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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1956 Volume 74, Number 01 (January 1956) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 74, Number 01 (January 1956)." , (1956). https://digitalcommons.gardner-webb.edu/etude/81
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On the eve of the 200th anniversary of the birth of Mozart, the Theodore Presser Company announces publication of a new Urtext edition of the
YOUNG BEGINNERS will, $e, ~
with the delightful music material OZART in the Progressive Series Plan I I of Music Education. & I Sonatas Fantasies Sparkling ••• alive with pictures... tuneful ... original! This music material speaks the language of a child,but with an educational I soundness unsurpassed throughout the world. for Piano It is presented in a fascinating and logical sequence that not only captures a young child's fancy, but holdsit. How valuable this is during tbe important formative years!
And this is but one of the many advantagesyou and your students will enjoy ... for as a This new edition is the result of five years' research involving extensive Progressive Series Teacher you will be offering correspondence and traveling in this country and abroad by Nathan the most comprehensive instruction ever devised. Broder, now one of the world's most recognized authorities on Mozart. THE PROGRESSIVE SERIES PLAN OF MUSIC EDUCATION Constantly revisedand augmented, the Progressive • Tested Lesson Plans • Correloted Theory Program Series Plan of MusicEducation has been proven Working from earliest extant autographs and photostats of original • Teacher Workshops • ,Superior Teaching Materials the world over to be superior in every way _ manuscripts, Mr. Broder found proof of what he had long suspected: • Pre-Instrumental Program • Institutional Affiliation for young beginners on through to the most that existing editions contained errors in tempo indications, dynamics, • Foreign Music Seminars • Teacher Placement Service advanced instruction! phrasing-and even notes. He also found that some publications con- TEACHER AFFILIATION BY APPOINTMENT ONLY If you are a successfulcareer private piano tained "sonatas" that were not sonatas, and omitted others that were. Career teachers with acceptable backgrounds 'and active classes are invited to inquire about teacher, it will be well worth your time to After a careful comparison between all existing editions of these works Appointment and Teaching Authorization. investigate the possibility of your appointment and original materials, he was finally able to complete an edition which as a ProgressiveSeries Teacher. Fill out the he believes to be as near as possible to what Mozart actually wrote. A No fee for appointment coupon for complete information- your first foreword, dealing with the problems of how Mozart's embellishments step in appointment to the ProgressiveSeries Plan of Music Education! are to be interpreted, will do much to clarify this controversial matter. A copy of the handsome brochure. "The Career Private Piano Teacher". will be sent without obligation to any active teacher. This new Presser issue by Nathan Broder is thus the most authoritative edition of Mozart's nineteen sonatas and four fantasies for piano now ...... available. PROGRESSIVE SERIES PLAN At music dealers everywhere.-$5.00 Dept. ( ..10 P. O. Box 233, Clayton, St. Louis 5. Mo. I am a career private piano teacher with an active class. Please send me a copy of "The Career Private Piano Teacher". Name ; _ Average Number Address of Pupils in Closs _ * Progressive Series Teachers are located in every stare THEODORE PRESSER COMPANY and 14 foreign counreles, City .lane State _ Bryn Mawr, Pennsylvania etude-january 1956 1 January 1956 Vol. 74 NO.1 Reserve your An Excellent Way to Test copy of _Your Understanding of Music Founded 1883 by lames Fraoei Cooke. Edi/or Ef1llritll.l Theodore Presser (Edito, 1907.19J9) Techniques Guy McCoy, Editor James U. Felton, Assistant Editor Will you accept I WITHOUT CHARGE I the Ceorg e Hochberg. Music Editor of Modern V, L. Fanefli, Art Director Coruribruiru; Editors: Harold Berkley. Theresa Costello. \laurice Dumesnil, Music-Appreciation Recording of Paul N. Elbin, Alberl J. Elias, Elizabeth A. Cest, ~o Jle)l~ul. Ceor~; HOVtfrtOI1, Orchestral Cuy Maier, Alexander McCurdy. William 0_ R 'elk Ralph E. Hu h. '\;1(::01. lonim~k, contents VIOLIN CONCERTO IN D MAJOR Conducting FEATURES rsrahms' 9 What Was Mozart's Playing Like? 1'(IInon Broder WALTER GOEHR, cOllductillg tbe LONDON SYMPHONY ORCHESTRA • Endre WolF, violhlisf 11 Creative Contrast in .M07A.rt,A. Hyatt KillS By BENJAMIN GROSBAYNE 12 The Mozart Bicentennial 13 Caring for the Voice (Cesare iepil , Rose Jle)lb,a ON TWO RECORDS (a 12-inch and a IO-inch disc)· 14 The Tape Recorder in the Music Room. Jf1ol/SDuR Kuhn Here is a comprehensive and de- 15 In the Steps of Mozart, S. Gordon lost/,h tailed presentation of the tech- 20 Bartok, the Teacher-As I Knew Him. Erno n,,108" nique-and arts-of orchestral con- DEPARTMENTS ducting. After point. by-point discus- 4 Music Lover's Bookshelf. Dale Anderson sion of the physical mechanics of the 6 Musical Oddities, Nicolas Stonimsley 8 World of Music art, Mr. Grosbayne thoroughly goes 16 Music in the Church Service, Part ThO: Liturgical EI 1I1t-·ut in Ihe into the interpretative and stylistic NonJiturgical Service, George Howerton problems faced by professional con- 17 Are Chamber Music Groups Helping Your .·c·lwol Onhr ..lra·J Ralph E, Ruth 18 Symphony of the Birds, Albert J. Elias ' ductors, emphasizing the psycholog- 19 Contcstan.!s vs. Musicians, lfIil/i"m D. Rt'ff'l/i ical relationship between the conductor 21 New M~slc for the New Yea.r, GIlY .Ilt';er 22 Teacher s Roundtable, Mourice Dnnresnit and his performers and the audience. 23 Music in Focus. James 8. Felton 24 ;Skull Session, Alexander McCurtl)' The book is expressly designed for 25 I'he Kreutz~r Double-Stops, Part 2. Harold O~rl.lt') 44 First play the 12-inch PERFORMANCE record and Then play the lO-inch ANALYSIS record-and TheAccordion In the Modern Dance Or hesrra. Thrrrso (MIello use both in the classroom and by 48 New Records, Paul N. Elbin see how much-and what-you hear in it, , . see how much you may have been missing potential conductors studying alone. 52 Violin Questions, Harold Berkley 53 Org~n and Choir Questions, Frederick Philli/M Among the practical aids to conduct- 54 Junior ETUDE, Elizabeth A. Gest *IMPORTANT, PLEASE NOTE: Unlike most MUSlC-ApPIlECI"T10N RECORDS (see below), this recording, because of the ing are more than 100 diagrams of length of the Brahms' concerto, is on two records-a 12/1 disc with the uninterrupted performance only, and a 10" disc MUSIC time-beating patterns; almost 200 mu- presenting the analysis, written and conducted by Thomas Scherman, Musical Director of MUSIC·ApPREC1'\TIO~ RECORDS. sical examples from standard or- Compositions for Piano (Solo) 27 Andante (from "Sonata No 1" K 2-9 \r \ chestral works; direction for score- 30 Celeste Aida (from "Highli' ht f·F ( !.. A. ,.I~/.nrt. t.di/~d b) YOlhan Brodu reading and score-marking; suggested 31 Finale (from. Symphony ~ 1)0(trllllJ~lllul',~cfor luono 01. II) C. Verdi-D ..4Stl} Music" for piano Vol 11) J' B h romO IS lights of Familiar rehearsal procedure: each diaO"ram 32 A d (f . . . ra ms-- Agay SPONSORED BY THE BOOK-OF- THE-MONTH CLUB PLEAse RETURN ONLY IF YOU HAVE A 33¥3 R.P.M. • 0 n ante rom '·Violin Concerto· E : .. RECORD PLAYER and musical example accompanies the Music" for piano Vol. Il) F 1\1 I ' n;:nor ) from ··lliJ:IJlighl of Familiar Instrumental Compositions ' endeJ sso n-O . Aga}" HIS NEW IDEA is designed for those who en- R.P.M. on Vinylite. They are of two kinds: subject matter it illustrates. Mr. Gros- 34 The Green Cathedral (Hammond eh d 0 Tjoy good mll5ic but who are aware, too first, a so-called Standard Record-a twelve- MUSIC-APPRECIATION RECORDS R46-1 gun often, that Ihey do not listen to it wilh com· ilIcb disc-which presents the uninterrupted c/o Book-of-the-Month Club, Inc. bayne-well.known critic, teacher, Chord Organ") C. Hahn, arran ed borJ W ) (from ·'.\t the Iianullond 35 By t~e Waters of Minnetonka eX y.. . Hall~rl. . plete understanding and appreciation. There is performance on one side, featuring orcheslras 345 Hudson Street, New York 14, N. Y. and frequent guest conductor throuO"ho . MUSIC" for Accordion) T L· ccordlOn) (frolU I-IlghlJ~hts of familiar no doubt about the reason: most of us are not and arlists of recognized distinction, and on properly primed about wbat to listen for. the other side an illuminating analysis of the Please send me at once the Music.Appreciation record- out Europe and America-writes with 36 Air (from "Suite Lor Tru·ml)l:tu:a~ceS' o!ra".l!ed by A_ Cande/ori n tnngs). If!. P. Lalham MUSiC-ApPRECIATIONRECOROSmeet this need- music with the themes and olher main features ing of Brahms' 1Jiolin CotIcerfo ill D major, without authority and in a lively manner. His Pieces for the Youna for a fuller understanding of music-better played separately, with running explanatory charge, and enroll me as a Trial Subscriber to MUSIC, ApPR~CIATTONRECOROS,with the privilege of canceling at book will prove invaluable. 180 mu- than any means ever devised. This enjoyable comment, so thai you learn what to listen for. ~: ~~tBrdg.t111~t?h£~};'~~:j,e~aYes fonn of self-education is comparable 10 the This standard record is sold for $3.60 to sub- any time. I underst.and ,that, as a subscriber, I am not sical examples. 117 diagrams. To be 38 Plgg1y.Wlggly March, Mae-Aileen Erb Music Appreciation courses given in many scribers only. When the seleclion, because of obligated to buy any specified number of records, but may published January 26. $10.00 universities. its length, requires two records, as in the case take only those I want. Also, I may cancel my subscrip- Editorial and Business Offices B M of Brahms' 1Jjolin Concerto-a 12·inch record lion after hearing the first recording, or any time Ihere- Published by Theodore Press~r (!n 1 awr, Pa. YOU SUBSCRIBE BUT TAKE ONLY THE giving the perfonnance and a to-inch record after at my pleasure, but the gift offer is flee in any case. June and July.August when 0,. 1!12 Cbe.stnut Sr., Pb,". P hi 'I RECORDS YOU WANT. . A new MusIC- Order through "OUl' bookseller Puhl h d h .• a., monl y, u:cepl l' ay· giving Ihe analysis-the price is $4.90 for the Arthur A. Hauser. President J8 e ImonlhJy. ApPRECIATIONREC(IROis issued-for subscrib- or music dealer, or from two. (A small charge is added to the prices Allan E, Shubert, Jr., General M ers only-every month. You receive a descrip- above to cover postage and handling.) ~nlere.d 08 se_cond elms matter Jon"ory 16~:ter. ETUDE tive Announcement about each record, written "t,.} r:;~;:;~~l 19;,5, by Theodore P'~8er Co •• ·U. s. ~l. ';::dPCr~~J"~':'11?n.• PlI.• u,,,fer 0... AN ", IlnuA J. It:'. i" by the noted composer and music commenta- TRY A ONE-MONTH SUBSCRIPTlON- ;i\frs. . . Harvard University Press The nllme "ETUDE" . . . rlI""', IntUlfttli",",,/ .,.",yn,., s_IId. ,fll ","u tor, Deems Taylor. After reading this An- WITH NO OBLIGATION TO CONTINUE ;i\fiss (PLEASEPRINT) IS regIstered lD the U.S. Palen' Office, nouncement you may take the record or not. . Why not make a simple trial, to see if 44 Francis Avenue S"bscripr;on: $3.50 a yeu in US· YOli are 110t obligated to take atIy specified these records are as pleasurable and as en- ADDRESS , .• .-. _ .. _ .. ._ in all olher couot' S' 1 •• A. and Pouelllon,· '3 75 . lIWl1ber of records. And you may stop the sub- lightening as you !Day anticipate? The Cambridge 38, Massachltsetts hy return poslllge r~~~ IDge copy price: 40 cen' •. Prinied: Ii y ... r lIS Can.d" .nd N""'.uO1..,... Pen~;'~l~f a.ddren I.ke elfecl. $coo.J bolh ,Id .dd ...... o..d ...... TWO TYPES OF RECORDS ... All Muslc- tion immediately after hearing this record- CiTY P08~I/~",;':)NO STATE. copies unrrs . agume II molt helpful in eif. .~,a. ApPRECI,\.TIONRECORDSare high-fidelity, long- 5 you prOVIde extrll pOllage, Duplinle cop;'.·,lInll • q:"ck ch.nge o ..eL The p", OffICe .. ill 1101 r...... J ing, or you may cancel any time thereafter. MAR 60 2 tanllOI u .. lenl. playing records of the highest quality-33J,1 In any case, the gift recording is yours to keep.
etude-ionuory 1956 etude-january 1956 3
4 ¢
the things that
I THE BOOKSHELF money can't buy • • • BY DALE ANDERSON come into your home
The :Mozart Handbook Fu nda m Dials of Conducting Edited by Louis Bianccl.li by Frank Naje with a Steinway One of the richest and fullest books Here i. ~ne r the me t lucid, andat upon the greatest musical genius of his the sam lime m I graphic book upon era, and possibly all time, is the very ondu ling the writer ha )tt seen voluminous life of Mozart by the well Frank I 0) ho had lear of experi: known musical critic, Louis BiancollL nee tI~ head of the \iolin departmtnt This work is far more than a con-en- of Drake nh r it), in lo""a, and i~ tional biography. In its 605 pag it reo C nductnr of the Drake·~ \foine veals exhaustive documentation as w JI ymph ny, While Ih _ork of 86 pa!~ as the author's flair for expre sian, deal with be i princilJlt of conduct. which contribute accuracy and harm iug, It concern, it ...elf with th IlraclicaI to the volume, MfWCI a '" n a the theorelical a~Jk"Cb Few people in these day have any and. unlike me ether beck ",hich conception of the amazing accomplish- JOe m 10 be aimed I producin,; human ment of MozarL They do not rea liz metronome . it i· ne\t'r arhilraq. that in his pathetically short lif of The ele lion "f meterial quotedis thirty-five years, during which tim h excellent and rhe numercu .. conducting was often very near to poverty and had "gra ph-," ~.ll.' the half·lOne ille- JOHN to work hard as a performing musician, trnrion ... arc very helpful. The bookh he produced compositions listed in thi aimed 10 produce artil,li re-uh in Ihe book numbering over six hundred works quicke-r and mo"t unpreremlcu man- THOMPSONS -this list includes several masterly n r, operas, symphonies, concerto , masses, hill)" student a..pir to have thai What does childhood add up to- cantatas, sonatas, string quartets, that Ihrill of nrcdu ing r ..uh on the podi. &sfeJ't entirely apart from their high musi al idled years or values stored in doing? um "hi h omc~ 10 r lali\e.ly fe.'. import are so voluminous that it seems Through \Ir.:':o -,' book ,h l '.n Jearn Pleasant hours at the Steinway teach Plano COurse incredible that anyone person could the arJy "Iep, in a ,. inating trl. have produced them in thirty years. The W. . Brown $2.50 a child to do and be the master of PRESENTS THE EASIEST POSSIBLE performance of these works if regularly himself-not the slave of gadgets, APPROACH TO PIANO PLAYING recorded would require months and p rs. nee \' r li£:btJy months of .time. The classified list by b R ..ben . Bradford Steinway, the piano of concert artists, Teachers ... here's a new Piano Course by Ann M. Lmgg (including the works Poking fun at J) ra i..one of the John Thompson that will help you solve one can best awaken the average player listed by Kochel) is truly staggering in easiest things to do. The .same may be of your most perplexing teaching p~obJems. Jength. to the art in himself. The player and ~aid of the greal cia llieal tragedies. All teachers recognize the foct thot some Michael Kelley, the Irish tenor in his pupils are gifted by Noture with musical "H8mJe~" "Juliu Cae~r," "Romeo the listener stir alike at its golden "Reminiscences" published in London talent and make progress with ease ... and Juli t" ha\e been burlesqued in in 1825 is quoted as stating, "Mozart voice. Made with the skill of years others, not so fortunately endowed, have to print, on the air. in \-audf:\-iUe. and in was a remarkably small man, very thin learn by arduous plodding. This course the striptease palaces time and again. and depreciating so little, the Steinway and pale, with a profusion of fine fair eases the way for the latter type pupil. So, The writer ha wiwe5Sed many ridic· teachers, plan now to include this new hair, of which he was rather vain. He actually is the least expensive of pianos. ulou accidenlS in .serious operatic per- "Easiest" Piano Course by John Thompson gave me a cordial invitation to his forman e they seem bound 10 oa:ur The Steinway bought today is a treas- in your teoching curriculum. house, of which I availed myself, and now and then and are irresistibly funny. passed a great part of my time there. ure marked for use~an investment PART ONE-devoted to developing fluency However, there are million who enjoy in reading by note .65 He always received me with kindness and hospitality. He was remarkabl the romances of 0l)era, absu.rdities nol· that pays dividends for years to come. PART TWO-introduces simple two and Withstanding. and who ignore stupid fond punch, of which beverage I hav~ THE CELEBRATED STEINWAY GRAND. This magnificent Baby Grand in Mahogany has the golden tone and the dis- three-note chords in "block" and broken 0: seen him take copious draughts. He was and impOSSible plots. E,-erything de- tinguished presence that belong only to the Steinway. It can be delivered to your home by your S.teinwa.y dealer for as formotion ...... •...... •.•... .80 small a DOWN PAYMENT as ~28600libef~ll~rms. Slightly h,gher In the West also fond of billiards, and had an ex- pends upon the point of view or me Zl> STEINWAY opera goer. THE INSTRUMENT OF THE IMMORTALS PART THREE-begins by showing the impor_ celJent billiard table in his house. Many The Steinway is the piano of great artists ... such as GRANT JOHANNESEN, tance of thinking and feeling music, phrose ln 1952 "Opera. Once O"er Light!}''' a?d many a game have I pJayed with distinguished young American pianist pictured at right, and by ph rose rather than note by note .. .80 IHill, but always came off second best. was broadcast on a network of 197 sta· tions for nine months and had a sur· Eileen Farrell, Gold & Fizdale, Glenn Gould, Walter Hendl, Horowitz, Order Your Copies Now He gave Sunday concerts, which I al- prising fan mail. igmund Spaeth, in Byron Janis, Joseph Krips, Milstein, Novaes, Solomon, Leopold ways attended. He was kind-hearted Stokowski and ma'>1y,many others ... also nearly all of the nation's and always ready to oblige b t ' his introduction, slates. "The NBC net· • , U so very leading orchestras, radio and television stations. The WILLIS MUSIC Co. p~rtlcular when he played that, if the work program was re-broadcast in Dal· slightest noise were made be' t tJ las (Texas) every fonday evening- 124 East Fourth Street left off." , InS an y and it attained the highest rating of all Our booklet, "How to Choose Your Piano," will be sent free if you write CINCINNATI 1, OHIO The World Publishing Co. $7.50 broadcasts in that territory:' Steinway & Sons, S~teinway Hall, 109 West 57th Street, New York. 4 Perennial Press $2.95 etude-ianuary 1956 5 etude-january 1956
• •
German name of the professor maybe freely translated as "ain't got it" and A Selected list of Noted Piano Publications! the place in which his university is located means Swindle. Professor YOUR MOZART BOOK Gibtnicht's article was published in Selected and Fingered by GUY MAIER the April First issue of a German These compositions, printed in their original text or in first editions magazine. approved by Mozart, include selections from favorite shorter and. lighter works. Dr. Maier has added fingering and suggestions for executing The celebrated Barcarolle from embellishments-and discloses the subtle techniques necessary for a fclth- Offenbach's "Tales of Hoffmann" was ful interpretation of Mozart , , ,.,.... 1.50 not written for this operetta. The Your Mozart Records on Two 10" Long Playing Records Guy Maier has recorded the selections from YOUR MOZART BOOK. The melody served originally for a ballet -Deems Taylor non-player will be richly reworded-Maier shows how Mozart should be number called Goblin's Song in Offen- played , , , . ,. 3.95 each record CIlAS") By NICOLAS SLO (MSKY fJl.llr:Rf ~,pc':~ bach's earlier work, "Die Rheinnixen" MOZART: SONATA IN B FLAT MAJOR (K.570) Wirh Introduction ,~- ("The Fairies of the Rhine") pro- and Fingering b)' GUY MAIER :>A VEL wrote his most Iamou piece ence of thi Bolero; without your pre, duced in Vienna in 1864. Bad luck Dr. Maier makes this beautiful sonata available for the first time in a AMERICA'S MUSIC I_\. Bolero fortuitously, through a vid ntinl intervention J would hne seemed to haunt this production. Of- single American edition and adds -pertinent comment. _ ...... 75 From the Pilgrims to the Present curious congruence of circum tance . put my oul int a us I orchestra. fenbach was engaged to conduct, but ?ltte4aet ;'iMU4 Joachim Nin, the Cuban composer, tion f lb ~nix." at the last moment he suffered an By GILBERT CHASE. Introduction by NOTE SPELLING GAME Douglas Moore. Here is the whole diversified tells this story. acute attack of the gout, and a sub- panorama of our music-from Puritan psalms, An ardent automobilist, in invit d Prilirpu Jltp Itt hPrIkayasaidto stitute conductor had to be found. -Received enthusiastically by teachers- Indian tribal rhythms, Negro spirituals, folk A simple yet fascinating music game for all ages. Ravel to drive in his car from Paris D bu )' that hi La Mer w a work As a result, the production was un- songs and ballads, to ragtime and blues, jazz Teaches the beginner note reading and the of g nius. s , cnius?" retorted successful. The Goblin's Song was and Broadway musicals, and important Amer- to San Juan de Luz, one day in Jun De- keyboard. . , ,...... 1.35 iean experiments in symphony and opera. 1928. Ravel gladly accepted, and th bu j , "D ou kn w B rodin' n~ heard again in Vienna when the Ring A work of prime importance to laymen and scholars alike. "An invaluable reference pair started off from Paris early in The ell? Ther i genius! Mine" Theater produced the "Tales of Hoff- THE MICHAEL AARON PIANO COURSE volume and source book."-1iZn Francisco the morning. Ravel smoked ince andy imitation." Brodin' 80ng i indeed mann" in 1881. But after the second fA Partial Listing) Chronicle. Illustrated with musical examples. his brand of strong cigarettes, much on of th 111 st impr . he musical performance of the operetta, the thea- MICHAEL AARON PIANO PRIMER , .60 150 pages. $8.50 at all boo est ores, to the annoyance of Nin, who pre- a 8 ,with WB\' rolling in the ter burned to its foundation. After MICHAEl AARON PIANO COURSE Grodes 1-2-3-4-5 , eoch 1.25 McGRAW·HILL BOOK CO., Inc" N. Y. 36 ferred milder brands. Almost ca ually I ft hond of th piano a ompanimenl this dire coincidence, no Vienna thea- NINE GOLDEN KEYSTO EASY READING Ravel remarked that the Ru sian whil th dramati 011) )lICOpated ter risked to stage the ill-starred work by HAZEl COBB dancer Ida Rubinstein, comrni i n d rhj thm reate th impr ion of em- for a quarter of a century. It was a A new approach to note reading! Immediately establishes the placement fine act of vengeance on the part of him to orchestrate Iberia by Albenia. in us danger, Th implacable sea in of nine strategic keys-the five C's and four G's. Reading is facilitated "But it is impossible," said in; Bor din' poem ubm rg the .. iler the offended goblin whose melody was by further relating these keys to all other notes ... , ..... ' .. ,.. .75 "Arb os has just completed an or- with hi ) oung brid and their II"" made to accompany not ghostly ap· DO IT YOURSElF ON THE NINE GOLDEN KEYS TO EASY READING chestration of the same suite for La ur , and rolls on in D long piano solo par itions but Venetian gondolas. by HAZEl COBB & EUGENIA ROBINSON Argentina." "No matter," Ravel ob- in th n luding Ilage of the music Outstanding new supplementary material to the original volume ,75 Earn MORE served imperturbably; "It would For the first performance of DAVID CARR GLOVER, Jr. much amuse me to do this work, and • Glinka's opera "Russian and Lud- Teaching PIANO besides Ida will pay me munificently, milla" a secondary female part was TIP TOP TUNES (Books 1-2-3) and I need money." given to a young soprano named More hours of fun and practical ~eaching in these collections of original enroll now for D I BETH YEN ever write I When they reached San Juan de Schifferdecker who changed her name piano solos. Each book is carefully graded, each piano solo is ideal for Advanced HOME STUDY! quint t in A Inajor for 2 \iolin:. enjoyment and study , , ", each book .75 Luz, Nin telephoned to the publi hers for the occasion to the more melli- Improve your own perform- violo. d ubi ·ba and a .inging hair of Albeniz in Paris, who assured in fluous sounding appellation Lilyeva. ance! Learn latest improved comb? Th work i nol Ii ed in the BOOGIE WOOGIE SCHOOL DAYS methods to stimulate your that exclusive rights were indeed most c mplete Beetho\-en catalogs. In one scene she was supposed to An elementary piano folio with five etudes in bright and bouncy style. students: interest. Keep them granted to Arbos for the orchestra- but we po~ a d ription of its express passion by exclaiming "Oh!" 1. Getting Up Boogie 2. Off To School Boogie 3. lunch Time Boogie progressmg [aster! 4. Going Home Boogie 5. Friday Night. Boogie complete .75 tion. When Nin reported this con- origin. It inS that Beetho\"en 'tf35 at the sight of her beloved. She sang Our outstanding Teacher's Piano ve:sation to Ravel, he became greatly staying" ith the famil of a vio\ini,i this "oh" without any appropriate THREE CHORDS IN THREE KEYS by ERIC STEINER Course offe1"ed thru Home Study agItated, and declared that he would named leholy. ",hose coU>in played emotion at the rehearsals, and Glinka treats and solves every teaching go back to Paris on the very next was in despair. As she was about to Ploy familiar melodies accompanied by the three principal chords of the doubl ·bass and whose daughter C·mai,or, F-major and G-major. Encourages early study of harmony and problem. tackle the scene once more, he sneaked train. Nin took Ravel to the station pIa ·ed the viola. One day the)' had I WRITE TODAY FOR SAMPLE LESSON transposition , , , " .75 just in time to make the train and as visitor. ount lafgemach. k be behind her and at the proper moment ------_. R~vel jumped into a comp~rtmenl, pinched her as hard as he could. "Oh! ~NIVERSITY EXTENSION CONSERVATORV mounted th stairs o[ the pal.ti~ INTERVAL PLAY by RALPH HEIDSIEK Nm handed him his baggage through Oh! Oh!" exclaimed the girl. "Per- 2000 S, Michigan, Chicago 16, Dept. A.837 1ehol r idence. he heard tbe sound; Designed to. create gr~ate, familiarity with all the intervals found in music. the wmdow. fect!" said Glinka. "Do it exactly of a strang but beautiful instrument 100 shor~ plec s offen~g the young pianist on opportunity to ploy enjoy- Please send me sample lesson A few weeks later in received a like this at the performance, and you 7 and full information about He directed his steps to...ards tlJc a~le musIc whIle learning the size and "feel" of all intervals from the will produce a great impression." Teacher's Normal Piano postcar~ .crom Ravel saying that he music. and found a little boy biding mInor second 10 .the octave ... " .. ".,...... 1,00 was wntmg a piece of his Own for Course. und l' the stairwR)'. playing on I I~a Rubinstein; a very unusual work Victor Hugo attended a perform- Afat"ln Kalan'~ -rla,u>ty)!Jap~~~(.!In 2 (,,>,,/;~) f!AllE ,,,'- comb. He told Beetho,en about the WIth no modulation and no d I Teaches the plano student the'rudiments of harmony and their application. . eve op- bo)' and hi comb. Beetho\·ea becan~ ance of "Rigoletto," "What did you Siresse~ .chords and chord progressions, keyboard harmony drills and APPR!SS _ ment, Just a continuous theme in Con- think of the quartet?" asked Verdi. interested and decided to ",rite I stantly changing instrumentation, It ear tralnmg. Book I-Beginners Grade Level 6Sc quintet for comb solo and 4 string "Fine," replied Hugo, "but if you in- CITY-- 'ST...T~ was the Bolero. When the seo Book II-Intermediate Grade Level 1.00 ' re was sist on having four people speak all bl instruments. The ore was disco,-ere
IN GREAT WORKS of art, whether in paint, stone: or sound, contrast plays so vital and varied a part that it is all the more remarkable how often its presence is taken for granted or else almost ignored. In music especially it repays detailed study: for in some ways its possibilities are greatest in an art that exists in time and 110t in space. Contrast in music may lie in form or in harmony, in tone-colour or in rhythm, it may be gradual or sharply defined, limited to a single piece or movement, or even dependent for its effect on the subtle relation the music which a whole work may bear to another. The last is, broadly speaking, only an extension of the other kinds on a large scale, so let us glance at a few examples of these others before considering this special form of America of contrast as it evolved in Mozart's hands. Here an analogy from painting may be of assistance. Put Brueghel's landscape "Summer" (one of his "Four Seasons") beside Rembrandt's "Night Patch". It needs no expert knowledge of art to appreciate how For more than forty years the members of easily and subtly Brueghel leads the eye gradually from the bright the American Society of Composers, Authors and Publishers have supplied our nation's tremendous entertainment world with its Creative Contrast in Mozart basic ingredient-the music of America. foreground of peasants away over fields and valleys with their softer An ASCAP license grants the commercial user colouring, to the almost unreal blueness of the mountains and rivers A number of Mozart's of music the right to perform the Society's entire merging with the far horizon. There are no bold stages between the distant background and the foreground. Rembrandt, working on a works are considered repertory in one complete package. The top tunes comparatively shallow plane, delights the eye by a series of sudden of television, radio and records, tomorrow's plunges from darkness and shadow into brilliant light, across the whole as regards their canvas. With its easy transitions from powerful chords to pearly scale- song hits, yesterday's favorites, hits passages, its clever gradations of mood and rhythm, Chopin's "Bar- contrasting significance. from Broadway and Hollywood, as carolle" may be compared to Brueghel's landscape. But when Haydn, in his great E-Aat Sonata (No. 52), ends the first movement on sonorous well as the best in the field of classical chords and fiery. progressions, and then follows with an Adagio in the sweetness of an unrelated E major, he is exploiting a technique similar and religious music are always to Rembrandt's. So too, does Beethoven all through the first movement available through an of his Pianoforte Sonata in D minor. by A. Hyatt King In Mozart the iridescent ebb and flow of the Rondo in A minor for ASCAP license. clavier is truly Brueghelesque, but the slow movement of the Violin Sonata in B-Aat (K. 454) is full of violent transition in Rembrandt's manner, in which rhythm and key, light and shadow alternate power- fully, as after the double bar where F minor rises from a pause on Biflat. Plainly, in their instinctive feeling for this and other kinds of contrast, Mozart and Haydn owed much to the generation of composers who had rebelled against the domination of fugal uniformity and developed first-movement form, which is based essentially on the setting-off of two groups of contrasting themes. Two far-reaching conventions sprang from this artistic revolution. The various move- ments required contrast among themselves-even more than had the sections of the older suite form-and since sonatas and even sym· phonies were very often written in groups of six, for reasons of patronage and publicity, one was often (Continued on Page 56)
(A new book, "Mozart in Retrospect," by A. Hyatt King, has just been published by Oxford University Press, Inc. A review of this work will appear in a later issue of ETUDE. Meanwhile through the courtesy of the publisher, The American Society of Composers Authors and publishers ETUDE is privileged to reprint here a very interesting and revealing chapter 575 Madison Avenue, New York 22, N. V.' from the book. The author, A. Hyatt King, in 1953 was elected to member- ship in the Zentralinstitut iiir Mozartforschung in Scizburg.s-Ed. note)
10 etude-january 1956 11 ~_..._------etude-january 1956 •
A LEADING BARITONE OF METROPOLITAN OPERA COMPANY
the gives advice on Mozart Bicel1tennial CARING a partial listing of programs honoring this event for the coming year = for the VOICE o OBSERVE the bicentennial of at each of a series of scheduled Vari u div rt imenti, lring quar- TMozart's birth, most of America's concerts. tet and quint I highlight d 8 '0_ , outstanding symphony orchestras are At least six piano concertos, includ- vcmb r lozart festival at Pomona offering this season special perform- ing the two-piano concerto in E-flat llcg alif rnia, parked by the from an interview witlz Cesare Siepi ances of Mozart's choral and arches- (K. 365), and the Rondo for Piano gh uart t. as told to ROJe Heylbut tral works. A listing below indicates and Orchestra (K. 382), are being H r £0110\\18 a partial li..ting of at random the number and scope of performed by American orche traa M zurt I rformnnce glean d Irom Cesare Siepi at work studying one of his favorite roles. such works which have already been this season. Etude's random p II of American or shall be played be- ~) mphony or h tras, o DEVELOP and maintain the ing all five vowels on one tone and pression, and thus prepare the voice fore summer. As one Boltimore ymphony T voice is a life-long matter of good on one breath-AH, AY, EE, OH, for more advanced work. It is helpful, might anticipate, Sym- y rnphon y o. 41, care, based upon correct breathing, aU-and then continuing this in an 1 think, to begin singing sofeggios on phonies Nos. 40 and 41 "lUI iler" correct emission, and intelligent use. upward direction throughout one's an open vowel-AH or OR-rather are the favorites with Piano nc rio in E Both development and use of the voice middle register of range. If the col- than on the more closed EE. I have a conductors everywhere, flat K, 271) depend largely upon well-chosen ex- umn of air sits freely on a diaphrag- distinct recollection of the value of but the North Carolina inf nia oncertante \ercises. These exercises will, of matic breath, and if all the vowels solfeggios! When I was singing in Symphony has chosen in n.t (K. 364) course, vary according to the type of are pure vowels, the throat is opened, church, once, I was called upon for to play the relatively 80.10/1 ymphony voice and the individual needs of the and the voice takes on proper focus. an Ave Maria within a few minutes rare one-movement \ mph ny No. 40, G individual throat; but the method of Some vowel sounds come more easily of the service itself. As I had none work in G (K. 318), minor projection is the same for all. than others; in forming a vowel like ready and as there was no time to and the Chicago Sym- inf nin oncertante Let us.consider some of the factors AY, for instance (as in able), great get one, I put the words of the Ave phony Numbers 29 and (or Oboe. larinet, which make for vocal care. In gen- care should be taken to prevent any Maria to one of the solfeggios in Con- 34. Besides the popular H m and Be • eral, it is not good to work more suspicion of an EE creeping in, like cone, and the result was excellent! Sinfonia Concertante in 10 nie Funeral Mu- than an hour at a time. From the a final tail. EE must be mastered, of Another useful point to remember E-Aat, for Violin and i (K.4i7) sheerly technical point of view, this course, but only in its own right as is that building and keeping the voice Viola, a Sinfonia Con- "Ein Kleine 1 acht- should be enough. The best way to EE-never as a diphthong. addition to should not involve freakish habits, certante for Violin, Vi. mu ik" (K. 525) warm up the voice, before actual AY, because this changes the position either of singing or of interval pro~ ola and Cello, hitherto Chicago ymphony singing, is to work at scales and of the throat within the sound and gression. Warming up the voice is a neglected, has been res- -mphcnie e. 29, vocalises. In order that these may harms tone. preparatory matter-like warming up cued from ohlivion by 3.J. and 41 be sung with good projection and a In warming up the voice, any good an automobile engine; you start your violist William Lincer Piano Concerto in C good throat position, the singer should vocalise is helpful; published exer- engine gradually, so do the same o£ the New York Phil- possess a thorough mastery of the major K. 503) cises exist in abundance, and one can with your voice. Keep conservative harmonic and played Violin Concerto No.5 five basic vowels-always being care- always combine tones oneself. In sing- in what you do! by that orchestra duro in major (K. 219) ful that they are pure vowels, without ing them, however, it is good to avoid After a while, then, the all-vowel ing the current season. any suggestion of diphthongs. A good infonia Concertante extremities of range. Begin on a low vocalises must be broadened to 'in- Under the auspices and simple exercise consists of sing- tone (but not your lowest) and sing in E flat (K. 364) elude the singing of words, and for of the Southern Cali- Bernhard Paumgartne~ conducti.ng the "~amerata Acadenica" orchestro Je in C Minor up to a high tone (but not your high- this one needs clear enunciation. fornia Chamber Soci. at Schloss Klesshelm for EpiC recording session of MOlart Iu wor. Cincinnoli OrcheJlra est) . Forming the attack on one's I have found that the development of ety, West Coast listeners will have an R t ti h I epresen a lYe c ora works em- ymphony ·0. 40, G minor highest and one's lowest tones is an good singing-speech is mostly a mat- opportunity to hear the Serenade for bra th M . C M exercise in itself, and should not be ce e ass In inar the Piano oncerlo in D major, "Coro- ter of hard work. If there are no 13 Winds (K. 361), Divertimento Requiem and the cantata "Dir 'Seele nation" used .for warming up. speech impediments to be overcome, (K. 287), Horn Quintet (K. 407), des W It II " T ' When the voice is warm and flex. enunciation is more psychological Clarinet Trio (K. 498), Piano Trio voi e ad s. h wo concert(K arias for SinConia oncert811t in E.Aal (K.364) ce an ore estra . 418) and I. in C 'lll'nor ihle, one can start singing solfeggios; than muscular; you hear the word in (K. 548), Sonata for Cello and Bas· (K 217) h .. . , tree concert versions of "M' [ F' ., these exercises have the advantages your mind, clearly, and make up your soon (K. 292), Violin and Piano "C' f " arnage 0 19aro oyerture of vocalises, technically speaking, at OSI an tutte, and one of "Figaro" "Cosi fan tutle" mind that it must come out clearly. Sonata (K. 526), Piano Sonata (K. plus two concert performances of e~- Cleve'-- J the same time that they introduce ele- Here again, one avoids exaggerations. 576) and the Cantata "Dir, Seele des ce t £ "K' "H< .. ments of legato, of melody, of ex- Overemphasis of enunciation seems W rp s rom mg Thamos," are Synlphonies I o. 39. 40 and 41 eltalls." One work is being played scheduled. artificial in sound while, vocally, it (Continued on SO) • At left is picture of Cesare Siepi Pogo in the role of Don Giovanni can also (Continued on Page 46) 12 etude-january 1956 13 j THE TAPE RECORDER IN THE MUSIC ROOM
Suggestions for the use of recording equipment in the educational field
by WOLFGANG KUHN
(In presenting this article on tape only very frustrating but also down- ever, that the recital or public per. recording, it must be understood that right discouraging. A teacher will formance i frequently not an ideal ETUDE is merely calling the reader's find much more oonstr uctive use Ior time to catch a performance that is attention to the vast possibilities 0/ his recorder than catching mistakes. best for a permanent re rding. To this medium in the educational field. Record student progress. One of begin with, 8 public performance may ETUDE is entirely familiar with the de- the most common uses is to record a contain lips f technique, lone qual. tails of the copyright laws pertaining to student when he is at the initial ity, n mble, etc. ~ hile these are the reproduction o] copyrighted music thing f th m ment during the Con. in whatever medium. It emphasizes the stages of his work. It does not matter [act that according to competent legal if the student is a beginner or if he ert and ar t I rat d by the audio opinion the "unauthorized use o] copy- is well on the way to becoming a mu- ence, it i quite another mailer to righted musical compositions in connec- sician, such a recording will provide have them per] tuat d 011 the tape. " tion with audio or visual reproducers an objective basis of indicating wh re Then, t ,thc~ minor thing are Ire- In the steps of Mozart" and projectors would be in violation the student now is, and what needs to queerly xagg rat d by the micro- of the exclusive rights which the law be done next. Having made the initial phone in BU h n hay that I~ey rna) grants to the copyright proprietor," tape and having used it for evaluating be me very obj rionable in a per- A brief look at the master's life and times as they affected Educators using tape recorders or the student, one should now file it for manent recording. Another limiting any type oj audio-visual equipment are his creative output, advised to secure permission from the the future. As the student progre ses, Inct r in r rding the public per- copyright owner before making a repro- periodic recordings can he added to forman may I that since the first duction of any copyrighted musical the tape, so that it becomes a record bligati n of the soloist or th ensem- hy S. GORDON JOSEPH composition.-Ed. Note) of student progress for use by the ble i t th eudi n e in the concert changed in its fundamental appearance, since the days teacher, the student and his parents to hnll, rnodif ti ns of ""'ting and AFE WINKLER is the place to go for a bird's-eye view of Mozart's life and times. This famous restaurant when the composer walked its streets and squares. show the development and progre proper pla ment of microphones C stands on the Monchsherg hill at the west end of Salzburg. A Mozart pilgrimage must begin at the beginning. So pERHAPS one of the most versa- made. Perhaps it should be pointed wh i h ar ntia! to pr rve the Sitting at one of the tables on its open-air terrace, with I descended from the Cafe Winkler, by way of the eleva- tile and useful pieces of equip- out that it would seem unwise to com- "pre enc "of th performance on tape. a cup of coffee at my elbow, I enjoyed that magnificent tor built inside the rock of the Mcnchsberg, and soon ment for the music teacher is the pare one student's work with another are fr qu ntly impos ible to obtain. panorama of the city before me: and everywhere, a vre- found myself in the medieval lane called the Getreide magnetic tape recorder. It has been in this way. The nature of the tape is Theref r. it \\I uld be wise, if a minder of Mozart. Gasse. A couple of hundred yards or so up this narrow developed within the last ten years, such that being an intimate record, it perman III r rding i desired. to The street that begins right at the foot of the Monchs- street, with its medley of artistic shop-signs jutting right and during that brief span of time may be effective in motivating the in- call for a special r arding sicn berg, for example, and runs away due east, just a jumble out above the sidewalks, I came to Number 9, on the has made all other ways of recording dividual student. A comparison, how. at whi h time some of th variables of roofs from my table-that's the Getreide Casse. And right-hand side. The house faces a little cobbled square at home, in the studio or music room ever, with other students solely On can be better controlled. It is aL more or less obsolete. Among its there, under one of those roofs, in the house Number 9, which opens out towards that part of the street, thus the basis of a tape recording could be advi able t r ord each _ lection many virtues are simplicity of opera- Mozart was born exactly two hundred years ago this giving a chance to step back and take in the complete quite devastating to the student be- several tim during this special ses- tion, fidelity of reproduction, and eco. month. The great castle perched on the hill directly ahead view of Mozart's first home. It was up there, on the third cause many other factors \:hich sion, so that there i 8 choice possible nomical purchasing and operating of me~that was the stronghold of the Archbishops of Salz- floor, that a son was born to Leopold and Anna Maria should be compared and considered as to whi h "take" i 10 selecled be burg in whose service Mozart laboured, underpaid and Mozart on 27 January 1756. This seventh child they called expense. No wonder then that music in such a situation are here left out. for preservalion. Iso this will make unappreciated. Away to the right, with its back against Joannes Chrysostomus Wolfgangus Theophilus: but the teachers are using the tape recorder Some teachers record as a matler of po sible tll pUcing of a tape per· the rocky wall of the Monchsberg, the Festspielhaus first two names got lost somewhere before Mozart died, as an instrument in their teaching. course every recital, performance or formance and editing it to the best (Festival House) has been giving top-line performances and the last name changed to its Latin equivalent~ Probably every serious music stu. public concert of their students. Th is advantage. II of these techniques of Mozart's music ever since its construction in 1925. Amadeus. dent has at one time or another duro is hel~ful. in many ways. It provides whi h are po ible wiLh magnetic Mozart knew it as part of the palatial 17th century stables, The house on Getreide Gasse has now become a museum ing his professional training recorded an objectIve manner of evaluating the tape arc. of course. widely used in belonging to an age when the horses of the archbishop of Mozartiana. Its first acquisitions were gi£ts~direct his performance. Taping a student's performance. A tape made during a commercial record in _. were better housed than the ordinary citizen. from the hands of Mozart's widow and sons, to the performance is perhaps the most ob- public performance should perhaps vious use that a teacher might find Ever recording ngineer and pro- Over to the left there, across the River Salzach, stands Cathedral Music Society and Mozarteum. There is the not be played back immediately after for the tape recorder. After all it is ducer can d ument these points from the Mozart Hauschen. I t was in that little summer house clavichord of year 1760, on which the very first sounds the .concert while both teacher and simple enough to hold a mirror' up to his own experien e. t the [niveJ' that the composer is said to have worked on "The Magic of "The Magic Flute" and the "Requiem" were heard. pupIls are still "keyed up." It is better the student in this fashion, and much sity of I1LinoL. (or instance. we were Flute," while in Vienna. Anyway, it has been transported And the Anton Walter hammerklavier of 1780, beloved to wait until the following day or engaged in making 1118 tcr tapes for hundreds of miles from the capital to its present place by the composer and used at all his concerts during the is to be gained from this experience. later, when the events of the per. However, a word of caution is in or. an LP pressing of 8 gigantic rnu5ical in the Mirahell Gardens. And fronting the gardens along. last decade of his life, shares the third Aoor Aat with formance may be viewed aga' . der: Don't use the tape recorder to . ill m production ored for a large chorus. side the river, the Mozarteum-with its 3000 volume Mozart's first violin. The piano figures among the draw- thelf proper perspective. The tape show a student only the mistakes he soloists. and a full orchestra. The library, its letters and notebooks~is a positive gold.mine ings 00 the wall-a family group with the young Wolf- may. then provide a most effective makes. Chances are that he is aware performance was under the direction of information concerning the master and his work. In gang seated at the keyboard; and there are other pictures leadrmng. situation for both teacher of his mistakes anyway, and to have an pupIls. of a guest conduclor whose sen'ices fact you can hardly take a pace in Salzburg without fol· of his parents and relatives, be&ides a portrait of Mozart them mirrored in the tape can be not would no longer be available lowing in the steps of Mozart. How little, too, the city has at, the age of six, when he (Continued on Page 40) Let's keep clearly in mind, how. (Continued on Poge 4i) 14 etude-january 1956 15 etude-january 1956 f"
CHORtlL DEPtlRUJENl' ORCHESTRA DEPARTMENT • the Church Service Music In Are Part Two, Liturgical Elements Chamber Music Groups Helping Your School In the Nonliturgical Service Orchestra? by GEORGE HOWERTON Quintet of woodwinds and piano, School of Music. j University of Southern California, Ralph E. Rush, coach. s rvi e format antithetical to innate HE CHOIRMASTER in a litur- the first step in that direction is u u- A CHALLENGING QUESTION IS GIVEN A MOST HELPFUL DISCUSSION Tgical situation has at least one . ally somewhat as follows: religious onvicti ng. major problem already solved for Admitt dly s m or our more con. PRELUDE (organ) him, namely, a problem which per- servati ngrcgalion. would do well by Ralph E. Rush petually confronts the average choral ANTHEM (separated from the Of- tor I 1 mu ic a place or greater fertory by scripture or prayers) illli ortance. It demonstrated director: "What type of music should has been LL· THROUGH the years wben in the experienoe.Tf only more school If parents and music teachers are OFFERTORY (organ, vocal solo, my group be singing?" In the litur- over and 0" r again that an effecti\e orchestras were being improved orchestra directors had participated seriously interesled in developing or a second anthem) u of g d mu i has drawn many gical service, the selection of reper~ A and perfected, a parallel devel- in this past-time during their student school orchestras that will produce toire is predetermined to a large ex- POSTLUDE hitherto unint r sted per ons into the opment was taking place among the days, how much more eager they musical results and give youthful tent by the nature of the ritual. Even chur h pr gram. To many Protestant best players of these orchestras. Be· might be to make this a part of the players a maximum of musical en- The two preceding schemes are though considerable latitude of choice mini leu and cngregations hare cause of the intimate and personal weekly musical fare of their young joyment, then the encouragement of bare outlines for the typical service is admissible, the range of repertoire been remi in thi r peel, haying contact with a special kind of music charges. Certainly these orchestra chamber music groups within the which avoids any suggestion of litur- is to a degree circumscribed by the ign red the power of music and its known now as chamber music, the teacher-conductors would have much orchestra must certainly be coneid- gical elements. However, there i to format of the service. appeal 10 th human pirit. best performers have always found less concern about each player con- ered in the planning. be noted a growing tendency on the The choir director in the nonlitur- ne of the In st obviou and one this type of music making their first tributing correctly to his group if For a period of better than twenty part of nonliturgical churches to in- gical church is more nearly on his of the first of th liturgical usages10 choice. From early Elizabethan days, each young player were having small years while this writer was absorbed corporate in their service certain own. In the preceding article (see be incor rat d into the nonHturgical when one of the earmarks of an ensemble experience as a part of his in finding ways and means to develop elements drawn from liturgical usage. ETUDE for December 1955) con- s rvi e has been the employment of English gentleman was the ability orchestral training in school. school orchestras, the use of small sideration was given to some of the This brings up the problem of the the robed h ir. Ithough. in some 10 participate in music making for the ensemble groups to encourage growth factors bearing upon this problem. basic philosophy underlying the serv- of it elaborations, bordering now and small room with a small group of There is something about chamber among the better players was found Once the general frame of reference ice order of the particular church. then even upon the bizarre, it acta· performers, to the present day when music that unites its followers in a to be exceedingly helpful. It sbould is established as to quality and char- In some situations, the incorporation sionally tray far from the straight young Americans find this form of kind of world society of musical be of more than passing interest to acter of music proper to the individ- of such elements would be entirely liturgical patb. nevertheless the rob- music just as delightful, chamber amateurs. No matter whether it be note that the first small orchestras ual church, the matter of choice of out of order, especially when the ing of the ch ir has brougbl into music players, like speakers on a the artist performers from a famous in Europe were chamber orchestras, specific items emerges as an impor- church in question adheres to a type many noncomformi t services a vel- panel, have found that each indi- string quarter re-creating the beauties and there is some basis for the belief tant part of the director's job. For of belief in which stipulation is made come element of dignity. As soonas vidual must make his own ccntribu- of a Mozart opus, or a youthful group that the first orchestras grew from the typical nonliturgical church the as to the position of music in the the robed choir i used, orne changes. tion to the activity if it 'is to be of strings or winds struggling cheer- string ensembles. On the other hand customary minimal skeleton of special service. It now and then happens that in musical usag will almost ineri- worthwhile for any of the group. fully through some student work, it is important to remember that the musical items may be indicated as a musician finds himself in such a tably eventuate, For instance. once An introduction to chamber music everyone belongs to the society and wind chamber music groups grew follows (in addition to the hymns, position, one which does not accord the choir be been robed, it is a logi· and small ensemble playing is one of all share the common joy of making from the orchestra, since the desire which for the purpose of this discus- with his Own pattern of belief. In that cal step for the ingers 10 march down the surest ways to develop a good music for themselves. There must be of wind players to emulate their string sion are considered outside the frame case i.t is not up to him to "remedy the a Lie in ord rly file and sing the orchestral performer. When one con- much friendliness in the music made ensemble playing colleagues was so of "special" musical selections) : the SItuation," or "to improve the opening hymn 8S 8 processional. siders the wealth of excellent chamber by a few well blended instruments strong. music." If he cannot accommodate PRELUDE (usually organ, or pos- Similar! . at the conclusion of the music literature that the early clas- playing together for no reason other During the sixteenth century many himself to that form of belief and sibly piano) servi e. the choir can march out sing- sical masters as well as the later than sheer enjoyment and apparently compositions appeared in Italy by the starting from it, raise the musicai Romantic and present-day composers under no leadership except that of OFFERTORY (anthem or vocal ing the final hymn. 1 this point the name of "Sonata da Camera" which standards as he works within the have made available to our generation the composer himself. Chamber music solo) following elaboration of the .sen'ice I." meant that this music was to be played framework of the service, he should there seems to be all the more reason wears well, in fact it becomes more rather than SWIg and was intended POSTLUDE (organ or piano) i naturally suggested: find himself another position oue PREL DE wby the youth of today sbould be and more attractive as one lives with for performance in the chamber or more i~ keeping with his OWn ~astes. encouraged to engage in this enjoy- In most nonliturgical services the CALL TO WOR HIP [sung in the it. The true spirit and soul of good small room of a royal court rather One thing is certain in the light of able type of activity. Aside from the offertory immediately precedes the narthex. or vestibule, before the music seems to become much more than for tbe churcb. In Italy, Eng- hu~an psycho.logy: he is pursuing a excitement and pleasure of partici- sermon. If some expansion of the entry of the choir and the sing- real when devotion and understanding land and Spain this form of music Iruitlesa task If he forcibly attempts pation of such a choice hobby, there preceding scheme appears desirable, ing of the processional hymn. of this form of music becomes a part had its early beginnings and develop- to wrench the congregation into a or (Continued on Page 49) is great musical and cultural value of any individual. ment It is (Continued on Page 39) 16 etude-ianuary 1956 elude-january 1956 17 •
BAND DEPARTMENT RADIO.TELEVISION • • contestants VS. rnusrcrcns ADIO E PERIMEl'iT proves its worth In preparing for contests many problems must be this month, as James Fassett's "Sym. X phony of the Birds" is issued in re- solved if the bgnd is to achieve a satisfactory rating the man who has been CBS Radio Music corded form. N ow, r I N Y " f I )rears and commentator or the ew ork DIrector or twe ve . "11"d " . S phony broadcasts Ior SIX years WI get WI e- PhllharmOlllC- ym scale recognition as a composer. .. ". '. 'I' b d any musical rrammg, Fassett admits. HIS ~ ve never a I 1 [" " nposer comes with the ie p not 0 musicians emergence as a COl . . h h died but of ornithologists-at Cornell IlIve"rI11Y'lw eArededlu II the calls of a variety 0 )1f(~. n III Irect) and tape-recor ded r ·1 Lo " ibl f the compc iti n "a 0 n n ,compo r UIS responer e or . rid "Whe 1 1 played r r him som n my ear y un Gruen berg. J 1J ••I ed " t with bird calls r C UIl!. 'l\~ tt, ie seem expenmen 5 _I I I I" h I d " ht d nd said 'Jf only I hod hac I' reco« illS W n • eI19 e a, J' d ' 'I·' .iti " the opera 'Em I r r on all reen I"an~lon~ was WlJ ] no d I" "\ -I certainly would hav ill orporete t lem. mtc m). JUll@e Onder' he tu rn d t me and asked, \\herher II would scenes. 1 W, . • • f bi d 1'-" be possible to write a H1USIcai c mpO~\ttIOn out 0 ur ca L!. \Veil nO\\1 I've given L ui 111) answer. The response to th work, an +1.\ n'Oli~lUte piece culled from the calls of seventeen different hirds which \\ pia ed on an intermission of the Philbarm nic hI'" prill·,"L jm' more Dimitri Mitropoulos end James Fassett outside of Carnegie Hall. evidence," he says, ·;thal Ih publi i int re-ted in and enjo Award winning band of Joliet (Illinois) TownshipHigh School, Bruce H. Houseknecht, conductor. experiments in sound." ft r lh br OdC8'1'tof lhe ml)ho~). by WILLIAM D. REVELLI he received eight lhOllsan I I nCT" , 01 of 100 'pr In8 hope that the wOTk woull be ~ . OTtI h~ec eh ~gr.ph .... Within a few weeks, thou- uaLe their progress and standard of ties and program. As a result, the too, have discussed th I ... 11I"1) of reolll1l;' b"d balltllo sands of school bands will begin their performance, then the contest will work at this level lacks finn founda- this music. preparation for the annual band con- serve its rightful function. However, tion. The students are deficient in How did he make hi sin "in nlph n "ith ..uth birds l! tests which for many years have be- if they over-emphasize and place Ihe technical proficiency, and musician- the winter wren, the pie-bill I rebc:-. ea ..t rll fllead Yiolark,~. come an integral force in the develop- winning of a contest above that of ship, and in order to render even a '',·naed blackbird 5 nlY sparr \\. \\000 thru It and hem:ut ment and progress of our school developing the band, then the final Symphony ' • 0 'C • d d fairly satisfactory performance of the thrush? "What ga e III man of th tn IOOi.,; me YioIf ~n bands. results are certain to be disappointing. contest selections, must rehearse them strange, others of un orthl' I uut)." h rc Qunl ,""'8 pllJln, It is not only desirable, but for 1110nths prior to the contest date. the tape· record d call at ~I \\ r than n tm I ..pteds ~otes participation in these events necessary that emphasis upon winning This is, of course, a fallacy and edu- which are normally too high uel 1 r pid (or lh human ear has come to be recognized as one of never supplant the true purposes of calionally unsound. If the high school to perceive emerg d a a daulin t" ri or tria I end ru and the most worthy and enjoyable activi- the band's participation, namely, to band program is to function efficiently of arpeggios, variety o( in a k "hen Ih la "e~ P~I)ed . ties of the students' entire musical pace the road to excellency-not to there must be sufficient and high two, four and finally eight tim I \\ r. In facl..'"' mung the training. In their preparation for the defeat an opponent. quality instruction in the grades, for work of the trumpete swan and p18nni@:an. in.h middle 1OO\"t- contests, the conductor and his bands- ilnother important point for it is here that the future high school ment (Hthe buffo. or comi at ~ lion''')_ that one rtCOrd com- men are confronted with many prob- consideration is that of the funda- bandsman acquires the skills and pany wants to release it separat I a a nlamoo lune. lems which must be studied and mental training received by the stu- basic musicianship which will serve the HI guess it's swan 1 lrumptt ~ the rend ring n onl - Io!. solved if the band is to achieve a dents. Too often, we find bands whose as his standard for the future. but doubling on the trombon _ and tuba. '"' meUm in dod satisfactory rating and performance. training is so shallow and deficient It is in the early years of his with himself, that prOH~8 inuiguiug:' U "'I wal . Too often these details are that contest participation is highly training that the seed for the stu- In three movemenl$. the mph u bD~ M much poWbIe: given insufficient attention and the undesirable. dent's proficiency is sown. If the on the classical syll1phoni form. be~in~ wilh I Illio-mw_ute results are discouraging to all. The 'f we will review the com- quality of instruction in the grades is BIRDS introduction built entireh On a IConlillllflf"tl tm Pat:.t 58\ conductor and his band would do plete instrumental program of the as it should be, he will receive a well to recognize the necessity for high school bands whose records thorough foundation in the elements giving time and consideration to the show consistent first-division ratings, upon which he is later to be tested following suggestions which are pre- we will discover that their grade and and evaluated. Yet, each year we find .James Fassett discourses on the subject of illtervie"ws sented with the thought and hope junior high school bands are also numerous school bands whose fun~ thaI they may prove helpful to all consistent winners. Hence, the high damental training is obviously defi- and tells about his unique compositi07t participants of future contests. school band of these situations repre- cient, attending contests only to dis· sents and reflects the excellent funda- cover that they have grossly neg- which he has produced from the recorded calls First Things First!! mental training achieved in their lected those elements of musical per- grades and junior high schools. fonnance so necessary for a satis- of seventeen differe1Zt birds 'f the conductor and his Often the reverse situation b .\LB RT ]. WA factory rating. To these .~onductors students will look upon the contest prevails: too much emphasis is de- I would urge Ihey forge~the band as a program that is designed to eval· voted to the high school band's activi· contests at (Continued on Page 59)
18 etude-january 1956 19 k _ etud - oort 1956 •
PIANIST'S PAGE BARTOK.. the teacher- New Music For the New Year as I knew him Comments on recently published material by GUY MAIER
I ERNO BALOGH Bela Bart6k FINE PIECE for late first year Time in the old Town, Buffalo Gals, duets made easy to play and sing. Ii with A players is Martha Beck's Skip to Gymnopedie (Satie}, Blow the Man Good for first year. II his pupil I Down, Nottumo (Borodin}-etc. This Steiner-"JEWISH FOLK SONGS" Ann Shenney My Lou, a snappy, laughing piece with right hand short legato phrases means that for the whole season the -Mills ... Tasteful and musical answered by two impudent left hand student taking one or two pages per arrangements of some wonderful staccato notes week will have plenty of sight-reading. Jewish folk melodies. One of Eric If you seek a simple, large-note, His parents will be pleased that he Steiner's best books. Bort6k (with first piece for a young boy get March can sit down and play so many pieces. Steiner-"15 HUMOROUS PIANO recording 0/ the Cub Scouts by Louise Rehe- And as for me, I don't need to listen PIECES"-Belwin ... Here is a equipment) guaranteed to interest all tough little to them at every lesson, since the wealth of light music of the mas- collecting Turkish • folk music guys (and you, tool) A little later assignment is a perpetual one. (What ters. You'll have fun with the three in Asia Minor give the toughie William Haskins' a relief not to need to worry about Scherzos by the great "Three B's." I Rushin' Dance, letting him zip as one assignment!) ... At our lesson Steiner-"PLA Y AND THlNK"- much as he can at the end of it. the student puts in his note book (red Belwin ... Fifteen piano compo- If you want other short, easy, ef- ink!) the pages or pieces he has read. sitions and arrangements with writ- fective dances, look up Milligan's None may be omitted. All 77 must be ten assignments to stimulate the What kind of teacher was Bartok? [imie the Jitterbug, a jivey first grade read and fluently played. students' musical thinking and un- twister; also Scarmolin's Mexican Don't neglect Berenice Bentley's derstanding. Here's an intimate appraisal by one Dance, easy, fast, south-of-the-border attractive "Happy Times" book. It is Nevin-"TUNES YOU LIKE," Book who studied with him for six years. flavor. one of three of her finest products, Ill-Schroeder and Gunther ... I like Donato's The Paint Box, a with beautiful appearance (all young- Third book in the fine series of colorful tone picture filled with rich sters love it), warm, friendly titles arrangements of traditional melo- harmonies. of 25 short pieces, I Heard a Bird in dies and folk songs. Margaret Wigham continues her the Lilac Tree, Silver Slippers, Three Humperdinck - Bon - "HANSEL BELA BARTOK who lived and Black Swans, One Misty Moisty Morn· of Bartok's teaching in that Institute, a great reputation 8 the most re- excellent contrapuntal pieces with a AND GRETEL SUITE" -c-Boston music, died as one of the most signifi- where he had started just two years spected and InO t C ntroversial com- new invention, Bachette-not hard, ing, It's Spring Again ... The . . . An adaptation of a famous cant composers of the twentieth previously (1907) and where he poser in Hungary. who challengedthe and giving fine musical practice in like all of Miss Bentley's, is just the opera with the music prepared for century-and who felt his greatest taught until 1934, when he retired and critic and th public with his pro each hand. Highly recommended. kind our imaginative youngsters need. piano solo. How about using this contribution to music was as pre- transferred his activities to the Hun- vocative music. II of hi students Two excellent ensemble pieces, with narrator at your next recital? server and annotator of the folk music Charles Miller's Virginia Square New Top-Notch Books For Fun garian Academy of Science, working admi red anel loved him lor his genius McGinley~"KEYS TO CHORDS"- of several nationalities-made a liv- on his collections of folk songs. He Dance for two pianos four hands, Cobb-"HAVE A GOOD TlME"- of which we were convinced. for his Shawnee ... A book stressing read- ing practically all his life by teaching kept on teaching privately until he easy third year and extremely effec- Leeds ... A dozen original pieces prolound kncwl dge 01 everv phase ing, keyboard harmony and practi- the piano. In this respect he shared left Hungary for America in 1940 tive. Olive Dungan has written a for early grades complete with in music. for his gentle and kind cal music theory. the fate of Chopin, whom we know charming, lilting duet (one piano) words and even easy dance in- a~d he did some teaching until he manners. for hi unfailing logic. for and remember only as composer and called Dancing on Skates-the kind structions. Why not try these pieces Oldenburg-"TlME FOR TUNES"- died-e-working periodically with just his convincing xplanation of every delicate performer of his own works, a few pupils. of piece which will make a big hit with dances in your piano classes? Boston ... The most complete col- detail. He wa just and fair. bUI be lection of favorite melodies that but whose living depended on giving I played for him a few times in if played by brother and sister, or Nunez-"PIXIE TUNESHOP"- could not conceal hi anna -eacewith I've seen. Simplified and arranged piano lessons. 1928, 1929, 1934, 1940 (mostly his father and daughter. Needs little Willis-Bright illustrations com- his less gifted students. Since Bartok spent a greater part technical skill or practice. for the first year pianist. own compositions) but my most vivid The nee of his approach as a plete this collection of pieces for of his lifetime, from his student days memory of him as a teacher is from young beginners. Levine-"MAGIC AT THE PIANO" teacher wa that 11 taught music Seventy-seven Highlights until he died, in teaching the. piano those six years, when for ten months -Boston . . . A brand new first first and piano _ ond. lmmaculale Kasschau - "CINDERELLA" - Dis- there is considerable interest in what For my own beginner's (adoles- year piano book that I'm sure will of the year I had two lessons a week. ney ... Charming arrangements of kind of teacher he was. Although musicianship was the OJ st important , cents) class I have found Denes be a hit. the most important moments of my part of his guidance and inlluerce- the top tunes from "Cinderella." I do not feel qualified to give a com. life during those years. Agay's "77 Highlights of Familiar Thompson-"EARLIEST PIANO He clarified the structure 01 the ecm- Schaum-"THE BOOGIE BOOK"- plete answer La this complex subject, Though I was only twelve when I Music" a fine solution of light, weekly COURSE", Parts I and II-Willis since I studied with Bartok in the positions we played. the intentions of Belwin- ... A swell collection of began t~ study with him (the young_ sight reading. I tell the students that ... Designed to give the beginner Academy of Music in Budapest only the composer. the basic elements of . second year boogie-woogie. est of hIS class) his words, attitudes the only exam at the end of the sea- a thorough musical basis upon in the years 1909 to 1915, I can music a.nd the fundamental knowl- ~nd approach are still clearly etched son will be my choice of two or three Bermonl-"LET'S PLAY CAROLS" which to grow. John Thompson, report my experiences of those six edge of phrasing. -c-Musicord ... Eighteen favorite III my memory. He was under the of the 77 selections of this book-all still at his very best! years. This belongs to the early phase He had unlimited patience to ex age of thirty but already possessed good pieces for young people-Hot Christmas carols including two THE END plain details of (COnIinll.donPagt511 20 etude-january 1956 21 elude-ionuary 1956 h _ •
established, should free the composer from the snags of formalization, Young composers will synthesize the technical genius of the past 30 years, having assimilated with a certain degree of spontaneity the elements music in focus of divergent creative schools of Teacher's Roundtable thought. A new and accessible orchestral Maurice Dumesnil, Mus. Doc. discourses on staccato literature, Persichetti predicted, will playing, a Mozart Concerto and length of lessons. loom on the publisher's horizon. Col- by James B. Felton . lege and community organizations are already creating a demand for new works, particularly in the field of Conductors' Symposium his head than his heart: hence, the band music. Musical fraternities, blend in beautifully. And one more BEETHOVEN STACCATO tice and consolidate. rare performances of Schoenberg by opera workshops and philanthropic word. Do you know the "Prelude, I am trying to learn Beethoven's Remember this word: experimenta- N CO-OPERATION WITH the the Philadelphia Orchestra. foundations are asking for, and com- Fugue, and ariation" by cesar Sonata Op. 2, No.2, in A major, and tion. It is one of the most significant IAmerican Symphony Orchestra But dare we really look for some- missioning, new music. The contem- Fran k? riginally written for the have come to that loud passage in the in the matter of progress. League and ASCAP, Eugene Or- one resembling a Beethoven on our porary composer is at last finding same ombinati n, it i one of the Rondo which begins in chromatic mandy for three days in October put continent? Howard Hanson thought a legitimate demand and desirable loftie t compo ition the master. semitones in the right hand. What I CONCERTO WITH ORGAN by the Philadelphia Orchestra at the dis- not, especially in view of the fact that market for his products throughout would like you to tell me about it is I am an organist and pianist, and posal of "Out-of-town" conductors, such global, divergent figures as the country. Persichetti hailed these LENGTH OF LESSONS how exactly to practice the staccato. 1 teach both instruments. My ques- most of them from community or- Schoenberg and Sibelius remain them- signs of lively interest in new music Do you believe a hal/.hour Ies,ou I know wrist staccato should be used, tion is this: at the next recital, one ganizations. Mr. Ormandy moreover selves controversial and unclassified as the earmarks of a vigorous Amer- a week sufficient? Do you find any but how would you apply the force 0/ my piano students will play the is generously devoted his attention to an by the musical world to this day. The ican culture which will summon com- appreciable difference in the pianiJtic necessary for each note so that the first movement 0/ a Mozart Concerto. evaluation of their directorial tech- main job, he felt, is not to fret about posers of stature into being. He went whole passage would sound strong. Jt will take place in our church- where achievement 0/ tudenu who take ane niques, which were on display during spotlighting talent in America but further, in speculating on the pos- even, and not feeble? As ! play it, there is a fine organ. 1 have been hour versus 'hose who take one hall· the two fifteen-minute rehearsal ses- to create a climate in which talent sibility of a grand musical Henais- some notes sound strong, others weak, thinking of using it instead 0/ a hour? WOllid yOll say 'he progress'I sions allotted each conductor. While can germinate and bring itself to sance, a period of vigorous creative and generally the whole tone of the second piano. Can this be done, or is the tuderu i conditioned specially no dazzling revolution of technique full bloom. Talent will out, as it were, fruition, in which the composer, con- pa.ssage is harsh; so your expert tul- it considered as unacceptable? by the amount 0/ time spent prac· could he expected of these brief en- and to hasten the job of forming an ductor, performer and listener will vice would be very much appreciated. (Mrs.) H. E. W., New Hampshire tieing, and 'hat u Itall-hollr IL'eek/y counters, surely the stimulation of atmosphere favorable to its budding, all play decisive roles. (Miss) G. M., New Zealand lesson: is there/ore tlfficienl? guiding a great orchestra, however conductors and composers must feel For lack of space, I shall have to I have no difficulty in solving your ( ister) M. R. E., Mass. briefly, provided a moment of chal- themselves as part of the stream of focus critical commentary on one of The passage you mention must in- problem, for I only have to remember lenge sure to carryover in the local- living music. The former should psy- these viewpoints only, and it will be deed be played loud. But not too a memorable occasion which took Hall-hour I n ore only goodfor ities where these conductors normally chically penetrate the notes of the Persicheni's for his is the most pro~ much so, for it should never become place in the spring of 1934 at the early grad and young children practice their art. latter in order to grasp the composer's vocative, and his reflects an aesthetic heavy. If it lacks evenness it is likely Meudon, near Paris, France. That \\ ho ould n 1 concentrate any Perhaps the most instructive phase ultimate message and project its attitude which is, I believe, gaining because of technical deficiency and night Marcel Dupre, the great organ· longer. But tarting about the lourth of the Symposium, however, at least meaning to audiences. support from a growing number of shows you arc in need of acquiring ist and musician, who since October grade and III t d idedly, the lull to the general assembly of onlookers, Well then, if not today, will Amer- native composers. This view is vigor- more finger equality and smoothness. 1954 occupies the post of director hour Ie Ons are preferable. In fact, was revealed by the concluding panel ica have its Beethoven tomorrow? ous, optimistic and eclectic-three I recommend the "Exercises de of the National Conservatory, gave it i hardly po ible to do anjthing discussion, moderated by A. Walter Vincent Persichetti was optimistic popular American traits. It starts with Tenues" by I. Philipp. Practice them a program for the inauguration of with advanced tudents in a half Kramer. Starting from a rather vague about that prospect in general, pro- the frank if tacit admission that daily for fifteen minutes or so, cb- his remodeled and augmented organ, hour. discussion question, namely the ques· vided that American composers take America has had no Beethoven yet. serving the instructions carefully which previously belonged to Alex- J t wou Id be difficult to make 0 del- tion of whether a significant Amer- advantage of new creative techniques Earlier American composers such as (Heugel, and Marks). andre Guilmant. The private concert inite tatement regarding achieve- ican composer will emerge as a result and tools developed since the turn of Ives and Ruggles are considered This passage requires wrist action hall was filled with the elite of musical rnent in connection with the length of community orchestra activities, the century. From the early experi- transitional experimentalists who combined with firmness of the finger- Paris, and Dupre's daughter Mar- of the lessons. for here as in so many panelists Eugene Ormandy, Howard ments of Charles Ives through the have, so to speak, thrown themselves tips so as to get a tone which is guerite, a splendid pianist, was the other things. the question of individ- Hanson and Vincent Persichetti re- myriad of innovations that flourished across the barbed wire of stylistic neither harsh, nor mushy. Of course, assiating artist. She performed Mo- ual gi Its in the pupils enters for a sponded with wide variation from during the nineteen-twenties, music confusion so that the clear-headed much depends upon which piano you zart's A major Concerto, and her large share. However. I would say their respective viewpoints. was experiencing a process of dis- composers of today and tomorrow play on. The preceding can be modi- father accompanied her at the organ. that generally speaking. the more tui- Mr Ormandy was of the flat opin- solution, a cleansing of cliches, a fied one way or another, according can go pouring through the breach. It was a pure artistic delight. No one tion. the better. ion that already there are great com- perpetual search for sonorous novelty The whole spectrum of techniques to the particular tone and action of who heard it will ever forget her From per onal experience, I can posers on the American scene, and and new approaches to form. Without from pan-diatonicism to dodecaphoni- each instrument. smooth, clear technic, and the deli. as ure you that oft n and in the case further, that the conductor's duty denying the historical necessity for cism is absorbed with as much facility For practice: you ought to set, in cately colorful and exquisite back. of ex eptionally talented students, is to understand and play their works. an epoch of this character, Persichetti as possible. One learns the mechanics imagination, a certain tone volume gr?und which the organ provided. even the full hou.r is too ~hort. How Certain works of Paul Creston and was inclined to regard it as a transi· and devices of the established current and quality which you want to obtain. WIth Marcel Dupre at the console the IJ many times it happens that the clock Roy Harris seemed to him repre- tional one, a self·conscious setting of styles; so much is a matter of rate; Then: experim,ent, again and again. registration was a work of art that strikes right in the middle of some sentative of native greatness. Or- the stage for a rich culminating creativity consists in the ability to Try different pressures from the fore- could challenge the best orchestras. involved problem of interprelation mandy ,stipulated, however, that one period which should unfold during manipulate and inter-fuse these tech- arm, different degrees of firmness in Therefore, I do not hesitate in requiring longer elaboration. (h-er· can only conduct works to which one the next 50 years in America. The niques in terms of whole works. the fingers and their articulations. At recommending to you and other or- one moment you will say: "This is time i the solution. hut is it always is personally sympathetic; for him, coming half-century, now that such It is unfair to lump composers Lo- " ganists the use of your instruments in just right. This is the way!" And possible? Certainly not when the to cite a negative example, Schoen- phenomena as polytonality, the 12- gether aestheticallY-lhey are, and such a case. Th~ tones of the organ, thereafter you only will have to prac- schedule is heavy and must be kept berg is difficult to understand, because tone ~erial technique and certain neo· correctly so, proud of their creative though contrasting with the piano, on the doL Schoenberg's music appeals more to classical procedures have been firmly individ· (Continued on Page 50) 22 etude-ianuary 1956 etude-january 1956 23 ~------I •
ORGANIST'S PAGE VIOLINIST'S FORUM Kreutzer Double-Stop Studies Skull Part 2 Session by Harold Berkley by Alexander McCurdy HE VIOLINISTS FORUM page passages should be fingered as here Legato double-stops always de- of last November's issue of recommended. Furthermore, whenever mand quickness and neatness of fin- endle s subject-matter for student de- INeE my teaching puts me in da.ily privately verified with lTI!.colleagues T ETUDE was devoted to a dis- the 4-3 fingering avoids a shift, it gering. No. 38 in A major (other bate after the performance. S touch with students of the pipe from abroad) that the VISitor 15 £r.e- cussion of the five easier double-stop should be used-for example, in meas- editions No. 39), is a first-rate study But the imp rtant thing is that, organ, Iam something of an expert on quently led astray by differences III studies of Kreutzer. It is inviting ures 7, 16 and 20. for the development of these qualities, thr ugh the playing of the guest art. what organ students talk about. American and European organ- argument to suggest that some of The late Leopold Auer once said and as an introduction to the tech- ists, stud nt make th revolutionary • They talk about playing the organ. building. these studies are easier than others, that this was the best single study nique of part-playing; i. e., the play- discovery that there i'l no one ingle And how they talk! They have devel- A French organist, for example, but, for the student who has not had ever written for the violin. When ing of one melodic line more prom- s h I of thought about phrasing, oped a whole vocabulary of slang to who pushes or pulls the Bour(~on. stop adequate preparation in double-stop ODe considers what it can do for inently than another which is being pedaling, r gi~'ration and dynamics describe instruments, stops and stop of an American-built console is likely playing, such is the case. To put it the student-training his left hand sounded simultaneously. This tech- which is "right." all others thereby combinations. to be surprised by what he hear. A another way: While all the studies to take a good shape, training his ear nique appears in its very simplest beina "wrong." They say of a certain stop that it is Bourdon in France is a lovely sound. are about equally difficult to play in to detect false intonation, and de- form in this study, but nevertheless n of the fascinating a of "fat" or "tubby." A brilliant reed A Bourdon in this country is, in most peels tune, the means by which this can be veloping a firm, even bow stroke- it requires attention and thought. ensemble may be "hot"; another may instances, what the students would pipe-organs and organ-playing is that accomplished are rather easier to one is disposed to agree with Pro- The opening phrase (See Ex. C) is be "cold." "Slush," "iuice" and other call a "dead' ,stop. A Cornet (mix- no 1\\ in truments are just alike.The grasp in some of the studies; easier, fessor Auer. a case in point. Obviously the legato picturesque expressions are heard. ture) in France is a gorgeous solo SRIll instrument will not sound the that is, for the inadequately prepared The "March" study, No. 39 (most Ex.C ~ W' etc. Some of them, if printed here, stop. With a few notable exceptions, same in h\ a different buildings. as student-of whom there are many. editions have it as No. 35), is tech- would get this magazine barred from the domestic Cornet is neither a good has b en repeated] shown whenin- Though why a student should he nically and musically the finest in §tir1afIFfI? the mails. solo stop nor a good mixture. A Krum- stallations hal been moved. The ... lacking in double-stop technique when the book. A really good performance melody must sing, so the lower notes The reader will perhaps not think orn abroad, heard in an acoustically snme piece will not sound exactly the he reaches Kreutzer is a mystery to of it indicates that the player has must be subordinated to it. This can me unregenerate if I say that this does "live" building, is "peaches and ame wh n play d on IWO different me, considering the excellent studies accuracy, style, temperament, and be done by making each lower note not distress me in the least. The great cream," as the students say. ome instruments, even th ugh the same that are available by Josephine Trott, musicianship. It has its traps for slightly shorter than the eighth it thing about these students is that they Krumorns in this country, on the organi t may Ie the performer. Hans Silt, Eduard Herrmann, etc. the unwary. Notice should be taken accompanies. It should also be some- are tremendously in earnest. Right or other hand, are pretty "Krummy." For that malt r, it i extremelyun- In preparing these notes I am work- of measure 5 and all similar meas- what softer j that is, the bow pressure wrong, they uphold their convictions (Two can play at the slang game, lik I) that an performer on an) ing with the Theodore Presser edi- ures. See Ex. A: should be slightly more on the upper with passionate vehemence. Which is hoys) . instrument has ever pia ed a piecein tion, probably the best available at string than on the lower. In phrases as it should be. G. B. Shaw once ob- Acoustic conditions abroad prob- exactly the arne way twice running. the present time. The sequence of similar to Ex. D, the greater pressure served that "sang-froid can be ac- ably have something to do with the In the earl)' da)' of radio, progra~ i~I~!~ the studies has, however, been rear- quired; earnestness is the gift of the should be on the lower string. Whe~ phrasing used by foreign organists, manager got the bright idea that 11 ranged, which makes it necessary for gods." The expression sign under the Ex.D_~ which often perplexes listeners here. would simpli lj programming if they me to give the original number of Some of the liveliest discussions quarter notes is not an accent, but a When one is accustomed to playing in limed all the major orch lral works, each study as comes under discussion. I are touched off by the recitals of crescendo sign indicating that the ~tilla: trw LEJ)," a big, over-reverberant church or Then, knowing the running time of Let us begin with No. 36, in F touring organists, in particular Euro- stress must fall on the 2nd and 4th practicing this study, the player cathedral, one is likely to get in the Work . th ould pair it witheither major, (No. 33 in almost all other pean virtuosos. To hear an "outsider," beats. In other words, the bow should should be constantly asking himself habit of clipping phrases off sharply, Work B Or ork C and still leal' editions). Here the chief matter for as the boys put it, performing fa- increase its speed on the quarter note, which line is the more important, otherwise the result will be an unintel- time fOI"the ommerciels. discussion is the printed fingering. miliar pieces such as the Bach Passa- but must leave plenty of bow to be the upper or the lower. ligible blur of sound. Attending a The)' found to their disma - that no The study was almost certainly con- caglia, the D Minor Toccata and taken on the dotted eighth and the No. 40 in F major (other editions service at the Cathedral of St. ] ohn two conductor vet led a Beethoven ceived as an exercise for training Fugue, the Toccata in F, the chorale- sixteenth. Another point that de- usually No. 41), is a remarkable the Divine in New York will give some ymphony. for example. at precisely the left hand to take a correct shape preludes or the three chorales of mands attention is the exactness of study in sustained double-stop and idea of the problem involved. the same speed. Ev n the same con- in the lower poaitions ; therefore the Franck, on the instrument at which the dotted rhythms. See Ex. B: chord playing. Mastery of it is an We must admit that at times the ductal' would be limed differentlyat easy fingering given in some few they do their daily practicing, is often Ex.n absolute must in preparation for the visiting organists seem to choose the different performances. ~lr.Toscenini- editions, including Presser, tends to a re-velation to students. most acid sounds obtainable on our slow movements of the Bach Solo whose sense of pace was fahulou5. weaken the value of the study. ~ They hear sounds which they did Sonatas. And as material for develop- domestic instruments. Not only do came a lose as an) body: even so, The point at issue is the fingering not realize the familiar instrument That is to say, the group must be ing a broad tone and style it is out- they clip phrases; they sometimes (Yo there would a perceptible ( . ~ be difier- for the first note of the second meas- was capable of producing. Sometimes based on a quadruplet and not on a standing. The player must be keenly to the opposite extreme of playing so ence in the speed at which he con- ure, the last note of the third measure the students find these new sounds triplet. Basing a dotted rhythm on a alert to see when two notes are to legato that listeners are exhausted at ducted the "Eroica" on .\Ionday and and the first note of the fourth. All enchanting; at other times, just the triplet is a very common fault even be sustained or only one j in fact, the end of the piece. Being accustomed on Tuesday. these major thirds should be taken reverse. to reverberant buildings abroad, they with experienced players j so both the whole study needs to be practiced I do not mean to suggest that there with the fourth and third fingers. A frequently heard objection from are often cautious in their use of teacher and pupil must be on the with the utmost care and attention. are no such tbinss 3.5 standards of Using the fourth and second is cer- the students concerns the Europeans' crescendo and diminuendo; as a re- alert to avoid it in this study, where Fortunately, all available editions performance: or that \\e ~ould aban· tainly easier but it defeats the main choice of registration. Here we must sult their playing seems cold and the need for rhythmic vigor is in- make it quite clear which notes don all our previousl -.held com-ictiofls purpose of the study. All similar not overlook the fact (which I have unexpressive. All of which furnishes herent in the music. (Continued on Page 62) about a work (Continued on Page49! etude-january 1956 24 25 etude-jonuory 1955 ~------'---- •
Andante W. A. MOZART 1756-1791 (from"Sonata No.1," K.279) )Edited by Hatkan Brader BIG NOTE BOOK PIANO PLAYTIME, BK. II Etude is very happy to bring to its readers one movement from the new, ur text edition of Mozad's Sonatas and Fantasies PIANO FOR TWO SINGI.NG~EYS,BK. 1. .~.,...,.. The second in a revised and en- An excellent collection of easy prepared by Nathan Broder, a scholar and Mozart specialist. For clarity's sake it should be mentioned here that dynamics A unique collection of original Thefirst In a pr~gresslve series ..,"'" latged series of three books. pieces-easy to play andeasyto duets especially chosen for their of five books. This. the most pop- .~ This book covers the needs of th.e read because of the big notes. appearing without brackets or parentheses are Mozart's own as, found in the autograph or first printed edition; dynamics in in attractiveness. Several of these ular bonk of the series, c.ont3ms .:;io' early-intermediate student with But, spite of the big noles parentheses are found in the first edition but are not Mozart's; dynamics in brackets are Mr. Broder's suggestions in keeping are here made available for the 24 plan.o solos. Happy Birthday. 24 of the more recent best-sell- there is nothing babyishabout ,vith the meaning of the musical text. This sonata was composed in 1774, when Mozart was 18 :rears old. first time in many years. Con- Moccasin Dance, In the Forest Tall ~'~ " iog solos. Improved sight reading, these pieces 10 offend the older child's dignity. tents: Rigaudon (Chaminadel, The an.d Gypsy Moon are but a s~m- ~*~..* technic, and development of style Andan t e ,.,., Cuckoo {Arenskyl, Carousel p~lng of the standard teaching " ••• e among the benefits of this 1\ t>,.~ , ..- ,.~ pieces It contains. ~~ bar k Horses (Bizet), In all, eight 3rd 00 . and 4th grade duets. PROGRAM PIECES FOR THE I@...... v .....v ~ YOUNGER CHILO, BK. 2 to ~# ~#'_(~ .. .1:--;. ,r-~~~ TWICE TOLD THEMES, BK. 1 HARMONIZING "'T.. "'T.. fOR ME ANO MY PIANO, Bk. 2 One of a series of books centain- . ------. ---. A book containing enough about . "Packaged piano solos" contain- Two-pianomusic to feature at re- keyboard harmony to help the ing pieces carefully selectedlor ing such sure-fire hits as Elf and citals or for added enjoyment at pupil harmonize songs of al.1sorts, the technical andemotionalgrasp 1 ...... V' ....- .... the Fairy (Bentley), Chimes the lesson. Secondpiano parts to and, incidentally, give him the of a particular age. Noteslarge .... Through the Mist (Frost), The such well known solos as The Guitar, Moon Mist and Avalanche rudiments of traditional harmony. enough for easy readingandat- Arab Horsemen(Cobb), and At the It can be used as an introduction tractive Illustrations makethis lollipop Parade(King). as well as originals for two pianos 1\ I such as Polka March and Camp- to the formal study of harmony book particularly appealingto - town Races~9 numbers in all. or to help the teen-ager tearn children in the 5 to 9 agegroup. - """-iL...... how to play popular music. '-.,./ ~ ~- t: .'I -' JUST FOR . - - ~r:-~~~~~~~ • • . (~ ...... p :::--- '---' ~ ..I~, ...... p f -p-- I p - ... -- ...... ~ ~ .... ~ ...... 1"11 'ir ~ =-. I>!,- .... ~ ... ~ ~ - 'ir p • ~ I p .f~ p .I, - 1 • : ~ .:» <:»: ~ ql'-.../* V I,.....i ...... r- -r-, ~ :&:... # '1JJ'I jJ '1.A:&: &- ~ I, ~I ,p- I P if ./ Ii''''. F #r~#f~;,f-Ioc ------=----- r .. ~ I~ , p .... 11 ~ g bi ~:;; P j p r r ~ , , ------It ~ - I p I ~~>r,------:r----J 1 ,...... r- I 11";:- I '-J I... -'1f.1'.1f1'-I bS t, "-'l'"lI'~fJ'J b.~ ~:: . - - C./ ~ ~ ~ p p P It - ::-JL.TTY .I .I ,., P .f P !f p ".---1 1 r::-' ..- t ,..'...... qll ~ 11 ...... ~HI ~ r p ...~- :;; " - !'-~ ll------"""'" . ~ '---" , ~ '---" .f p [6imile] . .I P . ~lfllUn • .I.--"'" ~ ...... 1000'" ... I-""" .... p :;;; p p r , - ETlIlJE-JANlJARY 1956 lI'.f _ ETUDE-JANUARY 1955 29 -..------~- --- Grade 3 Finale Oeleste Aida (from Symphony No. V GIUSEPPE VERDI JOHANNES BRAHMS Grade 3 Allegro moderato orr. by D'e nes Agay 5 a r r. by .Denes Agoy 4 5 2 2 Andantino 4 5 1 1 3 3 3 2 2 3 1 2 3 u ~ :::;;0 • "!f"""- ...- ...... / ..-----.. :--- : --- 3 1 Ped.simile 3 2 1 2 1 2 2 4 2 2 7 1 - - - --.u ~ ..... • -- mp cresc. ~ ..---...... ~ - .. <, ~ b. .;+: ... 1----' 3 I 5 1 I 1 3 2 2 3 5 3 1 5 5 1 1 2 II h--2 -t. 1 3 2 1 - 5 4-- :0- - : -= • . : .. t<------i I!,..; .. ~ ~ ....--. - 3 2 1 3 I 5 5 2 2. 3 5 4 2 5 1 4 L--J 4 5 4 4 5 4 2 1 I 1 2 :l---_ -.. _ ... 2 -. ------.. ~ -- , • r f I r I I I I ~ .~ ... ,r--.. 5 2 I '---' ,----' '-----J • Fine - 3 2 3 I 1 1 5 ~ 4 ..... ~-- 2 - - - 1 ) , I mp.. cresco ~ g. .;t.li_2 " b~ ( .~ ... b. ~: a- lil6-: .. • 1 1 1 2 2 2 3 Ped. simile 5 4 5 2 1, 1 »«: P"oo. ~l 3 2 1 5 5 " .';,--:::: >I ~ ~ . - - ~ :0- r -9-" I l .. rit:-- sempre - r----r frpoco f 2 2 fL-----" ~ .----...... ~ ..r'"?1. t 1,,) t I,d. t .d ~ -~ . . t J .J 1t!:I. ~ ( . . . ra~ --- . I 3 1 5 5 2 I 2 3 I 5 4 2 5 I 4 I , Il..-J '------J L., • :> 3 r. '-----' ,< from "High l ight s of Familiar Music" for piano, Vol. [I, arranged by Denes Agay from High ligh ts of Pam il ia r MUSIC" for piano Vol II s o D. C. al Fm' I " I . I arranged by D A ©c Copyright 1955 by Theodore Presser Co, enes gay © Copyright 1955 by Theodore Presser Co. I 30 ETUDE-JANUARY 1.956 31 II ETUDE-JANUARY 1956 ~------I Grade 3i Andante (fromnVl0bn, in Coricer to01in E minor") EELIX MENDELSSOHN 3-;- 1 3 ~ 2 8 1" , n, arr, by Denes Agay --- -- Andante con moto 5 8 '. if ;;- 9- II fi-: Ilh~~ hA_ I I, h ri , h;;; - , 2 1 4 L...., '----' ~, I I 5 A ,,-Pede simile 3 .. -~ , - - ~ <, ~ ~ 2 4 '1, , I • = dim. ==- ,;:-. Iff. , -&: I ,fi-: I,~ p ...-----.. ~ ~ ~ ~ . . L-J , A 5 4 5 5 4 8 y 2 " ~I 3 1 : Ii ~ l- .. I' 2 ---..!.... ,\ , oJ 2 3 ! ("J hJ J J 8- ...-----.. ~,.. 1":1 3r ~ - 4 -rt- 5 I 2 I L- ----'A'- "-Ped. simile ....J\ A A , ,5 , ,5 4, 5 = 1 1 I 4 5, 5 .3 5'..._ ------I ,~;;;--. ':0--. e ItT Ii I~I 'I-' .J---'1 I , I I -8- _ P ~,.. , 8 A 1 ,8 5 3 , i 5, L...---' I 3 2 2 3 2 3 ~, 1 2 3 I I 5 I oJ I I ~ ~4' 'Y '!!: RU' v'" :::::::::: ~ h,;. ~ ~ -.. -~ h'..---- r---..J II ~I ----- ~c.. ---I\A ---' ----- I 1 I .. , I , I I 15 5 3 8 ___ ',.4 _ L " ~, ~- -- 3 1 2 3 ~. 2 >! mp I 2 2 - ~ "'-n ,r---o- .1~ ~ . t ~ t rg ~ . t H .. lJ~ ..,; . -61:: ~1! .... .:- . - I .. , I. , I ,- P, , A , , .' 17\ - A 1\ '::; 3"---1 from "High lig ht s of Familiar MUsld'for p i an o, Vol. II, arranged by Denes Agay @ Copyright 1955 Theodore Presser Co. '"'---- by I .,1 I ~ " , , i.:': '------"---' 32 3 ! ETUIlE -J ANOARY 1956 ETUDE'JANUARY 1956 33 ~------I" The Green Oathedral By the Waters of Minnetonka 011.00 ••1000..100000 IJ. "M. Caoan ass THURLOW LIEURANCE CARL HAHN GORDON JOHNSTONE Slowly; tenderly arr. by Anthony Candelori u ~ Slow and swaying D Om C7 -. . p. I -. ~:::;)~_ ~() ~ ~t-o-~- --- 1. Moon Deer How near-- 2. Hear thou My vow M J. 0) i I -.- L-. -&- I know a green ca- th e-dra 1, A shad-ow'd for-est shrine, Where . • I I • I I } I I r . r . l' r u - ~ ~~ - . . lea~es in ~~jOinhands a-b~e And ~r~your pl~}r and ~mjWit~-i~ its C~~dePths ---"::''c----"" ~ ~ your soul di - - vine; Sun To live, To die. Moon /.. ~ .It .It } ~ I • I I • I I I:W=5ina~-4,m 3 ~.1. 2 . .5 sa - cred, The priest-ly ce-dar sighs, And the fir and pme lif't arms di-vine Un- --. r r r ::'C7 F?~ ~ u ., 3 __ ~~o~~ -. - ~ im 32m Ab7 Db F# m Ab7, ~ , to the pure blue skies. In my dear green ca - the - dral There is a flow-erd l -. Deer, No fear In heart ~Fm A CG7C7 Deer, Thee near Be - neath } ~ I • I I } I I 7 1 m _ F-2m-=-~~m;. Y J@ seat And choir-loft in bran-ched croft;Wheresong of bird hymns sweet; And I r r r a I e " ~ uut fiaster - . ~~~~~o~ --. -.....::: ~ , I VI .~ '-':"'- like to dream at eve- ning, When the stars its arch- es light, That my of mine. ihis sky. Fine Skies blue O'er you Look down M F f':\ "if 7 /.. ~ 7 ~2'~' 2 F »i+r ~~o ~ '0 .... J. 5 srn 3 2 3 Lord and God treads its hal-low'd sad, In the cool,calm peace of night, That my " rl·t. . ~ B~ II ~ C7 F . i ...../ ...... , • • . ~~ ~JJa~n I In love; Waves bright Give light .2 6 1 am rm 3 2 As on they move . D.G.aIFine Lord and God treads its hal-low'd sad, In the cool,calm peace of night. 7 ~. :- ~ r.'I FLAT I 2' F ~ Square Notes d 1,B~3' C7 ... ".. 7~if from 'fH the Hammond Chord Organ" arr by J. M. Barnet •) ~ 15prererrd . Copyright MCMXLIV by The John Church Company S. B. International Copyright from "Highlights-of Familiar Music" for accordion, arranged by Anthony Candelori Copyright 1953 by Theodore Presser Co. Copyright 1914 by Theodore Presser Co. International Copyright secured U ETUDE-JANUARY 1956 © Copyright t955 by Theodore Presser Co;. International COPyright secured , ETUDE-JANUARY 1956 35' ~ ~s ....._ Air (from"Suite for Trumpet and Strings"> mf > > WILLI AM P. LATHAM Andante sostenuto (J ,66 - 69) ,~. br----~b.( .~ #~ - ~#~RJ· lIr"',g-j. rnp allii",. > > f> > >'-"~ > > >-!! #~ ~#i~~~~. ~f2 E: . Je ~ != E ~.~~ eI::- ~I.r #e ~ • ~~ :> Tullaro. ~ ;:,. - ~~ (.l;~ . : - I• W o- t :> ~jw t ~I!~~ ------:> :>~ I a tempo , 45 poco rit, a tempo . " """af mp dolce d~>. 4· It. a tempo . . TIl l:' .. bll ~ . ,.. f II~ t t ~:ft: . ~ ~11JOCO. Tit. ,,$, "if --= . l'• Tit. t '1"" , :!-- ,~ ~=f ," - mf $ . b"U I~J ~~ :# I~Ii~--' ~.lu~" 1-6''':' - a tempo .. ~ pp poeo ndJato ad lio . a tempo nl. 60 .JI t:\ - t:\ a tempo ~ mp mp !!W rt-. r.. a tempo rt-; mp mp mp - 3J !~ ",.. TIfJ ,1---~:Tit. ~: ~; . r.. r.. . 1':1 ~@...... p- . · PI:.:.... I ~ ilicopyrrg. ht 1955 by Theodore Presser Co ~ . International Copyright secured pb· ETUDE- ANlJ ARY 1958 ETUDE -JANUARY 1958 J .17 ARE CHAMBER MUSIC as leaders. A trio composed of violin, necessary- experience and confidence, so GROUPS HELPING YOUR cello, and piano would be the next that as the older players graduate they SCHOOL ORCHESTRA? choice, since this would include the No. 110-40380 Skipping Along wiII be prepared to take their places. OPAL LOUISE HAYES (Continued from Page 17) finest pianist from the orchestra. Some- The brass section should be able to Grade 2 times the addition of a double bass to produce a brass sextet of 2 trumpets, Merrily 112 curious to note that Germany and Aus- a string quartet would also provide horn, trombone, baritone and tuba if a , , tria, the two countries most closely as- A • , I . extra incentive for the best bass player. band is also found in the school. If, - sociated with classical chamber music The basic ensemble for the woodwind however, there is no band then a quintet . . . - · during the period from 1730-1830, choir would be the classical woodwind without the baritone, or a quartet with- I@ - Pine roughly, made practically no original quintet composed of flute, oboe, clari- out the tuba, may be the answer. Even -== "'P L_ } I... .:. ... I... ~ contribution to this form of music. The net, horn, and bassoon. If the first-chair rhe percussion section should be encour- r ;':I~.. .:. characteristic feature of chamber music players are all mature, this should be aged to form ensembles. A drum trio or · from its very beginning was that only an outstanding group, and the second- quintet with snare drums of three sizes, · ~ one performer should play on each chair players, although younger and less cymbals and bass drum, or five players part. For this reason it has been called experienced, should be encouraged to exchanging instruments to include tim- "the music of friends." Early American start quintet playing early to gain the pani, different sized drums, and various II ~ I""T"T" ,..,..,... - colonists in Philadelphia, Boston and - Monticello delighted in musical home gatherings. But public chamber music • I '-...--' '--- I' ~""'~ 1IIIIIIIiII7_ triangles, bells, xylophone or Latin in- Salzburg is holding a festival week to struments can provide a real challenge become one of the world's most impor- German opera. That was just what coincide with the 200th anniversary of to the percussion players and thereby tant centres of opera. So "Idomeneo" Mozart gave the court, though the diet the composer's birth, from 21·30 Janu- give them the same prestige and impor- in the composer's 25th year was Iol- was undoubtedly too rich for their in- Growing Tired of Your Old ary. Joseph Keilberth, Edwin Fischer ~ tance in the orchestral program as any lowed by "II Seraglio" in 1782. But sipid tastes. The general sentiment fa- and Herbert von Karajan are to con- other section. though these German-language works voured an opera that was light and Piano Teaching Materials duct the Bamberg, Vienna and London When the true beauties of this small stood head and shoulders above any- escapist in mood, thin in musical tex- • symphony orchestras; and such promi- thing being produced at the time, the ensemble music literature and perform- ture. The full and ingenious orchestra- nent artists as pianists Wilhelm Back- We suggest that you try the following puhlications, many of which have been ance become well known because of Court audiences of Vienna still pre- tion of Mozart was entirely lost on them. haus and Carl Seemann, violinist personal experience, then this type of ferred the Italian comic open to the Hence that friendly but discouraging highly recommended by the PIANO QUARTERLY NEWSLETTER, in~icafed (*): Wolfgang Schneiderhan, and Irmgard music making can really prove chal- Germanic. The Austrian Emperor, Jos- comment by the emperor on being Seefried from the Vienna Opera will lenging as well as enjoyable. And the eph II, was a materialistic monarch shown a new score of the composer's- for piano salo all be taking part in Chamber concerts results of this experience become imme- with little taste for music. But he had "Too many notes, my dear Mozart!" at the Mozarteum. And, of course, no no particu lar desire to ignore the long- Nevertheless, Wolfgang was kept MARION BAUER *EIGHT DIVERSIONS from a diately apparent in the school orchestra Composer's Notebook •..•. $ .75 due to greater interest and much more season of Mozart works would be com- standing convention of royal patronage busy and, by command of the Emperor careful attention to all the details of plete without performances of some of for the arts; and, fortunately for Mo- Joseph II, "The Marriage of Figaro" GEORGE KLEINSINGER *MUSIC FOR YOUNG PEOPLE 1.00 artistic playing that are carried over his operas: on this occasion, "Idomeneo" zart, this same emperor even went so (this time in Italian) was produced in DAY AT THE ZOO...... 75 into the orchestra from the chamber under Karl Bdhm at the Festspielhaus far as aiming to establish a national 1787. It was well received and the and "La Finta Semplice" at the Landes- MISCHA PORTNOFF DANCES THROUGH THE music experience. Playing in a small ensemble con- theater under Bernhard Paumgartner. CENTURIES for the student For Mozart it was, who brought German pianist •••••••••••••••••• 1.00 tributes in many ways to the individual growth of each player. Whereas, in the opera out of its uninspired groove of BERNARDWAGENAAR *SIX SHORT TALES for young full orchestra all players must follow triviality and transformed it into a pianists •••••••••••.••••• .50 the conductor's beat and abide by rules medium of the highest technical and for the good of all concerned, in the artistic quality. for piana. 4-hands small group the discipline can be less The trail of Mozart now led out of his birthplace, into the street once more 2.00 formal, yet even more intensive since ERNSTBACON *THE HOOTNANNY •••••••• there will be less strict discipline from continuing along Getreide Casse to- STANLEYAPPELBAUM MUSICAL MINIATURES .75 without and much more from within. If wards the Hesidenz Platz. Here is the an ensemble coach has done his work heart of Salzburg and the large open effectively his youthful chamber players space of this square presents some as- CHAPPELL CO., INCORPORATED will have a real desire to get together sociation with Mozart in every direc- &. frequently by themselves for practice. tion. In the Residenz (or Palace) on RKOBUILDING. ROCKEFELLERCENTER· NEW YORK 20, N.Y. As youthful musicians learn to listen the west side, concerts of Chamber / together in this intimate form of music music and serenades by candlelight are making, the dynamics, phrasing and ex- held, where you can take your Mozart pression of the passage become more Bohemian-style, seated or spread out and more important to their accumu- comfortably on the floor. When the lating musical experiences. An increase weather's fine, these nighttime concerts in interest in chamber music with the are sometimes performed out of doors deepening and enriching experiences instead, in the Residenz Platz itself, caused by discovering music for it's own with the audience encircling the lovely sake can hardly do less than contribute floodlit fountain at its centre. heavily to the development of better A statue of the composer dominated orchestral performers for both school Mozart Square adjoining the north side. and community. THE END Turn east and your gaze soars skywards with the Belfry, whose 35 bells give a short carillon concert each day of works by Weber, Michael Haydn and-you've DOUBLE YOUR FUN WITH guessed it!-Mozart. Towering over the city to the south stands the gaunt grey IhUI'Uh1ehl,,1 PerCV.s:rIOI1 METRONOMA mass of the Festung, the castle whose IN THE STEPS OF MOURT archbishops took the young Wolfgang Electronic Tempo Indicator A Wurlitzer Organ becomes special rouch. Wonderful relax- into service, as they had engaged his with the Flash Baton more fun than ever with new ation for adults, it offers chil- (Continued from Page IS) father, Leopold, before him. "Instrumental Percussion." dren an interest that contributes World's most dependable time beat ... now For as he grew into his teens and Xylophone, guirar c-c a whole to their education, makes them with improved circuit for even greater ac- already had a year's composing behind could no longer be regarded as an in- curacy! New, two-in-one dial selector and off. him and was about to embark on a range of thrilling new voices the envy of their friends. Mail on switch. New, easier to ·read tempo mark. fant prodigy, Mozart's public popular- can now be played with no the coupon for details. ings. New, improved flash baton for better concert tour of London and Paris! ity began to wane. He could not make visibility. Here, too, is a real fascination for a living as a freelance com poser, so he Selmer Metronome gives you correct tempos the musician or music-lover of today- CAN'T WEAR. OUT-can't slow two ways ... (1) a sound beat that can be set worked as the Archbishop's musician, down. The heat is always steady, the little notebooks in which Mozart loud or soft, (2) a sight beat through a visible writing the trifles and divertimenti accurate at any tempo. jotted down his innumerable entries: r~------flashing light. Easily set to any tempo from 40 which were required merely as back- I NO MOVING PARTS-it uses the to 208-Largo to Presto-with a twist of the brief exercises in counterpoint, the first THE f;UDOLPH WURLITZER COMPANY ground music to the gossip at parties O,gan Dept. E-61. North Tonawanda. N. Y. thlratron "heart beat" tube de. dial! Get it uow-e-Metronoma is your biggest bars of the Paris Symphony K.297, an WURLmER I ve oped for radar. Exclusive de- and banquets. After suffering numerous o Send me information on "instrumenlal sign (U. S. Patent No. 2,522,492). tempo bargain! andante section of the organ work Percussion." indignities at the hands of Archbishop I o Send me del ails on the Wllrli\zer Organ. VOLUME CONTROL-make tbe On Sale at Be"er Music Stores K.616. ORGAN Hieronymus-Sahburg's evil genius- heat loud or soft as you like, or For free illustrated folder, writ. Needless to say, 1956 will be a Mozart I Name. vary from sharp to mellow. MUSIC'S RICHEST Year throughout Austria, and nowhere Mozart was discharged in 1781. Where- I Ifddreu NO CLUM.SYADJUSTING-no set more so than in the city of his birth. In- upon he decided to leave his native city VOICE screws. Dial it like your radio to H. & A. INC. $elmer \ City ... Zone ...... State any lempo-40 to 208 beats per deed, in addition to the usual yearly for what he hoped would be the more minute. DEPT. E.lI. ELKHART. INDIANA Festival that takes place in the summer, appreciative atmosphere of Vienna. At that time, Austria's capital had 40 etude-ianuary 1956 i.L- _ etude-ianuary 1956 41 • ;a continuous demands of the audience for (Continued from Page 42) encores is said to have doubled the strength lies in his passages in thirds. Stunning New length of time needed for the first-night Apart from this, he has not a kreuzer's The De Luxe worth of taste or feeling." Another pian- Spinet performance. There was no doubt now by that Mozart's operas were an undisputed ist plays well as far as execution goes, Sheraton success. But because of his bad business but "he is too rough and labored and §ta:r£a sense his income never matched their entirely devoid of taste and feeling." worth. He sold, for example, rights of Rapid runs should "flow like oil." He his next opera "Don Giovanni" in that admonishes his sister not to "spoil her same year of 1787, for a sum equivalent quiet, even touch" and not to let her to a mere $250! Yet the work had al- hand "lose its natural lightness, flexi- ready netted a handsome figure for bility, and smooth rapidity." He writes everyone concerned while Mozart was that Stein, the piano manufacturer, being laid to rest in a pauper's ceme- "used to be quite crazy about Beecke; tery in Vienna in 1791. but now he sees and hears that I am Against the background of his rest- the better player, that I do not make less times, the work of Mozart takes on grimaces, and yet play with such ex- a particular significance. For the end of pression that, as be himself confesses, the 18th century was witnessing the no one up to the present has been able end of the Age of Refinement and aris- to get such good results out of his piano- tocratic privilege. It was a revolutionary fortes. Everyone is amazed," he goes on era: towards political freedom in France in this letter from Augsburg to his and America, and an Industrial Revo- father, "that I can always keep strict lution in Britain. Mozart never con- time. What these people cannot grasp sciously participated in any aspect of is that in tempo rubato in an adagio, For YOUr " this spirit of revolt. His music-elegant. the left hand should go on playing in piano ch personal" e gay, confident, serene-belongs to the strict time. With them the left hand men! ' upoonos t~e instru_ confident, elegant era of royal courts always follows suit." We have a glimpse artists agree' whICh great A Piano of Tasteful Elegance in Western Europe, so soon to pass of his attitude towards tempo in certain You and your family will cherish for years away. He was the true child of his types of works. Sending his sister a times; not, like Beethoven, a rebel new piece, possibly the Capriccio in C, Lovely, yet simple, characterized by graceful proportions. These against them. The destiny of Mozart was K. 395, he writes: "You need not be are the reasons why Sheraton is so popular with today's home- BALDWIN IS THE OFFICIAL less to create a new music than to bring very particular about the tempo. This makers. In this new Starck De Luxe you have Sheraton in its PIANO OF THE the music of his age to its highest point is a peculiar kind of piece. It's the kind most liveable version. and a spinet of fine musical quality. of expression so that its appeal might of thing that may be played as you feel There are many other Starck styles. See them at your dealer's today. endure for all times. THE END inclined." BOLEr FREE-"Music in Your Child's Development"-a helpful booklet you'll want if That his playing was extraordinarily BERKSHIRE FESTIVAL there ore children in your home. expressive is corroborated in reports by ANTAL p.A.Start1 44 etude-january 1956 etUde-january 1956 45 , LL- ..e....__ act. When one is nervous or tense, tone e CARING FOR THE VOICE production suffers. Hence, along with practice and study, the conscientious (Continued from Page 13) singer tries to lead a regular life, with wholesomefood, outdoor exercise, and be the cause of escaping air, On the and phrasing remain whole. plentyof rest and sleep. Sleep helps you other hand, a too lose enunciation tends Yet another factor in maintaining to keep your voice in good condition! to dispel sonority. One must find a good good singing habits is the acquisition of And, as I said earlier, good vocal devel- adjustment between vowels (which are a perfectly even scale, without a trace opment rr.eans avoiding exaggerations the most helpful, vocally, and give the of break between the registers of range. of any kind. THE END best vibration) and consonants (which, This requires careful work, along the when crisply spoken, add strength and lines I have already indicated. Every color to the following vowels and hence voice, regardless of its quality, has three to the entire phrase). Without losing registers-low, middle, and high- vowel sonority, one must watch for the marked off from each other by two def- inite points of passage. The trick is to THE TAPE RECORDER important consonantal strength. A clear, • incisive pronunciation of both vowels discover exactly where these points of passage lie, in your own voice. Not ev- IN THE MUSIC ROOM and consonants gives you stronger pro- M"licby"",m"",iOo, Two Modern Teaching Aids jection and better relaxation of throat, ery singer knows this, with the result (Continued from Page 14) 01 G. $clIinner. ,,,,,. by Leta Wallace and Amy Winning since the arc of your phrase is given that the first notes of his middle register Speed Drills firm shape. This kind of enunciation are taken with the same throat position after the concert. Taking no chances, Flash Cords ior Sight Playing also makes for better interpretation. as the last notes of his low voice. When \~ Set of 32 Cards.. ..$,60 two separate recordings were made on l!SE TH E FI N EST TOOLS Remember that the basic problem of this habit is continued, tone becomes successive nights, one at the dress re- Slide Rule for Scales enunciation lies with the composer. harsh. When you get to the point of A Short Cut to Scale Playing hearsal and the other during the final High and long notes, for vocal effect, passage, or change, it is wise to sing performance. In checking the tapes For Standard and Modern Fingering with more softly. The five-vowel exercise I And in no profession should this be Scale Book. . .. $1.50 are determined by him-it is he who carefully with the score, it was found 'MftUHun' more true than in piano instruction ... For Standard Fingering Only with instruc- have already mentioned is good for ex- shapes his phrases so that they are that many advantageous splices could be for a fine instrument inspires successful tions for use ,$1.00 ploring one's scale. For myself, I would Copies Senl on Approval 10 reac~ers singable; it is he who knows that you made by substituting one performance teaching. Here. in this Mason & Hamlin Order from your dealer or direct from Publi$her can't sing a high-B on the sound of R begin this drill on low A, extending it for the other at various places in the \ &: Grand Pianoforte, is perfection in piano Jenkins Music Company and that you can't hold a long note on to D or E-fiat at the highest, singing composition. The end result was that craftsmanship. This is a piano you will with not too much volume (especially 1217 Walnut st. Kansas City. Mo. T. The singer's work, therefore, is the final tape contained about 200 own proudly ... (01' its matchless tonal in the last five notes), trying to project llamlin planned for him. He must give incisive- splices, Another time, during the re- quality, its beauty of encasement, its my voice fully and freely, with good, incomparable performance. ., ness to the consonants and sonority to cording session of a piano concerto, DIVISION OF "EOL1"N "ME-RICAN BOOK MANUSCRIPTS CONSIDERED clean vowel sonority. Then the column CORPORATION the vowels. In this sense, it is not wise something went wrong during the ca- "'" WIK!d'S FiIJU' ond Cort/'" Piaf\a by cooperative publisher who offers authors early of tone flows freely from the diaphragm, Rochester, N: Y. publication, higher royalty, national distribution, to slip from consonants too quickly into denza in .the first movement. The per- \reast '. and beautifully designed bocks. All subjects wel- through the chest and throat, into the the following vowels. Both types of formersimply played the cadenza again, ccmed. Write or send your MS directly. facial chambers of resonance, and sing- sound must be clearly enunciated. after the orchestra was dismissed. Later GREENWICH BOOK PUBLISHERS ing becomes relaxed and free. Also, Attn. Mr. Upjohn 489 Fifth Avenue Breath, of course, remains an im- it was a simple matter to cut the first clear pronunciation helps one to find NewYork 17, N. Y. mensely important element in maintain- cadenza out of the tape and transplant and to pass the notes of change. ing good singing habits, The intake of the second one in its place, and the This FREE New Though general emission remains the breath must be supported by the dia- wholeconcerto was saved! The point of BOOK MANUSCRIPTS same in all singing, the position of the phragm. Its emission, as tone, must be these examples simply is that none of throat alters somewhat for the three INVITED made exactly at the moment of singing thesechanges would have been possible PIANO TEACHING It YOU.are looking far a punttsher, send for our free, -neither too early nor too Jate-c-avold- registers. In the lowest register, the Illuatrated booklet titled To the Author in Search. 01 if only one "take" had been available, a Publi811.er. It tellii how we can puhllah, promote and ing the escape of unvocalized air, Don't throat is more relaxed, more open; for distribute vour book, as we have done for hundl' 46 etude-january 1956 etude-january 1956 47 L~, _ • ;::s udes, eight preludes and fugues, and the terest. (Angel 65021) With this release Rudolf Serkin and "Dorian" Toccata and Fugue, the Toe. "Your Musical Holiday" Eugene Ormandy's Philadelphians com- UNDERWOOD cata and Fugue in D Minor, the Passa. Under this heading Decca has re- plete their Beethoven piano concerto caglia and Fugue in C Minor. Schweitz. leased nine discs titled in turn "Your recording project. Their Beethoven is FINGER er recordings of thirty years ago reveal Musical Holiday in-Rio, Hawaii, Ha- healthy. The reproduction is good ex- more vitality and greater accuracy. But vana, South America, Paris, the Alps, cept for considerable groove spillage, Schweitzer's solid, scholarly style can Vienna, Italy, the West Indies." Strictly probably the result of crowding the FLEXOR be heard profitably by today's organ- G Major concerto (32V2 min.) on one new records pops music, mostly instrumental, "Your Controlled ists. Reproduction of the Gunsbach or. Musical Holiday" boasts local artists side. The sound of an automobile horn gan is fair. (Columbia ML 5040-2) in novel programs of background music. outside the Academy of Music during Resistance the slow movement of the B·Flat Major Beethoven: Concerto No.2 in B-flat • Strengthens weak joints. Gershwin: Rhapsody in Blue, Call. Major, Op. 19 is more realism than distraction. (Co. • Cultivates finger independence. certo in F Concerto No. 4 in G lumbia ML 5037) • Can be used in spare time. All. American in Paris, Por- Major, Op. 58 THE END gy an.ti Bess Conveniently carried in pocket ... cern- plete in plastic contoiner with explicit Sondra Bianca, native New Yorker, directions. is the key to these Gershwin recordings $1.95 postpaid made in Germany by the Hamburg Send cash, money order or check. Philharmonia Orchestra, Hans·Jurgen MUSIC IN THE CHURCH SERVICE Quantify discounts on request. Walther conducting. The Rhapsody and (Continued from Page 16) MANUFLEX CO. reviewed by Paul N. Elbin Concerto (M-C-M E 3237) have an ex- 2130 N. E. Klickitat, Portland 12, Ore. citing idiomatic authenticity not to be I else, sung from the choir stalls Communion service in Eflat-c-Evre expected of an all-German perform. after the processional and usually Communion service in F-Tours ance. Lacking Miss Bianca's inspira- just preceding the opening invo- Fifteen original varied Amens- Beethoven: Concerto in D Major, an analysis of the 12 discs released to SEE. • • ~ and HEAR tion, An American itt Paris (M-G·M E cation) Overton Op. 61 date. With characteristic German thor- ---- 3253) cries aloud for a touch of in. ANTHEM God be in my head-Chapman Strength through serenity is the mark oughness, the History of Music Division ~- of this splendid Beethoven violin con- souciance. Robert Russell Bennet's OFFE"RTORY God be in my head-Davies -- of the Deutsche Grammophon Gesell- certo. Another product of sympathetic "symphonic picture" of Gershwin's BENEDICTlON RESPONSE (usu- Grant me true courage-Bach the schait is reproducing on 70 long-play ~0.---I \. " Porgy and Bess (reverse side) drags ally most effective when sung from Let my prayer-Purcell collaboration between Nathan Milstein, records full-length samples of the finest violin, and William Steinberg, conduct- for want of feeling. the narthex at the conclusion of God, we pray-Arensky beat music produced by Western Europe be- o 3:~1.f \; ing the Pittsburgh Symphony Orchestra. the final prayer, which normally lord, increase my faith-Gibbons tween the 8th and 18th centuries. o -:"; Capitol's disc stands with the best in a "In the Gardens Mirnbcll" would follow the singing of the Opening of service sets I and II- Scores, instruments, styles are as close or INSUREperfe" rhythm long list of competitors. (Capitol P Dubious programming but unbeat- recessional hymn) DeLamarter --- the originals as possible. First releases - with the fRANZ 8313) POSTLUDE Service Responses-DeLamarter - represent the 12 "research periods" of able Mozart characterize this concert of --- Flash-Beat ELECTRONOME light orchestral music played by the A natural interpolation is that of a The choral service---Tallis --- the project. I found these dozen hi-fi --- Mozart: Don Giovanni - The invitatory Antiphons-Holler discs absorbing listening. Despite the Columbia Symphony Orchestra con- Call To Prayer, obviously sung before --- exclusive featu,es: The virtues of London's full-length ducted by Bruno Walter. In the style the prayers which can easily be followed The Lord bless you and keep you- recording, complete with 320-page vocal obvious scholarship back of Archive • light visible from all side, of Mozart concerts in the Mirabell br. a Choral Amen or Choral Response. Lutkin score, add up to the best Don Giovanni Production, performances, featuring • 99% accurate Gardens of Salzburg, Dr. Walter con- The Versicles from the Episcopal serv- The ofIce of the holy communion on the market. But a better could be first-rate talent, are generally anything • 5 yea, wriHen guarantee but academic. (Decca ARC 3001-3012) ducts Eine Kleine Nachtmusik, Menu· ice are often employed effectively just in E-ftat-Eyre wished. Both Suzanne Danca (Donna Twelve short responses-Pattison • the only Underwritell-ap-' eues in F and C, Three German Dances, preceding the principal pastoral prayer. p,oved elect,ic metronome Anna) and Hilde Gueden (Zerlina) The choral responses of the Versicles Versicles, see the choral service- are frequently out of their best ranges, Josef Hofmann Golden Jubilee Con. Masonic Funeral March, and overtures cert can be sung by the choir or preferably Tallis W,it. '0' our f"8 booklet while Cesare Siepi (Don Giovanni) to four operas. Pre-echoes occasionally Here's a record that's ringing the mar otherwise splendid sound. (Colum- by choir and congregation in response We praise Thee--Tenyakoff FRANZ MFG. CO.,INC. merely suggests the possibilities of the rafters of critical acclaim. Fifty years bia ML 5004) to the minister's sentences. We praise Thee-Tchaikovsky 57 VJolh;l<::e St. New Haven, Conn. role in the hands of a Pinza. Chief hon- after he appeared in sailor suit at 10 The following list of responses is Any number of musical settings of ors go to Fernando Corena for a bril- to play at the Metropolitan Opera worthy of investigation. the Episcopal service have been made liant Leporello, to Lisa della Case for a Liszl: Piallo Concerto No.1 in E-Ffat House, Josef Hofmann returned for an Major Beredictus (St. Cecilia Mass)- from which the Versicles can be ex- beautiful Donna Elvira, and to Josef anniversary concert. His Chopin num- Hungorion Fa"talY tracted. Any music dealer will be able Krips and the Vienna Philharmonic for Counod bers and certain encores were recorded. Hungarian-born and trained pianist Blessed are they-Wesley to secure these as desired. Selection of excellent orchestral work. (London Despite pre-hi-fi sound, these Hofmann XLLA·32, 4 discs) Geza Anda rolls out these rousers Cast thy burden (Elijah)- various settings may also be made from mementos add significantly to the history without apology or inhibition. His col- Mendelssohn the various chant books available . Tunepianos in30days of music making. (Columbia 5ML 4929) laborators, the personnel of the Phil- through church publishing houses. 1';0 musical know!cdg" ne<' b for a 111111111111111111111111111111111111111111111 successful ORGJN & CHOIR TO'::.~ote~;"~ VIOLIN QUESTIONS by GULBRANSEN teaching QUESTIONS season ... _.:i:iiDP:-=:iiii:i;'~ ud,e the ~. l HAROLD BERKLEY Frederick Phillips Study Material Reeomrnemded string. The three-stringed bass is rarely seen nowadays, most of them having Mrs. E. B. H., Rhode Island. The "28 LEILA FLETCHER been converted to four-stringed instru- Melodious Studies" by Josephine Trott ments. Ourentire parish pLant: church, school An inspired minuet console, Town&.Coun'ry PIANO COURSE are published by G. Schirmer, Inc., 3 and add the 16' Bourdon to the Swell? and rectory was destroyed in the tor- (3) Please comment on the training of is a perfectly delightful interpretotion of You'll want the newest, most pro- East 43rd Street, New York City, and A Modern Maker nado last rear, including our nearly the school of sculplured design, the sucve, gressive Piano Course-that holds I don't think the book is out of print, volunteer choirs; what books will help, R. C. W., Virginia. The maker you newpipe organ. We are now rebuilding, fluid look ... the woods in unduloted un- the pupil's interest and ensures for a pupil of mine bought it a couple and where can I get information on Gre- mention is still producing good instru- but will be unable to afford a new pipe broken surfoces of continuous contour. steady progress ... that offers the of months ago. it is, in my opinion, the gorian Chant? R. A. J.-Pa. ments, but I think that even he would organ. Could roa advise which of the Here in the Town & Country is beauty, stvl-. best in music, and provides a best substitute for the first book of hesitate to claim to value them at 2500. several electronic instruments would ing, breathobility ... 0 piano that lives! sound musical foundation ... that Wohlfahrt. As an alternative you could Since you have full access to the or- They have sold in the open market for give us the greatest satisfaction. Town & Counfry is avoiloble in the modern instills correct reading habits, and use the Supplement to Book I of Laou- gan for practicing, we suggest that you from 200 to 500, and are well worth R. S.-Nebr. woods, and is equipped with the exclusive fosters the creative ability. For reux or the corresponding Book of the get one of the standard organ methods Gulbransen Supertone Scale, the sense- individual and for class instruction. Maia Bang Method. It is psychologi- the price. (such as Stainer's "The Organ," and It is difficult for ETUDE to be very tional mirocle scole that outperforms all cally good to get away from "Methods" study it very carefully. For additional BOOK ONE-for beginners Probably a Factory Brand specificin its ad vices for two reasons. others - with its superlolive, eleer, sing- as early in the pupil's advancement as pedal study use Dunham's "Pedal Mas- BOOK TWO-grade 1 Miss R. F., Minnesota. The (act that First, for obvious reasons a magazine of ing, big tone-big Grond Tone. possible, for a "Method" too often d~~ tery" described in the circular enclosed. BOOK THREE-grade I to IV. SPECIAL your violin has no label, and that it this character cannot show partiality to With your present musical training we WRITE roa FREE BOOK FOUR-grade II notes the student as a beginner-e-at TEACHER'S can be identified only by the name one instrument as against others. Sec- believe these books will help you to a BROCHURES BOOK FIVE-grade II to III least, in his own mind. DISCOUNT HEINZEL branded on the back, leads ondly, in the last analysis the choice pretty fair mastery of the organ. Ques- BOOK SIX-(in preparation) GULBRANSEN COMPANY Copies or Originals? me to think that it is a German or mustbe based on personal preference as tion Le-One of the causes of the lag Price, each $1.00 Dept. E. 2050 N. Ruby 51. Mrs. A. B. W., Minnesota. No one Bohemian factory product worth at most to tone quality, etc. We are sending you in hymn singing may be the large Melrose Park. III. could give you a definite opinion on $75.00 and probably not worth 50.00. the addresses of the leading makers of church and small congregation. So of- 111111111111111111111111111111111111111111111 your violins without seeing them. The The name is not listed in the books at electronic instruments, and suggest that ten, in such cases, the congregation possibility exists that they are genuine, my disposal. you have the local representatives of scatters itself all over the church, and although the odds against this are astro- these firms arrange [or personal demon- each member feels timid and afraid of Barre or Barbe? nomical. They may be well-made copies strations. Most electronics will sound being heard. Is there some way that the If you are a worth a few hundred dollars, but the J. M., MaryLand. I can find no record verysatisfactory in the softer effects, but officiating minister could induce the piano teacher and chances are thousands to one that they of a maker named J. Barre, and I am in the demonstrations be sure to check congregation to get closer together, START SPEAKING not already acquainted with are German or Bohemian factory prod- wondering whether it is Barbe on the on the results with the crescendo pedal preferably in the front, so they would the LEILA flETCHER PIANO ucts not worth fifty dollars. In the whole label in your violin. That is the name fully open, both on individual SLOpsand get the feeling of "mass" singing, and FREo,-CH ~ COURSE, just fill in the space history of violin making, no names have of a large family of quite good French on medium and full organ. Check also put a lot more spirit into it. Playing too below and mail to us. We shall makers who worked in Dijon and Mire- with the manufacturers as to the num- legato on the organ also encourages SPANISHALMOST OVERNiGHT' been so misused as those of Stradivarius EHE'S the easiest way to learn FRENCH, SPANISH. be happy to send you (postpaid) court. But there seems to be no record ber or size of sound chambers needed lag, and yet too much staccato makes H Russian. German, Italian. Japanese or Brazilian. and Stainer. Listen to FREE 2·s1ded non-breakable record. Let your a FREECOPY OF BOOK I. We of a Barbe working as early as 1710. for your particular church. things "choppy." Try keeping the mel- eyes follow words in FREE sample les~on. Almost at onc~ you'll be chatting in a new language WItha perfect accent. know you will be delighted with Why Two Teachers? So I cannot give you even an approxi- ody smooth and the pedals if possible, That's all you hear! No dull, tedIOUS work. Just unen-c- Imitate! It's that easy! OITer may end soon. Rush 25t to it-so don't delay, do this today! Miss C. A. R., Idaho. To take lessons mate valuation on your violin, It would A stop List of our organ is enclosed. but have the inner voices (filling in the help cover cost of special packaging. Bhlpping. State language you want. We'll also send free lnformatlon on This offer is good for one free copy of from two teachers at the same time is need to be personally examined by an The church has a seating capacity 0/ chords where possible) played staccato. ruu Cortina course. No ohliltatlon CORTINA ACADEMY. BOOK I only. Order your regular copies not fair to the student or to either expert and judged on its own merits of over a thousand, but due to changes in At the end of complete phrases release Dept. 251. 136 W. 52nd St., New York '19. from your local music deoler; if they cannot workmanship and tone quality. supply you, order direct from us. teacher. To take a six- or eight-week environment the congregations are now the entire organ for an instant short of summer course with another teacher is small. The organ has had no attention its full time, making a solid attack on A Romantic History Robert Whitford YES I I ACCEPT YOUR OFFER not quite the same thing; for that for about ten years, and some troubles the new phrase in strict tempo. This Mrs. J. R. 5., California. The violin Founder-President OF ONE FREE COPY OF ... period you consider yourself a pupil of are evident. A recent change in Pastor release supplies somewhat the effect of Inu',rnalional Piano Teachers Association you write about certainly has had a BOOK ONE the new teacher and strive to do what andAssistants has helped to restore the an accent, and keeps the sense of has devoted hi~ entire professional career to he wants. But to study with two teach- romantic history, and it would be nice interest in music, and a female choir 0/ rhythm going. Your suggestion regard- the interests of the piano teacher. You ore THE LEILA FLETCHER ers, "side by side," is not good. (2) My if I could say that it is a genuine Strad. 12has been formed, but men seem to be invited to write for a free ccov of PIANO ing the pedal is all right for a tempo- TEACHING TODAY. With it vou will also be PIANO COU RSE feeling is that you have been held back. But I cannot. The possibility exists, of unavailable. I have studied piano lor rary measure, but your pedal technique sent ccmnlimentorv. Mr. Whitford's moster After studying for eight 'years you course, but the chances against it are severalyears, understand harmony and should be developed as soon as possible lesson on MUSIC'S MOST UNUSUAL NAM£'-----:"".."A-:$O'O-:"::.:::":::T:---- something like a hundred thousand to CHORD, should certainly be doing the Kreutzer counterpoint, but have had very Little to take care of all ordinary music. Here Robed Whitford Music Education Bll~ellU ADORES5-. _ and Fiorillo Studies, and more advanced one. But it may be a good copy, worth organ training and am unable to take is where the Dunham book will be 3010 N. W. 2nd Ave. Miami 37, Fla. pieces than the Accolay concerto. a few hundred dollars. If it has that lessons, but have been requested (and found useful. For choir training, we CITY' ZON£_" __ look of quality about it that is so patent have agreed) to take over the organ. I suggest "Choir and Chorus Conducting" Three-Stringed Bass ,ST"TE' _ to the observant eye but is so impossible h.a~efull access to the organ lor proc- by Wodell and "Choral Technic and Mrs. M. H. r; Massachusetts. There to define, I would advise you to take tLczng.(1) Is it possible to get the con- Interpretation" by Coward. For a study DEALER's ""ME have been several tunings used for the or send it to Mr. Faris Brown, 5625 gregation out 0/ the habit 0/ dragging of Gregorian Chant we recommend three-stringed double' bass, but the most Wilshire Boulevard, Los Angeles 36, th.ehymns, or is it wise simply to Lag "Catechism of Cregorfan Chant" by common was A for the low string, D for Calif. For a small fee he will give you IoLlhthem?(2) "/~pre the pedal work is Hugle, or a larger work "New School the middle string, and G for the top a reliable appraisal. toodifficult, is it O. K. to omit the pedal of Gregorian Chant" by Johner. 52 etude-january 1956 etude-january 1956 53 Mozart Happy New Year, 1956 JUNIOR ETUDE CONTEST br Alice M. McCullen We like to make some resolutions, Junior Etude will award three upper right corner. N arne of prize And, of course, we need them: M.ozart made the four-hand sonata a attractive prizes this month for the winners and list of thirty receiving Let's make them well on New Year's special art work. best and neatest entries received honorable mention will appear in Day, lOR ETUDE O.neof his remarkable gifts was the in the contest. a later issue. And then be sure we heed them. abilityto sing and play the harp. Class A, 16 to 20 years of age; Subject: Au original puzzle re- sichordwhen only four years old. Class B, 12 to 16; Class C, for lating to music. Prizes will be ed by Elizabeth A. Gest Zeal for polished form aud exquisite J unicrettes, under 12. Print your mailed in February. Buckle Down melody characterizes his style. name and age on upper left corner Mail entries to Junior Etude, What were you doing in your music this A.nnaMarie, his sister, was also a of page and print your address on Bryn Mawr, Pa., by January 31. time last year? Do you remember? Do gifted musician and one of the you remember what pieces and studies first feminine concert players. you were working on then; or how you Hiches contributed to the musical Paint The Titles (Game) played your scales; how careful you Letter Box Earulles in the Windows treasury of the world still pay were about your practicing? If you were going to paint the dividends in inspiration. Ask yourself "Am I a whole year's- Send replies to letters in care of colors in the following song-titles, by Gertrude Greenhalgh, Walker T-wo hundred years after his birth worth further advanced now than I was Junior Etude, Bryn Mawr, Pa., and what colors would you ueed? (Take then? Musically? Technically?" musicians of the world pay him if correctly stamped, they will be five points for each correct answer. If you can honestly answer yes to homage. forwarded to the writers. Do not ask HUNDRED years ago-Jan- piano pieces. for addresses. Foreign postage is 8 wo these questions it shows you are mak- The players with the highest score Mozart's life was not a happy one cents. Foreign air mail rate varies, Tuary 27, 1756, to be exact-Wolf- ing good progress. But if there is any so consult your Post Office before in four minutes is the winner.) at the close of his days, even though gang Amadeus Mozart was born in doubt about it, just buckle down, work stamping foreign air mail. Peint the beautiful little city of Salzburg, he was surrounded with music. Other hard and make up for lost time. Who KnowsThe Answers your name and reiurn address on 1. Old --- Joe; 2. Beautiful the back of the envelope. Austria. His parents did not suspect musicians were sometimes jealous of --- Danube; 3. --- Christ- (Keep score. One lwntlretl is perfect) that the baby boy was to become one his great gifts. He was very ill-paid mas; 4. Jeanie With The Light for his compositions and he was neg- • of the great musical geniuses of the Musical A, B, C's 1. Which one of Beethoven's nine sym- Dear Junior Elude: --- Hair; 5, Deep ---; 6. world, and they were very much sur- lected. Not one friend followed him phoniesis best known? (5 points) I enjoy ETUDE from cover to cover. I --- River Valley; 7. Wearing 0' prised when, at the age of three, Wolf- one storm-swept day to a pauper's 2. Which is slower, largo or larghetto? have just qualified as a kindergarten The ---; 8. The ---, --- gang climbed up on the high stool grave, where he was buried. But his A's for Albeniz, composer from Spain. (5 points) teacher and am teaching in an English and ---; 9. The Last --- Of and played on the harpsichord from genius lives on. B is for Bach, and his Fugues will 3. Which instrument is more difficult to school here in Bombay. I also play Summer; 10. The Little --- Jug; piano and sing, I have a variety of In- his sister Nannerl's music book, As an expression of deep homage remain; C is {or Chopin's supreme play, clarinet or oboe? (10 points) 11. 'Round Her Neck She Wears A on the bicentennial of the birthday of terests, including needlework, handi- though he had never had a music les- melody, is for Dvohik's New World --- Ribbon; 12. --- Threads D • crafts, stamp collecting and dancing. I son! However, from then on, to Wolf- Wolfgang Amadeus Mozart, there will Symphony; E is for Elgar, whose Among Tbe --; 13. The Old be placed in every window in the wou~d like to. hear ~rom readers who gang's delight, his father gave him a music we know, F is for Foster's ~ E"J $ --- Mare; 14. John ---'s 4 _ are Interested In mUSIC. music lesson every day. beautiful little city of his birth-Salz- _ !t=\_J 3 well-known Old Black Joe; G is for .. Jean Dias (Age 18), India Body; 15. The --- Sarafan; 16. burg, Austria-a lighted candle! What When he was six years old his Grieg, with a Norwegian note, H is Roll On, --- Moon; 17. Darling a tribute these candles in the windows father took him and his sister on a for Handel and all that he wrote; I's Nellie --; 18. The -- Bells will be to his ever-glowing genius, Dear J unior Etude: • concert tour in Europe. All royalty for iturbi, fine artist, you bet! J is for 4, Which minor scale has five fiats in Of Scotland; 19. The Little --- honored these Mozart children and which lives on through the years in I have studied piano and voice for over Joachim and his quartet; K's Kous- its signature? (10 points) Church; 20. Robin --- Breast. wildly acclaimed the unusual musical his compositions! five years and play for our primary de- sevitzky, conductor supreme, L is for 5. Which is older, the clavichord or talent. Mozart began to compose, too: the harpsichord? (10 points) partment in church and for the Rotary Liszt, with Hungarian theme; M's for Club in our community. My hobbies are Answers on This Page and when only seven years of age his 6. Which of Wagner's operas was his MacDowell, a tone poet true, N is for playing the organ, reading, collecting first sonatas were published; and he last? (15 points) Nevin. I like him, don't you? 0 is for demi-tasse cups and pen-pals. I would wrote a symphony when he was only 7, Which instrument uses colored Offenbach, not so well known, but in like to hear from readers in other coun- eight! As he grew up melodies were strings? (15 points) his operas his talent is shown; P's for tries. Also from the Mail Bag ever flowing from his pen. It is said 8. Which one of Bach's sons wrote 501- Puccini-no operas are finer, R's for Diane Marris (Age 15), Texas that he liked to play games and fre- feggietto (5 points) The following would also like to receive Rachmaninoff, major and minor; S 9. Which of the following composers quently stopped in the middle of a letters. Space does not permit printing is for Strauss, and the waltzing of wrote the Military Polonaise: Liszt, • their letters in full. Virginia Bickford game to write down a melody, which, Dear Junior Etude: feet, T's for Tchaikovsky's Nut Chopin,Ravel, Brahms, Mendelssohn? (Age 15), New York, plays piano and later would be found to be the theme I like music very much and when a (10 points] expects to start cornet soon; Sharon of one of his compositions. Cracker Suite; V's Verdi's opera at piece is learned perfectly it is so much which we can weep, W's Wagn.er, 10. Which country produced folksong fun to play it for people! My mother Belleville (Age 14), Michigan. hopes to Mozart died seven weeks before his givenwith this quiz? mysterious and deep; X is not known become a concert pianist; Helen Dicken 36th birthday, leaving to the world (Answers on this page) (Age 17), Illinois, plays piano and col- yet, but soon he'll begin; Y-saye and nearly fifty symphonies, the three con- lects classical records, sings in Girl's Z-imbalist, great on violin, sidered the greatest being composed Choir; Kitzi Windvand (Age 13), New when he was thirty-two. Of his twenty Answers10 Paint the Jersey, plays piano and enjoys skating, operas, "Don Giovanni," "Figaro" swimming and nature. and "Magic Flute" continue to thrill Guess My Name Titles Game musicians the world over. Not a day by Marion Benson Matthews passes but somewhere a composition I. Black; 2. Blue; 3. White; 4. J n Europe I was once well known; Brown; 5. Purple; 6. Red; 7. Green; Answers to Quiz of Mozart's may be heard, whether it In Scotland now you hear my drone be one of his more than twenty piano 8. Red, White, Blue; 9. Rose; 10. When kilted men march by; 1. the fifth: 2. largo; 3. oboe; 4. B-flat concertos, his twenty-seven string Brown;II. Yellow; 12. Silver, Gold; A leather bag, three pipes or four took the enclosed picture of me at my minor; 5. the clavichord; 6. Parsifal; 7. Harp, similar to the piano using quartets, his forty-two violin sonatas, I'm fashioned of. Need I say more? 13. Gray; 14. Brown; 15. Red; 16. piano, I would like to hear from other his forty-nine symphonies, his many Silver17. Gray; 18. Blue; 19. Brown; black and white keys; 8. Karl Philip Statue of Mozart What instrument am I ? readers, Emanuel; 9. Chopin; 10. Scotland. operas, or even his little Minuets and Salzburg, Auan-Ia Answer: Bagpipe 20. Red. Edward Griswold (Age 8), New York 55 54 etude-january 1956 etude-january 1956 rooted in the contemplative, lyrical side CREATIVE CONTRAST IN MOZART mood of each is too well known to be described here. On 4 June 1787 Mozart of his nature, his gaiety of heart and r------AMP--..:..---..., finished two exquisite miniatures, the wide human sympathies. The other (Continued from Page 11) songs Abend.empfindung and Ah Chloe. sprang from the long-drawn material The first glows with passion and reo failure and frustration, and the conse- MOZART BI-CENTENNIAL veals a sustained depth of feeling un- quent unhappiness which made him differentiated sharply from the next. intensely in his very next compositions. paralleled in his other songs. The sec- rebel passionately against the darkness However a musician developed in the On 10 February he finished the Clavier and is by comparison a pretty trifle, for eighteenth century, the force of this Concerto in D minor, and on 9 March of his fate. But because he was so fun- all its formal perfection. There are sev- method of production remained, if only that in C major (K. 467). From the damentally sane and endowed with so THE YOUNG MOZART; 19 Pieces (1762-64) .... s ,90 as a natural economy of effort. With febrile tumult of the first, with its sen- eral similarly contrasting pairs in the resilient a spirit, he could not allow lesser works of this time, but the ac- UTILE NOTEBOOK OF 15 EASY DANCES Mozart it may have contributed to the suous Romanza, it is a far cry to the one or other of these elements to be in cepted miracle comes later, in 1788, the ascendant for long, and thus uncon- (Rehberg) .75 habit of composing ODe work in con- second, so stately and square in its mili- with the three symphonies. Can we trast to its immediate or near neighbor, tary rhythms and so delicately poetical sciously kept the balance through the 8 MINUETS WITH TRIOS FOR THE PIANO 75 though the primary forces were differ- in its Andante. A similarly contrasting doubt that the plan of all three germi- outlet of these contrasted pairs. There ent and more complex. There are others sequence came in the autumn. Hard on nated in one creative impulse? The can of course be no final proof of this, SONATAS, VOL. I 2.25 among the great masters who shared the heels of the sublime Maurerische E-flat Symphony, however, was finished but it seems probable that the crowning this tendency, but it is Mozart's music Trauermusik in C minor and the Clavier first on 26 June, while those in G minor humiliation and despair of 1789 puri- SONATAS, VOL. II 2.25 and C major (the repetition of the that can be studied with most profit, for Quartet in G minor came two works in fiedhis soul of this conflict and brought 6 VIENNESE SONATINAS (Rehberg) .90 we must know the dates of the several the confident serenity of Evflat major- tonal contrast of the great Quintets is him some measure of calmness and pairs with some exactitude, and his own the Violin Sonata, K. 481, and the CIa· significant) came over a month later, resignation. For after this date those 15 VARIATIONS (Scholz) 2.50 thematic catalogue, which he kept from vier Concerto, K. 482. In the spring of the on 25 July and 10 August. Hence these works which fall into pairs-namely, 1784 onwards, fulfils this need with par- next year came one of the most remark- symphonies may perhaps be regarded the Quartetsin Bflat (K. 589) and F 12 WALTZES with Coda 50 ticular completeness. able of all Mozart's creative efforts, the less as a triad than as one plus a pair. major,the two Fantasias for mechanical For much of Mozart's music written completion within three weeks of two In any case the contrast between the organ with their strongly parallel tonal 15 WALTZES 65 prior to 1784 we lack precise dates; too clavier concertos while he was also fully first and the last two is as remarkable structure, and the two last String Quin- often the exact mouth is not known, let occupied with "Figaro." Even more strik- as that between the last two themselves. tets-are complementary in a most sat- ASSOCIATED MUSIC PUBLISHERS, INC. alone the day. It would be interesting ing than the contrast between the con- This sequence of widely differing isfying way. This impression is con- to speculate on the reason for the great certos in D minor and C major is that pairs in Mozart's music between 1784 firmed by the absence of violent con- 1 West 47th Street. New York. N. Y. gulf between the Sonata for Clavier in between these in A major (K. 488) and and 1788 is too regular to be dismissed trast within them and their separate A minor, that for Violin in E minor, and C minor. Both are powerful works, but simply as a series of coincidences. But movements, as indeed is the case in comparatively trivial works composed this quality is not so obvious in the A was it a conscious attempt either to other compositions of these years, such during his visit to Paris in 1778; like- major because of the sweetness of its maintain emotional balance through reo as the B-fiat Clavier Concerto (K. 595). wise on the great difference between the melodies and the flowing grace of its course to extremes, or to relieve inner This at least is an indisputable musical two Serenades for Wind Octet in C mi- outlines. But in the C minor Mozart tension through deliberate change of fact and plain to see in print. The rea- nor and E-flat major of 1781·2. But the laid bare all the starkness of conflict mood? It seems unlikely in Mozart's son for it may be that at last, in spite absence of precise chronology would as never before, even in the sonata and case, though perhaps others may have of himself, Mozart had attained some- This Opportunity is for forbid any definite conclusion. In Febru- fantasia in this key. worked in this way. Thus may be inter- thing of that inner harmony so long ary 1784, however, Mozart began to After "Figaro" Mozart fell, like the preted the varying curve of hath scope desired, to which he was to give su- keep his Verzeichniiss. The first half- runner from Marathon, exhausted in and spirit that runs through Beethoven's preme expression in "Die Zauberfldte." YOUR ~HILD dozen or so of the masterpieces that the moment of his triumph, for the symphonies from the third to the ninth. We cannot listen satisfactorily to two streamed from his pen in the spring opera's greatness was lost on the pub- There is likewise little doubt that pieces of music at once, but we can and summer of that year reflect on the lic, and its very brief success must have Brahms, one of the most self-conscious study and compare them in score, and Ask your child's Teacher now to enter him in whole a steady gaze towards the bright- disappointed him bitterly. Until De- of all the great masters, often planned so he able to refer subconsciously to er side of life. We may note, however, cember 1786 he devoted himself rather contrasting pairs of large-scale works, annual spring non-competitive Auditions of the the one when hearing the other played. that on 14 October came the stormy spasmodically to chamber works, some for instance the two groups of his sym- Thus, when we hear the massive scoring Sonata in C minor with two fresh and very beautiful, but, except for the noble phonies, the 'Tragic' and 'Academic in eight parts in the 'Allegro maestoso' tender works in B-Hat (the Clavier Con- Duet Sonata in F major, introspective Festival' overtures, and the Violin So- NATIONAL GUILD of PIANO TEACHERS of Mozart's C major Clavier Concerto certo K. 456 and the Quartet K. 458) and mostly lacking the freshness of his natas in D minor and A major. But we (K. 503) we should not, if we accept Served 43,000 in 1955 less than three weeks away on either earlier music. In the late autumn he must also take into account the instinct, the thesis of this chapter, be astonished side of it. In January 1785 Mozart began to prepare for the winter con- common in all creative artists, to avoid Founded 1929 Irl Allison, Pres. Box 1113, Austin, Texas by the thought that such music evolved crowned the set of quartets which he certs in Vienna and completed the monotony and staleness which might in his brain at the same time as the was dedicating to Haydn with the A Clavier Concerto in C major (K. 503) come from too long a concentration on simple melodies and flexible rhythms major on the 10th and the C major on and the 'Prague' Symphony in D major one particular mood. Milton studied of the first movement of the 'Prague' the 14th. Obviously they were in his on 4 and 6 December respectively. De- English history deeply while writing symphony.Yet we can also see, if we mind at the same time and the distinc- spite its major key, the concerto is often "Paradise Lost." Ben Jonson wrote his recal1the sombre style of the slow in- tion between them is most pronounced. gloomy and always austere, even in the lyrics to Celia as soon as he had finished tr?duction of the latter, that Mozart's The mood of the A major is wistful and Andante; the lilting rhythms and sunny "Vol pone," if not while actually work- mind was not working in watertight -----. MOZART·KREISLER .1---- disconcerting; chromatic melody pre- geniality of the symphony are quite ing on it; Titian liked to be engaged on compartments during the creation of vails and produces the effect of quiet alien to it. The concerto is Olympian in both secular and religious paintings si- these masterpieces. To discern such fea- RONDO-arranged for violin and piano ...... •....•.....•.•. $1.25 shading; throughout the method is al- its uncompromising aloofness, and multaneously, ranging from a love scene tures as this, which are to be found in lusive, and there is little differentiation makes deliberate parade of strength in Greek mythology to a Holy Family. CADENZAS (3) for CONCERTO No.3, G major ...... •...... • .BO between the movements. The Quartet in all the pairs of works mentioned here, and sonority. The symphony too has Mozart shared this instinct, but it was C is one of the most brilliant, exulting, ~nd to grasp the significance of their CADENZAS (3) for CONCERTO No.4, D major ...... •...••• .80 strength, but it is more concealed and not preponderant, partly because of his and, in its Andante especially, exalted Inter·relationship, needs a greater effort only prominent here and there beneath unique, almost cynical power of detach- CADENZAS (2) for CONCERTO No.5, A major ...... •.• 1.00 works Mozart ever wrote. Only in the of comprehension than we usually ex- the gaiety of the music. Undeniably ment, and partly because of his fecun- and (1) for CONCERTO No.6, major minuet and trio does the flame sink and pend on one work in vacuo. But is it Eb these two masterpieces, so opposite in dity of sustained invention. burn more darkly. It is a triumph of not well worth while? For our reward structure and mood, were maturing si- We should therefore look deeper for These and all other Kreisler compositions and arrangements may be examined externalization, just as its fellow gives i~ nothing less than a glimpse of the multaneously in Mozart's brain. the cause of this sequence of contrast- masterly expression to a spirit of reflec- Vital forces which, after long striving, or purchased at your favorite music store. The same can be said of the two ing pairs, in the known facts of his tion that is profound but not gloomy. Mozartsucceeded in holding nicely bal- String Quintets, in C major and G mi- life and character. May it not be that Within seven weeks Mozart had re- anced. So fascinating nor, between which there is a bare three there were two elements continually at 67 W. 44 St. CHARLES FOLEY New York 36 peated this feat of contrast even more Is the conjunction of the mind and a half weeks. The difference in the war within his mind? The one was And opposition of the stars. 56 etude-january 1956 etude-ianuary 1956 57 k _ panion. With it he was able to record uary 15. In every way this outfit makes The Telephone Hour THE SYMPHONY OF THE BIRDS portions of Prokofieff's opera "War and a great contribution to both television (NBC Radio) Peace" two years ago at the Maggio and music. I, for one, particularly relish January 2. Leonard Warren, baritone NORTHWESTERN UNIVERSITY (Continued from Page 18) Musicale in Florence. He made record- the fact that the operas are always January 9. George London, bass-bari- ings also of excerpts from the festivals given in English, and I look forward tone SCHOOL OF MUSIC to the translation of "The Magic Flute" in Copenhagen, Stockholm, Bergen, January 16. Zino Francescatti, violinist George Howerton. Dean being prepared by W. H. Auden and January 23. Renata Tebaldi, soprano few years ago. "Driving into Miss An- Helsinki, Salzburg, Bayreuth and, at fragment extracted from the call of the ChesterKallman, two men who are emi- January 30. Robert Casadesus, pianist derson's farm, high on a Connecticut home, Colorado's Red Rocks and Aspen Veery, a member of the thrush family. -e-to which was added his commentary. nently skillfully in setting words to Now for those who like anything joy- 1'1 slowed the call down on the tape hillside, I noticed some sheep grazing in a nearby pasture and a dozen or so It has been a rewarding career for music. ous, "Peter Pan," which last year was machine, and so lowered it in pitch," Jim Fassett in that "so many people For those who like singers, the "Voice brought to televiewers following its New Degree Program he explains, "and what was to our ear baby lambs frolicking about," he re- tell me I've helped them appreciate of Firestone" and the Telephone Hour ~r~adway run, should prove rewarding originally a momentary flutter of sound lates. " 'Do you raise sheep and market A doctor of music degree music. I never guessed, though, that I'd are presenting a slew of vocal artists 10 Its repeat performance over NBC-TV turned out to be a complex pattern of the wool?' I asked Miss Anderson as be working with an orchestra of birds during this month. The former, which on Monday evening January 9. A lark IS now offered in the fields notes and the basic background of the an opening wedge. And then the great and going around calling myself com- with unusual taste creates vivid dra- that is at times gay, at other times introduction." Another portion of the artist who had sung for kings and of poser," says the commentator-producer matic settings for the classical and touching, and always exerting its sure- Veery's call signals the beginning of queens, for presidents and prime min- who sets a fine pattern of music for popular songs that make the ABC fire pull on an audience, this musical the first movement, where also is heard isters, smiled warmly as she told how CBS radio with the broadcasts on Satur- simulcastsa Monday evening treat, pre- version of the James M. Barrie fable the song of the Baltimore Oriole, the the sheep were sheared and how she days of the Philadelphia Orchestra, and sents this schedule: stars the ebullient Mary Martin as accelerated, repeated note of the Field made blankets of the wool and gave • Composition on Sundays of organist E. Power Biggs, Peter and the delightfully wicked Cyril Sparrow and the re-sol-do of the Harris them as Christmas gifts to her friends. the Salt Lake Tabernacle Choir, Mishel Voice of Firestone • Church music Sparrow-"transposed in different keys From then on, the conversation flowed Ritchard as Captain Hook. You do not Piastre's "Symphonette," "The Music (ABC Radio and TV) have to be a child to enjoy the Mark and registers, in combinations and in- naturally and fluently. That bugaboo, Room," and the Philharmonic. January 2. Robert Rcunseville, tenor • Performance (organ, versions." This could be marked An- the tape recorder, was forgotten." ("Moose") Charlap and Jule Styne January 9. Barbara Gibson, soprano dante e lirico. The final movement, He has interviewed the pianist Rudolf tunes, the Carolyn Leigh, Betty Comden piano, violin, voice) January 16. Eugene Conley, tenor where we hear the songs of a variety of Serkin not as a virtuoso but as a farmer * * * and Adolph Green lyrics, and the hand- January 23. Dorothy Warenskjold, thrushes, could be marked Misterioso. showing off his new tractor in Vermont; some staging by choreographer Jerome Not deviating in any way from its "I didn't want my symphony to sound pianist Robert Casadesus, his wife Gaby soprano Robbins, or to revel in the adult course of presenting what, the writer like an aviary, but I still didn't want and son Jean in the library of the He January 30. Elaine Malbin, soprano shenanigans. regrets to say, are only the tried and Information availoble from the listeners to forget that all the soloists de France, with the boat's whistle Robert Merrill, baritone THE END true pieces of music, the Philharmonic were birds. So, from time to time, I let screaming in the background, and its Music School Office. them sing straight-just as they would loudspeaker warning all visitors to go will be heard, on the first three Sundays in January, in all-orchestral concerts sound in field and wood." ashore; conductor Dimitri Mitropoulos CONTESTANTS YS. MUSICIANS in his favorite Greek restaurant. Equal- under the bri.lliant young Italian guest NORTHWESTERN UNIVERSITY That familiar sounds-like locomo- (Continued from Page 19) tives, churchbells, dogs, chickens-can ly informal were his interviews with conductor, Guido Cantelli. On January 22 Nathan Milstein, under Cantelli, Evanston Illinois sound strange to one's ears is demon- Helen Traubel, sipping morning coffee least insofar as the rating is concerned. sections, attempting to perform an over- will play Brahms' Violin Concerto- strated by James Fassett during the and discussing her baseball loyalties; They might well emphasize the teach- ture whose score requires double reeds, a thoroughly familiar work, but one Philharmonic broadcasts. He has shown Red Barber and composer Norman ing and mastery of the elements of tone bass and alto clarinets as well as a that, in its warmth and passion, suits also what a recorder can do in picking DelIo Iolo finding sports interests in production, intonation, and rhythm. large choir of flutes and soprano clar- him to a 'T'. On January 29 Gina C~icago mUJical College up, say, the sounds of Grieg's music common; and Lily Pons, chatting about Study and perform band literature that inets. Naturally, this band is placed at Bachauer will play Prokofieff's Third OF ROOSEVELT UNIVERSITY played upon his own piano at Trold- opera, her new recordings, her travels, is within the technical capabilities of a great disadvantage, and the final de- her precious collection of South Amer- Piano Concerto, under Dimitri Mi- Un ~~ u, ~~ BOB JONES UNIVERSITY is Christian i':lmore than na .... it is Christian in its philas its very atmosphere. BOB JONES UNIVERSITYCREENVlllE • SOUTH CAROLINA Write for listing of fine quality films produced at Bob Jones Music, speech, and art without additional C03t University and available for above regular academic tuition. Academy and ® showing in your city. seventh. and eighth grades in connection.