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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
12-1942 Volume 60, Number 12 (December 1942) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 60, Number 12 (December 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/61
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Favorite Piano Collections Albums for the Organist
ALBUM OF WALTZES— THEMES FROM THE GREAT PRESSER’S TWO-STAFF ORGAN AT THE CONSOLE BOOK (Felton) ($1.00) .. .60 (Felton) ($1.00) 70 For Piano (Strauss) (75c) . . .50 PIANO CONCERTOS book will prove very Anyone who plays an organ will agree that this This new collection offers playable piano solo (Levine) (75c) 50 Tlte 32 numbers in tills dozen most popular waltzes useful to all organists, although the special recently- issued volume of over 140 pages is a arrangements of a Here is a collection of line music a hook that great Viennese composer. — way in which they are presented makes them a remarkable bargain. The dual registration in- from the pen of the will firing pleasure to many pianists of moder- \ Waltz. On the Beautiful real aid to tho beginning organist. There are dications make its 4G compositions available, irtist’s Life, Emperor ate ability. Included in the contents, of course, the South, Sounds only two staves used, the pedal notes being on both for those who perform on a standard pipe III a,: Danube, Rosea from tho arranged from the Tschaikow- are themes the sarno staff as that used for tite left hand. organ, and for those who play the electronic Irom the Vienna Woods. Voire* of Spring, and sky B-ffat Minor Concerto and the Grieg Con- typo of organ, such as the Hammond, now be- six others, ail of which helped to immortalize certo in i Minor. Besides those, there are tile ing installed in many churches, studios, and composer as “Hie Waltz King," are in- \ the melodious themes from the Rubinstein Concerto private homes. Concert selections and church in D Minor, the Schumann Concerto in .1 numbers are included. Minor, the MacDowcll Concerto in D Minor, THE CHAPEL ORGANIST and selections from concertos -f Rachmaninoff. Beethoven. Chopin. Liszt, Mozart. (Peery) ($1.50) $1.00 and ORGAN MISCELLANY MELODIES EVERYONE LOVES This Is a good supply of easy preludes and postludes and acceptable melodious offertories. (75c) 50 (Felton) ($1.00) 60 None of the pieces makes registration demands beyond the equipment of the 2-manual organ One may wonder how the publishers can afford Piano and Song Books for Young Folk CONCERT TRANSCRIPTIONS to give such a wealth of organ music as here with pedals that one finds in the majority of plates OF FAVORITE HYMNS— FOR churches. There are 28 pieces in this attractive presented. Special large which keep organ" numbers and i news, violin “and down the number of pages are tjie answer. All together with a brown cloth- bound volume. some orchestra compositions, Piano (Kohlmann) (75c) . . .50 of its 30 numbers are attractive. CHRISTMAS MELODIES— For Piano NUTCRACKER SUITE (Tschaikow- couple of operatic selections. Space permits tho An especially noteworthy album containing a naming of hut a few of tho more than hair Solo (Richter) (75c) 50 sky) (Richter) (60c) 40 line selection of the most frequently sung hundred titles: Alleluia. Mozart; Claytons Hebrew Mel- hymns, arranged for the thorough enjoyment of A collection of surprising excellence, designed to The bright qualities of Tschaikowsky’s ever en- tirand March. Blok, ; Bill. Kill. VOLUNTARIES, / once their rendition on the piano. Instead of tho ECCLESIAE ORGANUM 100 SHORT ody; Fifth Nocturne. I.cpbarh ; Estrellita. ; bring the best-loved Christmas melodies within gaging music are fully retained in this adaptation, rigid, percussion-liko playing that often re- Waltz from Romeo and Juliet. Ilounod ; I’rc- (Carl) ($2.50) $1.80 PRELUDES AND INTERLUDES the reach of piano pupils in the first and second and juvenile musicians will revel in learning the or sults in trying to play hymns as musically ludc in G Minor. Rachmaninoff Procession well-known work as a whole. The entertaining story, founded scored in the usual hymn book, these transcrip- A remarkable and well assorted collection of FOR REED ORGANS grades. The book contains thirty-one Sardnr. lppoliloff-Dsanoff The skaters me tions "lio tinder tile hands." enabling aver- interesting music chosen specifically for church Christmas songs and carols, sympathetically ar- on that of the original ballet, is interspersed Waldtcu/cl; Valse Bluette Driyo; the (Rinck) (75c) 50 Waltz. age pianist to play the glorious and beloved use. Tho contents are classified, giving 10 pre- ranged so that their original spirit and flavor is throughout the score, and the work is charmingly Voices of Spring Waltz, Strauss; Waltz of tile hymn melodies with a richness flowing ludes. 10 offertories and 10 postludes. The late Devotional numbers for church services. Many illustrated. and retained, and in each case a text is provided for smoothness heretofore possible by only those Dr. Carl knew well the needs of the competent organists who play the larger instruments keep those who love to sing them as well. players gifted cnougli to extemporize. 20 in church organist and as a result this volume a copy of this book at hand for occasions when MY FIRST SONG BOOK well meets them. Cloth bound. a short selection is appropriate. CHILDHOOD DAYS OF FAMOUS (Richter) (75c) 50 COMPOSERS: MOZART 40 songs that everybody knows, arranged so simply PLAY WITH PLEASURE (Coit—Bampton) (35c) 25 that almost anybody can plav them on the piano, (Felton) ($1.00) 60 CHAPEL MUSINGS— For Piano even youngsters who have had but few lessons. Com- of music for Solo (Peery) (75c) the early life and first compositions of the plete texts are given enable i collection 50 From to Mother and Father . .. .. — t begin- t ,| lc niggling “child wonder” Mozart, the authors of this unique Eminently suited for religious services, this Violin and Piano Collections book have produced an intensely interesting com- “popular with many piano players who lirisliigly able acquisition for the church nr Sunday bination of stories, pictures, and music that has lime to practice. It contains almost PLAY AND SING have little School pianist—for general and special sea- a real appeal to young music students. Mozart’s hundred melodies known to music lovers a half sonal use. The melodic, meditative character of (Richter) (75c) 50 as radio program “signatur OLD-TIME TUNES ONE STRING SOLOS early devotion to music, his first lessons on the everywhere, the music included will be especially welcome FAVORITE picture "theme music, ’ etc. Ynnn harpsichord, and his earliest composing efforts are motion to music lovers for diver-ion on the Sabbath or (Harper) (80c) School songs, songs of other lands, songs of pieres. t ($1.00) .60 55 my students It tide 8 will enjoy these here related and illustrated with charming scenes for relaxing musical recreation at other times. country, songs from operas, and songs my grand- Even the best violinists frequently join the A perfect gift for tho young violin student from his childhood. Favorite pieces in easy arrange- parents sang long ago, are the group titles of the 40 "fiddlers" In playing old familiar strains, Its contents of sixteen first pieces (four each ments five solos and one duct- from delight — -selected both popular favorites that are presented in this collec- EVENING MOODS (75c).. .50 dances and jigs. Here Is a generous-size col- for the A. D. G. and E strings) will early and late Mozart compositions, are included. favor, and. annually, at little musicians who have "just begun." and tion of arrangements piano pupils in their second contains pi ano compositions which lection that is In great This album will definitely in the matter of progress. to tho holiday season, many copies find their way aid year of study can play. (Jjift the nidi I at i vo mood, perhaps PIANO VOLUNTARIES carry one into in violin parts, I into some violinist's Christmas stocking. There are no accidentals the Suggestions become somewhat at ihace with tho world or ($1.00) 60 the pieces are all in the first position, and ONCE-UPON-A-TIME STORIES OF ntlnd rouiam c fancy-free. These 21 MY OWN HYMN BOOK For to let tho thero are many attractive illustrations. This — are of a i ypo suitable for church Tlie musician who must cover the music section THE CREAT MUSIC MASTERS selections also price Includes the Plano Accompaniment, which Sunday School servl re that will appeal lo of sacred services at a piano Instead of an Piano (Richter) (75c) 50 or A COLLECTION OF FIRST AND is In a separate book. (Robinson) ($1.00) 65 pianists able to play fourth and fifth grade organ will find needs met In this useful album Although arranged for first and second grades, the of 26 piano solos. They are selections which THIRD POSITION PIECES Each of these stories is of a great master, related fifty-two hymns included retain their full essence forflluskfolk may be used In whole, or in part, at the open- ($1.00) 60 in language clear to a child. Favorite pieces by the ing of a service, at the close of a service, or and can be played in the regular service when SUNDAY MUSIC—For Violin hern of each story are introduced in easy form as COMPOSITIONS during the offering, or other times when an un- 18 pleasing violin numbers which prove useful needed. The two sections of the book cover Hymns CELEBRATED the tale is unfolded, and suitable illustrations art obtrusive musical background is desired. and helpful to violin students making their and Piano ($1.00) 60 for Every Day and Hymns for Special Occasions. BY FAMOUS COMPOSERS first efforts In third position playing. Ideal for generously placed throughout the book. The twelve substantial, but not difficult, violin pieces. recital, for recreation or for study purposes. 16 composers thus introduced are: Bach, BeethovCn, ($1.00) 60 Their dignified characteristics and qualities of SONGS OF STEPHEN particularly suitable for Brahms, Chopin, Handel, Haydn, Mendelssohn, FOSTER The library of every good pianist she calmness make them It sincere church or Sunday School solos. Mozart, Schubert, Schumann, Verdi, and Wagner. (Arr. Richter) (75c) 50 these Imperishable gems of music. I m CLASSICS FOR THE CHURCH music ougli to know the :34 selcc- ALBUM OF FAVORITE FIRST toK lover of PIANIST (Earhart) ($1.00) .60 Almost every child has heard over the radio, or in »"•’> « •“ «•' «*n«ti.g this volume contains and sur.ely every *? tel*, lions POSITION PIECES ($1.00) . .60 kI S.’S'*d» M, tee ahtd have them. One of the few albums with entire contents FRAGMENTS FROM FAMOUS SYM- school, the beautiful American folk songs written M Mok Itas „d fa* m pianist should M [[DJ suited to church use. Its thirty-eight numbers, 22 easy-to-play violin solos which are very INDIAN MELODIES bv Stephen Foster, such as Beautiful Dreamer, PHONIES (Baines) (75c) 50 all classic favorites, were selected for inclusion interesting to first and second year violin stu- Jennie with the Light Brown Hair, Blnck Joe, (Lieurance) ($1.00) 70 Old because of their special adaptability dents. They provide melodious and attractive Modern Other Choice Piano Albums to the facilities for listening to the finest music etc., and they’ll be glad to make the acquaintance 1 «*» ba»i. pikes purpose. Pieces of the meditative type make up pieces for study and early recital playing. Four beautiful numbers utilizing gems in the - Hi best 9 I'sed In the -the radio 3nd the phonograph of Ring de Banjo, Gentle Annie Among s Piano accompaniments are effective but not music of American Indians. — have made the and Down “ '« “>*"• ALBUM (1.00) .60 the entire contents, and the music Is between » "™s TSCHAIKOWSKY violin great symphonic masterpieces familiar to all. Here, the Cane Brake! in this book of 28 easy piano W ammm lam grades four and live. difficult. recitals. (1.25) 85 some favorite themes are presented in piano ar- pieces based on Foster melodies. SOUSA ALBUM rangement of grades 2 and 3 (2.00) 1.20 Ml HOLIDAY POSTPAID CASH CHOPIN ALBUM PRICK VOID AFTER LET’S STAY WELL! DECEMBER 31. 194! (1.00) 60 SCHUBERT ALBUM giiiiiiNiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiMmiiiimiiiimiiimiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiMiiiiiiiiiiMiiniiimiiii| BOY’S OWN BOOK OF PIANO (Borie—Richter) ($1.00) ... .70 BACH ALBUM (75c) 50 PIECES (75c) 50 These charming little songs for children definitely CRIEC ALBUM (1.25) 75 encourage health habits. Bv means of Mrs. Borie's (75c) .45 Every boy piano pupil readv for the second grade of RACHMANINOFF ALBUM delightful and amusing texts, one sugar-coated study should have this album of 2 3 compositions. FRANZ LISZT ALBUM (1.25) .. .75 I Books on Music and Musicians health rule after another is implied, and by 1 These pieces are of types which appeal to the lads means of the tuneful music, thev are casv to learn. whose imaginations are as lively as their physical Some of the refreshing selves. titles are: Bonnie Rabhit Beans; Chew Chew Train; Tooth Brmh Drill; Freth Air YOUNG FOLKS’ PICTURE HISTORY OF SYMPHONIC SKELETON SCORES in Your Tires! and Just Soaposlng. Illustrations MUSIC (Cooke) ($1.00) 70 (Katzner) (35c Each) Each .30 CIRLS OWN BOOK OF PIANO arc by Ethel Smyth. acquaintance with Albums This widely used book gives the boy or girl an A series of new books, each of which is a novel guide for radio PIECES (75c) Piano Duet Albums Song known music and the 50 important things concerning tho earliest listeners, concert goers, students and all who seek genuine under- of TUNES FOR TINY TOTS development and growth of the art on down through the eras all standing of tho great master works. The Symphonic Skeleton Scores Little ladies, gifted with dainty charms and grace- CIRLS ($1.00) .60 the great masters. It reads along in a happy fashion without any show the melodic line from Introduction to Finale and Indicate the ful qualities, (Williams) (75c) SONGS FOR will find, in these 24 grade 2 and 2'A 50 big words. Over 100 cut-out pictures, to be pasted In proper spaces the rudiments CHRISTMAS CAROLS— attractive songs, which participating instruments. A mere acquaintance with piano solos, musical prettiness appealing to them. 30 non-romantic but throughout this interesting story of music, make it decidedly a following Teachers who specialize in the musical education work and repertoire of music is all that is necessary to follow them. The Arr. for Piano Duet run Ideal for the vocal study book, .lust the thing to of mlmjL-I ore play-period book rather than a study symphonies are available: No. 1 —Beethoven. Symphony No. a in pre-school children will be glad to know that a DCUIININtRS lady. Their texts are free from If the young kindle young folks' interest in the study of a musical instrument 2 So. 6 in B minor (Richter) 1 C minor; No. —Tsehaikowsky, Symphony brand-new edition recently has been issued, with (75c) 50 ($ . 00 ) extravagances and foolish sentimental- lovelorn or in music class work. Pathetic 3 Franck. Symphony in D minor; No. 4 CINDERELLA (Richter) (60c) .40 t ) ; No. — verv little revision of the musical content but with —Schubert. Symphony The gaily-decorated cover in red and green, These 19 piano duets are interesting Brahms. Symphuity So. 1 in C minor: So. 5 numerous attractive illustrations to s « A telling of encourage the in B Minor {CnJinishcd ) No. Mozart, Symphony in O Minor; the fascinating childhood story illus- adds to the attractiveness of this fine col- plified arrangements of beautiful ; — child’s interest. mclori trated with descriptive piano pieces about grade Mothers, too, will find the tuneful solos for STUDENT’S PRONOUNCING MUSICAL and So. 7—Tsehaikowsky. Symphony So. 4 in F minor. 2. lection of carols as a gift book for young which adult piano beginners will find devotional Plentifully interspersed little pieces a big encouragement to the child who with line drawing pictures pianists. The texts are printed between joyable as well as helpful to their AND HOME DICTIONARY (Pocket Size) is receiving his first progr CHURCH that may bfi colored. musical instruction in the the staves in each part and the simplified toward the end of their first season 60 ) ($ 1 . 00 arrangements may be used to accompany study. Measured against what younger (Clarke) (30c) 20 One of tl the singing. ginners would be playing, these CHILD’S OF CREAT MUSICIANS du made in many <« OWN BOOK JACK AND THE BEANSTALK MUSICAL VISITS WITH THE would be making the collection nc- All tho musical terms In common use arc found in placed at their stages of sea proaominn . Booklets range no this compact little storehouse of musical information. —A Series of 20 (Tapper) (Richter) (60c) MASTERS (Carleton) and third irage Church singer, mat- 40 (75c) . . .50 grade study. vocal classification. Besides Includes birth and death date 330 famous (20c Each) Each .12 In this book the favorite story In this book just one general use. there is in- musicians of all times. childhood is en- composition of each of 16 gs suitable for for Easter. There is a real musical Incentive for young students In these hanced bv clever little piano pieces used as a de- masters is presented, a work considered trulv repre- PLAYING TOCETHER one for Christmas and one led booklets with their cut-out pictures and simple, yet gripping scriptive background. These can be played by the sentative of the composer’s style. A page showing (75c) 50 stories of the great composers. Besides the cut-out pictures lo vnungsters, too, as none exceeds grade two. pictures of each master is included. PRONOUNCING directions The These pictures CHARM High Voice MUSICAL DICTIONARY AND paste in the story, each book has a needle, silk-cord and are to be cut out The 20 first and second grade four-hand CONCERT >NGS OF re- illustrations arc quite attractive and may be colored. and pasted in designated places DUETS GUIDE (Redman) (Flex. Cloth 60c) 45 as to binding. Blank pages at tho back permit the child to throughout the pieces in this book will delight Voice ($1.00 Each) write the story in his own words. There is a booklet for each of book. Brief biographies also are and help <$1 Low .25) the following and these sold separately: Bach. given. voung pianists. Both the Pritno and Se- Each .60 composers tire cnndn Beethoven. Brahms. Chopin, Dvorak. Foster. Grieg. Handel, SOUVENIRS OF THE MASTERS parts of these easy duets may be high voice end Schubert, sc song volumes—one for Haydn, Liszt. MacDowcll. Mendelssohn, Mozart. Kevin, played by young pupils...... i piano nuets offerings for tho repor- (Spaulding) ($1.00) SINCINC MELODIES anywhere for low voice—aro Schumann. Sousa, Tsehaikowsky, Verdi, and Wagner. 60 (50c) . . near n .35 proaches this singers or of vocalists who compilation •cs of student OF MUSIC in popularit for gen STANDARD HISTORY These 27 simplified arrangements fin second grade) These are not merely piano solos selection or winning songs with texts selected it a good $1.10 at random Ho sure to state which voice Is (Cooke) ($1.50) of some of the world's famous music gems, bring as a stimulant for the { audiences. Send For Cot imagination ; thev knowledge of music history from the young pianists to an enthusiastic are real songs that I red. ....s book imparts a useful appreciation for voungsters can both plav and PRESSER'S earliest known facts. Instruments, and composers to the epoch- QUESTIONS H0LI1 music of lasting worth. re S3fClV Wlthi " lhc raMgc SIDE BY SIDE (Ketterer) sSssiS PIANO PLAYING WITH PIANO of the avcni8e making living composers and the present eminence of the art In chifd viice (Krehbiel) , SONGS hand, operatic, radio, and motion (Hofmann) ($2.00) $1.45 7 5c) 50 itMOUS educational, social, orchestral, ANSWERED piet tiro developments. It gives, like a thoroughly enjoyable story, Each Volume) .Each$1.10 extensively sources 11 ; 1 .50 One of the highly and most used KMC BEST LOVED THEMES FROM THE MELODY the romance and lore of music. 321 pages. Over 200 illustrations. most esteemed JOYS FOR CIRLS Soprano: Vol. 2—-Alto: the pronunciation of hundreds of names ami of information upon vital points in piano playing. What a womlor- AND - ."".'kini- Vol. I — Gives phonetically MASTERS iiont cover 4 Bass over 100 fttl boon It Is to all Interested in piano music to have this great GREAT ($1.00).., .60 BOYS (75c) Vol. 3 Tenor: Vol. — words of foreign origin. Nearly 000 names and well the last measure of the tenth virtuoso's guide to modern technic and interpretation and his 50 little d of intrinsic and never; subjects are Indexed., making it a superb, t PRESS Favorites from classic, as well as front recent venertoire of songs authoritative answers to hundred specific questions on pianists' great The 29 easv-to-plav number it contains. These songs. refer volume on impot two piano pieces in duets arc These truly arc "famous = composers, are presented in this book for players this album give Proficient line value problems. Cloth bound. MUSIC PUB in n n the first and second years pianists will — Cloth bound. 6 p ni,ics f,,r of study find these grades 2 and 3. There arc 26 numbers in 7"? happy moments superb mfr! the firstfirs, v ”P some the melodv is in n ,h year of piano study. the Printo. -' n The varietv is in oth, “Polities. The 1712 CUES' simplified arrangements, pieces that will appeal to cellent ex- sunerh and most cri- lal »- of the pieces convey the ™ is rhythm f, r««l recital n young pianists. sions impres-P mood,ninnlt** and kev won r'7 suggested by the titles. variety for such ed eSS t0 Sav lillllllllllllllllllllllllllllllllllll,,lllllilllll,lllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllni PHILADEL early gr.i ’ advanced ^Illlllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll>lll>ll
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Piano and Song Books for Young Folk
CHRISTMAS MELODIES— For Piano NUTCRACKER SUITE (Tschaikow- Solo (Richter) (75c) 50 sky) (Richter) (60c) 40
A collection of surprising excellence, designed to The bright qualities of Tschaikowsky’s ever en- bring the best-loved Christmas melodies within gaging music are fully retained in this adaptation, the reach of piano pupils in the first and second ami juvenile musicians will revel in learning the grades. The book contains thirty-one well-known work as a whole. The entertaining story, founded Christmas songs and carols, sympathetically ar- on that of the original ballet, is interspersed ranged so that their original spirit and flavor is throughout the score, and the work is charmingly retained, and in each case a text is provided for illustrated. those who love to sing them as well. MY FIRST SONG BOOK CHILDHOOD DAYS OF FAMOUS (Richter) (75c) .50 COMPOSERS: MOZART 40 songs that everybody knows, arranged so simply (Coit—Bampton) (35c) 25 that almost anybody can plav them on the piano, even youngsters who have had but few lessons. Com- From the early life and first compositions of the plete texts are given to enable Mother and Father “child wonder” Mozart, the authors of this unique to join in the fun. book have produced an intensely interesting com- bination of stories, pictures, and music that has PLAY AND SING a real appeal to young music students. Mozart’s early devotion to music, his first lessons on the (Richter) (75c) . . .50 harpsichord, his efforts and earliest composing are School songs, songs of other lands, songs of my here related and illustrated with charming scenes country, songs from operas, and songs my grand- his in from childhood. Favorite pieces easy arrange- parents sang long ago, are the group titles of the 40 ments five — solos and one duet—selected from both popular favorites that are presented in this collec- early and late Mozart compositions, arc included. tion of arrangements piano pupils in their second ©tft year of study can play. Siujij estiows ONCE-UPON-A-TIME STORIES OF THE GREAT MUSIC MASTERS MY OWN HYMN BOOK—For Piano (Richter) 50 (Robinson) ($1.00) 65 (75c) Although arranged for first and second grades, the for fifty-two included Music hymns retain their full essence Folk in language clear to a child. Favorite pieces by the and can be played in the regular service when hero of each story are introduced in easy form as needed. The two sections of the bonk cover Hymns the tale is unfolded, and suitable illustrations are for Every Day and Hymns for Special Occasions. generously placed throughout the book. The twelve / composers thus introduced arc: Bach, Beethoven, v/itce4~‘ Brahms, Chopin, Handel, Haydn, Mendelssohn, SONGS OF STEPHEN FOSTER Mozart, Schubert, Schumann, Verdi, and Wagner. (Arr. Richter) (75c) 50 For gills lo musicians, siudnnls and music lovers young or old Almost every child has heard over the radio, or in ((or replenishing teething shidl. sloths M those s.lerled M„k tto.sood tola FRAGMENTS FROM FAMOUS SYM- school, the beautiful American folk songs written ore ollered .1 spetiel REDUCES by Stephen Foster, such as Beautijul Dreamer, peas rdnth ere eel end POSMID. He.i|u„ PHONIES (Baines) (75c) 50 „Jsl w m I,-ante with thr Light Brown Hair, Old Black Joe, reloms eiihoges, net rn.mi.alta privileges m be go, led el these bargain Modern facilities for listening to the finest music etc., and they’ll be glad to make the acquaintance priees — the radio and the phonograph—have made the of Ring dr Banjo, Gentle Annie and Down Among great symphonic masterpieces familiar to all. Here, i this t of 28 easy piano some favorite themes are presented in piano ar- pieces based on Foster melodies. rangement of grades 2 and 3. ALL HOLIDAY POSTPAID CASH PRICES VOID LET’S STAY WELL! AFTER DECEMBER 31, 1942 BOY’S OWN BOOK OF PIANO (Borie—Richter) ($1.00) ... .70 PIECES (75c) 50 These charming little songs for children definitely encourage health habits. By means of Mrs. Borie's Every boy piano pupil ready for the second grade of delightful and amusing texts, one sugar-coated study should have this album of 2 3 compositions. health rule after another is implied, and by means These pieces arc of types which appeal to the lads of the tuneful music, thev arc easy to learn. Some whose imaginations arc as lively as their physical of the refreshing titles arc: Bonnie Rahhit Braun selves. Chew Chew Train: Tooth Brntli Drill; Fresh Air in J our Tirerl: and Just Soapoting. Illustrations CIRL’S OWN BOOK OF PIANO are by Ethel Smyth. Piano Duet PIECES (75c) 50 Albums TUNES FOR TINY TOTS Little ladies, gifted with dainty charms and grace- (Williams) (75c) .50 ful qualities, will find, in these 24 grade 2 and 2J4 CHRISTMAS CAROLS— BOOK OF PIANO DUETS piano solos, musical prettiness appealing to them. who Teachers specialize in the musical education Arr. for Piano Duet FOR ADULT BEGINNERS of pre-school children will be glad to know that a brand-new edition recently has been issued, with (Richter) (75c) .50 ($1.00) 60 CINDERELLA (Richter) (60c) .40 very little revision of the musical content but with The gaily-decorated cover in red and green, These 19 piano duets are interesting sim- numerous attractive illustrations to encourage A telling of the fascinating childhood story illus- the adds to the attractiveness of this fine col- plified arrangements of beautiful melodies child’s interest. Mothers, too, will find the tuneful trated with descriptive piano pieces about grade 2. lection of carols as a gift book for young which adult piano beginners will little find en- Plentifully interspersed pieces a big encouragement to the child who with line drawing pictures pianists. The texts are printed between joyable as well as helpful to their is receiving his first musical instruction progress that may be colored. in the the staves in each part and the simplified toward home. the end of their first season of arrangements may be used to accompany study. Measured against what vounger be- the singing. ginners would JACK AND THE BEANSTALK MUSICAL VISITS WITH THE be plaving, these duets would be placed at their (Richter) (60c) MASTERS (Carleton) stages of second 40 (75c) . . .50 and third grade: study. In this book the favorite childhood story is en- In this hook just one composition of each of 16 hanced by clever little piano pieces used as a de- masters is presented, a work considered truly repre- PLAYING TOGETHER scriptive background. These can be played by the sentative of the composer’s stvle. A page showing (75c) .50 youngsters, too, as none exceeds grade two. The pictures of each master is included. These pictures are to The 20 first and second illustrations arc quite attractive and may be colored. be cut out and pasted in designated places grade four-hand CONCERT DUETS throughout pieces in this book will the book. Brief biographies also are delight and help ($1.25) voung pianists. Both the Primo and Se- .75 SOUVENIRS OF THE MASTERS condo parts of these easy duets may be played by young stantial (Spaulding) ($1.00) 60 SINGING MELODIES pupils. piano duets anywhere (50c) . . .35 near an- simplified These are not These 27 arrangements (in second grade) merely piano solos with texts selected at random of some of the world’s famous music gems, bring as a stimulant for the imaginations thev h, young pianists to an enthusiastic appreciation for are real songs that youngsters can both play and .'.k.»Rh S sing ,,er>1 music of lasting worth. All arc safely within the range SIDE BY SIDE (Ketterer) Zh ,srSd«s of the averageB child voice. 1750
BEST LOVED THEMES What a charming FROM THE MELODY bonk this is, from |OYS FOR GIRLS i AND very bright and attractive GREAT MASTERS ($1.00).,. .60 BOYS front cover to HAN0 EXHIBITION 175c) the last measure nf 50 the tenth little S;p,£ Favorites from classic, as well as from recent duel CES ($1.25) great number , 75 The 29 ensy-10-i.lny burn pieces t contains. These duets composers, are presented in this in ,his album ive are for book for players in K the first and c len second vears of ' fjmiists will duets ,U1 many study , fi„d these 14 grades 2 and 3. There are 26 numbers ,i„. fir., W-fta ”“!> nappv momentsnu I„ in superb , " rs "’’"c Wpy some the melodv ‘ r studv. is in the rrP r"»,,„„n i„ ...u c: simplified arrangements, V« P'»"« The variety - in others *pabilitics. They furnish pieces that will appeal to is C x- i n ,k,. v j -i-u snnpiN and ni"s ' of ,ht Pieces convey for real recital concert young pianists. L the impres-P 8 won! or sions suggested ‘ by the titles. heedless to say, advanced students pieces. * 8 “ Tastefully illustrated. ."'“i Ket their ! much pleasure from use in private recreation. ; ; ;; — -
Favorite Piano Collections Albums for the Organist
ALBUM OF WALTZES THEMES FROM THE GREAT PRESSER’S TWO-STAFF ORGAN AT THE CONSOLE
For Piano (Strauss) (75c) . . .50 PIANO CONCERTOS BOOK (Felton) ($1.00) .. .60 (Felton) ($1.00) 70 This new collection offers playable piano solo (Levine) (75c) 50 The 32 numbers in tills book will prove very Anyone who plays an organ will agree that this arrangements of a dozen most popular waltzes useful to all organists, although the special recently-issued volume of over 1-10 pages is a Here is a collection of line music—a book that from the pen of the great Viennese composer. way in which they are presented makes them a remarkable bargain. The dual registration in- will bring pleasure to many pianists of moder- Artist's Life, Emperor Waltz, On the Beautiful real aid to the beginning organist. There are dirations make its -1G compositions available, ate ability. Included in the contents, of course, Danube, Roses from the South , Sounds only two staves used, the pedal notes being on both for those who perform on a standard pipe Blue are the themes arranged from the Tsehaikow- the Vienna Woods, Voices of Spring, and the same stall as that used for the left hand. organ, and for those who play the electronic from sky B-ftat Minor Concerto and the Grieg Con- six others, all of which helped to immortalize type of organ, such as the Hammond, now be- certo in .1 Minor. Besides those, there are the as "tlio Waltz King." are in- ing installed in many churches, studios, the composer melodious themes from the lluhinstoin Concerto and cluded. Tho most attractive cover, contents, private homes. Concert selections and church in D Minor, the Schumann Concerto in .1 and fine physical make-up cause this book to numbers are included. Minor, the MaeDowcll Concerto in D Minor, lie eminently suited for gift purposes. THE CHAPEL ORGANIST and selections from concertos -f Rachmaninoff, Beethoven, Chopin. Liszt, and Mozart. (Peery) ($1.50) $1.00 MELODIES EVERYONE LOVES This is a good supply of easy preludes and ORGAN MISCELLANY 60 postludes and acceptable melodious otrcrtorics. (75c) 50 (Felton) ($1.00) None of the pieces makes registration demands One wonder how the afford This hook includes piano solo arrangements CONCERT beyond the equipment of the 2-manual organ may publishers can TRANSCRIPTIONS to give a wealth organ "under the hands” of favorite songs, piano with pedals that one finds in the majority of such of music as here presented. Special large plates pieces, violin and organ numbers and even OF FAVORITE HYMNS—FOR churches. There are 2S pleres in this attractive which keep some orchestra compositions, together with a brown cloth- bound volume. down the number of pages are tjie answer. All Piano . . (Kohlmann) (75c) .50 of its 50 numbers are attractive. couple of operatic selections. Space permits the naming of but a few of the more than half An especially noteworthy album containing a hundred titles: Alleluia, Mozart; Claytons line select ion of the most frequently sung hymns, arranged Grand March. Blaki ; Eili. Bill. Hebrew Mel- for the thorough enjoyment of ody; Fifth Nocturne. Lcgharlt Estrellita. l’once; their rendition on the piano. Instead of the ECCLESIAE ORGANUM 100 SHORT VOLUNTARIES, Waltz from llomeo and Juliet. Gounod; Pre- rigid, percussion-liko playing that often re- sults in trying play (Carl) ($2.50) $1.80 PRELUDES AND INTERLUDES lude in G Minor. Rachmaninoff Procession nf to hymns as musically me Sardar, Ippolitoff-hunoff The Skaters scored in the usual hymn book, these transcrip- A remarkable and well assorted collection of FOR REED ORGANS Waltz. Waldtcufel Valse Bluett e. Dritto; tions "lio under the hands," enabling the aver- interesting music chosen specifically for church age pianist to (Rinck) (75c) 50 Voices of Spring Waltz. Strauss; Waltz of the play the glorious and beloved use. The contents are classified, giving 10 pre- ...... -j flowers, from N'alla. Delibes; When I Was with a richness and flowing ludes. 10 offertories and 10 postludes. The lale Devotional numbers for church services. Many Seventeen, Scandinavian Folk Song; and the Dr. Carl knew well the needs of the competent orgunists who play the larger instruments keep player Finale from the William Tell Overture, Ros- 20 in church organist ami as a result lids volume a copy of this book at hand for occasions when all, r- e included. sini. Third and fourtli grade. well meets them. Cloth bound. a short selection is appropriate. PLAY WITH PLEASURE (Felton) ($1.00) 60 CHAPEL MUSINGS—For Piano A collection of music for adulL students ad- Solo (Peery) (75c) 50 vanced somewhat, past the "struggling begin- Eminently suited for religious services, ner” stage. This book also has proved sur- tills new collection will prove a practical and valu- Violin and Piano Collections prisingly popular with many piano players who able acquisition for the church or Sunday have little time to practice. It contains almost School pianist for general and special sea- a half hundred melodies known to music lovers — sonal use. The melodic, meditative everywhere, as radio program “signatures.” character of the music included will lie especially FAVORITE OLD-TIME TUNES ONE STRING SOLOS motion picture "theme music.” etc. lounger welcome to music lovers for diversion on the Sabbath students in grade 3 will enjoy these pieces, too. or ($1.00) .60 (Harper) (80c) 55 for relaxing musical recreation at other times. Even the best violinists frequently join the A perfect gift for the young violin student. MOODS (75c).. .50 "fiddlers” in playing old familiar strains, Its contents of sixteen first pieces (four each EVENING dances and jigs. Here is a generous-size col- for the A. D. G. and E strings) will delight This album contains piano compositions which lection that Is in great favor, and. annually, at little musicians who have "just begun,” and carry one into tho meditative mood, perhaps to PIANO VOLUNTARIES tho holiday season, many copies find their way will aid definitely in the matter of progress. become somewhat at peace witli tho world or ($1.00) 60 into some violinist's Christmas stocking. There are no accidentals in the violin parts, to let the mind romance fancy-free. These 21 tho pieces are all in the first position, and selections also aro of a type suitable for church over the music section thero are many attractive illustrations. This or Sunday School servicu that will appeal to of sacred services at a piano instead of an price includes the Plano Accompaniment, which fifth grado A COLLECTION OF FIRST AND pianists able to play fourth and . in this useful album is in a separate book. music. of 26 piano solos. They are selections which THIRD POSITION PIECES in part, at the open- ($1.00) 60 during the offering, Violin CELEBRATED COMPOSITIONS or oil 111 " n ' 18 pleasing violin numbers which prove useful SUNDAY MUSIC—For BY FAMOUS COMPOSERS umd 'is 'desired.* and helpful to violin students making their and Piano ($1.00) 60 first efforts in third position playing. Ideal for not difilcult. violin pieces. ($1.00) 60 recital, for recreation or for study purposes. 1G substantial, but Their dignified characteristics and qualities of The library of every good pianist dinuld havo calmness make them particularly suitable for of music, The. sincere these Imperishable gems CLASSICS FOR THE CHURCH church or Sunday School solos. to know t! lover of mu3ic ouglt PIANIST (Earhart) ALBUM OF FAVORITE FIRST lions this volume contains and ($1.00) .60 POSITION PIECES . pianist should have them. One of the few albums with entire contents ($1.00) .60 suited to church use. Its thirty-eight numbers, 22 easy-to-play violin solos which aro very INDIAN MELODIES all classic favorites, wero selected for inclusion interesting to first and second year violin stu- because (Lieurance) ($1.00) 70 Other Choice Piano Albums of their special adaptability to the dents. They provide melodious and attractive purpose. Pieces of the meditative type make up pieces for study and early recital playing. Four beautiful numbers utilizing gems in the .60 l""1 ' i(r American Indians. Used in the best TSCHAIKOWSKY ALBUM (1.00) mu * 3 between Piano accompaniments arc effective but not music of grades four and'five violin recitals. SOUSA ALBUM (1.25) 85 difilcult. CHOPIN ALBUM (2.00) 1.20 SCHUBERT ALBUM (1.00) 60 iimuuii iiiuum mimmimi BACH ALBUM (75c) 50 GRIEG ALBUM (1.25) 75 RACHMANINOFF ALBUM (75c) .45 LISZT ALBUM (1.25).. .75 FRANZ 1 Books on Music and Musicians
= YOUNG FOLKS' PICTURE HISTORY OF SYMPHONIC SKELETON SCORES = | MUSIC (Cooke) ($1.00) 70 (Katzner) (35c Each) Each .30 Albums This widely acquaintance with Song = used book gives the boy or girl an A series of new books, cadi of which Is a novel guide for radio = — important tilings concerning the earliest known music and the listeners, concert goers, students and all who seek genuine under- sr = development and growth of the art on down through the eras of all standing of tho great master works. The Symphonic Skeleton Scores = GIRLS .60 the great SONCS FOR ($1.00) = masters. It reads along in a happy fashion without any show the melodic line from Introduction to Finale and indicate t he = = big words. Over 100 cut-out pictures, to be pasted in proper spaces rudiments — 30 non-romantic hut attractive songs, which participating Instruments. A mere acquaintance with the throughout this interesting of it decidedly a for the vocal study work and repertoire = story music, make of music is all Unit is necessary to follow them. The following = are ideal play-period = book rather than a study book. Just the tiling to 1 Beethoven, .Vo. ,5 in — uf the young lady. Their texts are free from symphonies are available: No. — Symphony kindle young folks' interest in tho study of a musical instrument ill minor lovelorn extravagances and foolish sentimental- = C minor; No. 2 —Tschaikowsky, Symphony So. 0 B — — or In music class work. Pathetic No. 3 Franck. Symphony in D minor; No. !- ities. t ); — — = Brahms. Symphony So. I in C minor ; No. 5 —Schubert. Symphony — in (1 Minor; in B Minor U nfinished) ; No. G —Mozart, Symphony — SOLOS FOR in DEVOTIONAL STUDENT’S PRONOUNCING MUSICAL and So. 7—Tschaikowsky, Symphony So. !, F minor. =z CHURCH AND HOME DICTIONARY (Pocket Size) ($1.00) 60 (Clarke) (30c) one of the very best compilation* of sacred songs made in many days. Songs for the uverngo vocal CHILD'S OWN BOOK OF GREAT MUSICIANS = predominate, making tho collection ac- rango All the musical terras in conn Series of 20 Booklets (Tapper) ccntable for tho average Church singer, no mut- this compact little storehouse ol —A = classification. ter what his or her vocal Besides Includes birth and death date (20c Each) Each .12 = songs suitable for musicians of all limes. uded c e for Christmas and one for Easter. There is a real musical incentive for young students in those EE booklets with their cut-out pictures and simple, yet gripping = stories of the great composers. Besides the cut-out pictures to = SONGS OF CHARM—High Voice = MUSICAL DICTIONARY AND PRONOUNCING paste in the story, each book has a needle, silk-cord and directions — == Voice ($1.00 Each) = GUIDE (Redman) (Flex. Cloth 60c) 45 as to binding Blank pages at tile back permit the child to re- Low write the story in his own words. Thero Is a booklet for each of — Each .60 = This is a mighty line and quite comprehensive dictionary of music the following composers and these are sold separately: Bach, = — terms. Convenient size, 4Va" x 6". Beethoven. Brahms. Chopin, Dvorak. Foster. Grieg, Handel, ss —one for high voice and These song volumes Haydn. Liszt. MaeDowcll. Mendelssohn. Mozart. Ncvln. Schubert, — offerings for the reper- utie for low voice—aro Schumann. Sousa, Tschaikowsky, Verdi, Wagner. vocalists who and = toires of student singers or of = STANDARD HISTORY OF MUSIC want a good selection or winning songs for gen- which voice is ral audiences. Ho sure to stale (Cooke) $1.10 , ($1.50) desired. | Send For Complete = This book imparts a useful knowledge of music history from the List = earliest known fucts. instruments, and composers to the epoch PIANO PLAYING WITH PIANO QUESTIONS = PRESSER'S HOLIDAY BARGAINS SONGS (Krehbie!) — making living composers and the present eminence of the art. in FAMOUS = educational, social, orchestral, band, operatic, radio, and motion ANSWERED (Hofmann) ($2.00) $1.45 ,Each$1.10 gives, enjoyable story. | ($ 1.50 Each Volume) — picture developments. It like a thoroughly the romance and lore of music. 321 pages. Over 200 Illustrations. One of the most highly esteemed and most extensively used sources = Soprano; Vol. 2 Alto; = Vol. I — — =: Gives phonetically the pronunciation of hundreds of names and of information upon vital points in piano playing. What a wonder- =: Tenor; Vol. 4— Bass Vol. 3— fid boon ii is to all interested in piano to great == = words of foreign origin. Nearly 000 names and well over 100 music have this “ and never- It valuablo virtuoso's guldo to modern technic and Interpretation and his a repertoire of songs of intrinsic = subjects arc Indexed, making a superb, permanently arc "famous songs. vital musical data. authoritative answers to two hundred specific questions on pianists' = inline value. Tlicso truly = reference volume on important composers and mum o< beyond tho average voice student who is =r Cloth hound. problems. Cloth bound. = MUSIC N'ot these PUBLICATIONS beginning to build a repertoire, many of regu- Mings stand in such favor that the titles nf ,ho 1712 CHESTNUT larly appear on tb" ST vocalists, foremost ?illllllllllllllllllllllllllllllllllllllllillllllllllllllllllillllillllll!lllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllllillllllllllll!llllillllllillllllllllllllllllllll!llillll!llllllllllllF PHILADELPHIA, desired. pfl
DECEMBER, 1942 793 . )
I I^ecent II TTS (jSernarcl 'lAJaanedd 0 UBfflSfl® mmqjmaHma M ° if. ,. Published Monthly nublicutiofii / By Theodore Presser Co., Philadelphia, Pa. WAGIVESS ADULT l*i \\
(-^ontenti J?or ^it^ecember, 1942
VOLUME LX, No. 12 PRICE 25 CENTS I PEEDGE ALLEGIANCE WORLD OF iotir alliui all Amcrici MUSIC. Contain! solo (with words) of eight famous national YOUTH AND MUSIC songs. Fingered and phrased especially Operatic Proving Grounds. for teaching purposes. Beautifully illus- .Blanche Lemmon 706 trated in Ited, White and Hluc through- EDITORIAL out, this folio makes a delightful, inter- •Star Eternal esting and appropriate gift for every —Poem young student. Price, 35 cents. MUSIC AND CULTURE Teachers—send for a complimen- Interesting Problems in Mimic Mni.-i.,„ i'hrilling Possibilities ‘ Bronislaw Hubcrman tary copy of HOW TO TEACH THE of the Ami/fn.VwYOrchestraV V BEGINNER. An Informal Discrimination at the Kov Sard Leopold Rtokowski ADULT Twos the Night IM.re - .AlcejrcmphM, Discussion by Bernard W'agness. MUSIC IN THE 738 So. Campbell Ave. HOME Chicago, Illinois. OltjUiisitloii Tf.-W “ Inc. AIiiKlt-ttl • • -Peter Un'.jh RUBANK. Hoights In ItaclR herd Ltuile Music Lover's Bookshelf Alfred Lindsay Mnrtjan Meredith Cudman MUSIC AND STUDY The Teacher's Round Table LOVERS M 8 ft 8 FOR MUSIC *« v.W . CHRISTMAS GIFTS « son The E«o™tlnl» of Vncnl Art. 1- fowler RIO Christmas C" rot Hromlrid™. Smith tlr . Oogorra 811 Claude Sim The_ Wood wind Ensemble . . . Laurence Violin Taylor Technic for Mi’ . .Maurice •ophone and < •ert Dumesnil Questions and Answei Hall. ... Louis Have You Piano Kaufman SI 7 Hands . .Karl IT. Grlirkrns RiS Muslo Masters Memorialized hv .Kidney Technic the Mn’iis Filb Pastoral Symphony from “The Messiah” Theme from Piano ' Concerto in I) ...... G. F., Minor . Handel i Hail to the Spirit of Libertv (March) P^hinstein-Lerine ‘ Annette (Air de Ballet Gavotte. From French Suite "Hrrwt A. V TVillitmiit I t “ nltZ ... . * ' Fr °'“ Romeo and Juliet”' Bach-Carl col- T)ark E^s A.N outstanding ussian ” n Pr! * R Folk ,S'o all! ? i[: on Vocal^and Instrumental ii •' 1 J! complete ” • H COMPREHEN- lection of standard fa- A MOST A Compositions uaness A Chris^stmas Eve Reverie book, contain- (Sacred of vorite songs. Words child’s Song) (Low Voice) . SIVE collection r»w t,; toi;r uwrrncr Curry Included ing nursery rhymes, '''-diuni( iw7 Voi-e)! more than two hun- and music. snOverture, From Cl,ri ' A. Ft rinrl 3t,ms Cot,'antata, "For Child 1 senti- and a series of Us A (Orgn dred well known are many home, songs n ) and duets Baeh-Gnul classic, modern, light mental, operatic, sa- piano pieces OSBS* OW Httmls) young Uittle Town of Bethlehem Front; Gruber operatic and sacred cred, children’s, suitable for the (From ChristmasC Carols for 1*1 jOiel) southern, college, sea, folks. A REFRESH- h ter compositions. NO O r, pa- ING FOLIO OF ooL^"Srr^.r M. MUSIC LIBRARY rounds, hymns, Delightful Rrnss Choir) Traditional REMIND- Pieces for You"} l —.1 r. Wyrc COMPLETE WITH- triotic, national and HAPPY OUT THIS VOL- folk songs, popular in ERS OF YOUR OWN Tho’aXta'n?) .1. S<0 ' ' Thp ' Broadcasts. EARLY EFFORTS. Hanpv Little /iV V. Louise Wrinht 8 10 Radio owi/ fP n UME. Little Ro,l "0 ' Enri* Rmwn S'l Ro”l,W tl,nirf«L Binding §3.00 each. Technic of the (Piano) Eiu.li volume contains 536 pages. Cloth Marie llnbson S41 Reinforced Paper Cover Binding §2.00 each. Floating Elbow and Flip Thumb stores. If your dealer eannot supply you we will l or Mile al nil gooil music THE refunded if not JUNIOR ETUDE. Mend postpaid on receipt of Uloney cheerfully entirely SOLD IN CANADA. .Elizabeth (lest sris satisfied. (NOT MISCELLANEOUS ILLUSTRATED FOLDER WITH CONTENTS Vou MAIL COUPON FOR e Questions Answered Drgitn and Choir OiipsHt, ,7 of a Songs. twins Douty 8 >5 Publishing; C o., Inc. Book Thousand The Munii! Masterpieces of Piano New 4 ork, N. i . Music. 1140 Broadway, Child’s Own Music Rook. Enclosed find ? < ( ) PAPER ( > please send the books checked. CLOTH ll.M'STR ATED FOLDER WITH CONTENTS. ( .EASE SEND FREE Phila.. Pa., under w.d Grew Brl,w„ 1941, 4, Th,odd, Co., for U. S. A. $2.50 Addre a year in U S A j n City . i y - A " Other countries, Cana a ;lnd 50U , vear New- 3 year - Sm ^ Sk- copy, Price 25 cents. 794 I ; WILFRED PELLETIER, distinguished Canadian conductor of the Metro- politan Opera, has been appointed head of the Quebec Conservatory of Music and Dramatic Arts. Mr. Pelletier has been a conductor at the Wilfred Metropolitan since 1932, Pelletier and in addition to his many duties in this capacity, he founded the Bach Festivals of Montreal in 1935, and since 1938 has been artistic director of the Concerts Symphoniques of that city. Maestro Pelletier’s position with the Quebec Conservatory will not conflict with his duties at the Metropolitan Opera. THE METROPOLITAN OPERA ASSOCIA- TION, whose season opened on November 23 with a gala performance of Donizet- THE NEWLY FORMED ti’s “La Fille du Regiment,” with Lily BALTIMORE SYMPHONY Pons, has announced a list of ten “re- ORCHESTRA, Reginald vivals” to be included in the season’s Stewart, conductor, gave repertoire. “Salome,” by Richard Strauss, its opening concert on THE MUSIC TEACHERS NATIONAL AS- and “La Serva Padrona,” of Pergolesi THE UNIVERSITY OF TEXAS dedicated November 19, with Rise SOCIATION will hold its are two of these and the list includes annual conven- its new $500,000 music building on No- Stevens, star of opera, tion December 26 to 29 in Cincinnati, also “Lucia di Lammermoor,” which will vember 8, followed by a week long Fine screen, and radio as the Ohio. The program includes a number Arts Festival be presented as a Metropolitan Opera which included five con- soloist. This was the of forums and a concert of works by certs by the Roth String Quartet, one Guild Production, and which will have first concert of what is young contemporary composers. The ses- by Rose new costumes and scenery. Bampton, and a number of other planned as a gala sea- sions on university and college music will interesting and exceptional events. The son of fifteen weeks. The soloists to be be in charge of Quincy Porter; Clyde $35,000 four manual Aeolian-Skinner or- THE NEW FRIENDS OF MUSIC is honor- heard include Lily Pons, Harold Bauer, Kreutzer will supervise the voice forum, gan was dedicated at special ing the memory of the noted violon- a recital by Eleanor Steber, and Joseph Szigeti. and the choral conference will be under Palmer Christian, cellist, Emanuel Feuermann, by dedicat- distinguished organist the direction of Donald Swarthout. of the University ing to him all the concerts of its current of Michigan. Forums on various subjects were held EUGENE GOOSSENS has requested a season. Feuermann was one of the first for or- ganists, artists to appear with this organization THE PAN-AMERICAN WOMEN’S ASSO- composers, and other groups. number of American composers to write CIATION (New York) will continue this first of these, fanfares to be introduced at his and had participated each year in the The on November 11, was con- year its concerts intended to introduce followed by a lecture Dr. certs with the Cincinnati Or- concerts since the opening season of 1936. by James Fran- Symphony to North American audiences important cis Cooke, Editor of Etude and Presi- chestra, “as stirring and significant con- He was to have given this season a series The composers of Latin America. The dent of The Presser tributions to the war effort.” So far of Bach suites for violoncello and the con- Foundation. Dr. the certs, which began on Cooke also spoke response has been most gratifying. Bach sonatas for viola da gamba. November 1, will at a student dinner. A Twen- be held ty-three composers already on the first Sunday of each feature of the week’s celebration was a have . sub- month, and they will first Texas Composer’s mitted their contributions THE AMERICAN SOCIETY OF THE AN- feature the Concert, followed by a under such performance of many Latin-American reception to the leading titles as “Fanfare for Freedom,” CIENT INSTRUMENTS, Ben Stad, director, composers of “A Fan- works. the State. . fare for Airmen,” “A Fanfare for held its fifteenth annual festival on No- the Navy,” and so on. vember 6 and 7 at the Hotel Barclay, Philadelphia. In addition to the two evening programs, the festival included Corn.petiti.on5 THE BOSTON SYMPHONY ORCHESTRA, Young People’s Concert. The soloists a for the first time in its sixty-two years’ were William Kincaid, flute; Julia Stad, history, is making an appeal to the pub- harpsichord; and Benjamin De Loache, THE JUILLIARD SCHOOL OF MUSIC best work for Symphonic or Chamber or- lic for the financial support necessary to baritone. announces a third contest for an opera by chestra, and the other award to the best its continuation. A brochure with a finan- an American citizen. opera piece of The must be chamber music, with or without cial statement is being mailed to the or- DR. FREDERICK suitable for performance in a small piano. The competition is open theater, to Ameri- chestra’s patrons and friends. Accom- STOCK, beloved dean of and the winning work will be presented can-born citizens, or to those born abroad panying the brochure is a letter from American conductors next season by the opera department of of American parents. The closing date is Jerome D. Greene, President of the for the past thirty- the school. Librettos should be in English December 31; and full particulars may be and Trustees, stating that it “is the operas may be full length or in one secured from the Secretary. Mrs. Elizabeth intended to seven years director of give them act and they should be scored for an or- C. Allen, 10 Museum Road, Boston, Mass. the information they would the Chicago Symphony desire chestra of between thirty and fifty players. and properly expect regarding the Orchestra, died sudden- All scores should be sent to Oscar Wagner, THE SIXTH ANNUAL COMPETI- question of union affiliation, the sched- ly on October 20 at his dean of the school, New York City. The TION for the W. W. Kimball Company ule of concerts, problems of endowment in Chicago. He 1. is announced by the Chi- home contest closes March prize of $100 and finance, and the special need for would have been seventy cago Singing Teachers Guild; the prize public support.” this season to be awarded to the composer on November 11. Only FOUR AWARDS OF $1,000 arc an- submitting the best setting for solo voice, the previous week he had conducted the nounced by the National Federation of with piano accompaniment of a text to concert of the orchestra’s fifty- Music Clubs for the outstanding violinist, THE ANNUAL SYM- opening be selected by the composer himself. Pub- pianist, man and woman singer, to be POSIUM OF AMERICAN second season, establishing a world rec- manuscript also selected by a group of nationally known licat.on of the winning it the begin- ORCHESTRAL MUSIC of for service, in that was is guaranteed the Guild. Full details ord judges during the business session of the by forty-eighth season with the Walter Allen Stults, the Eastman School of ning of his Federation which will take the place of may be secured from Evanston, Illinois. Music was held at Roch- orchestra and his thirty-eighth as its Ihe Biennial Convention, cancelled be- P. O. Box 694, York, from conductor. His life was devoted to music cause of transportation difficulties, in May, ester, New were numerous and 1943. Full details of the young artists’ and October 27 to 30. Five and his activities AN AWARD OF $100 IS OFFERED by student musicians’ contests may be secured concerts were devoted to varied. He came to Chicago from Ger- the H. W. Gray Company, under the from Mrs. John McClure Chae, 600 W. works of contem- many in 1895 and played viola in the auspices of the American Guild of Organ- the 116th Street, New York City, and Mrs. which Theodore Thomas had ists, to the composer of the best anthem porary American com- orchestra Eva Whitford Lovette, 1736 Connecticut four years he be- submitted by a musician residing in the posers which were per- founded in 1891. After Avenue, Washington, D. C. United States or Canada. The text may be formed came assistant to Dr. Thomas and on by the Eastman-Rochester Sym- selected by the composer but must be in Orchestra, latter’s death he became the new phony directed by Dr. How- the THE PADEREWSKI FUND PRIZE English. For full details, address the Amer- Chicago Symphony Or- ard Hanson. Some of the composers rep- conductor of the COMPETITION for 1942 is announced ican Guild of Organists, 630 Fifth Avenue, resented were Burnet Tuthill, chestra. He appeared as guest conductor by the Trustees. Two awards of $1,000 New York City. The contest will close Gardner including the New given one prize for the 1943. Read, Abram Chasins, William of leading orchestras, each are to be — on January 1, Grant Still, Wallingford Riegger, Walter York Philharmonic-Symphony Orchestra Piston and Werner Josten. and the Philadelphia Orchestra. WITH MUSIC DECEMBER, 1942 "EORWARD MARCH ?95 that differ in some respects from those of the other training schools. This, for instance, is what Miss Irvine relates as her experience in the mat- ter of auditions. “All singers unless utterly lacking in voice, ability or training, have been given a chance to sing in a leading or small role in public perform- ance. This we do after finding that the usual Operatic Proving Grounds audition fails to reveal the aspirant’s potential- ities. This course has been justified by their good work in performance. On the whole, the result of rehearsals and performance are so beneficial that each one found to hj. Blanche <-J.ceinmon of our singers has been have improved immeasurably as regards voice production, interpretation and quantity and qual- ity of voice as they become freed of restraint.” Expense, the factor that has hamstrung CHANGES taking place N KEEPING WITH many an operatic venture, is kept down in of the musical art, in other branches ways which seem to offer valuable sugges- I through a process of mod- opera is going tions. Regarding this. Miss Irvine states: fact, on the basis of what has ernization. In “Since our purpose was chiefly to serve the the last three years, it seems happened in singer rather than to purvey entertainment prophesy that past ills which have safe to to the public, it was decided at the start to this art from the wide public it might kept omit from our operatic productions all unnec- long have attracted, will be healed. for so essary elements of opera which contributed to One of the new training schools is, natu- the expense but did nothing to help the singer, rally enough, headed by Leon Barzin, who such as choruses, orchestras, expensive scen- has been so very successful in another type ery, ballets. Thus the performances were training school—the National Orchestral of boiled down to the and department in essentials of the music Association—outlined in this action Applying the of the leading characters involved in the March number of The Etude. the plots. After two years of opera giving we same power of analysis, the same zeal and pioved that a modicum of competent that he used in creating that or- scenery, originality piano accompaniment with Barzin has built up this second and fresh voices chestra, Mr. singers thoroughly along similar drilled and initiated into experimental organization operatic singing and acting, resulted in the lines. It offers to singers what the National experience needed by per- Association Orchestra offers to in- the singers and in Orchestral formance that pro- was artistically good and tre- strumentalists: the chance to develop mendously enjoyable. In fact surprised fessional standards through the actual we critics and audience.” experience of giving group performances under able and inspiring direction. Singers are chosen after rigid audition by the operas, or nanas musicians dis Mr. Barzin and his staff, and DOROTHY SARNOFF T . ied ln this field stream- 5. ’ not onl in singini music plays as he prefers to call the hll y ‘ ry ngle performances which Young Prima Donna with the New Opera Company of New York 0f opera Production. Las lined and unostentatious , 1]m w ! 5 0ffered to students they present, are sung in English. It is his adv^L^ a course fo is that singers sung in English by singers its second season. One subscriptions, with which provided ai contention that opera opportunity 1 the opening two months away, already total 16”1 to gain ex who can sing in English will revive a fading in- more studv V Peri ence througl and^t f art. than the company had in its coffers when it Pei °rmance of ° terest in an enduring form of dramatic peratic PM* Sn ^addition ’ , ofteled„ these singers presented opened its doors. That the initial support neces- a unique opportunity In their first season a course in1 nn» and “Gianni sary to put on the show was furnished in advance Sta “Pagliacci,” “Sister Angelica,” conductors 2 ^ "n acclaim. Said is well known. But there were no claims made ’ comP°sers Schicci,” and won much critical This second nm,? and librettist! approach might in advance upon the public. No one was high i ced . . such a new for with though one writer: ou ntule1 “ pressured into buying seats he did not want. Teed“ another evolutionary cycle. . . . This, start opera on coordination ‘of all, but one thing: 1 more stimulating experiment in the after can mean that the ments th vanous ele Certainly no is necessary iv. * efforts of an organization consisting exclusively 61 to field has been made in recent years.” works produce origins musical from . young American artists, most of them amongS thtim? country Another opportunity for young opera singers is of with composers. s own gifte which reputations still to be made, succeeded in inter- the New Opera Company of New York, of In the summer esting the throng on Broadway. of 1941 r»,. v Hull is president. It was formed last his staff ** Mrs. Lytle presented two complete announcement of its plans found mu- Mozart’S anCeS C year, and An Operatic Clearing House “Cosi fan tutti,” in English , ‘T the city frankly skeptical. If they two sical’ critics of performances of Nicolai? idea of “The purpose of the New Opera Company is not S Melly its performances with the Windsor” were Wives c attended seeking Bgiven in th remained to praise. The that of an organization profits or repu- wen 3 scoffing however, they as scenes fron“t?er their endorsement tation for themselves. It wishes to give distinc- oper^The*"^^ season closed with the seal of gained by the students who ^1"° about plans for the tive, vitalized performances of a repertory that took parf and found them enthusiastic P 38 WeU new productions, “The Fair fights free of tradition, and to present each sea- ,liBh inv present season-two N0t uiim the « and higher level the world premiere of Walter son fresh casts a of interpreta- of at Sorochinsk," and organizations «^e yout Cloak,” in addition to tion. Its larger purpose, developing young singers 01 Damrosch's “The Opera factory development, reach satlf successes, and affording them indispensable stage for opera of last season’s experi- singers requil' repetition of three as well as women es me and “La Vie Pansi- ence, is to act as a clearing house for operatic have amft?? “Macbeth” “Pique Dame,” definite priority armed servto talent. If it proves capable of making good the just not o * ’ from the But ° ” opera chosen the Ur young e: er. 1 its beginnings, it significant m dress. All ot tne promises of can be invaluable.” thing ahn° f + given in modern jugs of the heSe procee( ertoire will be English. Still another laboratory for young singers last three will be sung in is the been years 7s ,h except “Macbeth” made, tllat a start hi operas article writ- Students’ Opera Company of Philadelphia, a start that portion of a lengthy which that i? lmpress Here is a small this year widens its scope and augurs well >ve and oi most distinguished becomes known as for the f,,? fen by one of tee country’s Youth Opera a mere prologue heae beginning the American Company, it is under to wha ~ 7 commentators early > ® P the land, m?y toll musical matter con _ the direction of Miss Diana Irvine. She and give us every °w throughoi omens emeige i her wind reae t0 “Certain good , fnr staff entertain ideas that are of war beIleve that n Company s plans interesting and will Wow a cerned with the New Opera oi good COnslderabl to American opma e amoui "FORWARD MARCH WITH Ui^IC 796 MARY ADORING THE CHRIST CHILD CORREGGIO'S FAMOUS "ADORATION" This great masterpiece in the Uffizi Gallery, Florence, Italy, was painted about 1522 cJlcir Oriental Christmas Eve 1942 Wliat Faith have they, who millions strong, O little child in Mary’ s arms, Kneel now beneath the Star, No conflict is too great I he Star that shone in Bethlehem s skies To keep on earth the peace Thou sought, O' er desert lands afar! And end this war of hate I What Strength have they, who hold aloft To all the righteous throngs alive. The deathless will to win O’er every land and sea. Those sacred aims that fire their souls We pray Lhee, Lord, to bring once more Above the battle s din! The power to make them free. Let Love and Kindness reign supreme I o right an age of wrong; With Peace, Good Will, and Happiness Again our Christmas song. /nines Frnn< DECEMBER. 1942 97 i Interesting Problems in Music Making A Conference with Internationally Renowned Violinist SECURED EXPRESSSLY FOR THE ElUDEFTimr BYdv MYLES FELLOWES BRONISLAW HUBERMAN Bronislaw Huberman holds a unique place accepted as pupil by Joachim. A year later, among the world’s great musicians. Beyond at the age of ten, he launched upon his first siandards the development of his own distinguished European tour. At thirteen, he played the among some amateurs than amonT m a ofes alike de- Brahms “Violin Concerto’’ for its y ^onals of other countries. I* career—in which critics and public composer. we t wish fhaStenf the pend upon him both for artistic perform- Brahms, notoriously skeptical of “infant arrivaI 01 truly great Amer- ican rM°t °n prodigies,” entered the hall in a bad ’ We must foster this vivid ances of the highest quality and penetrating mood. interest m same The child appeared; as the audience per50nal music per- analyses of the meaning of music—he has hailed sons who u making among Brahms scowled. At last n° adVantage found time to serve humanitarian causes. him, the Concerto to gain from music excepPthlPn!f ° ' Einstein and began. As the pattern of the tvork took P Unng °ne s heart into beloved With the cooperation of Albert cause Tt f a organized the Pales- shape under the child’s fingers, Brahms’ U6h merely to hear ood Toscanini, Huberman music Certainly S musi- face relaxed, softened. A look of incredulity 1 t he°6 passlve taking music tine Syinphony Orchestra of refugee is excellent n ;- in of politics, crept into it. Then, without attempting to cians. In the realm of international standards. he ' PS ‘° bUiW emotion S he was one the guiding spirits of the conceal his from the observant sonal the Values of active per- of narfirina Hr, lnt federation croivd, Brahms wiped the tears from his the °ld da ys in Vienna movement for a Pan-European liveh undred^ner .re which would un- eyes. Among the many signal honors that 1 ' the Boeselldorfel of states, the realization of Hall to hear a concIMOTM pres- have come to Huberman was the decision least "' doubtedly have served to prevent the dred could have ’ a hu the City of Genoa to place at his disposal played thJ^, war. A native of Poland, of That is Pr0gram themselves ent catastrophic a sound proportion career as a Paganini’s violin. * maintain Huberman began his artistic passive and active between nmsiM1 Mr. Huberman’s chief enthusiasm is the Ters' child prodigy. At the age of nine, he played our own terms Translating it intc he regards it would Vienna International Exhibit of cause of music itself; the violin thetical °f the hyP°' at the 'mimMMenrns h that he ivas imme- as but one of many means of serving that broadcast, “o h ar some notable Music with such success two hundred ta cause. In the following conference, he diately summoned for a command perform- to repeat the b6 makes an earnest plea for the special kind pr^atMem^es ance before Emperor Franz Josef. In recog- music making which must inevitably Personal nition of the child’s gifts, the Emperor of Participation art. Above All violin. From Vienna, precede any true florescence of I have presented him with a only admiration fm- —Editorial Note. many ‘ young Huberman went to Berlin and was formances brought by mechanic 11116 per enees that might otherwise 63118 to audi ' hear'™ music But the function of at a11 meihan, US1C clearly established. It must be should , M ‘ sonal music maklng-n^e" suylZtT P6r undoubtedly sound It better to pfay the MendT sohn Concerto in the recording of it needs a rSfon" MUSICAL NEED," says than its creators; an aware and sym- artist; it is U ble MERICA’S CHIEF better for you to group of plain people to receive it nlMn Huberman, “is a revival of dilettant- pathetic and, Imperfect as the m Mr. performance may h w sense of the word; that is, by their reception, to stimulate and echo the nonetheless !°V11 Wl1 A ism in the best express active, living n!, expression of art. A creative artists. Art, essentially a reflection of est. musicalMi inter- delight in some personal Oddly enough this „ musical his- human dreams and aspirations, is meant for imperJect the important epochs of formanee will also Per- review of do greater lerv' all the arts- people. And the amateurs who approach it closely, t0 the tory—indeed, of the history of development of music. large ' fact each not merely as passive audience but as active par- AtmosnheMand, shows the recurrence of a singular are built only traditl01 us vitally necessary to art through personal ability was both pre- ticipants, are and artists personal Partlcl period of great creative living with music Pation marked alike. I well1 a period of my ' Iemember ir accompanied by own student , ceded and significant that most of the days hearing sound reason foi “It is great Rus- 031 amateur activity. There is a who were doctors, amateuri never exist alone. sian composers began their careers as amateurs. lawyers busmessM' this. Art, unlike science, can some point of Intpmr.tl.- men, tell o it was precisely this vivid discovered, it matters Indeed, interest in or Hlat an If the laws of science are relative had <*<*>• Men. knows amateur music making that enabled the creative ab S o.td dll6ctlyd' not the general public None of Ir°m Brahms little whether or these , needs moie spirits to assert themselves. In my early tours of was a m-ofe the other hand, gave life m* Sician: yet al about them. Art, on to their love ‘ oliContt1 {Con timied "FORWARD MARCH WITH MUSIC" on Page 846 79 « THE ETUDE ’ Thrilling Possibilities of the Amateur Orchestra A Conference with cHeopoid ddtohowsli World Renowned Conductor SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT The past decade has seen a phenomenal development in amateur orchestras . LEOPOLD STOKOWSKI Conservatories, colleges, and schools are giving increased attention to group music; in many cities, business men and housewives band together to make music sheerly for the fun of it. Doctors and laivyers have formed “Professional” orches- HREE ELEMENTS make up the value of tras, with an agreeably different significance of the word professional. Some of any orchestra. The first and by far the these amateur organizations may ultimately attain musically professional status; T most important of these is viusic itself. some may not. In either case, the result is not so important as the impetus to The other two, equally important in rank, are the group playing. Hoio is the amateur orchestra to improve the caliber of its zvork? players and the conductor. Even though it is To what point shall it give special attention? Hozv can the individual members sometimes easier to find good players than good add value and vitality to their private practicing? The Etude is fortunate in conductors, all of them must be regarded as in- having secured the ansioers to these questions from one of the greatest conductors strumentalists. The players perform on violins, of all time. In the following conference, Leopold Stokoivski sets forth practical horns, flutes, harps—the conductor performs on hints for the improvement of amateur orchestras.—Editorial Note. the orchestra, which is infinitely more complex in that it is made up not only of instruments but of human beings. The first task of the conductor is to realize the structure of his great instrument. different, he must find As every human being is great disservice is done to music. People may hear to work out technical difficulties in an intelligent approach to each player. the individual personal great works, to be sure; but in imperfect perform- individual manner. Special studies may be made all be treated alike because they They cannot ance, they hear a distorted version, without flex- from the difficult parts of scores. It is not neces- all alike. must realize that the same is are not He ibility or inspiration—and music without inspira- sary to practice routine scales every day—unless every true for each instrument. Every violin, tion is a mere mechanical sound. Even professional a particular scale sequence occurs in the compo- different, violoncello, every bow, every horn is orchestras that play without inspiration do the sition under study. its player) reacts differently, requires (through same harm to music, and the public is dissatis- every Practice different compensations. This is true of fied with them because people realize instinctively Individual and Group professional or amateur orchestra, whether it be that in order to have beauty and meaning, music “The player in an orchestra is constantly doing orchestra, how- in rank. The amateur, or student, must come from the heart. two kinds of practice. One is the individual prac- brings ever, problems of its own. “It is extremely important that the players in tice at home; the other is the interrelating of an orchestra know how to practice—and I speak his part to the rest of the section and also to the The First Responsibility of the players in an orchestra rather than the orchestra as a whole. In the individual practice “Amateur orchestras offer wonderful experience men because I am deeply opposed to the preju- at home, it is very important to work for beauty for young players, the most talented of whom dice against women. The All American Youth Or- of tone, always remembering that there are many first respon- will go on to professional work. The chestra, which it is my privilege to direct, made kinds of beautiful tone—not merely one. Also, it sibility of the group is to play its notes cor- no such intolerant distinction; we accepted the is important to work for a very large fortissimo rectly, with absolute fidelity as to directions and best players, regardless of sex, and found women as well as for a very soft pianissimo. Many play- indications. But, vital as this is, it is not enough! performers equally as good as men. The young- ers always practice mezzoforte, which is much too The next step, and the more important one, is instrumentalist should practice simple things. limited for orchestral technic. Pianissimo tone equal to express the spirit of the music with The average student tends to confuse practicing must be vital and vibrant, so that it will carry. fidelity. To broaden the players’ experience in with technical facility. That is not wise. Technic A pianissimo tone that is dead has no value in an penetrating to the meaning of music, the young- should always be kept in second place. The pur- orchestra. music. orchestra should perform all kinds of pose of music making is, quite simply, to make “The tendency of string players is to give more “There is a question in my mind, however, as music! And while technical fluency is necessary attention to the rapid execution of the left hand should per- to whether the amateur orchestra to much music, it is by no means synonymous with than to the fuller development of the bow arm. joins an orches- form publicly. Since anyone who music itself. The young performer should practice The technic of the bow arm has extensive possi- be assumed tra at all must love music, it may for beauty and variety of tone, for flexibility of bilities which are too much neglected. Every kind that the playing itself will be sufficient reward. phrasing, for the ability to bring the significance of bowing technic should be studied separately Public performance b an.ther matter. Exciting out of a phrase. In such a way, he comes closer to In addition, the player should practice very sim- and pleasant as it may be, it carries enormous re- music. He will find, too, that purely technical prob- ple music, thinking mainly of the bow; drawing should be on such, are more readily solved after he has the slowly but with perfect sponsibility with it. Public playing lems, as bow evenness across plane of quality. If it is not, a acquired an approach to music. It is advisable, too, the string. Any inequality of the bow the highest possible stroke wifi MARCH WITH MUSIC DECEMBER, 1942 "FORWARD 799 . . . A Striking Wartime Musical Poster Industries War Council, which is < mount- ruin the tone. The softer one plays, the more in- The Music 39 x 53 inches. This is a giant “blow-up,” most important work in connection with for tense and vital should be the pressure of the doing a ed on heavy board, ideal as a central theme employment of music in fostering all kinds of as a fingers of the left hand on the string. I do not the large displays and public gatherings, or effort, produced a striking poster in four mean by this heavy pressure, but a vital pressure. war has background for bands and orchestras. $10.00 unquestionably will have very wide The left hand must never be allowed to be dead. colors which each) with those who desire to promote this objec- It must be made strong and flexible, but this may use 1V2 x 2 inches. (These are beautiful stamps, per- black white be done away from the instrument as well as tive. The design in and does not show forated and gummed. $3.00 per book of 1000 the real attractiveness of the poster. on it. stamps) secured in three “The player of wind instruments should work The poster may be sizes: These may be procured through the Music In- very much towards acquiring a perfect legato, 16 x 22 inches (10 for $1.00—100 for $6.00. Mount- dustries War Council, 20 East Jackson Boulevard, never allowing a break or space to occur between ed, 50 cents each or $3.00 per dozen) Chicago. Illinois. the notes no matter how wide is the interval in melody. He should also work for an extremely short staccato. Trumpet players should not be forever trying to play very high notes by forcing them. Horn players should not concentrate too much on one register of their instrument, but should be able to play fourth horn as well as other parts. All wind instruments should work for 'pianissimo attack with crescendo in the middle of the tone. diminuendo in the second half of the tone, and pianissimo fade-out. This technic is most impor- tant to give perfect tone control. All players, no matter what their instruments, should practice simple music rather than rapid, brilliant pas- sages. “Brasses should be careful not to press the mouthpiece too hard against the lips in produc- ing tone. It is cramping and harmful to the mus- cles and nerves of the lips to have the mouthpiece forced tightly against them. Tone should be se- cured by lip tension, not by pressure. Percussion players should master all the instruments in the battery section—not merely one or two. Partic- ular attention should be given the snare drum, often supei - which is a difficult instrument and for the ficially played. Harps must keep alert pitch of their instruments, which is constantly changing. During rehearsals, even during pei- formances, the harps should constantly be tun- allow ing, with the greatest care, of course, not to their tuning to become audible and disturbing. Orchestral Intonation in “Intonation is, of course, of vital importance orchestral playing. Much attention should be that if their pitch given it. Some players think instrument and is wrong, the fault lies in the nothing can be done about it. This is a mistake. the result All instruments are imperfect, with that one may never rely upon the mere mechanics pitch. The of construction to produce perfect de- player must constantly compensate for the should rec- ficiencies of his instrument. Also, one two kinds of in- ognize the fact that there are The piano, tervals—tempered and untempered. use of tempered intervals, for example, makes approximate accu- which are fixed and only of makes use of the untempered racy The orchestra place first responsibility upon intervals, which foi instance, onv nf the player. On strings, be tuned by ear. When a fifth perfect fifths must two tones together produce ^perfectlyperfectly tuned, the is octave below the lower ^"thfi^erval has been correct* tuned, *3^.^ of an orchestra to form groups for.the not only the string P chamber ^ playing A Sinking and brass ZJer^61r* of Wartime de 1 P Musical music will greatly on Page 857) tone mued how to balance the 800 f'l'H MUSIC — ’ V and •'Culture d ing discriminative study to the master works. It is a Discrimination at the Keyboard good thing to analyze the inherent quali- ties of the various composers. To my mind. Chopin, Liszt, Mozart, and even Bach are purely ,4n Interview with pianistic. That is to say, one can approach them in terms of melodic theme plus accompaniment, and reach them, so to speak, through the keys alone. Beethoven, Brahms, and Schumann, on the . //,. 6/ifipleton 3 other hand, are purely orchestral. When I play Beethoven, I forget that I am playing the piano, Distinguished Pianist and begin to conduct a full orchestra. The open- ing of the “Pathetique Sonata,” for instance, is, in my opinion at least, a perfect example of a SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST theme for full orchestra followed by a theme for strings alone, a repetition of each, and then a binding, or transitional figuration for clarinet and oboe. IANO PLAYING INVOLVES a certain amount planned by the performer—and his gauge in the of technical facility which serves as the planning is a careful, discriminating study of Study Orchestrally P means of releasing musical thought and the suitability of expression. I believe that a student’s penetration into the emotion. But those important component ele- Often, after practicing Debussy, I amuse my- purely piano works of Beethoven can be deep- ments are not the whole story. Each phase of self by taking my hands from the keys, leaving ened and intensified in two ways. First, study each piano playing—every least bit of pedaling, every the pedal down, and enjoying the full concord of work not as a piano composition, but as though pressure of the keys—involves something else, overtones that fill the air, seemingly from no- it were a piano transcription of an orchestral which grows out of the pianist’s penetration of where. I suggest that the Debussy student try score. In the second place, listen to all the Bee- work before the him. Let us call it musical suit- that some time. From thoven symphonies ability, or discrimination. It is not enough to the effect he derives you can, in concerts, strike the correct key, at the correct time. The from listening to the on the radio, and best striking of the key must be preceded by an overtones in the air, of all, in phonograph amount of musical thought, exerted to determine he will sense the far- recordings, where you the exact qualities of touch, pressure, tone qual- away mystery that, to can repeat the various ity, and color which alone can state the basic my mind, should color phrases as much as thought of the composition. all of Debussy’s music. you like, and study Let me illustrate the need of musical discrimi- I have a strange ‘ the exact emphases nation in terms of interpreting Debussy. Admit- personal affinity for and colorings. After tedly, Debussy is not easy to play—and the dif- Debussy. Although I familiarizing yourself ficulties have but little to do with his note se- never knew him, I with the structure of quences which, after all, can be mastered by any seem to be close to his symphonies, you fluent reader. The value of Debussy’s music— him. His harmonic will find it easier to which is equivalent to his thought, expressed structure is like that interpret his piano through music—can never be released merely by which comes naturally works—not in terms striking the correct keys. Debussy is pure im- to me. We have the of their notes, but in pressionism; that means the entirely personal, same innate sense of terms of Beethoven subjective expression of he thinks and feels, key and pitch. uses how He suitability. and how the things about him react upon him. the key of F-sharp for The chief difference Interpretation of this sort calls for the highest light, delicate impres- between playing pian- order of imaginative re-creation of which the sions, and to me. also, istically and orches- pianist is capable. My personal theory, in ap- F-sharp suggests deli- trally is one of em- proaching Debussy, is to make yourself forget cacy. Most of his phasis. For orchestral the instrument, the keys, the pedals, the notes purely impressionistic playing on the piano even the fact that you are an earthly and mate- pieces are in sharp try to forget that the rial human being with arms and hands and feet! keys, and I should right hand and the Think only of the music. have chosen just such fourth finger of the keys, had I been so left hand carry Delicacy in Debussy ALEC TEMPLETON the fortunate as to have melody. Remember Imagine that the wind is blowing the music written his pieces! to that there are other from somewhere far One of you, on high. Try to under- my hobbies is collecting music boxes, and parts than melody, that can be extremely mov- stand it as a musical whole, that might be wafted the ones I like best play in G, F-sharp, E, or ing and that must be emphasized for their har- to you delicately. One cannot play Debussy too C-sharp. I prefer percussives in keys in sharps. monic values. Thus you will get away from the delicately. Even one’s touch must be Long ago, I regulated made a clear mental picture of what common piano tendency to play merely melody to the suitability demands of the composer. The Debussy’s playing must have sounded like. Then. plus accompaniment. That, in a word, is the chief tone must sing, of course, but not too full-throat- I had the luck to find an old record, in which distinction between the purely pianistic and the edly. It must be of bell-like delicacy, and always he played the accompaniments to some songs of orchestral composers. purely Again, it seems to with the mysterious suggestion of being about to his own, sung by Mary Garden. The record was me that the pianistic composers may be dealt be wafted away again—the way it came. A pian- made, I believe in 1904, and it is somewhat with entirely from the top of the piano. You con- ist may be capable of achieving magnificent blurred with time. But, to my intense pleasure, De- sider your interpretation, and press down your in Liszt or Brahms, without even ap- bussy’s crescendi playing sounds forth exactly as I had keys—and there you are! In the orchestral needs of Debussy. Here, com- proaching the dynamic always known it must sound, with great delicacy; posers, however, you need something too too mysterious, more the crescendi are never sturdy nor grad- faraway color: and meticulous pedal Greater verve and color, to be sure; and, in afl_ ual. They assert themselves suddenly, mysteri- care. If one is lucky enough to find an “affinity” dition, a tonal quality that comes up from th~ ously. An eight-note figuration may begin in a composer, it is always easier to establish the exact inside instrument, of the instead of coming dnm f delicate 'pianissimo and arrive suddenly at in- degree of suitability that is necessary for com- from the key alone. 71 creased dynamic value. The suddenness is only plete interpretation. But one cannot wait for There is also a suitability in technic as well one, however; it must be carefully such an affinity to assert itself before apply- in S a seeming interpretation. Each ( Continued on Page 85Q) DECEMBER, 1942 "FORWARD MARCH WITH MUSIC 80j J tec * 'Culture J&*$W-Music } and #Cg. yVyCQ'At a Tloiyq/iaJtA. I\ol a creature teas stirring, not even a mouse; The stockings were hung by the chimney with care. In hopes that St. Nicholas soon would be there; The children were nestled all snug in their beds, » hde visions of sugar-plums danced in their heads; And mamma in her ’ kerchief , and I in my cap, Had just settled our brains for a long winters nap, " hen out on the lawn there arose such a clatter I sprang from the bed to see wha, was the matter. Atcay to the window I flew like a flash. Tore open the shatters and threw up the sash. he moon on the breast of the new-fallen snow to see what was the matter Gave the lustre of mid-day I sprang from fhe bed to objects belotc, wondering ^ eyes should appear, But a miniature sleigh, and eight tiny reindeer, n ah a little old driver, so lively „„d quicky — I knew in a moment A it must be St Nick More rapid than eagles his coursers they came, — eatled them by name; ‘‘No,No,:7,Dasher!T fnow, Dancer! now, Prancer and n Len! ome . on, Cupid! on, Dander and Blitzen! To the top of the porch! to the top of the wall! Now dash away! dash away! dash away all p> :;'ry eaves **« *e ,„iW ,tlirric„,ie When they[ fl meet with an obstacle, eight tiny reindeer moan, to thesky, A miniature sleigh, and So up to the house-top the coursers they flew, n „/, the sleigh full of toys, and St. Nicholas too. =\ - So up fo the house-top the coursers they flew ptancmg and pawing "FORW'ARD MARCH WITH Q , ^ ^ ^ 802 MUSIC" thr vtjiL ; Down the chimney St. Nicholas came with a bound the And then, in a twinkling, I heard on roof The prancing and pawing of each little hoof. As / dreic in my head, and ivas turning around, Down the chimney St. Nicholas came with a bound. He was dressed all in fur, from his head to his foot, And his clothes were all tarnished with ashes and soot A bundle of toys he had flung on his back. And he looked like a peddler just opening his pack. His eyes—hoiv they twinkled! his. dimples how merry! His cheeks were like roses, his nose like a cherry! His droll little mojith was drawn up like a bow, And the beard on his chin teas as white as the snow; The stump of a pipe he held tight in his teeth. it encircled his head like a wreath; And the smoke Filled all the stockings ; then turned with a jerk He had a broad face and a little round belly. That shook, when he laughed, like a bowlful of jelly. He teas chubby and plump, a right jolly old elf, And I laughed when 1 saw him, in spite of myself; A wink of his eye and a twist of his head. Soon gave me to know I had nothing to dread; He spoke not a word, but went straight to his work. And filled all the stockings; then turned with a jerk. And laying his finger aside of his nose. And giving a nod, up the chimney he rose; He sprang to his sleigh, to his team gave a whistle, And aivay they all flew like the down of a thistle. But l heard him exclaim, ere he drove out of sight, “Happy Christmas to all, and to all a good-night.” Clement Clarke Moore He sprang to his sleigh, to his team gave a whistle DECEMBER, 1942 "FORWARD MARCH WITH MUSIC HO 3 Music I m fthe / Home *^r-;-. selves confronted with conditions in hotels T IS BELIEVED that the first ‘'sleepy song” and in Pullman cars which make sleep ex- a ever written in America was penned by Lullaby tremely difficult and they may discover in the I youth who came over on the Mayflower. following, invaluable help. It is: The plan we are about to describe is of “Rock-a-bye, baby, on the treetop, course a means of relaxing the body through When the wind blows, the cradle will A Requested the employment of the “directed imagina- rock; tion.” When we send a command from the When the bough breaks, the cradle brain to a finger to strike a piano key, we call will fall, Editorial Disquisition the action “voluntary.” The finger obeys the And down will come baby, cradle, command instantly. However, many people do and all.” not realize the influence of the mind upon the countries often Music publishers in all body, through the direction of the imagina- that the on Sleep laughingly comment upon the fact tion which seems involuntary, but which is have not Opus 1 of most composers who none the less powerful. One simple means of usually a lullaby. Even entered the teen age is illustrating this is through the observation of juvenile your editor was guilty of writing a the effect of an embarrassing thought upon a prize offered by Once a lullaby which won a young boy or a girl. The imagination in- Collier’s Weekly ) . Thereupon he Week (now stantaneously sends the blood to the surface sleepless nights in contemplation spent many and the youngster “blushes all over.” In a composer. He did of his future greatness as similar manner the imagination can be not then know that the number of famous directed to any local section of the body with lullabies is digital. Chopin’s Berceuse, Brahms’ the intention of producing a kind of super- plaintive Cradle Song, Godard’s Lullaby from relaxation in that area individual is the until the “Jocelyn,” and Hauser’s Wiegenlied for entirely oblivious of its existence. Then the violin are the best known. The most precious, imagination can be employed to produce areas however, are those hallowed sleepy songs of oblivion in various the body close to her sections of which Mother sang as she held us progressively, guard until the entire being is af- heart and prayed that the angels would fected. us and bless us all our days. Our little heads moved up and down with her breath, as she sang us into slumberland with the most beau- The technic of doing this is simple. Lie upon tiful music we shall ever hear. your back on a bed without a pillow. Separate When the day is long and troubled, and your feet. Rest your hands palms when we are worn with anxiety, music at at your side, down but do not somnolent effect that, like a let them touch the body- bedtime has a i he bed a coverings should be adjusted to the rain of scarlet poppies floating down from temperature so out the cares of that their weight is not clouded sky, seems to shut noticed. from its trials and fears, life and put us apart Mentally “the divide your sec- leading us into what Tennyson called body Into areas or tions, such as folded sleep.” No wonder that a mystery of Head wrote of music as “the vestibule Persian poet Neck dreams.” of Chest and For years one of the most popular radio Shoulders HE WROTE THE MOST FAMOUS LULLABY Waist programs heard late in the evening was can Johannes Brahms' Wiegenlied or Cradle Song probably has Thighs known as “The Slumber Hour.” One been sung more widely than any other song of its type. the dial of the radio Legs usually at bedtime turn The theme is believed to have been suggested by an old d n iS 0( much to prepare the Austrian folk song from the Tyrol. course Pure'y arbitrary. Any to music which will do ntho !J— °, V n W°Uld be equall mind for sounder sleep. y B°° d - Breathe deenL T , the more 6ight times is year, in an editorial upon ’ as each area Last lelaxedLlaxert in the manner subject of relaxation, we stated that described hereafter. technical Let us start practiced what might with the head. for many years we had Breathe in mental and physical relaxa- Persistent and carefully nourished illusions. 111'"! 1 ^ the be called a form of out TeeT ^ath passes thaTLr a bl proven invaluable in enabling us PHYSICAL eXbaled a11 tion which had strait ' alfLCn! aU r secure a kind of superlative Illness of any kind except those diseases which S^y 18 to go to sleep and breathed out like P ° r an exhalaUon f,’ gave us, in a few hours, more compel sleep. f, the avea rest which usually being- treated. Of course ™ night of troubled of stimulants no such tvf- restorative results than a The use which experience has sibly happen P as exhaling from such lack of a better name we dubbed shown tend to keep you awake. “Section but slumber. For let your imagination give “areas of oblivion.” We have Temporary indiscretions in eating indigestible you thif a well directed re?a-A ' bl eathin6' the pleasurable or imagination can at times same manner until ?' in whether overcome any or all the^e'i “bnoraal excitement, of of °‘ °nly 110 the interferences we have Pull or stiffness sensation set down. Touring in thtL area d e a like a ’ but a looseness remorse. artists and traveling musicians often “bowl of iellv ” tj , apprehension. anxiety, find them- ' won y ** exercise therelaXh' g - breath foi this "FORWARD MARCH WITH ” ( ContinuedSV on Page 856) 804 MUSIC THE etude , • . HOSTAKOVICH: SYMPHONY NO. 5; Cleveland of Artur Rodzinski. Co- ' Orchestra, direction '‘ i tfW-. Music I m the Home S lumbia set 520. v» «# e* /^sa)Wr>'^ It would seem from indications in the concert hall that the “Fifth Symphony” of Shostakovich, like that of Beethoven and Sibelius, is his most popular work. It is in many ways a better sym- phony than his youthful First, and decidedly more original. Widespread Interest Stokowski, with the Philadelphia Orchestra, has already recorded this symphony. As fine as that performance is, this new one is nevertheless wel- come, because—in our estimation—it realizes the composer’s intentions in a more stirring manner. in New Records The tautness and determined drive of the score is better substantiated by Rodzinski; Stokowski tends to break up the musical flow in order to exploit “tonal” effects. Both the opening movement and the widely admired slow movement are held to- feeler ^Jdacjli Indeed (yifl gether by Rodzinski in a wholly admirable man- ner. Even the trite Scherzo with its impudent humor comes off better here, and the bombastic finale is given a more spirited treatment. There is, formance cannot compete with an earlier one the nonetheless successful. The first two marches are however, an unfortunate cut in the last movement, conductor made with the Philadelphia Orchestra, from operas; the latter two, by far the best, were occasioned undoubtedly by the need to contain the and even though the recording is better in some written for special occasions. The Persian March work on five discs, which is one less than Stokowski aspects, this is not sufficient to make one wish to was commissioned by the Austrian Government requires. From the reproductive side, this new per- replace the earlier set with this one. for a reception given at Vienna for the visiting formance is splendidly realistic. Strauss, Johann: Emperor Waltz; PhilharmoniC- Shah of Persia; and the Egyptian March was Glazounov: Overture on Creek Themes, Op. 3: Minne- Symphony Orchestra of New York, conducted by commissioned for some similar occasion. Fiedler apolis Symphony Or- Bruno Walter, Colum- gives these pieces fine performances, and the re- chestra, direction of bia disc 11854-D. cording is excellently attained. Dimitri Mitropoulos. Strauss, Johann: Indigo Dohnanyi: Rhapsody in E-flat major; Rhapsody in C Columbia set X-228. March; Gypsy Baron major; Etude in E major; Miklos Schwalb (piano) It is understandable March; Persian March; Bost Record Set BA3. why Mitropulos would Egyptian March; The The Hungarian pianist, Miklos Schwalb, pays wish to revive this Boston “Pops” Orches- tribute here to his teacher, Dohnanyi. One wel- work; being of Greek tra, conducted by Ar- comes these recordings not only because the origin himself he has thur Fiedler. Victor music is fascinating and enduring, but for the undoubtedly an affec- Envelope Set EM-1. stylistic qualities of the interpreter. The E-flat tion for its melodic In an article re- Rhapsody is full of dramatic puissance, and is a content. This is an cently published in free treatment of the Dies Irae theme. The C early composition of The American Music major Rhapsody is a delightful scherzando, and Glazounov; one which, Lover, the Johann the Etude is an attractive arpeggio study. The along with his “First Strauss specialist, Je- recording here is good, but the surface noise is a Symphony,” earned rome Pastene, said: little higher than needs be. for him recognition by “If I were to choose Mignonc: Tango Braziliero; Quasi Modinha; Lenda the musical world. one disc which, be- Brazileira No. 1 and No. 2; played by the composer, Perhaps some will cause of recording Francisco Mignone. Bost Record Set BA2. think the composer technique, interpreta- These compositions by the Brazilian composer has over - elaborated tion and execution, Mignone, who recently visited this country, should his material here and merits the designation find popularity among amateur pianists. They are stretched its length of the perfect Strauss definitely salon music and are effectively if unex- unnecessarily, but we performance on rec- citedly contrived. Mignone is a capable but less daresay those who like ords, that disc would stimulating pianist than Schwalb. Of the four this sort of work will be the Kaisenoalzer pieces, the most appealing to us are the Lenda find it a lot more en- recorded by Bruno Brazileira (Brazilian Legends), based on folklore joyable than many Walter and the Vienna of the composer’s native land. Quietly reflective similar compositions Philharmonic (Victor expressions, these compositions have an affinity which are played all disc 13690) .” Just why with the Iberian music of Debussy, de Falla and too much in the con- Walter saw fit to du- others. cert hall. plicate his earlier disc Beethoven: Quartet in F minor. Opus 95; Budapest Moussorgsky - Stokow- we cannot imagine, Quartet. Columbia set 519. ski: Boris Godounov — particularly in view of There has always seemed to us an autumnal Symphonic Synthesis; All-American Orchestra, con- the fact that the present performance has little mood in this music. There is a melancholy ducted by Leopold Stokowski. Columbia set 516. of the nuanced subtlety of the other and also owns coupled with dramatic energy in the first move- In linking scenes and passages from the opera, a curious lack of balance where the horns, harp ment and a poetic sensitivity in the slow move- “Boris Godounov,” Stokowski showed his ability and tympani are concerned. ment which is by no means exploited by most as a musical surgeon. Although his stitchings are It is usually forgotten by most people (some are players as it is here. The recording is highly deftly accomplished, anyone familiar with Mous- perhaps unaware cf the facts) that Johann realistic, but as in other Columbia discs of this sorgsky’s “Boris” may feel, however, that what Strauss was a bandmaster in his time just as his quartet, the feeling prevails that the acoustical Stokowski ha£ done is not far removed from what father was before him. His abilities as a writer of qualities of the hall in which the recording was the plastic surgeon does on human beings. Even marches were perhaps not as outstanding as were made tend to coarsen the tone of the ensemble though the results are acknowledged successful, those of the late John Philip Sousa, but they were in loud passages. Only in the softer and mezzo- the characteristics of the Moussorgsky score are forte passages does the tone hold true to that of considerably altered. One eminent critic professed the quartet in the concert hall. ' to see in this work “an unbroken dramatic sym- Mozart: Arias; “The Magic Flute”—Vengeance its merit Aria; “the Marriage of Figaro”—Voi Che phony,” but most critics agree that only RECORDS Sapete • “The Abduction from ( Continued is in its orchestral sonorities. The present per- on Page 863) DECEMBER, 1942 "FORWARD MARCH WITH MUSIC" 805 ' abilities as a program maker, Ormandy gave an all-Russian program for his initial concert of «• » , — - Music i m ! Hhe Home j • October 2. At a later concert, he presented the V* & &• *‘*&&*r''••" W tone poem Bataan, by the American composer, Harl McDonald, who is also the manager of the Philadelphia Orchestra. “Following the example of the courageous Rus- sians, who haven’t suspended their cultural lives, New Musical Heights although the Nazi hordes are at their gates,” says Mr. Ormandy, “America at war will con- tinue to enjoy the world’s finest music.” This is something for which we Americans can be most grateful. in Radio Founded during the last months of another Woi-ld War, the distinguished Cleveland Orches- ti’a celebrated its twenty-fifth anniversary with the start of twenty-six weekly broadcasts on the Columbia netwoi’k on Saturday, October 24 (5:00 to rjCindii\ciij. orc^cin 6:00 P.M., E.W.T.). The Cleveland Orchestra ly. gave its m first concert in September, 1918, under the direction of Nikolai Sokoloff, who is sched- uled to be heard as a guest conductor with the orchestra in the program of December 12. Dr. T WAS A FINE GESTURE on Toscanini’s part of New York to recognize the talents of Howard Rodzinski has arranged a notable series of con- to program George Gershwin’s Rhapsody in Barlow, the American conductor, by having him certs for the Saturday this I lead the orchestra’s concerts for aftenioon broadcasts Blue when he returned to conduct the NBC two weeks in season. Among featured soloists to appear are Symphony Orchestra on November 1st, after an November. And as a champion of the American solo members of the composer, it was typical of Bai’low to orchestra—Tossy Spivakov- absence of a year. In scheduling this work Tos- devote a sky, concertmaster; Leonai’d Rose, first violon- is have fulfilled a long-felt desire large part of his programs to his compatriots, canini said to cellist; Alice broadcast programs Chalifoux, harpist; and Philip A. to pay tribute to Gershwin. The noted conductor in his of November 8 Knchner, first oboist. Rudolph Ringwald, assist- first met the American composer ten years ago in and 15. This was a commendable gesture. ant conductor of the orchestra, heard a New York chop house. There Gershwin sat at On the Sunday will also be several a piano and played for the maestro for five con- afternoons of Decem- as leader of secutive hours, and Toscanini was greatly im- ber 6 and 13, Artur concerts. pressed by the man best known to the musical Rodzinski, the per- Dr. Rodzinski, who world in this country as a “jazz composer.” Niles manent conductor of has become one of the Trammell, NBC president, recently declared that the Cleveland Or- most popular orches- the Rhapsody in Blue is truly an American clas- chestra, is scheduled tral directors in Amer- sic. Ever since the moment of its first perform- to be heard as guest ica, was born in Dal- ance in old Aeolian Hall in New York City by leader of the Phil- matia of Russian par- Paul Whiteman eighteen years ago, he contends harmonic - Sym- entage. He received the work has been accepted as a classic. phony Orchestra. On his musical education Some facts about this popular American com- December 13, Mishel at the Academy in position might be of interest at this time. It was Piastro, concert mas- Vienna. After gradua- turned out by the composer in ten days. White- ter of the orchestra, tion he went to War- man, planning a New York recital hall concert, is to be the featured saw, where he con- asked Gershwin to “do something really serious soloist. And on the ducted both opera and In the way of jazz.” It was on a Boston train that Sunday afternoons orchestral perform- Gershwin found his inspiration for this piece. of December 20 and ances. He came to this Dimitri Mitro- ‘The train’s “steely rhythms, and rattlety-bang” 27, country in 1926 as as- poulos, conductor of Effects gave him his thematic material. “I heard sistant conductor of the Minneapolis the it,” Gershwin later said, “as a sort of musical Philadelphia Or- Orches- kaleidoscope of America—of our unduplicated Symphony chestra, a position he tra, is scheduled national pep, of our blues, our metropolitan to held until he became direct these concerts. madness. By the time I reached Boston I had a conductor of the Los No soloist has been definite plot of the piece as distinguished from Angeles Philharmonic confided that announced for the Orchestra its actual substance.” To friends he in 1929. He lim- latter programs. was his purpose was to show that jazz was not appointed perma- dance Four of the nation’s nent ited to strict time, or had to cling to conductor of the major symphony or- rhythms. The endorsement of critics was led by ARTUR RODZINSKI Cleveland Orchestra director of NBC’s Music chestras are to be Conductor, Cleveland in 1933. Samuel Chotzinoff, now Symphony Orchestra Fair of heard on the air, Fri- Columbia’s Division, in a review he wrote in Vanity Wednes- ’ Sundays. 8 Said Chotzinoff: “Mr. Gershwin days through Besides the broadcasts of aft“noon broad- August 1924. oasts, entitled , Song °of the CenCon *“ all, the suitability of the Philharmonic and the NBC Symphony / r,e s ! Richard Aldrich, Harvard bred music critic of Muszc I m She Homejr?^. the New York Times from 1902 to 1923, was widely admired not merely by the performing artists, who could always depend upon him for an im- partial, understanding appraisal of their work. Music critics in a great city produce such an material, of it The extraordinary amount of much Etude rapidly written in the wee small hours in order to reach the moment of going to press, ’that your reviewer, who has been a critic on two continents and knows the extreme difficulty of this highly Music Lover’s Bookshelf technical phase of journalism, is especially appre- ciative of Mr. Aldrich’s fine accomplishment. The years when Mr. Aldrich was most active were very significant in our musical history and Any book here great reviewed may the new collection of his criticisms are of be secured from value for future research purposes. More than THE ETUDE MUSIC MAGAZINE at the that, they make exceedingly stimulating reading price given plus postage. for those of to-day who desire a more accurate and reliable means of appreciating the appear- ances of the great operas, the leading orchestras, and the concert stars of yesterday. “Concert Life In New York 1902-1923” Author: Richard Aldrich Lij- $3. ^YJereditli Cdudtincur Pages: 795 Price: $5.00 Publisher: G. P. Putnam’s Sons A Guide to Record Music volum’e under the name of “Great Modern Com- On with the Dance posers.” The volume of production of records, good or The collection was edited, jn general by Oscar An excellently worked out book by a brilliant bad, is so great that one in these days can find Thompson. young graduate of the University of North Caro- time to listen to but a few. Certainly no one de- “Great Modern Composers” lina who became the Dance Critic of the New sires to waste time with anything but the best. Edited by Oscar Thompson critic Yox-k Herald-Tribune, is “Invitation to Dance” B. H. Haggin, formerly music of the Brook- Pages: 383 from the pen of Walter Terry. lyn Daily Eagle, who has written extensively upon Price: $3.00 The development of the dance has been ac- recorded music, has produced a new Guide to Publishers: Dodd, Mead & Company celerated in America through the keen American this important phase of musical progress. The book is valuable for those who desire to select records of note and for others who desire to de- termine which recordings of desired works are in Text Book on Sound the judgment of a competent critic to be pre- expansion Qf interest in the science of ferred. Beginning with Beethoven and proceeding The the number of books in through Mozart, Haydn, Bach, Handel, Tschai- sound is evidenced by recent dealing with acoustics. “Musical kowsky, Chopin, Berlioz, Wagner and other years Culver, is an out-and- masters in any but chronological fashion, the Acoustics;” by Charles A. out text 'book, to the minute, well illustrated, reader is brought to a one hundred and thirty- up clear concise. Designed for school and college one page alphabetical list of the best records and in high grade materials, which will prove very helpful to the phonograph use, the book is bound owner. said to be vermin proof, and so water resisting “Music on Records” that the covers can be cleaned with soap and By: B. H. Haggin water. Pages: 245 “Musical Acoustics” Culver Price: $2.00 By: Charles A. Publisher: Alfred A. Knopf Pages: 194 Price: $2.50 Publisher : The BlakistomCompany DANCERS FROM THE AMERICAN BALLET Outstanding Composers of Today Mesdames Howard, Lyon, Leitch, Boris, Reiman The Etude Book Shelf acclaimed loudly the first Full Score issue of the “International Cyclopedia of Music and Musicians,” which contained a remarkable One of the strongest and best personalized interest in the stage. With this has come a natural series of biographical sketches by representative novels with a musical subject is “Full Score” by curiosity about the people of the dance, and the writers of distinction, including Edwin Evans, the successful British author of “Miss Har- music of the dance. Mr. Terry’s book is the most Oscar Thompson, Edward J. Dent, Paul Stefan, greaves,” Frank Baker. “Full Score” is written concise and competent we have seen. It leaves Carl Engel, A. Walter Kramer, Guido Gatti, Irving with such musical skill that one is convinced that the more involved and detailed descriptions to Kolodin, Nicolas Slonimsky, Eric Blom, Olin the writer has had very wide musical contacts lengthier works. It pays proper tribute to Amer- Downes, and others. These writers presented life even if he has not had an extensive musical ican dance creators who have done so much to pictures of thirty-two great modern musicians training. add intoxicating rhythms and lightning speed to from Bartok to Vaughn Williams, making an ex- The leading characters are maturely presented the art. Particular attention is given to the inno- cellent collection of useful biographical editorial and have that rare quality of living with the vations of Ruth St. Dennis. material which now appears in a separate smaller reader. “Invitation to Dance” “Full Score” By: Walter Terry By: Frank Baker Pages: 180 Pages: 344 Price: $2.00 BOOKS Price: $2.50 Publisher: A. S. Barnes and Co. Publisher: Coward-McCann, Inc. WITH MUSIC” DECEMBER, 1942 "FORWARD MARCH 807 —£ ) 2 '?‘ ^dd^Music. - and Studydi£z ' ..J$s* €3^ v ****• 'ft* The Teacher’s Mound Table Schumann Get out your “Scenes from Childhood,” Opus 15, for a compact condensation of style. What a combina- the Schumann Conducted Monthly No. 2. J— 120-126. Each two measure exuber- tion Schumann was for bracing, shape must “breathe” easily; pause com- ant, exciting music! Himself a fine slightly before the third beat of alternate artist, once said, posite of man and he measures. Carefully stress all third beat are “The man and the musician in me accents, and don’t play second beats always trying to speak at the same time.” staccato. The “Story” should have a magnificent results. They did, and with C-K f r quaint, amusing atmosphere; don’t play spaciousness, 4. Schumann loves air, it too fast; save your speed for out-of-doors 2),, y»V breadth. His music has an No. slowly Noted Pianist 3. J=126-138. Practice (1) texture; it is music of wide open spaces, without looking at keyboard; (2) left of refreshing vistas, rushing cataracts and Music Educator hand alone, slow and fast; (3) hands to- crackling avalanches. Very little of and gether in rapid four-sixteenth note im- obscure or closed up like some of it is pulses; this means pause and rest after those pesky passages in Brahms or in each half measure; (4) in whole meas- the later Beethoven. ure impulses; (5) in two-measure im- Bach was Schumann’s idol. His in- pulses. Always think of the staccato in tense lifelong devotion to the older mas- For (b) see numbers 1, 4, and 13 four-note “hand” groups. Better call the ter’s music crops up everywhere in his (Measures 9-12). For (c) see numbers piece, “A Game of Tag.” letters. Who besides Bach can rival 8. 10, No. 4. ^=100-104. melody vitality First practice Schumann in sheer rhythmic 8. His use of long, fast, passionate alone as you sing, “Dad, may I go out or in richness of polyphonic texture? arabesque-like passages often excludes to play? It is Each original; there is such a lovely day.” Yet he is completely “pure" finger tec .nic. Correspondents with this Depart- To obtain the time repeat the request more appealingly- scarcely a trace of any other composer ment arc requested to limit Letters maximum effect in such measures free No. to One Hundred and Fifty Words. 5. J =88-96. In order to express in his music. almost excessive, use of forearm ’ rota- quiet contentment you must play very Despite Schumann’s sweep and ex- tion is necessary. See numbers 3 and relaxedly, small forms 5 which is hard to do in this hilaration he preferred the 9. Schumann’s use of sharply accen- piece. Practice in swift two -note phrase indeed has no equal in his exploitation tuated rhythms requires exact and un- groups, thus of the short pianistic design. Even most hurried treatment. To obtain this, all contrapuntal voices 10. For example, he uses of his long pieces are built of short ones variedly colored, should be carefully and Ex. —the “Scenes from Childhood,” the “Pa- excessively fast tempos scaled down, pillons,” “Carnaval," “Symphonic Stud- precipitate accelerandos avoided, over- Ex. I ies,” “Faschingschwank,” “Davidsbund- accentuation on first beats carefully ler,” “Fantasy Pieces,” “Kreisleriana,” guarded against. “Even- “Forest Scenes,” “Flower Pieces,” 2. Schumann’s predilection for the countless times — usually followed ing Pieces”—all except the G minor and small forms demands a highly concen- by eighth or quarter notes. It is only F-sharp minor Sonatas, the Allegro Ap- trated plan of study and projection. Un- pos- 1. sible to project this pattern passionato., the masterful Concerto, and time advantages of- convincingly combine in longer impulse Care- like the space and by holding groups. the dotted eighth long enough fully note the sublime C major Phantasy. fered by sonatas or other works in larger short and long slurs. and giving the tone after the sixteenth No. And everywhere in his music there is form, his moods, rhythms, and shapes 6. J =132-138. A sturdy chord and plenty of breathing space. See numbers octave the eternal conflict of Florestan and change so swiftly that the pianist must study. At first practice slowly 2, 6, and 11. without Eusebius. Notwithstanding his bluster make his effect on the spot and with looking. Play vigorously but not His widely spaced, open chords and pompously. and dynamism he is constantly vacillat- instantaneous control. (Children are never pom- rich sonorities demand plenty of his pieces cannot carefully for the places where of “bot- pous!) Avoid staccato. ing. Even the titles 3. Watch tom,” and much inner Note Schumann’s they richness. All stu- third beat make up their minds. Sometimes bar lines are disregarded; Schumann’s dents phrase accents; which mean— gain greatly in sweep., breadth don’t are out and out programmatic labels, works abound in examples. See number accent first beats in measures 1-8. stretch and power by practicing into abstrac- Childhood”) in which Schu- o. 7. —52-58. then suddenly they retreat 10 (“Scenes from mann’s soaring J An ideal study in p, PP> phrases. ... See espe- and, tions. the measure really begins on the second ppp. use soft pedal throughout. cially the “Kreisleriana,” “Carnaval ” excesses, or number 7 and Don’t be As to Schumann’s occasional G-sharp melody tone, “Etudes Symphoniques.” rhapsodic, for the patterns anyone with such is obviously not in are sufficiently who cares? How could ( Traumerei which free without additional generous emoting.” a nature—outgoing, passionate, four-four meter. Try it throughout in Gently underline the exquisite undignified curve five-four, five- The "Scenes counterpoint to a fault, avoid an this rhythmic pattern— from Childhood" after the double bar. Ob- precipitate an ascent there, an six-four, and note how much more serve Schumann’s here, too four, Of these thirteen minature maste phrasing (all short or wild extravagance now logically it works out. n SlUrS) ' abrupt dash pieces Schumann said, metlCUlousl 5’’ im “I felt as if I hi They are all a part of im- Schumann (like Brahms) often writes macTa and then? wings when I wrote them. They mal 4 8 ~ of which Schumann lines in series of notes of the ’ J=l00 104 perishable youth, melodic a great impression, - Again all especially on myse Phrase watch is the shining musical example. same value. These demand carefully when I play them!” hlCe the And again—“T1 chords interlocking phrasing and subtle rubato to f molded ‘Kinderscene’ are the childhood remini ° r most ^udents it and vitality. See numbers Lis advisableadvisabt to! Specific Points hold interest cences of an older person.” In oth re-allocate the awkwardawswaiu 10. accompaniment 4, 5, 8 (Measures 9-16) and words these thus; hands of the ordinary pieces are not for childrei Under the short music 5. Schumann uses sequences and they are written by an adult for pianist, the texture of Schumann’s adul because phrase repetition even more lavishly who are trying to capture the Ex. 3 often becomes muddy or opaque essence Brahms or Chopin. These also need polyphonic texture; (b) than childhood. Almost Mozartean in the (a) of the rich avoid woodenness. does sensitive treatment to compact, jeweled perfection, they use of musical notation. He are e of his 11, and so on. music to a See numbers 1, 4, 6, 8, ideal choice for the study not take pains to reduce the of Schumani are un- 6. Schumann, himself, advocated prac- style. clear pianistic pattern. Hands curi- ticing polyphonic exercises with accented Metronome markings necessarily interlocked, passages in various ec unnecessarily off-beat voices; or with top, bottom, or tlons show astounding ously twisted, whole pages variation—aline appearance o inside voices brought out. Therefore one hundred per cent complicated. Often the in some cas. pains should be taken with such tex- Those here given would he much simplified by are mine the music number 1 (Measures 9-14) notation (c> tures. See No 1. (=80-84. Note the „„. — viwuuic utu, the use of slightly different lovely repel ov ana number 2 (Measures 17-20) number 4 tion, the naive wonder c rpoint non-essentials from of the o£ the * He does not strip the first phn (Measures 11-12) number 5 (Measures —as though the SuvM TWhen the leaving it topheavy from composer were 2® ’, hearth Are s his music, often saylr 2-3) and so on. Oh, how thick inside with wonderful! Oh, how mt° d5,ing embers. overdecoration, or too strapran nT q o 7. Watch out for melodies with inside it is! Oh, how a—88-92. Compare Schumann s beautiful!” A difficult one! Ai bulging figuration. (a) in the Practice Beetho- running accompaniments; Play the divided hand W1 looking texture with Mozart’s or even aecompanime ’ Doivt piai same hand; (b) divided between hands; slightly non-legato; ™2,excitedly, for quickly understand scrupulously remember that a ven’s and you will interlocking. These must the obser h (ci with hands eighth note rests in solicliy the difference. the left ™ ‘he ground! . smoothly unobtrusive against the w wav? the pianist must be Rhythmic Obviously therefore, top. For (a) see number patter clarity. richly singing «£££££* at all times aim for the utmost t Continued "FORWARD MARCH " on Page 844) WITH iMUSIC 808 THE ETUPB 2 F ALL THE PEDAGOGICAL ILLS that arise to plague the music teacher, none brings in O its wake more sleepless nights or grey hairs than the problem of dealing with poor sight readers. The painful process of reading music note for note is a far cry from the methods now employed in elementary schools to teach children how to read. When the child learns to read at school he becomes familiar with words through How Scales and Arpeggios the association of letters and not by spelling them out. Thus, the child who has had one year of school reads with as much facility as did the third or fourth grade pupil of thirty years ago. When this method is applied to music, we find Help Sight Heading it operating with equal effectiveness. Notes, in fact, lend themselves more readily to this prin- ciple of association than do letters. The habit of single note reading, once it becomes fixed, is not an easy one to dislodge. This new approach, hj. Cjeorcj.e J3. WJilliston therefore, should be established during the early, formative period of study. Interest in this type of reading may be stimu- lated in the child by the frequent use of flash- cards. For some time these should contain only simple diatonic progressions such as are shown George B. Williston studied with Heniot Levy in Chicago and later icith Tobias the in Example 1. Matthay in London. For six years he was head of the piano department of University of Colorado, and at present he is active as a teacher of piano classes Ex. 1 in the public schools of Tacoma, Washington, and also as an organist in one of the churches of that city.—Editor’s Note. The same pattern should be used on a number of different staff positions before a new figure is introduced. Then the child should be encouraged in the recognition of rhythmic patterns as well. An excellent approach to this phase is to present successive cards, but the same motive on two process of tonal memory. In the light of this fact, he is forced to keep pace with the regular move- indicated in with different rhythmic designs, as the value accruing to the early recognition of ments of the machine. Example 2. groups through flash cards becomes increasingly We have already stressed the need for becom- Ex. evident. Often in this connection, the student ing familiar with the scales. The same diligence profit definite assistance from the teacher should be exercised in respect to the arpeggios. will by ; If the instructor will cover up a measure before* The harmonies that are in more common use completed, the student will be forced are the major and minor triads and the dom- As a general rule, the melodic figures should it has been and at the same time his leading tone and super-tonic seventh not be complicated by the presence of skips, until to play it from memory inant, will be shifted to the ensuing measure. chords. In spite of the hundreds of chords avail- reasonable facility has been gained in the recog- attention very intimate, though not par- the student in the course of his reading will nition of four and five-note progressions. There exists a able, relationship between sight not ordinarily encounter many passages that are For generations, scale practice has been ac- ticularly obvious, playing. In general, the not based upon some form of one of these or its corded a high place in the technical repertoire of reading and rhythmical of a phrase are so dis- derivative. the student. But somehow we have been slow to more significant parts tributed as to occur on the strong beats. Thus, recognize the contribution that it makes to sight Familiar Resolutions well pronounced, these points reading. If the principle of association is pursued if the rhythm is strong relief. If music is to Throughout music we find certain idioms con- systematically, the student will ultimately arrive will be brought into there must be some ar- stantly recurring. One of the most familiar of at the place where he can recognize at a glance sound at all intelligible, into logical patterns of these is the resolution of a dissonant to a con- an entire scale. From that point, the problem re- rangement of the notes interdependency of the sonant. For example, if the dominant seventh solves itself into one of purely technical skill. sound. The result is an gives the effect of con- chord appears, the performer may reasonably Such a large share of passage work is derived various parts which the assume that the tonic chord, or perhaps the sub- from scales that the child’s progress in reading tinuity and purpose. And so we find that rhythmic mediant, is to follow. The same degree of ex- will be largely commensurate with his ability to music which lies between the points of is apply to the diminished, or lead- execute the major and minor forms. The student stress either anticipates what is to come, or pectancy would Since the ability to anticipate who has been through a good drilling in scale the logical outcome of that which has gone be- ing tone seventh. to obtain a vivid is an important factor in sight reading, it is to playing is usually a far better reader. fore. We are therefore more apt thoroughly impression of this intervening material if that the advantage of the student to are Evil in Forcing Tempo which occurs at the first of each measure has assimilate these progressions. They the sight the consciousness with reader’s road signs. On the winding highway It is a seeming paradox that deliberation, an been photographed upon accent. This habit of they enable him to make better time by indicat- act that insures accuracy, often proves a detri- the aid of a strong measure one climax to the ing direction of the curves ahead. ment to good sight reading. Invariably, our facul- shifting the attention from the be formed more readily by first With few exceptions, sight reading becomes ties function most efficiently when the object of next may often the notes that occur on the strong progressively more difficult with the addition of attainment is beyond the immediate reach. The playing only the signature. Actually, there world has yet to see a Nurmi or Cunningham who beats. If this device is to be effective, however, a sharps or flats in is which inherent in the relation of black keys to could cross the tape-line in first place by de- tempo must be determined at the student nothing to account for this. Why should liberating upon every step that he takes. To force can later execute the piece in its entirety. notes on the staff reading, once definite mental process of associating C-sharp with the tempo of one’s playing beyond that point at In sight a tempo has the more complex than that which he can read the music with ease and been established, it should be strictly adhered to a black key be of the composition. Progress identifying C with a white key? The problem surety tends to widen the focus of his attention throughout is in- retarded where the tempo is lies, rather, in the fact that the young student from single notes to groups. Eventually, the skill variably varied to suit the difficulty of particular passages. Our is seldom encouraged to venture beyond the of the performer enables him to perform the modern industrial life is constantly proving the range of keys containing but few sharps seemingly difficult feat of executing one passage and validity of this principle. The man in the factory flats. When he does eventually find himself while he is in the act of reading the succeeding attains a maximum efficiency more readily when confronted with a ( Continued on Page 863) one. Thus, sight reading becomes an actual "FORWARD MARCH WITH MUSIC” 809 DECEMBER , 1942 1 3 » &iS * ^S^*' ^V** * The World’s War Call for Music Striking Contrast Between the Songs of Totalitarianism and the Songs of Freedom Lj ^J4[ X Joivfeer doing sixty IME MAGAZINE on September 7, 1942, re- panies, a percent above normal busi- The collection ness, cannot cope with the increased of nineteen vital American ported : demand for patriotic disks. Most songs (6x9 as T “Last week, London publishers’ sales of classical spectacular rise of all four inches) Tcnoion °ri9s of Freedom” music had risen forty to sixty percent hundred percent—has been in the sales of minia- contains standard com- printed positions such sentimental, seri- ture scores (pocket-size reductions of as America; America, the above the pre-war normal. A symphonic Beautiful; scores, usually bought only by The Star-Spangled Banner; The ous ballad, I’ll Walk Beside You, has sold 750,000 musicians, music .” Stars and popular-song students, and zealous amateurs) Stripes Forever; To Thee, O copies—more than twice the biggest ountry! ; as well as has been in the songs and This to many people may come as a revelation. Arthur Hadley’s Defend sale. The only slump America; H. Wars, they will tell you, are Alexander Call dance tunes peddled by Charing Cross Road the cruel, cold, fac- Matthews’ The e William Phonograph com- tual results of human bestiality, of national Dichmont’s Give Us (London’s Tin Pan Alley). °LTTools;C greed fighting for economic triumph; Frederic*: W. Vanderpool’s Morn- °f I,lberty; _ the climax of long fostered hate and tho Geor fire B. Nevin’s When It is eS By; and revenge. man against man, steel Cooke’ ,F£ James Francis s^God Bless against steel* fire against fire, blood America (written in 1903). U e “ against blood, science against science, nrd 2 Fuhlished at the nominal f 10< a covv or and industry against industry. No- „’l° ’ $s o° per hundred. lSSUSd body can deny this, and every child “ a service l ° ™*t the that war’s ,0r new as knows a ends are deter- forlCC ’ wel ™ old music mined by the triumph- of one meetin °S °f Mnis force stirrZThour M MS against another kind of force. Ah, but S°ngS there is the difference! What kind of of the Pe°Ple ” (Paper bouZ contamm. force are you talking about? Is it the B ISO best known songs, mayinnn behJ secured force of indescribable bestiality and for 204 a copy; at the rate C m d°?- en l cruelty against the spiritual force of °ts: or 1 * a & 1UU100 lots.lou —°rEditorial ™Py a determined people, willing to make Note. all possible sacrifices for right and freedom? This is one of the reasons ake up ' why Britain, in her hour of greatest and^lMTheVf youl ™nd to that, peril, has sought the spiritual stimula- kind °* of organised socie^ thaTwai tion of the best music. and happiness W to the world. ThisTs why even The present war is a fight between enemy nations, moS we all know that there fanatical gangsters and the invincible lions who are m, look forward to the day armies of freedom, tolerance, and when the cancer will be removed. They know democracy. On one side is an interna- never tiiat thev can live happily in the tional cancer, slowly eating into world unuiuntil thlsthTs the operation is performed. vitals of civilization. On the other side is a cool, collected, undefeatable army A Startling Contrast of surgeon-like heroes, determined to No wonder the demand f m , , destroy this carcinoma of totalitarian- has S1C EnglanCi advanced so aston ism so that freedom, liberty, and shinM™Sln right- note “ 1039 ' But this! Examine the diffeF eousness may survive. music '? elence between the of the bestial tntai t These powerful issues already t0talltana and have the free world “ the people of been clearly manifested all over the world, so that despite the global bat- I ore beailt literature’^uncomanv ? >fm folk song tles, there is only one front, and by hate that ’ than did tbe German people of veCo is the front of righteousness, liberty, Bul at Ule present MUSIC CHEER IN THE TRENCHES time. tSe mental and ideals as against one of cruelty', ail(* I spiritual differences between action ior an inspiring betweenween the Avi' a British troops toko time Axis and (Continued "FORWARD MARCH WITH MUSIC on Page 856- 810 THE etude HE FIRST TASK of the aspiring singer is to learn how to sing. Certainly, there can be no Tdisagreement on that point. Difficulties can as.<$ - •« ^usie^ondiSf yC$§&‘ arise, however, on the exact meaning of “how to sing.” Many young singers will understand the term as a synonym for their special and individ- ual vocal problems; others may take it to mean the production of “effects.” Actually, it signifies but one thing: the mastery of those matters The Essentials which are necessary for the art of singing. The of Vocal Art young child must learn to walk before it can run; the young athlete must learn how to lift ten 4 Conference with pounds of weight before he can manage a hun- dred pounds; and the young singer must master the basic essentials of voice production before he attempts arias, operas, and “spectacular” public (dmilio dc (joc^orza. performance. He must learn how to get a straight vocal line; he must understand the gymnastics of Internationally Renowned Baritone the throat; he must know how to put his voice on the breath and travel with it; he must master pure enunciation; he must be able to manage the SECURED EXPRESSLY FOR THE ETUDE BY ROSE WOLLSTEIN legato phrase. He must not only make himself master of these technics; he must. also accomplish this mastery before he permits himself to sing. We have often heard it said that the singer of to-day is not comparable in artis- tic stature to the artist of the Golden Age of sand different throats. That is the province of song. This, I believe, is quite true. It does the individual teacher, whose work may be not mean, however, that there are fewer compared to that of an eminent physician.’ All great voices or less outstanding talent than human bodies are constructed in the same way, one encountered thirty years ago. It means yet no general prescription could be given that simply that the finished artistic product is would heal the same ill in all persons. Individ- less satisfying to-day; less communicative, ual examination must precede individual diag- less expressive. And the reason for this dis- nosis; individual tolerances and idiosyncrasies turbing but by no means hopeless fact is must be explored. And when the prescription is that our current standards of preparation ultimately written, it is calculated to fit the are no longer what they used to be. We can needs of but one patient, at but one given time. trace a gradual change in the history of Exactly the same is true of the capable teach- vocal preparation. Back in the days of Mali- er’s work. He must examine, diagnose, and bran, Viardot-Garcia, or Patti, promising prescribe individually. And it is the pupil’s young singers were subjected to two kinds of business to see that he puts himself into the training which have quite disappeared. In hands of a teacher who is capable of doing first place, they were taught early all the this. For my own part, I can only indicate the things that they needed to know of vocal things which the singer must master before he production. It was not impossible to find "permits himself to do any real singing. artistic candidates whose musical and vocal Exploration of the Vocal Line education began in childhood—as early as five and six years of age. In second place, The singer must learn to breathe. There is these singers were kept at purely education- nothing mysterious about this. The breath al and building work for a period of years must be firmly and consciously supported, and before they were permitted to attempt the sent in a straight line against the vocal cords. singing of songs and arias, let alone com- Thus, at the very start, the singer begins his plete operatic roles. The ultimate result of exploration of the vocal line. It must mark a such a course of training was that the sing- perfect parabola from the diaphragm to the er learned to know his craft. His work gave lips. There may be no break, no jar, no stop- evidence of shapeliness and form. His voice page in its line of travel, and only those parts did not break when he reached the age of of the body actually involved with the line of EMILIO DE GOGORZA forty. He was able to afford his hearers breath may be used. The breath must be man- pleasure through the exteriorization of what aged from the diaphragm, and any trace of he had mastered. singer overlook the fact that voice alone is a mere shoulder movement in its drawing, reveals incor- detail. The ability to move and to give pleasure rectness of line. All tone must “sit upon” this Impatient for Results grows—slowly—out of artistic development. And straight, unbroken column of breath, and it must Oddly enough, we set ourselves the unreason- artistic development comes only as the result of remain in the same place throughout all registers able goal of attempting the identical result to-day long, devoted years of proper training. There are of range. The only difference that may occur in without subjecting ourselves to the identical no “tricks” and no short cuts. passing from the lowest to highest tones is that formative discipline. And that is quite impossible. What, then, does the ambitious young singer of pure pitch. Differences of “voice,” of quality, That is why we speak of a diminution of vocal need to know? Quite simply, he needs to know his even of attack, point to insecurities in the vocal splendor. We are, of course, putting the blame in instrument—its structure, its functions, its use, its line. place. There are plenty of fine voices care. In second place, then, he needs to know how the wrong Of immense importance is the production of to-day. It would be difficult for anyone to say to make this instrument obey the demands of cor- clear, pure vowel sounds. Too many young sing- whether the basic vocal material was finer in the rect singing. I do not propose to offer any detailed ers confuse vowel purity with problems of enun- Golden Age than it is now. But the results are instruction because voice development is too deli- ciation. Certainly, crisp, clear, unforced articula- cate and too individual to permit of diagnosing very different. For one thing, we have so far suc- in tion is highly desirable, but vowel purity has uses a general way for the needs of a hundred cumbed to the demands of the speed-and-result thou- far more vital than the matter of making an as to confuse basic vocal material with fin- audience understand words. age Tone production is artistic power. On hearing a fine young built upon the correct emission of ished pure vowels. I voice, the average listener exclaims, “He ought to say “pure” vowels to mark the distinction between be in opera!” Undoubtedly, the possessor of the VOICE them and the vowel diphthongs of spoken Eng- with him. Both listener lish. In voice heartily agrees and ordinary speech, ( Continued on Page 854) 1942 MARCH WITH DECEMBER , "FORWARD MUSIC 811 " i - This characteristic was regarded as a strong sales Sx&^Music and Study approach for it gave the buyer the substance of the carol or ballad. Such a simplification benefited the less fluent reader and is exempli- fied also in the foregoing broadside by a transla- tion of the Latin phrases. Broadsides Their Part in Folk Literature Christmas Carol Broadsides have played a major part in the growth and preservation of English folk litera- ture. In the midst of the seventeenth century laws were broad- Song Sheets Were Hawked in the Streets enforced prohibiting the sale of When Christmas sides, and other ordinances, as well as an act of Parliament, forbade the celebration of Christmas. While there was some trouble in enforcing them, in time they had dire effects. Carol singing and lyij cle (f3nsrcin l broadsides disappeared from public life, and under the circumstances they took on the traits of an “underground” movement and were f©s_ tered surreptitiously. Although carol singing died out in the cities, it was fortunately continued among the country folk, and the traditional and curious feature of The Cocke croweth, Christus natus est. Christ LITTLE KNOWN carols were thus genera- broad- is borne. preserved for a future “Christmas past” is the use of carol tion of folksong collectors who later or broadsheets, as The Raven asketh, Quando? When? and scholars A sides. These broadsides, sought the to revive them. scholars used sometimes called, were an important The Crowe replieth, Hac nocte. This night. The they were broadsides as ©f furnished England The Oxe crieth out, Ubi? Ubi? Where? an approach, and many ^ part of the ballad era that Where? varied this versions of the carols are due to and other countries with an early phase of the source. One book, printed shortly newspaper. Carol broadsides were single daily on the sizes and shapes which after 1860, relied strongly sheets of paper of various the wood- broadsides in assembling were generally illustrated with one or more carols information rel&' by the Christmas story. In a sense c, and the cuts suggested they cards of tive to the localities in which they still survive in the true Christmas were our day, which are imprinted with similar scenes popular. aP' and an appropriate quotation or a verse or two Because of their seasonal li*e from a well known carol. pearance, along with the ease 0^ In England during the sixteenth and seven- lihood and comparative surprises teenth centuries, and even later, these broadsides destruction, it is not penny, are 110 were bound to be popular. They sold for a that those that remain though ciude very reason were easily read and the woodcuts H E 11 A numerous. For this Caxton set L D broa appealed to those of little learning. mm collection of twenty-two 1460 and with Tayl° ’ up his printing press in England in sides issued by Jeremiah became ANGELS, Stree the development of printing, broadsides BANK. Printer, 32 Smallbrook Bark ! was the u, e l, mM in after. In time, so great kjlory Birmingham, now preserved much sought (~~j As I sat to a new. on a sunny bank, burn ki,„, - * counted the sale I j® demand that many booksellers A sunny bank, a sunny bank, face on earth ami New York City Public Library. income. rin broadsides as a major part of their As I sal on a sunny bank, a real find. The most noted P of the , e numerous that Oh Christinas day in the morn- that sold them were so Joyful all ye nations however of these sheets was The shops ii| rise to of a S3 s- Join the triumph ° they created something of the s “Seven of Lo n - in some instances ki P, Dial Printers” . churchyard was cluttered with I ’spied 3 ships conic sailing by, James propriet problem. Many a Come sailing Christ is boi Catnach, the a by, conic sailid 1 one and one-half (1%) inch pulley house the mechanism. 1 twelve-inch pulley (Note: All pulleys are for one-half-inch 1 fifteen and one - half (15%) inch belts) pulley All of these items can be obtained from any 12 rubber washers mail order supply house or (in regard to the jack 4 one-quarter-inch bolts (about 3 inches shaft and pulleys) from any company which sells long), with two nuts for ea,ch (these home power tools. The cost of the entire mechan- (excluding case) comes to about $24.00. ism , This includes the cost of the motor, which in some cases the constructor may already own, or can obtain from a discarded washing-machine or refrigerator cooling-unit or elsewhere. The motor which was used in this instance cost $11.00, so are for the jack shaft) 4 one-quarter-inch bolts, with one nut each (for motor) 8 angle-irons (for suspending motor) pumped by means of a crank which was fast- 2 one-half-inch “V” belts (approximately 58 ened to a shaft extending through the side of inches in circumference) . The length of the organ. The shaft of the organ is three- these two belts will depend on the distance quarters of an inch in diameter, which, I pre- of the jack shaft from the shaft of the sume, is probably the same for all the organs of organ, for the one belt; and on the dis- that make. In any case, the shaft should be tance of the motor from the jack shaft for measured, and a pulley of the same bore (inside the other. diameter of hole) as the diameter of the shaft 1 one - half - inch shaft coupling (%." or should be obtained. larger outside diameter) ‘I*he following items are necessary for the con- Necessary kind and quantity of wood*, nails, struction of the mechanism: screws, and so on, for making the case to 14 horsepower (or 1-3 h.p.) motor 1 screen door spring (to be cut into 4 equal lengths) 1 jack shaft ORGAN 1 two-inch pulley DECEMBER, 1942 FORWARD MARCH WITH MUSIC” S13 minute) will be spring is looped through the hole of one of the inch pulley (in revolutions per , one-half that of the five-inch and conversely, if angle-irons on the motor boards; the other end is a ten-inch turns a five-inch the speed of the slipped through the hole of one of the angle- five-inch pulley will double. The diameters of the irons fastened to the side of the cabinet above pulleys are measured from the inside of the belt the motor. These angle-irons on the side of the that it is evident if one already possesses a motor groove. cabinet are bent open somewhat more than a of the mechanism will be substantially the cost " pulley in the drawing) is right-angle, about 135 degrees (see inset in upper decreased. The small iyz (C used on the motor and will give sufficient trac- right hand of drawing) and about half of one The photos and drawings appended will, no , the amount of power needed at this leg of the angle is rounded with a doubt, make the construction of the unit clear. tion since sawed off and " be point is very slight because of the great difference file. Two boards about 2 l x 13" are bolted to, If any measurements are desired they may /z relative size of the pulleys. This pulley the large directly from the drawing (which is drawn in the motor (two boards are better than one taken ” pulleys as drives the 15 y2 pulley (A) on one end of the one in order to keep down noise) and at their to scale) using the size of one of the , jack shaft, on the other end of which is the ends are placed photo) to a known size. the angle-irons (see 2" pulley (D) . This pulley (D) in turn which are jack shaft The sizes of the various pulleys were chosen small fastened the springs. The drives the 12" pulley (B) , which is attached di- is bolted washers, to diminish the speed of the motor from 1750 to its support with the rubber for rectly to the shaft extending from the organ. as in above the r.p.m. (which is practically standard speed the drawing; that is, one washer and small induction motors) to about 30 r.p.m., which It might be well to mention here, that the jack shaft base; one between the shaft base of each two related pulleys should its nuts seems to be about the speed used in pumping outer edge not support; and one below the support. Two closer than about four inches if there is are be the organ by hand. Any slight variation faster be any used on these bolts so that there should great difference in size, because the closer how- than this will be taken care of by the valve on a very no chance of their becoming loose. Do not, placed to each other, the less surface ever, the air reservoir in the organ itself. If the maker they are draw these bolts up too tight. the smaller pulley there is for traction. of the mechanism desires to change the sizes of of It seems that pulleys as large as 15^ inches motor is suspended from four springs. the various pulleys, he can compute the speed of The can be obtained only in %-inch bore, or larger, are cut from the one screen door spring the final pulley by taking the ratios of the diame- These as is also true for the 12-inch. The 3,4-inch bore about five inches long. Hooks are formed ters of the pulleys. For example: if a five-inch and are of the 12-inch pulley was perfect for the shaft on speed of the ten- on both ends of these springs. One end of each the 846) pulley turns a ten-inch, the organ. The 15-inch ( Continued on Page two years directed each a men’s and women’s deed, and there is always the urge for “more.” community glee club. More than one tourist has commented that we I lay no claim to being a professional. I was a Christmas in Alaska could put many a larger choir in the States to small- town music supervisor, coming here first shame. We have some fine and outstanding talent that capacity. is an extract from a letter thirteen years ago in My para- at present, HE FOLLOWING and how noticeable it is that the artists Conductor of the mount aim is to assist the singers in having fun of Mrs. Jack Harrison, with real music in their souls are both ready and and making it a real pleasure and out- T Choir of the First Presbyterian Church of in singing, willing to assist whenever have asked! We, who Harrison has been an let for themselves. Alaska is a “working people’s” been Anchorage, Alaska. Mrs. here for some years, so deeply appreciate and the women in the chorals are house- Etude enthusiast for many years. country, their generous attitude. wives, like myself, or working girls. Anchorage is Dear Etude: In our thirst for a only varied musical outlet, we not of The Etude for a good deluged with numerous and organizations; find joy Having been a reader in singing, but also find ourselves knit night a week, except when concentrating years, I have noticed musical items con- thus one in o a close many companionship is essential music, is our which so countries over the world, but on Christmas or Easter rehearsal or every cerning numerous individual who finds himself so far away music in Alaska, a vital part time. from former never a word about home and friends. Maybe we love to To raise money for our Music Department, our sing of our own United States. because we enjoy each other per- secular concert in so much, or the largest city in the Choir gives an annual Novem- haps vice versa. Anchorage is at present Anyway, I am so proud of the ber. Because of the influx of people here due to work Territory, and I shall mention it solely since it ^my groups have done Defense projects, we gave the concert that I am enclosing for the past eight years. Dur- National ue taken last year has been my home i, when we sang our Christ- evenings and cleared $225.00 at 55c admission ^ I have continuously directed the two East ing that time Easter we t00k great Pride in Church and for price. The audiences are most appreciative in- ging Dubois music of the First Presbyterian ‘The Seven Last Words of Christ.” Presbyterian Church at Anchorage, Alaska, Choir of the First at Christmas Services 814 THE etvdb O OTHER WIND en- semble, perhaps, can and-. Study.l$£r??< N compare with the tra- ditional woodwind quintet for color, brilliance, charm, One of the general musical effectiveness greatest strengths of the and appeal. Yet in our con- woodwind quintet is its great variety certs, contests and festi- of tone coloring. This is also vals this woodwind chamber The one of its greatest weakness- group too Woodwind often presents the Ensemble es. Such a heterogeneous least meritorious perform- group will never be able to ances of all the ensembles blend with such perfection heard at these events. Why as is achieved by the string is this so? We have come to A Study of Its Basic Problems quartet. Each of the five dif- the conclusion that there are ferent tone colors is certain two basic reasons for this; to predominate more or less, and in these articles we shall even with the very finest attempt to set forth means group. The problem of “en- for improving them. L cjCaurence ^Jctuiop semble blend” is of extreme To my mind, the main importance and requires reasons for the too often careful listening and re- mediocre performances of hearsing on the part of each our woodwind quintets are performer, in order that all as follows: In this issue of The Etude we present the first of a series of three parts “mesh” or blend in 1. The choice of materials. articles written by Mr. Laurence Taylor, prominent arranger of music proper tonal color. 2. The lack of teacher and for the woodwind quintet. Mr. Taylor’s broad experience in tutoring high school quintets student comprehension of eminently qualifies him to write with authority The Problem of Balance the basic problems confront- upon this subject. The second article by Mr. Taylor will deal ivith the Another important prob- ing this heterogeneous group. instruments of the quintet, their function, individually and collectively. lem confronting the wood- As regards the first: the The third article will be concerned loith arranging for the woodwind wind quintet is that of bal- director must be extremely quintet.—Editorial Note ance. The fact that the five careful in the selection of instruments are not equally material for the particular matched in strength makes abilities of the group he is this a difficult element to tutoring; the situation in regard to material perfect. The oboe and the horn, the most in- available for woodwind ensemble is not at all sistent voices of the five, tend to be too loud. bad, and is improving rapidly. True, many of the SPECIAL ANNOUNCEMENT TO OUR READERS The clarinet in its throat register, and the flute standard classic woodwind numbers, by such in its In response to the many requests of our readers, low and lower middle registers, are too composers as Mozart, Blumer, Gennaro, Thuille, and In accordance with the established policy of liable to be obliterated in any but the lightest Hindemith, Holbrooke, Gounod, Saint-Saens, The Etude in fulfilling its objectives to the music education program, passages. What a problem therefore! Much of it Mandic, Neilsen, Hoyer and others, are of vir- it is with extreme pleasure that we announce the establishment of a new can be lessened by skilled arranging, when one tuoso grade, and are, consequently, not playable department. has already the advantage of recognizing this by the average high school woodwind ensemble. Beginning with the January 1943 issue, The unequalness. However, what shall we do when There are some easier old classics which are pub- Etude will present on these pages, monthly articles and discussions devoted to musical we play original woodwind numbers, whose au- lished abroad, and are not to be had now at any education as related to choral and instrumental training. thors, world famous composers, perhaps, did not price. Even in the old days when they were ob- Many of the nation’s leading authorities will be realize these problems as well as we to-day do? tainable, they were often too expensive to ask contributors to its column. Music education in its broad perspective in these fields will be covered We cannot subdue the oboe player all the time; the school to purchase for one single specialized by specialists in primary, elementary, interme- the flute and clarinet cannot be told to overblow group. Further, these foreign editions were al- diate, junior, and senior high school music edu- cation in orchestra, band, and choral singing, in order to make themselves heard. most always published without score, a distinct who will offer to readers of The Etude the Very often the nuances and dynamics found benefit of their vast experiences. disadvantage and time waster for the director. It Mr. William D. on a quintet Revelli, of the University of Michigan, will be score can be changed, by means of is indeed encouraging to note that in the last two editor and chairman of the department. a forte sign, to favor the weaker instrument, as or three years several American publishers have against a piano or mezzopiano sign to be written taken up these fine woodwind classics and have in for the instrument Another addition of importance will be the in- which, normally is too loud made them available to the schools, in an inex- auguration of a question-answer column for or- in the passage in question. Of course, when one pensive (and usually superior) domestic edition, chestra. band, and chorus. All questions should has several candidates to choose from be confined to the problems of teaching and (small including score. likelihood playing the various wind and stringed instru- of that!) there is a good chance to help ments. Send your questions to Mr. William D. yourself: you want as oboist the player with the Suitable Material Revelli, Band, Orchestra, and Choral Depart- most delicate tone; the flutist ment, The Etude Music Magazine, 1712 Chestnut should have a large This is certainly a step in the right direction. Street, Philadelphia, Pennsylvania. concert hall tone—the flutist with a small salon- We need these old classics, composed directly for type tone is almost useless in a wind quartet; his the medium of the woodwind ensemble. However, province would be playing with the string quar- while musically of high grade, they are very often tet. The clarinetist should also have a large type not sympathetically composed for our woodwinds. wind library will contain both. In seeking tone. The mate- horn player should be told to listen to For the average high school or college woodwind rial which is practical for the young woodwind himself at all times and to subdue (as he can) groups, it is recommended that they begin with quintet, it is not necessary to lessen the high when necessary, in order not to be obtrusive. compositions composed or arranged by American standard which a really serious wind quintet music educators and school men, and especially should set for itself. We are merely suggesting Problem of Pitch written with an eye to the capabilities and prob- that so many of the fine old classics are often Another grave problem confronting the wood- of our school ensembles. lems We really have too discouragingly difficult to set at once before wind quintet, as in every musical group, is that considerable choice these days, in both original our enthusiastic youngsters. In other words, we’ve of pitch. Pitch is a perpetual problem, and compositions and since arrangements, and the wood- heard it said many times, until it becomes it is bore- affected by so many factors, each player wind quintet can successfully offer an amazingly some; but it still applies: “Give them something must listen to his own pitch at all times. cross-section of various types Dynam- wide of music, from that is good and that they can play!” ics greatly affect the pitch of all wind players' a serious and scholarly Bach Fugue to the de- Notes perfectly in tune among the group at lightfully descriptive and amusing “Ballet of the the dynamic level of piano may sound horribly in Their Shells,” by Moussorgsky. out Chickens of tune if a sudden fortissimo is made. The wind Both original compositions and arrangements instruments vary differently under a given should be examined. A good, well balanced wood- sit- uation. For example, ( Continued on Page 85i>~ DECEMBER, 1942 "FORWARD MARCH WITH MUSIC" 815 ~ , Erik Satie The Mischievous Man of French Music h; lYlaurice jbumeinil Distinguished Pianist-Conductor greater periods. There has been and still is much debate on this subject, and opinions are divided. tendencies were as novel as those of the “Sara^ Perhaps something of an answer was afforded by bandes” ERIK SATIE twenty years before. He suppressed Debussy himself when he liked the first “Gymno- everything reducing the best ob- superfluous, condensing and The pictures presented in The Etude are pedie” so well that he orchestrated it, and when the dialogue rule- tainable at the time. It does happen, however, that to a minimum, two parts as a in private conversations he declared that Ravel’s In original photographs are not always obtainable, as in spots he overlapped keys, thus “Entretiens Belle et two different this case. In such an instance we are obliged to re- de la de la Bete,” and some preparing the way for later and used produce "half-tones" from magazines. The result is passages of “Ma Mere l’Oye” were first politonality, cousins to the all than no most unexpected With not technically of the best, but it is better this particular number. harmonic relations. this, he still which picture at all. went on with funny titles, to There are in Satie’s music three distinct and sometimes the piece itself at all* well marked periods. The first one did not answer (which also en the * Satie’s name appeared prominently in a includes the “Sarabandes” and “Gnossiennes”) , OWARD THE END of the past century hmehght its when the “Groupe started circles can be described as “serious.” Had des Six” queer figure appeared in the musical Satie con- activities toward the end of World I. It hap- native of Honfleur, the tinued along this path and developed his technic, War Tof Paris. He was a GC that f°r his that Bohemian ways, his disregard picturesque Norman fishing port, from which the there is little doubt he could have become everythingevp, L conventional, those stf started on their great one of the notable composers of his time. But appealed to early settlers of Canada ung musicians 849) irrepressible leaning who ( Continued on Page adventure; Honfleur, birthplace of Baudelaire, soon his toward humor itself. When the Henri de Regnier, and Lucie Delarue Mardrus, manifested above mentioned attics, mas- works were first presented, he startled the with its old winding streets, bulging music- al world with this statement, “I request sive doorways, all surrounded by rolling hills and those who understand to observe gardens resplendent with flowers sloping toward will not the most respect- Epi- ful silence and to manifest an attitude the sea. Composer, pianist, writer, polemist, alike of submission and of inferiority.” Then he curian, humorist, Erik Satie’s appearance was as embarked upon the course of making himself the bizarre as his character, reminding one somewhat “enfant wrote terrible,” the naughty boy of music, writing of a modern Don Quixote. The music he a but succession of pieces in half jesting style, was strange, almost of childish simplicity, adorned with the drollest titles: “Genuine flabby dressed up with odd titles; and sophisticated preludes wondered, for a dog,” “Dessicated embryoes,” “Bureaucratic listeners of the Societe Nationale those austere pro- Sonatina,” “Sketches and tinkerings of a stout whenever it was presented on wooden man,” “Chapters revolved into all grams where Cesar Franck and his disciples direc- - this tions,” and others. The most comic annotations reigned supreme, what kind of a man was of Music replaced shading and tempo marks, such as Satie who seemed to take the great art “from known about the end of the eyes and withheld in advance,” so lightly so frivolously? Little was “a little bloodily,” “no smoking,” “dry him, apart from the fact that having left Hon- as a cuckoo,” old, had “like a nightingale with a toothache,” fleur in 1874 when but eight years he “without courses at the Ecole frowning or blushing a finger,” ‘‘do not eat come to Paris to take a few too Conservatoire much,” and last although not least, “I Niedermeyer, later entering the have no studies. Still tobacco,” which would be a real misfortune National without ever finishing his ex- through such cept that “luckily I do not smoke.” Naturally, very young, he made a scant living all the organ in small this eccentricity brought a large volume of different means as playing sales pianist m and everyone was astonished when suburban churches and enlisting as publisher among others the Demets disclosed the considerable number of re- various Montmartre cabarets, prints that these works were having! then popular “Auberge du Clou. one may well assume that From the preceding, Attempts at Seriousness was rather superflciai Satie's technical equipment background which is so The time came however, when Satie and lacking the adequate realized ol enduring works. that his haphazard method of constantly necessary lor the production writing this shortcoming, with his tongue in his cheek might soon Probably he was conscious of fall out only the smaller unless he acquired a more solid foundation that Time he cultivated It since a was then that he enrolled at finds in the “Qj™» the Schola Can- “ and still one har torum and studied counterpoint of twenty, unmistakable and fugue with written at the age Albert Roussel. Debussy s and Ravels The influence of this tuition monic forerunners” of shows ERIK SATIE by "FORW/ARD MARCH WITH MUSIC' Alfred Freeh 816 THE ETLlPu • i- „V' k'^Music - and Study?.. Louis -^y '• Kaufman was born in 1905 in Port- .V'H--r • land, Oregon. At the age of seven he started to study the violin in Portland, and some six months later won the first prize on an ama- teur program at the local movie house, playing a selection from “II Trovatore” without accompaniment. At the age of ten he ivas known as a child prodigy and toured Violin Technic in vaudeville for several months. When he was thirteen he went to Neio York, where he studied at the Institute of Musical Art, with Franz Kneisel during the last eight years of the latter’s life. He won the Loeb For Microphone and Concert Hall $1000 award, and the folloioing season (1928) was given the Naumberg Award. At this time he made his Town Hall debut as a concert violinist. Subsequently he joined the LlJ. o/otitj ‘Ccill^lmein Musical Art Quartet, which toured in Europe and America, and stayed with it until 1933. AN INTERVIEW Then he settled on the Pacific Coast, and SECURED ESPECIALLY FOR THE ETUDE BY VERNA ARVEY for the last eight years has combined con- cert work with his film recording. It has been said that “millions more people have concert hall if a tone breaks one is not so heard the music Louis Kaufman’s violin of conscious of it. There one plays with a little instrumentalist, liv- than that of any other more pressure, for the surface noise close to ing or dead, but they haven’t known it,” for the ear doesn’t obtrude. Often after a concert Mr. Kaufman has played in close to tiuo -tour I return to the studio and find, on listen- pro- hundred of the most important films ing to my playing later, that it is pretty bad duced in Hollyioood, among them Univer- for the microphone. A complete re-adjustment sal’s “Showboat,” Fox’s “Young Mr. Lin- is needed. coln,” United Artists’ “Count of Monte An illustration of one of the tricks of the Cristo,” “Wuthering Heights” and “The modern microphone might be the film “Mod- Little Foxes,” RKO’s “The Magnificent Am- ern Times,” when it was necessary to play a bersons” and United Artists’ “The Gay muted solo near the microphone, accompanied Desperado,” with Nino Martini, in which by a symphony orchestra which included many the violinist, too, was photographed. Mean- strings, not muted. And yet the solo part came while, he has recently given his fourth out clearly. That is the sort of distortion that this Town Hall recital (March 25, 1942), and can only be gotten in films or in radio. It is not only aroused widespread comment be- to be hoped that these sensitive microphones cause of the new material he presented, will be improved so that they can be used ef- but established him as one of America’s fectively also in the concert hall. leading contemporary violin virtuosi. In the The film industry makes peculiar demands choice of attractive program material, his on a musician, since every possible sort of lead has been followed by violinists like musical style is required for every sort of film. Jascha Heifetz and many others. His com- The musician must adopt many authentic mercial records of compositions by Robert styles so that each will be photographically Russell Bennett and Ernst Toch were made correct. There is, for instance, a wide differ- with the collaboration of these two eminent ence in the style of a backwoods fiddler and composers.—Editor’s Note. of a small cafe violinist. In other words, au- thenticity sometimes makes it necessary for one to play badly. In a picture called “Lancer Spy,” starring Dolores del Rio, there was a LOUIS KAUFMAN small cafe orchestra, playing an original com- Celebrated Film Violinist position of which I had the solo part. We worked hard on it and made what we thought UR MODERN WORLD offers more oppor- was a good recording. When the director, playing severely, for every little tunities to the young musician than ever my own mistake Gregory Ratoff (who is a real music-lover in matter it before, but to who is is magnified. As a of course, has been private the recording he O only the musician life) , heard tore his to work harder than ever thoroughly prepared. To-day competition is more necessary for me before hair. It sounded, he said, like Kreisler playing in so that if possible, there will be no mistakes. keen than ever, and men’s sense of values so Carnegie Hall and would not suit- his purpose at exacting that there is for the pre- all. good recording scant place Special Film Technic So he threw out the and tender. On the other hand, the sincere musician made a noisy one which he said was more au- technical will find great openings in unexpected places. There are certain aspects, such as thentic. shifting, which are important to a film For instance, my residence in Southern Cali- violinist. Before I came to the West Coast, I was not an Moreover, one has to have perfect intonation fornia was established simply because I remem- for apt sight reader, but this, of course, was a very work. The technic of film playing bered the place kindly from a vaudeville tour in this depends a important thing that had to be learned—by doing great deal on how near the microphone is to my boyhood. I had no idea that there would be the it constantly and conscientiously. The film mu- player. One must play more lightly in a place for me in films: nor that that place would the film sician must be able to play anything, in any style, eventually studio than in a concert hall, for the modern mean anything more than a mere quickly. The music he has to play is always in means of earning living. microphone registers everything, even a breath a For all that I have manuscript, because it is especially composed for or the rustle of a stiff shirt front, whereas learned in Hollywood—and it has been a great in a that purpose. It is sometimes difficult to decipher. increasingly deal—I am grateful. The film musician must also be very flexible For the last eight years I have been subjected Sometimes the music is rehearsed one way and merciless tonal microscope. I have heard my- to a VIOLIN recorded another, due to the fact that the con- play the violin in playbacks and on the watching the film self Edited by Robert Braine ductor must be carefully dur- after time. It has made me criticize screen time ing the recording, for ( Continued on Page 848) DECEMBER. 1942 "FORWARD MARCH WITH MUSIC” 817 Y How to Play a Trill Q. Will you please tell me how to play Music.Zand \ Study^C^^- jyty& the trill in the opening bars of Fire Dance,. by DeFalla; which hands are used, which fingers, and how to make the turn of the Questions trill?— P. and Mrs. S. About Accentuation W. the first Q. 1. (a) In Schumann's Op. 13, Va- A. Play the grace note in riation 5 (Etude, 6). is the first C-sharp measure with the right hand and trill accented or not? (b) I in the left hand with the right eight sixteenth notes to was taught to accent the up-beat in all — the measure. these pieces: Heller Op. -jo, No. 1 o ; Ra- Chopin Nocturne Answers vina Op. 50, No. 12; Op. 15, No. 3 ; but the effect, especially in the Heller Etude, seems to me to change the time. Of course, I realize there is a rule that requires the first of two slurred Music Information Service notes to be stressed, but then in these A cases why the up-beat? (a) I have been playing the groups of 2. Use whatever fingering you like until six notes in Moscheles Op. TO. No. 30 by trill two's; for instance, in the first measure Conducted By you reach the ninth measure; the on the third page (Schlrmer Ed.), should at this measure should start with the grouped by twos or three? the notes be thumb as in here given. in A the example (b) Another case: Grieg's "Concerto eni minor.” page 5 (Schirmer Ed.) where there are five- and six-note groups in the ar- Q‘^ i peggio. / J 1/U How Are Turns Played? ( i me 3. In Schumann’s Allium Leaf Mus. Doc Q. I should like to know how the turns Etcoe, January 1938, Page 31) do the fig- in this run are played. The run is taken ures (25 1) found in the left hand in- from Hondo, Op. No. 1. bv Beethoven. dicate a silent substitution of fingers?— 51, Miss J. B. W. G. W. K. — accented, (b) A. 1. (a) The C-sharp is Professor Emeritus You are wrong about the rule that the ac- first of two slurred notes is always Oberlin College cented. You should stress whichever of two notes happens to be on the ac- Music Editor, Webster’s New the A. They are usually played as follows- course, an exception to cented beat; of International Dictionary this rule would be in the case of synco- pated notes. This applies to all the pieces you have mentioned. 2. (a) The sixteenth notes in this etude triplets. are played throughout as double A. Either analysis is possible, and I am note, you If you had six to each quarter inclined to agree with you that the sec- eighth note, would have three for each ond one is the better. A third analysis right would you not? However, if, in the could also be made by combining your notes hand a triplet of three eighth two. In the first measure the B-flat on six notes in should appear, then play the the first beat could be considered a free notes twos instead of threes, (b) The five or unprepared suspension from the pre- YVfial About a Left-Handed should be played as evenly as possible measure, resolving to A on the ceding Child ? and the six sixteenth notes should be second beat. The B-flat on the third beat meas- Q. How successful are left-handed ta'l' played as two triplets. In the 25th then be taken as an enharmonic viol might •sicians, particularly in reference to triplet in eI ure of the Concerto you have a spelling for A-sharp, making the chord and piano? son is l Our six-year-old J' the right hand so the accompaniment third beat V with a raised 5th. handed. Would it be better to encourag on the x ou interest in wind instruments? I here should be grouped as three twos. This then would pave the way to the and address of iheinauirer^n^'/^- namt ^ r appreciate your opinion.—MRS. C. C. 3. Yes. A-sharp in the next measure as the chord. D on the di®' third of the F-sharp The A. Your boy would have some the measure two can like- reaso first beat of culty with the violin but I see no Harmonic Analysis considered a free suspension re- iaa wise be why he should not begin to study P ? I puzzled about the harmonic C-sharp on the second beat, e Q. am solving the Even if he finds more interes the following passage from himself analysis of the D on the third beat regarded as in yeaf and a wind . Vincent Youman’s Without a Hong: instrument later on, a sharp, for F-sharp V with s 1 C-double 7 two of piano as a background will this time more logically raised 5th, but be highly valuable. C-double sharp in — r- jyj- spelled D instead of j J function as the third of the matting rl e order to J = i 26 more ‘ ° , p in the third measure. should not the ornaments #F B-fiat chord be JJLK®pt strict tempo?—L. A. B. All of these analyses, however, assume is a different chord, that each measure A. The tempo at 5=*s2 which Haydn WU1,v “i mi . you kindly give aa= =d=3=i==== whereas I believe that fundamentally are played # vanes greatly. The thetne foremostforpmec* . . three measures are but one chord, or! present these dance (the French day? Particularly interested i (B-flat-D-F-sharp) menuet) was the V with raised 5th stately and it the mental department. Would also music is thought ««I? of the piece, E-flat. If you look e of the leading composers for ' of the key an accompaniment to the dance A. 1 the melody only you will see that it tempo would — at naturally be slow In the first measure But outlines this chord. Haydn adopted the A. Your minuet as a question is doubly diffc the third of the augmented chord on ment the n m sonata and the nswer. in the con as the root of an augment- sympho first place a B-flat is used livened it up, often 10t made it hu regarcle d as “classical” un but spelled m , ed chord D-F-sharp-A-sharp, This involved a rYY faster tempo, compositions have perfornie D-F-sharp-B-flat, for it is really a first the older anl been minuets were played ny yeais flr „ and have clearly show In the of the B-flat-D-F-sharp chord. H-Y i two possibilities: (1) .. f* inversion spirited style when I see P Ibe performed have stoocl time D-W-BKI could measure F-sharp, as the test of measure th e cord And in the second the cert pieces. Mozart, mf-f o a on the that a di dominant ™ other 1 composer often taken to be the on 5th of the B chord, is used as the root seemed to forp'n unprepared suspens prefer the dignity, 16 W° with B-flat as an chord, F-sharp- the J rld decides whether his of another augmented ness of the original posit, me,met an, to live the A-sharp-C-double sharp, but spelled F- minuets are on through more tender in We knm,WYYthat sharp-A-sharp-D; and to have shown its mood the compositions of Haydns and are therefore Mozart p”y°d 14 Schubert alwf source more clearly it might even better slower tempo. The thought will historical ev m aa , have been spelled F-sharp-B-flat-D, for theiefore points h ~ beautiful; but who c nr? to the quicker t*™ whether j^jSg-Ss it is really a second inversion of the this particular bussy Stravinsky, a> minuet about wh”! rfm B-fiat augmented chord. The fact that a ask and although dred be remembered i different artist! years ?! note has been added ?° ' ' 7th above the bass probably vary considerably Presume W What you in tSh t is to the chord of each measure does not I should say that Posers ° f plesent ' da5 j = 126 Light 1 who writ! -• What do you the chords to lose their identity. average S senous” music spelled correctly. cause tempo for you to than ^ D foUo -populm”popmai , , „ music. But even tl continued "VORWARD MARCH WITH /VI USiC” on Page 852) 818 etuvZ Music - and \ Studying:H* ;*• Have Yon Piano Hands? hj- Sidneyne<£ ddilL*?er CHOPIN'S HAND 6ME YEARS AGO, I received a letter enclos- ing pencilled tracings of an infant’s pair of S hands. The writer informed me that she had made them six months after her baby’s entry into the world. Would I kindly tell her whether her son had “Piano hands”? What a query—par- ticularly so “early in the game”! Perhaps, mused I, this ambitious mother, having read that Mozart played the piano at three, desires to “take Time by the forelock” and beat his record, or shall we make a pun and say that she wished to be “fore- handed.” Not wishing to offend, I advised that, for the next few years the child be exposed to MUSIC. If then, an earnest desire on his part be expressed to play the piano, she might submit tracings of later models of the child’s hands. None such have thus far been forthcoming—for which I am truly grateful. In that case I would have had to take a different tack. I would have advised that her son “take lessons.” Better still, to “study music.” Even so, alas, I fear I would still have been in a quan- dary. Candid Answers All of which logically suggests the query: “Are there ‘piano hands?”’ Yes—and—no! The affirm- ative refers solely to such hands that have under- gone intelligent technical training for an ex- tended interval of time. No one could possibly have predicted distinguished careers of any of our great pianists by merely examining tracings of their hands, while infants. And, most assuredly, not after a six months’ sojourn on earth. On the other hand, examination of adult hands, which have never touched a keyboard would easily re- veal a lack of those characteristics which every well disciplined pair of hands reveal. Here, I am reminded of a twenty-year-old farmer lad who was eager to start taking lessons from me. Seeing his “manual terminal facilities,” I asked whether he had ever milked cows. “Certainly,” he replied, “how did you guess it? Milking cows has been a daily chore with me the past ten years.” No unusual powers of ( Continued on Page 850) RUBINSTEIN'S HANDS GODOWSKY'S HANDS DECEMBER, 1942 "FORWARD MARCH WITH MUSIC” 819 ' : Music} and Study : Masters MUSE PLAYING THE HARP Music BELLINI (Italy) ROUGET DE LISLE Memorialized by the Mails (France) l CLl Assistant Professor of Music, HEAVENLY ASPECT OF BELLINI'S MUSIC University of Idaho (Italy) ERE MOZART SUD- by their native governments but revered the ness. And among those world-wide hon- DENLY TO ARISE world over for their contributions to man’s given such happi- ors, he would daddy of W from his unmarked rejoice at recognizing the them Johann grave and pay a visit to our all, none other than peering from battered world of the twen- Sebastian the Great, under German tieth century, he would no his thick wig on a set of doubt be greatly surprised at stamp of 1935. In the same on a the extraordinary position three stamps he would find the which his name holds in the beautiful blue background Magnificent, mozart history of the arts. Nor would visage of Handel the - town (Austria) his amazement be tempered that baroque man - about by learning that his native Austria paid him the and cosmopolitan contemporary An honor of using his portrait as the central design of Bach and Joseph Addison. “Father of for a postage stamp (a handy little item which Heinrich Schlitz, the due waited until forty-nine years after his death to German Music,” gets his just fa- be invented by an Englishman) to raise money in company with his two more set of for charity in the year 1840. He who was, him- mous countrymen. That Ger- self, the object of charity, bringing assistance to three stamps was issued by two those in need merely by having his portrait (and many to commemorate the who would want, of all things, his picture?) hundred and fiftieth anniversary Handel printed upon a silly little square of colored paper of the birth of Bach and with roughened edges and glue upon the back! and the three hundred and fiftieth Mozart would get a thrill out of that! anniversary of Schiitz’s birth. But the modest little Austrian is not the only gentleman of musical fame who would have such Smetana and Dvorak ' revered “Papa” re cause for wonderment. His own Prague, the city so fondly that rude, aC Haydn is on a companion stamp as is membered by Mozart as the pl hair who scowling youngster with the unkempt where “Don Giovanni” createa master for instruction in used to come to the quite a stir at its premier perform- too, that fellow. u* composition. He had ability, ance, calls to mind the fam° Wolfgang’s country- Then there are others of Bohemian teacher-pupil combina lived such a men whom he never knew, having tion, Smetana and Dvorak; an instance, and short time. Franz Schubert, for the Czechoslovakian governmen Bruckner, and Johann Strauss, Hugo Wolf, Anton presented those bearded gen®®! whose incomparable waltzes would have aroused 1 men on green postal issues in even as they have stirred Wolfgang’s admiration and 1934, respectively. others “greats” to pay tribute. p of the musical Two artists keyboard looking of Then if our celebrated composer began have brought great honor to further into the matter of musicians and musi- land and are in turn paid homag cal subjects in the post office, he would find a by o that child of misfortune veritable host of his spiritual brothers of many two postage stamps. Chopin mak nations and generations, all honored individually his bow on a bright blue PieC® unusual ( Continued Page AMERICANS OF NOTE on Foster. Sousa. Herbert. MacDowell. and Nevin BACH JOSE REYES BERLIOZ (France) (Germany) (Dominican Republic) "FORWARD MARCH W ITH MUSIC THE £ETVOi - PASTORAL SYMPHONY FROM "THE MESSIAH" G. F. HANDEL Handelsi exquisite and pervasive Pastoral Symphony from“The Messiah” needs no comment. Students will probably play the trills in this composition such as that in the second measure, as a mordent. (See foot note a) Handel originally scored this passage for strings. When Mozart re-scored it, he added flutes, clarinets, and bassoons, giving the work more of the effect of the peasant pipe players (piffarari) in the Italian hills about Rome, who herald Christmas with their plaintive music. Dr.Henry Gordon Thunder, Conductor of the Philadelphia Oratorio Society, who has conducted seventy large per- formances of "The Messiah” gives the proper method of playing the trills in this day as at foot note b. In Handel’s time, however, it was the custom to be- gin the trill with the upper note, rather than the lower note. Even performance of the trill in thirds is extremely difficult on the keyboard though rela- tively easy with the orchestra. For this reason, most players will content themselves with a simple mordent as illustrated. This work is equally adaptable to the organ. * Larghetto , 132 . . — ,t) ir {r * i€ s* r ;Ti . J. 1. 31 DECEMBER i.942 N , THEME FROM PIANO CONCERTO IN D MINOR In his tumultous life, Anton Rubinstein (1829-1894) was filled with triumphs and disappointments. His personal ambitions rested far more upon his compositions than upon his playing. Unfortunately he was not recognized in his day as a composer in the measure he expected. His Concerto in of V Minor, one of a group of five for piano, is widely acknowledged as one the great masterpieces for the instrument. It is a splendid exercise in travura playing Grade 5. _ ANTON RUBINSTEIN Moderato assai M. M. o =53 * t .9 _ » ^ L | Ty p- 1 \ & - ' = -\ ^ 1 — 3 *j > r b l A * & b- — —ih idz===^*= 1 m l =J ^ " r- w 1 F a A 1 — —A. =^rA 1 AIN [Jzfek-"- =lk=r=$ . 1 11*— f * r IT-WHI 1 p 1 d 5 - (1 _ — • r ® , £ if r 1r A A - A . OilULIlULLU4 »i Copyright 1942 by Theodore Prosser Co. 822 THE KTUV$ DECEMBER 1942 HAIL TO THE SPIRIT OF LIBERTY MARCH to play Mail to the Spirit of Liberty is one of the lesser known of the Sousa marches . Jt recently has come into surprising popularity. It is easy com- and splendidly in keeping with the spirit of the times. It is “Sousa” through and through, with all the fine vim and originality of the famous poser - conductor. JOHN PHILIP SOUSA 1942 DECEMBER s. ANNETTE melodious of American composers for the piano, passed away in July. He is repre- Frederick A Williams (1869-1942), one of the most fluent and waltz many will find grateful and pleasing. Mr. Williams was for years a loyal con- sented here by one of his last compositions, a mellifluous which Presser Co. Copyright 1942 by Theodore British see 111*! S2U Copyright THE ETW* Piii mosso GAVOTTE Grade 2-4. JOHANN SEBASTIAN BACH FROM FRENCH SUITE V Arr. by Bruce Carleton Un poco vivace m. m. d=88 British Copyright Copyright 1938 by Theodore Presser Co. secured nncEMBER is'm 827 JULIET’S WALTZ From “Romeo and Juliet” Grade 3. CHARLES GOUNOD Valse animato m.mJ-=66 Arr. by William M. Felton 838 TTTV wrrnS DUCEMBUR 1-942 DARK BYES RUSSIAN FOLK SONG Grade 2-j. Arr. by Bernard Wagness A CHRISTMAS EYE REVERIE Calvin W. Laufer# to The John Church Copyright transferred 1942 Company secured Neville International Copyright 1929 by H. G. Copyright THE ETTWfi L 832 ~~ i 1 = r — f r dawn, wfien our love was new; Light shin- ing dear from your eyes, dear, rose -paths of sun - ny days*, Walked hand in hand in loves spring - time, *7 — 1 Q — i P * * 1 5 DECEMBER 1942 8*3 Company International secured MCMXM by Oliver Ditson Copyright Copyright THE ETUDE DECEMBER 19i2 SILENT NIGHT J°seph Mohr SECOND N R 0 Arn by Ad? R?ehter Phillips Brooks SECONDO ^ REDNER British Copyright secured THE ETUDft 836 SILENT NIGHT O LITTLE TOWN OP BETHLEHEM Phillips Brooks PRIMO L.H. REDNER Arr. by Ada Richter Andante con moto December lstz say THE TRUMPETER For open strings only. CLARENCE M. COX Theodore Phaser Co. British Copyright secured Copyright 1938 by THE ETUDE 838 0 COMB, ALL YE FAITHFUL FOR BRASS CHOIR TRADITIONAL Arr. by Ross Wyre O COME, ALL YE FAITHFUL 1st Bk TRUMPET TRADITIONAL ' 1 1 ~P ' f 2nd Bk TRUMPET 0 COME, ALL YE FAITHFUL TRADITIONAL * r , r fa m M—M J # J U - y- - f COME, ALL YE FAITHFUL TRADITIONAL 1st trombone 0 » r- a - 0 m— _p Vtf-' - p \r -== // 2nd O COME, ALL YE FAITHFUL TROMBONE (or Tuba) PA TRADITIONAL r r r r f r r International Copyright Secured Copyright 1939 by Theodore Presser Co. UEGEMBHR mi:.' WAITING FOR SANTA THE HAPPY LITTLE CLOCK LEWIS BROWN FLOATING- ELBOW AND FLIP THUMB See Technistory and application on opposite page LEFT FLIPS AND FLOATS RIGHT FLIPS AJVD FLOATS SADNESS QUIET EVENING SONG 842 THE ETUDE - Enjoy the eonvenienee of a The Technic of the Month TONKabinet tor your sheet musk Conducted by Quy Wccuer Sheer music has an unhappy way of always getting "mixed up;” Technistories for Boys and Girls TONKabinets for sheet music have ly •iici tta e.'own ling the n P' handy drawer- trays, keeping it With Application and Music by COY MAIER neat, clean and easily FIND- ( Illustrations by LaVay Williams) ABLE. Rich ly crafted styles for home or studio hold from ‘DO to FLOATING ELBOW AND FLIP THUMB 1600 sheets. Your dealer has, or can get one for you. NCE IN AN UPSTAIRS apart- “If I open the can with the can Ask him. house there lived a opener, I cut my thumb. If I pound TONK MFC. CO. ment I960 N. Magnolia O father and mother with ten a nail with the hammer, I pound my A vc., Chicago children, five girls and five boys. The thumb. If I slice the slaw with the father’s name was Flip Thumb and butcher knife, I slice my thumb. Al- the mother’s name was Floating ways my thumbs bump.” TONKabinets Elbow And Flip Thumb, listening upstairs, Floating Elbow, the mother, spoke whispered to his children, “Her name the is Thumb Bump.” for Sheet Music in a voice like a song floating on ten The father of the family wind of the evening, and the down- stairs, yanking children, respecting their mother his noisy boys around the practice hour and watching her face smiling, did by the elbow all the time scolded, “If asked. I sit down to read the newspaper, I Should be a delight, not a chore. It whatever she ,° is ln condition, but no student in a have to yank an elbow off the table, to i the father, spoke mmself or his teacher if discordant Flip Thumb, responsive action hamper ids practice. the If I take a nap afternoons, I to The ceaseless search for perfection A like a cricket, chirping in have by skilled technician can restore a i voice ana make study profitable instead of and the ten yank an elbow off the piano. If I expensive. dew of the morning, the makers of the Baldwin is amply Be sure drive car, I r tuner Is a qualified respecting their father and the have to yank an el- technician. children, rewarded in its use by the great artists his eyes twinkling, did bow off the honking horn. Always tHE AMERICAN SOCIETY watching asked. my elbows are yanking.” of the present generation. One by one of whatever he looked And Floating Elbow, listening up- PIANO TUNER-TECHNICIANS Every morning Flip Thumb they have chosen the Baldwin by ear with their faces stairs, whispered to her children, at the five girls, and by touch rather than by tradition. gold “His name is Yank Elbow.” smiling and their braids of The noises For while Baldwin respects tradition, cross-note puzzles brown hair tied with blue ribbons, downstairs grew more For All Music-Lovers noisy. They came N five boys, with their blue up through the Baldwin does not rest on old laurels. JxOVEL-ENTERTAIN and the I ABLE-INSTRUCTIVE NG-VALU red hair cracks in the floor, up the twinkling, and their water And so the rich tone has become more LliCT10X nost entertain eves ine V,h of :!S short let pipes inside the 1 1'. music-tvriting a Thumb, with wall, through the ...h."; ! making the siu.lv of'<.f fluent freckles; then Flip surmounting the and golden — the light, flexible action more il way of you windows, into the upstairs. Finally twinkles in his eyes, said, “If elbows floating Flip Thumb stuck his thumbs in his effortless. The result is fine music D always keep your ALEO— I9Q Street— Brooklyn, N. Y. — Sackman will do ears and said, “I have heard the last end vour thumbs flipping you more faithfully, more thrillingly in- go far.” of my littlest thoughts. These chil- what you wish and terpreted by an ever-increasing number dren, the five little Bumps, bumped ENCYCLOPEDIA of RECORDED Thumb Bump, of the world’s greatest artists. Music by and the five little — ;us f off the press! Yanks, yanked by Yank Elbow, can’t composers worthwhile recording of serious keep their elbows m| d-1942 cloth bound. floating and their It releases—650 pages— n,<|ue |“ ' n inclusiveness, accuracy and usability, thumbs flipping. That’s No er , why they are f?rc-at great artists will i,^ . music performed by be without, the noisiest it. Send ONLY 53.95 to noise.” he GRAMOPHONE SHOP, Dept. £ Something happened that just nat- 18 East 48th Street, New York urally would happen. The children of Floating Elbow and Flip Thumb met the children of Thump Bump and Yank Elbow. They began to play SHARE together. They talked about their JOSE ITURBII fathers and mothers, Your and what a “Incomparably Supi Christmas Giving moved into loving mother was Floating Elbow, , new family With apartment, neighbors and what a funny father was Flip CLAUDIO ARRAU the downstairs “The Great Piano of Today" Elbow and Flip Thumb. The next below Floating Salvation Army The little Bumps and little Yanks Thumb. a father came home evenings telling how they Tn this family there was children, five played games, “float-elbow-float” or h mother and ten same as the fam- “flip-thumb-flip.” They told how in boys an five girls, • Fn one game Flip Thumb, the father, ^ Blbow and p SERGE KOUSSEVITZKY upstairs. But decided to let them play Bad Man- “Perfection" JrLrnb living neighbors noisiest of tiers Day. At the table, they punched WRITE Af f amiiy was the 6 house. Flip each other with their elbows, ate ih nnTses in all the The Salvation Army potatoes and gravy h couldn’t hear himself think with their thumbs, sucked and gargled their Into rttlest thoughts THE BALDWIN PIANO the family down- soup, stirred their water with a fork, COMPANY e mother of in crumbed crumbs on the floor, stuffed Your Will . carrying her thumbs CINCINNATI, OHlo scolded, their mouths, forgot to remember bumpy bandages all the time WITH MUSIC" "FORW ARD MARCH R4.T DECEMBER, 1942 . ! 54 — 7 " . , ways. (Exam- —you must float in them! In Measures to nine out of ten musicians, but his "please” and “thank you.” Then sud- tice these in the same 1-4 softly sing the top left hand voice one musical composition, more alive denly Flip Thumb’s eyes twinkled. ples 6 and 7.) only; in Measures 5-8 the top right to-day in prostrate France than at all twenty He said quick, “Flip!” And hand voice; Measures 9-12, left hand; Ex. G any time in the past century, is as children flipped their thumbs under Measures 13-16 right hand. Play Meas- familiar to all as the best-known and sat floating their elbows like ures 17-20 very clearly and slightly works of his contemporary, Mr. Mo- polite children. menacingly, with sparse pedal. Those ex- zart. France honored the composer And Thumb Bump and Yank El- quisitely conflicting sixths and sevenths in the final four measures are life's dis- of La Marseillaise and his contribu- bow, wondering, asked all the chil- sonances gently dropping away, resolved tion to French tradition with a set of dren of - Floating Elbow and Flip in deep sleep. two postal issues in 1936, the cen- these questions: “Why are Thumb No. 13. 80-84. A great masterpiece! good J— tenary of his death. An unusua-iy your mother and father such Soft chords (played with various touches) beautiful issue is that featuring parents? Why do you do whatever are occasionally broken into lovely melo- Claude Debussy against a back- they ask?” dic and recitative patterns. The poet’s L'Apres- their gold thought ground suggested by his The five girls flipping Be sure to let your thumb slip midi d’un faune. It was sold in 1939 brown braids of hair, looked with of the key tops Ex. along the surface to like a for a specified sum over face value faces smiling, and in voices for remember, a slip thumb is a flip raise money for charity as was the song on the wind of the evening, thumb 1936 Berlioz stamp, also a piece of said, “Floating Elbow keeps our el- When you play the pieces, you can beautifully reiterated, appears at least striking beauty. bows floating.” keep your elbow floating by letting it ten times in various guises, including red hair And the five boys with make little or big circles in the air those variations in the right hand of the and freckles, twinkled their blue when the music curves up or down; cadenza. Avoid too slow a tempo. And crickets that eyes, and in voices like also when you come to the end of a remember any piece with this “topography,”—clusters chirping in the dew of the morning, “curve,” by gently raising and lower- of irregular note values—must be played strictly said, “Flip Thumb keeps our thumbs ing your elbow tip as you balance on in time. No ritard at the end—the flipping.” gradual slow- the key. is written just down in the music. If the last That was their answer. And In the pieces called Flips and left hand chord must be rolled, play as Flip Thumb said, they did what Floats sure to learn the tune and be the low G first, then the rest of the far. they wished and went the words first, then practice each chord together. scale hand separately until your Pianists with feather-weight el- thumb and elbow can easily do what appears most frequently in Schumann’s bows floating along the keyboard the tune says. Later play it hands to- music? I think it is “Leidenschaftlich,” also have loose flipping thumbs. If gether. which means “Passionately.” .in- you have one, you have the other. He not only wrote the The Low Countries add several word countless times in You can test your “floats” whenever his scores, but teresting subjects for our discussion. used it often in his writings. the play a long note or chord, or the Even in Sweelinck, a Dutch organist at you those prefaces to the Paganini “Caprices” turn of the whose last of a series of phrase notes, by which we studied sixteenth century, last month, he wrote have gently swinging your elbow tips in works and teachings are said to Teacher’s “This piece will not fail to produce The the influenced is fea- the air. desired effect if it is played the work of Bach, capriciously is develop flip thumbs and with passion .” tured on a Netherlands stamp as A good way to And again “This Table caprice must be played Diepenbrock, Dutch na- is to make believe you are a kitten Round passionately and an ardent with the most brilliant tionalist Bel- learning to walk. 808) coloring- not one of more recent date. ( Continued from Page single note of it should be devoid of Ex.l expression.” A Ex. There in a nut-shell, you have the J essence of Schumann's rm style. His vivid writing, titles and directions the m Float, Flip, Float, Flip, Float. Flip, Float. tensely dynamic vigor of divided between the hands, his’ or his buoyant enthusiasm, get stronger, all make hhm' (Example 1) As you the most stimulating, farther Ex. accessible ] your four paws take you least subtle of the romantic composers (Example 2) . . - Every serious piano student study one of his E great works Ex. each year 2 . „ , MILITARY Accent third beats only. Practice in one BUGLER BENOIT and two measure impulses. Beware of (hutch Indies) Belgium clipping the right hand eighth notes too rhythm. Sum's this array short, for it will ruin the No contributions to (Examples 3 and 4) include e and faster sections. a 1934 celebrating W pause between issue " Also tough! At first centenary Be No. 10. ;=104-108. Musi: of the birth of Pierre Ex. 3 with low bass MastBrs nolt, ' practice the melody alone founder of the Antwerp con before first notes played like grace notes servatory, and sticker four- a 1931 pair of beats. Disregard bar lines; count Memorialized of colors by the identical design in different eight, with first melody tone coming on Mails arpeggio must (.Continued fourth beat. Left hand from Page 8201 down very softly and effortlessly, design and Paderewski roll rm t aU with feather-weight arm. rust-colored stamp honorin' hi ™ No. 11. j— 126-138. Keep the pattern manly as P Premier of his H Liszt, Hungary’s most faralT^' button to Contri- musical art is ,,, always say, ofh, When you play slowly, j n J ... — “Float, Flip, Float, Flip." until you rhythmic throughout. Don’t try hands together (etc.) sharply Alter playing Measures 9-12 faster, since can do each alone perfectly. Avoid try 1, their pattern (sixteenth notes in contrast Spontini mastered 1 and 2, stamps of and you have Measures 1-8) loav skipping to the eighth notes in 13 n them all in than two sets of ° less (Liechtenstein) (Netherlands) 3. Then do impression of doubly six and fi' already gives the respectively tam In honor Ps “of rhythms: increased speed. Hold solidly onto Meas- of the? l va ues of “Norma," „ BelliM, i featuring a portrait ures 21-24, and play Measures 25-26 very and °L QueenOde aU fame. Sonnambula” —Elizabeth,—.oem, thes** 1- a patron ofoi , much slower. rise i hf 1 J ei °- e e“ of j> J> J J j’=72-76. Another excellent “AUons a at methe bottomdouoiu j j No. 12. enfants fc . de . . stem„ 5. ief jour la „ B and upper larger stuuystudy in pianissimo(/uwvwo.1.™,. Use~~~ —soft- pedal de gloire le a violin in the that you are a est arrive »» cmm Now imagine B’s are most important of *•- piac- throughout. The Rouget de ^ nanie nform that it is u*in horse, and Lisle of p!T‘. “ a will ' animal, a dog or meanm nothing 8'ium’s famous EuS "FORW'ARD .MARCH violinist, WITH MUSIC ''Continued on Page 863) 844 -rirB f.TUPt L t t y The tremendous ovation ac- Voice Questions corded Arturo Toscanini’s mag- nificent performance of George Gershwin’s "Rhapsody in Blue”, has prompted us to present a Jln^erecl lu DR. NICHOLAS DOUTY complete listing of the published arrangements of this distin- guished American composition. Harms, Inc. No question will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. ORCHESTRA SYMPHONY RAMI Orchestra — (Full Score) 25.00 Full Score 7.50 Symphony Orchestra . . 10.00 “A” Set 12.50 Full Orchestra 6.50 “B" Set 9.50 position. Each consonant sound re- Phlegm in the Throat: mouth Small Orchestra 5.00 "C" Set 6.50 position. After Nervousness During Singing quires a different tongue the consonant is sounded the tongue should re- Piano Part 2.00 Condensed Score .... 3.00 Q. I am a soprano of nineteen, and I hare turn quickly to the vowel position. Quality been husk troubled for sonic time with a of tone depends upon freedom of action of voice and phlegm. My voice breaks frequently jaw. tongue, throat and all the word-forming thus which causes me to cleur my throat muscles. Volume of sound depends primarily Just Off The Press irritating it with a burning sensation. My upon the use of a well controlled breath asso- teacher little and says I sing too much or too ciated with the correct use of all the reso- MINIATURE ORCHESTRA SCORE . . . 2.00 that it will disappear as I continue study. nances. Also she says artists have this that many 5. We dislike the expression relaxed throat. trouble in career. She the early part 'of their If your throat is free of constriction, (If it advises to continue singing INSTRUMENTAL me swallow and to is an "Open” throat to use your own words) 88 cords °>tlu o. little phlegm touches the vocal will not be conscious of it at all. When Piano Solo (based on Original) in you 2.00 m V case. What would suggest t 2. Please it is tight. you it feels tight, you may be sure that Oive Modified me a few suggestions on nervousness Although you have a good voice, your ideas Piano Solo Arrangement (complete) 2.00 before singing public it true that stage still very vague. in 3. Is about its use seem to be fright public 2 Pianos — 4 Hands (Original) can be overcome by frequent They need clarification, so get a good teacher 3.00 singingt— Tun Co piti KeyHired M. E. S. to explain things to you. for Performance excellent books upon the 6. There are many Piano Solo (Gotham Classics No. “Plain 3) 50 A. if you have a husky voice, and phlegm use of the voice. Read Shakespeare's look at the first gathers in your throat in sufficient quantity Words about Singing”, and Violin and Piano, trans. by Gregory Stone and Edited by Toscha Seidel 3.00 to break your tone, you either have a cold volume of Shaw and Lindsay's "Educational Organ Solo or a catarrh. An examination by a good Vocal Technique”, for some simple exercises. 2.00 Accordion Solo 60 the place of throat physician will determine this point Books can never completely take teacher who Andunle i°r you. He will also suggest a cure. the Viva Voce explanations of a and Finale from "llliapandy In lllue" books may 2. Every very young singer is nervous be- knows his business. Any of these ror publishers of The Violin and Piano 1.50 Clarinet and Piano ... 1.50 e singing in public because he is not quite be procured from the sure either of technique. Just himself or his Violin, Cello and Piano . 2.00 Cornet and Piano .... 1.50 ‘A Proportion as he improves in musician- ship, voice and diction Alto Saxophone and Piano .... 1.50 production, breathing The Range of Three Types of Soprano Voice and as his repertoire increases, so will his average ngr difference control of himself and his nerves become 0. 1. TVhat is the coloratura, lyric, better. in the following sopranos— 3. mrzzosoprano t • • a certain amount of nervousness is al- dramatic and HARMS, INC. R. C. A. Iliiiltfinrj New York, IV. Y. ways the same as the con- present even in the greatest artists be- 2 Is the mezzosoprano rore singing, it makes their performances trait o t— J. U. S. J«ore human, more vital, more dynamic. If many Individual differ- becomes a hysterical lack of control, bow- A 1 There are so JESSICA FREEMANTEL will p er. these tables can only be it dooms them to failure. ences of range that train approximate. YOUR VOICE I attended a concert riven by Mary Stew rormer pupil or DRAGONETTE Frederic Freemantel. I was impressed by her fine sinning I travelled Ambitious Young Tenor of Seventeen in I America’s Beloved Soprano miles from Mh ,noh tl in X'm,. i.._ • _ *. 1 am seventeen, a tenor who has studied lege or studying with Mr. Freemantel.” f®’ (Signed) Priscilla ve months and leant to make singing Pote-Hunt f! I Star life’s work. Please answer these questions, FREEMANTEL STUDIO 18 Saturday Night Serenade j05_W«tt_57ih_St New Yorlt, ip « tremolo correct or incorrect t : N. Y. 2. A.t the age of seventeen how should I use 9:45 P.M. EDST (CBS) ™V voice to build up a strong one for later a TRAIN years? When in New York Hliould I try to obtain the quality of oe mature voice, or should I sing lightly, See This Broadcast "Miking mostly of form ? Write for FREE Tickets Should I try to strengthen the tones at ® V( | Results GUARANTEED! '\y bottom of my voice range / .... Concert Management •/• The better m quality of my voice is much ® n mV mouth is not quite soiwidely opened. ALBERT MORINI 1,t.I open it more, will the quality and quantity occom 119 West 57th Street New York, N. Y. ." e stronger 5589,' in timet PERFECTl/OICE ' n'sTIT U TE s'ludio 64 E. L aha s' ‘c HI c fl'o r> After resting I feel that I have an open, > el axed throat, but as I sing for a short while, I* become tight. JIow can I keep it relaxed y It pays to read and patronize ETUDE advertisements. They are bulletins —R. a . c Jln^erJ ly HENRY S. FRY, Mus. Doc. Ex-Dcan of the Pennsylvania Chapter of the A. G. O. No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be pub- lished. Naturally, in fairness to all friends and advertisers, we can express no opinions as to the relative qualities of various instruments. the organ Q.y. uniteOnce n week'ivvcs we'ivtr wish"ion toiv hovuse GREAT ORGAN in the theater in our town, hut the instrument. Contra Gemshorn 16' not having been cared for regularly for years, open Diapason 8' develops so many ciphers and is out of tunc. Harmonic Flute 8' plugged up Gan I remedy these ciphers 1 1 have Gemshorn 8' the Soldiers know the value of perfect tim- the pedals, but now the ciphers appear on Harmonic Flute 4' liar- ing; musicians. manuals. There is no money available for Gemshorn so do It is what lends or ing a tuner come in. Do I remove the pipes Octave spirit to the men under arms; gives them, or just what can an amateur re- Twelfth character to the musical composition. Pianists for tree booklet show- turn —Send there is no money ing how you may greatly improve your pairer dot Please understand Fifteenth technic, accuracy, memorizing, sight- nor a man in our town that could mental- to be used SWELL ORGAN ELECTRONOME thru reading and playing work. A. M. muscular co-ordination. Quick results. Practice effort do the — Bourdon 16' (Trade Mark Reg. U.S. Pat. Off.) minimized.uiimmizea. teachers Usedused by famous pianists, Violin Diapason students. No obligation. electric action, obligation. A. The organ is probably ELECTRIC METRONOME Broadwell Sludios, Covina, California lack of use. Rohr Flute _ Dept. 62-L and the trouble may be due to instrument ------Saliclonal . . . not only the most dependable, ac- suggest that you try using the We curate and convenient tempo recorder ever offered to serious musicians, but PIANO TUNING D TAUGHT in beauty of design and finish a real «£l 2 %' musicians. to Splendid field for men and women ' addition the modern music-room. School endorsed by Steinway & Sons. Baldwin Piano Co., 2 mtrs. “THE METRONOME "• W. Kimball Co. and other leading piano V Ranks THAT OPERATES B'rife tor information ELECTRICALLY*' Dr. William Braid White, Principal §---' 5-year service guarantee in writing School of Pianoforte Technology Ilivsissi ? PRICE M2. 5149 AGATITE AVE., CHICAGO to correct the V» Humana * 50 mention. CHOIR ORGAN See if at your Music Store or other troubles you Geigen Principal 8' write to us for 6-day trial offer choir have n some of the members of my concert Flute LEARN "SWING" MUSIC that the “re" in “relief 8 Dulciana FRED.GRETSCH mfg your 8 ohoald cd 'ourse 10 Players of all instruments-rnokp eontend tint it Uhda Maris a choruses, obbligatoa, .fleet •ran" / W Makers of Musical Instruments Since IB83 emh£in ? Kemen,s of “hot" breaks, etc. “e" «« It In embellishments, figurations, blue notes, whole tones, iotth the ton, Flute Harmonic Z "Zo ounce* ear- 60 BROADWAY, BROOKLYN, NEW YORK MODERN ARRANCINC 'f dictionary. / led that J am Nazard Flute 2%' DANCE 'I , the n , lo( chorus ‘f'os. Quartettes and ensembles—special Piccolo anticipations Modulating to other keys —suspensions— Clarinet ~Mgan points—color effects—swingy backgrounds " r*te today. Trumpet such ELMER B. FUCHS Will you direct me to a Lewis Avenue Brooklyn. N. Y. am right. PEDAL ORGAN authority —L. *1. Open Diapason Bourdon A.* Dolce Bourdon 16' (Swell) NO SALE “'“^ord^oTce^' J CSS- TYPEWRITERS FOR ciation of the be Contra Gemshor 16' (Great) e d ed;tlon) should BUT WE’LL BUY THEM BACK found actual Piute 8' (Pedal) “'“JJ while have not FOR SAM —r word in conver- UNCLE Hour Pint, 8' (Swell) The standard ££Z£-» ‘“^“rVoY^tndior • ahum Wicks Organs, Army and over half a million authority Navy need So- will And cello e "' ' service. you 118 and -ln' e ri,t rs for all branches of the for this quality i°vn? will >ou 1 a permeates hcll> 5 As a patriotic contribution “ re j ecte th” ™ singing.” by Trombone sell }°V Corona ( ^ppella every part of this fine back every standard L (' Smith (not e rt Tromha 8' (Pedal) instru- Portable) you can spare. Thomas Ford’s - made since January 1. 1935 that .»d wilcox, Z ment from material construc- A” our branch dealers have been a ,fma“ offices and many S 1 ace. 0ri Smiths saw your I tion, to intangible divine d by 'he Government to buy back h C Since first I Cornopean 8' (Swell) tone at«1 standard'f 1311 "trade-in" values. 4' (Swell) !- C Inc church Smith Cr Corona Typewriters 0. oar ^"aTclZ^oZ. 1213 Walnut Street Philadelphia, Pa. WICKS „ „cw track, T in- DEEMS °f co manual 5727-28. „ „ Phones: Pennypacker Thc years aid. nxalalmt "1 HIGHLAND - ILLlNnic th ir J en I . lhcxc strum ', r on nicloscd list, "‘ r the Oh or. are in "S the ejection of SSra. and I mnder. • the. & to i SPECIAL i SWING NOTICES wants the PIANO? On rjrgan build Learn to play real Swine Piano. Send for free Hnm, strument. cut, slating Folder. write for on a « Study TEACHERS: business offer a trade m chests, STUDIOS. 52 Kimball as not fit Ihi new CHRiSTENSEN Hall. Chicago ANNOUNCEMENTS rpensc. Will »«» «" r balanced >10.100 mao, .. uiiifl- SPECIAL NOTICES II ,coaid « duplexing C , I'rhups a $» 0 lS-GilLiGES concert pedal organ, or P SALE: Violin suitable for cjrp! in the n,st and ration - Viola suitable for quartet •oL Oregon- —C. AX. E. Jlhestia, P. Q, p, (lx Portland. flute, de- KXpehie^eeij 1.1 lllf WRITIOK v CONVERSE COLLEGE^ cannot iiistru- C 0lUact Address A . we lj,p m'the’new ErnBt Bacon, Doan, Spartansburg, w * t li composer. e^ 8. C. TrmiHI -, Of the 01,d P DE—FBfj, mewdine why lt cannot be see son ; s.mg.s, ment. We « course if the SA.I-K' back . Of po’V I s.-d Hussies, dvlsable <* ljl if th°U instrument, Galosburg, 111. Lists 10 <- Fore’s H>ept. E), done, in the new aie ifjJinciuud^d JamoB MacC. Weddell, -ibiLptreet . Denver, Colo. — pipes ntled and un- Chairman old disma Catalogue sent frao violin organ is partiaty^d KNOX upon request' U T^ALeT Vincent Panormo the old in iti lt win not b,?, a * Steed, pip« instru- , good condition. Ruth less new . of a new • T ice K - The P* 1, Portland. Iud. be of much use. d Qn the buikler of cou forth ment will. ' work, and so J,f case selected. am following specification SHENANDOAH ANNOUNCEMENTS suggest°^\tobe Courses bu t we undoubtedly exceed leading 10 cll ind B. Mus. Ed. deere™ Tfn, Simplified, price of w be reduced iAKO TUM.VG — the perhaps, Urn 1 . of the auth^me r figures ****£•»J Sheniuuloah ic instruction, $4.00— Literatme your ft stops such as Valley, Dayton, Virginia. freV *rof.S„ , N. Boss. 466 Beecher St., Elmira, y Gemshrmn^Plutef’and so forth. t WITH MUSIC" D forward march 847 BCEMBER, 1942 jU OffiL _y^/j £5tabiidhed favorite CHORAL PRELUDES BY JOHANN SEBASTIAN BACH J.S.BACH MOZART His Life Told in His Twenty-Four Choral Preludes j Music TWO DISTINCTIVE COLLECTIONS for Music Lovers and Teachers Medium Difficult Arrangements (Illrd to IVth Grade) My FELIX SIlIflEl for M PIANO gOILOg Price $100 net Price $100 net Highly Praised by Outstanding Teachers and Critics »RCA Bldg., EDWARD 1. MARKS MUSIC CORPORATION Radio CiSy • lew York film-work impart. Every bird sings a an artist one-sided, while different the song. So long as a LONG STRONG LIMBER FINGERS alone might make him timid. On composer writes Violin Technic for V,„li„ Pin, with skill, sincerity, lo players need C it must not be forgotten taste and tech- 'prlctisc. other hand, . °Savo" kind is nic, he deserves a hearing. World's Greatest Artists, that commercial work of any Especially Microphone and tian, Keyboard, makes »t concert per- do our American composers to of great advantage to a deserve perfect tunc, ves, and and show- a hearing, not only to give It gives assurance them an IV rite former Dept. 12-12. 2537 N. Bernard St., Chicago. Concert Hall that a large incentive to continue their manship. It is significant creative INNEY VIOLIN KEYBOARD SYSTEM famous concert artists, work, but to develop our own culture 817) percentage of {Continued, pom Page risen as Europe has always contemporary and past, have developed its For Authentic VIOLIN Information Read mu- culture. The reaction from the ranks of commercial to the Amer- VIOLINS and VIOLINISTS any necessary variants in tempo. The ican music Bennett, ^ William * can sicians. Publication Devoted to the music, therefore, must be almost the Grant Still and others) interests of String Instrument Players Every concert must provide, in that I have can Subscription §2.50 o memorized, so that each player as good played in concert has always for 12; single copy 25 end good theater as well been WILLIAM conductor. Be- LEWIS & SON, 207 S. Wabash Ave., Chicago keep one eye on the concerts, enthusiastic. ° tnd People pay to hear f°r Unique and Instruct rigorous music ire Catalogue of cause of this special and feel that they A bi eath of fresh air Violins—Free on request and should be able to has entered | that they must undergo, a concert training given their money's worth, the field with the inclusion of have been symphony orchestra composed should try to of American music in The artist therefore the repertoire studio musicians would be the best Most I have never been hold his audiences’ interest. sure that Amer- nmv ir in the world. crimes is to bore ican music was correct I?" learn precision tuning. . l£fl of all artistic in following lerapemmeter P' 1 costly ami Beat nance is an infall*'”® European KtnUo for work. In that respect I have come tradition. Viewing the Homo Study. Eliminates guess Unusual Experience people. fact * assures accuracy. An an audience that Bach, Beethoven conclusion that and Be Independent! > that to the Brahms Another unusual experience interested in vivid idealized what was the Make Money Quickly and Easily* will be more popular mu- Modem facilities for oral students. 40th was that £!plnma came to me in Hollywood emotionally balanced, of sic of their days, it has granted. Write for Free Bo^ST contrasts— seemed to _bryant school. 7p-r Aunusia. Mjf" playing on an electric violin for built me that American of course—than in a program composers would Waxman’s score for “Suspi- paid to do well to transfer Franz chronologically, unless it has our own idiom confusing, since I was to BUY WAR cion.” It was There is no reason to the concert hall, since it BONDS AND The hear a lecture. has proved not able to hear myself play. pattern in program ingratiating enough STAMPS follow the old to spread over FOR VICTORY sounds came out in the next room. consider the world. building; the main thing to Fortunately some eerie effect have It produced the exact balance and good taste, realized this and the monish is musical bars are being me to go hear Caruso sing that was needed for that particular each compos;- let down between This method shows off serious and 1 wanted to The value of music in films was popula? learn« to plavplay the viu»violW- film. than if there were a grad- music now. At best there is *n the old e tion more “ ° n ' never shown more aptly than in “Of academic y an ays purely mechanical ual, historical approach to each. difference. considerations'cons?d„°l5. put out ' V ^any Human Bondage.” This was this with 6 cupied too n In order to accomplish Already great mnsipio^r. — . .. musioni _ without music for the preview. To the"" depth of understanding that it note' Sr* everyone’s surprise and consterna- tfoifLf*' t e : audience laughed at the ^ tion, the a "ted ^“phrasB* The picture was taken mV^H hlm^ clas- wrong time. potential an-iuveiart-lover Ii arrived hene 1611 ye taught1 the torv.tory, lustjust as the thrust a violin sicistssiciKt “ “ — - ““s ” TT Steiner (who is one of the into* a ercT-Tdea1 n back, Max must know the history of art in hand and asked to ’ They have E developed in Hol- me to plav 5°^ "!d capable composers devel- Srt aCe 11£t a” order to appreciate the latest Russell Bennett’s Hexavodci a phrases a contrast to those who gain n- We that T lywood in 'I had introduced and then mi- “ and™ recorded first “» he ' reputations ’ ue their to be exceed- cause he knew ’ - jjjSsmg-ttgme An interpreter has that I « first film center) wrote the ®tudle< ass grate to the able to it with the 3 trickster day. ingly tolerant. He must be composer. I he \ of his played it After that, did s Vin e music and I whether he likes my wife playing now he th listen to all music, the first iiq ? he would understood the Pictures accomnanim.6 r adopt audiences not, with an open mind. He Later he played ™' newew methods!) thoroughly m accord it or some of hi™ Not nn intent and were not blind himself to the beau- Gershwin arrangements 0Wn a e American composers should . evoked. for mp| brine-inn n ^ l f° 0 ' with the mood if he happens to To-day rth niiisi to ties of classicism, master violinsts but outstanding seemed fortunate like v — tfre ' It has always modernist; nor, if he happens ler, Heifetz and " ai e now being developedned able to com- be a others atp ri American have been ai jl1 me that I have conservative tastes, should the Italian style of to 'tlsts of W work. &urely to bel cavtn • have worth who bine film and concert fact that many mod- when everything smSmg, adva 5 overlook the is done because ntage over European in or y ^TloreZ Cf constantly Untia orvmofElincr nf valuevalup tnto SlP.nllvsically. A/Ttr /-vrtr,o 4.__ , 6 1 thpive”' irm., working \ ernists have something of My own mil-™!' •JXUIV ° °j * versatility and flex*' makek "teacher bility T I would tend to use”used . J Ir.o these mediums to ad 0k forward America 5 'FORWARD MARCH WITH absolutp t? to MUSIC” Premacy in music! 848 rmE : a because he had won the Prix de Rome, which in their mind was like a Erik Satie consecration of everything common- Over a MILLION of place, old-fashioned, reactionary. that Debussy ( Continued frovi Page 816) When Satie heard These Books Sold— was engaged upon the composition of had set out to “knock them cold” a large opera, “Rodrigue et Chimene,” that? AND THEY STILL with all the dynamism of which they he grinned, “Why are you doing were We have enough of Wagner. What is capable. Although he was not a HEAD THE "BEST- member of the group, he was adopted needed is a musical stagecraft and an as a sort of senior partner and sym- atmosphere where characters talk No pathizer, and they did much to pub- quietly together. No couplets— SELLER" LIST! Puvis de licize his name through newspaper leit-motivs—but a sort of articles as well as widely heralded Chavannes atmosphere.” are doing?” performances of larger works such as “And you, what you They're Exceptional in Content and Value! “Socrate” and “Parade,” a ballet on a Debussy queried. of a ‘Princess scenario by Jean Cocteau* performed “I am thinking don’t know if I can at the Chatelet by Diaghileff. Maleine,’ but I GIVI THEM AS XMAS GIFTS! authorization from Maeter- Still later, he was hailed as the get an This year. PLAY SANTA TO YOUR MUSICAL FRIENDS, both young and old. with leader of “Ecole linck.” the so-called these two outstanding music folios! It’s a gift they’U appreciate—a musical treat took place shortly before De- d’Arcueil* named after the Paris This that can’t be beat! having bought a copy of the suburb in which he lived. A number bussy, new play “Pelleas et of fervent followers gathered around Belgian poet’s PIANO PIECES PIANO PIECES for CHILDREN read it and became so en- (EFS No. him, looking for new ways, trying to Melisande,” 2) (EFS No. 3) he left at once for Ghent 60 world’s depart from the then prevailing dis- thused that Contains of the most famous This folio provides classic studies In Maeterlinck’s masterpieces from the pens of such great cord and came back with simplified version and easy-to-play solos and brutality by cultivating composers as Bach. Beethoven, Brahms, for the young pianist. Features over 100 authorization in his pocket. One again grace and sweetness along the Schubert, etc., expertly arranged for the compositions among which are: Blue think that Debussy piano. Includes such favorites as: Lle- Danube: traditions and Gou- might perhaps Dark Eyes; Elegie; Humoresque; of Mendelssohn bestraum. Barcarolle; Spring Song; La Paloma; Song of India; Volga the idea from Satie. But what- Boat nod. Some already been took Melodie in F; Prelude in G Minor and Song. Contents are progressively graded of them have came out as it may be, “Pelleas” many others 208 Pages for teaching purposes 192 Pagest heard of, such as Maxime Jacob and ever masterpiece, and “a master- especially Henri Sauguet, whose re- a great who can bring it off. PRICE—$1.00 EACH cent opera, “La Chartreuse de Par- piece is his, soon became a regular caller me >” won great acclaim in Paris. Satie little apartment, one of FREE! Write today for booklet on the entire “Everybody’s Favorite Series” To all at Debussy’s of them he taught something (53 books) listing other piano, vocal, violin, cello, saxophone, privileged few who made up the trumpet, trom- which he deemed more important the bone, clarinet, accordion, flute and organ music books. At $1.00 Each. circle to which Claude- than anything be simple—to intimate else: to sometimes turned for consul- he “themselves,” which was a su- Achille problems. This meant MUSIC PUB. CO. • 1600 BROADWAY - preme particular tation on his AMSCO NEW YORK, N. Y. audacity at that that tune for him, since up to time when everyone strove so hard to much hardly been taken seriously be different, even through he had up to date, himself. His admira- the by anyone but harshest and most ear-rending fanaticism, to the point of excesses. the opposite tion rose “Walk alone, do became a voluntary press SELECT GIFTS FOR 1 °t Once and he what I do,” he recommended. helping him also he agent for Debussy, said to them, “I always write my running some every now and then by MUSICAL FRIENDS FROM THIS CATALOG compositions three times, and I errands. When Claude-Achille change version to of his plenty from one the noisy district of This booklet will be of infinite service to you in the tired of living in another,” adding with a twinkle in his Gare Saint Lazare, made up selection of music collections. One of the most his eye, and the the “The two rounds— to quieter surround- attractive catalogs ever issued of standard music final!” mind to move to go apartment other instruments. ings. Satie offered for piano, voice, violin, organ and A. most interesting feature in responsible for and he was Every book illustrated, and described, together with Satie’s with hunting, life was his friendship to a recently built friend moving its complete contents. If you are a teacher, student Claude Debussy. met first and his Dore, a $ They the Rue Gustave house on ft or lover of music, he sure to write us to-day— casually at the concerts of the Societe Wagram. off the Avenue street postcard brings it. (Not sent to Canada.) Nationale which both followed reg- new Saturday after- Thereafter and every ^ ularly in order to become acquainted weather or tem- noon regardless of THIS NEW FREE CATALOG CONTAINS with the new music. Then one night from Arcueil perature? Satie walked DESCRIPTIONS AND CONTENTS OF ALL THESE Debussy’s him to sl BOOKS noctambulism led about four o'clock. While the Satie and arrived THE OPERA “Auberge du Clou” where tea in his own way S FOB THE PIANIST FOR LOVER prepared Grand Opera at Home officiated played Debussy Piano Pieces the Whole World Flays $1.25 lar, pretty, narrow hand, with long mortal's manual equipment were not pianistic education declared these Have Ydu Piano Hands? fingers. Nearly all the great techni- available. Instead, we have X-ray pic- hands to be perfect. It is undisputed have, proportioned tures of his hands which are of in- that they present all the good physi- (Continued pom Page 819) cians had, or hands. The genuine piano hand must terest as showing their unusual elas- cal features of all the foregoing be broad, in order to give each finger ticity. Godowsky’s hands were, in examples—with not one drawback. divination were required to come to a strong base for action of its themselves, very small. Yet there conclusion, for the young man's Hypothetical Experiment my phalanges, and to this base space were no technical difficulties which hands were decidedly muscle-bound, enough for the development of the he could not easily negotiate, be- If all the artists considered in this inelastic tight. Thus we see that the — various sets of muscles. The length of cause of the unusual elasticity of his article could be assembled and each, two cases cited represent extremes. the finger must be in proportion to muscles. In fact, the technical diffi- in turn, would play one and the same it is the culties of his amazing contrapuntal composition on Hands as Tools the width of the hand, but the same instrument, width which I consider most im- transcriptions (which, by the way, placed behind a screen, what ob- think of Let us, for a moment portant.” present-day technicians rarely pre- servations and conclusions would we hands as tools. They are, to be sure, sent in public) go back, of course, Now let us turn to “exhibits”—ac- , to experience? Simply this: While all than tools, for tools, generally more tual likenesses of the hands of great the mind of a transcendental genius. would be technically masterful—hu- speaking, are man-made, inert, dead pianists. Let us compare their ex- manly perfect—each one’s presenta- products which have no von Bulow's Hands materials— ternal features, one with the others. tions (more correctly “creations”) until they are used. particular virtue It is interesting, by contrast, to would reveal as many individual and hands, on the contrary, are Hands Human Chopin's examine the likeness of Hans von unique traits of conception, style spiritual utilities, as well as material Unmistakably a fine, soft, “aristo- Billow’s hands, which in many re- and so on, as their very faces and conveniences—both of them God- present decided cratic” hand, with highly-developed spects drawbacks personalities—and hands. It would be given. They are creations. As such bone-structure, especially the fourth from a purely physical standpoint. idle to conclude that their offerings they are amenable to training. his day, von and fifth fingers. The wrist is supple And yet, in Billow was had such a high degree of excellence Without digressing too far, we have credited with a great technic! and graceful—one would almost say, Unfa- because of their “manual tools” often wondered over the fact that vorable features of these hands are: built along “feminine” lines. alone. Rather should we say that it Man turned his wits and intelligence (a) general, “skinny” structures; (b) was their fine coordination of mind to the making of that larger tool Liszt's Hands weak wrists. In a way, these were and soul which brought these tools the piano keyboard—which, in many “tight” hands. What a contrast is presented by the to such a high degree of efficiency. respects is indeed awkward and un- hands of Liszt! A sturdy bone-struc- If, perchance, Nature scientific and that he also learned — ture, strong and elastic tendons, ca- has you master not endowed to use his God-given tools to great stretches pable of negotiating with all of the fa- it? Nevertheless, it remains true that flaming with ease. No wonder the vorable and desirable many a highly-gifted “piano mind” wizard of the keyboard revolution- physical en- has frequently been “handy-capped” and other ized keyboard technic. Nature, plus these tools incapable of mastering some dowments of by genius, plus intelligent training here which, for a va- giants, do not despair. technical difficulties produced a phenomenon which not reasons, ever remained be- Just so you feel the riety of only conceived amazing tonal won- “reach.” urge to excel, to rise yond their physical could make of them liv- ders, but also above mediocrity and ing realities. Widespread Similarities use all of your musical, What characteristics, then, have Rubinstein's Hands musicianly mind and com- soul in the service of the hands of great pianists in Another amazing contrast! These are: well trained hands and mon? They hands are ideal piano hands. They 1. Adequate elasticity playing mechanism. are mighty and powerful, muscular, 2. Adequate breadth Finally— if Nature fleshy. Notice the symmetry of the 3. developed muscles has not all Well fingers, their perfect proportions and given you few notable of 4. Cushioned tips (a especially the marvelous thumbs. the “tools” required Gabrilowitch's exceptions) Hands , (and, pray, how few wrists (notable Carreno's Hands ave had all 5. Sturdy, supple Finally we come to what may 0 f them?) make the be tllose exceptions) In many respects the counterpart called “perfect” piano hands. °f. you possess. Above all, At any ek to< 6. Absence of double- jointedness. hands. They present rate, my master— solve your ar- of Rubinstein’s Leschetizky—with musical and Even the range of differences make IOblemS " here features which, in themselves whom Gabrilowitsch finished and difficulties “ high of his is considerable. Not all hands these er up’M very it easy to believe that with sufficiently large to great pianists are “tools,” the wonders of pianism could difficulties. negotiate all keyboard easily be materialized. One of the broad, Not all hands are sufficiently outstanding points are the wonderful many of them Discrimination nor are the fingers of wrists. Carreno, as every one who at the On the Keyboard sufficiently long and sturdy. was privileged to hear her, knows, ^Continued from finger- Page 801) contrary, some hands have had what may be called “natural oc- composer must be • either not fleshy approached tips which are taves.” terms of his the BTeat of own style. 1" composers or too fleshy. An example You m ° “ Each haf enough, spend years practicing Wn style,” Rubinstein’s hands. Rosenthal's Hands runs and and the fundameun< am the latter were scales and intervals. 0( pure t difficulty Yet von technic tf This immortal had decided Rosenthal, one of the few ever must be adap Moriz apply these that style if striking impersonal fZ , in avoiding the simultaneous surviving, authentic Liszt pupils, has strike keys when he wished to been known in this llS of two unfortunately to be played. I have when that one This already °snoh the^eT/* * only one—especially country as a master-technician. P en abi a certain^ of the special ^>ity, touch T ie required t ^ technic 11 between two black keys. surprising, in view of the fact * SpeakinB lay is not bussy. No matter how ’ his fin- ?? finales in 1 he was too narrow for his stupendous prowess along Z * ght laqulrements space that execute a given run, pianist and , marvelous touch seemed to overshadow his you wo,,.?™ d himself gers! Yet his such lines Play it, in a buil *0t aU hanc a - Debussy work ‘ alike™?'! were, no small measure, truly great achievements in tone in other the same way as qPrte Suite n° tW ° pal well cush- inter- during y 0ui „ similar ~ tributable to these very musicianship, artistry and hour them- ioned finger tips. pretation. His hands speak for cured is easy for those who never selves. It would xxtvou ~o, Best Piano Hand nave to hP + The heard this Titan play to believe that or helps th colored, by the effects lated^tn at are best entitled, of the key- of * \ In his interesting book he was a supreme master ancing 6®* his Questions needed fm the ” aU stude nee with Piano board. r 6 f"te “Piano Playing sage in the as ~ ’ "aturally, sums up Debussy score ? “ssfuUn will Answered,” Josef Hofmann Godowsky's Hands the run h? Wluch ™lvm occurred. - B good stud following words. The same drills hut this matter in the likenesses of this im- Of Bach. popu- Photographic Mozart, 0 ‘ hand is not the Beethoven!**™* *g to best piano ’ The 7 ° f tr^tVluM™DUlidUlW ° ^ (CnlS-rrvv»+- onene Ss °*ov ontmued on Page 85 850 THE ETUDE a Q* _1 For any instrument with piano accompaniment or for All IJUiUb Instruments togethei in unison with piano accompaniment The Woodwind Ensemble Waster WJodiled ( Continued from Page 815) r 3oror Vfoun^Ufoiimfr Waff v ludicianS flute strongly self-propelling are more making a crescendo to ft on the Contains 32 of the most celebrated compositions by the Great Masters readily apt to “play themselves” the may cause the pitch to become sharp, On the first page of each composition as shown below is a picture of the composer and more flatteringly, since the ensemble a short biographical sketch of each and interpretative notes. whereas, making an ft on the clarinet have a conductor. These little (lassies will do much to awaken the love of the young student for the beautiful in may make the pitch flat. The oboe does not good music notes The training of a good woodwind They were selected for inclusion in Master Molodies because of having stood the test tends to sharpen in its high of time ond well within the understanding of the young student. require time, it will and may be slightly flat on the very ensemble will almost “moth- CHARLES GOUNOD (Goo-noh). Born in Paris in 1818; died in 1893. He was often to be need patience and an low notes. The bassoon tends called “The Idol of French Opera". He displayed great musical talent at an early age. His to produce really erly" hovering over, compositions for beautiful best sharp in both extremities of its are noted melody and his known opera is “Faust". He was results. But the result is a great favorite with the English nobility and spent many years in London. range. Sharp notes on the bassoon outstanding Hosts of his ad- worth while, and justifies mirers and musical followers attended his burial at Saint Cloud, outside of Paris. in either extremity can be “hu- more than anguish lavished O, TENDER MOON: The six measure piano introduction should serve the solo well as in all the love and mored,” that is to say, played regards tempo style and expression. To be played very legato, in a flowing manner. Note the group. There will always proper tune, by using less pressure upon slight crescendo and diminuendo in third and fourth measures, also in measures five to eight be from the personnel of the band of the lower lip. Also, the bassoon is ’orchestra itself, a quintet capable so peculiarly and traditionally a or appearing as an unusual and at- hand-made instrument that each of tractive guest feature on any concert one is slightly different and individ- Each sponsored by the school band or or- ual from every other bassoon. intimate chestra. And there are many bassoon is likely to require a different affairs, socials, teas, alumni set of humored, and, campus notes to be informal get-togethers, therefore, become gatherings, The above is reproduced to show just how each of the 32 the player should Collegiums, and par- pre-med meetings, compositions appear in Master Melodies familiar with such notes on his inappropriate to general so on where it is ticular bassoon. However, the instrumental group. CONTENTS INSTRUMENTATION present the large From the Operas statement that both bassoon and Bp Comet-Trumpet can really prove the Then You'll Remember Me the quintet Von Suppe Bit Clarinets oboe ex- Here (The Bohemian Girl). Ballc tend to be sharp in their Waltz, Brahms Bp Saxophones existence. And here is a Ah! So Fair (From Martha), Von of its Charming. Waldleulci treme and value Ep Clarinets high registers holds true, The Wild Rojo. Strauss be very encouraging Eb Saxophone that should Valso Biuotto, Drigo this is young tip often caused by the here- Waltzor. Tschaikowsky Eb Altos director who has rr Freichutr ex- to any music Mollophones player’s “pinching-up” to these about the value Sacred Music been dubious e (Rigolotlo). Ver. Choral, kandel Trombone B.C. a tofore Mountoi treme high Thus, we see, Home to Our Wa,lae* notes. and energy on the Trombone T.C. spending time •Angelus. Mauonot Very of Baritone T.C. true and ear is necessary Funoral March. Chopin active a quintet in his school, to training of Drawing Room Music Onward Christian Soldiers. Sullivan each member of the quintet— be quite this, that it would Andantino, Lemare Miscellaneous tact namely not fully realized by all. entire hour's Hungarian Dance. Brahms Beautiful Droamor present an The Dancing Lesson. possible to Humperdinck C Flute Here, is a Carnival ol Vonico. Paganini Sweet and Low. Barnby in this pitch problem, music, offering Oboe and other C in of woodwind La Czarino. Ganne program Piccolo and C Saxopl Ver begin- The Happy Farmer, y concrete evidence that a varied program, a good Schumann a thoroughly Thomo Melody from "Concerto No. I." ning quintet be wary of the types of mu- Tschaikowsky should cross-section of all the fine old above. classics mentioned woodwind ensemble, Published By Kansas fllo. sic playable by jfnKins music compnny City, Many of these, particularly the de- hour's pro- a thoroughly interesting fightful “Divertimenti,” play Mozart gram without ever having to DEAGAN MARIMBA abound in for all the Grade PLAY A unison passages selection that was beyond WM. S. HAYNES COMPANY fine any instruments. It takes a very highly indus- Easy to master . . . IIIi 'Twould take some Flutes of Distinction Quintet to play these with entirely research, but it could always popular . . . trious catalog STERLING SILVER—GOLD—PLATINUM faultless intonation. And while this richly satisfying. be done! Catalog on request weakness of the quintet should be school Write Dept. E. final analysis, many Presented early in In the 108 Massachusetts Avenue, Boston, Mass. to the students have to give most of J. C. DEAGAN, INC., CHICAGO their must be music directors rehearsing ( weakness musical orgamza- ex their time to that P°sed and stressed in order to be represent the Uon which is going to Answering* Etude Adver- overcome) nevertheless, when one is on dis- flKJieneXTKiatre ™ IT community O^ER^T^jjME^,^A^IO.^Ulei^v^»r<|r^sio^l or the I^DIRA^A, j always Preparing public ap- school tisementsf pays a group for a always this means the pearance, kind, play " Nearly and delights the reader. or an audition of any band that goes forth 1 such band It is the a place is the proper time at civic not at football games, o expose point of to perform or stress a weak and other large gather the group in These weak- functions, woodwind SEVENTY-SIXTH YEAR question. And probably these nesses should out in re- ngs intensive be ironed members, with their hearsal. Strong stressed in aufntet in- points are training in balance Public! small-group All program material should and so on, which be ion, precision, CHICAGO MUSICAL COLLEGE chosen with care. Xa to such a guMet playing develops RUDOLPH GANZ, President It is not to play .to be the necessary always degree, are gomg * lght marked Member of the North Central Association of Colleges and Secondary Schools; » fantastic, or would-be kalei- band. The p cf phair men in the oscopic with fj r rained Institutional member of the National Association of Schools of Music. tone painting numbers these five well 01,1 fession of A Professional school of music conferring accredited Bachelor and Master woodwind ensembles. Solid and positions, will be a ev players in key of Music Degrees with major in Piano, Voice, Violin, 'Cello, Organ, Orches- en severely of mu- band con- “straight” types and a joy to the tral Instruments, Musicology, Music Education, or Composition. lc can comfort a l be played with entire success. who has previously spent FACULTY OF INTERNATIONALLY AND NATIONALLY FAMOUS ARTIST TEACHERS. many are ductor of „ woodwind pieces time on the formation Student aid available to a number of deserving students. chopped little extra up” into short phrases; the Write now for Free Catalogue Ve Players stop; 3 Mr. n all go; they all of The Etude in the next issue MUSICAL COLLEGE they all go forward again. A problems of tun- CHICAGO "hole TTavlor will discuss R» As ESmquist, Business Manager piece is often to be found blend and the particular swering 1fbalance EAST VAN BUREN STREET, CHICAGO, ILLINOIS to this description—all the loood- 64 each'instrument of ken up into fragments. 'use of p quintet. eces in which the rhythm is wind MARCH WITH MUSIC 8 s De "FORWARD / CEMBER, ,y42 fund of endurance, under all circum- as individual passages demand. the solution of the most complex of Interesting Problems stances, without which virtuoso tech- Again, some authorities advocate a all violinistic problems: intonation. nic is impossible. long bow for forte passages and a “In the last analysis, though, the in Music Making “Every country has the government short bow for piano effects. On the highly individual matter of how to it deserves; every man has the friends other hand, entirely different tonal practice can be determined only by ( Continued from Page 846) he deserves; every artist has the tech- qualities and carrying powers are the teacher. Which, by way of conclu- nic he deserves—no better, no worse. created by varying the bow; taking a sion, reminds me of the three cate- especially true on the concert plat- In other words, a mediocre technic pianissimo in an allegretto, for in- gories of teachers! First, there are form, with its attendant circum- means that its owner has not been stance, with a quick whole bow, and a those who call attention to faults spir- subito forte stances of increased emotional strain. driven by a sufficiently strong with only part of the bow. without being able to correct them. would The reason for this is accumulated itual vision. If he had been he Tone depends upon these and so many In second place are those who can acquire more intricate fatigue. When the difficult passage is have been spurred on to details that there is point out defects and correct them realize it! no one way to approached by itself, the player bett.er technic in order to determine its mechan- by explanation and demonstration of since tone ical fundamentals. comes freshly to it and concentrates This applies also to tone, the right way—without being able to the technical means “Right and left hands are upon it; when it occurs in its context, is simply one of equally show the pupil how to travel that music. It is eminently important, although their the preceding passages have already of expressing functions right way. In the third place, then, individual charac- are so different. One needs used up* some of the player’s reserve personal because to work come the best teachers—those who the normal longer—all one’s life!— of mechanical resistance, and this teristics of tone (after at the tech- can not only point out mistakes and been mastered) de- nical demands of left-finger muscular exhaustion of hand makes groundwork* has fluency, demonstrate their correction, but who the individual artistic while the powers of the right the passage seem doubly difficult. The pend first upon hand can take the pupil by the hand and performer and, in the depend more, perhaps, solution is to practice for endurance vision of the upon a good lead him along improve- foundation the road of as such, quite as the mountain- second place, upon his individual and sound methodical ment.” climber does before attempting Mont technical ability to bring this vision training. With practice and experi- ence, the left Blanc. Train yourself for fatigue by to life. A strong enough inner vision hand might often find working at the very passages which of how a composition should sound its own way of solving difficulties; but if the training are muscularly tiring; by playing compels the violinist to strive for the of the right hand Questions basically them within their context; by playing sort of technical means, including is wrong, even the most requires. gifted violinist is and up to the fatigue point. Then stop tone, that its realization handicapped in Answers Thus, the highly individual charac- reaching his musical goal. and begin the process again, and so ( Continued from Page 818) player makes “I hesitate to prescribe forth. This is particularly valuable ter of the demands a exercises consciously because what one for passages that have already begun upon his tone, whether practices is less task that I am afraid to tackle because subconsciously, renders it difficult important than how one practices to go smoothly. A common mistake or it there are so very many composers and analyze the tone in any general However, I can recommend among students is to practice a pas- to playing- because opinion regarding the quality of scales in double way. stops in thirds. their I sage for its difficulties, and then to Such compositions varies so. Therefore for example, ad- drill is invaluable because it am leave it as soon as they seem solved. “Some teachers, strength- afraid I shall have to disappoint you use of the vibrato, ens endurance and develops by not if The point at which the difficulties vise the constant that spe- providing any list at all. But it as a special cial sense of relativity you are as you seem conquered is exactly where ad- while others regard of the fingers smart as I think- you are, and- advise in their approach to will at least mu- ditional practice is necessary, in order means of varying tone the fingerboard have learned what graduated, or omitted. which I consider as sicians mean “clas- to build up that important reserve that it be used, indispensable when they talk about to sical” music. 'A Teachers Diploma EARN" ABaehelors Degree 11 \ | In "Vour Spare Time at Home We offer them without obligation to you. TN EVERY COMMUNITY there are ambitious the advantages of women who know " men and are the only school giving instruction sful 1211 11 SUC # We- .- - music year now in its 39th for their musical ad- ,, ,.V . by — I new inspiration and ideas , a“j has^delcbfedd ? the Home. Study Method which includes in ,t s man and trained musicians Extension Courses are leadline a y successful , h many It is to those our adva vancement. courses necessary to obtain the ,ntages ers - all the Degree-of Bachelo? which hL„ u To you we offer the same of the greatest benefit. of Music. ser given ! The to ,hem - Don’t wait musician, of course, is the very Sed "i “upon win u The most successful ess 0ns and you our catalog, illus- finds extra time for Openings in the music field are wMl h r inform.. busy one. Yet he is the one who ' °£ UIUold about°out which Extension value thethc lessons!e““ns something worth while. And to such a one growing very rapidly. There are This Is YOUR n It isn’t always possi- big paying positions for those PP^tunity Courses are the greatest boon. —Mail class or position and who are ready for them. UNIVERSITY rvwm... ble to give up an interesting 1525 E. 53,5 s CONSERVATORY go away for instruction. RY it Please ’ “epi. to Do you hold the Key send me ce,al„ "-is. 316-A Study Method is equally advantageous arked s The Home with an "»* lessons the work can be and • the amateur. Because ,f u „11 . the beginnerB or to the best teaching P'.ano, Teacher’s 'formation • « interference Norm,t r- regarding have homeIiuiue in spare time, with no course I done at , Harmony regular work, many minutes each day may position a Diploma? with one’s — Public .^inner's ordinarily go to waste. School Mus Violin be used which V d Co 3nccd Guitar Eartar lMi„ - ?P°sitio£ It is to YOU. On your Training £, Mandolin up Sicht c it% . the Last Tear History of Sln S'ng Leak Back Over own decision will rest your Music Saxophone Piano Accordion Ferhaps you have future success. Fit yourself for progress have you made? 0a " d Reed Organ What a bigger position — demand Arranging our catalog and sample lessons be- Banjo warned to send for is your privrlege. larger fees. You can do it! Street look into them. That No. • Adult for&—just to °r Juvenile. City ' Are ' you teaching ' now? . =7/ extension conservatory a Teacher's ‘°' ^ Certifi "»"V UNIVERSITY cafe p Pupils have ' ILL ’ you? „u CHICAG0 ’ ’ 53 d ST Do y ‘ «-A> > 325 E ” D-P* 0U ' d V0“ Mke - Oegrea -died - of Harmony? ^ Bach^ "FORWARD MARCH WITH MUSIC” N WHERE SHALL I GO TO STUDY? Advice to Amateur Radio Accordionists Private Teachers (Western] Private Teachers (New York city) ROSE OUGH MARGARET HENKE )eiro VOICE ()3ij Pietro <2 Oratorio & Concert Soprano Former Assistant to Lazar S. Samoiloff in Hollywood Teacher of the "Ola Italian Bel-Canto Art of Singing" Reopened Her Voice Studios at Overstrained, defective voices adjusted 1931 —8TH AVENUE OAKLAND. CALIFORNIA 610 Riverside Dr., New York Washington, tuld In ElVern Collins D. C As Telephone Glencourt 6115 Edgecombe 4-2388 EDNA GUNNAR PETERSON radio accordion- expect to quiremellts for the MME. FLORANCE LEE HOLTZMAN ACCORDIONISTS who importance Concert Pianist—Artist Teacher in the order of their Teacher and Coach radio art- ist Calif. become professional with the Los Angeles, would have to begin FE. 2597 VOICE—OPERA—RADIO—CONCERT ists realize that the we should playing. The Internationally known upon subject of interpretive demands which will be made 58 W. 57th St. New must tell a musical story. LAZAR S. SAMOILOFF York City they accordion Tel. Ci. 6-9323 them will • if be greater than expression so Voice teacher of famous singers It must be played with were playing before an audience From rudiments to professional engagements tonal beauty can be which perform- that its full Beginners accepted. Special teachers' courses ALBERTO JONAS could witness their Dr. Samoiloff will teach all summer at his Studios. brought forth. Celebrated Spanish Piano ance. They must, therefore, prepare Write for catalogue—Special rates for the Virtuoso Next in the order of importance ls duration. Teacher of many famous pianists themselves accordingly. keys 19 WEST 85TH ST., N. Y C. Tel. Endicott 2-8920 good technique. The fumbling of 610 So. Van Ness Ave., Los Angeles, Cal. On Thursdays in Philadelphia, 132 South 18th Street. The first thing to take into con- in any kind of pro- is unpardonable ELIZABETH SIMPSON Tel. Victor 1577 or Locust 4409 sideration is that when an particularly Not connected with ony Conservatory. the fact fessional playing but is audience Author of "Basic Pianoforte Technique" witnesses an- accordionist’s over the air. Distinct play- noticeable Teacher of Teachers. Coach of Young divided this Artists. performance the attention is importance. In Pupils Prepared for Concert Work. Class Courses EDITH SYRENE LISTER ing is of vital between listening to the music and remind you of the in Technique, Pianistic Interpretation, Normal AUTHENTIC VOICE PRODUCTION connection let us Methoas tor Piano Teachers. Watching the dif- 405 Carnegie Hall, New York City the manipulation of advice to practice 60? Sutter St., San Francisco; oft repeated Collaborator and Associate Teacher with the late W. idJ3 Weosier St., Berkeley, Col. instrument. personality and ap- passages at a much Warren Shaw and Endorsed by Dr. Floyd S. Muckey The ficult and tricky ac- Wednesday: Troup. Music Studio, Lancaster, Pa. pearance of the player also attract than will be (Mid-West) more rapid tempo Private Teachers Thursday: 309 Presser Bldg., Philadelphia, Pa. all attention. required. This will abolish tually pas- The radio judged by when the SMITH, Ph.B., accordionist is strain and tenseness RAYMOND ALLYN A.A.G.O., (Frank) (Ernesto) °ne program. thing alone and that is the sound played during the Dean sages are Central Y.M.C.A. College LaFORGE-BERUMEN STUDIOS of his air, music as it comes over the School of Music Voice—Piano in Details courses leading to degrees. because the attention of the Care Complete Coeduca- ink LaForge teacher of Lawrence Tibbett since 1922 entire tional. Fully accredited. Day or Evening. Low tuition. radio upon many of you ha™ 1100 Park Ave., Corner 89th St., New York audience is concentrated wonder how Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois We Tel. Atwater 9-7470 nstening. ac- following bad habits For that reason the fallen into the cordionist that If so, they shou d should always be sure without realizing it. to DR. FRANCIS L. YORK bis thoroughly before attempting program has been be corrected RICHARD McCLANAHAN Prepared per- Are you care- so that he can play it audition for the radio. Representative TOBIAS MATTHAY and Private lessons, class lessons in ec tly. might go play the basses Fundamentals Little errors which ful always to Lecture-demonstrations for teachers unnoticed from a concert platform 806 Steinway Bldg., New York City Seern magnified over the air. Private Teachers (New York City) Let us consider some of the essen- lal requisites wish to EDWARD E. TREUMANN for those who SUSAN S. BOICE enter Concert Pianist Artist-Teacher radio work. Naturally these sug- Teacher of the ART OF SINGING and SPEAKING — gestions for the Study tor Cultural Values are intended only all the you depress CARNEGIE HALL 154 West 57th St. .rudio, Carnegie Hall, Suite umateur professional hand do 837, 57th St. at 7th Ave. who the right York City r has had no with the Studio 121 New el. Columbus 5-4357 New York City instant 5-4629 radio per- , at thp same Tel. Co. Summer Master Class—June to Sept.— experience. The discussion do you Apply now. of pressure or ns to solo work and not orchestral same degree , half arpeggio form Playing. Ivay the chord in FREDERIC FREEMANTEL CRYSTAL WATERS P^ aartnin tones predominating We Voice Instruction Teacher of Voice caution ambitious accordionists httle things 0 be qualified Author of 24 home study lessons, Radio, Screen, Concert sure that they are practice so 'The Fundamental Principals of Voice Production and e Mention and Ope ra, Pedagogy ore auditions. ^worth (Singing"; also "High Tones and How to Sing Tth attempting to secure 5t Studios: 205 West 57th Street N" Y° rl ls say Cit» A difficult to draw a line and .°s"tiy played, York City Phone Circle 7-5420 Tel. Vo. 5-1362 just ‘^Hcm'dione C When a student is ready, because lf travel^over nat nhanced as it depends the its tone “e very much upon „ are important A Revealing New Book in Two Parts wave® Thereb See I H t SUPER a ype of program which he is to the air and PARAGON OF RHYTHMIC COUNTING for bse vedi however, n ition. ama- rules to be be FOR ALL RHYTHMS ACME The requirements for aocoraccoiadiomst may U[' Programs not so even though an. PARAGON OF HARMONIZING , are naturally ^ ^ PIETRj “SBf.o ACC-RDI 0 accomplish ^ applied to as those for professional pro- an violation of HEADlJuARTfcRS , KINDS OF HARMONIZATIONS ra by FOUR mS ' his Some stud waste valuable ruin prejudice his Send for explanatory circular ents , also timme rules- ge can going here and there for audi- these the ac- EFFA ELLIS PERFIELD H against (Park Ave.) s W 103 EastE 86th St. New York City before Repeated liSt n g "ent ' f ? they are ready. musicll i nstruI faj d nn as a S cause them become dis- cordion pn ter or large cnn t0 CHRISTMAS MUSIC ged a | ' What they really need iS When P’ natural- ano^ ^T5the ‘accordionist F©E THE ACCORDION! 61 auditorium in- year °r more of concentrated tone of his sturi bnngs out the fu SEND FOR OUR CIRCULAR and Practice and at the end jy technique „ FOLIOS of th ^ OF CHRISTMAS AND be strument. A Less vol- Cearn to play the time they wil1 probably n i aving. MUSIC ALSO reari ^ m ACCORDION BY MAIL! y g0 f°rth with suc- employed . d even the ACCORDION GIFT ces^ -»° and meet an of tone » subdued. NOVELTIES hen there is a doubt in the ume “e minri and °f ttle quali- crescendi governed DEPT. E ficaf student about his of toim can 10ll volume , n O. PAGANO & BIRO. suggest that he talk it The ^ gr ^ St. 289 Bleecker over f’ certain d I D l rtCC0RUIQN H a leS s -, «t>OUAHTERs J^tb his t0 is York, N. Y. *4G G°C l n Wv?1 0 accordion teacher who New 1237' 0W rk win be W. Girard nvo c,?IP. Cltv 8laa to advise him. the on Page 856. I, We Continued consider the essential re- WITH MUSIC’ "FORWARD MARCH 8 5,3 " !“ an idea of later carols of the ballad Carnal and the Crane as well as type. Samuel Pepys, the noted Eng- Dives and Lazarus came from "Wor- lish diarist, was also a collector of cester; one of the popular Wassail Christmas Carol Broadsides ballads. A broadside, “Old Christmas carols originated in Gloucestershire Returned,” is found in his collection, and another in Yorkshire. The West and dates from the Restoration pe- of England contributed such carols ( Continued from. Page 812) riod (1660) . This is a fair example of as Joy to the World, Hark, All Around the “feasting” carol and has the long the Welkin Ring, and the Angel introductory explanation referred to Gabriel. “conversion,” drew Bellman. Some years after his j n other broadsides. the Beadle and the To-day with a revival of interest supplying memorial verses from such admirers Arms made a specialty of in the carol and carol singing (the printed carols that as Southey, Lord Byron and other Old Christmas these people with Returned writer always looks forward to those woodcuts, less well known poets of the day. His Tune, Delights had appropriate verses and of the Bottle carol concerts given by the Mount advertising fame had even reached American One of these used the Holyoke group) are able to ap- , we these sheets shores, for a Bostonian admirei Old Christmas Returned, or Hos- slogan of “having printed proach the whole question with a 1735.” That of the erected a tablet to Henry White’s pitality revived; being a Looking- for Beadles since broader point of view. Collectors have the watchman and memory in All Saints, Cambridge. glass for the Rich Misers, wherein Bellman who was taken down the traditional airs, and supplied with The cuts illustrating the broad- they may see if they are not blind harbinger of news was scholars have found others written in sides were not always well chosen, how much they are to a distinctive woodcut of the Bellman blame for various crude but those their penurious manuscripts while antiquar- lantern and bell. A carol The earlier ones were housekeeping, and carrying his ians with scrupulous care and un- of a later period offer a finer line, likewise an encouragement frequently found on these sheets was to those selfish seems to have noble-minded labor have found numerous appropriate “The moon shines The printer however gentry, who lay out a the others from the early treasury. All and inferior been none too careful in his choice, great part of their estates in hospi- bright.” The Beadle this is little dis- tality relieving important, but to the lowly, functionary who performed a for evidence often shows , such persons as have parish carol broadside deal his crimination in the selection of a need thereof: must go a great variety of duties, generally left of related to the carol the credit for having preserved broadside at the various houses along woodcut that “Who the words for future generations. parish news such theme. Those illustrating the Bir- feasts the poor, a true with some official Their the mingham sheets number only eleven reward will find, intrinsic charm bears as the results of the fall elections, marks for the thirty carols printed. Of the Or helps the old, of an early English Catholic Due to the Puritan influence in the the feeble different Nativity scenes one is lame and blind.” culture just as those from later cen- American colonies, carol broadsides two four times and the other three; AUyouto feasting turies show the religious mind of suc- were not common but those of the used and mirth inclined that of the “Shepherds and the Come here is good ceeding eras. True, the carols are as type just mentioned did exist. There news to pleasure into Egypt” are used three the mind; quaint as the conceived are those for instance that were left “Flight folk that respectively. Even these late Old Christmas is them but they greatness by the newsboy. The following is a times, come for to keep savor of a some inappropriate cuts open house. that is equalled childlike portion of some “Christmas and New sheets have only by the Bank He scorns to simplicity taken from a news- such as the Parrot for Sunny he guilty to starving of those that created Year’s verses” a them. Three Ships ) a scene of a mouse boys' broadside, dated 1764, which U saw ; lake in for The Holly and Then come boys, printed in Boston. summer and welcome was ’ 1tor the Ivy; Britannia with an anchor diet the chief is the only day of gain “This Plum-pudding, pain at her side illustrates two others; goose, capon To cheer a tedious year of mincedect The pies ’ Essentials vain.’ and to complete the list, for the and roast-beef. O let his hopes not prove in etc. Seven Joys” there seemed to be A'n. cursoryuuioui glanceltvllug through the col- of Vocal Art broad- none available so a bit of a border Still another connection lection of Jeremiah Taylor’s with the sheet ballad is design used on another was found in ' sides shows that they date from the those carols which Continued from Page 811) serve. Still moie ludicrous is had for their nineteenth century. They bear none made to text, changed other to an- the some of a woodcut on an older broadside pre- of a “godly” nature. English r becomes ah-ee; o be- of the marks distinctive to For to sented as a true picture of The Site stance the ballad comes o-oo. con- the early broadsides such as the Dainty, Come Tn We may scarcely be of the Holy Well in Palestine. An Me which became scious of it, vowels black letters and very crude wood- Jesus, Come T but it is so. The carols added cut between the second and Me, is paralleled by required in quite cut?cutis. .eesiaes,Besides Hid.many of the the carol singing must be y . r _ _ , etomme r>f tViP r*arnl aivps lit.t.lp mp.m.hp.r n rv,~.. Re-Z eight- third stanzas of the carol gives little member o Thou Man. pure, without diphthong. found here date from the late This caro a trace of l Formerly, to eenth and early nineteenth centuries. singers were taught aS declaim to ~ “Sndi^ before they were allowed common the tobacconists papers ^Spiritual euig, and was- coUectasVa possible source re- Songs, with°a£SS an excellent practice it about o nged out ley learned without vealed that carol pamphlet of • of to articulate a ” proph a j songs ne uscles; to one hundred and fifty pages called Feasting Carols to free their throats; Box," dated cianfy their of “An (Old) Christmasir Sm fre ue vowels from the strike the Restoration in 1660 the found on 5 ntly e rasH r. i nerTe’rtlv All After the broatknS glottis, x > 1847, checkedU almosT P “ and never on the laryn the earol broadsides were of a decidely place goes to God flrst jus but two carols were found1 in ca^^ ResZv^Ve eliminating unnecessary activity QuaIlty The carol hymn Gentlemen. This MerrV, the malelittle none »I -- L«1 jaw and of the volume.volume, No true carol form wlthwith ™ COUpledcoupl, contortions fan style rather than the form SCTenSeven Joysy s and mouth. matched so closely so it, is y y Sunnyy BankK And all this, precisely, helps vogue and feasting(easting carols the same , .... .i . collection,collectiorucollection was in broadsidebroads,de nti. to shape logical to suppose that this ““ '„°- Others,thers vocal form, . sucfsuch pred0^inant Tomorrow Is My the cherryCherrn . ; time, ^ 6 best important its tlme beg® in Thls . 01 course, to Dancing Day is a bridge between the Dancing Day M ti, broadsides.hroads j de s * andd It l I’t, v ase is of these Birmingham “ « I* the studies is singer festiye carol £or lt Holy Day „ when the ^ the _ p ^ young. P ^ At least be This cireumsfanc and two years should around refers to both aspects of Christmas- again. The Birmingrha^? time probable date of publication °n vocal tin® IncldentaUy the Birmingham contains the colle ctio enf.m form—more ^ SeTn * n U to JL n ly advantageously be devoted of sheets have none of these “feasting and the Cherry Bank it ~ v, , 4-up cnnrpp of one Tree l A check on th rn^ blU ',“e conscientious would be « carols.” With the exception of Tate’s of the others none ( plan chr i Stmas appear 10 beg 1 carols, not i Ppp/i6CU m general a these While Shepherds Watch- late is lar to musical education 1 1652-1715) the r e- Beih iehem fact that i'ho Box,” titled The ' oleven enablihS ed Their Flocks and Wesley’s Hark Noel which PUlar Fir th or twelve, shalIed „„ was includedd »t StudentT of and beginning W Angels Sing, written tion ln a c to master the reading inter- the Herald in of carols as en-iv ollec- nnt the mighty plain, bai'mony, rouS' 1738, _cw others were significant. never to have “ cal'?.’ solfegge, and poem was oy appearedppeaied ^ms hlS sidelight. The! °n ly esting baUads als0 had theil. influ_ sides the broad- cturlr>B his most formatW® ^ vp a , m, poetic g 1 one of those ’ he singer mast® ence on the caroi. one of these by Certain carols L should also early and r at leasti T Ku-ke White who Kindlemarsh, inspired Byrd ent 417 one received Francis phrasings of the^am^ dlfIer - instrument. age of twenty-two. of the most brilliant me Caro1 6 slnger stud® sunposed to write “one distinctive to cert»i!! were who begins his attention fo a PP Se latcv added little Christmas pieces in existence." England tioils nd then solely ience oI a and it ? „ of on o « concentrates his P was h ^ ' °f to summarize . bl 8 ettlng of others, such as the Carnal and the sold in these ' oadsicies by with a minimum Qd district, h voca , Dives Lazarus, give reveal s k Crane and and us their ‘^helped ’ S° that disP death in 1806, two place of himself he may seepttcism. ffls advantageously°n el5 ”e in public P "FORWARD MARCH WITH MUSIC Continued on Page 862) . suffer from such attacks, but it is Erik Satie comforting to see someone take up the challenge and answer it so ade- ( Continued from Page 849 ) quately. I applaud with both hands. Yours, Erik Satie.” Another to his friend newly written two Toward the end of his life and In “Pieces in form of a pear!” spite of his ever increasing financial ©F SHERWOOD-S Another dis- time when Debussy difficulties, Satie retained astonishing agreed en- was at the time of Satie’s youthfulness. Though he was only in DISTINGUISHED rollment Cantorum, at the Schola his fifties, he relished in calling him- “Take play- ARTIST-TEACHERS care,” he said. “You are self an old man. Once he said: ing a dangerous game. So far you ‘‘How lucky to be old! When I was have been a ‘harmonist.’ At the young they tormented me with such Charles Sspenshade Schola they go mostly by counter- remarks as ‘You'll see, some day. Just Teacher of Vocal Methods for High point. At your age one does not You'll see!’ Well, I have waited, wait. Schools in the Department of Public School change one’s skin.” nothing, absolutely and I have seen Music. Mr. Espcnshade is recognized as a “If I worse prove a failure, all the nothing.” leader in school music activities and is for me,” Satie countered. “It will be Despite the flare up of fame which widely hjiown for his achievements as because there is nothing in me.” suddenly enlightened his later years, Supervisor of Music in Englewood High As Satie heard “Pelleas” in the he remained curbed and inhibited, at School, Chicago. making, ideas cunning, inspired or he realized that all the times naive or Instruction from eminent arli6t-teaclicrs is available to talented students he friendly soul had dreamed of regarding a re- faking, a simple and from the beginning of their studies at Sherwood. Degree courses in piano, newal of musical expression on the endowed with a dual personality violin, public school music, conducting, cello, organ, wind instruments, theory, composition. Moderate tuition rates. Dormitory accommodations. Write for ^yric stage, were being realized by his which never penetrated its depth, “mischievous man free illustrated catalog. 412 S. Michigan Avenue, Chicago, Illinois. friend in superlative fashion. But he and above all, the felt draw any com- no jealousy, and as the years of French music.” To and Debussy Passed he continued to serve Debussy parison between him With of place, since usic School fervent zeal. After the premiere would be entirely out ln reach beyond a INSTITUTIONAL MEMBER OF NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 1902, he declared, “Nothing more he never was able to to Debussy tran- be done in that direction. I must limited scope whereas look of size and for something else, or I am lost.” scended all possibilties his shorter pieces. expression even in H that both De- f Classification Difficult But one may contend “OnJenwood curiously to It is somewhat difficult to define bussy and Ravel listened Satie’s were so charmed CONSERVATORY OF MUSIC importance and to assign his his early music, and e ^ i £ank of of its modalities that Diris on of Linden wood Colleoo among the French composers the novelty for lVonien. Thorough prepara- by least, his com- imitating them in the Paul tion lor careers In music under generation. He produced without I RS I TY a distinguished faculty. B.M. their influ U N VE paratively came under degree, certificate nnd diploma little and mostly for piano. they later on JL^, CHICAGO remains: was in piano, voice, violin, organ, orchestration was thin and de- ence And the question harp, other instruments, pub- Jr? or lic school music, theory, har- ficient. pioneer, a precursor, THE SCHOOL OF To an analyst his art may Frik Satie a mony, history and appreciation well mystifier? Whatever the of music. Well-equipped stu- appear as without a soul, over- an amiable dios. beautiful buildings on wholly upon 138 acres near St. Louis curious of it depends JHmUc with about details, and devoid answer-—and its frequent concerts, operas, leal it will be remem other musical attractions. For life. In opinion— offers accredited courses in Piano, Voice, inspiration, fire, and individual catalog and view bonk, wr'te his life, he Organ, Public School Music, spots he a cer- that twice during Violin. Harry Morehouse Gage, Pres. had grace, charm, and bered lead f &in maintain or to Harmony, and Orchestral Instruments. Box 1242, SL Charles, Mo. nobility “Gympnopedies”) Hiri somethingB to (see and Confers Degrees of B. M., A. B., and on its traditional times he was ironic and humorous, Prenc"c M. M. a other times human and poetic, logical path. Distinguished faculty including ere of was in his music something ARTHUR C. BECKER is or- way of life, improvised, not SERGEI TARNOWSKY ganized, Bohemian. He never knew the Discrimination at MME. MARIA KURENKO / JJ°W to make money and besides, RICHARD CZERWONKY ever seemed to care to learn. He be- WALTER KNUPFER / jame so was Keyboard poor, that addicted as he SAMUEL A. LIEBERSON l 0 the pleasures he ate of the table, Page 850 ) °hly {Continued from The Dept, of Drama offers a 3-year Course / one meal a day so he could make A complete school of music, dramatic \ Address Registrar for Bulletin art and dancing. Courses lead to degrees. \ hat a real was im- one must one. His nature setting to work, Special students may enter at any time. V pulsive one ses In demands DePAUL UNIVERSITY and spontaneous. I recall three points: the SECOND SEMESTER \ /stance msider the Room 401, 64 E. Lake Street, Chicago, 111. when after one of my re- to be overcome, / Opens January 25 1 the problem \ in manual catalog • Brussels, appeared individual Write for an article of one's \ the mauds purpose / 2650 Highland Avo. Cincinnati. Ohio. 1 S. I. m. music magazine criti- the musical lz [uipment; and mg sharply my interpretation of e More Bonds Stamps for Victory Beethoven’s 57.” Accord- techni- Buy War and “Sonata Op. written a number of ig to !have the reviewer, it had not use in piac- exercises for my own enough in keeping with the 1 uthor’s subtitle of “appassionata.” Piomptly ‘(J)hr (Jl rhf l mt hfititufr of(Qubit sent in an equally vehe- 5j nent reply, denouncing the critic for Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma ignorance of the well known fact, Faculty of Nationally Known Musicians t, word “appassionata” was BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio nnt Bee rfofm^n^ th°ven’s had been but I cannot arm own but “even notes, by to “id com- the Publisher in order I can, however, ereate? teh that far. : hiore sales appeal. A few days af ei ^be a ,, publication of my reply AMERICAN CONSERVATORY 1 61 canie: “Bravo, my young col- l e 6 OF MUSIC—CHICAGO ’ f °r the manner in exceHent Offers courses in nil branches of music nnd dramatic art wh^ I y°Ur y°uthful indignation has sSeteh. When I felt Faculty of 136 artist teachers reh? Lnmld-in Member of National Association of Schools of Music °Uked the stupidity ignora- mo- of an drill in the^-y Send for n free catalog— Address: John R. HattstaedC Presio. . '.584 Kimball Building. us. I Stecial Chicago hope you will not let his diva- ll °hs to affect you. We all have MARCH WITH MUSIC DE "FORWARD 855 CEMBER, 1942 " , « ideals have full run in the treble with the right consciousness of the existence of a German of yesteryear Advice to Amateur hand, and to follow it by the full run body. It seems to have vanished—to been dragged. of in the bass with the left. Instead, I have evaporated in the imagination, On the other hand, the war songs Radio Accordionists break the long run into several parts, One is then inclined, perhaps, to roll the United Nations, which have met taking five notes with the right hand, over to one’s normal sleeping posi- with the most popular favor, are songs Page 853) or of ( Continued from tive with the left, and alternating tion. All animals have a habitual an entirely different type. During hands until the passage is complete, normal sleeping position in which the last war there were almostno songs likelihood of distortion of tone if the It sounds no different from the indi- they are apparently most comfortable, of the Allies that were widely sung that accordionist will remember to play cated figuration, and suits my indi- Such a position is seemingly indi- were arsenals of hate. They did not softly and yet distinctly. vidual needs much better. It is an vidual and personal with each human choose to go about things in that interesting and fruitful study to de- being. way. They had a hard, tough job to The Danger of Blurring velop such technical aids of one’s When the point is reached where do, but they needed their wits and Rapid numbers like novelettes provided, of course, that the complete nerve and muscular acqui- they had to keep their heads while over the air as a con- own— often come oblivion is achieved, is musically sound and expres- esence to the on the job. When they sang, it was the melody is result fusion of notes and sensation of sinking into blissful sive of. the composer’s meaning. un- There’s a Long, Long Trail, the is that Keep completely lost. The reason consciousness develops. asked about the origin At such Home Fires Burning, It’s Long Way keys have been I am often _ a ^ the accordion piano point the writer becomes aware of my Musical Impressions. I may say of to Tipperary or even the rollicking depressed too far and are not re- that they are exactly what the name this passing thiough what might Over There. In the present war our leased quickly enough. A very light impressions. I conceive some be called dieam visions which soldiers and with the need implies— sailors are singing touch is necessary and keys to appear in amusing idea and then improve upon commence fantastic greatest gusto a hopeful of love, a little way in song only be depressed but simply fashion on the frontiers between the it, never in set practicing, laughter, and peace, with a pathetic order to open the valves enough to it, at parties or on the conscious and subconscious minds, prayer de- by going over for the day when little produce sufficient tone. Keys These fleeting visions radio. It takes a long while for these take the form “Jimmy will go own pressed too far often produce a to sleep in his impressions to become “set.” The of strange views, buildings, faces, little room most thumping sound when played rapid- again,” in one of the Opera sketch isn’t entirely flowers, little children, which surge appealing prominent over the Italian war songs ever written, ly. This is more heard a con- up from the vast reservoirs of fixed yet. A group of us the There’ll Be Blue Birds Over the White air than when heard from a stage. which subconscious. When these cert in the Hollywood Bowl, at commence Cliffs of this sound Dover There are occasions when played, to come, complete unconsciousness the Ride of the Valkyries was or The very idea peace of the instrument and of a song of is the fault associated the proper “total oblivion” usually follows short- Suddenly, I making an international hit during not the player. A minor adjustment version thereafter. These with the orchestral ly visions may or the most be piano keyboard; singing terrible of all wars must is necessary on the from that point on, may not come to you. They are noth- of the work—and inexplicable to “the High Command" this can be taken care of by any com- in my ing more or less than I amused myself by hearing, furtive dream in Berlin. petent repair man. various people doing flashes mind, of course, Another typical Sit The last requisite we shall mention oblivion song is Don’t singing. By the time I got around Total may last for an Under important of the the ILll Tree with Anyone is probably the most Vallee do it my entire night or it may last to “hearing” Rudy for only Else But of all. It is “The will to succeed.” Every Me which hasn't a word impression was alive in my mind. All a short time-even five or ten min- the war in it except “when "come accordionist who is about to cross try it over a utes. However, the quality that was needed was to of rest is days into marching home®' threshold from* student modernising or popular- so superior to ordinary sleep that few times. In one Because Allies professional playing must realize never awakes delightfully the soldiers of the izing the great masters, I have refreshed and in- do not” 1naate that the path before him is not an In- vigorated. getBec upUP and howl thentheir inzzpd or spoiled a noble theme. - when 1Iny ° f th easy one. There will be times combine the style of It has been suggested baboons ' stead I try to that this is more def ,^ nt he will be enthusiastic and encour- or Mozart with some form of autohypnotism. m”e m Bach or Mendelssohn Even if will tougher tUT^'v, “S aged and other times when he idiom. That that were the case, 3 current bits of modern which it is not ° the point nin! comfs f A ^ theA Celine be discouraged almost to more suitable-and like all hypnotism it could Anyhow, method seems not sue- of i™ of giving it all up. This is the time musical if it is the keynote of ceed were in any way P suitability resisted, moraf two when real character will reveal it- or lf 11 were tried sS"Pmtual ideals “Aof thefhe' pvnression with anv rinnht . eat self, and the accordionist with per- lack of confidence g fighting forces is spontaneously in its success.success Noxr shownP " severance and the grim determina- one can behe hypnotizedhvrmnti..j by1 the son Ss their soldiers se- by annthpv i all reach the t0 Sing ' tion to succeed will against his will. The subject Realizin &> however, players mu® t ftthe the heights, while more talented Lullaby ( Continued onnr? Page great contributions which 862) eiman who lack these important qualifica- people -nave made to music Continued from Page 804) tions will fail. ( m the past, one the sub- . feels that questions missive n " Pietro Deiro will answer area eight times until oblivion is ef- soldiers of the present ge playing. Letters eration in miS' about accordion fected. Germany have been him in care chest. The World's ed miserably front should be addressed to Next, turn to the area of the War Call by sinister minds, Chestnut Street, the the of The Etude, 1712 Relax the pectoral muscles and Fuehrer down. These definitely an in- have Philadelphia, Pennsylvania. intercostal muscles and sense for Music organized a pagan ideology muscular and ternal surrender of all unbelievable cruelty which was never in this a nervous resistance or stiffness ('Continued from Page part of the fine German character embracing the 810) that important section made the great nation, which Discrimination and the lungs, the gall, and the Allies is singularly glven s0 of heart demons,. . . much to the world liver. Repeat by yesterda (to a large extent), the the nature of the y but which destroy songs ung S'*by is now at the Keyboard this breathing-relaxing exercise eight the soldiers. mg itself. Upon The times. examination, the War Savings Staff of the Page 855) in like manner the area many treasury S- ( Continued from Next, treat Nazi-minded war Department and the U. trunk. Note song, Uu ° of the waist and the lower seem to be inspired fflce of Education Wartime I pre- by the , * and its tion of the wrist, for instance, artl t f in double P. *!. amous Xvmn ^usiasUcaU, a study , pared for myself " glands in the “small of One in °L oTaate 0^“* adrenal particular two hands the was a mbnity s s on as sixths, to be taken by the eight out- submarine ™g the back.” With each of the song supposed to reachinghl" the middle notes be sun“,T- 8andaslai g eascaleaspos in contrary motion, surrender all resistance sailor's by thee sf“ble progres- going breaths undersea, as they £L,®} ' Henry ,“secre- filling the suitable chord f Morgenthtr Jr in by muscular contraction, sent their messages y taiW of Another drill of my offered of death tT the Treasury haLmitten: sion harmonies. the same plan with the boats loaded “ alternation of Carry out with innoc™tWd Music will have own is built upon the a ta V’ thighs, the legs, the feet, women, helping followed by areas of the and children. ^ to America" one note and one chord, The strengthen the the arms, and the hands. Horst Wessel song, US lrlt in note. which ,P wartime and to focus atte»' one chord and one created ten areas of vagabond extm°* ls a tlon legiti- You now have Nazi 0 f on the 1 believe it perfectly unmeA ormn, t, V A,v Wa Again, I remains to “connect" all background nable B ' fingerings an oblivion.” It merely beeamo h° °nds and nutf lc mate to adapt marked at this point his 6 A A In these areas. The writer worthless life to BaV0 Wucators individual needs. the honrA t thro° “hohoat ‘T^Lountrythe figurations to feels so completely “sur- author of ot the ar ® treatment “Mein . Chopin Etudes, for ex of Kampf e making Lution certain of the that there is literally no ampie of the to carry the rendered” depCfo to ** ample, I find it difficult £ ’ Continued on Page 863) 856 . eluding the conductor, must be will- Thrilling Possibilities of ing to cooperate. “The ideal orchestra is like the 75th ANNIVERSARY the Amateur Orchestra ideal country, where each member enjoys the right to full freedom of {.Continued from Page 800) personal expression (provided, of nd TERM BEGINS course, that the freedom of his ex- between the different instruments, pression does not injure the same and also how to match the quality of freedom which is the right of every FEBo 1 Sto the tone of each individual player, member) and where each in- other , 2 so that the sum-total is unified, and dividual assumes, in exchange, his the whole group sounds like one. full share of the common responsi- CONSERVATORY “There is a great difference in the of duty. Such a give-and-take bility Reginald Stewart technics of solo, orchestral, and in complete individualism results PEABODY DIRECTOR chamber music playing. As he pro- blended with complete collectivism, BALTIMORE, MD. gresses, the player will gradually be balanced in a combination that func- dif- able to differentiate between these tions without friction. This is a Musical Education Tuition according from beginning to Grade and it can be types. Orchestra playing is like ficult goal, to be sure, but to completion Study in all branches painting scenery for a vast stage on a attained. I am not ove; optimistic in done it. large scale, whereas solo playing is saying this, because we have Arrangements for reached PREPARATORY DEPARTMENT more like painting a picture to be The Philadelphia Orchestra admission now individ- 21 E. Mt. Vernon Place seen close at hand. Technical meth- the balanced combination of being made. New so did the Virginia Blackhead, Supt. pupils received. ods that will sound well for solo ualism and collectivism; Orchestra and playing will not be broad enough for All American Youth Orchestra. Ex- orchestral playing. On the other the NBC Symphony achieved is too hand, technical methods that sound actly how it is to be discuss in any Wonderful in orchestral playing will individual a matter to conductor must ! bot sound well in solo playing where general way. Each draw- 3smopolitan every The the question for himself, INSTITUTE detail is of importance. solve SCHOOL OF MPIdLIQS DETROIT m°st or- the musical and human common failing is to play ing upon SHIRLEY GANOELL. to. a.. Ox.ord OF MUSICAL ART on his University. England, President. Since 1914 chestral of the players, and ) has prepared ambitious young music with solo technic. qualities 38th year. Accredited. Offers courses people for careers in music, dancing, dra- ' Certilicnles. capabilities as leadei l all branches of Music. matic art. All instruments, voice, theory, own iplumas and degrees. Desirable board- composition, sacred one down- music, conducting, cam- The Spirit of the Music like to emphasize ing accommodations. Located in panology. radio technique. Accredited. .I would town musical center. Di- plomas and degrees. Faculty of 70. Catalog. technic, accuracy Box E, 306 S. Wabash Ave.. Chicago. “Vital as these necessary steps in basic principle . Manville, Bus. Mgr.. 52 Putnam Ave., Detroit, Midi. aie all Performance but a part phrasing, musicianship are, they are tone, more lm- of the complete playing which important.P But still goal of nf them ex- MILLIKIN CONSERVATORY OF ls is the eloquent BOSTON UNIVERSITY MUSIC find and express the spirit of the p" by far DECATUR, ILLINOIS spirit of music. music itself. Hence, the orchestra pression of the COLLEGE OF MUSIC Offers thoro training in tnuiic. Courses leading to bmst Bachelor Music play with imagination. A merely • Thorough preparation for careers In of Degree. Diploma and Certifi- te in i 0 Voic C, iol i^ • •^‘ ° ^ Bn • Public Sch music. B.Mus. or Diploma in Voice. Piano, • • °o1 correct notes Muiic^!} Methods^? j andJ Mu«ic^i l S reproduction of all the Organ. Violin. Cello. Brass. Wood-wind Kindergarten Methods and Bulletin sent upon all the indications is not suf- and Percussion instruments. B.Mus. In free request Church Music. Musicology. W. ficient. Each Composition, ST. CLARE MINTURN. Director Neither is it music. B.Mus. and M.Mus.Ed. in Public f chool P ayer must put imagination into his Music. A.M. through Graduate School. New Musical Chorus. Glee Club. Orchestra. Band. Fac- Performance, and the director must ulty of distinguished musicians includ- many Boston Symphony Orchestra BALDWIN-WALLACE conduct with It is true Radio ing imagination. Heights in members and the Stradivarius String CONSERVATORY OF MUSIC rhat the ultimately Quartet. Cultural opportunities of Bos- conductor alone is BEREA, OHIO (suburb of Cleveland) ton. Attractive dormitories. Catalog. responsible the a first for the character of Page 806) Affiliated with class Liberal Arts College from Alfred H. Meyer, Dean live ( continued Four and year courses leading to degrees. Faculty Performance that of Artist Teachers. Send for of any work—but 53 Blagden Street Boston. Mass. catalogue or Infortna- h°es players Dr. Hanson not mean that the direction of ALBERT RIEMENSCHNEIDER, Dean. Borea. n- the Ohio bemselves automatons. In the number of pr°- are Paul White; a Philadelphia Conservatory modern orchestra, each individual School Choi us by the Eastman 0u*d or her as Gen- of Music RIVERDRIVE SCHOOL 3F . be responsible for his of Herman MUSICS the direction ARTS Paying of not possible School Litt e 216 South 20th Street 84 Riverside Drive the part. It is '. the Eastman Maria Ezerman Drake or and di- the section to be under the Managing Director New York City head of the in programs Watching phony Fa -ulty headed by FREDERICK G. KOEHLER, each individual in his sec- Fennell. Director of Frederic Olga Samaroff, Mus. D. Dormitories ion 0 because the head is also respon- University DISTINGUISHED FACULTY Inter-American Courses leading to Degrees Students may enter 1 *e for order 3C’S the Bed at any time his own part and in featured over for catalogue and information address r° which is Secrete play well, he must concentrate OIely f on the music, the rhythmic IZnX l professional music school -.Tfwr r an attractive college town, coll eat ©BERLIN of per- .lies of music. Special traln- -£ the conductor, and the U1 COMBS I°,L«^ direction,. 16 artist teachers, unsur- cct big in band and choir Complete musical educatk a. Preparatory control of tone production on P pa sed equipment (200 practice roo department for children. Teachers - r It. training S d Mus.B.. School Mus. It. . A. with music major. ls dCTi the Degrees: courses leading to diplomt.s and degi-pixT instrument. of pass- to tT4ce Frank H. Shaw, Dir.. Box 5122, Oberlin. Ohio. The old idea dSgned Catalog. 1925 Chestnut St.. Philadelphia. Pa. j ng the S , e two responsibility to the head of music in the J ment Of re section the ^e-Columbian is very weakening to fU the ======—“JUILLIARD SCHOOL OF MUSIC — musical morale orchestra. S of the acil Piayer must accept the full -^^gethrough ERNEST HUTCHESON, President a , complete his v. , responsibility of tlle Paying of that part INSTITUTE OF MUSICAL f ART mn C bling into the musical Blue J and Piay all (heard over the GEORGE A. WEDGE, Dean Personal the per- p form qualities of ei S0 itself as one vocal and instrumental instruction. Classes in Theory, ’- that ifc is an ex ression established Individual Com- of h P r’fhas individliality. The truly elo- position, and all branches of music education. que 11 ^t m'oPestral performance re- Courses leading to diploma and B. S. and M. S. degrees in lea on th instru- 16 per- Evans, bari- public school music sorfar^* fullest expression of » of Wilbur mental, singing, and departments. lty ° Houston, so- f each '. wel1 as thai Playe1 as Josephine Catalog on request. the the a Stopak c°nductor. It is for Aether with Joseph sake °f ‘ Room 122, 120 Claremont Avenue, New York this goal tllat conductor orchestra, which beed °f tlie symphony s the his prestige. n . familiarize himself with show its e s ^en ttis °nalities of the players. All, in- •nnRWARD MARCH II "/ TH MUSK" °ECEMBER, ,942 The Organ Sends a Letter By Monica Tvler Brown Dear Juniors: ism—you know, my pipes andstops and Of course you all know me, for you pedals and things. But my family is see and hear me every Sunday and very, very ancient, yes, very. Just sometimes oftener. Sunday is really think, there is a record in the Bible the day I like the best, when people about Jubal, who lived ages and ages come to church, for then I get a good B.C., and he was famous because he chance to show off. and really I am played the organ. The Bible calls Jubal the long, important. On dreary week the father of all those who play the I feel quite lonely, except days when organ. I think it is nice for organists organist and a few pupils the come to feel that Jubal is their father. to practice on me. I enjoy practicing Some of my first ancestors were as much as playing. Bag Pipes and Pipes of Pan, too. I Yesterday a boy was here taking his wish I could hear one of those old an- first organ lesson, and he is going to cestors of mine. It is a pity there come every day to practice. He looked were no recordings in those days! rather small sitting in the choir loft, Then later, there were water organs. but then, I am so enormous I guess I Two of those were excavated from make everybody look small. It made the ruins of Pompeii and are now in Remembrance me quite happy when he smiled as Christmas the museum at Naples. You remem- he used a flute stop; he looked up at ber reading about Pompeii being de- his teacher and said, “Why, do you stroyed Recitals by an eruption of the volcano, know, that sounds just like a flute in Mt. Vesuvius, in 79 B.C. Then, in the the orchestra.” tenth century, organ course there was an U.S.O. for the pleasure and en- “Yes, of it does,” his teacher with Last December you may remember est two manuals—you probably call tertainment of the men in the answered. “The organ can imitate reading in your Junior Etude about them keyboards, but we organs call (If you do not know where every instrument in the orchestra. It the “Tin-can” recitals, when every- Service. them manuals. That organ was in nearest U.S.O. is your post office has great power and dignity, too, and one in the audience brought a tin of the the cathedral in Winchester, Eng- are phonographs can play very, very loud, and then food which was later contributed to will tell you.) There so land. places where soft that you can scarcely it. charitable in- in the camps and other hear It an orphanage or other The early organs right stationed, and records is called the King of the Instru- were built stitution. And the year before that, the men are ln the church, some places there are ments.” (You see, I am really con- and not in factories, dolls were given in the same way. are popular. In as they tired of sidered a King.) are built to-day, and until the only a few and the men get Now this year everything is dif- sixteenth century ones over and over. The teacher then told the boy the monks them- ferent. Many of you have members hearing the same selves or the something about my history, were the organ builders. Those in You can put your name but my of your own families somewhere old monks were very group or club on the history is so long he could not tell skillful people— Europe, or at sea, or in camps in this name of your you him much, that is, not would never think of as records, but do not be disappointed much at just them country. So when you have your De- organ builders. to thank you. Get- one lesson, especially when he had so Of course, in our cember recital or entertainment or if no one writes ob- to tell him about modern organs im- is not the object; the much my median- we have lots of club- meeting, have everyone in the ting letters bit. So, provements, and our have ject is to do your wee, tiny tone colors audience as well as those taking part oeen increased. your recordings now and Our very deep tones on the program, bring one of their look over you can spare. And let it Produced by the pedal keyboard, Victor records for a donation to the see what S®yed great sspiiSKkh. by the ifc something by one of the feet - You may think men in the Service. Everybody can be n! n , music brings so to learn to do pedaling this composers whose n, +1 good spare at least one record for brave 16 iano solace to P ’ but to much comfort and nil you ought to try cause. Christ- *y a whole hearts away from home on £ scale with your feet, Then appoint a committee to pack an Day. sharps and everything! And them up and sent* .hem to your near- mas snm ? Us lar e five mcn-f g organs have having Just imagine your piano g ftve keyboards. You’d surely No. IB p. Pf junior Club Outline ed up! frnTYWv. We call our manuals, Schubert lowest one up, Great, Swell the Choir Solo and Echo organs, Christmas carols. on Bi • graphy der it takes practice to hP lots of a. Schubert in Harmony 80°d five Read the life if Franz Keyboard ,.? organist and use or a m ST11 S Hi itory of Music,” and Joy the ped all "Standard Play or sing The First Noel at nnn als and stops g. Wish similar book. the World, using the tonic, sub- y°u could all take to oraan T SS for his art (I, IV, V) 11S - 1 W0llld to b. Schubert is famous dominant and dominant nelphe?n In u promise (Refer you all I could. songs. What is an art song? triads in the accompaniments. outline.) S nd comes our to last month's PineT °!! through songs did he Program We have pipes of al1 c. About how many leneth*^ may include a short and qualities. reed write? Your program tones Some give arrange- me in B minor' biography of Schubert and brass tones flute toneS ’ his "Symphony strinp- f° - d. Why is mel- 1 8 Sym- of some of his symphonic ’ chimes and so the "Unfinished ments on ? > gongs, called solos or Th* odies and songs, arranged as t0nes are a11 controlled by phony”? in the mt! duets. These can be obtained gadgets we The or - call stops. two and a half to ean!! the grades from about master o f the organ Terms Musical, Im- and on * ^ four Also his Moment keys and stops obey hi® by cantabile? piano touch wP . What is meant and other Schubert °rgans - promptu St. Cecilia Playing the are Proud to know Junior Club Outline, Organ that . Refer to From a painting by 81 at about the solos. Van Eyck f Bach loved us so much cember, 1941, and read , r> °ntinued on next page ) 858 Tuv nTUOfi ? ) , : . Etude will Class A, fifteen to eight- The Junior Letter to a Soldier een years of age Class Organ Letter award three worth while Junior Etude ; B, each month for the twelve to fifteen ; Class ( Continued prizes By Mrs. Paul Rhodes most interesting and C, under twelve years. and wrote so many compositions for (Fill in the blanks with musical original stories or essays Contest Names of all of the prize us to play. Of course his organ was terms.) on a given subject, and winners and their con- not as large tributions as some of the big ones for correct answers to will appear on Dear Johnny Doughboy: to-day, and this page in a future issue of but he had very good ones to puzzles. Contest is open to all boys The I send this little — (1) — to say Etude. The thirty next best play on, and he was a very fine or- girls under eighteen years of age, whether contributors I’m hoping that you are O.K. Contestants will be given a rating of honorable men- ganist; in fact, one of the world’s a Junior Club member or not. And hope you have received the box grouped according to age as follows tion. greatest organists, as well as one of are Of Candy — (2) — and — (3) — and the world’s greatest composers. SUBJECT FOR THIS MONTH sox. One of the largest organs is in the It took your letter quite a — (4) — Tabernacle in Salt Lake City. Then u5ic cui>cl ^s'dnLmafd To come from that far distant clime. there is another of the largest in M Etude Office, 1712 Chestnut Street, Philadelphia, Pa., ... . ,, the Junior not The censor spent a day, I’m sure Philadelphia, for the All entr.es must bo^recc.vca which was built ^ Winners wUl appear in the March issue. Removing all save — (5) — St. Louis Exposition; and it took a CONTEST RULES — one hundred and lift; whole freight train to move it to Contributions must contain not o cr With — (6) — of planes up in the sky 1. left corni class (A, B or C ippcr 2. Name, age and Philadelphia. one is in the joi ou need more than . —(7) of soldiers passing by That the upper right corner ol And — Wanamaker concerts are sure to do this on each sheet. (8)— on you to do your best store and paper and d. icwrltcr. We — 3 Write on one side of given on it several times every day. To — (9) — the foe. We’ll do the pzzz n Inary contest and to snbi There is a very one in Bal- i: clas — GO)—. unusual entries (two f< ich six sill not be eligible for pri boa do not Park, San Diego, California. It is 6. Entries which From your friend, built outdoors, among the tall palm Grace Note. frees, for ( Answers on this page) and is an excellent setting Box dreams. Letter But meditating started now I must stop to ue part of mo. ns I Music:VoV£nJ'tobVn.sci ms i years old. fpr I prac- Piano when I flV p Music in Wartime hear the boy coniing to studying the d churcll music lenniod to Pjaj i in Class B) tice. Then 1 , lying the (Prize winner I hope you are coming to hear . T nm stlI on the s P m '\L high school orchestra, I heard a strain of music, and ' inf' our master and play .pi ftn o music on Christmas. My violin ral Lwo It grew Inside of me. bas My very much. been beautiful «««*« Ktodothfs1 It sang, "I am American”; practicing some first harmony Juniors of lone, California almost finished ".y It sang, “And I am free." Christmas “T have (See letter below) music. k For It sang inside my very soul h°" 'iVi'/'r'il'-VVoi- modulation. Bo come. ' Tndvi'nt. Dear Junior Etude: Just like a strong decree. Can n piano recital bo fun? Well, I’ll sny it What was the strain that sang to me? From friend, ! class your can Our toucher had her dross up in gay “My Country, ’tis of thre.” costumes of the nineties ami gave an old-fash- Church Organ. This nation is at war with bullets and Your ioned recital. Many of the pieces played were cK favorites which our parents and grandparents bombs, as is practically every nation to-day, they were young. 1 and yet, stronger than bullets and bombs is arrange (he aecempan.- practiced when am sending Music in Wartime Sofdl »„d I you a picture of our recital. the morale behind them. Music tends to build From your friend, 111 hobby to up that morale. It is one of the strongest (Prize winner in Class C) always be more thna a Music will Verne Sciiimaker (Age 12), factors ln stirring the soul to nobility, and Jane looked were taking n,e California over at Sue as they - your friend, . it is as strengthening to the soul as food is 0 and From Ago 11)1i 11510 test their teacher gave them; Nancy Lou Pence ( to the body, when we feel discouraged and at- *? found some Pennsylvania thJ^u. end of the test they Red Cross Blankets lonely. War can destroy many great accom- t' was: is questions. The first one Junior plishments and arts but it can cause music a The Etude is still using i hecessary la wartime? to be developed because it is needed. Despite went on knitted squares, four - and - a - half “^scribbled a -No," and then Puzzle man's attempts to destroy, where there is life in the Christmas Carol there will be music. nano ^t- Soon it was time to hand inches, to be put together for Red Mlss Willis they started home, Bette Ann Hamilton (Age "Bp?* said, as Cross afghans. So if you have not yet 14), SUre come back tomorrow to discuss New York thn / R s r answers." c O A) e * sent any in, be sure to do so. The next to find th-i? day they hurried back H £ m blankets are really lovely, bright and 1 questions. H A r arks ' & £ T esnpnt ?l and to discuss the 1 dark colors being put together ly the thought-questions. Miss Willis to Sfd r T " held 1 T r A e dlng ov r papers which she K T L form a pretty pattern. This makes ln h’Q?u the hand " is neces- ' Bett says that music sarv in y 0 j>_ O s them prettier than those which are Wartlme it is not. So 'H a Whnt . and Jane says T are y°ur put together with no pattern or de- Rp .. reasons, girls?” L ? 0 f 7 Spoke necessary N e (V 0 r beoan UP- "I think it is sign. Did you see the picture of the 6 krePs morale. A good song 7 mean® ? up D R i P o r first blanket in the October Junior a * 0t these the workers w at hrm, days, both to 1 and to the men and women in the V l Q Etude? Arm? ? 1 T H F avy and Red Cross.” F P\ Names contributors to the second , L A b’ of « 10 ° Jane?” asked £ s y U think now ’ ft/ a blanket Miss Wim* £ X, L L Lehl, Jocelyn A. th nk that answer 0 A- Joanne Wyatt, Whhn i is right. I wrote my hr r SL “°ut thinking thought- Ellen M. MacPherson, Millie Smoth, q u enough about that tlon, answered Jane. Christmas Ruth The titles of how many Angeline Schwerdt, Mahany, Louise Gaschwend, Patricia Leather- read across Music in artime "utod? Somfwords wood, Joan Maurer, Gladys Hawkins, W down. (Prize ivinner in Class A) and some up and Ella E. Markell, Jean Millspaugh, Es- hat bring cons°lation a little music can ther Bell, Jack Dawson, Hazel Hodges, tn^ p op barely e worn, tired, and desperate, ahio f | Marian Benson. 0 kcep e°lng under dreadful living Mention lor Teddy Pade (Aged one year) conriiMd 1 f third blanket is being ons brought constant ag- Honorable The now Sellersville, Penna. Rrp on by the °f heart if you Essays: of the can k ? less enemies. Imagine, September made, and the names knitters elng thrust out separated from of your home, next month, if y °Ul them in will appear so your famU y- perhaps never to see (Music ra nces again“’ f p aad losing you hold dear, !a name is not in this list look for it A, is,,;er to September Puzzle: E everything Hines Shirley Venning; lin still Boy smUBky; S? Well, not exactly, for you Judithj„f Gladys Lot- next time. Many knitters in the above Unfortunately the last line havp be Navratll; . George; of the methlng> something which can not schworta; Doris Shirley take,w Phyllis Brrres; list sent several squares each. September puzzle rom you. t-ar away the music bla’ was accidentally in v Who can Mellihger . McDaniels; soul? you „ine y Virginia have or the memory of music U Audrey omitted from the print, hence n ard? music. Masters; ™ " Hlno® Ooerts; this but is your privilege to hear B»"“‘ ster Hall- if Katherine : tahce; George Answers to Letter-to-a-Soldier puzzle did not work out. It may Pafc is n°t possible, you can sing, can t Jinny c ona Celeste ap- y0u , a Rosenblatt: Ttinior Crose: then Wrsler, 1, note; 2, bars; 3, ties; 4. pear again sometime, when you you can not sing, outwardly, Judith Tiffler; Nancy Game: every- ’eon Slng war in your heart. That is one thing modern Allen Mary Patey Pennyman; time; 5. signature: 6, scores; 7, lines; body will have a chance to work Warfare can not take from us or ooffT Lou it deKtroy Trautman: Sherman: Nellie beat; rest. out correctly. n d A Cannon. 8. count; 9, 10, pherd; Robert A. Rita Marie Hrck (Age 17). Sylv ia She Illinois. 85 p Member, 1942 , THE COVER ON THIS ISSUE—If everyone tion of the story of Bach’s early life are on this earth were to contemplate earn- included, and this feature will add some- estly and deeply the message brought by thing new and stimulating to a recital the portrayal on the front cover of this program. In addition, instructions for December 1942 issue of The Etude Music the building of a miniature stage on Magazine then young folk such as those which various scenes from the story can pictured singing the Christmas carol be reconstructed are given. The book also of knowing would have a good chance contains a suggested list of Bach record- of the joys of living in a world peace and ings that will appeal particularly to chil- plenty for all. dren. The Etude is indebted to Better Homes While this fine book is in preparation and Gardens Magazine for the photo- for publication, a single copy may be or- graphic illustration which inspired this dered now at our low advance of pub- cover. The photograph of these whole- lication cash price of 20 cents, postpaid. some young folk singing a Christmas Orders will be filled as soon as the work carol was made by the Wesley Bowman comes from the press. Studios of Chicago, Illinois, especially for the Better Homes and Gardens Maga- SIXTEEN SHORT ETUDES for Technic and zine. In the adaptation made for the Phrasing, by Cedric Lemont—This cover of this issue, the Philadelphia W. prominent composer a valued artist, Verna Shaffer, rearranged the has been contributor to the literature of piano mu- grouping of the children to fit our cover sic, not only successful proportions, and included in the work with his many and melodious books she was commissioned to do on this cover pieces but also with S of technical studies. Among the latter was the color work and placement of the are Facile music and text of the Christmas carol. Fingers, Ten Short Melodious Studies, and Eighteen Short Studies for Technic and Style. CHRISTMAS MUSIC—In these late au- is further aided by This new tumn days, amid diminishing echoes of introductory material book, which will be published concerning the symphony's in the “Music written Thanksgiving hymns, we suddenly real- 2)eceinler 1942 composer its Mastery Series,” is 01 origin, its objective, and it the student third ize that Christmas, too, is close at hand. construction in the advanced With this illuminating guide, grade and technical We know that the first light of that glad- not only carries him through concert goers, but problems some day nears the horizon; that again radio listeners record usually encountered in fourth ADVANCE OF PUBLICATION "fans,” and those unaccustomed grade we shall share the hope, ever new, which to read- music. Each exercise is devoted ing full scores, will add to a came with the Holy Birth; that songs of immeasurably to particular phase of technic, such as OFFERS their enjoyment of rapid jubilation await release from the hearts this symphonic work scale passages in sixteenth notes, While final editing and printing nght hand and lips of man. arc in details and left hand; turns, mor- All of the books in this list are being cared for, a ants, Despite the stress and strain of our The single copy may and other embelishments; left preparation for publication. ordered be at the special advance « na right times, we look forward to happy cele- low Advance Offer Cash Prices ap- cash pncem-ice hand arpeggios; octave stud- of 25 cents, postpaid. es or brations throughout the Yuletide days. ply only to orders placed NOW. both hands; accompanying arpeg- made gios And so, with a special nod to organists Delivery (postpaid) will be divided between the hands; legato books are published. PRESSER'S sixths and choir directors, we suggest that there when the ANNUAL HOLIDAY and thirds; chord studies; rapidly each pub- BARGAIN-! Paragraphs describing -Many years ' lepeated is ready and ever present help, in the ago Theodore notes, both other these pages. Presser hands; and lication appear on founder of the ' Phrasing matter of program making, to be had / “House of Presser ” a problems. The easier keys only cided that his aie through the efficient service of the Theo- Christmas remanbrane. used, major and minor. to the patrons dore Presser Co.; that the large and ex- Album of Duets For Orgon of his business eachers of , desiring „ <0 money-saving wouw Se a reference copy pertly staffed Department of Position Pieces prices on tnis useful Mail Order Album of Pavorite First music albums new book by an outstanding and books in this house will cheerfully come to your For Viola and Piano which a great Can com order Cathedral Echoes— For Organ.... Felton .60 P°ser may place an Arnold .a would be interested, in?a aid if your . you will but make known Czerny . eith^ vance °f special Child's ™i o _,. publication at the needs. Childhood Days of Famous Composers— musical friends or for rPuce of Coit-Bampton ./u adding to hhis n 25 cents, postpaid. Bach her own musical library Anthems, Cantatas, Songs, Organ Mu- Favorite Movements from the Great Confirm* Levme .35 annual S sic, publications in Symphonies custom, the Theodore Piano Solos, and Pbesser o‘ First Ensemble Album again presents other classifications are here in abun- fJfgS .15 this year an array will be Piano Conductor .35 most attractive dance, an assortment of which Best-Known publications at so 1 Portraits of the World's reduced sent you for examination if you will spec- prices for the gift buvint - result dema: the Sun. ... Lieurance .20 son. These prices 5ea of a s^ady ify your requirements in a letter. Now is Singing Children of are net and com IT'rt0 Short Etudes. Lemont .25 2Stpald! US through of Sixteen Selected items the hands the it is urged that you Richter .25 from this skills1 i i time to act, so Three Little Pigs-ror P.ano Hnlid* ed ®dltor Katzner win be found t; and teacher. And let write at once. Your order addressed to Symphonic Skeleton Scores— on adver^^ta*^ No. 3 in F explain is 1 No. 8, Symphon, issue. A complete S that “attractive” the Theodore Presser Co. for music of ^ list (12 pages! word of w ! meant < imme- day Bargains for H°h " t0 use, for it aptly all kinds will receive efficient and Music Polk will scrbL fi be thl S Uttle at oi free on request. "?,' book > which will diate attention. A postcam win n^ , o ~ s dressed to ’ ^d with teachers and m Theodore Presser n dent* i^ty Chestnut 12 Witb a solid technical foi SINGING CHILDREN OF THE SUN-/* Book St., Philadelphia, P dation a L'! chief includi Singing, by homes, clubs, and service gatherings. a complete copy of numhP, aim, it will of Indian Songs for Unison Presser's's Hm V?f accompaniments are provided for Bargain Offers. Holiday ° the gleat Hungarian mast* Thurlow Lieurnnce—Here is a fine collec- Piano finest easyp the collection. Until the grade studies. tion of the best known Indian songs by all the songs in single ° f of the ever book is released for distribution, CHILDHOOD DAYS such Carl Czei'ny, teacher Thurlow Lieurance, composer OF FAMOUS rrv,,„ nJtabifables Waters copies may be ordered at our special ad- ERS-THE CHILD LOMpOS- °, as Liszt, Kullak. and Th popular Indian melody, By the BACH hi, , here- f cash price of 20 ”- years Lieurance’s ability in vance of publication worlh Coil ana Ruth Bump,„„__ EU the have been important of Minnetonka. Dr. Thi"' i-niitiv e cents, postpaid. book In this TOCi 01 v the Reeds, Where the and Thomasschule, but rather be disnnQQ/* Problem, however, Wi-um, Among as a cbllebim , Waters of Brahms’ works are especially notable in themselves. d like Witl1 the publication Blue Heron Nests, and By the The CHiinl ~ contains Third Symphony—may be followed Like its means Minnetonka. The volume also the predecessor, The Omm transposition since, by unpublished songs: easily in this soon-to-be published Skele- this volume contains and rearrangement, th heretofore studies a vp • several B taogra n the Yellowstone Indian ton Score. Primarily a “melody guide," ical material for the Ph- The treble and bass cl- Spring Along the young kevs V and It w the this score will reveal the melodic line as dent as well as 0 stu " C°“flned C, Love Song, Leaf Bird, easy "TL?**ngem ana G an?'L largely to prove interesting to extracted from the full score and pre- of four of Bach's ents be more rhytb Spring, which will better Prevail’ Th P common staff. Notations above Indian music and folk sented on a single and an easy duet. Delightful Pleces mg Ung and Practical fing those who love l win staff indicate the formal of scenes 5trat confl and below the from the . ions s a8ain lore. Master's“ °und , . the con- structure of the work as well as the va- prove a constant musiciansw book will be published in soSl p The in the dif- every mterest book size, and rious instruments employed child reader. to 11 be in venient “community song Practicaf^bin,^ - Published assembly singing, ferent melodic phrases. Understanding Explicit directions format will be suitable for for tneth P h,. young so popular w dramatisa- musipimP 0,ans Advert ' stud4 S* Each of the forty-! 11 bear an 860 imaginative t: . , — and there will be delightful illustrations PORTRAITS OF THE WORLD’S BEST- ALBUM OF FAVORITE FIRST POSITION Such usage would be confined largely to throughout. KNOWN MUSICIANS, With Thumb-Nail PIECES FOR VIOLA AND PIANO—With schools and colleges where instrumental- The advance of publication cash price Biographical Sketches—Unique will be ever increasing interest in instrumental ists were plentiful; but need not be lim- of this new book is 25 cents, postpaid. this volume in that it will include in its music being shown, we are happy to make ited to this. Owing to the plan of arrang- Orders for single copies received now and listings not only the great composers of available to the students of the viola a ing followed, the scope of the work is ex- collection long favorite accompanied by cash, will be filled as all time but also the foremost contem- a of young violin- tended. ists. Twenty-two interesting pieces soon as the book is released. porary musicians, teachers, performers of an In most of the instrument books there and practically every individual who has easy grade from such outstanding com- are four harmony parts, A, B, C, and D. favorite movements from the made an outstanding contribution to the posers as Papini, Kern, Quiros, Green- These parts correspond in all books so encyclopedia in wald, Zimmermann, Franklin, Haesche, that any two or more GREAT SYMPHONIES—Compiled by Henry art. It will be a veritable instruments, for miniature. and Tourneur are herein edited and instance, reading in the Treble Clef, may Levine—It is gratifying and encouraging the portraits and transposed by August Molzer, a man well play together, by each selecting a differ- to note the present wave of popularity In addition to biographical sketches of mu- qualified to prepare this volume. He has ent harmony part in his book. Duets on which the major symphonic works are thumb-nail folk that appeared monthly in The a broad knowledge of music, and many would be parts A and B; Trios A, B, and being carried to the far corners. This sic for a period of almost ten years, years experience as performer on the C; Quartets A, B, C, and D. This would new peak of enjoyment, of course, is due Etude include composers viola, as well as teacher of the instru- apply most effectively to small groups to the numerous symphonic concerts now the volume also will have come into promi- ment. Mi\ Molzer was formerly a member composed of B-flat Clarinets, B-flat available wonderful and artists who to the public, the faculty of the University of in recent years, or since the in- of the Wy- Trumpets, and E-flat Saxophones, as recordings now made, and to the nation- nence which would have contained oming and is now located in Denver, they sound in the same pitch at “Con- wide broadcasts by the great orchestras stallment and biography, because of Colorado. cert.” The Piano accompaniment serves of this over their portrait and other countries. Also violinist will be interested alphabetical position, was published. Every young to cover different tonal qualities, blend- the radio, the scholarly discussions of its Assistant Editor of in securing a copy of this collection of ing all together. This is merely a sug- inusic contributed Mr. Guy McCoy, and its meaning have solos with piano accompaniment at the gestion; various other Etude, is doing the editorial prepa- combinations are nnmeasurably to this happy state. The material to be included in special advance of publication cash price possible as will be shown in the Piano- Motivated popularity ration of the by the immediate of 50 cents, postpaid. The sale of this Conductor book. He is compiling special in- of his volume, Themes from the Great this book. There have always been and will be Concertos, Mr. prepared this Levine has small groups of friends playing different companion piano of material from album their names and studio addresses on a instruments who desire to play together the symphonies. 1943 CALENDARS calendar such as this by means of a rub- in their homes, but the right music is A veritable riches, Fa- FOR MUSIC LOVERS storehouse of ber stamp or with the services of a local not easy to find. Just playing from dif- vorite Sym- these days when Movements from the Great —In printer, make an excellent professional ferent orchestra parts as ordinarily ar- phonies array are so much will represent an imposing costs advertising piece. ranged would not insure proper har- master will em- than in pre- composers. Its covers higher The physical set-up of this calendar monic balance; but the selection of es- bv^ce some most in- years the The of the loveliest and vious for 1943 embraces 12 sheets, each meas- sential harmony parts from among these spired Presser Co. music of such men as Beethoven, Theodore uring approximately 4%" x 8". On each books would solve the problem. Brahms, Mozart, to be able , Dvorak, Franck, Haydn, is happy sheet over a calendar for the month is Included will be 19 well-chosen num- Schubert, pre- better than and Tschaikowsky. And in to offer a a well-rendered portrait of a master com- bers, such as Theme from Finlandia by paring the bargain in this this book for publication, usual poser. The 12 composers whose portraits Sibelius, Largo by Dvorak, Dream of Love compiler excel- cal- has displayed the same nominally-priced are utilized are Bach, Beethoven, Chopin, by Liszt, Home on the Range, Dark Eyes, ence music lov- of musicianship and taste that he pndar for Handel, Haydn, Liszt, Mendelssohn, Aloha Oe, Country Gardens, Juanita od will make an excellent in selecting the contents. ers This calendar Schubert, Schumann, Verdi, and Skaters’ Waltz, remembrance or greeting Mozart, inspiring songs of pa- rders for a single copy of Mr. Levine’s holiday time Wagner. triotism, and favorite hymns. to send to pupils, ew book , for music teachers are now being received at the Each calendar comes in its own en- All players of orchestra and band in- w vocal or instrumental advance cash price of single calendar is 10 cents, a of publication “ire" respective oigan- velope. A struments are given a chance to par- cents made sendsena to their postpaid. Deliveries will be groupsronns to imprinting dozen is $1.00. ticipate. There will be books containing e diately upon release from the press, four harmony parts in score form for P f ^ht restrictions, however, limit the Flutes, B-flat Clarinets (Bass Clarinet ad sal 6 and book to the United States limited to the United States and lib.), B-flat Trumpets (Cornets), E-flat itcw of each book is Possessions. the nationality „ giving its possessions. Alto Saxophones (E-flat Baritone Saxo- lib.) phone ad , Trombones or Baritones, R E Music F Horns (English Horn), E-flat LITTLE .4 Story with ALBUM OF DUETS FOR ORGAN AND Horns /or p. PIGS— (Altos or Mellophones) Violins, “1°' b Ada Richter’s PIANO, Arranged by Clarence Kohlmann , Violas ref. y Richter—Mrs. ing will boast answer to the request for something and Cellos. Books with two harmony a "Tories with Music’’ The dre parts will be provided Shtful addition with the publica- new for church service or program use for D-flat Piccolos, °f this which al- now will be found in this collection of Oboes, Bassoons, B-flat Saxophones and book - The series, read E-flat Clarinets. In one book y lncludes Cinderella; Jack and the duets for organ and piano. Drawing from there will g E ST be the bass part for String ALK: and version of the music of the “Three B’s” as well as Bass, Tubas, T . an easy Sch Saint-Saens, Schumann, and or Basses; and in another, a percussion aikowsky’s Nutcracker Suite, has Gluck, had a Mr. Kohlmann has given book, parts for Timpani, Drums and r accePtance from teachers and Tschaikowsky, Bell studp P is published. Lyra. Conductor’s the book full play to his ingenuity and musician- A Score (Piano) book everywhere, and we anticipate , when that t arrangements of great gives suggestions for effective Hree Little equal if not ship to produce ensembles. SUr Pigs will 1 and true musical value and still A single copy of any or all of ^S forerunners in popularity, beauty the 17 the capabilities of the aver- Instrument Books and of the ew °f no to hold the keep within Conduc- . better way child-S and organist. There are num- tor’s Score (Piano) may be nterest than by including one of w«s- age pianist obtained thesp -o zzrx for prelude, postlude, or when published, by ordering t°ries with his list of lit;rr™ bers suitable now at the recrpnt- Music” on of l011al en volume and special Christmas and special advance of publication mate rial. certainly no ““ton, a offertory, prices— juvenii And 15 for talG f— Easter programs, there being special sea- cents each the Instrument books has Greater appeal than this - an16 sonal fantasies by the arranger. and 35 cents for the Conductor’s ^ ^ *s here presented, woven Score artionp required for perform- (Piano) book. Because of lmaginative mu- Two copies are copyright re- sic and descriptive siL as: ance because the music is published in strictions this collection is available Citation to the Fair; We’re to . e Og ubert, WaB” form so that both play- purchasers only the United ild 3,-KorsakoH, Dubois, convenient score in States and Soncr our Houses; The Wolf’s T + °SlGn for then ers may follow the part of the other. The its possessions. Pi9 Sleeps; and Rolling navehave been chosen Horn? < , Lemmens™s be ordered at the made avail- two copies may now the ' Butter Churn. to ’ T ptability time in this special advance of publication cash price ADVANCE OF PUBLICATION OFFERS TTLE ptos recital e flfSt uui has excellent (40 cents for each copy) post- WITHDRAWN— the fall l6S of 80 cents During months of &S a comPlete unit. It can be biayed h SS. Sve^fd paid. Due to copyright restrictions the this year so many readers of The Etude y .^be students at inter- v& is while, — confined to the United have placed th Pre-set directions sale must be advance of publication or- ter taacber or an older pupil in- and Polatp States and its possessions. ders for two volumes listed in these story Olga notes ters - Certain of the num- Hammond that extra can k . the either efforts have been put forth introduced solos, Another • as vocal contents are For All Hand to ae all 0f the FIRST ENSEMBLE ALBUM, prepare copies for immediate use. The hteresting a 1 reward point is that, as home P . Instruments, Arranged f rch or y Qf the abU and Orchestra by two books mentioned below are now Ca g00d work illustrations n - the within ^ Monger This work is intended ready for delivery be n \ he the S. — to these advance olored ibers orgamsn During Howard sub- Vances by the pupil as he ad- average be used for Duets, Trios, scribers of the ^tion g primarily to and copies will be available at instruments, od of be or- and Quartets of like with your local music store or may be ob- bo 6 C° of Py Mrs - Richter’s new ^“^.ytms accompaniment, but °k of or without Piano tained from the publishers. nvfv be>, le copy postpaid. The The special Vahce ordered now at the low ad- instrumentation may be built up for advance of publication cash 0 f States and the price, of price of 25 Orchestra and ^^ed^e^ larger ensembles of Band. course, is withdrawn and the books have 8°on P Delivery will be made as ’an then, , book is ready. r* . 861 C Subscription.* ven- price. Single copies may be had for ex- Premiums Thus the tone is explored and Chopper 1 amination. Food The Essentials tilated. As it feels more and more Needle Case 1 Pastels for Piano, Tone and Relaxa- secure, then, the scales should be Kitchen Shears 1 tion Studies by Guy Maier is a book that taken more quickly, more loudly, and Scissor Set (2) 1 of Vocal Art will be welcomed especially by the teach- over a further Never Leather Book Cover 1 extent of range. ers when they have pupils who require prac- Correspondence Case 1 should the day’s preliminary extra-interesting study material to in- ( Continued from Page 854) Gentleman’s Wallet 1 ticing include forte passages, rapid duce practice. These study pieces include 1 figurations, or high C’s. Such technics both original compositions by Dr. Maier Key Case 1 when and masterly arrangements of some not- Coin Teller formance—naturally falls into the must be reserved for the hour French Purse 1 too-familiar classics. Students in grade Ladies’ way of unavoidable errors in vocal the voice feels secure. Cigarette Case 1 three may be given this book, and its is What is true of the daily work is Brush production. It quite impossible to continue to Gentleman’s Comb and fascinating material will study fundamentals and to even more true of the conduct of a Set 1 project serve them until well along in the fifth singing career. can be ac- Opera Cavalcade (Book) 1 art at the same time. The commonest Nothing grade. Price, 75 cents. complished Butter Dish (Chromium Cover- of these errors seems to be tightness without a firm founda- Chapel Musings, An Album of Sacred Glass Container) 2 in the neck and jaws. This comes tion of vocal security. Only when the Compositions for the Piano, compiled by Bon Bon Dish (Chromium) ... 2 from lack of coordination plus an vocal candidate has built a sure and Rob Roy Peery, presents a collection of O’Cedar Mop 2 anxiety to make loud noises, prefer- responsive instrument may he ven- in any al- 2 pieces never before included Football able in high range. It can be counter- ture upon the fashioning of his artis- bum of piano music. Distinctly devotional Webster Dictionary. 2 American acted by relaxation, by complete de- tic structure. The greatest harm a in character, ideally suited for church New American Cook Book 2 vitalization; by the correct singing of young singer can do himself is to at- services and for use in Sunday School Flash Light 2 vowels; and by the realization that tempt to learn and to at the same classes, they give the church pianist a Bullet Camera 3 do breath must travel and time. repertoire of impressive musical selec- Music Master Porcelain Plates that any con- traction stops its motion. tions at a minimum expense. There are (set of eight) 7 compositions for all seasons of the year, Music Master Porcelain Plates Another common fault is that of including especially fine numbers for (single) 1 tonal “whiteness.” This means simply Range Christmas and Easter. Many pianists of 3 -Piece Porcelain Kitchen that the sound is issuing straight Lullaby 2 moderate attainments will want a copy Set (Salt, Pepper, Drips) from the vocal cords without proper when Set ... 2 ( Continued from Page 856) of this book for home playing 3 -Purpose Refrigerator resonance in the mask. All tone must music of a quiet, restful character is de- 25 -Piece Dinner Set (Tulip resonated be in the hollow bone cavi- lend himself or it sired. Price, 75 cents. 11 to the experiment Decoration) ties that lie directly under the eyes will fail. The same principle would STATEMENT OF THE OWNERSHIP. and back of the nose. ETUDE’S REMARKABLE CHRISTMAS GIFT circulation, ETC Their walls appy to autohypnotism. However, maS&ent, g Exude makes a I S OF LONGRESa be likened OFFER-Each year The REQUIRED BY TIIE AL may to the body of the your Editor, regular use 1912, AND after years of special gift offer at Christmas time and OF AUGUST 24, violin—white tone is the A vocal coun- of this plan and the observation of its this year when there will be a scarcity of published "" th Of TiiB Jjf VjVo terpart of what would happen if Pennsylvania, Jor Octobir'Y 1, lJ-i— the successful employment with others, durable goods for Christmas giving, we dclphla, violin strings were plucked Pennsylvania 1 away a special offer State of gg from feels that it is nothing more than are pleased to make a very County the resonating body. public in and for the It may be cor- rational on Etude subscriptions as gifts. C peT^^lly np- direction of the imagination State and’ county afor.'Haid. rected by keeping the vocal A single subscription will cost the regu- line to produce super-relaxation leading straight and taut, by focussing lar price of $2.50 BUT on every gift sub- the to slumber far than P™itentot\ tone, more profound recipient will get one issue he is the Etude Music and by keeping it focussed scription, the The that which we ordinarily experience* of The Etude (December) free, making lonow'b* without any constriction of K5 the During this is a com- e slumber there 8 0 h kn0 etc., of throat. The correct 13 issues in all. e?Hhl^“mJSjwneut. enunciation me i!t of the own date j*ow of plete “letting conscious one -year subscriptions may be publication for the pure vowels is also go” of the Two the aforesaid t f of help required bj t: e here. By self, ° in the above caption, and the restorative powers had for $4.00 with all additional sub- amended b> tftc £ u producing the vowels from 24, 1012 , as the August strike (° r » in in section i nature replenish cells scriptions at $2.00 each . . . and every March 3, 1933. embodied glottis, the vital printed on the re e of the the shape of the issue will given. Laws and Regulations, mouth if you please, u1 a case, the extra be is not changed, recharge them) °f 1 and the n of philatelic significance, such as a postage stamp which refers, albeit the keyboard through the kinaes- Music Masters Memorial- national or international convention incidentally, to a musical instrument. thetic sense. This tends to insure of collectors. It has happened occa- Instruments pictured include the greater accuracy, and the constant ized by the Mails sionally that a musician or musical ubiquitous post-horn (some hundred temptation to be watching the hands fea- these) the harp, violin, drums of decreases accordingly. subject has been chosen as the of , ture of the souvenir. The aforemen- various types, flutes, pipes, trumpet, {Continued from Page 844) tioned Liszt stamp of Hungary was bugle, lyre, lute, zither, piano, bag- offered in that manner in honor of pipe, guitar, tom-tom, bells, besides a Ysaye, 1931. instruments in who died as recently as a philatelic exhibition at Budapest number of primitive This of natives, (not including also was issued in the interest in 1934; the same thing was done in the hands of The World’s War Call charity. the the name of charity with the Belgian the saxophone in hands of a Switzerland, which contributed Ysaye stamps. Liechtenstein, that native of an American college For Music Pestalozzi to pedagogy, is responsible tiny country which in pre-Schickel- campus!) readers is for another notable educator, Hans gruber days depended upon postage The attention of our {Continued from Page 856) article, “Music and Post- Nageli. This music publisher, who stamps for the greater part of its called to the subscribed sheet in age Stamps,” by V. A. Norman, in to the theories of Pesta- revenue, printed and sold a in the schools, but I am sure that lozzi, Rheinberger, The Etude for February, 1935, in was active in behalf of school 1938 presenting Joseph the Music Educators National Con- *nusic of the which many other musical postage and is accounted the “father organist. The most prized ference and its affiliated organiza- of signifi- stamps appeared. music appreciation.” Nageli, who miniature sheets of musical tions can develop this work still fur- Czechoslovakian cance is the pair of ther in the service of our country.” their na- sheets of 1934 celebrating This applies to all musicians and of fifteen tional anthem. Each sheet musical amateurs. The program for margin YSAYE VIOLIN stamps has a top and bottom national Victory Sings is being Elizabeth which is printed Scales and Arpeggios Queen of extra width upon How promoted by the Treasury Depart- the anthem. the words and music of ment. Some of their suggestions are: invasion The Austrian housepainter’s Help Sight Reading “Songs of the people might follow, nation created a re- such as: Swing Low, Sweet Chariot, the Czech from Page 809) of on the {Continued newed demand for its stamps or Go Down, Moses, with its intensely (Belgium) raising the price black keys, he is meaningful “Let people If world market, thus formidable array of my go!” several hundred pressed to remember the loca- the community is made up of large of these two items hard died ih tion of the new accidentals. Much of numbers of Americans of foreign ex- 1836, is the subject of a Swiss Pe there of the Atlantic this difficulty could be eliminated if traction, they might sing some of stamp of onThis side S philatelic trib- the child their folk songs or be represented by seems instances of the elementary practice of ,, strange to those acquainted are fewer w musical fame. Notable were to include a liberal assortment groups of folk dancers. her methods that that master ute to men of of n design and delicate scales with four, five and six "Let Me Call You Sweetheart or ateliC propa anda Russia, has for their unique of S > put this The Bells of St. Mary’s will suggest seen fi huge rectangles or flats. To some, might her colors are the sharps honor only one of in other popular songs for all the sweet- nu e Brazilian government represent a somewhat radical depar- mus musicians issue of out by the a by the centenary of the from the normal procedure, hearts whose ‘young loves, the true 6 stamp in celebrate the ture - Tschaikowsky re- pedagogically loves’ will ‘come from the sea.’ ceived but it is nevertheless ^at signal honor only re- “ Sweet cent] only can these scales be Rock-a-bye , Baby, and Low, y sound. Not as readily, but they are, in and the Brahms Lullaby are songs h°Ueh visualized Austria and Gennany philatelists) ap^ easier to execute. for the children for whom America hate each by°dyed-im-the-wool most cases, Produced of postal be kept as the land where life iSsu a set Familiarity with the scales will must In two d®™ 1 ^°nor of the operas of Rich- pear in and is steady, wholesome, and happy. ard Txr the compcomposer prove a valuable asset to the &gner a bust of also neither government has featuring reading of music that “For all of us, cheerfully bicycling ever s atic copy^ student in the 11 other a to picture the composer the to in character. The exe- or walking instead of motoring himspfjf subject is sequential a posta Aus- opening ” Even Daisy Bell, with ‘its bicycle built for trian ge stamp. The rutaran:arany cution of such a passage as this is 1 °elun ” six Gomez’s open. Jull the two.’ stamnt: Sen charity set of ^ essentially a problem of shifting °f “ The White Cliffs of Dover, Faith tetraw 1926 commemorates the PI ayed hand from one position of the scale S Our Fathers, Netherlands Prayer With scenes from each set If the pattern of the of drama TK of to another: The of from the face this visualized, of Thanksgiving all make an appro- I 933 German charity issue er^epub^blics o( scale has been thoroughly dnes other sis priate final group. like wise for “Tannhauser,” Two will automatically assume “Loh . ^ ^ the hand e enn,” Cost “The Victory Sing should end with “Die Meistersinger,” hemisphere, seen flt to required shape for each group. Eepubim. a the the Beautiful (in B-flat) .” minican tiona l America, rs of the (Note Example 3.) honor the compos lac ^ Op.109- Beethoven anthems by P that .3 Sonata, | So it is Ex and Jose Malia G^ez Manuel issues. posta l Records appear np°“ Amer- New Keyes i® ^ tQ Of greatest the set of respond {Continued from Page 805) ^ is For those who do not musician-philate^ design an ex- lean P quickly to visual impressions, adhesives of aPP Stephen five preparation for this type of the Seraglio” Ach, Ich Liebte the alt cellent and featuring Victor in Example 4. ^hutz P$f J0USa , may be found Welche Wonne; Alleluia from “Motet John p and reading ( Germany Foster, MacDowell, Exalte Jubilate”; sung by Lily Pons. ) lt;ze Edwa of „ Herbert, “Americans Ex. 4 In all keys. Columbia 518. Nevm. Th set Ethelhert tQ America ^ The Songs of Early — 1 620- are the United 1)38 g Dutchman," Note” of the 1830; sung by singers under the Rhei " postal that they ,,Die w. upon 1940 direction of Elie Siegmeister. Bost it hitherto re- s,a Tlle latter States; distinction common practice of constant- Record Set ESI. Mar u the military The eaUt5’- achieved ts. the music This set, compiled the folk Gover iden shifting the gaze from by song nl for former P ® worlds ly wishin served eers> keyboard is hardly conducive specialist Mr. Siegmeister, offers some '‘“dually S 1 iel to the naval ' Suitably of this ap ffeeti',e and ? ic lamp. sight reading. Control interesting material of early America. Beai 5 (and electncJ.,. to good tn < the „ the and addltl0 place in the early Using four able and gifted singers the Philatelic y fairs, ^ habit should take music she iPuvenir of a note reading. If the method a soprano, a contralto, a tenor et sheet," ; delation stages of and of consistently 6 PS sold S^he^war association has been a baritone—Siegmeister has contrived ' a£ unde" ' of ll”‘ot Tertain the child’s attention seldom to present his material in a appre- “s lor sped applied, 1 , from the printed ciable h^elties limited time needs to be diverted manner. Much of the material k Picturing re som stamps stamp-*™- Thus, he becomes familiar with in the album is of universal appeal. lu behestoehe , «times page. ithe U Uise ‘ tne s 1V ‘a ese';tto commem, 863 c":mb bh, , H , , .' 'I. . : 1 . ' Schubert. Andante Con Moto from Articles Symphony No. ^ Feb. II Accordion Department Deiro, Each Issue Concise Index of The Etude for 1942 Schubert. Symphony in B minor June 41 Adult Beginner, Succeed with. Yeargain, Jan. 27 fC/iiari»ia Apr. 2. 76 (To save space the titles of many of the articles have been somewhat condensed) . Mzr. American Plan—Contests ....Lemmon, Feb. Sthumann !&*«"•? "p S . V . . 511 Theme Arrau. Creative Technic for Pianist. Aug. ] from Piano Concerto Baccaloni. Comedy in Grand Opera... May 297 [ A minor Aug. 5( or Small Band, Marching Hindsley, Oct. 671 Organs, Results from Old Seuel-Holst. Around the Totem Pole.... Jan. • Treadwell. June 379 Music Issue 1 Band, Orchestra Department. . Revelli, Each Smetana. Song of the Moldau Sept. 6 Toward Better Singing.. Mar. 151 Barbirolli. Becoming a Conductor Aug. 532 Otero. Steps PIANO Smith. The Star-Spangled Banner July 4' Barrymore. Adventures in Music ..... Feb. 79 Our Young Musical Army Lemmon, Sept. 580 a ji„_ fLittle Squirrels and [. [hail to the Spirit Liberty. .Dec. 8: Paderewski, Visit to Home of .. Rogers, Feb. 85 Adlor Ch . .Tune 406 bousaSousa of Bassoon, Story of White, Jan. 23 My Kiddie ? I Car l Manhattan . . Sept. 624 Beach May Say... Apr. 221 Paganini, Champion of Restlessness BeechaM. Sir Thomas Has His Anthony. .4 May Morning ..MayMay 322 [Chi, Sept. 6 Democratic.. June 365 Marshall. Aug. 618 Belmont. Making Opera Arnold. Mister Cricket Plays Ilis Fiddle .Aug. 552 Daffodils and Tulips. Apr. 2 Jan. 10 Philharmonic Distinguishes Youth Bisch. Stage Fright Not a Bogie! Atherton. Springtime May 320 Dreamy Daisies July 4 Watson, Aug. 513 Lemmon, June 366 Stairs Black Key Rote Playing Arioso 395 On Aug. 5 655 Philipp. Highlights in Art of Teaching June Bloch. Life with a Musical Father. . . . Oct. Gavotte, from French Suite V . . Dec 8*7 The Jolly Cobbler...... Feb. 1 Oct. 673 Piano Mar., Apr., May Bowings, About Convenient. Basscrman, (Prelude in F minor Marks, Mar. 168 A , )r . 2 46 Waiting for Santo ..Dec. 8 Brahms and Schumann Spry, June 368 Phrasing, Easy' Door to Prior, 529 Steffe. Buttle i Oct. 652 "Piano for Mary” Aug. Hymn of the Republic May Campus Glee Clubs.... Lemmon, 747 656 Piano Study, Analysis Helps. .. .Amcy, Nov. “J [Clown Capers Nov. It Ceylon, Music and Dance in.... Arvey, Oct. 367 I Excerpt from Sonata, 522 Pipers Are Cornin' MacKinnon, June l< Clider and the Gull Sept 61 Cherubini & Napoleon .. Schweishcimer, Aug. Beethoven I Op. 101 May 317 Stevens j T- Popular Music. In Teaching. . .Tapper, Apr. 213 A adding Poitpies Aug. 5i Ciiiesa. Successful Singing Sept. 583 |Fiir Elise '..Nov. '750 | Postlude, Unheard Plank, July 451 Bright Blue Sea Jan. 4 Choir, Interpretation for Riedcr, Feb. 93 Bennett. The Dancing Party '.Oct.' Practicing Wrong Notes Treadwell, Aug. 524 683 Stolz. Cm 2' Fifty in a Hope, Mar. 165 Blow. Alman in Vienna Apr. Choir, Years President John Quincy Adams' Pictur- '.'..Feb. 101 6' 736 Bourgeois. i Emperor Waltz Oct. Choir, Progress with the Boy. . .Dilsncr, Nov. Praise God, from IF/ioni Ail Impressions. .Huggins, Sept. 581 • 309 esque Musical Blessings Flow Strauss Roses from the South June 31 Choirs, Auxiliary Church Kcrslake, May Calling for Women Nov 768 582 Profitable Musical Bradbury. Sweet [Vienna Life Aug. 51 Chopin, How Really Looked Sept. White, Sept. 685 Hour of Prayer lunc '{<13 Swihart. 1! ....Brant, Dec. 812 Brahms. Waltz, Op. 3.9, No. 2 The Whirligig Mar. Christmas Carol Broadsides Minor Triads . . j^v 479 Progressions of Major and Bruce. Little Tieman. 1' Church Pianist, Her Problems. .. .Neal, Aug. 523 Patterson, Oct. 675 Reaper’s Song Mar 101 Hawaiian Twilight Mar. Circus, Carusos of .Pitzer, Oct. 676 1 Happy Little Clock Dec R4r Dance the Candy Gay Proud to be Go-Between Lemmon, Mar. 148 of Circus Music Classical. Evans-Rinpling, July 441 Brown Little Country Dance Fairy July 4( Questions and Answers Gchrkens, Each Issue j July 479 Class Piano Teaching: Malpas, Feb. 94 Morgan. Each Issue IPrfnifcg gnl,u cor Theme from Piano Con- Radio Reviews Burnarn. Hallowe’en 3; Musical Success. .Lemmon, Aug. 508 . . .\\\\'. certo in minor May Climbing to Rascher. Once More—The Saxophone. . reb. 9o Oct. 69G Bo Magazines Mar. 155 Chaminade. Romanza Appassionato 51 Cultural Value of Recital, Song Rogers. Jn.n. 19 ....Sent 606 I Walts from Op. AS Aug. 293 [Chasing Butterflies, 8. DamroscH. Four Score—And Then!... May Record Reviews Reed, Each Issue from Op. Wagjiessvvagness [Dark Eyes Dec. Dear Harp of My Country ... Robinson, Mar. 161 Simson, Dec. 813 Chopin (/n Vien „ a j uiy 4 Reed Organ, For Pumping .' 20 I Prelude, Op. SS. No. .' Williams. 3. Debussy and Pedals Eisenberg, Jan. Nov. 744 .' Nov. Annette (Air Dec. Revival Singing. Leading . .Rodehcavcr, 752 de Ballet) " Mar. 152 \Valsc, Op. 60, No. 1 ..... 8- "Dedicated to Ktemm Rhythm Must Be Felt Barris, Apr. 225 Tnlv ica [77te Echo Dec. Disney's New Musical Picture. .Martin, Sept. 588 596 Copeland Aug. Wright \Hcar the Jan. with. . .Novich, Sept. ' 553 Old llozooka! Start Children ; Rhythm, ^ypw^Litt].{Two Little i i, Doctoring with Music Schocn, Mar. 166 . "M"Neighbors [The G! Roger Giles, Surgin, Also Dealt in Chorda and Mar 190 Orchard Swing Oct Double Bass, Players of White, May 313 Flemming, Jan. 24 Arpeggios, Oi). Fleck, Nov. 725 Music! No. J,n Duty—Honor—Country Roman. Building Vocal Surety ••• Jan. 9 • Feb. 120 FOUR HANDS Season Fleck, Apr. 223 Double 'Note Staccato, Op, Easter, Alleluja Roosevelt. Our President Speaks for Czerny Bach. Gavotte 6! July 438 in B minor Oct Felton, William M. Obituary • ' • June 3 Mar 192 Felton. Easter 21 Music Singing Octaves,' '. Morn...... Apr. Feuermann, Music with Uncle Sam... Oct. 653 Jan., Feb. Op."335," N0 Russia. Music Life in War-Tor n.Fox, Gruber. Silent Night Dec. 8: Fifths, Everlasting Lockwood, Jan. 17 Dec. 816 Satie, Erik Dumesnl, De Kovcn. April Jan. Handel. March Feb. 1 of Practicing. Feb. 100 May 307 Birds Foldes. Fascinating Art Sbriglia's Method of Singing Byers, Eichhorn. Apr. 252 Haydn. Theme, with .Packer, Mar. 164 447 An Old American Tunc Variation 'from Fourth Finger, Making Useful. Scale. Sidelights on Lindquist, July Nov. 756 Symphony ...Mar. 1 Feb. 80 nrcaa °J Heaven.. No. 20.. Forward March with Music Help Sight „ , May Scales and Arpeggios, r ranck Allegretto from 323 Marpurg. Rondo ...Sept 6: Vezin, May 308 j Symphony French Musical Terms Williston, Dec. 809 ' Reading l minor Mendelssohn. Wedding June 4 Fretted Instruments Dept Krick. Each Issue Relaxation. .Marks, Nov. 743 T March . Secret of Controlled ' ' ner ttlc Dec. 8 •' Toicn of Bethlehem.. America’s First Great Musical Players • • \r° ¥- Shepherds' Pipes for Modern in -Nov'- 7 TwTerry. Marching .July 4 310 222 a Tune . Pioneer May Cossitt, Apr. eh 07 Woodbndge. 5 Federor Full Moon ... i, 5 The Penguins Dance Aug. GarbetT • Counterpoint in Plain Lan- Sight Playing. Rapid French. Sept. 587 Prayer Mar. 178 guage June, July, Aug., Sept. Hostcttcr. 294 .].]]] "Sing It Again!” May Song at Midnight”.’’] Opera, Wagner... Oct. 657 July July _ ORCAN War, and Singers, Opportunity for Lenxard, Felton. Chuckles 461 , Rogers, July, Aug. °’;erture. *' Garcias, Amazing . .dcBmyn. Oct. Nov from Cantata. Singing, Historical Schools Fischer. I Love to Tell the Storu Si® Unto 834 Prize to Onera Oct. 668 V ' Us a Child Is ...Dec. Gary. Ring Grand .... .H ood,.Aug. 521 Forrest. ‘ 4 Bom” Singing Lessons for Masses Mister Frog’s Tti ® Morning 'siiim ' m° Concert 33 Get That Child's Interest. . .Parkinson, Apr. 236 Fantasia . . .May Popular Singer in Radio Cannot Ganschow. Heigh-Ho! Diggle I Dec. 811 Smith. Away We Go ’ pvu’ _ {Sunset 44 . Gogorza. Art eb over Galilee. . . Jnn. Essentials of Vocal • • • May 316 Griebel. Lotus * - H9 Read Note • Bed ... * arnnm. 762 Should Be Aug. 525 Toccata on I- Nov. Goldman. Band Music Your Heart? O'Hara, nr ‘ [Allegro Moderato' 400 "O Fillii et Fil July 439 Song in YromCoiicerto^ Galbraith. Stately .Sept 618 ^ , Gretchaninoff. Among Masters Murray. May 312 in March . Song of Rainbow ,1 m A minor T , into Artist. June 377 CrieirJ - - July Be 3 at July Hackett. Turning Student in ••••••.•• •• Theme from 462 ,i' Twilight •• III Songs, Dynamite I Piano Jobriort* Apr. 227 n^' erf Concerto j Johnson. Easter Handel’s "Messiah” Kammerer, Pan Alley Oct. 665 March ' Apr ‘ Spaeth. Classical Czar of Tin l minor 546III Dec. 819 • - .A Hands, Have You Piano? Silbcr, Ancient Griffis. Jig " Nov. 757 Kohlmann Du Soir . UK- Stad. Modern Joys from 154 Patterson, Sept. 603 ..Oct. t Londonderry ...Mar. Harmonic Principles • •• Glass. Swaying Trees 684 Air Instruments .... 1 i-indsay • • Aug. In the Helen Keller, What Music Means to... Jan. 7 Stage Fright Can Be Cured Stewart, Nov. 738 Gluck. Ballet Music 653 Shadows of the • l athedral 69 High Spots in Learning to Sing Memorialized^ Gounod. Juliet’s Aug. 552 ...OCt- a . ? Stamps. Music Masters Waltz 115 Tapper, Sept. 593 • •Dec. eI - .Feb. ^ ^ Hadley. Festivity 828 fc*t, Menuct A ' iAAntiaue Mar. 169 ..'....Cooke. Dec. 797 ..Feb. fschaikowsky. Theme How Paganini Triumphed Allred, Star Eternal Hahn. The Green Cathedral ’..’.” 104 from Piano ( Possi- .June certo m B'o minor. "'.June 402 Kuberman. Interesting Problems Dec. 798 Stokowski. Amateur Orchestra Hamer. Cross Country 392 . ••Jan. Interesting Progression Spencer, Apr. 240 Handel. Pastoral Symphony’.'.’.'.’,]] 36 Feb. 130 ..Dec. Nov. 730 Repudiates Hitlerism Hawthorne. Whispering 821 .. VOCAL Iturbi. Keyboai-d Mechanics Stolz Hone , ct • . Oct. 760 - • ‘ Haydn. Sabbath 682 Junior Etude Gest Each Issue Strauss Paradox 9 rln Morn ...... Nov. Peake. Aug. 520 • • Apr. Waltzes Give a Ball .... I Tiptoe 262 Kilenyi. Profitable Piano Practice.... Nov. 728 Strauss TTMayeS,„o •Juiy Concert Gowns of Singers May 296 {Night - - Sept. 625 831 Dixon, July 504 Striking Lullaby Doc. Let the Parent Help Birth of Cravens, Feb. 138 Oct. 696 Sweet Adeline, fCrimson Leaves . Look Searle, Apr. 233 239 ' Your Best Ideal Larkin, Apr. I Dolly’s•'vit-n Nov. 752 393 Symphonic Band, a Bedtimeneaii me , .June Hellard Songu . . „ T olH Dec. 804 1 • I' obob. Lullaby. Editorial on Sleep Position of , Little Colonial - 1191 I 10 Teacher, ... i' SoXfy ? .Feb. July 442 Keyboard Dec. 801 July F Magic Metal EUis, Templeton. Discrimination at [Playful Breezes 468 rn‘ *leho,d ' ‘ What °Ma ,',,'ier' Round Table Each Issue Fiddle for Fun Cohen, Feb. 78 Ch d Al1 Une 396 /oue° of MAIER (Teacher’s They Variet'iesy Op.' '37, .Sept 6]4 Technic of the Month Each Issue TuiBAULT.Scientific Approach to No \ 543 j Apr. 244 July .Aug. Aug. 519 i Melody 48 Maladjusted Child Wolf, SinK nK with Broken ® r * Chord ' Ar . AP 316 What Shall Band Music Be? July 453 cpmpaniment. . . . May Thomson. Marais. Music of African Bushveld. Op. J.7. No V, Lucke is tl, c Man.]].]]'..... to Improve Practice... l'eb. 82 Melody aT 336 Martinelli. America’s Needs in Opera. Oct. 654 Thokborg. How with Plowing June 39 Technistory.Browii-Afaicr. Oct. 699 paniment, Accom f Tip Contact— Op. J.7, No . Mnster Lesson—Chopin’s Prelude in A Slates, Apr. 235 g Nov. no Tono and Word of Song Melody with Repeated Pr* 204 Major Lindquist, Armstrong, Feb. 91 Chord Ac S S >P co^animent.uumiiunimcni, up. Morale and Elsa Aug. 609 one Dallam. Feb. 99 J7.2? Wo. 16. Maxwell. Music, Transpose and Modulate, How. , Rapid Legato Passage!Op \ug. 554 3J •* .Jan. an Opera 1'Jn e :::::: McArthur. ow I Became Trombone Town, Pennsylvania. Grubb. June 378 % HELEN TRAUBEL ON “MAKE HASTE SLOWLY” The sensational American trained prima donna, Helen Traubel, tells of the means which carried her to her present heights in concert and at the Metropolitan Opera House. THE HON. FIORELLO LA GUARD'A, NEW YORK’S MUSICAL MAYOR America’s most famous mayor talks on what music means to an American metropolis. What the fiery Fiorello, brought up in his father's military band," has done for music in America’s largest city will interest all. THE WORLD’S HIGHEST PAID SINGER, GRACIE FIELDS NELSON EDDY * n concert, movies, and radio, Nelson Eddy tells Who Should Have a Singing Career." It is a “right to tne point" educational article. THE ETUDE'S HOW VITAMINS CAN HELP THE MUSICIAN AND . THE TEACHER S c may be a nerves, the throat, tho l great strain upon the Sixtieth nnii/erdaru tSLTfc an d the vitality of the musician. Two authonta- r * lc* medical es ’ based upon the most advanced nnini~ internal 18 83 - J 9 4 t’ and embracing the views of an eminent specialist, Major Perk Lee Davis, may prove valuable to all who have to do with music. H £ W OPPORTUNITIES FOR AMBITIOUS STUDENTS the Home uJl?,w Lieurance, composer, teacher, conductor, and Music Fortifies n p'„n ALEXANDER BOROVSKY f College of Pine Arts of the University of Wirhifoa FV; are ma^„ ’. tells definitely just how the war changes Possible for thousands of students to get a musir^i b Wartime ati°n that laSt year W°Uld haV6 in UnobtainIble °nly L the ETUDE'S UNUSUAL PLANS FOR 1943 M» J P0NS on “IMPROVING VOCAL TECHNIQUE" t'ons, likeik 1 c 1 trained asQC a pianist.rimriist Necessary She ? Galli-Curci,^jalli^C"" was first Timely—Inspiring— iedL Conservatory. She uthe instrument at the Paris 2 ler primadonna in debut as a coloratura "Lakm P " ,, u of its readers, en 1931, when thrilled with the loyal cooperation sb e she was twenty-one. Since The Etude, mari 0 'vFher been stressing the "emer- conMr?£?£_ debut at the Metropolitan, she has the vital part it has had in is proud of time, and is meeting the acncy" necessity of music at this greater farce than ever. challenge of the hour with A NEW SENSATIONAL PIANIST, NELSON EDDY Borovswu ALEXANDER BOROVSKY for been the Europe and South America YEAR years ^2?, talk of o FEATURES FOR THE COMING ifsche noted pupil of Annette Essipoff (first A FEW nble y f°ur wives) distinguished for his remark Barh ? is Et ls and article in The upon his excellent SPECIAL A!lhoj^"' E TOUREL OF THE OPERA COMIQUE 0l’ n War interrupted the career of the Canadian- rv prima ^donna triumphs at tne °Pera Cn£i - Jennie Tourel, her Her #tft artlcl in great future. Cljnstmas Paris Promise a . » e uSfe fresh and The Basis for Good Singing" is very helpfjj OFFER F.^ES MELTON “MAKES 11 THE METROPOLITAN years Has d a .—sas*2, eCC . _fpV « Co*® ®fje Superb (gift Sobers; s for *, - &U ^OrJ • Pos ° : tfje peat 4 r<*- ^ of H k>/cA_ °l n in Jflugtc G ^c '< V/ c/),,0 r HkT*£p«y>ys0 : *Po S,J/fQ COMPOSITIONS e O/ SELECTED PIANO list the r 4 n c0 A of . ~7 e n ‘>rly*j'M'“ S°«„ o - , /fa/- °/r>. , &S , « «. : p ^'-° *°- o /e is compiled c/ «- *•« • notable series „*?<* /. • in this *to*.?'sh . > „ ?'ce . fo - '"i Each volume / ,3/.3 5? >ce . and edited con a wore by recognized authorities. valuable, critical, and bio- Each contains a • />'••• St best «0„ °'Ce #.• ° el graphical essay, a bibliography, and the ' composer represented. Mod ’ °' obtainable portrait of the •»' ar4; v original texts are given *> In the song volumes, Pl v; ,, ot liter- 0/- -^S with faithful, musically fit translations v- treasury of musical >''» ary worth. Each volume is a S8S& ’* v--. worth. art of enduring and uncontested Jack lJo fume (In Heavy Paper Cover) $2.50 Ditson Company )liver * *2s Chestnut St., Phila., Pa. £pORE PRESSER CO., Distributors, 1712