianship, and other problems. time? (.'3) Is there o"y sort of a cOlllpe· the pupil rather than the audience, pre- illnsic Editor, Webster's New lnternational late what yOll read to pJarillg or listening titian in playing lite trumpet, with a prize senting for recital whatever the pupil has Dictionary, assisted by Proj. Robert A_ to recordings of the actual music that was written by such composers as Bach, l luydn, for (he wi nner? (4) If!lun con I do 10 learned well throughout the season, driving should 1 turn them over /'0 someone else? elude yourself from the world and devote Melcher, Oberlin ColLege Mozart, Beethoven, Schubert, Chopin, avoid fatigue? I have been playing trumpet home to the parents this point all the while; ALso, could you tell me how one can be- yourself entirely to practical and mechani- Brahms; and, later on, Tchaikovsky and for three years, but at the cnd o] (UI hour's rather than dole out certain 'hit numbers' come a good teacher, and ijthere exist any cal studies, instead of multiplying your Mahler, and some of the living composers practice I am [otigned. Pica c a,(l'ise me. on March first and project them into the materials on the subject. Thank :you, ver!' contact with the musical spheres, especially including Sibclius. As often as possible fol- (.') W luu: else slsould I . IUd)' if I wnnl 10 pupils' menu for three months as 'my re- much. ~A. S. lfI., Massa.chusetts the chorus and the orchestra. [ollow a musical crrreer?-J. . Cntilarnia HOW TO BECOME A COMPOSER low the score as you listen to Ihe record- cital piece.' Poor psychology for the child." "You are not a good musician if you iugs of musical, masterpieces. Congratulations to Ruth M. Burke. I I am, oj the opinion that you can suc- labor through your work while anxiously I ,/0 uot ,,,y~eIJ know much about agree with the above. • jl1 any J10lUl,lj' people~alnwst as many as 6. From the ver-y bcginllillg, lraill your- ceed in giving your children a good muei- keeping your eyes glued upon your notes. want to be "concat pianist,,~"-haj)c fOld self to hcar mnsic with yOLl!'"inncr cal·':' playing the trumpcl, bUl my friend Profes· cal education, at least to a certain point. You are not, if you stop short and cannot me that they 'would like to be composers, that is, close your eycs and con<:entrate sor Arthur L. ~ illiorns of the hcrlin fac- OH, MISTER QUIZMASTER I know many instances where young people continue when someone turns two pages oJ and one oj I,he qu.estions that has been intensely au sOllie sllo!'t picce Ihal: you have ulty is not only nn cx:c lIent performcr bllt developed a fine talent under their father's, your music at the same time. But you are A pile oj recortls is on the table and asked oftenest is: "What 1nust 1 do to be- memorized, compelling yourself to "hear" he has had cxtensive c'"p riCIH'C in teach· or mother's direction. Should there be any a good musician if you can foresee what the quiz is going on. come a composer?" Let me hasten to state the music from beginnillg to end C\TCll ing trumpct and other \\'ind in~lrulllel1l3. unsuccessful ca~es they probably are due follows when you sight read, or if you can "Now boys and girls we are going to that although l ha'vc a fee/ill,f!,-that if I though no actual tones arc sounding. Now so I havc ask d him foJ' ad\·icc. t1nd he to a lack of cooperation and understand- get through a sudden blank in pieces which hear the 'Unfinished Symphony.' Who had time to work at it l might myselj be- copy the entire piece on stalI paper and has re 'ollllllcndcd th foil King material: ing. But this is the exception, not the rule. you know; in short, if you hold the music wrote it?" come at least a third- or fonrth-grade com· compare it with the prillted score~ nlilking (1) Elem ntary III Ihods: f{ubllllk Elemcn· How does one learn to teach? The an· not only in your fingers, but in your head One hand shoots up: poser, J ha've never worked at it sen:ously certain that what you have writtcn cone· lary l\1cthod for ornct or Trumpet. hy swer is simple: one learns how to teach and in your heart. "Franz Peter Sherbert." (Could that he becanse I felt that there were other things sponds exactly with the printc(1 score in i\. I.;'. Rohill~on, Hubank. Inc .. Chicago); through teaching. Experience is the wisest "'Play frequently the fugues by the great the same little boy who on the birthday of that I could do beller. But l believe l know cvery detail of melody, harmony, and even or Cornet Method, Book I, I Clifford mentor. However, may I recommend that masters, particularly those of J. S. Bach. r the inventor of the telephone gave out the at least some of the things that a 'Young notation. Lillya eM. M. Colo., hiellSo L (2) In· you read the following: Make his Well·Tempered Clavichord your latter's name as Alexander Greyhound person must do if he is to become a com- 7. Also fl'om almost the vcry beginning, termediate: Modern rban- 1. Jacome "'Ideas for Young Piano Teachers," by daily bread, for it alone will make you a Bell?) poser, and even though none of the Great carry with you a stub of pencil and a piece Bosworth. good musician." Comprehensivc ourse for or net or Trum· Quizmaster: "Right." Ones did it this way, I jeel t.hat I am out· of staff paper, and whene\-cr a musical pet, by Harvey . Whistler I Rubank. [ne.) "Piano Teaching: Its Principles and Inspiring words, indeed. They should be The symphony is performed and an· Lining what is essentially the right method idea enters your consciousness, \\Titc it Problems," by Hamilton. pondered by every aspiring virtuo!o. 01' Elclll ntary Studies for Cornet and other record comes up: for young people who live ht the world of down at once even though it may not bc "'How a Dependable Piano Technic Was Trumpet, by Herbert L. Clarke (Carl "'Now I will play for you two excerpts today. Here are the "steps": perfect or complete . .Later on, at your desk, Won," by Brower, and last but not least: SCALE PRACTICE I,'iseher). (3) 'Iethod for Cornet or Tnml' fro"m'Peer Gynt.' This music was written -if you still like your "ll1usic~1 idea"-- "Reflections on Piano Playing," by lsi· pet, by Ernest . WilJial11s. 1 bclicn' that by a great Norwegjan musician as inci· • When playing scales on black key.5, which 1. Learn to play the piano at least mod- make it into a song or a piano picce, or dor Philipp. you will bc ablc to secure any of thc.1:Cat dental for the play by that name. Who is the correct position. Should one ob~ erately well, and if you aspire to compose a part of some larger flinn, always ··prov. any good mu ic store, or [rolll Theodore was the composer?" . WHAT IS GOOD MUSICIANSHIP? serve the same one as in the scale.5 .!tart· for orchestra, study the violin as well. iug" it at the piano to make certain that Prcsscr Company. All voices together: ing on white keys, and stretch out the Start both as early in life as possiblc. you havc written on paper just what you In reply to your other qU~lioll5 I sug· "Gregg." • Could yon tell me what is mea.nt by fingers in order to reach? Thank you jar 2. Begin to collect recordings oE stand· heard in your imagination. Make the \\~rit. gcst (1) that you Iry to strike a proper Quizmaster: "Right. And now~who wrote musicianship, or being a good musician. the information. -H. S. D., Ohio ard .classical music and listen to this 111usic ten copy as perfect as you can so far as balancc among cxercise . studies. and pieces the play?" I often hear people discuss£ng I.he merits as often as possible both at concerts and notation is cOllcerncd, and thcn put if away during each practicc pcrlod: (2l that ~-ou No reply. of an artist, or read the re-view of a. piano I a&su.me that you refer to the practice .oy means of recordings. in yonI' desk! . of scales starting on black keys with the practice for several hal£.llOur periods a day "Well, children, he was also 'Scandina· recital Slating that the performer was a 3. When you are about fourteen or fif- :.::.By the time you arc about l\\-enty you C major fingering. instead of trying to do 5.c\·eral hours at viano He became famous mostly through "good musician." However, this seems a teen, take up the study of harmony under will probably have acculllulatcd q~it~ a ulle time; (3) that you ask your ~hol)1 this work. Haven't you ever heard of him? general evaluation of talent and I wonld The same curvature must be observed, the bcst availahle tcacher. If such a coursc nurnber of SOllgS~ piano piece:::, and per- as you use for the C major scale. The hand music teacher or supen·isor about COIJlI)('· His name was Peter Ibbetsen." like to know if there is a more specific is offered in your high school, bcgin to haps even a string quar~ct or a symphony. tition in your area: and (4.) that if yOll arc manner of enumerating the musical qzwli. must be transported forward and toward study harmony there so as to earn high Oh, Mr. Quizmaster! ..• Now. take out all your composition:"', play seriously illtcreste 1 in prcparilln' yourself ties which warrant snch statements. Thanl~ the lid so that the fingers are in exactly school credit and in that Kay gain morc or slllg thenl through, get your musical [or a pro:£csslonal career you ounht to study CAN PARENTS TEACH THEIR CHILDREN' you very much. ~E. W. H., Indiana the same position as when you perform time for your musical activities. fricnds to perform them, and finally select . . 0 on white keys. IlHlllO and harmony in addition to your 4,. Follow the elementary harmony with one or two or three of the short~r Olles • I would appreciate it greatly if you can I think tee find a suitable answer in One hint, and a valuable one, I think: ~vork 011 the trumpet. If you plan to leath studies in advanced harmony: counterpoint, t~Jat you like best and send them to a pub. IIlstrumcntal music in schools \·ou ought help me with a problem that has confronted Schumann's "'Advice to Young Musicians." play each seale starting on a black key fugue, and orchestration. Some of this work hsher. If he returns them: don't be dis- also to begin very soon to ~tlld\· all the me lor some time. I received a good musi· May I quote: and with the C major fingering, not only can be done by one's self, but I helieve couraged but try another publishcr-and other instruments of bond ..md ~rc.'hcstra cal education and even star/'ed teaching at "How does one become a good musician? from the tonic but from each degree. Thi! that in general it is far better to study_ another; and still another. becausc the in trUlllcl1tal music educator one time. But I soon stopped because I had For this: my dear child, the essential quali. applies to major and minor alike. But re- under a fine prhrate tcacher or to attend In giving you the above advice I am is expected to haye at least an elementary to raise a family. Now my two yonngsters ties are a sensitive ear and a clear under· member, it must be done very slowly, and some high.grade music school. assuming three ~hing~: (1) that you really are grown enough so they can begin study- playing knowledge of each wil1d and Etring standing. Both come from above and are here's a tip for controlling your speed: 5. At about the time you begin harmony, have some llJuslcal ldeas; (2) that 1110St ing piano. I also wish to resume building God given. But such fine natural gifts can when in your estimation you are playing, lIlstr?JUent in addition to being ;I !"oloist read a book or two on music history, and of tbe time at least you will have access up a class. Do you think it is advisable for be cultivated and improved upon. You will let's say, "at a snail's pace" .•. slow down on IllS OWn special inslrument. -K. G. follow this with reading tile lives of several to a fine teacher, or several fine teachers' children to s'tudy with their parents, or never become a good musician if you se- THE E:\D some more! THE END

ETUDE-JULY 1952 l_22 __ ' F.TLDE-JULY 1952 23 . ------

OHGANIST'S I'A.GE VIOLINIST'S PAGE

Opportunities Many supplementary details enter into the Here is a pwctical discussion of preparation for your appearance in public

a timely subject. There are many splendid to insure that for opportunities for the church organist and. choir diJ-ector and they sh ould. be Your Violin Solo Will Go Well Organ given all cooperation possible.

portant. To refuse to cOI~lprolllj5c one's by KELVIN MASSON Graduates standards is even more important, and more difficult. This was brought home to me dm-ing the e f NADDJTION to the necessary amount doing and why he 1S doing it that way. J f the bow ann bumps into the stiff bosom past season when the officials of a l~le Iof highly concentrated practice, there This feeling can result only from months of a dress shirt, then, of course, any portion church asked me to find them a new ChOH- by are many factors that enter into a success- of careful practice, concentration and ex- of the shirt concealed by coat or vest may master. I failed; but I found in my failure ful public performance on the violin. perimentation. The purely technical as· be crumpled to take out the effect of the an illuminating experience. The most important elements of success pects of good playing should require a starch. \Vith either tuxedo or full dress The vacancy had occu rred bees usc of the ALEXANDER McCURDY are that one be able to step onstage with minimum of attention and concentration it is perfectly in order for violinists to death of a choirmaster, who had main- a well-earned confidence, with a humble during public performance. The left hand wear a soft, low, lay-down collar in place tained a line musical program fur rnany evaluation of himself as simply a trans- fingers lllay have a feeling somewhat as if of the wing type. years. The choir had sung together more lator of tonal thoughts, and that-not for they were being drawn down to the strings The late morn ing 0,[ the day before per- HIS 1S THE TIME of vear when the than 20 years. I was told that they sang all the world-would one prefer that the by an imaginary magnet under the finger- formance is a good time to become aL:CUS- T ~urrenl crop of JUlIe gr~duates, unless their chants with the skill that comes from public performance be postponed so much board, the bow arm automatically cooperat- tomed to the acoustical properties of the tlrey happen to be drafted the armed lOJJg exper-ience, and their repertoire of by as a day or an hour. The performance is ing. It is not possible to sense this feeling hall, and to rehearse exactly how to get 011 forces first, are taking up their life-work canticles and anthems was an extensive one. simply the execution of a pre-conceived if the violin is held in a vise-like grip by and ofT stage. The performance begins the of being a church musician. The organ was considered excellent. plan, entirely under the direction and con- either the left hand or the jaw. One should instant the player is seen by the audience It seems Lu me that never have circum- The members of the church music com- trol of the performer. This plan must he feel free to let the instrument rest more and is not finished until he is oft stage for stances been more favorable Jar young per- mittee were willing to pay a good salary extensive enough in scope that it wilJ oc- on the thumb as the scroll is raised a the last time. sons wishing to undertake church music as to start. If they liked tbe person who cupy all the mental and physical powers, little, or less on the thumb if the scroll is On the "day," warm up to the job ahead a career. More churches than ever before took the position aud he liked them he leaving next to no time for "nerves" and lowered. patiently and slowly. There is no need for the new man might h3\·C to offer. have launched or are ill process of launch- would virtually write his own ticket. They worry to interfere with work and success. The irritation of the skin under the alarm even if the first tones of the day Finally. they made him ;l 1l10,1 aurae- ing a vigorous music program. Churches felt that the whole music setup, fine though If the player is to feel confident of his jaw can be caused by either (a) a too high sound as if they're "starting from scratch." live monetary offer. generally arc eager to have a music servo it was thought to be, could be strength- potential success, he will have attended to chin rest, (b) a chin rest on which the jaw In the back of your mind you know that ice which will he uplifting and enjoyable ened, and they were willing to do anything The candidate agreed It) pln~ 1)IlC Sun- many matters of import, all related Jl1 a pressure must be applied lao dose to (or in twenty or thirty minutes your whole day's sen ices and to spend a week at the and, even better, participated in by every within reason to attain their goal. way to the "big day." over) the' tailpiece, (c) taking too much capacity will be at your disposal, just as member of the congregation from elders of 1 gave their problem considerable church study lng the ptJ~~ibilitiL'~ for an Two weeks beforehand, he will have of a "bite" over the violin with the jaw- it has been in the past. Practice {or short the church to children in Sunday School. thought and looked over Ill)' list of avail- enlarged music program. checked to see if any of his metal-covered bone, (d) hunching the left shoulder for- periods of time, but often, 011 this clay- Not only are churches eager to find or- able candidates, finally narrowing the It "as intorcstiug to uotc that after a strings are worn flat, so that if necessary, ward, (e) not standing erect, chest out, feel a certain impatience that the perform- ganists and choirmasters able to carry out choice down to one ruun who, in my opin- week the £0110\\ ing dec cl\)PIl1CIlI~had takeu they may be replaced. It goes without say- (f) endeavoring to have the head parallel ance is not scheduled sooner than it actu- place: . such an ambitious musical program; they ion, had the required qualifications £01· the ing, that only the best strings obtainable, with the tailpiece. al! y is. are seeking to attract qualified musicians position. lIe has a pleasant personality and The candidate had one rehearsal with should be used. At the same time, a spe- A week before a performance, any all- It is wise to arrive at the concert hall by means of excellent salaries. a knack for getting along with people. He the choir. He found that lhL'~ -ang to- cial commercial compound should be ap- gut strings should be replaced. Following about an hour before appearance time-to After some years' experience ] am. of b an excellent musician: a fiuc organh,l, gether, and they had a perfunctory sort plied to the pegs carrying gut or gut-core this, it is well to check on the accuracy warm up again so you can step on stage the 0P111100 that this is, or ought to be, a ;lud a choirmaster of the first order. He IJ£ cnsemble which might Ila\c :::atisfiecl a strings. If the tailpiece tuner(s) works of straight-across perfect fifths. If one or with very little lapse of time since last you secondary consideration; church music is has high ideals. He kno,·\'s how to get re- nut lou dcmallding choirma:::lcr. But~ 00.- with difficulty, or jf the taiJgut is frayed, more of the strings demand that the fingers were practicing. A long time lapse between exaclillg and otle wiIJ lwt bc completely su,lts from a cOlnplcle program of church cnusc of {heir ages, and IK--cause ther had these too should be replaced. This is a good be set a Iittle closer to the pegbox than is the last warm up perjod and the perform. happy in it if he docs not derive satisfac· 1l1usic; he has proved it in other job:s. rehearsed tbe salllC l1lu~ic n:ar in and rear time to give the instrument a really fine the case on the other strings, then the ance itself is to be avoided. tion from the .thought that he is making a At a cOll[erellce with lhe church repre- Ollt until it was hanullcred into their con· polishing, and to get the bow rehaired if it strings requiring stopping "nearer the peg- You're on stage. Try to do a" good job contribution to a service for worship. sentative 1 gave the facts about 1110 JUall SCiOUSIIC5S, JOi~lakcs and all. he found ncxt shows an inclination to "whistle" on soft box" should he discarded and replaced. of meeting yOUI' own standards. Reflect to On the other hand, the Scri ptu res arc ill question aucl outJilled what ill my opin- to nothing could be douc to imprO\-c it. tunes and if trills of moderately long (lura- False strings are a hindrance to violinistie the best of your ability the composer, the quick to point out that the laborer is ion could be accumplished by a church .Lf he madc a suggc~tion aimed at illlpro\- tion seem to require a faster bow-stroke progrcss and success. tradition~ your teacher, and to a limited worthy of his hire; and paying a man well music program over a three-year period. iIlg tOIlC or ensc1ublc, he felt it was re- than do untriIJed tones. (Good bowhair Three days before a performance, it is extent-yourself. If you feel a tendency to h a subfle and vcry flattering way of tell- As a result, the organist ""as intcn icwed .':"cLll.ed. The group apathy and inertia of does not absolutely require the player to wise to clean the fingerboard surface with clutch at the violin neck, or if the vibrato ing him that he is doing a good job. by the music eommiltee. They told him the ehoir were crushing. Tbe candidate felt use a faster stroke). A thorough check of alcohol, rubbing in one direction only to suddenly seems too wide, you're trying too Therefore], am gratified by the number I\;hat they had had ill their jJrogram ill that in about two weeks he too \"ould be both instrument and bow by an experienced avoid fraying all-gut strings. Do not let hard. Relax, relax. It is unfair to request of important, weU-paid positions to be the past Bud what they hoped they cou lel in the saJllC rut in which the cboir had repairman is a periodic necessity. the alcohol touch the varnish nor the maple more of yourself in public than you de- found throughout the country. To Jill them h,we in the future. They asked that the jogged so man y years-. At this time, two weeks before the ap- neck. After the alcohol treatment, polish manded in practice. While playing, keep tbere is emerging a splendid, well-equipped eho·ir, which had been so faithfuL be Thc candidatc pla)cd the ~niccs on pearance, all re-editing of the music should the fingerboard with a soft cloth, applied in mind that the present is the thing of im. lle\V gencration of organ graduates. It retained. They suggested that pos~i.bly Sunday. He fOUJld the organ to be an be finally set, both in the music score and under the strings. port; the future will be cared for by your seems to me that staJldards of organ stu· somethhlg -could be done to imprO\-c the instrument constructed by one or our in the mind. Last minute indecisions along One should practice in the dress clothing past endeavors in the practice room. You dents are higher than ever. To have high lOllc of the orgall~ and sa id Ihe\" \\ ou ld best builders about 30 years ago. this line invite trouble. It is necessary, too, to be worn, so that one may be sure to have planned it this way, right from the start, a standards and high ideals is very im- he happy to hear any suggestiol;S \\"hich (Continue(l on Page 52) that one feel in a definitive way what he is perfect comfort and freedom of movemen,t. long time ago. THE END

9 ETUDE-JULY 1952 L_·24 __ ETUDE-JULY 1 ·'J. 25 c

The Story of Prince Kalender Oriental Dance This theme from the SCHEHERAZADE SUITE by the 19th Century Russian composer is delightful and dance-like in character. Play it with an easy grace and let the left hand support the melodic phrases without dominating them. Grade.3.

N. RlMSKY·KORSAKOW Andantino C)l=IOS) 3' 3 Though tcaching in an isolatcd P31·tof the world, this tcachcr !'Ill • 3 2 3 finds prob-lems qrrite similnr to those encountered in the states. • ~. '-- . . '!">- '- >- . '!" >-~'!"~ ~ ... ,--,!,,~ '!"~'!"~ "If. >- '--'!"~ PIANO P v"'--" I" • V II IJ

~ U 2 • 2 1 2 • 2

.-,. /~ ~ !- ...... ~ .,-"If '-- "':' "*!" ":"~ "':'"*!" ... - '-- 1.-. - - : ;.. .;. ;. 1 !~ ..:. I. , D 1/ .~ a tempo (pii, 1nOSSO) 3 1 1 , 3 )J~ .>- '-h:'. >--h. 2 U ~

~ <; ~.-/ ~ -' '!" "~" ..... /' ~ - by Kathryn. M. Baker u >- -h. . },.~ Jr. >- Jr . . >- ~. >- ~ . ~ },.------. ~ . ------. ~ ------. ~

ANY STORIES and articles have climate, indoor activities are confined to yet they show little emotion. They have t. I I been written about Alaska, pertain- their one-room structure, built from tim- inherited. the soft spoken, quiet nature - her, and called a Barabara. Danc~s or musi- from their ancestors, and possess a satis- ul!: ;. M ing to gold mining and big game ~ i- ~ i- i- i i ~ II!: i- f .. II!: ! ! hunting, yet vcry little seems to have been cal projects are limited to this small space fy·ing personality. Their conservative man· recounted about the cultural aspects of this and the women sit on benches and sway ner in thought and expression sometimes I .~ Northern Country. back and forth with arms and hands mov- makes them appear shy to strangers, but I.- .... Alaska is still a young territory and ing gracefully to the rhythm of the drum. many of those that I have taught. become - 3 In recent years, the language and habits talkative and very often tell of their ex, 2 - - many fields are open for teaching the Arts - ~ u ~ r-- - .. ~. ./' r-- ~ and Sciences. Many communities which of the white man have had considerable in- periences and life in the village they came " • were very small ten years ago are now fluence and tilere are changes in the Eskimo frorll. Several have explained the Eskimo l large, thriving towns. It is with reference lllusic. I was greatly amused about a year language to mc. It is a series of guttural !: to these growing towns: that I .3m adven- ago, to hear a quartet of Eskimo singer8. sounds; therefore, a brief explanation with ( - poeo piuf ;.. ;.. =-- turing in God's gift of Music. They rendered several native chants ac- a Jew words suffices. Each tribe has its t t ,;, .. t ~ i- ~ ~.. a- il- .J -.:J The earliest known means of producing companied by the drulll, and as an encore, own particular way of expressing its rhythmical tones were prevalent here cen- gave a humorous version of a popular hit thoughts. My Eskimo pupils are all adults turies ago. The Indian beat his drum dur- tune, sung in the Eskimo language. due to the fact that the children are kept I , . .- One call detect the change taking place f--, r-_ , :- , ~ I L-J L-J L-J .11 ing ceremonial activities. Many of these in the schools until they are old enough :- , ! ! ! ! drums are still used in the far Northern in the manner of dress as ·well. As far to make their own way in the world. I ,- -- - parts of Alaska. The chanting of weird North as Point Barrow, our Alaskan Eskimo would say that the Eskimo girl has pro- ~ II ~ :>- '3" .. 3 '3" ~ ~ .! .. ;,0 .. r' .. ! .~ t:"'I ~F=~ l ~: tones done in the Eskirno language, is ac- who once wore all hand-sewn garments gressed very rapidly with her newenviron- companied by the steady tempo of crude made frolll skins and furs, are now wearing Illent and modern surroundings. She is no E · instruments made from seal skin, stretched modern dress purchased from Mail Order different to teach Ulan the white girls. and It. V over a frame of flimsy sticks. The folk houses in the States, and the beat of the aeeel.- Illany have Scandinavian ancestry or are ~ f frit. ff songs are still sung as they were years drum fades into oblivion since the piano of German extraction and Jearn just as ~ ~ - .. .. i':\ r.\ ~ ago. The stories of these folk songs, or the and instrumental music arc being taught in quickly as my other students. rbl Ib~ Ill: ... &- -. history and experiences of certain tribes the native schools. Several years ago, Jennie {rolll Kotzebue, · arc sometimes related on the Totem Poles Music stirs the heart of any peopl~, who was on vacation here. came to my · 110 1/ ! ! of Southeastern Alaska. During the cere~ and the Alaskan Eskimo is exception. studio. She had been well taught in a '---J I ! monial events they consider dancing of ut- In my private teaching experience J have Territorial Native school and her Illotive - '---' most importance. Due to the continued cold found thern to be enthusiastic scholars , (Continued on Page 53) From "Themes from the Orchestral Repertoire;' compiled by Henry Levine. [410 -40230J Copyright 1!H6 by Theodore Presser Co. ETUDE-jULY 195.2 .27 26 ETUDE-JULY 1952 •

~ a tempo ~ ~ I I I ~ 1 Je-anie~Withthe Light Brown Hair 11 ,.. I 4~ E . . . - h bee e a part of our cult ural tradition Turn to ------. ~f }:115 month we celebrate the birthday of the Amer ica.n composer whose tunes ave ecom . . page 3 for a short biographical sketch. Grade 6. ~ ... q.. • I"~...'!"' ~ 1'000 rail. .... '.• - .".vr. STEPHEN FOSTER • ~ n. ·r" :,p legato mp ~~r:FI----"'" Transcribed by Elt'nor Remick Warrell ·1 21 2==:= I-~ r~~¥~2 J .JhJ-~ ~ ... T~ 2 J •e 5 --- , 3 3 2 2 81OW 1y, WIit.h muc h expression 2.--r- I I - .... . -e- ,..., '-3 • I') 3 4 5 5 5 5 3 VI I I =-~ r 1~~I 4~ r 4 . I , I • PI" ~. #r.. • ToIl a tempo j;: ql ten. I~ r I;· "-.'~~i~ I :~~- r #r ~ { r~\ . ,.1 I- smoothly , ~/~ dim. PIANO p tC1''f[rlY and verb I !~ IkJ. 'k (MelodY)l··' • , 3i11 j .» I . 1\ '~I .. . 2 , I I. I , , I pp ,r . 2- , 2 L....J Ped.ad hb. r 5 3 2 - , , 3 3 3 ~ I') ,

--.- 231 "1 ~ .. '.. I 1 '[ I" rz:r.. ~iq~itj~ .... y. tf~t '. np ~cocsp} l:' r "'P ' p .~ "" j1 ·Fr;::( 2 'I ~, h.n,-6~ r "I I J I ) . / "'" 2 12 ~ . I ~ s 2 : I 1 0 ... 5 L...J b ii . ; • 5 3 ten. a tempo a tempo 3 , in ;::=: I') - - 2 - -' f> •

10- ~ • ~I"~,(,Ji 1"' ~. iT '"' qii PbJ q..--U ., t8" -'::::! \. •.-=- '-i r , pp 1'00':;;:/ peco espr.- 1'000 ritpjJ I/r\ f ::::=- I "~~~ ~ ..., '1 r· I J 4_ .. . m:~f1 . 1fl-n r . . Mazurka I .I - = ~ 'r ;--;1 - - (f rom"CoppeIia") ' .. ; t.- M.r.Levi,He h,a.s made.accessible a finc, piallistic arrangement of one of the dances from the ballet COPP~~LIA. This.should be played ill Bt,tngout" R.H. , a teuz,po --.. 4 (l tempo :l lively fashlOll,makIng the dotted eight and sixteenth the chief rhythmic pattern. Grade 4. 2~ ~ LEO DELInES 5 Arr. by He/Lry Lev'ine < Ul'k't 5 Tempo di·l\hz '> 3 4 >- 2 3 5 5 3 3 4 3 5'1 ~3. 2~ i:&\ ~ ...ii-::'. 2 I , fI" f.\ 11"5·.fl . . nr;t: ::>". · . . . · I eo I j I. T ! 1 I~ PIANO .ffmolto·.1rtarcato . f , - l a. · .= ~ '!' --"! IT· ~ ~ ~ '---' "!' -.'1 ... 3 ~. ~ 4~ 5 5 3 5 4 2 liZ >....--.i' 5 :> 3 >- 3 2 A 2~j ~..J '(f:'r~ ~:.1.& .;. ...:-:-. ~ F1 3j :: 1 '1 :: 11 " n' i rsi. . '1 ~r' " . . . · 3 · I:::i ====- I I@ I ! I '" t I I ! l ~~ .If' . · '!' '!' I I T I 1 1!' 1! ~ 1!' 3 if 2 = ~ ~ -.t 2 .. '---' '---' '---' 2 3 2 5 v '---' From '''fh . From uGoncert Transcriptions of Three Stephen Fos'er MId'e 0 les "b y Ehnor. Re . k W ~ elnes lrum the Great Ballets," a.rranged by Henry Levine. [410-41016] Copyright 19.iO by Oliver DitsonCompany IDle arren'l430-40139] C~p.Yright1951 by Theodore Presser CO. International Cop;rright securt:tl International Cop,yright secured 28 ETV DE -.IVLY 1952 ,2!) ETUJ)E-JULY f9.'j2

r No. 110-00887 Slumber Song ------. _.ISchlummerlied) . ht h d sing over the barcarollepatterooftheleftha d The lyr ic purity of this piece can only be brought out fully by m a king the r ig an In . Grade 4. ROBERT SCHUMANN, Op. 124, No.16

Allegretto (J.=69) -c-, 2--- <, 13 .>: 4, " I -> 1...... I . ----- l t I similc_ ~~k ~ ~ -m:-.t; =-4 " P~ 4i#-:~ ~.~ S sotto uaoe r, ~rr a .~1=1= r, . 4 . ~ 543 ( ~ ~

p ",,~ 3 2 t

<

5 ,- lo-- , ,'" I . .'simile 2 ------timc to Ooda-$-

f 5 5 2, 3 4 - --- pp poco rit. .D.C.- p ===..,--=---.. ' ~ ---- 4 "I '- ~ '-'" '-' U<:../ 5 uu U 5 5 .--:?i a 4~ '-Coda ~ 5 a 2 I 2 ill

a 5 ritardando , 5 r' r' r- r 3 4 2 1':\ 4 2

smorzando ~ J,' ETUDE -Jl!Lf lfiJl ETUDE'JULY 195.2 "Goto the devil and shake yourself" Poco pili mosso Grade Bi· Square Dance ,_ 51 ._ ,U DENES AGilY ~ "Ark ansas Traveler" · " r u Allegretto (J~IOO) 2 2 »: 2 Ii t I~ r . "----, 2 ~- 1:~f .... -. 1-: ~I-: . • · . - ...... R · · . ~ · , , f~ -> .r:f--.--- .- -:::: , I ! -"" -. . ~ -.£ -. -. -5 ,<3_ l-~~. , \U I I ! I ~ · 5 -----:---- l' '2',· ~3'2''1 ----:---_ 1 3 ~ 1 Ii Tfi' 1 I ..' ;- #1: I~...J . -. -. •• •. . · -;;;. ::0-· -<5' >- '------', ,>- "Irish Washer woman" Poco pili mosso > > ~ 5 .=132-13..8) 3 All egro (J ~ 2 , 2 , • 1 2 2 1 ~u .. >.> .•.' ... ~ 1 2 2 1 3 '. .:;. .t" ... 5 . . . 3 • I •• II ••• 2 1 • 3 2 1 It scl.c,,,,an~ ... _ ... 3 2 >-;» »> pp ...... f>->>; »>; ;~;~~~~= lu . . . · . . ~ u· •• ...: a · • • • . u· : , , , L-J L..-.J >- · > 5 ~ 4 2t 3 1 2 213 12

3 3 2 1

S 1 2 1 8.=.....;....;..;...... _..~..;.-;...~.;...--_..·-5·······:;·~·;·~·~······;·_··_-;;rT\: •3 ~ U - .... »> , • -- t ~ ~ I -- \.oolo'" I-l-" >~P I'Rustic Reel" >0~: ...... L'istesso tempo ...... ~tlme1 II Las Ire1m I · - I . .... ~ . f1 ~ .)1. 3 1 I r I •• .., , ••, -.. JS jj; ~ p,5 .)\. 3 l •• ! L...... J l-J L-' ~ ! .;; I --=----.. • ~L-J '----.J 3 l -~ >-» 2 2 1 4 2:) :) 2 S 1 2 eJ -y ...... ~ -== r ...... --P£ne ;;-~~ 1"::. ;:-. 1"::,..;f.;~~~ r::. ~ ,r;:-!,-~ r.;;....". (iecresc. · ~ /f>- f 1 • L-..-l L-....J L--.1 L...-...J ! '------' "------' I L--.J L.-..J L-...... J L-...J '----' '----l , ! ! I

>->-> 5 jj ~ .j"L:" ~.... # ~ ----;. ~ 5 1-: • ----;. 1 ...... !'-tt~+: .~;,. _"". .. .l ... 4 ... 3 3 5 1 ~~ ~!: 1 2>~i" _»>- ~U 1 2 ~.;>0::.. l!. >-» >- ;: .jl~ f-- lJ. S. at Fi,w ~ ~.ii· >-~::;-;,. iii· ~. ... iii· ,i.. t 2 - . 7Jf!;»» . . 1I... 2 ,..'.- · ...... II- ...'.- ...... · . . ;rnrD m m 3~"'; r'" .ru i=i=I=-I=-i=- li~JA , I ... L....J l-....J.L--J L-...J '-----' L-...J From "Pianorama. of the World's Favorite Dances:' compiled --and arranged by Denes Aga.y. [410-41015] 1 2 ~. 3 - ,y 1 Copyright 1951 by Theodore Presser Co. n - cresco " 34 p V" P"p" ~"2 ETUDE ·JULY 1952 ETUDE-jULY 1952 35 5 4 5 Valse >- 4 4 (Posthumous) I(J' 3 • 3~ 5~ ,~ F' ~~ 2>- ~, 2>- \" H. 2~ 5 :r:.~ ~~';';.. Chopin wrote many waltzes which arc not intended for actual dancing. With his sensitiveness to the possibilities of piano tone and . . creative gift of singing melody, he a chiev.e d musical poetry for the pi ano', Play this waltz with a carefully regulatedrubatoandpay ..... particular attention to the phrasing. Grade 3~. II leggio7'O FREDERIC CHOPIN, Op.69,NO,2 "1dolce , ~ , ~ c: II .. • J:J: -& -&- J:J: & &- ~ • • Moderato (J~152) ~ 2~' ~ • >- • 2 3 ,______2; >- '?-" ... 2 (!;",f- +- ~ IIll fi;::::::. - 2 -::'--. - '2'3---- ~.~- • • • " · -<>- · I -<> ~ 5 I~ dim. 4> • 5 P i'ut 2 -I ll~~ !- i- if ..=- ~;;f <, ;..------....- >,~~ ~ji .;.~, 3>- r-;.. ~;;- -~ '''';>- i S:.- ... 'l:~ ~" H. rjL· • · . · S't1WtLC ' I f cresco ...... l'f~J dim. qJ:==- ~ 1a I.ClIIPO -I- I- JJ & I- a- C: J J: >-• 3 i"ll 5 • 5 • .U J:J: ~2~ ?--.. 1=# 3,,If ~ ~• ...... ~ !Ill ~------. . .. • == n • II ,/ ..... Ii S 5 5 5 p cresco : 2 2 3 2 f ~€o rit. lJ ~ P >- ' 3 , 3 5 ~d'~iU;t. ~ '(";' • 3 l.~~ 1& & & ~: ~f'- 2>-• Y,.i.· .; ~-""",2 ... c: "~ •• • • ::::------.. § ~ ~~------: .~ ~. +-:- ~~ . 2>- ,. rNt : · • I ~L' _ I It I .- I...::l 12 5 2' ' con an-l1na 5 4 2 4- ~ II II _ >- • -...... ~ >.-- " "!l & J:.- & J:J -I- a- t: ~ a- J: +=~~Hl,.' ..~' 5 >- -~• 2 . . .. "'" . · .. . • II • • • ~ I I ~ ~ ...... ~ ..... I I ~ " ::: a tempO=: =- P f!- poco rit. - arese tjnJ~.l , •.. fEr fz • -1 I ~ ,.. ~ ~ lit- ~ ~ E 5 5 35 _ 2 :> : 3 1 1 :,....------..~ h~ ~ h?------..:'~ ---...... , -:::: h. u ~' , · ------I ~ ., Ihl~ L-...I ------L...-J I , , 'simile I 'll, I ~ alempo 5 3~ I , 1 I , , .:.=:::;, di"" ~ ' - cresco : . • 1 p .. p'~fq&- .. J:J: qa- & J:J q-l ~~ f, I ' , rit. • 5 , 5 • • ']

>~' ---. ~u ~ 2,' ~ ---. - .,lft= :e" ~ ~, ~ ~ ,lftt.-_

, <:>- Ii ;'1n<:> f ~ ~-!- ,I- &- , t p ... ,,~ J: J: l- e- . J:~~

5 • p, S, al Fine a tempo , 3 2 5 _1+ senza'l'epetlzt"o?te !Ill 3 --.. ~ .~ >- t=~ 11 2 IILas! tim, I H +-, .... ~ _11 only ll.~ 2' ~ \~ ~ E~~~~.~~~ ,~ , FS I ------. · . ~ · II II , J , , - cresco d' -. ~ I I poco ril, .P Pin,c poco 1'il, ------,~~ J:lJ~ fl- t"'J;..l P : &. I- ~ f II ,If. 1" dim. - •• .. &- -I- " ~ ~ J) .,.. · .. &- L~ ~ $ ll~ • & ...... ---.. I · -I' I Flom " , I I \\altzes for tIle Pianoforte" by Frede flC. Ch 0pln. [presser Collection/.ilO-OOO4-2] • ,Jf; ETUDE-JULY 1952 ETUDE ,JULY 1952 37 • Rondo Rondo FRAN90IS COUPERIN Allegretto grazioso SECONDO Edited by Pallt Felix FRAN90IS COUPERIN PRIMO Edited by Pant Felix 3 ~ S Allegretto grazioso .' >-1~' >-~. ••• >-~. >.' 1 s 40 5 ~ 3;----"3 3 ,,--. ~ Jlo • • ~ . >-~ ;:::., :::- . . > . , >-~ 1-----

p t...... I T 1. >-. P II Jl, - tJ ......

. 1 . .il - • -= dim. p f dim. • f 1 2 '- t dim. p f:::- ~ II ==-- f:::-

I

3 3 ,,;. ;.-;;. . 1, ~__ • ~-.~ ~. ~ 2~ . >~ >-1'--;- , >- ~, ~ .il ,......

I --...... dim. P fi .il >

Q :::- >-~ . . . . afempo >, 1 ~ 1 ~ ~. 1 2 ~ I 3 3. . > ...--; . :::- - ~ a¥;'i.. ~ .~~. . " JI, .. rit. f . ~ ~ 1 >- • _.- :" f . . ~ JO - . I • ~~ > . :::- . :::- "--' ...... 1 >- r-: . 3 3 1 2 3 ~ >3 2 ~ 1.:!..... 1 1 Z:i:''' ._ ..~~ ,.-.. .;.. Z :i • ~ ~- ;..~ 2 > 3 p LL 3 .. . creso. p -----

P C1Y!se. P :::- > " LL . . . - t r r r I I >~ >, ... ~ ..-,& >- :;:- ~~~ /L~ ,,---. • .. .. et>- . · 1 >.. 1 _2a>1 z ~ >- .--;-. . . ~ ;--...... ·, . . \ t I 21 . . , . > :::- n JI, - ==- ~ -..:.:: ~~;~nr;'O~:::~~sbrorthe Young" (Four Hands), Edited ~paul Felix. [420· 40004 ] ... g y The John Church Company 38 International Copyright secured ET(JDE-J(JLY 1952 > ••••••••••••••••• ~~~~ __ .... E:"T:U~DE-j(JLY1952 d I. -. No. 131·41047 Black is the Oolor of 1\1y True Love's Hair .,=j "r Traditional Appalachian he and I will be as On8. (shel-::::: • ....., " Mountain Ballad I !II : I ~ ~ I ~ ---n ,j-=J~1 dJ cl i; ~ Adapled and Arranged by Clifford Sha" . n ense Iy, bUt WI'tl I sunp rei y "If I t ------... I-==r =- I " 1 • )~ y- w:;:- P - VOICE -, , ,..---- /-I!!o 71I!- 71I!- dhn. , f1 ------[@ Black is the col-or of my .. I • I I ~ \ • ~ " I 1/.7- I~ .-; = • ... ~ mp I~: i'-- !---- PIANO , mf-=- dim. -- «-, P face is some-thing won-drous fair. The . -' fl.'" --- '--u '--'-' ' ur I",j,J lL[ ~ -=::::: ~ ~ . ~ - " I • . - . . , , , r I~ .... r s t ron g-es t hands I =- : true love's hair, HIS face is some-thing won-drous fair. The clear- est eyes and the (dear. est) I (Her) ~ ..-- ~ " I -- clear- est eyes and the s tr o ng-e st hands I love the ground where· on he stands. , --- I (grass) (she)...... SlO1cly - (dear. est) -c ~., ~ -

/-..- "0oס1 I~ I 'Y' ' Sw. Soft Strings Divinum Mysterium love the ground where. on he stands. ~~ I love my love and Gt. Bells (grass) (she)' Ch. Solo Reed Haanrnorui Registration :> a tempo Ped, Sw.to Ped.S; Bourdon 16' Sw. @ (10) 00 455; 432 1\ I I ~I . Ul~ ~ ----.... ~ Ot. rIJ (11) 00 571i!;;0 DAVID STANLEY YORK A(la,,~".::io~======- · @ s,'... ~ :::::==- ...... ::::::: ----...... -...-...... --...... · ""-l. I I I ~ poco rit. ue- 111p mp ~ .,q.' fI-~. - ~;= _....-...... ===- . , MANUALS I -- m~~~~~~~~~e~~~~G~t.~~~~~~~~~~~4~~P~f~~f~~~~:::~ I I

==- -= PEDAL . Ped.42 he he -.....--.-... _____..~===fp_____..~O==::fp ~ -= well h knows. I love the ground where on h goes. And still I hope the time will come when (5 eJ (grass) (5 er ~ adhh.

P'ree 1'l'!/t/t1n oj pla~'1! SONg

From"Twelve Compo~itiuns by American Composers fo)' Organ wi th Bells~! [413·41000J Copyright 1952 by Oliver Ditson Company British Copyright secured International Copyright secured CoPyri~h\1 , I:l 9.\,!)by Theodore Pressel' Co. 40 ETODE-jllLY 1952 JiTUDE:/ULY 19,,2 4f ______1 .lP~=== a tempo = a tell1]Jo .. ..-- /'Ill ~ =J ~ ------~~ -- >-- ../' ad lib. I--' J-- IO!. ~ Ii - (;h. to ---- ad lib. dint. Bells off 1m rlll • , 0 - -,;: ., , , , y

-0 .0- 'U c.- '"' "61- "U 77 a t87111>foO:..-_------_

~, \. "Ill J I J ---J I I I ~ I ------r ° ad lib. ° 'u..l I I II IT' e ''VPff. L'UJ.. r r1Por I I~ I I I r j-y ~r:Ul"j CJ ~L8' .I:.:.I... 4- [--9 - .' -~ -- "'"o -.r Add soft 32'

No.16350 U Romance In E-FIat ANTON RUBINSTEIN, 01'.44, No.1 »->: /'Ill J 1 ,I 1'::::=::::::::-1 l\lodel'ato (J=72) with 1nuCn etcpression Arr for oiotin and p iano byArthur Har tm a nn . - I 1--'- e IL~H.--- '. 'U.I I 1 1 ..... 1 1--- 1--0 r I I 1 I I r • "",a l.r trr CJ ~ ~ /'Iu .1 II p~ ~ ~ = VI01IN'~~::~~~:~~~~:J:r"Ii;I;~~I;!I;:!r"I:il~~~II~= ~ I T --0::::: = - PlANO ° =J

U U "U_ ---- 0 U U "U -- - ~ ~ L- --' 2 Au ~ ~ ~ .---::---6- 1":\ sw.~ ...----...... -....J I =-- I . -

'<, <; "y'poco agitato ~ ==- ~-,,--- "'f p = : =-- = Tit. . a tempo ...-- ,"'I Bells on Ch. to GLoff GL /'I" . ==--.

IO!. Reduce Ch. ~ .... 1 I Jl!fpocoag-£tato . 1":\

i1 1 r:1 V 1

-= p cresc.

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42 CO/)'right1919bv T ETUDE -JULY 1952 ETUD ) Theodore Presser Co. E-,1ULY 1952 .1J No.ISO·moo a t6mpO-U?I}J 0(.0, aUilnato 3 Evening Serenade V 1 ~ Grade 2. Ii , 1 o 3 ret: V . EVERETT STEVENS . Andante gl'azioso (J. = 63) a tempo ./ 1 -i ''!T '-J I ==- P,,~ 'eo>-' 1---- I -'"'~ ---- 1'1 - ~:~ • ~ p -~ _. ''!f -ic: . ~ ;;f1~ ~... ? ~ ~6.~ ~-...... ~ ;;;;;;.., ..~ ~

~ ~ ... -... 11 .. • ~ ~~ .. ~ /0o' . 11" oOl",J ... 7ס..1 • 4 2 "" ~ ~ V I V ~. I2'i ~ ~. . . -I -i p'£it cresc. cresco , 1'1 , . -

1 1 1 3 1 5 .~ . .~. -" " " ",----,,'----,,'----,,'----,'----''----'''-----~''----"---' 5 1 3 5 5 2 3 5 5 4

~ ,. POlllt~ L.R.2~== Ii I l"l i1 i1 ~ ~ ~ i1.-...... V ~3t! n gtiss. · ~ 3 1 1 5 1 ~ P I" r -< ::>- ::>- •. t • 1 1 frog~ -< pOIn 5 ,; ,,'----,,'---~,,'--_-I'----'---- Ii I cre ....·c. & r-it. '----~'----"'----''----.ili-C'-O-D-,\-. p. Co at Ooda ~ 4 4 . 2 ~b..._, 2 j · . . 5 3:;;-". ~ ~ · -~ G I 1>& o p r~i¥· "it -rrlr p-rit. : .~. .~. 6'1: ------~~ -~~.f6f: . . .: e: IT T T · . . < f;- p . ~ ~ c,...-I.oo'"", ... • - IV •• .. - 1 11 . V '-01 3 ~ 4, p a tempo a tmnpo 1 2 ," ~ 7'it. frog ------a teNl}JO p atem,po (]1'esc. R.H. 1":\ P rit. --==.

~ - L 31 2 3 2 5 5 t 2 5 , '-----". , I L-I

44 Interna.tional Copyright secured ETUDE· JULY 1952 Copyright1952 by Oliver Ditson Company ETUDE·jULY 195.2 45 No. 110-40180 The Big Bass Tuba No 130-41103 Grade 2. The Kite Grade 1. ALBERT DE VITO BERYL JOYNER In a s luggish manner (J-96)- 5 Allegro (J.:'=6~3!L..) _ 2 11 1 .d. 5 " P 2 3 5 3 2 · 2 3 , "!,.. ~,.. ~.~ · I! ~ ~f~ ~ ~ ~r~ .ff~ ~ l~ ~ ~ 71!l: PIANO +- ing high er; See how it dips as it ::=- ~~ r------.• fIo I ~. .:r.. • ...- . ---- - · ::=- 1 1 3 2 3 2 1 1 2 1 5 1 2 1 2 4 1 5 1 11 3 2 5 .... 1-5 3 213 2 . 2 5 2 .~ 5 2 2 4 5 L,IL melody to beplayed one octave 101.007 5 4 4 5 5 3 0 5 2 4 4 3 2 2 3 3 2 ~ 12 t':\ 3 ? 2 3 2 1 1 1 1 1 1 2

I! l' "! ~ "! '! v . =- •• 'v. '.'.. "'!' "! ~ ~ ~fl nif ~,~ high, up so high, How I cresco '-- llif cresco climbsup so high, Bright and .(:\ f . ~ . . /' f-c--- . .---.....

, I , , 3 2 3 2 '3 2 3 1 '2 3 '4. '3 4 '3 '2 '3 '2 3 2 2 3 2 2 5 5 4 4 5 ~ 2 ~3 3 2 2 3 • . 3 =tt= ~ !. ~ ~ .~:..-·v. ". _6 so! f 11if fad lib. t':\ Then with you, bright lit-tie o Soar ing ~ '<, , ::=- ::=- r... wish that I, too,could fly I l mf 2 1 , 1 '3 '2 1 3 1 2 '3 '4 ' ... ;..::=-::o- ~?::=-- '2 1 5U" 4- 1 1'J. 3 5 3 2 1 T" Jnternationa.l Copyright secured a tempo Copyright 1952 by Oliver Di tson Company ,,~ • No.110-40182 Whoa's Whoo? A. LOUIS SCARl\'lOLIN ! Grade 1. ~ ~ '! ~f~ ~ ~ A.S.C.A.P. < .ff~ r~ ~ ~~.~~~I ~ 132) 2 3 l----" Allegro moderato (J = 2 5 2 3 2 3 1 " ::=- •• fIo r--~. .: I .. ~ 3 2 3 - . ... • .... ------~

ot5::o- ::0- 1 .?lif P Copyr-ight 1';);::,2by 'i'J.1tutlol'e Presser Co. - International Copyright secured Time for Bed MAXWELL POWERS Not too slowly (J-I01)- 5_____ 11sttime II Last lime ,,~ ~ A , 2 1 2~ 3~ 4 5~3 only only 3 3 1 2 1

! pi , PIANO .D. cl·dsc. ?llf p' 11if Do 1,9. Fj,71e ------e..- ~.

3 3 3 2 2 3 3

5 2 3 n.c. al Fine 1 2

5 1 1 From "Piano Fun with Theorynby Maxwell Powers. [430-4101!1 Copyright 1951 by Oliver Ditson Company 2 1 International Copyright secured, 2 1 3 46 International Copyright secured ET[fIJEj[fLY 19·52 Copyright llJ52 by Theodore Presser Co. 47 Rro DE-JULY 1952 ______-.1 1 ------_ ...... TRADITIONS AND METHODS

(Continued [rom Page 11)

No.110-26721 with my parents as to interpretative ability J Our entire system of edu- sidered, but never out of its proper my great grandfather. He played the Love Theme \'alues! At times, I thought it would cat jon is so based that, until the , composed, arranged, con- Grade 31· sphere. To make music, one need not From "Romeo and Juliet" he more "soulhl1" to playa passage student is eighteen or twenty, he is dazzle with one's fingers. However, ducted, and saw to it that his ten P. 1. TSCHAIKOWSKY as I wished it, -regardless of indica- still considered a child, whose chief a good technique presupposes that children became good musicians. rions.I was soon given to under- task is to have a wonderful time do the hands are well "broken in" to Nine of them were professionals; ury Arr. by Preston Ware Grem Moderato cantabile (J"10S) stand that a page of music is not, a what he "likes," and take experi- the piano by the age of twelve or so. great-uncle Henri Caeadesus and his hattleground for .individualities! "If mental little pokes at this study and Of course, there was Egou Petri, a brothers and sisters founded the 5 2 2 2 ~ I veu caunot play what the composer that, to find out his "Interest." 'Now, truly great musician, who began Societe des Anciens Instruments indicates, you had better leave it eighteen is usually a bit Jate to be- piano at twenty- five, but his case is which helped to awaken love and alone," said my mother. "'Vithout gin a dedication to music. One's exceptional-indeed, his exceptional awareness of the old music of France. ~ I I ..---..:: 1 __ ... -,-- b'" ~...... ".. l;t ~ tl"Z. ~ ?f mp -;l!?:f --- respectIor the text, you have noth- powers (and limitations! ) , one's musicianship Illude it possible. But His tenth child, my grandfather, n ,I. ue," said my father. hands, one's entire attitude towards even he remained conscious of his wished to become an actor; his , ~ • There was also the matter of fin- work should be completely and thor- late technical start. Often he would father made no objection-s-provided '" gering. Until was well alo~lg in oughly disciplined long before that ask -ruy {ather how he got. certain re- he first study music to the point -r- T T I 2 I .. repertoire,Ill}' mother marked finger- age . suits, how he used his fingers, etc., where he could follow the Casadesus ,i • I ings and expected me to follow them. Also, T think the young pianist and this worried my {ather because tradition of winning a First Medal There were discussions about this, could benefit from a more integrated he couldn't give satisfactory an- for solfege. This he did; and through i2 21"'1 I 1 /- I /, C:. I~I fl I ~ ; .. I --.1 too! Why could I not finger in my approach to his work. The many ewers-c-his hands were:5O long habit- all his theatrical life (which in- own way? "You can;' said mr moth· things he must learn (from the earli- uated to the ke} board that he never cluded directing the French Theatre I er, "when yOIl play well enough to est hand positions, through figured tllought of what they were doing: in New York), lle was an ardent 11 I '1 musical amateur, compo-:;ing, play. ~ I 11 P dolco I 1 I I know what YOU arc doin:;;. Until bass, to music historr) are all parts Hands are kept "in" by a daily start then. make ~oLlr5elf follow din~c· of one whole - Music. He gains of technic-a I practice. As study ad· ing, accompanying t.he yai'jolls sing· PP,..,...,.., breadth in prop01'tion as he realizes \'anee:;, one build.o; one\ own exer· ers and lnstrumentalists of dlC fam· i! l! ~I~t I.~ ... .JI. h-& & I- h...... tion~.'l I ha\'~ come 1.0 sec I hat she , ~.~ was right. The dii::> :> :>::> ::> ::> ::> >- ::>::> :> thinginto your mind a:'\ well as into music-one finds this·meaning jn the hel,ps to use related works. Chopin's and a pianist So far, J am lhe only ~ ~ :: 1'0 , I ~ ~ ~ ------....-- -= ~ your hands. Today. I u.,e whate\'cr wishes, the Ijfe, the style, the times octuye Efude aided me in learning one of my generation engage jn ~ = , I I I , I' , ~ I ~ ------fingeringfeels comfortable; still, [ of the composer-one understands Lis:!t'!:! COl/certo in E./lat. professional tllll!';ic, But !he tradi- experiment with fingerings (those the composer in lhe light of all he At present, my brother of eight- tions of my great,grandfuther live illJ.d ·with us all. When the whole clan 51 2~13, I prinled,those used hy my parents) wrote, in the works that existed he· een my slster of nine study fl I I ~ ~, 1 51 2~1 LI , nnd when I come back to my own fore him, in the later works he in· llllbic at home. I wish they could meets, in France, for a family cde· . wny, it feels e\'en more comfortable. f1uenced, all of which are clarified. ha ve the same basis in solfege that I hration, we play the music some had at the Con~ervatoire. They hear forebear wrote, on in~trurnents some e- I, - '-.!.V - I am glad I was trained as I was. by an understandjng of the various , 1, r I~ T 1, UnlessI am much mistaken, many epochs of world thought and world much lllu"ic at home and in concert,;, forebear revived, and it is good to "It::rCTes~ _ ....r Tl ~~ ... It" •• _-& ::~:: ...... "young" problems grow out of lack history. and I"her are welf aware of I'he fam· feel their presence among liS...... ily music,tradition wbich began with THE E:\D , ofdiscipline-out of too much agree· Technique mu,;t, of course. he con- . --- .. ~~~~~~~~~----:

3 51 2 51 3,..-----. "I I -..A---1 L 1 V I 'I 'T' . , 2'~1 n· ~ . , e- J 1"42 11 I 1M2 1 1 11 1 < •..,. -..fIl..,. , I-S-l- .JI..JI..JI. I !l I- L~4- ~f~ ~~ J:

3 • l--.J5 • 3 ~ ~ ~ • fl I ~ 3:1'1"'J 9-' "-, II. b9- :! #-. :!--.. ~ b~ .Ll :! ~ r;;C 1903 THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC 1952 , 2----' ~ q~ WHAT PROGRESS ARE EQUIP YOURSELF FOR A BETTER POSlIlON This is Your Opportunity-Moil the Coupon Today! e- I A proof oi quality is important Lor one in· in UNIVERSITY EXTENSION CONSERVATORY. " YOU MAKING? terested Jurther musical trainmg, Our Dept. A-752 l- I- l- I- I- l- ff ::::=: -&.JI.&- . Yourmusical knowledge-your position and courses offer you the some high qualit~ af 28 East Jackson Blvd., Chicago. Illinois :: :: i..JI.-&-.fl- h& I l- lllComeloday-are the result of the training preparation which has developed and trom~d Please s8nd me cau.Hog, sam~le iessons and iull inJcrma, i: rou have given yaur natural ability. Addi- inany successful musicians and teachers m tion regarding course I have marked with an X below, • >- » ~onallr~i~ing will open up new fields. new the past. D Piano. Teacher's Normal Course 0 Voice I I , , :> ::> :> ppor,lunltJes.greater income and higher NATIONAL HOME STUDY COUNCIL D Piano. Student's Course 0 Choral Conducting I I .~ "! :: »> \...-...... J ~ ~ standmgin the musical wo·ld.• The Council is on Association of whic h we D Public School Mus.-Beginner's 0 Clarinet L--l I ~ 11 . Thisvaluable training, through our Exten· are a member. It includes the outstanding D Public School Mus.-Supervisor's D Dance Band Arranging 5 5 , . ~lonCourses,may be token at home with no correspondence schools in the D Advanced Con.tJosition 0 Violin • ~ " 5 d'InterferenceWI'th your regular work lust' by with headquarters at Was h'm~ tc:n, D. C: M~m. D Ear Training & Sight Singing D Guilar ~;'L~ g "I I ~~~ .. ~ Ii§. 6P- /votm to self·study the many minutes each bers are admitted only aiter ngld exammahon o History and Analysis of Music 0 i'e'e ~l~ .. ~~~~~ :~ .ay that ordinarily go to waste. The progres, of the training courses offered. [J Harmony 0 Saxophone ~~vemusician,as busy as he may be, realizes We are the only schaol giving instruct~on D Cornet-Trumpet 0 Double Counterpoint I o Proiessionol Cornet-Trumpet D Bania ~ il.\;;~:ue o.fSUCh.~tudy and finds the time for in music by the Home,Study Method. which wh I paid Poslhons are available to those includes in its curriculum all the courses Name ... "., ... ,.. ..,., .. Age. decresc. pdi",. o are ready lor them. necessary to obtain the Degree of Bachelor < JlP Street No. 6..... _ YOUcan do it too! It's up to YOU! of Music, ~ .-& -•.• ~- 6- A Dip'loma Is Your Key to Success! City . ,." .. Stale, ...... ~ ~ ~ ~l.JJJ ;~ I r Are you teaching now? . . .. Ii so, haw many pupils have you?, .. , .... , .Do you hold a Teacher's Certificate?, :> :> '!' UNIVERSITY EXTENSION CONSERVATORY ~ L--.J ... • 2 2 3 Have you studied Harmony? ..... ,. Would you like to earn L'_5__ --11~ L~ --ll L3 5__ ----' the Degree of Bachelor oi Music? . ILl ---' 28 EAST JACKSON BLVD. (DEPT, A-752) CHICAGO 4, ILL. Copyright 1938 by Theodore Presser Co. 48 British Copyright secured - ETODE-j(JLY 1952 ErUDE_JULY 1952 49 A CHALLENGE PLAY MODERN PIANO BY MAIL HIGHWAY TO HEAVEN 30 LESSONS - $2 TO THE CONCERT VIQLINIST TEACHERS 5ensolionQI, new chord detector indi- (Continzted [rom. Pa.ge 10) cales over 150 chords ot (I glance. Included Absolutely free! enough time to put on paper all of Write {or information about the with the Prince. from a trip to Carls- on almost the same day that Prince KARL BERRY two composers. Marchand, who had the great music that was wit bin him. (Continued from Page 19) bad. Sebastian· was impatient to be Leopold brought his own bride to P. O. BOll 2363, Salt loke City, Utah never heard Bach play, agreed to the All of the music had to be copied bv home. There had been visitors from the palace. Bach's happiness in his contest and a date was set. The next hand-a tremendous and never-end- •••••••••••••••••••••••• most of the royal families of Europe new marriage soon contrasted sharp- ETUDE : Just Published! : day Sebastian gave a private concert ing job. There must be copies of at the fashionable resort. and Prince ly with his growing discontent in his help to those of his colleagues who fited in one way or another. for his Dresden friends, and Mar- each composition {or each member :IDEAL FOR SUMMER INTEREST: Leopold, reluctant to miss any of work. The new Princess did not care feel tbeyhave been cooped up with Sometimes as many as seventy or TEACHERS' CLUB chand must have been an unseen and of the orchestra and chorus, and the the gay parties, had stayed much for music, except as an acoompani- their problems, and need a new eighty teachers have joined t.hese uninvited member of the audience. printing of music was prohibitively longer than he had planned. The ment to the endless dancing she de- informal gatherings, driving in not MUSIC 01 TODAYl'. When the time for the contest ar- expensive. Anna Magdelena gave perspective. _.. BOOK TWO composer. hurrying to his apartment manded as entertainment. Sebastian It is the artist·tcacher·s obligation only from neighboring communities, Address; inquiry to: rived, the elegant Frenchman was much of her time t.o the task. and to greet his loved ones, was met with found himself with a good-paying but from schools and .colleges nowhere to be found. He had dis- some of the students were able to to share his experiences with his : by WILMA MOORE :: the tragic news that Maria Barbara position hut very little work. and throughout the State. Some had left Mi" Shirley C. Jefferis appeared from Dresden rather than .help. but every night Bach would teachingcolleagues. In his dual ca- • Popular and Standard .'• had died during his absence. work was necessary t.o the happiness their homes at 4 :00 or 5 :00 .c\.. :M. Executive Secretary, be defeated by a small-town German work at his copying until his tired pacityas a performer and teacher, : Favorites in Easy Arrangemtnts : After the first cruel stab of grief of the composer. Then, too, his fin- and driven through the cold dawn organist. eyes could no longer see the notes he isclllltinuallyin a position to put When Bach returned to Weimar, had settled down to a throbbing gers began to long for the feel of an to attend a meeting 100 or 200 miles : Contents: WHEEL OF FORTUNE : in the dim candle-light. Torturing his theories to the test of reality. he hoped his dismissal would be ache, Bach began to spend all his organ's keys once more. After all. away. ETUDE TEACHERS' CLUB :I'M YOURS • ZIP-A·DEE DDO-DAH: headaches became his almost con- Theconcert platform is a proving waiting for him. A new post as time-when he was not act.uallv he thought with some impatience. Some of these meetings were spon- stant companion, but the work must sround almost as dangerous as :SWEET LEILANI • HONEYSUCKLE: Capellmeister to Prince Leopold of working-with his children. Al- the clavichord-for which he had sored by the local college or high ETUDE the music magazine been composing-was a very puny go on. Bikini.That new fingering that : ROSE. MOUNTAINS IN THE MOON·: Anhalt-Ktithen. again almost dou- though his own sorrow was very seemedso wondcrful at home is school. Sometimes a group of school instrument compared to the grandeur For a Iong time Bach had been Bryn Mewr. Pennsylvanio : LIGHT. HERE IN MY HEART : bling the salary he had been getting, deep, he realized that the children promptly discarded after one public teachers would organize them inde- and vigor of the organ. working on what is now regarded as . ~ had been offered him. Duke Wil- must he missing Marla Barbara even pendently. Sometimes they would ·: Complete 7St : one of the greatest musical master- experience.On the other hand. valid helm. however, had other ideas. He more. In his gentle way the corn- One other circumstance influenced Tecchers Seve-c-Stvdents Stoy pieces ever written-his Mass in B nell' ideas are frequently confirmed lake the form o l a teacher's clinic, : See it at your music dealer! : orde~ed Bach's arrest, and put him poser tried to be both father and Bach's decision that the time had Minor. This composition. dedicated in public performance and suhse- or 1:1 master class, or a lecture re- • CHAS. H. HANSEN MUSIC CO•• ' in prison for a month. Immediately mother to the children. and. as might come (or him to make a change in When you tec.c h the Club Plan Way. quentlv handed on to one's -Ludents cital, or a debate. The name or form : 119 W. 51th st, New York 19, N. Y. : upon his release, Bach again asked be expected. much of this extra at- position. The children were growing to his Majesty. Augustus In of Sax- andcolleagues. is unimportant. What mattered was (or his dismissal. The Duke, at last tention took the form of extra mu- up and would soon be needing more any. brought him to the attention of •••••••••••••••••••••••• It is not good to travel through that everyone could bring his ideas seeing that his organist was standing sical education. education than Kothen provided. If the King and led to his later appoint- lifewitha completely inflexible set and questions to these meetings and firm on his decision, grudgingly ac- Months passed by after Maria he could get a church position in ment as Composer to the King's Basic Qualifications uf rulesand ideas. Mentel arthritis carry home with him satisfying an- cepted the resignation. Barbara's death. and Bach was still some university town. all his prob- Court Banel. This honor inspired him soondevelops.The public performer swers to many of his problems. Spir- of a True Sebastian and Maria Barbara left heavy hearted and sad. One day, as lems would be solved! to double his efforts. There was so can contribute to his colleagues' ited debates frequently testified to Weimar with mixed emotions. They he was rehearsing his orchestra and Almost by accident. Bach learned much music yet to be written! Musician or Singer He began a series of "Eighteen mentalgood health b~' sharing with the intense interest and idealism of were leaving behind nine years of chorus in a new Cantata. he felt his that the post of Cantor of the big I. His inner ear has been trained to them the invaluable experiences those attending. memories,' and-although they now pulses quicken. He seemed to feel a church school in Leipzig was vacant. Chorales." The headaches increased. recoil at will ony musical melody. Obviously, not every artist is a had four children to take with them breath of warm tropical air on his He applied for the position and. and his eyes seemed to be growing whichhe has gained on the coueert 2. His musical mind has been treined -two of their beloved babies would cheek. and the scent of almond blos- when his application was accepted. weaker each day. Anna Magdelena platform. teacher, and many are not fitted by to recognize ony interval and its relo- sleep forever in the churchyard at soms wafted through his memory. requested his release from the serv- urged him to rest. but a restless Veryoften the resident teacher experience or inclination to take tionship to the key tone. Weimar. Sebastian lifted his head in surprise. ice of Prince Leopold. His departure spirit seemed t.o drive him. Soon livingin a smaller lawn i!3concerned part in educational activities. But 3. His analytical mind has been troined The increase in salary was very What could cause such an illusion? from the palace at Kothen was very . Bach was almost totally blind, and aboutthe danger of losing touch everyone of them can demonstrate to interpret the wriHen symbols he sees different from his release at Weimar in desperation he consented to an withthe mainstream uf mu~ic. with interest in some form and thereby or the musical tones he hears. os musicol welcome to an ever-increasing fam· Suddenly he realized that he had melodies in any key. ily, and the Bachs were to have their been listening intently to the soprano castle. The Prince was genuinely operation on his eyes. For a short the\'italprogress of musical educa· perform a valuable service to others ~he t;drained ear The Rel-A-Tone system, first bo!>ic ear sorry that. Bach felt he must leave own apartments in the palace at lead in the chorus. Where had he time after the operation he could tion.He would like to be able to and to h.im self. is the root 01 all troining on records, will leod you to Kothen. Sebastian's new duties were heard that glorioll" ,·oice before? He his service and. though he graciously see again. and he worked feverishly lnlkto someone who. like himself, The public school string program musiccl frusiration acquire these basic qualifications of c very different from any he had had turned and looked closely at the granted the composer's request, he to finish his Chorales. The Fifteenth. is inlerestedin these matters. with is a vital and important segment of first class musician or singer. before. There was no organ at Koth- young singer. It was Anna Magdel- appointed Bach his honorary Capell- Sixteenth_ and Seventeenth rushed wllOm he can freely discuss them our nation's musical education. Our Album of 3 unbreokoble 10" (78 rpm) records with book of instructions. en, but there was a very excellent ena. the beautiful girl who had sung meister. from his pen in an even flow. The as one good colleague to another. public school string teachers have Ce>mplde for $20.00 Post Paid. Send check or money order to: orchestra which was under Bach's with his chorus in Sachs-\\feissenfels City life proved verr strange to Eighteenth was begun~and Bach Thevisiting artist·teacher can sup- a tremendous and unprecedented Dopt. E·2 CAR,"C'" "ALL • IOJ 7th Ave. & 56th St .. :1:'. ):. C. direction. Prince Leopold demanded so long ago! the Bach family after the unhurried. collapsed. For days he lay delirious. plythisneed. In malw communities. opportunjty-an opportunity of rais- REL A TONE INSTITUTE CIrcle 6-2830 non-religious music for aU his eve- Anna Magdelena continued with gracious life they had led at Kothen. burning with fever. Anna Magdelena duringthe past few· \·ears. I ha,,~ ing a new generation of men and ning performances, so for a while the choir in Kothen. Everyone, from and the rigid routine at St. Thomas watched over him lovingly and anx· foregatheredwith the r'e5-iJent teach· women who will love and understand Bach had to give up the church mll- Prince LeopoJd on down. loved her School was not easy for them to fol· iousJy. seldom Jeaving his bedside. ~rs,onthe day preceding or follow- music. whose lives will be immeas- SHERWOOD MUSIl: Sl:HOOl sic to which he had dedicated his for·her gentle disposition as well as low. There were prayers at dawn and even for a moment. Ing a concer!.or c'en on the da\- it- urably enriched in every conceivable life. He soon became deeply inter· for her lovely face and ,·oice. Soon prayers at bedtime. and in between It was sunset. July 28. 1750. Anna self. Invariahlyour dj."l·u"sion~ ,:-ere way. This is a great ideal. Let us Distin6"uished since 1395 for the lral1ung of professional ested in the technique of chamber- the motherle~s Bach children were were sandwiched hours of lessons IVIagdelena rose from her chair and ~timulating.bal}P'· occasion ... frolll aU help toward jt.s realization. music, for the stringed and wood looking r01'ward to her almost daily and studying. Sebastian himseH pushed back the heavy curtain at whicheveryone \'·ho 3uendeJ bene- THE END LIlu5iei"ns. Memher of the National Associalion of Schools visits with more eagerness than they found his adjustment to the new po- instruments of the orchestra, and, the window. t.rying to coax the first of }lu.~ic. FaculLy of renowned American anti Ellfopcall as a result of this interest, he wrote had shown for anything since Maria sition very difficult. He disJiked evening breeze into the room. Below the beautiful piano concertos and Barbara's death. \"lith Anna they teaching, with the exception of mu- her. in the churchyard. a few of the artists. Degree, diploma, and certificate eotases ill piano, violin concertos that we hear so explored the gardens and had pic- sic, yet almost half of his long work- boys were softly singing a little song ,'uil:c, violin, org:an, ~cello, wind instruments, l)ubUc Seliool much today. nics in the woods on the spacious ing day was taken up in teaching that Bach had written long ago. Prince Leopold was pleased with palace grounds. Happiness and gai- Latin and other required subjects lJJ.usic, composition. In the heart of cultural Chicago. Li,,· Tears filled her eyes. but there was WHEN WAGNER NEEDED STEAM his new music master. He went out ety came back to the children. and, to the boys of the schooL a rush of pride in her heart for the iu;; accollunodations at moderate cost. of his way to give Sebastian favors to his amazement. Sebastian found Here, however, his own children great talent of her husband. She I~"~ic ~falk~re" Richard ,Wagner en~ployed .live stea~n t? c;~·e..lat~ and privileges, and even insisted on himself frequently joining in their were getting a good education. He leaned her face against the window. a stage IllUSIOn. Angelo :"eumann, llls able J111preSano, 1Il I el- being godfather to the baby that was laughter oyer some simple joke. ha.d a fine organ once more, and Her years with Sebastian had been ~ollalRecollections of Richard Wagner" (copyrighted 1908 by FALL SEMESTER OPENS SEPTEMBER 10 born to the Bachs soon after they Anna, herself, did not realize the could scarcely keep up with the de- good years. Few women had known }enry Holt and Co.) tells of a performance in Berlin when the * * came to Kothen. change she had brought into the mand for new music. There was spe. happiness such as she. There was a onke.)'engine employed to create the steam was ruled out l?y For free catalog, write Arthur Wildm.an, Ai[usical Director. Before long he, as had Duke Wil· Bach household. until Sebastian cial music to be written for each sound from behind her. a long sigh th~ Fire COrJlmis<:ion.\'\'agner and his company were in despan. helm, was insisting that Johann Sebas- .asked her to marry him. She was church festival, for weddings and that sent her tiptoeing back to the Wuhout the steam effect the performance would be ruined. Then 1014 SO. MU:HIIi1\N 1\VENUE • [HI[1\IiO 5 • ILLIl\iOI~ tian accompany him on his frequent well aware of the responsibility she funerals. Cantatas, Masses, and Pas- bed. One look at the peaceful face tl~e.Siegmund of the eyeniuo- suddenly realjzed that there was a O journeys .. The composer enjoyed would be assuming as the step- sion music poured from his pen as of her husband told her that his distIllerynext door and that be knew the proprietor. A plumbing these trips, but the best part of each mother of four children not so much if he were trying to make up for the spirjt had been released from his c~nnectionwas obtained by a l1iuht of hard work. The distillery one was the return when he could younger than she herself, but Anna years he had spent in composing tortured body. She knelt in prayer Ultectormade no charge. but ask:d that he might be permitted to gather his family about him and tell had begun to love Bach the man as non-religious music. At last his truly as she saw the gentle smile on his llleetWagner. "·agner at firet regarded him as an interloper, but them stories of the famous persons much as she had always admired religious heart could find free ex. lips. Johann Sebastian Bach had whenl! I h "cll' he had met, or the interesting places Bach the musician. . Ie oun( that he had provided the steam, e receive llUl pression in composition. He wrote reached the top of the stairs. Withopen arms. he had visited. One day he returned, Sebastian and Anna were married rapidly, as if there just weren't THE END

50 ETUDE-JULY 1952 ______...L~ETUDE_JULY 1952 51 .--_._------_. __ ...... ••...-_ ..._.- ..------~, OPPORTUNITIES FOR ORGAN GRADUATES (Continued from Page 24) 0rgan ~uestio"s Its location in the church "was un- 4. The church would have to be suitable, and its specification was willing to add a director of religious I one typical of the period in which education to its staf of two min- ~ iOIi" f/lluesnons it was built. The organist felt that isters. Answered by FREDElUCK PHILLIPS with so many things wrong a patch- 5. Then. and only then. would the work repair job would not suffice. choirmaster he abl~ to launch a pro- By HAROLD BERKLEY OF MUSIC The best procedure in the long run gram which over a period (If years • Please suggest combinations for • I am a marine on duty in this hymn play, and for OTltlre!lIS, on an area. Some time ago a party do- would be to junk the organ com- would produce results. AN INTERESTING VIOLIN violins, all bearing a correctly- an havil1" the [otlmcing stops: nated a large Aeolian Orchestretle pletely and to start over again. In some churches there are ven- worded Jabel, the great • For the serious student who wishes in- org I:> , 11 I ii 8' During his week of observation turesome men who are bold enough GREAT-Diapason 8, 1" e O{ fa , player reed organ. the specifications T-l. S. N., Pennsylvania. Ii your major-ity of which are not worth a tensive professional study of music, bal- the candidate noted there were very to turn the existing program upside Erzahler 8 , Principal 4', Flute 4', 0/ which are as follows: BASS- violin is 11 genuine J. B. Schweitzer hundred dollars. ' Muted Strings, Aeolian Harp, Viola, anced with participation in College liberal few young people in the church, down in order to bring: about a de- it could be worth five or six hundred Er-ahler 4' Tremulent, SfflELL- French Horn, Flute, Oboe. Trom- arts program and general campus activity. hence there would be little pcssibil- sired result. In this case they were dollars. And the fact that two reo NO DOUBT A GERMAN VIOLIN Rohrbourdo~ 16', Rohrflote 8', Viole bone, Contra Bass, . Dormitories, co-educational dining, exten- ity of developing the young people's not. The church fathers listened pairers took the trouble 10 insert de Gamba 8', Viole Celeste 8', Fu- music program which the committee with interest but pursued the mat- their labels after repairing it. would 11/. A. 13., MlIssachllsells. No one' uara4' Chimney Flute 4', Rohrnosat TREBLE-Muted Strings, Aeolian sive concert series by guest and local wanted. However, there seemed to ter no farther. 1 Harp, Violin, French Horn, Piccolo, artists, excellent practice facilities. seem 10 indicate that they thought. could possibly appraise the value of .~,;2l Rohr Fifteellih 2', Fagono, 8'.~ be nothing in the church's program Fortunately. or unfortunatel y-e-I well of the instrument. You should a violin without examining it per- PEDALORGAN-Bourdon 16, Er· Oboe, Trumpet, Vox Hunuuia. While aimed at drawing young people into have not been able to decide which have the violin appraised by a repu- sunal.ly. The label you quote means zahler 16', Rohrflote 8', Eszahler 8', lUe use I he player m.ore than the Member Notional Association of Schools of Music the church. -the music committee found a man table expert. It may be genuine. nothing as evidence. The likelihood Flute 4'. Also please suggest SOI/l('- monunl, we wou.ld like to know tlie When his week was up, the candl- whose standards were less high and is, however, that your violin is IT tllinu to learn bow to pIa)' 1/1(' or- 11I051 pleasing combinasions-s-somc- Write for: date met with the minister and the who was willing to continue the German 01' Bohemian factory prod. thing that tvouid: supplement our A FACTORY FIDDLE "an~I would like a list 0/ books. Conservatory catalog describing de- music committee. music program in its customary uct worth between fifty and seventy- ~ , -E. H., Kansas own judgm.ent .. Also, arc there any grees awarded They were enthusiastic about his routine manner. R. 117.McC., Alabama. From the five dollars. simplified: reed organ lessons tluit playing and his conduct of the servo Personally, I have the greatest re- Bulletin on a drrriasion and audition labels you quote as being in your It 100ltltl be unwi::e to ~uggest iooutd: help us? Lastly, is it possible ice. They were sure he was the man spect for a man "whose ideals are procedures violin. I am of the opinion that it is BOOK SUGGESTIONS certainspecific stops for the simple 10 obtain a few morc rolls? they wanted and were ready to en- high and who is unwilling to com- -C. E., Caiif. a factory·made German or Bohemian Calendar of Illusic events for the CU1·· • gage him on the spot. promise them. Nor do I consider this reasonthat in both hymns and an, instrument worth at most $100.00. fl. C. W .. Virg;',;a. The books you rent year Instead, the organist refused the a qujxotic po"int of view. In my judg- themsthere are varying style5'. cull, • and probably not worth more than wisll to obtain: "Violin Making as The SlOlJS in the Bass correspond • posjtion. He listed the reasons why ment the organist was well,advised inglor different treatments. For in, Programs of concerts and recitals $50.00. There are scores of thou- it 'Vas and Is. by E. Heron-Allen: in tone and volume with the stops • he felt sure he would not be able to inform the committee quite stance,a hymn of praise would re- given during pa~t season • sands of such violins on the market. "The Art of Violin Playing·' by for the Treble, using them in the • to do the sort of job which he wanted franklv what were tlte minimum quiregreater volume and hrilliancy • And, strangely enough, a very few Flesch; and my own books "The same order as listed, so that the • to do and which the church desired standa'rds he was prepared to accept. thanwould be required for a devo, • of these violins do have an exception- Modern Technique of Violin Bow- tiGnalor prayer hymn: the same Muted Strings, for instance, will he Director of Admissions. Oberlin College • him to do. Plain speaking at the outset pre- ally good tone. You are lucky to ing" and "Twelve Sludies in Mod- • In order to carry out his plans, vented what could only have been thingalso applies to anthems. but used in both Treble and Bass; the Box 572, Oberlin. Ohio • possess one of the few. ern Bowing:' can be obtained from • 1. The choir would have to be an unhappy situation for all. inthecase of the latter the type of !:lame pi-ineillle applying tu the other • the ])ublishers of ETUDE-The stops when used singly. In combin- , changed in personnel to the last The story hus a ha p py ending. choirenters into the picture. Gen- A "GLASS" VIOLIN Theodore Presser Co. man and woman. The uncompromising candidate has erallyspeaking. a hymn should be ing stops. the first three in treble ------"announced"(played o"er first I by and bass together would make a 2. The organ would have to be been engaged by a church which Mrs. G. T. P., Illinois. Your violin AN AMA TI MODEL a combination of not more than suitable effect. The French Horn disposed of, and a new one pur- owns a fine organ. and the members cannot be a Stradivarius because the mediumvolume, such for instance could be added also with good effect. chased. of whose music committee are giving ·laJ)e] proclaims that it was made by 1111'S.A. W. M., New York. There 3. The overall program of the every ounce of cooperation to de- as the RohrAote, Viole de Gamba The Muted St.rings (1' & B) Viola, AMERIl:AN Friedrich August Glass. Glass al- are many violins labeled as yours Violin, Flute and l)iccolo, we rather church "would have to be brought vclop on a high plane a complete tempted to copy a violin made by is that never saw the inside of andFugara 011 the Swell. To play thjnk -would sound well. The Oboe up to date and made attractive to musical program for the church. Stradivarius, but was not sllccessful Arnati's workshop. But that is not to for the congregation a hymn of TILE END alone would not be too effective, but [ONSERVATOHY young people. in his attempts, for his violins are say your violin is one of the thou· praiseyou could use the Diapason. Melodia,Erzahler and Principal on with Trombone and Trumpet might poorly made and are not 'well COil' sands of cheap copies that flood the rrive somewhat the effect of a brass MRS. MUSIC TEACHER SPEAKS sidered at the present t.ime. The most violin market. A number of very the Great, coupled to Swell (or of MUSIl: rather Swell coupled to Creat); ~uartet. For solo purposes you could (Continued from Page 18) ther can fetch is $100.00, and most good makers imitated Amati's style of them bring about half that sum. and jnserted his label into their keepthe combination indicated on use The French Horn jn the right hand auajnst a left hand accompani· ing how to play well. I L1")' to win thing reminds me just a little of vioEns. Yours may be one of these. the Swell. For Pedal use the Er. CHICAGO 66th SEASON a new student's liking during the Christmas; that ideal time of the VIOLIN OR OOUBLE·BASS You should have it appraised by a zahler16' (Swell coupled) for the ment of muted strings. The Vjolin first few lesson periods; if I can year when animosities are forgotten reputable dealer. "introduction."and add the Bourdon or Oboe might also be used for solo stops wjth the same accolllpanim~l1t, Founded in 1886 by John J. Hattstaedt, today The American Con- gain his friendship it is usually a and love 'wells up into everyone's R. E. C., New York. If the lad you 16'. lor congregational playing. For sel'VatOl'Y of Music is considered outstanding among institutions simple matter to keep him inter- bosom. As each performer concludes write of is seriously interested in FOR A GOOD REPAIR JOB qUieterhymns use the softer stops, addjnu if necessary the Aeolian fOl' music education in this country. ested. I often wonder how the old- his offering, he turns slightly toward playing the violin well, then he butenoughto support and lead the Harp.'='Tlle same thing could be l~sed THE FACULTY-One hundred and thirty artist teachers, many 01' style, knuckle-rapping teachers ever me, his eyes eloquently questioning, should at once give up playing the 111. J. S,. New York. I would sug- congregation.For anthems, i{ the in reverse. laking the Muted Strings national and international reputation, including pianists: Hudolph expected their pupils to like them, "How did I do?", while I just as doubJe-bass, If he plays the bass gest that you take your violin to c~oiris well trained and can sing and Aeolian Harp as accompanj- Reuter, Kurt 'Vanieck, Hans Heniot, Bruno Glade and others; Voit'e: or the piano, or music in general. silently, smile my answer, "It was much it wilJ ruin his fingering on Shropshire & Frey, 119 West 57th WIthouttoo much support. just give ment in lhe right hand. and using Theodore Harrison, Charles LaBerge, Frances Grund, Barre Hill, B. The most heart.,vurming time of fine." It is a sublime split second the violin. As he desires to teach themenoughorgan to form a proper the F]'ench Horn. Flute_ or Oboe Fred Wise; Violin: John Weicher, Scott \Villits, Stella Hoberts; Street, or to Rembert Wurlitzer, 120 Org'an: Frederick Marriott, Edward Ei~ens.chenk; Theory: Leo the teacher's year is at recital time; o{ time, when all the wrong notes as solo in the left hand. The Trom- Public School Musjc, it would be West 42nd Street, both in New York ~alancebetween organ and ,·oices. Sowerby, John Palmer, Jeanne Boyd, IrWIn FIscher; School :l\'lusic: at least, after it is all over I feel and incorrect fingering of the past wen for him to learn a wind instru- City. Either finn would do an artistic n general. the 8 foot ~toP:5 shot! Id bone or Trumpet cuuld also be used Robert Davis, Russen Harvey. heart-"'warmed. By spartan self-mas- year are wiped away; because at ment, such as the flute or clarinet. {or solo. adding Ihe Viola or Violin job for you. predominate,with enolluh 4 foot Accredited Courses are offered in Piano, Professional and Teachinj{ EnA"ngemcnh tery I conceal my own nervousness that moment everything IS fine as and the piano. But if the violin is stopsadded to gi\'e sufficient bril- 10 the acculllpaniment. These are Vocal. Viotin. Organ, Orchestra n~d -Graduates of the Consel·vatOl·Y have as I welcome the equally nervous we quietly share a successful Ieel- Band Instruments. Public School MUSIC, been much in demand as teachel':! and to be his major instrument he mllst TO SECURE CHAMBER MUSIC liancywithout being too prominent. only suggestions. and Illay 11.0t all Musical Theol·y. also in cancel·t, opera, radio. ot·Che>;ll:a. parents, and calm the excited chilo ing of mutual accomplishment. give up the bass. Savethe 16's and 2's for special work out. Yuur own expenments Degrees-Bachelor of Music, Bachelor of lyceum and choir W01·k. The News Uu'- dren. By the time everyone has ar· I will ne\'er be pointed out as a effect . I . Music Education. Master of Music and letin containing a list or llbotlt 300 SI·C_ J. G. P., Pennsylvania. If you ",ill sen ler III tone or yolume. (2) will do more than anything we Master of Music Education are conferred cessful g1'l.wuates holding respon~ible Po- sitions in Universities. College:;;. Con- rived the entire place is full of sup- producer of artists, or as a payer of AN APPRAISAL RECOMMENDED write to The Theo. Presser Co., Bryn F?r a basic study book to learn the could write-try everything, and by fluthot"ity of the State of Illinois ~nd recognized as a guarantee of accomplJsh- servatories. and Public Schoot:! will be pressed tension. The happy-go-lucky individual income tax. but the affec- lpe sent upon request. Mawr, Pa., telling what you want b organ, we suggest Stainer's note results. The Landon Reed <:,r. menlo slll&nts do not appear any more tion I have received and st.ill receive Tuition is reasonable in keepinl{ with the A. N. 1l'J., Arkansas. For appraisal, in the way of chamber music and rgan Method, supplemented by gall Method is one of the best Ill- Students' Self Help-The management concerned about the outcome than from many boys and girls imparts makes every endeavor to assist needy times and may be paid in convenient in- you could take or send your violin establishing a bank reference, I ~raded Materials for Organ_ by slruction books, and while of cOlu:se students to find part-time employment. sta11ments. Complete P31'tit,;u];ns given ill the well prepared ones. Many t.imes to me a success beyond supposedly Wm. 30 M.any find work as teachel'~, accompan_ catalog which will be mlliled on rCtlUest. to Lewis & Son, East Adams think the firm will send you quite Mogers; Pedal Playing. Nilson; not desiO"ned for 11lis particular In· it seems as if one comes out as well more substantial rewards. My asso- ists ·or part-time positions working for Boarding-Information 1'C~al'ding aCCO!lJ. Street, Chicago. From them you an assortment of music on approval. aster Stu{jjes for OrlYan. by Carl. strumen~ we are sure it will help. commercial houses. etc. modation~ can be found in the \:ata!.)j.!. as the other; this is, of course, a ciation with some is quite transitory, For d' 0 would get a reliable opinion l'egard- 1£ you have troubJe getting the a VICeon registration we rec- Sorry we do not know of any ~o~rce trade secret. The parents are hoping but so is my association with a fra- .lJem.ber of the National Association of Schools of Music ing the origin and worth of the in- things you would like, write to me ommendN ., up' £ 0 of supply fur pJayer roJJs. It IS Ju~t to emerge proud of their offspring, grant bouquet of violets. yet neither R' eVllls nmer 0 rgan For free catalog address John R. Hattstaedt, President strument. But I hope you are not again, telling jn more detail your .eglstration" or '·Organ Registra· possible one of the music stores m and economically sound with value is ever entirely forgotten, expecting great things of the yiolin. lion" b T wishes and something about your I h Y ruette. All of these may San Jose ({rom whom you could get 579 Kimball Hall, Chicago 4, Uf. recdved for money spent. The whole THE END There are hundreds of thousands of abilities. le ad from YOurlocal mur;:ic dealer the Landon hook) might know of Or f - . ' rom the publisher~ of ETUDE. a local source. 52 ETUDE-]T}LY 1952 ETUDE_JULY 1952 5.1 Time Keeper SPECIAL CONTEST "~:GUYc;,,MAIER

57 56 ETUDE-JULY 1952 ETUDE_JULY 1952 ON BEING A CONCERT ARTIST

of you and local talent always re- hymns for Sunday School or Church MY MUSIC ADVENTURES IN ALASKA (Continued front Page 16) WINNERS IN RECORDING COMPETITION ceives interested listeners. services. There are many opportu- nities for the young musician in a (Continned from Page 26) National Music 'Veek is recog- (First and Second Prize winners announced in June issue) nized and observed in Alaska and I small town. , I rpretationmay have been. All of This motive is one of the stronaest Another thought in a vivid glance we '1 ' I for sustained effort in piano mastery Third Prhe. tied, each $125: in coming to see me was explained Music plays a very vital part in usually present my Spring Recital Ihi~impliesunending tOI, WIt 1 un- the development and growth of this May Ist of each year at a local throughout my teaching years, is the II. ;.,.illa ardor through alJ the days With such a motive one accepts all in a definite statement; "to learn Mary Nan Hudgins. (pupil of Silvio Scionfi and Rosina Lhevinne) country. Parents find a sel i-satisfac- church, or at my Studio. The re- fact that one is never lonesome, o;~hej;profes'sional life, They rank the work and sacrifices involved with 'music notes" so I can go back Many of my dearest, closest friends home and show the girls how to tiorr and happiness in the home sponse is terrific and a "packed nunz the most tireless workers of a firm determination to make the today, came into my studio with their a~ 0 , Oland Gaston (AI/red Mirovitch) play the piano and sing." I imme- where there is music, and oppor- house" is the rule. Programs are tle world.They are notor-ious non- best o l them. Is it because of love of children for the first lesson. I urge diately started her in theory work, tunities for adult instruction have printed and, I give each pupil a f,bserversof union hours in work, mankind and a desire to be of serv I the parents to visit during a lesson Dianna Okkalides (Helene Diedrichs) and gave her the basic material in been made very attractive with the flower to wear, Last year's Recital oftenpUllingin ten or more hours ice to others through the use of a or come to discuss the progress the a slow and exact way. As I ex- -modem teaching approach, Many entitled, "History Sings" involved ofdailypractice. discovered talent? This is the strong I child is making. A vast storehouse New Membership Year Starts July First plained each step she wrote it down of my winter scholars are adults. a great deal of research as I tried Handin hand with their constant est possible motive for persevering to convey to the adult audience, the of lasting friendships is acquired and repeated it after me. When I Some have never had the opportunity effortat rising to higher levels (I( tile longest, and oflers tile greatest history of music from the early set- through this association with the Get full year benefits by sending in dues now. told her "Music is a Language" she to study when young, or did not achiel'emcntin their art, goes a possibilities of achieving success as tlers to the present day. pupil's parents. To gain the confi- beamed with pride and this brought have the necessary finances. Others earching analysis of themselves as II concert artist. are "picking up" where they had Many ideas come to a person from dence of the child and hear the small NATIONAL GUILD OF PIANO TEACHERS on the discussion of the musical humanbeings. They grow aware of Iiolding this in view, how impor stopped and are learning with a observing the need of something troubles and anxieties during or Irl Allison. M.A., MilS, D., Pres. terms written in Italian and Ger- an)' short-comings in character or tau t is 11 debut in the leading concert great pr-ide and satisfaction, The new. Pianos are very costly in after the lesson, brings the teacher- Box 1113, Austin, Texas man. She came to my Studio each personalityand do everythlug in hulls of the country? Tile importance best pupils have the most interested Alaska due to the great distance by student into a common love and day for three weeks, and the lesson their powerto overcome them. This is essentiully ....ccondury, not primary .. parents, and they cooperate in every boat and the heavy shipping charges understanding, and the results are periods flew because of her intense naturallyfollows Irom the work they One cannot afford to belittle or neg- interest. Jennie learned how to play way possible. The High School Suo involved. Despite this high cost most gratifying. do, for defects in personality or leer secondary factors that further a simple waltz after the first week perintendent also has cooperated' there are quite a few pianos in this People are much the same the characterhinder effective stud and lin artistic career, but it is well and how pleased she was! She also with me wholeheartedly. and has town of 1,500 residents, but many world over and the Alaskan Eskimo CLASSIFIED ADS result in performances dUll fall to SeC them reuliatically and not took back home the German words granted me permission to use the youngsters need a cheaper instru- has been indoctrinated with the white man's mode of present day shcrt of the artist's true uhilh y. exuggerute their importance. One is H,\.lt,UU!\ Y, Ooru poar tion, Orchestra- 'l'HE Aft']' or- SIGH'I' READING. Be- of Brahms Lullaby and sang it Credit System with the High School ment. It was with this urgent need tion, Mustcat Theory. Pri va.t e or come a good Sight Reader and a bet- reaf ....tic in placing SUL:h a debut beautifully, Somewhere in a small students. This gives them more in· that I ventured to teach accordion. living in all respects. This genera· The mostcommun defect arti::ts hu\c C{ll'I'esponuence [nstruction. Manu~ tel' musician. 5. lesson course com- aUlllng tile guuh at whjch to aim. One sel'ipts revised and cOI·rected. Music piete in booklet form with mUSIC, hut out on the frozen tundn bar- centive to practice. and the piano The chords were learned with my tion has proven to be an intellectual 10 contendwith is the inclination to alTH.nged. Pranl~ S. BuUer, 32-4G 107 ~3.00. DANFORD HALL, 1014 W. i::1ullrealislic in louking upon a debut Lllnt, Chicago, Ill. rens, north of the Arctic Circle. grade is always shown on the reo popular studies, yet I had to learn offspring and we can look forward to pUI off real mental cffort and rely St., C')I""nu. N. Y. LJ!:.'\.Il..'ll PlANO 'I'UNING-Simplified, OJ~D AND NE\V vlOJ..rxs. Cellos, the future for a crop of fine musi· 011 as the dclcnninjng factur in becom- tonight a child is being sung to port card each six weeks. the coordinat.ion of Bass and Tl·eble, the fingers to do the lctlrning uuthentlc instruction $4.00-Liter- Bows, Supplies. Repairing, ]~aken, sleep with this beautiful melody. All children love music. and it h so I learned and studied by start· cians. There is a possibility that Ihroughsheer repelition, sometimes ing an uri i.sL and the critics as tbe aturc free. Prof. Ross, 456 Beecher 310 E. \Vashington St., Cbambers- St., l<:lmlra, N. Y. burg', Pa. up to the teacher to give the indi· ing with two pupils, a boy and a someday a person from Nunivak hourson end. Stud)' u\,·ay from the judges as 1.0 whether or not he gives The Alaska Flag was designed by NE.\V PIA:\'O )[U'I'E LI;:'I'S YOU SJ>I!-;cr..\.[.IZ~D ~-\.Rn.-\.N(j.(XGAND vidual child the correct understand. gi;l. At this date, I have ;n Accor- Island far out on the Bering Sea. or keyboardis hard to gel lIsed to, up music altogether. One has touched PltAC'I'ICl!; DAY Olt NlHH'I' \Vl'l'H. C01UPOSING. Piano, vocal, band an Eskimo boy 12 years of age, who (dance, concert) and orchestra scor~ dion Band consisting of 12 children Unalaska, the southern tip of the !Joltom in unrealistic thinking in OU'I' 1)IS'I'UU.111~G O'I'HEIlS. Mutes also wrote a very fitting poem. ing in matters of practicing. theory hut the true arlist never shulls cf- niana abollt 85%. Easily att::lclled or ing. Melodies composed fOI" lyrics. which was later used as The Alaska work, assigned library references of varying in ages from 8 to 16.. The Aleutian chain. or perhaps someone furttoward aC

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