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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1934 Volume 52, Number 02 (February 1934) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 52, Number 02 (February 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/819
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE <'Music <3XCavazine February 1934 ^ Price 25 Cents THE ETUDE FEBRUARY 1934. Page 67 Choose Your Own Books Many Successful Piano Teachers of To-day Regularly Use These Works JctA^eUpto^O^S BUY AS FEW AS ALBUMS OF PIANO PIECES
Works with attractive qualities that keep P^° ‘^/^cher to achieve results. First and Second FOUR A YEAR these works for examination. Grade Pieces for Boys Price, 75
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A reliable and complete book service. As a plete and reliable guide to all of the impor¬ tant new books published each month the Editorial Board reviews in WINGS about twenty books which, in their opinion, are the out¬ Girl’s Own Book of Piano Pieces standing books to be published by the leading publishing houses. You may purchase any of these, or in fact any books in print, through the Guild and they will be delivered to you postage prepaid. Thus, during the year you will be reliably informed on about 250 books—all of the best books of the year— sSSSaissKa and can conveniently get any that you wish. No more danger of overlooking or forgetting books you especially want to read. OA saving of 50% on the selections of the Editorial Board. The Editors of the Guild—men and women of national reputation—select one book each Carl Van Doren month from the advance lists of the leading publishers, which they con¬ Julia Peterkln sider deserving of merit and special recommendation. This book is de¬ Burton Rascoe scribed in WINGS, which comes to members one month in advance of Joseph Wood Krutch publication date of the selected book. From the description given, you can decide sssiisirsfSfiK whether or not you wish to examine the book. If not, just return the “Announce¬ Here's Proof That ment Slip” to us and no book will be sent you. Otherwise we will send the book on approval, postage paid by us. Take five days to read it. Then return it and Guild Members Sprightly Rhythms pay nothing, or keep it and pay $2.00 regardless of the retail price in the stores. Save Up to 50% (Guild selections range in retail store price from $2.50 to $5.00.) on the OBuy as few as four books a year. No longer is it necessary to buy a book Outstanding Books every month and pay $21.00 to be a member of the Guild. Now members only agree to buy four books during the year. These may In fact, they frequently gSPBfR&GI be either the monthly selections at $2.00 each (regardless of the save as much as 60%. The retail price), or any other books in print at the established price books pictured below at the set by the publisher. In all cases we prepay the postage. left are all Guild selections Protect Yourself Against Rising Prices of Books of recent months. Guild members were offered their choice of these books for $2.00 nrfium-B*ade*marche^aatisfy^the^student^and^riso Subscribe Now—Send No Money each. Yet two of them sold narches.Pdrill8 or calisthenics. Get "AN AMERICAN for $5.00 each in the stores, one for $4.00, one for $3.75, and not one of them for less than $2.50. So Reverie Album bership makes saswr you can see how Guild members save aethodf’ as much as 50% on their entire year’s purchases of books. And this privilege costs you nothing. ■MAIL THIS COUPON TODAY -
Miniatures Standard Opera Album By Jas. H. Rogers Pr.. 60c1 Price, 75 iature classics in modern piano etudes. Grades 3 to 4. intermediate grades. PUBLISHERS DEALERS Theodore Presser C° IMPORTERS kly gets ^eces- Direct-Mail Service nn RrenSi"’— 1712 Chestnut Street-PHILADELPHIA. PA. HELPFUL CATALOGS ON THE CLASSIFICATIONS OF MUSIC IN WHICH YOU ARE INTERESTED CHEER. FULLY SUPPLIED FREE ON REQUEST. THE rr n How Can I START Teaching Music ? A Talk With Prospective Teachers 1. Am I Able To Teach Music? You are the only one to answer this question. You are conscious of whether you are able or not. Some people are THE PHILHARMONIC SOCIETY of MISCHA ELMAN achieved a real triumph “IPHIGENIA IN AULIS,” by which Gluck born teachers. They love to impart Budapest began its present season with a gala when, on December 14th, he appeared in re¬ WILLARD SPENSER, America’s first suc¬ things to others and after only a few terms concert in celebration of the eightieth anni¬ marked a new period in operatic history, has cessful light opera composer, died at St. cital as the second event of the Philadelphia had a performance by the Oxford University of thorough lessons or self study they versary of the first appearance of the organi¬ Music Teachers Association Artist Series of Davids (Philadelphia), December sixteenth, zation, when the baton was in the hand of Opera Club (England), which is doing a at the age of eighty-one. A prophet honored are able to take piano beginners starting concerts. At the close of the program there great service by producing these old master with such a book as "Music Play for Ferenc (Franz) Erkel, who was also the first was an ovation such as the historic Academy by his own, his “The Little Tycoon,” when composer to write genuine Hungarian operatic works that are outside the current repertory produced at the Temple Theater of Philadel¬ Every Day” and have actually produced of Music has seldom seen. For a full half hour of the theater. most excellent results. If you want to music. The program opened with the Festi¬ the audience demanded encore after encore, phia, on January 4, 1886, was an instan¬ teach it is certainly worth a trial. val Overture of Erkel, with Erno Dohnanyi and would have had more but for the artist taneous success and, by professional and conducting. Later, for Liszt’s Hungarian being compelled to leave for his train. A MOZART-LISZT FESTIVAL was cele¬ amateur troupes, had nearly nine thousand 2. Am I Required to Fantasie for piano and orchestra, Dohnanyi brated on November 5th, by the Colonne performances. His “The Princess Bonnie” had was soloist and led the orchestra from the Orchestra of Paris, under the direction of its premiere on March 26, 1894, at the Chest¬ Have A License? piano. A DEBUSSY-STRAVINSKY festival pro¬ M. Paul Paray. Alexander Brailowsky was nut Street Theater (Philadelphia) where it •s-*• gram, under the baton of Ernest Ansermct, the solo pianist in the “Concerto in E minor” had one thousand and thirty-nine perform¬ Teachers in state or municipal insti¬ THE “REQUIEM” of Brahms, under the was recently given at Buenos Aires. It in¬ of Liszt and the “Concerto in A major” of ances, the long-run record for America. His tutions are usually obliged to be accred¬ direction of Bernardino Molinari, was the cluded Debussy’s L’Apres-midi d’un Faune Mozart. The purely orchestral numbers were productions were noteworthy for their clean ited. The private teacher is regarded as work chosen to inaugurate, on November and La Mer; as well as La Symphonie de the “Symphony in E minor” of Mozart, and standards, which drew an exclusive patron¬ Psaumes and Le Sacre du Printemps of Stra¬ the Orpheus and the Mazeppa tone poems of age who admired catchy music to librettos a professional artist and no more license twelfth, the season at the Augusteo of Rome. vinsky. ‘ is usually required or should be required •3-»- Liszt. which did not offend good taste. than that expected of a concert artist. MAURICE RAVEL would seem to have THE ROYAL THEATER of Stockholm Therefore the matter of license need not been quite adopted by the Spanish public. CHARLES WAKEFIELD CADMAN’S M. GILBERT BEAUME, violoncellist of Even though in the former days he was has revived for the present season the “Romeo new fantasy, Dark Dancers of the Mardi the Detroit Symphony Orchestra, has received bother you. Meanwhile go on acquiring et Juliette” of Gounod, the “Djamileh” of the Chartier Prize for composition, from the more and more musical training. treated there to no little sarcasm, these are Gras, had its premiere performance in New fine times for his Rapsodie Espagnole and for Bizet, the “Orphee aux Enters (Orpheus in the York when given, on November ninth, on a National Academy of Fine Arts of France. Underword)” of Offenbach, the “Lohengrin” 3. What Should Be “L’Heure Espagnole.” The musical world do program of American music sponsored by the (in a new stage setting) of Wagner, and, with American Academy of Arts and Letters, with RABAT, MOROCCO, offers its public and My First Step? these has produced a ballet, “Le Boutique Henry Hadley conducting. travelers the following series of concerts from “THE BARTERED BRIDE,” by Smetana, enchantee (The Magic Shop)” with the music November to April: the Zimmer Quartet, in had what is believed to have been its first adapted from Rossini by Ottorino Respighi. three of the string quartets of Beethoven; To acquire a knowledge of the THE SHEFFIELD FESTIVAL, formerly standard literature of the early grades. performance in English, when given on De¬ and these followed by five recitals by the cember third, at the Garrick Theater of one of the most significant of the musical following artists—Zino Francescatti, violinist; Fortunately this is all outlined in a book MISS J. M. SWAN, pianist, has won—in a concourses of Great Britain but quiescent entitled "Guide to New Teachers” which Chicago, with a cast of American singers in¬ competition restricted to the ten most talented Mme. Leda Ginelly, dancer, assisted by Mile. cluding Alice Mock, soprano; Frederic Jenks, since the war, was revived in October with Ida Perin, pianist; Henry Barouk, violoncel¬ the Theodore Presser Co. will send you music students of South Africa—the Over¬ remarkable success. Chief among the offer¬ without cost of any kind. This book baritone; William Miller, tenor; and Joy seas Music Scholarship of £450 per annum list ; Pierre Bernac, tenor; and Alfred Cortot, Fairman, lyric soprano. The translation of ings were performances of the “Eighth Sym¬ pianist. And so the musical horizon widens. has started thousands successward. during the three years which she is entitled phony” of Mahler, the “Mass in B minor” of the occasion was done by Libushka Bartusek. to free tuition at the Royal Academy of Music Bach, and the “Israel in Egypt” of Handel. in London. A WHISTLING ENSEMBLE, with Fay 4. What Is My Second Step? IN THE AFRIKAANS EISTEDDFOD, re¬ The Handel score had been somewhat “re¬ Epperson as leader, is a feminine innovation arranged” by Sir Henry Wood, who con¬ cently held at Johannesburg, South Transvaal, EVERY SEAT of the twenty-seven hun¬ of Chicago. Nor eyes nor ears shall be To get pupils. The Guide to New George Walker, a young violinist, won the ducted the performance, and with reported offended when the dear ladies blow melliflu- Teachers mentioned gives valuable ad¬ dred and fifty available in Massey Hall, was good effect. first prize for those under twenty, by his taken for the first concert of the twelfth sea¬ •S-—-pr ously through their pleasingly puckered lips. vice upon this. Getting pupils is largely interpretation of the first movement of the •3--j). a matter of personality and contacts. son of the Toronto Symphony Orchestra with THE LEAGUE OF COMPOSERS, of New “Violin Concerto in D minor” of Wieniawski. Dr. Ernest MacMillan as conductor. “DONNA LOMBARDA” is the name of a Holding them depends upon the educa¬ York, devoted its first program of the season, new opera by the twenty-seven-year-old tional results you are able to produce. THE METROPOLITAN OPERA COM¬ November eleventh, to works by Arnold PROFESSOR JULIUS KLENGEL, one Alessandro Cicognini of Pescara, Italy, which PANY broke with tradition and began its Schonberg, in recognition of this leader among had a splendid reception with a dozen hearty 5. What Is My Third Step? season by a performance on December nine¬ of the best known of the European virtuoso the modernist_, composers having come to make violoncellists and teachers of that instrument, America his home, curtain calls, at its recent premiere at the teenth of Delibes’ “Lakme,” at the Academy Teatro Vittorio Emmanuele of Turin. The To form immediate business rela¬ of Music of Philadelphia, with Lily Pons passed away on October 27th, at Leipzig. He was for thirty-eight years the first solo violon¬ libretto, based on an ancient Italian folk tions with an adequate music supply and Giovanni Martinelli in the leading roles. AMERICAN COMPOSITIONS filled the poem, is by the composer; and the musical house. The music supply house is your Its first New York performance was “Peter cellist of the famous Gewandhaus Orchestra; program, on December fifteenth, of the and “he increased the possibilities of the score is said to be “independent of schools, indispensable "arsenal , it furnishes you Ibbetson” on December twenty-sixth, with Rochester Philharmonic Orchestra, under mannerisms and reminiscences, native or Edward Johnson in the title role and Lucrezia violoncello as a solo instrument as Paganini the baton of Dr. Howard Hanson. Works pre¬ foreign.” with the "munitions” for your work. did for the violin.” Your interests require that you have ac¬ Bori as Mimsy. Do the senses deceive? An sented were an Overture, “When Johnny «-1-— — cess to an immense variety of materials American opera to open a Metropolitan sea¬ Comes Marching Home," by Roy Harris; PERLEY DUNN AL¬ which you can have sent to you tor son? Why not? Was not the audience POLISH COMPOSERS were honored Paysage, by Robert Russell Bennett; Poem DRICH, widely known inspection on long credit by the Presser American ? when, on November 2nd and 3rd, they fur¬ and Dance, by Quincy Porter; a Capriccio composer, conductor and "On Sale" System, which enables you nished works for the entire program of the for piano and orchestra, by George Antheil, teacher of singing, died to keep the requisite music right in your WEIR R. MILLS, a Cleveland Symphony Orchestra, with Artur with the composer as soloist; and John November 20th, in Phila¬ studio for the use of your pupils. In'* merchant who loves music, Rodzinski conducting. Especial interest cen¬ Brown’s Song, for chorus and orchestra, by delphia, where for thirty finished, on October 29th, i -3 system provides you with music at tn tered in the American premiere of the “Sym¬ Robert Delaney; all of which composers years he had been a leader longest credit, at the lowest expens, a service of two score years phonie Concertante, No. 2, Op. 60” for piano have held a Guggenheim Fellowship. in musical activities. His A as organist of the Method¬ and orchestra, by Karol Szymanowski. the least waste of time and the Sre® seventieth birthday had ist Episcopal Church of Chopin’s “Concerto in F minor” for piano A FESTIVAL OF ENGLISH MUSIC was been celebrated but two _ _ continuous satisfaction. The Theod his home town, Pierson Presser Co., which has customers** and excerpts from Moniusko’s opera, “Halka,” recently given at Budapest, the Hungarian weeks before. Mr. Aldrich PEAldri?hNN (population five hundred were, other features. was a member of the first over the globe, has made a specialty capital, in honor of Sir Edward Elgar who and fifty), Iowa. Though Vocal faculty of the Curtis Institute of Music; doing this for fifty years. has been made an honorary professor at the a professional, but RALPH HOWARD PENDLETON, whose High School of Music of that city. and several of his pupils are widely known oring the title of ama- compositions, Juggler and Magician, have •3-1>- in concert and opera. He was also founder ', Mr. Mills has given been played by so many music students, re¬ MRS. ELMER BEARDSLEY celebrated, and conductor of the Motette Choir of this service as a gratis labor of love; and his cently gave his thirtieth anniversary recital, twenty-five skilled singers and was at one anniversary program was worthy of a con- on December third, her fiftieth anniversary celebrating three decades of continuous in¬ as organist of the United Church (Congrega¬ time director of the Little Opera Company. Theodore struction in Philadelphia. tional) of Bridgeport, Connecticut. (Continued on page 137) MUSIC AXIOM FOR FEBRUARY Presser Co. LET MUSIC WASH AWAY YOUR DAILY CARES MUSIC STUDY EXALTS LIFE THE ETUDE THE ETUDE FEBRUARY 1934 Page 71 Page 70 FEBRUARYEEBKUAni 19341934. ■Successful OpebettasAnalyzedi ,712 CHESTNUT ST. of Operettas of All Publishers Car ' Have You Faith Write for a Selection to Examine. | 1 STAGE Drches- Price Of Description Settings Vocal Perform- Costumes Guide in Chorus Costumes —Principals Required ^ SingleCopy) _ Title. 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Excellent for Tenor Dthers Modem foung people of average It is too easy for teachers to say “I am busy and haven’t the time for By R. M. Stuffs ibility. Attractive dances. (Books and Lyrics by Lida Larrimore Turner) more study myself.” They find that excuse instead of making the effort to use the minutes each day which so often go to waste. King Banquet Hall ' °$i.SO Rental airy tale. Especially adapted Children libretto Libretto or schools as juniors and The most successful teacher of course is a very busy teacher. The 4 Part Se(Male) Courtyard seniors may be included. Not so Minutes Alto rreble Peasants Garden Terrace demands upon his attention are never ceasing—yet he is the one who can find BRIAR ROSE. Tenor 3 Part Archbishop Palace Terrace iifficult to produce but may Baritone Men’s FairiLU 63 Before Garden made quite elaborate. the extra time for something worth while. It is for such a teacher, chiefly, By Louis Woodson Curtis Bass 4 Part Men— Princess Villagers Nurse Wall that the Extension Courses are the greatest benefit. For him it is hard to give (Book and Lyrics by Agnes Emelie Peterson) Courtiers • Choir Boys up his interesting class and go away for instruction. Si.oo Exceptionally^!!., music"and South Sea Island Woodland C9mplete ^Rental The Increased Demands for DEGREES have Resulted in o Minutes Mezzo° TT2*Part Women i fanciful plot full of mystery THE CASTAWAYS. By Fay Foster Alto Modem Young ' pera Singer >ut interspersed with many Women Cook humorous situations. Larger Classes for the ADVANCED COURSES offered by the (Book and Lyrics by Alice Monroe Foster) $1.00 UNIVERSITY EXTENSION CONSERVATORY. Soprano Mixed Chinese (All Chinese) Cental plots arc unravelled and the o Minutes Alto 4 Part Nobility ^ Princess ove interest is maintained You may have seen our announcement many times. You know that it is Young Girl Garden throughout. Splendid comedy THE CRIMSON EYEBROWS. Tenor Treble Old Woman Dialog possible through our Conservatory to gain new ideas which will result in your j I>■ >r11< 'ii'.- 3 Part Women scenes, pleasing solos, duets, own increased efficiency. By John Wilson Dodge Bass Men’s Emperor trios, quartets and choruses. 4 Part Astrologer Look hack over the last year. What progress have you made? Perhaps Soldiers (3) Accommodates large chorus, and May Hewes Dodge you’ve wanted to send for our catalog and sample lessons before—just to look $1.00 For Melody and humor predomi¬ into them. That is your privilege. We offer them without obligation to you. Mixed Girls Rube Hotel Owner Lobby of $1.00 Summer Dresses His Wife _ , Country Inn Complete Rental nate in this unique musical Ours is one of the leading musical institutions and we urge you to take advantage 0OAMmutes jjJES° 4 Part Parlor of Inn comedy. The second act is Treble Evening Gowns Country Hotel Clerk practically a minstrel show. of the spare moments you are sure to find. You must not rely upon your good 4 Tenor 2 Part Men Bell Boys(2) Easy to perform and to stage. intentions, as you have in the past, or you will miss this opportunity. FOLDEROL. By R. M. Stuffs 4 Baritone Men’s Minstrel Dusters Waiter i Bass Unison and High Hats Western Judge The service offered to teachers in our classes continues long after the diploma Dress Suits English Nobleman or degree is awarded. There is a greater demand all the time for the courses we offer, as they fit 2 Acts t Mixed Modem Middle Aged Man $1.00 For 2 Mezzo° 4 Part Summer Middle Aged outside of Complete Rental ■'young""people of alT ages. teachers for better positions. This is an age of specialization and the specialist HEARTS AND BLOSSOMS. Summer Hotel Four love plots are unravelled Attire Woman and numerous humorous sit¬ is earning fully double or more the salary of a musician with only a general 1 Tenor Young Ladies (2) Dialog knowledge. Openings in the music field are growing very rapidly. There are By R. M. Stuffs 2 Baritone uations Breeder, loped in the i Bass Colored Bell Hop big paying positions for those who are ready for them. (Book and Lyrics by Lida Larrimore Turner) Colored Damsel A Diploma is the key to the best teaching position. Do you hold one? For Music, dialog ami plot of Gil¬ Mixed Girls English Nobleman Afterdeck of the Score For Our Diplomas and Degrees are Awarded by the 3 Mezzo° 4 Part English (1800 Naval Officers Pirate Ship Rental Rental bert and Sullivan proportions 4 Tenor IV Mt; Period) Dancing Master "Nancy Lee” Dialog and —excellent for a large, well- JOAN OF THE NANCY LEE. 4 Baritone 2 Part Men English Gentle- ' Year—1800 trained organization. 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Riley) 2 Part Peasants Cuckoo Clock Hunters & Soldiers Please send me catalog, sample lessons, and full information regarding course I have marked with an X below. i20CMinute; Court Gentlemen Courtyard of Includes For Lyrics and melodies of ro¬ 4 Part French Villagers French Inn mantic charm. Solo and THE MARRIAGE OF NANNETTE. TiF Treble Court Ladies Vocal Dialog Rental □ Piano, Normal Course 4 Tenor 3 Part group dances. Splendid op- D Trumpet □ Guitar Gypsy Chief portunity for presenting to for teachers By Louis Woodson Curtis i Baritone Gypsy Girl Lyrics : "Vl!:-. □ Cornet □ Ear Training and 4 Bass 4 Part □ Piano, Course for Stu- □ Voice Elaborate or simple staging. Sight Singing (Book and Lyrics by Agnes Emelie Peterson) Notary □ History of Music □ Mandolin Peddler Public School Music A Bear □ U Choral Conducting □ Saxophone □ Harmony □ Clarinet 2 Acts 2 Soprano Mixed □ Piano Accordion College Girls Football Captain College Campus □ Adv. Composition □ Violin 120 Minute - 3 Alto 4 Part Football Players English Lord $1.00 For Pretty tunes, ^coUege^J/oung THE PENNANT. By Oscar J. Lehrer 2 Tenor Treble Jewish Peddler Complete Renta ■ 2 Part Rube—later Dude and there, ^ust enough ro¬ Name ... (Book and Lyrics by Frank M. Colville) i Bass 3 Part Modem Middle Dialog mance. just enough villainy Man's Aged Man and plenty of wholesome 4 Part Societv Matron Street No. Young Widow i Treble City . State . 90AMinutes 2 Part GiST“ Hawaiian Wood St.00 In Vocal For May be given indoore or out- THE GHOSTS OF HILO. Hawaiian Girls (2) Complete Score Renta doors, afternoon or evening How long have you taught Piano?. How many pupils have you HiP11 with Haunting melodies. cahW (Book, Lyrics and Music by Paul Bliss) Dialog rhythms and picturesque!Hffia now?. Do you hold a Teacher’s Certificate? . Have you and Stagi dances. Fascinating, mysten Manager/ ous plot and picturesque stag ing possibilities.__ _ studied Harmony?.Would you like to earn the Degree of Bachelor of Music? .. THE ETUDE Page 72 FEBRUARY 1934. The Etude Historical Musical Portrait Series An Alphabetical Serial Collection of T5he Toeachers Vocabulary THE WORLD'S BEST KNOWN MUSICIANS , .* u:.wi/ rtf music is adequately This series will be continued alphabetically until the en ire ji-story issued. GLENN DILLARD GUNN AMES GIBBON HUNEKER (“Jim”, to all his loving friends) covered. Start making a collection now Da^ and pages previously published are —B. Topeka, Ivan., Oct. 2, J thought must be presented in words which are completely intel¬ Etude readers desiring additional copies> 1rn's P y g Nofes Department. 1874. Pia., cond.. educator. is widely recognized as the most brilliant, if not the most Grad., Leipzig^Cons. Fd'r ligible to the pupil, and no conscientious teacher dismisses a given volatile, of the American music critics. Although his ver- instruction until he has the conviction that the pupil knows satility took him to other fields than music, like George Bernard precisely what was intended to be communicated. Shaw he started as a music critic. He, however, was a music Many teachers talk far too much. We have listened to numer¬ critic to the end. Unlike Shaw, Huneker was no vegetarian ous lessons which were no more than mere examples of exhibition¬ aesthete but a man of full habit. He loved the good things of life, in more ism. That is, the teacher’s sole than an epicurean way. His eve' purpose seemed to be to impress the nings at Liichow’s famous restaurant, pupil with that teacher’s erudition where he was the focal center of ' mk and importance. We know of several groups of distinguished artists and teachers who now are struggling for writers, made Knickerbocker history. pupils, who have driven scores of There we used to see him with Anton scholars away by trying to convince Seidl and Raphael Joseffy. As he them of what a rare and renowned fell deeper and deeper into the arms master they had been fortunate of Gambrinus, he seemed to grow enough to procure. Better let the pupil make that staggering discovery himself. Other teachers deluge their pupils with terms away above rhoiV heads; and the result is that these poor students are soon drowned in confusion. 5 from long lines of gifted ncestors. This was notice' The worn-out, rusty, broken-down l as long ago as the early teaching vocabularies, upon which some teachers depend, are unques¬ tionably responsible for their dimin¬ ishing patronage. They seem to have adopted early in their teaching lives a set of cliches which they never vary. Here are a few samples: to promote the ideals of this publica- tion. “Keep your fingers curved!” “Now relax more!” It would be difficult to imagine “Don’t hurry!” two more unlike characters than “Don’t pound!” Theodore Presser and James G. “Count regularly!” Huneker. Mr. Presser, in his ideals and standards, gave something of the “Eh-Eh'Eh'Eh'Eh'Eh'Eh!” —mean¬ impression of a Presbyterian College ing, “You hit V instead of ‘b-flat,’ you little numbskull!” President. “Jim” was instinctively a Parisian boulevardier. “Keep your eyes on the music!” “Don’t slump down in your seat!” Later “Jim” wrote for The Etude JAMES HUNEKER “Don’t tighten your wrist!” a series of fanciful articles known as when he was editor of The Etude “Old Fogy.” These Mr. H. L. These terms are all good enough in Mencken declares to be the finest of their way; but when the teacher, without the sense and ingenuity to all the many published volumes of essays from the rare pen of this vary them, repeats them over and over and over, like a phonograph master of critical thought, caught and so forcefully and deftly record, the pupil just naturally dies of didactic inanition. embalmed in inusitate words employed with a fine sense of verbal The greatest teachers have been the simplest and most sincere color and unfailing propriety. He achieved literary elegance with¬ personalities. You can make a virtuoso with English as direct as out apparent effort, which, of course, is art. that of the King James version. Do not think that you have to When Huneker wrote about music he stood upon solid ground. swallow the thesaurus” to win fame. Learn to use your words He was himself a very excellent musician. In fact he was for a with ease and precision. By all means have a good musical dic¬ time assistant of that brilliant Hungarian-American master, Ra¬ tionary, so that when you use a musical term you will be able to phael Joseffy, when he was at the National Conservatory of tell the pupil just what it means. If you are not exact, he will find Music in New York. He had a high regard for the profession of it out and his respect for you will vanish. the teacher of music. In frequent conversations, however, he made It is always a very good plan to get the pupil to repeat in his it clear that he thought that many teachers were piteously weak own words the instruction ideas you have presented. “Now you in their teaching vocabularies. He had a feeling that teachers do tell me,” should be a frequent recourse. Do not prompt him. If not read nearly enough and that they confine themselves too much he hasn t a straight, clear concept of your given thought, go over to one language and to one kind of reading. He was a great the whole matter again. Do not take it for granted that, because believer in the study of an alien tongue as a means of making the you have explained a touch, a phrase, a rhythm or an expression significance of words clear and for expanding the word range. He mark, he has completely comprehended all you have said. Make also felt that teachers should read in many fields, as well as in sure. The writer has been misled many a time by pupils who said fiction and drama, so that new tools of expression might be ac¬ they understood, only to find on examination that they had an quired. imperfect idea of it all. The teacher’s vocabulary should be first of all accurate and im¬ We advise everyone to take up at least one foreign tongue and pressive. It must affect the pupil’s imagination in a beneficial master it. You will be surprised how your vocabulary will in¬ way; and at the same time the thought must be delivered so that crease in finding out the meaning and application of words in your it may be retained as long as possible in the pupil’s memory. The own language. Remember that a generous, flexible vocabulary is wise teacher first of all appraises the pupil’s receptibility. The one of the teacher’s finest assets. THE ETUDE FEBRUARY 1934 Page 73 THE ETUDE FEBRUARY 1934 Page 75- WHAT OPERAS DO AMERICANS PREFER? T5he Education of a (Conductor TRAVEL AND MUSIC /•USICIANS are among the most persistent travelers in the Lv the Metropolitan in arcorc[ine to Edward Robinson in By the Internationally Famous Conductor of the 7s[eiv Tor\ Philharmonic'Symphony Orchestra via_ _ t world. Moreover, they travel with purpose and secure dynasty of last October. While practical and cultural profits from these journeys. We are not re¬ an article in The Am ,-n .,>ution which for many decades ferring now to the concert singers and performers, who are on the deploring the opera as th m j of a truiy indigenous Bruno Walter road as much as the most seasoned commis'voyageur who ever has been a major obstacle to the^ Pf ^ ^ criticisms the carried a sample case around the world. Nor do we refer to stu¬ American music, h gi traditional organ grinder’s list An Interview Secured Expressly for The Etude dents of music who by the thousands go to all parts of America By Wollstein and Europe, shipward, trainward and 'planeward, in search of R. H. education. We refer more particularly to music lovers who, having century: f HE EDUCATION of young con¬ T youngster can, or should, be required to you can about them. It is not necessary had a breath of the romantic atmosphere of music in their own “Aida” . >(. ■ • ductors is, for the most part, still dent with a rest in the music, the entire master the full tonal value of a score, to be a virtuoso upon an instrument, in land, become musical addicts and want to hear the music of all “La Boheme” . • auto-didactic in character. Score rhythmic pattern can be thrown out of ad¬ simply by looking at it. But the mastery of order to gauge its effects. lands in those lands. Being people of culture and understanding, “I Pagliacci” . ^ reading and instrumentation are taught, to justment unless the conductor is perfectly the keyboard will enable him to approach Another reason why I believe the piano they are encouraged to travel, not from mere spasmodic curiosity, “Madame Butterfly” be sure, but the many more vital elements those tonal effects, at least in a limited way schooled in the art of following his soloist. of conducting still remain unclassified— to be of greatest importance to the young He must, moveover, give similar consider¬ but in a more leisurely fashion, becoming acquainted with the “LaTosca” . and by his own effort. And what he does conductor is the fact that it is the most matters which the student must seek out ation to his wind instruments. Let us say, lands they visit by adequate residence, rather than by flying trips. “Cavalleria Rusticana for himself is always more valuable than useful instrument in learning to play with and acquire for himself. Thus, while we then, that the conductor leads his co- No wonder our European friends are often horrified by some of the “Rigoletto” . what ij done for him. other people. And that is the very life¬ have “piano schools” and “violin methods” workers spiritually, although he must fol¬ brainless tourists that America has permitted to be at large. We blood of conductorship. The young con¬ “Faust” . . • aplenty, there is no standard conservatory Visiting the Instruments low them in the matter of technical and remember one girl who stood giggling before an awe-inspiring erup¬ ductor should get all the practice he can in “La Traviata” . or curriculum for the training of conduc¬ physical needs. And this combination of OSSIBLY it may interest you to know accompanying singers and in playing cham¬ tion of Vesuvius and said, with a moronic smile, “Isn t it just the “II Trovatore” . . tors, and for the excellent reason that the P give and take can be mastered only by that I play no instrument except the ber music with other instruments. This cutest thing?” Musicians, fortunately, are not in this class. “La Gioconda” . background of the conductor’s post is en¬ active, constant practice in accompanying piano. I began my career as a pianist and step in his training can hardly be stressed tirely too vast to be surveyed under any one and ensemble playing. The travel bacillus is one for which a curative serum has never “Manon” ■ • - • tried to learn the violin only later in life; enough, for it is the only means at his heading. been found; and those who have it hope and pray that one never “Lucia di Lammermoor” .... 03 but, with the mastery of one instrument to disposal for acquiring the flexibility of per¬ Let us turn, for a moment, to the director Clef Mastery will be discovered. For anyone with imagination, who, by study my credit, I could not bear the sheer nerv¬ formance, the constant give-and-take which The writer of the article calls attention to the fact that the who trains young actors for the stage. He ous strain of beginning another, with its forms the basis of all group playing. EXT IN our list of requirements for or by training, has dreamed of new experiences under different combined performances of great works of the class of Mozart s must, of course, possess an accurate knowl¬ N elementary scratching, and I gave it up! I The capable conductor is always con¬ the young conductor is the ability to conditions and under new flags, travel becomes one of the greatest edge of all branches of dramatic technic, “Don Giovanni,” Verdi’s “Falstaff,” Weber s Euryanthe and have never felt the want of other in¬ scious of the fact that leading must be read music as fluently as printing. This joys in the world. There is no substitute for it. In these modem but he must offer a great many other quali¬ so on, during the same period amounted to only one hundred and struments. Possibly others may not agree blended with following. In the ultimate is largely a matter of assiduous practice. times it has become one of the most luxurious of sports for those ties in addition to mere stage-craft. He eighty-three. .„ , with me. I can tell you only of my own interpretation of a score, certainly, he is Still, “reading music,” as we commonly with large means; and, for those with more moderate resources, must know literature and history and tex¬ experience. I have, however,, made an free to lead his co-workers according to his understand the term, covers only the treble What does the gentleman expect? Mr. Gatti and the tiles and costuming and lighting; he must travel joys are available now as they never have been before. accurate study of the uses, scope, handling own conception; and yet, through all the and bass clefs, and these are but a part of Metropolitan directors have had the practical problem of keeping be able to use his own knowledge in such “But,” you say, “it is impossible for me to make a trip to Cali¬ and effects of the other instruments, and sheerly mechanical routine of singing or the conductor’s field of activity. He must the great show going. In other words, they were in the business a way as to draw forth the best from those fornia, or Havana, or Florida, or Mexico, or Europe.” This may such knowledge is, of course, essential. I playing, he must follow their needs, must be equally familiar with the C clef, placed of opera and their stock in trade was composed of opera seats— under him, without dominating or sub¬ be very true in a few cases, but in most instances it is merely a often attended lessons in violin, cello, flute learn how to make allowances. In accom¬ on the fourth line for the tenor and on the merging them. Most of all, he must know about the most immediately perishable stock in the world. Five and horn playing, in order to acquaint my¬ panying a vocal score, for example, the third line for the alto voices; and, in ad¬ matter of preparation and saving. Preparation, because, if you go human nature. He cannot coach Othello, minutes after the curtain rises, the unsold seats are junk. self with their individualities. Later I conductor knows that his most ardently dition, he must be able to read into a score abroad with a full pocket-book and an empty cranium, you might let us say, without a flexible ability to Your editor has seen, either here or abroad, and hugely en¬ learned about them from my men. And I planned interpretation is at the mercy of the necessary adjustment of tone for as well stay at home. The first thing then is to visit your library gauge the manifestations of jealousy. The joyed most the great operas rarely performed. However, if the believe such class-visiting to be of the the singer’s technical standards, and often trumpets, clarinets, horns, and so forth, and read every travel book in which you are interested. Then get operatic conductor is just such a teacher in American public, which, like all publics, advances slowly and greatest value. Whatever instrument you of his purely human need to breathe! And which follow regular clef notation, but with out your atlas and go map traveling. It’s “lots of fun,” even though relation to his singers, and the quality of may play, “visit” the others, and learn all refuses to go to see any opera except those in which it finds de¬ if this need of breath does not fall coinci- different, values. As a boy, I taught my¬ you never leave your threshold. his leadership depends upon the extent of self to read the different clefs by begin¬ light, does not patronize the rarely given masterpieces, let us not his own knowledge and experience. That Meanwhile, start a Travel Fund at your bank. It may call for ning with the chorales of Bach, with their rail at the public. The public knows what it wants for the time is why no single “school” can cover the separate clefs for the soprano (or discant), two or three years of saving; but, if you really want to go, it will being, and when it comes to learn to like better things it will question of what a conductor should know. alto, tenor and bass, then progressing into become one of the most interesting games you have ever played. demand them. More than this, you cannot change public opinion He should know everything 1 Thus, I can symphonic literature by way of the briefer but outline a very general program, supple¬ You know how a Christmas and Vacation Fund mounts up. Two by scolding the public. We are going ahead slowly. Fifty years and easier scores of Haydn. It is excellent menting it with certain specific practices or three years soon fly, and before you know it you will be walking ago “11 Trovatore” would have had the batting average. Today practice 1 up the gangplank, waving your handkerchief to others on the dock which I have found greatly useful in my it is Verdi’s superior “Aida,” but not his supreme “Falstaff.” Though I have dwelt upon the impor¬ who have not taken this tip. While your Travel Fund is accumu¬ tance of piano playing, it is immensely valu¬ Mr. Robinson’s article showed a splendid knowledge of his facts. lating, shop around among travel agents and find definitely what Early Specialization Harmful able, of course, to begin working at the you want to do. They will furnish you with abundant valuable orchestra scores themselves as early as FAVORITE PUPILS IN THE first place, is our young con¬ possible. At first, the fifteen to eighteen literature gratis. Brush up your French, your German, your ductor to prepare himself for operatic Italian or Spanish with a teacher, or with the remarkably resultful (T^HE variability of musical talents is such that it is almost lines of music which embrace the normal or concert work? Each field carries re¬ score may offer difficulties, but practice language records available; so that before leaving home you can v_/ impossible for the music teacher not to have favorite pupils. quirements of its own. In my opinion, a enables one to encompass them. As a prac¬ take pride in the feeling that you are.bound to arrive with the Liszt quite naturally became the favorite pupil of Czerny, as he beginner should train himself in both tical bit of advice, it is helpful always to means of intelligent enjoyment and appreciation of what you have was even in his childhood the most brilliantly gifted student that branches, reserving all specialization for a trace the thematic relationships between the prepared yourself to see and hear. came to this teacher. So it is with every teacher, great and small; later time, when the hand of chance or his various instruments, so that, after a while, own more mature preference may point Nearly one-half of a billion dollars (according to the Financial the ones whom the gods have favored become, as a matter of course, the meaning stands out clearly at a glance’ favorite pupils. the way into one of the two more circum¬ with the result that one grows used to Chronicle) was spent by Americans abroad in 193a. Unquestion¬ scribed fields. It is self-limitation, and reading, not fifteen separate lines of music, ably a noteworthy part of this money was drawn by music and The diplomatic teacher will recognize this quite natural con¬ therefore an error, to specialize too soon— tingency and strive to control an over display of pedagogical but three or four musical groups, where the music study opportunities. This in turn is profitable or unprofitable just as it would be an error for a medical pattern is developed, now by the conver¬ in proportion to the amount of preparatory reading and study the affection, which turns into favoritism and wins the jealousy of candidate to attempt to specialize in otology gence of violins, flutes and horns, now by traveler or student has .made prior to leaving our shores. One other pupils. We have known of several very excellent teachers without a thorough grounding in general cellos, violas and woodwinds. Through all medicine. Etude enthusiast wrote us, “My journey through France, Italy, who have been so carried away with the attainments of very able the years of practice that truly fluent score¬ pupils that they have neglected their other pupils and conse¬ Perhaps the most frequent question put reading requires, it is always advisable to Germany and Belgium was made twice as interesting and profit¬ to me is, just where shall the young con¬ quently lost valuable business as well as done much injustice train the ear by playing the scores actively able to me by the articles I had read in The Etude.” ductor begin his studies? Shall he learn to patrons from whom they have received fees paid in good faith. at the piano, instead of simply reading Your editor has traveled some one hundred thousand miles the violin, the cello, the flute, the oboe, the them through. It also happens that the “ugly duckling” pupil is merely one outside of his native America. While in much of this the same horn ? Later he must draw his effects from whose development is protracted. Such pupils, in the long run, all these instruments, without playing any ground has been retraced, he finds himself more eager for foreign Broadening the Tastes may become the most distinguished. Verdi was such a one His of them. Which, then, shall he know best? joumeyings than ever before—especially because of the vast im¬ early teachers saw no promise of greatness in his first efforts. The My advice is to begin with a thorough 'T'HE READING and playing of scores provement in the means of travel. All over Europe he has en¬ study of the piano. I counsel this for sev¬ 1- is necessary, not only for fluency, but countered hundreds of fellow Americans, to whom the mention RtnmabDtlC?SiteaCher ls,the °ne who considers the difficult pupil, eral reasons. First, the piano is, beyond as a means of familiarizing oneself with struggling to learn to play for the sake of self culture, quite as in- of The Etude has been always a fortunate means of introduction. doubt, the most complete of all instruments. musical literature. A young conductor It is in this way that he has learned of the extraordinary number of teresting and important a problem as the scintillating genius who Upon the piano one can most nearly repro¬ must early train himself to catholicity of “musicians abroad.” In practically all cases they have been thrilled a Vlrt w° and eventually an “advertisement” duce harmony and polyphony as well as taste. He cannot afford to consult his own preferences, no matter where they lie. He by their visits to hallowed spots in musical history and have had Somehow* irft-K US work for musical art, not for advertisements, imitate the blending of the different tones must learn to read, to know, to play, and, their musical understanding greatly enriched. simultaneously sounded by the various in¬ for the teacher * ^ mn’ ^ 'S usua^y most profitable course struments of the orchestra. Thus, the most of all, to absorb the spirit of all the student can obtain at first hand an actual music he can lay his hands on—songs, arias, effect of the notes of the score. This is operas,^ concertos, classic symphonies cho¬ invaluable for beginners, since the fluent rales, “program music”—everything. reading of scores—the ability to transmute, And of course his knowledge of musical forms must not be merely passive. He at sight, the visual aspects of notes into the BRUNO WALTER aural effect of sound—comes only years must know how to score and to make ar¬ later, as the result of constant practice. No Conductor of the New York Philharmonic rangements. He must be able to transpose Page 7J. FEBRUARY 1934. Orchestra THE ETUDE at sight, and to “adjust” a badly scored THE ETUDE Page 76 FEBRUARY 1934. THE ETUDE , ■ . tn browbeat them into sub¬ piano as a pianist; the reading and per¬ FEBRUARY 1934 Page 77 forming of ensemble work as a professional composition through a thorough knowl¬ are called upon to coach operatic per¬ mission but to depend upon them for loyal accompanist or coach; dramatic technic as edge of instrumentation. formers in regular repertoire. Certainly, a stage director. He must master the When he has acquired a fair mastery of you cannot coach the Troubadour, Manrico, properties of instruments and acoustics as all this, at last, he is ready, not to mount in the same way you would Siegfried. a oose won’t do. A person who lacks m an engineer would; he must learn lan¬ the podium, by any means, but, rather, to Even in the works of the same composer, nate sympathy for his fellow-beings will raise his eyes a little above the basic needs you would not conceive your performance neve/make a good conductor any more guages, history and literature as a candidate ■Berlin, the Weltstadt of Music for a college degree. He must know of materia musica, in order to explore of “The Magic Flute” along the same lines than he would make a good general. Bos those colorful outlying fields of accomplish¬ as “Cosi Fan Tutte.” How, then, are you to sibly the finest practice in human contact how to sway human beings as an orator learn to make your distinctions? Simply or a general. And yet, at a comparatively ment which have nothing to do with music, of this sort is teaching. twenty'first in the Series of Musical travelogues yet without a knowledge of which no con¬ (or, perhaps, not so simply!) by acquir¬ I should seriously advise our young co early stage of his training—which actually ductor can hope to be more than a mere ing a feeling for style. By reading, com¬ ductor to include a few years of music covers an entire lifetime of work—he must beater of time. He must acquaint himself paring, studying and steeping yourself in teaching in his preparation. Let him give mount the podium, to lead and teach. And the contemporary spirit, the Zeitgeist, of his ability to do this while his own train¬ with the principles of dramatic technic and lessons? let him coach ensemble groups ‘By James Francis Cooke the epochs of notable achievement. It is stage management, regardless of the fact let him form a small orchestra, let him ing is still in a formative stage can be a training which you must give yourself. that, twenty years hence, he may be called exercise himself in inspiring other people explained only by the mysterious workings It is a training, further, which seems not of what we call “talent,” the power to ERLIN is a Weltstadt—ask any Ger¬ to direct a symphony orchestra in a city to give him the best there is in them. And B tional word as “telephone” is preferred by like work but the rarest sort of pleasure. man. It is as futile to try to capture that does not even have visiting opera! He he will discover, in the process, that he anticipate future experiences through in¬ the Germans in its typically Teutonic form And, finally, we come to the most im¬ tuition. a Weltstadt with a few hundred must know history and literature and the has learned more than he has taught, for of Fernsprecher (far-speaker). portant, perhaps, of all the conductor’s pre¬ words as it would be to snare an elephant spiritual significance of the various epochs. nothing clarifies an idea as accurately as The need to depend upon such intuition He must be able to weave a rich pattern requisites—the ability to deal with people though, does not constitute a danger to the with a butterfly net. The most we can A City with Personality and to bring out the best that is in them. imparting it to others. hope to do is to release a few glimpses of of associations. The name “Zaire,” for The actual manipulation of the baton sincere and conscientious artist. On the ARIS IS LUMINOUS, Rome is ma¬ The conductor must early realize that he those phases of life which are less familiar instance, must call up before him not only I have not yet touched upon. Here it is contrary, he is spurred on by the realiza¬ jestic, London is ponderous, Venice is works through his men, that the instrument to the average reader. Berlin, the Welt¬ its author, Voltaire, but an entire epoch, best to begin by imitation. A purely per¬ tion that he must work for daily improve¬ dream-like, as are Seville, Rothenburg, upon which he plays is human personality. stadt, for instance, is so vast, from the an entire train of thought, the spirit which sonal style of baton-technic develops only ment, daily enlarging of experience. His Carcasonne—all of them, dreams. Berlin If he centers his thoughts about himself, musical standpoint alone, that whole vol¬ dominated the France of the hardy Ency¬ later with practice, and requires years to way is a long one, and he must live in is energetic—not with the energy of Pitts¬ he is doomed from the onset. When one umes could be written about it. The writer clopedists, and the Germany of Frederick master, even for the most gifted musician. the fervent intention to be, at seventy, a burgh, Manchester or Essen, with their the Great, in Sans-Souci. Pictures must considers that the highest goal a conductor much better conductor than he was at only collected abroad at least ten thousand pages belching chimneys, “portholes of Hades,” can attain depends on his power to induce The baton, after all, is less a stick than a of reference material bearing upon German rise up before his mental eye. A rococo temporary continuation of the nerves of the sixty-nine! but with a kind of dynamic reservoir of un¬ garden must mean to him not simply an enthusiastic cooperation in a hundred men, musical institutions; and this great and baf¬ hand, which must provide a visual sugges¬ seen power, hidden under an . attempt to array of orderly hedges and statues but it seems only reasonable that his knowl¬ SELF-TEST QUESTIONS ON fling mass of books and booklets is piled at tion of tonal effect to a hundred different mask this power with Grecian architecture the crystallization of an attitude of mind. edge of human nature must exceed even the moment upon his desk. This is the men. From them it must draw the same MR. WALTER'S ARTICLE and Parisian gaiety. Some people have his knowledge of scores! mine from which he hopes a few nuggets called it the most American European city, subtleties that fingers draw from keys or 1. In what ways will study of the piano Acquiring the Indefinable may come for the reader. but it is not nearly so American as some strings. Training in Understanding assist the conductor? What, then, is a Weltstadt—a world city, streets of Madrid, Stockholm or Glascow. ALL THIS involves a training which is 2. In what sense may the conductor be a metropolis? The Germans point with It covers a vast territory, like London and il given in no school that I know of OSSIBLY the first gesture of good¬ P AVE FOR his baton, the conductor uses said to "follow”? pride to the very cosmopolitan nature of New York, and with this comes the feeling and which is rather a hobby with me. I will a conductor can make towards his S invisible tools. He works in the realm 3. What are the advantages of acquiring Berlin, as the English do to London, the of loneliness, a loneliness one never knows, shall call it, then, a “Self-Schooling in the men is to learn to speak to them in their of thought and ideas and demonstrates his historical background? French to Paris, and Americans to New for instance, in Vienna. At night this often Spirit of Style.” It is important enough own language. Further, he must soon let prowess solely through his ability to guide 4. What should be the conductor’s attitude York. Yet, from a national standpoint, the is translated to Heimweh—the homesick¬ for the interpretation of any music but them feel that he respects them, that they toward his men? cosmopolitan nature of the Weltstadt makes are his co-workers, not his employees, that other men’s playing. And, though he may ness that countless neon lights only serve vital to the mounting of opera. Suppose, 5. Make an outline of the ideal course of it a far less significant representative of a to intensify. for a moment, you have mastered stage he accords them the same human dignity have the least to show, he also has the most to learn! He must approach the training for the conductor. country than many a smaller city. In¬ technic, as such. Suppose, further, that you that he expects to receive from them, that The dimensions of the city are too great dianapolis, Tulsa, Springfield (Massa¬ for any one of its inhabitants to care very chusetts), Richmond and Spokane, are far much about many others; and so Berlin more American than New York or Chi¬ goes grimly about its business from morn¬ cago. Berlin represents the strength of ing to night, while its society splits itself Germany; but surely, if you want the real into groups just like that of every other flavor of Germany, you must go to Munich, cosmopolitan center. The Bavarians do not Stage Fright and How to Qure It Nuremberg, Bremen, Rothenburg, Wurz¬ understand this, and they hate it. The burg or Karlsruhe. Not that Berlin is not Gemiithlichkeit of their beloved Munich is _ A mon ami AT. Camille Decreus ‘Provincial Opera in Italy BLACK SWANS AT FONTAINEBLEAU By Paul Wilstaci for the evening presentation, unless it early nineteenth century. There is an ever opera which has a wide appeal in Italy is would have been to ask the name of to¬ so slightly sloping floor in the shape of a Bizet’s Carmen, and it, too, is invariably sung in Italian. morrow’s opera. If that is known it is horseshoe. The seats in the half of these Masonically sealed. Business appears to nearer the stage are called poltrone, those pick up a bit in the evening after half past behind are called poltroncine. As a rule Operatic Appetizers eight. As I approached the theater I noted they are made of iron tubing, the poltrone AT HALF past nine the musicians had signs of life. There were friendly gather¬ wider and somewhat better upholstered - not yet appeared in their pit. But ings before the doors. But the lobby was than the cheaper poltroncine in the rear. no one was impatient. There were in¬ empty. A little apprehensive of what tick¬ The chairs in each row are attached to deed harbingers of what was to come. ets might be left I approached the window one another, but the rows are rarely at¬ One might have known the opera of the and bowed low. This is quite usual. The tached to the floor. During an evening evening without bill-board or program or obeisance is not a matter of courtesy, it is there is apt to be some gradual and not un¬ libretto. La Tosca was in the air. A made necessary by the position of the only intentional movement of these rows, so tenor, apparently just behind the curtain, opening available for communication with that, though one may start the opera with tried out his voice with scales, arpeggios the ticket-seller on the other side. It is comfortable knee room, the last act may be and a few familiar phrases suggestive of rarely more than waist high and barely endured in a contortion. Around the floor Cavaradossi’s music. Nobody listened. large enough for the exchange of cash and the walls rise in three or four tiers of There was no disillusionment. On the its equivalent. The invisible attendant was palchi (boxes), and just under the ceiling floor detached individuals with no one to amiable. There was no occasion for ap¬ are two or perhaps three rows of benches talk to held individual rehearsals, and prehension. Not a ticket had yet been which are given the lofty name of anfitea- hummed or sang in subdued voice snatches sold. tro (amphitheater). from Tosca’s arias, or the sacristan’s fa¬ Fiii. mosso I took a ticket for a poltrona for which miliar bits. The same naive performance A Bouquet of Faces the price was eleven lire, at a time when proceeded from some of the boxes. Up¬ a lira was worth five American cents or AS THE audience drifted in, it at first stairs from the benches of the amphi¬ twopence halfpenny English. In addition . revealed little to distinguish it from theater the less mannered, hut not less to this the price of a detached ticket of the commonplaces of other such assem¬ musical, whistled the same bits. They admission and an amusement tax was re¬ blies. There was an uncommon number know every note and how it should be quired, an additional seven lire. The two of children and babies. Whole families sung, or at least how it is traditionally little pieces of flimsy paper received in ex¬ seemed to have deserted the home for the sung, and they are exacting about it, The following graphic description of an change for this trifling sum entitled me to theater. A box which had seats for six, though they have no higher standards than evening at the opera in a small Italian admission and occupancy of what was con¬ and permitted a view of the stage from at community so splendidly pictures similar their own experiences—and that is low at sidered one of the best seats in the house. least the front two chairs, took in, with Taranto. There was another rehearsal on, experiences which the editor has knozvn The government requires that one or two the suggestion of the assistance of a shoe¬ that he has secured permission from the backstage—that of the chimes in the first presentations of each opera be given for horn, ten and a dozen occupants. The act. It was perhaps not so much a re¬ author and the publisher to reprint it. It the people at prices greatly reduced below youngsters sat on their elders’ laps; as is from a most fascinating volume, “An hearsal as that every one behind the cur¬ the standard scale. This, however, was many as could drew to the railing, others tain, in passing the bells, seemed to take Italian Holiday,” by Paul Wilstach, copy¬ not such an occasion. Opera costs little stood up behind, so that the party pre¬ right 1928, and is used by special permis¬ a whack at them. And no one minded that. in Italy and outside a few of the larger sented a kind of bouquet of expectant faces. The drop-curtain had two openings sion of the publishers. The Bobbs-Mcrrill cities it is not worth it. But the people Old fossils, who looked like barnacles on Company. through painted doorways, with heavy flaps as a whole are satisfied, their standards the city’s social life, trailed in, and were hung behind them like the padded leather being on the whole about as high, or as led wearily to their locations, a bit like a screens which hang before the doorways IN SPITE OF Taranto’s curious situa¬ low, as the prices. horse who might be led to water but of Italian churches to keep out the cold tion, its two seas, its islands and its couldn’t be made to drink. The audience Irish saint, its strange fish and its gar¬ weather. Here they were intended to fa¬ Mob Friendliness finally found its particular character in the cilitate curtain calls. But altar boys, lands of cozse tiere, my most vivid mem¬ gradual arrival of officers and sailors from ory of this city of so many musical THE PERMEATING sense of lei¬ vested for the church scene of the first the naval base who sprinkled their uni¬ memories is musical. However, they are sure drove me back again into the act, gave another foretaste of the opera forms all over the floor and walls. So Copyright 1933 by Theodore Presser Co. not of the tarantella, for there was neither streets, for a stroll and a coffee. Re¬ preparing behind the curtain by exposing British Copyright secured much of a naval gathering did it turn out spider nor fcsta to set it in motion. Not turning in half an hour I found some¬ themselves at the edges of the openings, to be that it would not have surprised me of old Archytas, master as well as jack of thing of a crowd before the theater and handsome dirty lads and dirtily clad in dTJir if the curtain had risen to the piping of a COUNTRY GARDENS all trades, who ruled the city so wisely in the lobby in a mild state of riot. The sale boatswain’s whistle. 0Continued on page 125) 2-A (MORRIS DANCE) Arr. by WILLIAM BAINES the fourth century b. c. and is said to have of tickets was at last in progress and there found leisure in which to invent a me¬ was a good demand. But there was no The ladies all took their seats on arrival The country dance was originally held on the village green but later on found its way to the ballroom where it was given in the “Jong” form. This order, no queue, just a disorderly swarm and removed their hats, too; but the men chanical flying bird, to write the first dis¬ particular tune, dating from the 18th Century, has become universally known by virtue of its gay simplicity and vigorous rhythm. Grade 3. sertation on music, to build “a machine to about the little window, much rough but kept their hats on their heads and remained execute various tunes,” and to locate the unresented elbowing and squeezing, appeals standing before their chairs, with their traditional spacings of the holes of the and protests, the appearance of auger, but backs to the stage, scrutinizing every part flute! Not of Giovanni Paisiello, born at bottom the best of understanding and of the theater with many a ceremonial bow here, who was so shabbily treated by fate; good humor. It is what happens in Italy, from the waist to some, but to familiars for, having written ninety-four forgotten not only in the theaters, but at railway a mere flutter of upturned fingers. operas of his own, he is made a living ticket-offices, in post-offices, and every¬ The buzz of conversation soon made the memory by Rubens’ portrait of him in the where that there are no artificial ways to auditorium alive. To this was added the Louvre. No, Taranto recalls to me the enforce a line. Italians have no voluntary raucous voices of an old man, old women absurdly amusing conventionalities and un¬ sense of such order. The crowd and bustle and a few boys, offering programs and conventionalities of provincial opera. gave promise of a full theater. librettos, candy, cigarettes and newspapers The opera was Puccini’s La Tosca, the Inside, however, all was empty. It was I he newspapers found a ready sale to those hour nine, which is the usual hour an¬ nine o’clock by the big disk over the pro¬ who came unaccompanied. No one seemed nounced for starting a performance in the scenium, but the advertised hour obviously to care for a program, which explained the Italian theater. There was no advance meant nothing, unless it meant the hour at absence of advertisements on it. This mav sale of tickets for there appears, as a rule, which the opera would not begin. The have been economy, or because the cast to be no decision more than a day in ad¬ only human beings in evidence were the had been on display all day in so manv vance as to the change of bill, at least none venerable ushers, old men and women conspicuous places. But likelier, I sus¬ ! - is announced until the bill poster makes his whose gossiping voices came out of the pected, because the artists were all old -n morning round of the available wall spaces shadows before their figures. I was led friends and well known to the audience. and obliterates the name and cast of last to the center of the auditorium and cere¬ . vender of the librettos did a poor night’s opera with those of to-night’s. moniously deposited in solitary state in my trade for similar reasons, for the operas T ~ 1 ~ poltrona for a tip of one lira. were sung in a tongue that every one > Un-Italian Forethought The plan of the house is, of course, like understood and repetition had made them ■p- |J __ ” r ~ OTHING I could have asked the known by heart. The repertoire of a pr™ r N that of every other Italian theater,’ and attendant at the theatre box-office here the houses where opera is sung are vincml season ,s limited; generally it is could have surprised him more than also called theaters. It is of a type which chosen from the works of Verdi and Puc- my inquiry before noon for a ticket dates back to the continental model of the cm, with an opera or two of a few other Copyright MCMXXXII by Oliver Ditson Company, Inc. Italian composers. The solitary foreign Page 92 FEBRUARY i934 THE etude THE ETUDE FEBRUARY 1934 Page 93 Speed and more Speed! SPEED See how fast you can race your outboard motor boat without “upsetting.” Grade 3. Allegro m. M. J = 132 DONALD CLAFFLIN GAVOTTE DU PETIT TRIANON Moonlight, shadows, Perfumes, gardens, 3- Flute and spinet playing, Dancing couples swaying. EVANGELINE LEHMAN Tempo di Gavotte Allegretto m.m. J= 76 TEE ETUDE Page 94 FEBRUARY 1934 TEE ETUDE FEBRUARY 1934 Page 95 VALLEY FORGE MARCH In this vigorous march Mr. Goldman has endeavored to commemorate the deeds of valor and heroism.which took place at Valley Forge during this, romantic periodic early American history. Grade 3|. EDWIN FRANKO GOLDMAN > 1 1 11 2 1 ^ . m . - ■5 L -J- \ 35 i A, 1 4i 1 Copyright 1932 by Theodore Presser Co. British Copyright secured Page ■ 96 FEBRUARY 1934 THE ETUDE THE ETUDE FEBRUARY 1934 Rage 97 AT THE FOUNTAIN Sparkling and playful waters.are so truly depicted in this fluent teaching piece. the etude ?age 98 FEBRUARY 1934 MASTER WORKS *****>*, FEBRUARY 1934 Page 99 gt ten. &ten. LARGO, CON GRAN BSPRBSSIONB FROM SONATA Op.7 LUDWIG van BEETHOVEN Beethoven invariably enriched his piano compositions with the tone color of the orchestra and in playing this soulful, expressive movement we be¬ come fully conscious of this influence. Grade 5. 5 M.M. J1 = 92 —< A ten' 1 l2i \ j fa p,,^ b: S B t-B. B F'g P'vl? sf & 3 60^ 4s—" -*4 4 , 4 4 , v L... " ^ f* 0 p-,; i—as . j£ 1 | j gf f 4 1 ^ jjz cresc. { sf[ V \ rn ff20 (d) ff 1 1 - 13 3 m * '* (a) The fjngeringplaced over the notes of the left hand part shows how the lower notes of the right hand part may be played with the left hand. (a) Strongly accent the A and still more so the Ak (b) (b) ==J^r T Tf Tt .. From this point on, through the next five measures, the melody of the second subject in the upper part of the left hand, is ' tobe prominent without interfering with the crescendo of the other parts. (c) These appoggiaturas take their time values from the first eighth-note. The principal note • , • (d; Give their full value to all these and similar rests. ^ ' pal note Feilters in strict time, (e) Hold the three lower notes of this chord their full time, while the upper one changes its fingering. Page 100 FEBRUARY 1934 THE E^ULg THE ETUBE OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES FEBRUARY 1934 Page 101 O NO, JOHN! ENGLISH FOLK SONG Arr, by EDITH EVANS BRAUN Copyright 1938 by Theodore Presser Co. British Copyright secured -Page 102 FEBRUARY 1934 THE ETUDE FEBRUARY 1934 Page 103 CLINGING TO THEE R.M. STULTS Still would I cling, 0__^ Lord, to Thee, Still would I cling to Thee._ Oft when_Ltrefrd the way ’ a-lone, Some barren waste with thorns,With thorns o’ergrown, Thy voice of love I hear in gen-tle tone, Bidding me hop^Zll aaid cling to Thee. - i /O i ^ _ 5 3^.-^ 4, ^ r - —- "If ' eresc. •-~ 1 S*» £ f20~ r-n nf erase, __ f J-... 7 0- 0- it .-AAl n—^ 2 ^ J , fl , D.C. hit =- —= rit e dim. . Copyright 1932 by Theodore Presser Co. British Copyright secured Page 104 FEBRUARY 1934 THE ETUDE DANCE OF THE WINDS FEE ETUDE FEBRUARY 1934 Page 105 GALOP DE CONCERT DANCE OF THE WINDS A. JACKSON PEABODY, Jr. Op. 17 GALOP DE CONCERT SECONDO Arr. by Richard Ferber Page 106 FEBRUARY 1934 THE ETUDE the etude SECONDO FEBRUARY 1934 PRIMO Page. 108 FEBRUARY 1934 the gpirug ISw. soft 8' and 4'. Gt. 8'and4', wi/j coup, to Sw. ENCHANTMENT Ch. 8'audGamba Ped. soft 16' " CLARENCE KOHLMANN Arr. by Orlando A. Mansfield Add Oboe .to Sw. Copyright 1933 by Theodore Presser Co. secured British Copyright Page 110 FEBRUARY 1934 *** muds PROGRESSIVE MUSIC FOR ORCHESTRA TUB etude FEBRUARY 1934 Page 111 1st CLARINET in Bl> CONSOLATION FELIX MENDELSSOHN CONSOLATION /LA—— ILr-_, 1 i r_][ | FELIX MENDELSSOHN 1 P crew. ft > P~ ' *3^ srgy. El> ALTO SAXOPHONE CONSOLATION FELIX MENDELSSOHN Adagio non troppo 0 A .. Horns 1st Clar. —n—, '•—T—f=h- —| ^-1-. C-^'1 a 1 ^^ ^4 - j | j '(**i*i i» j. j 11 rjTri" i ~ i 1 l i 1 - 0 F -1 ." =1 #£££flr ■JigjrTnnr1 ^ rr===— V cresc. j* Horns vb ft pLfi t r rlf-J' 1 /* fi ' p ■ i 7- 1st CORNET in Bt; (Solo) CONSOLATION FELIX MENDELSSOHN Adagio non troppo A U 2 Solo - • if Jvsi pr r jjj jj fwiJ Jjir j j j J-ji j ? r Jlh p trrri r p express.. — fp — P^=L Violin Solo ^ P>KLLid' ^J p --^ P cresc. J _ /> — \ t-i-5 2 f* f* p tranquillo 1st & 2nd HORNS in Et or El> ALTOS CONSOLATION felix Mendelssohn Adasrio non tronno f* CELLO or TROMBONE ^ “CONSOLATION * FELIX MENDELSSOHN Adagio non troppo pizz. Page 112 FEBRUARY 1934 THE RTUbx THE ETUDE FEBRUARY 1934 Page 113 DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS THE DANCING DOLL Gaily m.m. J = 132 JOHN THOMPSON -xl a ~ . -i-j- mp 5 ±m. kH the etude Page 114 FEBRUARY 1934 dreaming THE ETUDE FEBRUARY 1934. Page 115 O NO, JOHN! The first messofortc occurs at measure 13. English Folk Song The second section, beginning at measure Arr By Edith Evans Braun 17, should be played messoforte, at a faster (Vocal) tempo. Use separate bows for the de¬ The recital singer and audience alike tached sixteenth note figures but maintain will welcome this striking new arrange¬ the legato stroke throughout. Measure ment of a very popular English folk song. 25 is piano. Observe the ritardando e With the limited range of one octave, diminuendo again at measure 31. E-flat to E-flat, this key will be suitable At the D. C., return to the beginning for any voice. The form follows the origi¬ and play to Fine. nal, consisting of six verses set to the same melody, but the arranger has obtained ENCHANTMENT variety in the vocal line by contrasting By Clarence Kohlmann dynamics, and in the piano accompaniment (Organ) by the use of varied rhythmic figures and Dr. Orlando A. Mansfield has made a dissimilar harmonizations reflecting the skillful arrangement for organ of this spirit of the text. charming and fluently melodious composi¬ A rather fast tempo should be established tion by the gifted Philadelphia composer, in the two-measure introduction. The Clarence Kohlmann. first and second verses are sung mezzo- Prepare in advance soft 8' and 4' stops forte, with the accompaniment subdued to on the Swell; mezzo forte 8' and 4' stops piano. The third verse, beginning at meas¬ on the Great, coupled to Swell; Gamba and ure 26, is sung piano, and forte on the re¬ 8' stops on the Choir, coupled to Swell; curring answer, “O no, John! no, John! and soft 16' Pedal stops coupled to Swell. no, John! no!” The following verse is The melody is first announced on the forte, with the answer piano. The last Gamba of the Choir by the left hand, with verse, measure 62, is sung at a slower the right hand accompaniment on the tempo, and the accompaniment here depicts Swell. At measure 5, the melody shifts to the “church bells ringing.” Observe a the Swell, right hand, with Oboe added, broad rallcnlando for the final answer, sung the left hand continuing on the Swell. At ^ Piii animato fortissimo. a tempo, measure 8, the melody is given to the Great, with counter themes brought CLINGING TO THEE —O C- — Tl m—m out on the Great at measure 12. The left ^ u—m By R. M. Stultz hand transfers to the Choir, measure 16, - mm m9 -d- J- m 1 1 (Vocal) and continues here with the melody for 30 dhrLj^rit^ ^ ^_ P Fine cresc. f‘ dim. 35 This sincere sacred song by Mr. Stultz the second section. The repeated right A i - is for medium voice, and it will prove hand chords are played on the Swell. Note useful to many church soloists who need the Pedal coupled to Great, measure 25. simple, appealing songs for the service. Further suggestions for registration are The text is selected from the old hymn, indicated by the arranger and should be A TRIP VIA FRANCE-AFLOAT la melodia marcato “O Holy Saviour, Friend unseen,” by C. studied carefully. Elliott, 1836. In addition to an original and altogether Where the musical phrase and poetic refreshing melody, Mr. Kohlmann has de¬ COSTS NO MORE THAN line coincide, the punctuation may be taken veloped his material well, both by the ap¬ as a guide for the proper phrasing. As propriateness of its harmonic background a further aid to the singer, however, the and by the use of vigorous thematic imita¬ A HOLIDAY AT HOME composer has indicated, with the usual tion. The second section offers effective marks, places where lines may be broken contrast to the lyric pensiveness of the for breathing. Such additional phrasing first section and builds up to a strong cli¬ Isn’t this your year for a real vaca¬ French Line cuisine world-famous. max before the return. will assure ample breath support. tion? . . . Europe? An idea! Why The service . . . perfect, English- Sing the first verse meszopiano in a not? There is an investment which speaking of course. The modern rather slow tempo. Observe the messo- CONSOLATION forte at measure 9, and the crescendo to By Felix Mendelssohn can never depreciate in value. The comforts and conveniences. Then forte, measure 11. The second section, (Orchestra) educational opportunities are alone there’s always a congenial company measure 21, begins forte, at the original This familiar Song Without Words by worth the trip. Consider a summer on the Cabin liners . . . plus deck- tempo, followed by meszopiano and piano, Mendelssohn is effectively arranged for course at the Sorbonne . . . with tours sports, games, movies, entertainment! measures 27-30. The return to the first orchestra by John N. Klohr and features of Paris galleries, museums, nearby theme occurs in measure 31. Note the the cornet as the solo instrument. With Across-and-back on a French Line chateaux and cathedral towns. Sur¬ (//) which indicates a pause or “breath¬ the instrumental parts of medium difficulty, ship is a happy introduction and cli¬ ing-place” after the hold, measure 36, fol¬ this orchestration will be suitable for High prisingly enough, passage and all need max to Europe. And throughout the lowed by ritardando to the end. School groups and should prove particu¬ cost no more than a summer at the voyage there is the security afforded larly appropriate for use by orchestras in seashore or the mountains! by staunch Breton seamanship, FLEMISH CRADLE SONG the Sunday School. By Carl Wilhelm Kern The double-stops of the 1st violin part A trip abroad, via French Line renowned for centuries. (Violin and Piano) may be divided between two or more Cabin ships, brings Europe within Consult your travel agent now', Here is a characteristic cradle song players. At measure 11, third beat, the reach of even the moderate income. about a trip on France-Afloat this melody is taken by the violins. Note the from the Flemish which is admirably And think of what you get! Those summer. He will be glad to tell yon adapted to the medium of strings. The pizzicato (pluck the string with-the finger) 1 4 extra days of France aboard France- A U j- —'— composer, Mr. Kern, is well known to followed by arco (resume the bowing). In about special summer courses at ^_ 1 3 sT? Etude readers for his numerous compo¬ the absence of the cornet, a solo violin may Afloat . . . where the atmosphere is European universities, make all the sitions in all classifications. play the melody, and, for this purpose, the so definitely Continental. The de¬ arrangements, without charging you The violin part has been edited by cornet part has been cued in the violin part licious food (rich or plain; and if for his services. . . . French Line, 19 an octave higher. dim. cresc. 60 Rudolph Magin and makes effective use of you like, non-fattening) that has made State Street, New York City. the third position. The range of the com¬ The clarinet and alto saxophone parts dim. e ; ) 55 • m 'aU- D.C. position is within the limits of the first supply the inner voices with many pleasing lit* frJ position, however, and may be played by counter-melodies. The E-flat horns func¬ *JT beginning students, without observing the tion as rhythmic instruments ordinarily, • ILE DE FRANCE, Mar. 24, Apr. 14 • PARIS, Feb. 17, Mar. 17, Apr. 7 and 28 but in this arrangement certain melodic given fingerings. Play in moderate time CHAMPLAIN, Feb. 10, Mar. 3, Apr. 3 and 21 • LAFAYETTE, Mar. 10 • DE GRASSE, Feb. 27 with expression. Begin softly, with smooth, passages for them will be found as well. legato bowing. Measures 3-4 are fingered The bass is taken by the cello or trom¬ Copyright 1983 by Theodore Presser Co. , for the D string, with the octave harmonic bone. British Copyright secure (third position). Note the crescendo, The director will set the tempo, which ritardando e diminuendo, measures 5-8. is Adagio non troppo (not too slowly). cfacrvch, Jdn6 the etude Page 116 FEBRUARY 1934 the etude FEBRUARY 1934 Page 117 the end of the note; then close with a sud¬ OPERETTAS tinued study of the principles here out¬ den pressure of the lower lip on the upper V JUVENILE SONGS lined will become more and more absorb¬ teeth, for the “f (v).” Even if the note is ing ; and singing will be more satisfying to MUSICAL READINGS E a very short one, there will be found to be the student. PIANO TEACHERS! MUSICAL COMEDIES a continuity of beauty of tone with the N When listening to grand opera by Italian THE SINGER'S ETUDE PLAYS for occasions rest of‘the sentence. artists, one needs no libretto. They, es¬ Don’t you want to The tongue plays a most important part I pecially the principals, declaim their words benefit by the ex¬ Edited for February by m good enunciation and should be made so marvelously and with such ease that not $ FREE flexible by practice on such words as glove, only the tone is vastly improved in quality perience of others? Eminent Specialists plays are produced ^ ei CATALOG teeth, laughter, longing, tact and truth. WRITE but also the text is easily intelligible. The O Complrtc^electlon^of^tl Most people have a lazy tongue and short¬ Of course you do! Then let It is the ambition of THE ETUDE to make this Sinser’s Department "A Sin3er’s Etude" complete in itself TODAY English language has some awkward fea¬ maticclubs,'lodges. ened cords of the throat, from lack of tures, but these can be and are overcome the experience of thousands N proper use. by real students, as readily as Lilli Leh¬ of teachers help you in select¬ S For the pronunciation of most words a mann and Elena Gerhart have made Ger¬ ing your teaching material. dictionary is highly satisfactory; but this man so beautiful in their singing. Certain pieces fill a necessary brief article is to aid the singer to By reading the words aloud, fluency is place in the teaching curric¬ enunciate clearly, so that he not only will acquired. It is said of Jenny Lind that, TINDALE not spoil the tone but will even enrich it. ulum. That’s why they are Music Filing Cabinet when she had to sing on the top B-flat the ordered again and again year ‘Practical Pointers for Pronunciation in Song The practice of sustained vowel tone, with awkward word sersplittre, she repeated it Needed by every Musician, abrupt, clear consonants, if done persever- in and year out. That’s what Music Student, Library, over and over again till she could enunciate ingly, will result in the text being easily it so perfectly that she found it to be al¬ makes them best sellers—the By Katherine D. Hemming understood, and this combined with con¬ most as easy as speaking. certainty that pupils will like tinuity of tone, with a smooth legato, as Therefore blame not our language, but them, as thousands have al¬ the tongue and jaws become flexible and concentrate on these simple examples, with ready—and learn them easily; MANY ARTISTS owe their success sonant, especially the primary and final of the mouth, with a round “ah” quality, words, such as right, rage, reef, roof move more quickly. This habit of poise others which they will suggest, and you too under your guidance. Here more to careful and correct enun- ones, must be definitely sounded or the Sustain this for four slow beats, without a trend and try; also when beginning a second of both muscles and breath will be found will be going far towards gaining “The they are; • clation tn;an to beauty of voice, word is incomplete. This may at first seem movement of any muscle till the fourth TINDALE CABINET CO. syllable as in cor-rect, reference and tem¬ 40-46 Lawrence St. of indescribable value to every singer. Con¬ power to speak and sing clearly.” specially will this be found in German and contradictory; but by practical trial it beat; then shoot up the chin and tongue for perance; but never at the end of a word Flashing New Yorl 23 Best-Selling Pieces* Scandinavian singers, who display sur- can be readily understood. Also, by an the “nt.” Notice that the primary and final such as air, fair, never, dear, clever or for Teaching in the passing intelligence and culture m their intelligent use of the ideas here given, the consonants must be very acute, not in any doctor Nor is it trilled when it precedes presentations. One none too often reads words wifi be quite distinct; there will be way interfering with the tone. There will Early Grades a final consonant, as in board, word lord HARMONY BY MAIL Aaron Grade such words as appeared in an obituary enrichment of tone quality, with no inter- then be a fine tone and good, distinct pro¬ Why (Children Should Sing and hoard. Some singers, either from igno¬ A practical and thorough course of 40 lessons At the Skating Carnival. 3 notice of Raimund von Zur Miihlen, the ference with the ease of singing; and nunciation. There will not be the usual Small monthly payments. rance or swank, trill their Vs" emphatically MacLachlan Send for Prospectus and Rates. Mss. corrected By Albert Visetti u ■ ms . Llara Schumann: choppy, breathy sentences will be avoided, rising of the tongue and closing of the m tbesc words; so that one often hears Music composed, send poem for estimate Banjo-Pickaninnies. 3 While having a voice of sympathetic Naturally any singer who is habitually throat in anticipation of the “nt,” thus com- mother-r-r, air-r-r-r, Lor-r-r-d, chor-r-r-d Wright quahty it was his amazingly clear pro- slovenly in speech-using a flat, dull tone- pletely changing the vowel sound before EVERY CHILD ought to be taught to Touching upon the value of singing for The Butterfly. 3 nunc.at.on which made h.s singing notable, will find that there must be much careful the end of the word, as in Example 4. swor-r-r-d; which is irritating to the edu- cated ear whether of a singer or not One sing at an early age—a study which, of its own sake, we can compare the study Lively and h.s faculty for identifying the feeling and mental practice before diction, in either 4 course, involves the teaching of correct with that of a language. It is true that a Circus Pony. 2 of the words with the music.” speech or song, becomes pleasant, forceful does not roll the “r” in such words when speaking; why do so in singing? AIR-MESTIZIA “Solo Sublime” breathing. Taking only the purely physical man can learn a foreign language when he MacLachlan Again one notices that the effect of good and interesting. A good singer always Violin Solo—Piano or Harp Acc. 65d point of view into consideration, the student has arrived at maturity, and that he can Climbing. 2 pronunciation on the tone quality in sing- speaks well. .< ,??me words have silent letters, such as Cello Solo—Piano or Harp Acc. 65y Roland Diggle Now the great value of all this lies not of a Brother,” is a veritable gold-mine of so much in the intrinsic worth of the pic¬ musical symbols, and one could write a torial element itself as in the fact that it ALL OVER this great country of ours and would much prefer that the good ones excellent pieces have been published during boys and girls. In less than a month there continuous comment on the meaning which offers an approach to the interpreter just are thousands of small churches that be used than that his directions be followed the past fifteen to twenty years but these were thirty-five youngsters practicing three Bach desired to convey in this piece. as it offered an approach to B^ch as the A- A. are unable to spend more than a slavishly. have been overlooked for the simple reason fames a week and, what is more, paying composer. This approach is valuable in pittance on their music. What is spent is The average listener does not want noise that during that time too great a quantity twenty-five cents a month for the privilege! that it offers an opportunity to reach cer¬ usually giveen to the person who can play but music. A service prelude played on a of organ music has been thrust on the A Prayer in Tones (This small fee was necessary in order to tain conclusions as to the atmosphere in the organ, and it is to such a person that lone Dulciana may obtain results far better market. The publishers will send the in¬ purchase some music.) Today, after a T HAS already been mentioned that which the piece is conceived, and therefore this article is addressed. than, say, the same played on the unpleasant quiring organist a selection of organ com¬ I little more than a year, there are nearly much remains to be done to make an presents an open door to the interpreta¬ Far too often a person falling heir to Melodia. Of course there are times when positions on approval so that he may pick fifty children in the choir, half singing at exhaustive study of the Bach aesthetic. tion. In itself it is not enough or perhaps such a position is content to settle down one must have volume, but even then one out the pieces which appeal to him and the morning service and the others at the Owing to the tremendous output of Bach, even vital, but it is simply a means to an and take the line of least resistance. He should not use some out-of-tune reed or which he can play and make effective on his afternoon vesper service. The music used especially of his cantatas, the research in end. He who has not his soul attuned to sinks deeper and deeper in the mire of in¬ “squally” two foot. One should experiment particular instrument. The organist should is mostly two and three part, the hymns the comparison of similar situations is these great masterpieces and who is not difference and adopts the attitude of the until one hits on the most pleasant sounding not try to play music simply because Mr. being sung in unison. almost limitless. Allow me to cite an willing to delve deeper into the very heart minister and congregation who take it for combination, and use it rather than com¬ So-and-So plays it. Let him use his own granted that, because the church can pay There is absolutely no comparison be¬ example which illustrates at the same time of Bach by endless study and deliberation binations that bring far less satisfactory judgment and find out what the congrega¬ tween the music of this church today and so little for its music, nothing can be im¬ musical results. a major appearance of an element in the should as a performer leave the works of tion likes. They pay the bill, even if it is its music two years ago. The organist still musical language, which to my knowledge Bach alone. proved. But then again he often has or The organist should make up his mind small. So they should be given some con¬ receives a very small salary but, even so has never been mentioned; and let me also For the listener this approach to Bach acquires ambition enough to urge him on that he will learn two or three new pieces sideration. it is twice what it was before the change give its application to the interpretation of should prove a real help in arriving at to better things, not only for himself but each month. Often he plays “any old Far more difficult will be the matter of for the church that he serves. took place. Other places are trying out the a so-called abstract form. I am certain correct principles of understanding and thing” for prelude and postlude because he the choir. Here the organist will have same plan in order to improve their music, that the short organ Prelude in C major, also eliminate a few of the hurdles which In the first place the organist should imagines the congregation does not listen. to be exceedingly patient, for in many and it seems to work—that is, given an found as No. XI in the second volume of the great ones in music took by intuition make the best of the instrument that he has One can hardly blame a congregation for cases little can be done. We all know the to work with. Every organ contains some organist who is not afraid to work with the Widor-Schweitzer Edition, would be and genius in arriving at their apprecia¬ inattentiveness when the same old things difficulties of the average small choir—in¬ acceptable stops. If the full organ is rather children. considered by most organists as one of the tion of the greatest of masters. are played over and over again. How ferior voices, poor balance of parts, lack dreadful, the Melodia is good; if the Mel- many organists buy a volume of organ The organization, however, should be of interest. The, best solution is to organ¬ kept as a church choir. One should not try odia is bad the Salicional is charming. The music and use it until it falls apart. Yet ize a junior choir. good stops, then, should be used and the to give concerts of secular music every with organ music as cheap as it is, even In one town of less than three thousand, composer’s registration be disregarded ab¬ time a Guild or Club asks that that “lovely” Organ transcriptions the most poorly paid organist can afford to five hundred population, a certain organist, solutely. He has had no way of knowing choir sing for them. More choirs have RINGS&PINS FOR MUSIC CLUBS keep in touch with the new music as it after failing to arouse the interest of the By Humphrey J. Stewart A Quality Pipe Organ I what the organist’s most effective stops are comes from the press. Any number of been ruined by this sort of thing than by choir, organized a junior choir of children, anything else. Small in Size and Cost At the risk of incurring the criticism, they mean certain stops of the gamba type, E EXCELLENT IN VOLUME [ or even the censure, of many organists The voix celeste or unda maris is frequent- catalog If s FREE. W V \ whose opinions are certainly entitled to ly used in an attempt to reproduce string AND VARIETY OF TONE C. K. GROUSE CO. T3he Heart Of Hack respect, I venture to advocate the use of tone, but this does not really solve the 2 Manuals and Pedals lorth Attleboro. Mas: arrangements and transcriptions, provided, question, even if we are willing to admit Electric Action and Blower ‘By Albert Riemenschneider of course, that they are in keeping with that the violins of a large orchestra always Adjustable Pistons the character of the instrument. We must play slightly out of tune, a state of things Ideal For Church or Home PIANO JAZZ part iii remember that the most distinguished per- which no orchestral conductor would toler- Thus it can readily be seen how such a formers on other instruments constantly ate for one moment. GUARANTEED BY brought out by the individual treatment of - . ... „KU, wunssen (.mow 1 small difference as the direction of a pas¬ the passage, especially by a change of quil happiness, faith, and so forth, is of make use of transcriptions. Why, there- The woodwind group can be reproduced AUSTIN ORGAN CO. 1 ck Endings, Novel Rhythms know that thou wilt quiet my conscience) tic and Modernistic Harmon sage may alter its meaning. In most cases melodic intervals, and the sentiment runs unusual importance. He says: “We can fore, should the organist be strictly limited to some extent on the organ, but a clarinet p"Write Us” HARTFORD, CONN. I The aria begins in an agitated manner the upward tendency adds joy, force and from one of enthusiasm to one of conso¬ really speak of the roots and derivations to music composed for the organ? stop, for example, bears only a mild re- MODERN PIANO SCHOOL with chords m sixteenth notes and groups light to the thought. Such words as lation. A considerable list of words might of the language. Almost all the character¬ Speaking of transcriptions, a word of semblance to the real thing. Not long ago of four. This changes to a more quiet Ewig (eternal), lange (long), bleiben (to be formed upon which Bach almost in¬ istic expressions that impress us by their caution may not be out of place as to the I played on an organ of modem construc- triplet figure and becomes gradually more stay), marten (await), haltcn (hold), variably writes such a passage, and such regular recurrence in the cantatas and danger of attempting to deal with the tion containing a stop marked “saxophone.” and more calm and quiet as the piece con¬ Harmony By Diplomas, Certificates of Awards, Medals and stehen (stand), and many others are words as eilen (hurry), laufen (walk), Passions resolve themselves into about organ on purely orchestral lines. The It was not a bad stop, either, but to my tinues until the end where it reaches the Other Requisites for Awarding Pupils usually pictured by Bach by longer note gehen (go), schnell (fast) are only a few twenty to twenty-five root-themes, mostly organ is not an orchestra, nor can it ever mind its chief merit lay in the fact that ultimate of quiet and repose. Sleep is Correspondence Completing Courses in Music values. Burdened, obstacles, fettered, stag¬ to suggest the character. Objects express¬ pictorial in origin.” For a tabulation of properly reproduce orchestral tone. Mod- the tone bore not the slightest resemblance expressed by low repeated bass notes and gering, and so forth, are expressed through ing motion such as stream, fire, flame, these one should refer to the second vol¬ ern orchestras consist of several distinct to the instrument after which it was Clear Concise THEODORE PRESSER CO. the sleep of death by descending figures. EDMUND SEVERN syncopated notes. tempest usually have pictorial representa¬ ume of Schweitzer’s Bach. These pictorial groups, such as strings, woodwind, brass named. In the brass group we have noth- 1712-14 Chestnut St. Phila., Pa. These examples might easily be repeated 1063 Franklin St. Melrose, Mass. tion. Bach makes ingenious use of the tendencies and symbolical figures have all and percussion. Of these groups some ing to replace the noble tone of the hom, indefinitely as there is a most decided An Outlet for Joy pause or rest as a separation of notes to been deducted from a study of repeated cannot be reproduced at all on the organ, and even high pressure reeds bear no HERE are many long roulades in consistency on the part of Bach in thus T express in their various moods such states portraying the words. occurrences of them under the same con¬ and others only approximately. String comparison of quality to trombones and Bach’s solos which at first appear¬ as fear, suffering, strike, laugh, sigh, ditions of text meanings. They are in no tone, which is the very backbone of the trumpets. As to the percussion group, we Tell your Music Loving Friends about THE ETUDE and ask them to give Often harmonic changes effect a striking you the privilege of sending in their subscriptions. ance seem meaningless unless the word is nothing, and so forth. Sometimes he even wise merely estimates but are actually orchestra, is absolutely lacking on the must of necessity leave it to the moving- taken into account. Such words as Freude dlustration as, for instance, in “Cantata Ask for Catalog of Rewards for subscriptions you send goes so far as to interrupt the polyphony existent. organ, in spite of assertions to the con- picture organist, with his ample array of THE ETUDE 1712 Chestnut Street Philadelphia, Pa. (happiness), jauchsen (shout) carry to when the words indicate that the petition¬ No 26 where the a/to recitativo begins trary by organ builders and some organists, traps and ding-dongs. with the words. Die Freude mird cur Bach the feeling for action, and the result ers are united in an appeal. The different A Language without Words • who talk glibly of “string tone,” by which —The Diapason. Tracked It opens with the usual is one of the famous roulades. In this voices then unite in a unison passage as W/E MIGHT ask of what use is it to manner what has been a major object of if expressing the uniting of the personages. roulade on Freude over a common chord ot C major As the words reach the word ’ ' have this knowledge? Let us in¬ contention in the Bach compositions be¬ vestigate by proceeding to the “Chorale comes clear and logical and seems entirely The Chords of Calmness Tranrrgkeu the chord changes to a dimin¬ ished seventh to express sadness. Preludes,” which have as a basis chorale ‘Passing 7\[otes in place when viewed in the light of IN DUETS the progression of the voices melodies associated with words. We find Bach’s conception. In paging through a in thirds and sixths usually appears to ihe instrumental accompaniment is a MODERN very fertile source of tone-painting and that the “Chorale Preludes” are fairly By Florence Leonard volume of ten cantatas it was seen that illustrate perfect concord, calm joy, tender filled with the same pictorial and symbol¬ . PIANO METHOD from it could be selected imSrable the word Freude was sung on a roulade affection, and so forth. Pain, dying, suf¬ ical indications and when we investigate Simplest Method Known. Most Modern; Com-1 every time it appeared except once, and fering, distress and the like appear sup¬ ofatho eSwhUt f°r tHe further “^deration further we find that these phenomena are plete; Most Systematic; Thoroughly Illustrated.! it appeared innumerable times. This at ot those who are interested, Pirro’s book Crossing hands: The first important Mozart. His earlier compositions were ported by dissonant chords. The word again associated with words of the same AU chords in music, Bass Progressions, Modulations, Breaks, Endings, ■ least is some indication of the consistency composition of P. E. Bach attracted strongly influenced by them, Fill-Ins. Improvising, Pentatonic Scale, Whole Tone Scale, Blue Scale, ■ folgen (to follow) is often portrayed by meaning as found in the compositions set of Bach’s thought and reaction. widespread attention because it required Berlioz taught himself orchestration Chords, Tenths, Hot Chords, etc. Shows and illustrates how to use ■ a canonic imitation. A remarkable bit of directly to words. Schweitzer says that crossing of hands. by reading the score of an opera while chords irom the major to the 13th chord. On sale at your dealer, a-a aa ■ The treatment of the roulade is a very tone-painting is found in “Cantata No. the set of “Chorale Preludes” known as Kossini in his student days was called it was being performed. He wrote two Part 1, 2, or 3, (Each Part).$1.UU| subtle one. Many shades of meaning are 105,” the soprano aria, Nun, ich weiss, du gssssz’xesis a y his fellow students “il tedeschino” overtures, “Les Francs-Juges and fundamental moods as joy, sorrow tran¬ the j'Orgel Buechlein” or “Liturgical Year” is a veritable encyclopedia of Bach’s ‘he little German,” because of his “Waverley,” without really knowing if M.M.COLE PUBLISHING Co. Chicago fondness for the works of Haydn and it were possible to play them. THE etude Page 120 FEBRUARY 1934. THE etude FEBRUARY 1934. Page 121 Band and Orchestra YOU CAN QUICKLY * jmnzimiwawQWLq accordionists (Continued from page 87) MASTER ANY (g) (DjuinnaatFr s dmite * ORGAN AND CHOIR QUESTIONS Accordion INSTRUMENT FOR THE MONTH OF APRIL, 1934 Answered canon form—the flutes, oboes and clarinets being answered by the bassoons, saxo¬ Anyone who can hum (a) in front of anthems indicates they are of moderate difficulty, while (b) anthems are easier ones. Foxtrot phones and euphonium. After a diminu¬ s»«f Pan-American tion of sound a lyrical melody is introduced instrument. If you can Date MORNING SERVICE EVENING SERVICE softly. Album Ex. 9 will be doublytssf, and • a P-A sax’ or trumpet PRELUDE PRELUDE Mo questions will be answered in THE ETUDE unless accompanied by the full name will bring you real Organ: Easter Marth.Johnson Organ: Processional March.Kinder $1.25 enjoyment, warm friend¬ Piano: Chant Joyeux .Sheppard Piano: Sabbath Evening in the and address of the inquirer. Only initials, or pseudonym given, will be published. ships, sndsoeialpopular- Village .Renk itlKv,.n invest your music money wisely TRINGS ON musical instruments fre¬ S (the flame of a burning match will answer WHY IS the Bible the cheapest hook In the quently break at non-vibrating por¬ the purpose) long enough so that the heat world? Why can yoiujurchase the^complete works^of 'She Violin Soloist tions of their length, this happening will cause a knob-like swelling on the end The answer is simple—mass production; no royal- oftenest to strings that are wire wound. Lay the two ends to be tied together of the string. Next lay the string ends to¬ ^ By the same token ^you can buy Beethoven's By James T. Paulos In most cases a string that breaks in this gether as in Illustration 1, except that in (marked A and B in Illustration 1) side This having been done, the knotted end is music—for only 15c. in the CENTURY EDITION. manner is . long enough so that, if the by side in such a manner that they overlap the present case less overlapping is re¬ Beautifully printed, carefully edited, the best of pushed into the slot connected with the O DOUBT there are many violin¬ broken ends are joined, the string can still each other about two inches, as shown in quired. (For thin strings, such as violin hole in the tail piece and provided for that N Some time ago I turned on my radio to ists who have spent hours, months be used. For most playing, a string re¬ the illustration. G, as little as half an inch will do, while fromUand none of them cost more thanD15c°a'copy! listen to a violinist play a well known purpose, the same as would have been done Century Sheet Music is truly dollar value for 15c. and years of labor building up tone paired in that manner answers its purpose for cello or double bass strings an inch or with the end of any of the other three TEACHERS who are today supplying their pupils’ concerto from a local station; and, pleased about as well as if the break had never more will be necessary.) This done, wind need^from the Century ^catalogue are making it and technic as well as studying musical with his playing, I attended his recital in strings. That part of the string which literature only to find that they are unable JAZZ ™ Piano Playing, breaks, 611a, occurred. The saving in money through the thread tightly around the two string- was pushed through the hole in the tail a concert auditorium the following week. - Teachers wanted where wears such personal repair work, especially in the theTHArS WHY We'sAY^PLEASE ASK FOR to play before the public with any degree Much to the amusement of his auditors, this CHRISTENSEN SCHOOL piece first should be shoved into the slot CENTURY EDITION.” YOU WILL GET A NEW of freedom or sense of security. After a OF MUSIC. 750 Kimball Bui case of cello strings and expensive wire- first, so that the end with the knot rests CONCEPTION OF YOUR MONEY’S WORTH. violinist found it necessary to swing his wound strings for all instruments, is suffi¬ This done, take the end marked “A” and certain number of attempts in which they over and against it. The foregoing illus¬ Century piano solos, 15^ eo. body left and right, up and down, and to cient inducement to warrant the procedure. bring it around the end of the string are partially paralyzed by fear and nerv¬ tration presents a sectional view, showing (Capital letter following each title indicates key- toss his abundant growth of hair while However, the repaired strings have a marked “B” till it forms a loop; where¬ ousness, they give up in utter despair of the string before it has been pushed into 1860 Andante Finale, Lucia, DS—6. .Leschetizky playing. . Though I do not condone such tendency to break near the knot which ties upon push this end of the string through ever becoming soloists. the slot. 2076 0*r]ja^a^0\vaUz^8c' ^|arc^' “acrobatics” and did not enjoy his music the two severed pieces. This second break this loop, the result being a knot of ex¬ and tie together or otherwise fasten the There are innumerable teachers who are A similar manner of fastening the E 2505 Barcarolle' - Tales of Hoff.” C—2. Offenbach in the concert hall because of them, I is usually caused by the abrupt bend in the actly the same kind as that which is usually ends of the thread, so that they will not 2750 Big Bass Fiddle, The, C—1.Hopkins able to play some of the most difficult of string is shown herewith: could not forget his splendid interpreta¬ string at the knot, which weakens the used in securing the end of a gut string, come loose. This second method of mend¬ j 000 Bu 11 ertly.‘"Hi. eV*A~3 °. AP‘?/^.^Grieg the standard concert solos in their own tion and beautiful tone as I heard it over fibres of the string. To avoid it, therefore, except that the string B passes through ing strings is especially well suited to wire- studios; and yet, because of fear of making the radio. Perhaps we may learn some¬ 2079 Drea°mfng Claus/ C—Y.’.V.MartS the abrupt bend must either be avoided al¬ the knot. The same proceeding is then wound strings, the wire of which must be a blunder of some sort, they dare not step thing from this “eccentric” violinist, who, W;iMMn;icacCTTT» together or the knot must be such that the gone through with the string end “B,” first unwound from the parts of the string 225 Funr*EH<1™P\Ii—8* Ci£m““G-Tj • Chopin on to the concert stage. In fact the great 1501 Grand Marche de Concert, Di,—5’.Woll'haupt by the way, gets results. full strain is not brought upon that part of which is knotted around the string “A.” ends that overlap. This unwound wire J48 I Grande Polka de Concert, G|y-5—6. .Bartlett majority of musicians (those who are Listen to and watch any of the great FREE GUIDE T0 NEW teachers s, the string at which the bend occurs. In both cases the knot is drawn as tightly can be used for wrapping the joint, in It is accomplished by passing the free (un¬ J?!o Heath erR csefr-S'' ,Dh~6'Schubert£Li^szt talented and accomplished) pursue their artists play, and you will be thoroughly ^on^hin. the piano ■ Mountain climbers have a similar prob¬ as possible. This done, the joined seg¬ place of thread, of which there may be knotted) end of the string through the hole profession of teaching or playing in an convinced that it is not possible to “pour lem to contend with, in tying together sev¬ ments are picked up by the two ends that in the tail piece from the bottom, carrying orchestra with an unsatisfied hunger in out” to the eager, listening world, a beau¬ eral of the light but strong ropes they use are not knotted and then stretched taut. To lessen the strain on the bends in the it around to the front of the tail piece and || their hearts to be soloists. tiful, rich interpretation, without a certain Theodore Presser Co., 1712 Chestnut St., Phil when making difficult ascents, in order to This pulls the other two ends tightly to¬ knot, those who use gut E strings on a passing it through the hole a second time Why should we let the fear of making a amount of abandon and complete freedom get past a place where there is dangerous gether into a knot which divides the strain mistake terrify us? Since we are not a violin usually fasten them to the tail piece in the same manner. The reader is cau¬ 2368 Lady PomwtdiupB(S«nML“?i57^’.M^ in the upper part of the body—arms, head climbing. They, too, must use knots that among several points along the string and by first shoving the knotted end through tioned not to confound the two methods. 2*25 Lfrge (New World), Dh—«.Dvorak steel machine turning out so many notes and shoulders. INCREASE YOUR either avoid the strain on the fibre caused which stands about the same pull as any the hole in the tail piece and then carrying While the method shown in Illustration 5 1I94 Utt B Falry' WaUz' 0—2.Streabbos per minute, and since we never play a solo If you are a capable violinist, walk to INCOME! by the short bends of the knot or that other part of the string. Illustration 2 it around over the side of the tail piece will hold the string perfectly, it possesses 2461 in exactly the same way twice, can we hope the platform with a firm step; raise your Easily—Substantially—Pleasantly distribute this strain by dividing it over should make clear how to tie this knot. and under the string. While this answers to play through a concerto without one one drawback. The pressure at the point jtfcAn^ C-l .Hopkins violin high; attack your first note with Take Subscriptions for several points along the rope. A method of joining the ends of a broken the purpose in mind admirably, it is rather where the string goes through the hole in slip? Possibly so, if we have the technic unfaltering decision, forgetting from that THE ETUDE MUSIC MAGAZINE The knot which mountain climbers have gut string which does away altogether unsightly. A better way is to push the end the tail piece the second time, against the of an Elman or a Kreisler, who, through moment on about your listeners. Play — Write for particulars — found particularly suitable for fastening with the bends necessary in tying anv kind with the knot through the hole in the tail string where it goes through the first time, 1972 Romance ^^4*^®'V i)V ' i’ years of experience, have long ago eradi¬ boldly throughout the composition; and, if 1712 CHESTNUT ST. PHILADELPHIA, PA. together the ropes they use is equally satis¬ of a knot and which thus is especially piece (from the top) so far that it can acts like a wedge driven between the lower cated their mistakes from public observ- you should strike a false pitch, a smile factory for tying together segments of a adapted to thicker strings is as-follows: be carried around over the front end of part of the string and the side of the hole pi £4 will bring back your confidence almost thin string, such as a violin E or A. To hold chat end of each string that is to be the tail piece and pushed through the hole in the tail piece. The force of which wedge 8SL\::::::::: :3KSS There are three basic principles neces¬ immediately and save you from nervous fie ™ .V;■“ tie this knot, one should proceed as follows: fastened to the other to the flame of a fire in it a second time. is often sufficient to crack the tail piece. sary to those who would be successful tension. While I realize that this is not 2618 iu«r Threads^Am Geld*’ Sfl* '' nSjjff violinist soloists. The first is technic, a proposition of “no sooner said than 2252 Solfeggletto^'cm—.V aldtrafel without which there can be no self-con¬ done,” we must face the fact that music 2'll f»"? ef India, A, Eb—4 .Rlmsfcv-Korsakoff IK',°l’- 39. A—4 . . . .Mendelssohn fidence. The second is tone, without which loving people expect us to “do something” M98 Th'rowln9SKiSSeslyMNlBht’ C~3.Kru* a pleasing interpretation is impossible. when called upon, and, regardless of a few IS?! X°[soring, OpSei3WNoUr6!'FjL^4 '. '.Grieg Last, but not least, is freedom, or liberty critics here and there, respond in a body Vhe How and Why of Violin Study "H TttljP, Op. Ill, No. 4, (1—2.Llchner III nJoer P<’ubl9 Eagle, Eh-3.Wagner to “give out” and to do what we can do. when pleased. 984 uSdf„r *ahesStars and Stripes. Eb-4 .Koosevelt By Edith L. Winn sol v’1!30. Op.*56?’n°l*™bV~S. .V/ifomtard 2452 Valse Trism o7344' G—4—5.ufu'1’ llll waII2in3 P,°'" (Coupee Val.). D—4*.Poldint AUD POWELL once said that long before they should be studied—always M Ballet” is the best known. Then the 7th working for credits and are striving to 2747 11? F'owvrs, D—4..Tschalkowsky there were too many so-called ‘ with the public in mind. I have found so 2696 Wayside9 Chape? F—2 Wlison^ and 9th concertos and the Fantasie Lyrique. obtain in the brief time allotted to them ™™ Violin ‘Butchers virtuosi in this country. She many young teachers who have no idea Naturally the German School does not a brilliant repertoire. It seems like ve¬ 2695—Whoo?9E?Upi’(March)' jFe|d^Wood made it her mission to go to remote towns of grading material. Children of ten are agree that de Beriot is necessary in a neering. VIOIIN AND PIANO DUETS, 15^ each and cities and play the great concertos be- playing the Mendelssohn “Concerto” with To The Etude: • recently died, and I desired that course of study. But Rode and Viotti will Music as an extra becomes music as a Sent postpaid on receipt of $1 cause she wanted to inspire these “virtuosi” no idea of its beauty or worth. When I was asked would I repair a violin, be much better played if the pupil knows recreation. Its educational value is lost. not have been better pleased, *“ SPECIAL OFFER — If within to real study. Her great regret was that they really can play it they will have been id every dollar was ter the buyer. He had scraped off the velvel de Beriot. The Rode and Viotti concertos The only way in which we can stimulate 1445C_Armf V—£r Medium rifdoncert solos —well It “jus"--|| there were so many dillettanti in the world, at it so long that they will have lost their precious. rnish with a jack-knife, badly scored th( ought to be studied along with Kreutzer. the serious pupil is to give him the classics. iolin was brought to me badly cracked, >od. and given It a coat of shellac! It wai money will be promptly refunded. Life was very serious to her and her art interest. was explained that the damage was ruined ! So many players are unwilling to study A beautiful tone, a sure technic and a fine 1625 Dnd,° Suno.A—I”3'! A_® | | ; ; a™* AMSC0 MUSIC SALES CO., Inc. sacred. Many talented pupils were brought “The study of de Beriot,” says Felix by its being used as a “club_ at a “Would have liked to scrape hin 1600 Broadway New York what they cannot play to people. One’s interpretation will interest even the average 2i—!;;GSS ?) party. I was also Informed that the knife, then tar him. to her and, instead of playing a fine con- Winternitz, “is of utmost value. I played friends do not understand concertos. The This fiddle may have been a ES Alto Sax certo, they always played pieces like de Beriot, each and every work, when I listener. The best playing I ever heard nean port, while sailing judge of this particular make, 1— . Bach “Concerto in A minor” is beneficial. in a preparatory school was by a girl who 111! •'• • • —e1*" some forty years ago. thing” which says “good” spoke str Souvenir by Drdla or Hejre Kati by was a boy. I toured Europe playing some Also several of the Vivaldi concertos *27? paie"ta|«.SB—3°m6’. ,A. ,2;;;;;;; '.^"cSi I carefully examined it. Far worse fiddles costing up to Hubay. She always said, “Study in your de Beriot. The study of de Beriot is the played the Tartini “Sonata in G minor. matched the pieces prior refitting. dollars have been in my hands, and, Frequently I am asked to recommend My. uncle loved the Bach Air on the G 1265 Soldier's^ Sonjh A—2.vSft . had not before en- alone, this one was priceless. Now mtains songs of every description — own locality; then go to the best teacher beginning of virtuosity. Kreutzer marks dges, ^similar^to^ a le. Patriotic, Southern, Hussion, Spat violinists for school positions. I often find String and he was little versed in things 1834 Swan,9The"“fiTr3 01 2■ -Mendelssohn countered, having flush less. r. College, Operatic, Sacred you can find. Learn the best works. Take the beginning of professional activity.” guitar. -bore H|the label of “Gaspai y do I tell of this happening that they have no repertoire. They do not musical. 2po 1 Turkey In the Straw, A—3 or B—2 .Grooms pruggar. The varnish was a ‘-‘chocolate violins, and a good violin is t„„ ...... lessons from the teacher who plays the There is only one way to study de Beriot understand the classics. They have only a Th! Cento? Cam?**’ B~2 .DtlBO applied rather heavily, yet ... „ butchered. Do not dare to lay an un¬ best.” —that is, according to the French School. few show pieces. That is all. This does How Exercises Should be Played skilled hand on one. Would you dare wash a Many violinists have no foundation to One must be very well versed in the stac- Well, I repaired and refitted the violin, then string of pearls In vinegar? To do so would not make for an education. To play prettily HAVE had teachers who played exer¬ tried it The tone was glorious ! bonorous as dissolve them. Just so, to tamper with a violin their structure. Also many teachers do cato, the spaccato, martele and pique bow- or brilliantly is not the aim of study. It I MANgo\7NTLT|7uS^0RPrd^caALPIANO- one could desire In the entire range ot the not know the student literature nor how ings. cises like pieces. They must have been suppSr°you,eJIe”afor CentlJry music, and if he can't fourth and third strings and gradually merging If you want to butcher, get a book on violin is most difficult in preparatory schoois to to a mellow yet penetrating crisp tc making and start with some cheap lumber; to grade it. The great works are played at Of the de Beriot works the “Scene de very beautiful to interest me in my girl¬ Mete catalogue wfflbe SStedfyw? FREE 'on°raqS‘ second and first strings. A treasui obtain a standard because the students are hood when I had not heard much music. The owner paid a stiff price for my CEN254Rw music publishing CO. avowed himself satisfaction. Now comes the sequel, and a sad o THE etude Page 124 FEBRUARY 1934 the etude FEBRUARY 1934 Page 125 Tdo Acquire the Firm Finger TBouch with a Loose Wrist Provincial Opera in Italy VIOLIN QUESTIONS By Charles C. Chase Answered (Continued from page go) By Robert Braine Music StSS ?£ SK1 t S,= High Wrist and Fingers By Leonora Sill Ashton on at least the second phase of it. there in the center was the m< SPECIAL NOTICES and ANNOUNCEMENTS The maestro was in full evening dress, haps only superior, maestro, _= He always is, though no one else be, and all, trying to lift before him’ two hundred - no one else here among audience or mu- pounds of tenor on his right and two hun- r sicans was. He was elegance itself if you dred and fifty pounds of soprano on his were not close enough to see his purple left, all as if he were the victim of a ruse, L socks, or the celluloid dickey, or the spots and wished he could have avoided it. Staccato Pedaling By Gladys M. Stein Page 126 FEBRUARY 193b. THE ETUDE THE etude FEBRUARY 193b Page 127 Devices for Oral Scale Drill (blfege^ of Music o\ (\nc\ma\U By Grace Nicholas Hume Question and Answer Department 1228 Central Parkway, Cincinnati, Ohio After all the major and their three kinds signature or makes any kind of mistake Conducted by of relative minor scales have been written sits down. The losing side may be re Karl W. Gehrkens AMERICAN MUSIC and DRAMA and corrected a class of children (or even quired to perform some musical “stunt” Professor of School Music, Oberlin College older students) will enjoy an old-fashioned for the entertainment of the rest. DEGREE, DIPLOMA, CERTIFICATE,“pUBLIC SCHOOL MUSIC (Accredited) Affiliated with University of Cincinnati and Xavier University. Member of National Association of Schools of Music. contest for highest marks. Even more fascinating is this device CONSERVATORY Have the class stand in line. Let the Name four pupils, respectively, Miss (0r COLLEGE OF MUSIC OF CINCINNATI, CincinnatiVohio B°°' first in line announce the key and signa¬ Mister) Sharp, Miss Flat, Miss Double ture and name the first tone of the first Sharp, Miss Natural. Let all the pupiis No questions will be answered in THE ETUDE unless accombanied hv th, ( n major scale, as, for example, “Key of C except these four stand or sit in line th and address of the inquirer. Only initials, or pseudonym gten, Oil bepStiXd. OF MUSIC major, signature no sharps nor flats, first four placed opposite the rest. Each’ one QlrfarlaniiJhfitUute of (J)usir tone, C.” The next in line names the recites in turn a note of the C major scale Turns and Accidentals. notes are not repeated • thev second tone, “D,” the next, “E,” and so until it is finished, then the a minor origi¬ O. 1. In the piece, Melodie in F, by Rubin- 4. About (1=108) ’ If the Offers Accredited Courses in piano, vocal, violin, organ and all Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma stein, I am in doubt about the right and left player is notamnle enough 1 of on. (Giving both the ascending and de¬ nal, then the harmonic and the melodic hand carrying the melody In the enclosed can be played somewhat more slowiv wfthout other branches of Music and Dramatic Art leading to Public School Music Course in conjunction with Western Reserve University scending scale will afford more drill.) If Miss Sharp, Miss Flat, Miss Double Sharp jew measures please explain when the left destroying the effect. 6 slowly w,thout BERYL RUBINSTEIN, Dire — e treble melody. •, 2605 Euclid A nue, Cleveland, Ohio. any pupil makes a mistake and the next in and Miss Natural will be perfectly dumb 2 Do turns always consist of the principal Mensures in Lis*t DEGREE—MASTER OF MUSIC line names the correct tone he goes above until the seventh tone of the a minor har¬ note, a half-step up, principal note, a half- 0 „„„ " , l step down, and principal note? If not, please sn Liszt’s * tfle Oiven measure,! DEGREE—BACHELOR OF MUSIC the one who failed. If several fail in suc¬ monic scale is reached when, of course explain. he nlaved ,E_u,n^rwn Rhapsody/’ No. 2, are U cession the one who corrects the mistake Miss Sharp will have to say “g sharp.” On C 3. I was taught to use the 1-2-S-5 fingers J ^The tHii Si no * , DIPLOMAS—TEACHER’S CERTIFICATES for the right hand and 5for left. I have * lne trm 18 Performed as follows : DANA’S MUSICAL INSTITUTE goes above all of them. The first kind of the melodic form she will say “f sharp, g noticed some changes in playing the majors Professional and Teachers Courses on the Daily Lesson Plan. • Degrees granted relative minor should be announced thus, sharp” in the ascending scale, but in the beginning on black keys. Is there a rule Under Authority State of Illinois Departments in Piano, Voice, String and Wind Instruments “A-minor original” (or “normal” or “nat¬ scale descending Miss Natural will have Iti some church music I found no bars Public School Music Courses State Accredited. ural,” the choice of nomenclature lies with her innings with “g natural, f natural” «* t/> mark off measures nor any time Thorough preparation for concert opera and teaching positions. Many special features, weekly recitals, concerts with full orchestra, Supports its own Symphony Orchestra and Concert Band—Daily rehearsals the teacher), “relative of C major. Signa¬ Obviously Miss Double Sharp’s duties will signatures._ The piece consists of half, quar- Catalogue on application to Lynn B. Dana, Pres., Warren Ohio Desk E \.d dotted half notes. How is this played? lectures, school of opera, training in students’ symphony orchestra ture, no sharps nor flats. First tone, a!’ be light, and Miss Flat will have, a com¬ 5. What are accidentals? bureau for securing positions. The pupil who stands at the head of the 6. If this sign (X) is placed before Q, plete vacation until the flat major scales sharped in the signature, what does it signify? line at the end of the class period receives are reached, when, after a little, she will 7. If a piece in the key of C has a B flatted, 0BERLIN^ CONSERVATORY OF MUSIC the “high-mark” but in order to make such fill a leading role. does it mean that all the B’s in that measure are flatted?—S.W. a contest fair the “game” should be played A plan combining scale drill with the A. 1. Play all treble melody notes with the SUMMER MASTER SCHOOL again and again, the one receiving the high- right thumb, and all bass melody notes with Catalog.ra Frank H.’ SI finest kind of ear-training is for the mem¬ the left thumb : for instance the first measure Three Summer Sessions—May 16 to June 25, mark being required to start at the foot bers of the class to sing the tones of the would be like this : of the line at the beginning of the next reci¬ scales in turn, first calling them by their June 27 to August 6 and August 8 to September 17 "Lawrence college tation. At the close of each class hour syllable names (do, re, mi, and so forth, One Hundred Twenty Artist-Teachers ^cmsertatortj each pupil should take the number which for majors and la, ti, do, and so on, for CONSERVATORY OF MUSIC represents his place in the line. minors), then by their letter names. The Special Summer Courses in Public School Music; School of Opera, School of Acting, Childrens Musical Training, Class Piano Method (Oxford), All Branches of Music Taught ler Auspices of the Cincinnati Institute of Fine Arts teacher may sound the tonic or keynote at Training for Concert and Teaching Music Spelling Bee the piano in order that the scales shall be Theatre Organ Playing For Free catalog, address Special Students May Enter Am^Time ^ AN OLD-TIME spelling match using within the range of the children's voices. CARL J. WATERMAN, Dean Send for free catalog. Address John R. Hattstaedt, Manager credits apply towards^Certificates, Diplomas scale notes instead of words is inter¬ Scales and other fundamentals of har¬ 2. The turn always employs notes that be¬ esting. Choose two .leaders who will select mony may be made the children’s friends long in the signature regardless of whether il dormitories on ten acre -campus—for men and woi alf or a whole step from the prin- AMERICAN CONSERVATORY OF MUSIC For catalogue and information'address Registrar alternately pupils for their respective sides. instead of their enemies if the play element An accidental placed above or He who names a wrong note, misses a key is introduced in class work. __ _ ,_.n sign means that the note above 575 Kimball Hall, Chicago, Ill. DUNNING SYSTEM or below has been raised or lowered, as the case may be. Sec “Music Notation and Ter¬ of Improved Music Study minology” by Gehrkens. Jean Warren Carrick, Dean 3. Your third question Is ambiguous. I do Eastern Office Qormng ; CONSERVATORY |CHOOL of MUSIC PHILADELPHIA ITHACA COLLEGE 2T Easter Music INSTITUTE OF MUSICAL ART Suggestions of the JUILLIARD SCHOOL OF MUSIC You May Secure Single Copies of any of These Numbers for Examination. Many others on our Easter Music Folder. Send for it. SPECIAL ANNOUNCEMENT CANTATAS Cat. No. Title and EVERLASTING LIFE PubHc“IJo^sr^eaTtoCgJo U’e'e 3of ^ac^ielor^oDMiwic^Education! 21141 Shouting Si 21140 When It Was Yet Dark Maskell .15 21119 Our Lord is Risen from NEW YORK SCHOOL of MUSIC and ARTS 20612 Alleluia, . Christ is'Risen 20040 And When the Sabbath Was Past (With " College of Fine Arts ZZ&coa* INTERNATIONAL MUSICAL and EDUCATIONAL ill Louise Weigester School MUSIC THEODORE PRESSER CO. OF all 1712 CHESTNUT STREET PUBLISHERS PHILADELPHIA. PA. Page 130 FEBRUARY 1934, THE ETVdE THE etude FEBRUARY 1934 Page 131 The Chapel Book of Piano Duets for Jj|TTTl8jb Organist The Melting Pot Adult Beginners H | | A Collection of Original A Unique Collection of Easy Piano Compositions and Tran- develoned °adT P-an° teafhing methods have Solos SCRIPTIONS FOR THE ORGAN oeveioped a genuine result-gettine system „f ilili myi The “melting-pot” is one of those corned H Pmk The announcement of the hf theCtt°n f0r adult be8’nners) and for youth m the teen ages, publishers are beine Sed words so characteristic of the American use jppgSjill forthcoming publication of of the English language to express succinctly this new organ collection miTrerlT1'6 f” kter?sting supplementary an entire descriptive phrase or sentence. We has brought a most remark¬ feel that its use as the title of this book is ing' Pm a^e response on the part “Iras1 ,or the best possible description of the book’s of organists everywhere, who This Book of Piano Duets for Adult Re contents. l"1" apparently are familiar with ginner will undoubtedly stimulate the inte^ est of older pupils, even if one part is played The average American student is a wide¬ our other excellent organ books and who awake, aggressive individual who could not Favorites desire to add another such compilation to y the teacher. Nothing gives the beginner more confidence than to find that he can b>- any stretch of the imagination be called In the parade of all things, favorites keep their libraries. The Chapel Organist will play along with another. a plodder.” If the teacher hopes to have coming to notice. We read in history of a contain easy preludes and postludes and an him master the standard exercises that re¬ favored people and favorites of great rulers. abundance of melodious and appropriate of¬ . °‘‘e yery important feature of duet play- Advance of Publication .mg, from the pedagogical point of view is quire “plodding” she must “sugar” such Even the customs of various peoples repre¬ Lenten and fertory numbers, for organs with two man¬ work with interesting and tuneful supple¬ sent their favorite habits. In competitive uals and pedals. This is just the kind of the sense of rhythm that it inculcates iu the Offers—February 1934. performers. Experienced teachers know that mentary material, pieces that not only bear sports every one beforehand is selecting a Easter Music a book needed to freshen up the repertoire attractive titles but which abound in “tunes” lt, “ ™ore difficult to teach rhythm to favorite. In art, sculpture, painting, liter¬ During this month of the busy organist and an order placed adults than it is to children. Therefore, we and characteristic rhythms. ature and drama there are favorites. Like¬ All of the Forthcoming Publications the Lenten season be¬ now for a single copy at the special advance believe that this book will supply some This collection will contain a generous wise in music, there are the great favorites— of publication cash price, 80 cents, postpaid, compilation of the folk tunes and dances of in the Offers Listed Below are Fully gins and even now ' much-to-be-desired material and, judging the masterpieces. Then there are favorites Described in the Paragraphs Follow¬ many choir directors i "" " lsure the receipt of a first off-the-press the nations that have contributed of their in the lesser forms of music composition. from the advance of publication orders re¬ people to make up the “melting pot” of our have in preparation ' ' ceived since the initial announcement of its These favorites may not be known to the ing. These Works are in the Course of large American cities, all of the pieces ar¬ the musical program forthcoming publication, our belief is justi- world at large as are the great masterpieces, Preparation. The Low Advance Offer for this season and for ranged so that they can be played by stu¬ but they are very important to music edu¬ The Progressing Orchestra dents in the early grades. Prices Apply to Orders Placed Now, There is still time this month to order a cators and other active music workers. It Easter Sunday. The Easter program usu¬ The mechanical work on the production with Delivery to be Made When ally marks the climax of the choir s Fall and Book copy at the special advance of publication saves the busy music worker many minutes price, 35 cents, postpaid. of this book is almost completed but there too when he is pressed for time if he limits Finished. Winter season’s efforts and, in many cases is is still time during the current month to the most ambitious undertaking of’the year Compiled by Rob Roy Peery his choosing of music to an examination of place your order for a single copy at the those compositions which have earned a Book of Piano Duets for Adult Beginners .... 35c Last month, in these pages, we called at¬ Supervisors of orchestra music in Grade advance of publication cash price, 35 cents, Burst of Song. 5c tention to the early date upon which Easter Indian Songs place as favorites either in educational fields, The Chapel Organist—Pipe Organ. 80c Schools and Junior High Schools will have in concert or in the church service. The falls this year, April First. At that time a last opportunity this month to secure parts ytfir^K For Mixed Voices Easy Quartets For Young Violinists. 75c The Leaders of 1934 we suggested that directors, who plan the great success of the Theodore Presser Co. —Piano Accompaniment . 25c of our new orchestra collection at the spe¬ By Thurlow Lieurance “On Sale” plan has been due to the fact Indian Songs-—Mixed Voices—Lieurancb. 40c presentation of a cantata, send for sample cial advance of publication cash prices listed Advance of Publication Every age and every year makes its own heroes. The leaders of 1934 will be copies for examination. There is still time MwmKmF This distinctly American that an effort always is made, in filling the The Melting Pot—Piano Collection. 35c c osen from those superior souls, who from the height of their ideals, have seen Offers Withdrawn selections other than specific new music re¬ Musical Travelogues—Cooke.$1.50 for the well trained choir to prepare a can¬ This book is planned to follow our Easiest jMill work should find a place Progressing Orchestra Book—Parts. Each ... 15c above the turmoil of the past five years, and now are even redoubling their energies tata for Holy Week or Easter but the music quests, to include numbers which have built to Prornote a faith in the best in this splendid period of recovery. Orchestra Collection and proceeds a step fur¬ Mllnlljnn 'n tbe rePert°ire of every This month our Publication Department up such sales records as to indicate merit. —Piano Accompaniment . 35c should be obtained now and rehearsals begin ther in difficulty, although it is still an easy WIIwTHb choral organization. It of- has managed to rush to completion a timely The Structure of Music—Goetschius.$1.50 ■ F'fil -1CVer "as a time in.the history of the art when music workers were more at once if a satisfactory rendition is expected. fers a splendid collection There is a tremendous number of such Summer—"Around the Year"' Series of justified in assuming leadership in the important work of reconstruction. Don’t sit collection with’ string parts entirely within work, one that we are sure will meet with a “favorites,” but in the course of time they Piano Solo Collections. 30c To the choirmaster who plans a program the first position. A Solo Violin (ad lib.) w"™* of material from which cordial reception as it is placed upon the back and calmly watch the activities of others. As a teacher, your position is that of miscellaneous anthems we likewise "offer may be selected program numbers of un¬ parade past in the monthly publisher’s print¬ Voices of Praise—Anthem Collection. 20c of a leader. Spread confidence and optimism. Silence fears and destructive ideas. part, however, offers interest to more ad¬ market. The special advance of publication ing order. Some of the numbers appearing the facilities of Presser’s “On Sale" Serv¬ vanced players. Other parts are written usual native interest, as well as compositions price is now withdrawn and copies of the (ret your fellow I cached together and make plans for cooperative progress. Dis¬ ice with its liberal examination privileges. of a lighter type for novelty encore selee- on the printing order of the past month are trict your city and organize community pupil recitals. Do anything to build up within a relatively limited range, and are cantata are available for examination upon given in the following list: Send for the folder Easter Music, listing and completely “cued” so that small combina¬ our usual liberal terms. community musical interest. Study the new music, the latest issues. Plan musical describing anthems, cantatas, services, vocal During many years spent among the In¬ debates and discussions of musical topics. Interview your newspaper editors, city tions of instruments will be effective. Everlasting Life—a Choral Cantata for SHEET MUSIC-PIANO SOLOS The Cover For This Month solos and duets, and pipe organ numbers The contents, consisting of twelve num¬ dians, Mr. Lieurance collected and recorded Easter by Mrs. R. R. Forman is scored for fathers, clergymen and club leaders and agitate for more and more music. suitable for Lent and Easter. A copy will a large number of authentic aboriginal Cat. No. Title and Composer Grade Price The cover for this There is no reason why you should not become one of the musical heroes of 1934, bers, include four excellent marches, Assem¬ solo quartet and chorus of mixed voices. 25360 Ring Around-a-Rosy—Scott 1 $0.30 be sent gratis upon request. themes and tribal melodies. In this collection The text has been supplied by Helen J. 15445 Heigh! IIo! March—Rolfe. 1% .25 month is a splendid spreading cheer and courage, orderliness and the spirit of unity when the enemies bly, Class Colors, Commencement Day, and 23483 A Little March—Wright. .. 1% .25 Some recent Easter publications you may All American. Two little-known classics, for mixed voices will be found the well- Thompson from the Easter story, as related etching picked up in of progress are spreading the opposite. known love song—By the Water of Minne¬ 8218 Melody and Velocity, Op. have for examination are: which will prove of great value for program in the Gospels, and with the introduction 812 (Music Mastery Europe by Dr. James tonka; a Pueblo Spring Song—Rue; Where use, are Schubert’s Little Briar Rose and of other portions of the New Testament. Series) Sartorio. 2-3 .60 Francis Cooke in his CANTATA the Blue Heron Nests; Love Song from the 18948 My Heart at Thy Sweet travels, and in repro¬ Everlasting Life—Mrs. It. R. Forman. . .$0.60 Boccherini’s Minuet in E flat. Four descrip¬ There are ten musical numbers, suitable for Voice—Saint-Saens-Mcro. 2% .25 tive and characteristic novelties offer inter¬ Red Willow Pueblos; The Owl Hoots on the rendition by the average volunteer choir, 6851 Tossing Kisses, Op. 121— ducing it, the lith¬ Teepee Pole—Medicine Man Scene; In the ographers have en¬ ANTHEMS esting solo possibilities for the brass and with solos for soprano, tenor and bass, and Heins . 3 .25 Burst of Song studies, a flair for wit and romance, and When It Was Yet Dark—C. II. Maskrll 1.1 Ripening Time of Com, and other character¬ 25107 A Spanish Dance—Ketterer 3 .40 hanced it with colors. King of Kings (Men)—Simper-Nerin . . !l2 wood-wind instruments, The Country Band alto and tenor duets. Time, 45 minutes. All Kinds of Good Things for Happy experience in teaching music, he has been istic choruses. Price, 60 cents. 15800 Prelude, Op. S, No. 2— Franz Peter Schu¬ able to enlist the interest of vast numbers Nature’s Eastertide (2 pt. Treble) — (which introduces Reuben and Rachel and Rachmaninoff . 3% .25 Groups to Sing Wm. Baines.12 While the arrangements are essentially for 26001 Two Guitars—Arr. by Peery 3¥> .40 bert actually was born of musical people who have read some of Turkey in the Straw), Indian Sunset, The With the publication of this book, the . SPIRITUAL four-part chorus of mixed voices, some of 4509 Poupee Valsante—Poldini. . 4 .25 in Vienna, the city his Musical Travelogues in The Etude, who Camel Train, and Moonlight Revels. Waltzes the numbers feature solo voices against a Warning 23173 Satanella (Mazurka)— auupieu uy so many composers. He was problem of securing suitable material for Shouting Sun—Frances McCollin.13 have literally demanded that these be pub¬ include the very popular Spanish La Oolon- choral accompaniment, and one of the se¬ Schmeidler . 4 .40 born January 31, 1797, and the house in group singing at a banquet or any other lished in book form. CAROLS drina (The Swallow) by Serradell, in an We again caution our musical friends 23384 Grande Polka de Concert— which he was born is still standing. Schu¬ gathering where community singing is to Three Easter Carols—Mrs. R. R. Fur lections included is for five-part chorus with against paying money to strangers for Bartlett . 6 .25 The series is now approaching completion easy waltz arrangement, and Hawaiian Sopranos divided and flute obbligato. The 7738 Dance of the Winds, Op. 11 bert’s fame as one of the greatest of all be an important part of the program, will and we hope that before many months it Nights. Etude Music Magazine subscriptions un¬ —Peabody . 7 .60 composers of songs is but part of the glory be solved. For this splendid collection, to work is complete with program notes written less they are convinced of the solicitor’s will be possible to put this book in the hands The complete instrumentation follows: Solo by the composer. SHEET MUSIC—PIANO ENSEMBLES gained by this composer who breathed his be published in a convenient size, will con¬ of our readers. Nothing could be more ap¬ See Nevin’s “A Day in Venice” Violin (ad lib.), 1st Violin, Violin Obbligato responsibility. Read any contract or receipt 17473 Comrades Waltz—Rolfe last on Wednesday, November 19, 1828, tain j’ust the things that are usually sung This book of choruses will be released at offered you before paying out cash. Do not propriate for any musical library of student in the Movies A, Violin Obbligato B, 2nd Violin, Viola, an early date and our special advance of (Duet) . 2 $0.25 when he was not quite thirty-two years of at such gatherings. It will have enough of or teacher, because every page is filled with Cello, Bass, Flute, Oboe, Bassoon, 1st Bb permit any agent to change printed condi¬ 18268 Playful Kittens—Lawson age. He was a most productive composer the good old songs to warm the hearts of We are pleased to announce to our friends publication offer for a single copy at 40 tions on a contract. Many fine men and (Duct) . 2 .25 information, inspiration and entertainment. that M. G. M. (Metro-Goldwyn-Mayer), Clarinet, 2nd Bb Clarinet, Eb Alto Saxo¬ cents, postpaid, will be withdrawn upon 7046 Hungary (Rapsodie and besides his hundreds of songs, which in¬ the older people and sufficient of the frivo¬ women earn their livelihood through secur¬ Mignonne)—Koelling In advance of publication a single copy may known for their exquisite photo-sound phone, Bb Tenor Saxophone, 1st Bb Trum¬ publication. clude some of the greatest songs ever written lous to care for the playful moods of youth, be ordered at the special cash, postpaid pet, 2nd Bb Trumpet, Trombone (Bass Clef) ing subscriptions for The Etude Music „„„„ „ (2 Pianos-8 Hands).4 1.20 and in addition it will contain a liberal achievements, have made an exceedingly 30572 Country Dance—MacFadyen such as La Serenade, The Wanderer, the price, $1.50. or Baritone, Trombone (Treble Clef) or Magazine and other publications. Swindlers (2 Pianos-8 Hands). 4 1.50 Erl King and Ave Maria, he would have been number of useful selections for the super¬ beautiful sound picture of Ethelberl Nevin’s take advantage of this fact and impose on famous suite A Day in Venice. When shown Baritone, 1st and 2nd Homs in F, 1st and numbered among the immortal composers for visor or chorus leader who wants to conduct 2nd Eb Horns, Tuba, Drums, and Piano the public so that caution is necessary al- PIANO INSTRUCTOR any of his instrumental compositions, most group singing of a more serious character. The Structure of at the Capitol Theatre in New York it Second Year at the Piano—Williams.. .$1.00 Most of the numbers will be given complete made a splendid impression. Your local the¬ (Conductor’s Score). notable of which are his symphonies, the Music The advance of publication cash price for PIANO DUET COLLECTIONS Rosamunds Overture, the Moments Musical, with music, some few with words only. In atre will be showing it shortly. Be on the Playing^ Together ^.$0.75 By Dr. Percy Goetschius lookout for it. each part is 15 cents; piano accompaniment, Bind Your 1933 Etudes Impromptus, the Military Marches and all, it will contain enough selections for 35 cents, postpaid. chamber music numbers. It would take a hours of singing by gatherings where either The author of this vital Easy Quartets for Young at Little Cost SHEET MUSIC—VOCAL SOLO volume to give adequate comment upon all the richness of good singing is desired, or new book has held the po¬ Summer 30569 Come Down, Laughing Streamlet (High)—Spross . $0.60 of his music. Fortunately for the pianist, where “just something to sing” is wanted sition as Head of the De¬ “Around the Year With Music” Series Violinists We can offer to our subscribers, an excel- partment of Music at the Voices of Praise many of Schubert’s gems of melody have to liven up an occasion. of Piano Solos . . .. . , . ., lent binder holding 12 issues of The Etude VOCAL COLLECTION Those who wish to get acquainted with Institute of Musical Art in Young violinists welcome the °PP°^U" Music Magazine. It is finished in blue Songs of the Child World, No. 1—Oay- been arranged for the piano. The Schubert It is really surprising, the interest dis¬ Collection of Attractive Anthems Album published by the Theodore Presser this book as soon as it is published may be New York City for many to participate m a small ensemble, silk buckram, stamped in gold. The Etude. nor-Riley .$1.25 years, and is recognized as played in this series in book form, of early . Al>y one who ever has had any experience dent groups especially are easily organized The binder opens flat> gives easy access tQ Co. contains an excellent selection of these sure of doing so by placing an order now for PART-SONG COLLECTION for pianists of average ability. a single copy at the advance of publication a leading authority on theoretical subjects intermediate grade piano solos. Quite a few jn volunteer choir work is aware of the value in these days when so much good wr any musical composition or reading article Part Songs for Boys with Changing cash price of 5 cents. pertaining to music. His many success¬ requests have been received to enter orders o such a choir of a reasonably priced collec- being done in developing school ore and j^pg y0Ur COpjes 0f The Etude fresh, Voices .$0.60 for the Autumn volume. Unfortunately, our ion containing a generous number of easy- right from beginners in music. Attractive nea(. and clean The retail ice Js 25 ful books are evidence of his broad experi¬ CHURCH MUSIC The Etude Historical ence and thorough grasp of his subject, as publication schedule places the appearance 0-sing, but effective, anthems. It is also material is needed for the repertoire, some- Any Etude friend can secure one of these Choir Book for Women’s Voices Musical Travelogues of this book so far in the future that we do puite likely that such an one would be famil- thing comparatively easy to render and yet binderg at cost by adding $1 25 to the sllb_ Musical Portrait Series By Dr. James Francis Cooke well as his unusual ability to write upon technical matters in a way that is scientific not feel justified in accepting orders for it r with some of the anthem collections of which impresses—f—»JrvYTYroccp* a-an audience as being an SCI—-scription.,puull H.price.k The binder;ndpr ™will;11 be m«;ipdmailed. Sacred>*Trios for WomiuLs Voices!!!!! !$°:?| Traveling abroad is one thing, but travel¬ at present, but in due time we hope to an¬ Hundreds are collecting them. No such yet always engaging and interesting. is character published by the Theodore achievement for the group. I his is ju a]| charges paid, OCTAVO—MIXED VOICES, SACRED series has ever equalled this in comprehen¬ ing abroad with an experienced and knowing No musical reference library will be com¬ nounce that our editors have begun work esser Co. Hundreds of thousands of these what this collection is going to supply. 20397 O Come Before His Presence with traveler is another. Dr. James Francis upon it. There are separate books for 1st Violin, Singing—Martin .$0.15 siveness and detail. Turn to the page op¬ plete without this important new work ni,/L0U i Polished anthem books have been 71 O Lord, How Manifold are Thy posite the editorial page in this issue and Cooke has covered thousands and thousands which may be ordered in advance of publi¬ At present we are preparing the Summer thp aSe<*‘ These books usually represent 2nd Violin, 3rd Violin, 4th Violin and Piano Delayed Etudes of miles upon his visits to European musical Works—Barnby .10 note the varied number of composers and cation at the special cash price, $1.50 post- volume and accepting advance orders for it and ^°St Part the choir’s repertoire accompaniment. The 1st Violin part is performers included. Don’t you want all shrines, and combined with his historical at the special pre-publication price, 30 cents, chiefly in the first position,^with a little OCTAVO—MIXED VOICES, SECULAR m 5)rc*er to meet the demand for an- 35266 Call of Spring—Hawley.$0.12 of those which have hitherto appeared? If postpaid. Those who have copies of Spring n r c°hection of this character, our editors third position work to make ’this part inter- its usual after-holiday complaint that copi 243 A Spring Song—Pinsuti.10 so, send us one subscription to The Etude and Winter, the volumes already published, Pmioare a new book, Voices of estine for those pupils who have had some of The Etude have not been received. If 15778 A Tale of a Duck—Stults.15 and we will send you the entire series to know what to expect in this Summer vol¬ anti e' new hook will give a fine lot of study opportunity. The other violin parts any of your numbers have gone astray ad- are in first position. An optional piano ac- vise the Circulation Department of The OCTAVO—WOMEN’S VOICES, SECULAR date. If you desire to purchase them in¬ ume. To those teachers not acquainted with Writf»mS ^rT some of the best contemporary dividually we shall be very glad to send you Such sweet compulsion doth in music lie. them, we recommend that they acquire tunfe.8'* ^very choirmaster has an oppor- companiment will be published. Etude at once We will be glad to dupli- k HaPPy Song—Pike.*3 * $0.12 any page containing forty-four portraits from copies of the published books Winter and The set of four violin books may be or- cate those that have been lost. If you 10856 Dawn—Saroni . 2 .10 Spring with their wealth of recital and rec¬ for on t0 secure a single copy of this book dered at the special in advance of publica- have changed your address notify us im- 35038 The Green Cathedral—• any issue at the rate of five cents a page; now i Ce^ts’ Pestpaid, by placing an order twenty-five cents a dozen. —Milton reation material all of which may be ob¬ u^n essh nriee of 75 cents; piano accompam- mediately giving both old and new addresses, Hahn . 3 .15 to Krx n , vance of its publication, delivery (Continued on page 132) Advertisement tained separately in sheet music copies. be made as soon as the book appears. ment is tints, postpaid. Help us to give you good service. Advertisement .Page 132 FEBRUARY 1934 the etude the ETUDE FEBRUARY 193Jf Page 133 Favorites “Spirit of Recovery” Money' (Continued from page 131) Saving Offer (jenerous Selection OCTAVO—MEN'S VOICES, SACRED For the month of February 1934, The 10458 Gloria in Excelsis, from “Twelfth Etude will do its part in helping the Na¬ Mass’’—Mozart .$0.1 10091 Nearer My God tr ‘ tional Recovery Spirit. Despite the fact that costs of publishing The Etude are con¬ of oAnthems for Tour WHERE SHALL I GOTO STUDY? OCTAVO—MEN’S VOICES, SECULAR stantly increasing, we shall offer for the 35230 Ashes of Roses—Hawley.$0.08 month of February, a one year’s subscrip¬ 20710 Bow Down (Negro Spiritual) — tion to The Etude Music Magazine at Shenk .12 $1.50—a substantial saving to the subscriber. Church Choir at Little Cost Established Teachers in Leading American Music Centers NUMBERS FROM Tell you friends to send subscriptions to THE ETUDE MUSICAL BOOKLET LIBRARY reach us not later than noon of March 1, ANY OF THE HIGHLY-FAVORED ANTHEM BOOKS Getting Rid of Nervousness in Public 1934. No orders will be accepted at the ■ Sight Reading (Edmonds' i 's reduced rate after that date. NAMED BELOW—ONLY $3.00 in Dozen Lots If you are already a subscriber to The Chicago Etude and wish to take advantage of this Transportation Charges Additional—Average Weight of a Dozen—5 Pounds Detroit New York New York money-saving offer, we will date the new Price for Single Copy—3 5 cents Postpaid ROY DAVID BROWN subscription to begin at the expiration of American Pianist and Teacher FRANCIS L. YORK KATE S. CHITTENDEN LAURA STEINS RHODE the present one. Assistant and Successor to Emil Liebling 905 LYON » HEALY BLDG.,CHICAGO, ILL. Piano, Organ, Theory Pianoforte —• Repertory — Appreciation Piano and Voice , SPECIAL OFFER ON SAMPLE SET— y Tel. Webster 7387 Detroit Institute of Musical Art 230 WEST 59th ST., NEW YORK CITY Coaching, Instruction in Accompanying j One Each of Any Five of These Anthem Books for $1.00 52 PUTNAM AVE., DETROIT, MICH. — WILHELM MIDDELSCHULTE, ALBERTO JONAS Res: 11 Abingdon Sq„ N. Y. | ONLY ONE SET TO A CHOIRMASTER AT THIS PRICE. Not Returnable, No Exchange A FAVORITE Each monti.i we propose in the Publisher’s Monthly Letter to give LL. D. Celebrated Spanish Piano Virtuoso Studio: 34 Charlton St., N. Y. ' a composer who, by reason of the marked favor in THIS special offer not only makes it easy for the choirmaster to select anthem books, but it gi ir ot Wisconsin Conservatory, Milwaukee, Teacher of many famous pianists COMPOSER which musi T buyers of today hold his compositions, is entitled to a reference library of approximately 100 anthems which also may be obtained in separ Professor of Organ and Theory, San Francisco 19 WEST 85TH STREET. NEW YORK CITY DOUGLAS STANLEY ‘ Detroit Conservatory, American Conservatory. Tel. Endicott 2-2084 On Wednesdays in Philadelphia designation Rosary College, River Forest, III. Summer Course June to September Voice Degree Work arranged. Private lessons in Organ LEONIE BRANDT 44 West 77th St. New York and Theory. 5210 Kenwood Ave., Chicago, III. (Mrs.) Noah Brandt Philadelphia (Sats.) Reasonable Rates Principles of Piano-Forte Playing LaFORGE-BERUMEN STUDIOS ANTHEM GLORY ANTHEMS OF PRAYER AND Voice—Piano Author of Science in Modern Piano-Forte Playing RALFE LEECH STERNER published in 1921. Theodore Presser Company Frank La Forge teacher of Lawrence Tlbbett EVERY choirmaster should know this c PRAISE Los Angeles since October 1922 Vocal Instructions tion of successful anthems that are not Positive, continuous results. Singing and Speaking Voice 'J'HIS fi collection offers 21 pleasing and Coaching Pianists and Teachers a Specialty. 14 WEST 68TH STREET, NEW YORK cult for a choir to sing yet are substanti: FRANZ DARVAS Tel. Trafalgar 7-8993 310 W. 92nd Street New York, N. Y. character. This is a generous assortment. ( numbers of moderate difficulty, 3948 CLAY ST., SAN FRANCISCO, CALIF. Tel. Schuyler 4140 15 really fine anthems. Piano and Composition ADELE LEWING culiarly adapted f volun 4220 KRAFT AVENUE Pianists — Composer — Instructor EDWARD E. TREUMANN NORTH HOLLYWOOD, CALIF. Leschetizky Exponent Concert Pianist—Artist-Teacher ANTHEM OFFERING STEINWAY HALL-315 WEST 86th ST.-NEW YORK Recommended by Tel: Schuyler 4-4560 Emil Von Sauer and Josef Hofmann CHARLES C. DRAA, Mus. D. New York Summer Class: June to Sept. Apply Now. '■pH ERE are 15 anthems, a Gloria Patri STUDIO, 7 W. 86TH STREET, NEW YORK, N. Y. L. A^ Bugbee VOLUNTEER CHOIR Pianist, Teacher, Touch Diagnostician RICHARD McCLANAHAN them by successful writers. They supply aj MANY of the anthems in this volume GUSTAVE L. BECKER Representative TOBIAS MATTHAY icpel, Second Grade Darts for all vom.tc c,,L. 438 MUSIC-ART BUILDING Special Summer Course, June-July well within the ability of the average volui 233 SO. BROADWAY, LOS ANGELES, CAL. Pianist, Composer and Teacher W. Palm Beach, Fla. ve the average “best choir. Such well-known writers as Bird, Diggle, 610STEINWAY HALL 706 STEINWAY HALL, NEW YORK CITY Stults, Berwald, Hosmer, and others are : 113 West 57th St., New York WALTER CHARMBURY Wor\s by L. A. Bugbee LAZAR S. SAMOILOFF GERTRUDE RENNYSON in this fine compilatio Voice teacher of famous singers Special Cultural Courses featuring thorough Pianist and Teacher PIANO SOLOS WILLIAM C. CARL, Dir. training In music under famous Instructors. 539 37th Street Beginners accepted New York educational opportunities utilized WEST PALM BEACH, FLA. 8771 MARCH OF THE GIANTS. 2 ANTHEM TREASURY 10 So. Van Ness Ave., Los Angeles, Cal. Guilmant Organ School Enrollment limited 8778 BONNIE AND BRAVE.” 9632 MAY DAY. Waltz... . 1 51 FIFTH AVENUE, NEW YORK Wave Crest, Far Rockaway, Long Island, N. Y. Mazurka . 9631 MAYPOLE DANCE.144 JN THIS collection there is a goodly pn 7243 BROWNIES’ BANQUET. 9«4 MAYTIME REVELS. Garotte 2 STULTS’ ANTHEM BOOK With Words . , 8776 CHEERFULNESS . 2 TERN. THE TTERE is a select group of anthems hy oj 7866 THE CIRCUS . IV, With Words . 1 a short Baptismal Sen- of the best known writers of church musi 9629 DANCE OF THE FAIRY inion Chant and a Kyrie QUEEN . 2 7241 POOR MAN’S WEATHER- ' collectioi 8777 DANCING WAVES . 2 GLASS. With Words.1 tr. Stults’ best WHY NOT RESUME THE STUDY OF MUSIC? 8775 FALLING LEAVES . 2 7769 PUSSY’S LULLABY. 7244 FLYTRAP. With Words. 1 With Words . 1 Thanksgiving, Christmas and ot 8773 SKIPPING STONES ON THE as, patriotic anthems and ar 7242 JACK-IN-THE-PULPIT. WATER . 2 ANTHEM SERVICE By Grace R. Vail With Words . 1 6969 SOLDIER BOY. With Words. 2 tse. These bright, melodioi 7240 JOHNNY-JUMP-UP AND THE 9633 STARS A-TWINKLE . 144 'T'HIS fine collection would be a valuable addi- :ularly suited for choirs of QUAKER LADY. PANSY 7243724"? QW’E'TTT'SWEET UfTTTTA4ir>oWILLIAM’S ‘ BALKty a t t J- tion to the library of any church choir, large AND BLUETTE. With Words . 1 With Words . I or small. 15 excellent numbers by Blount, Ler- Queen Victoria began the study of Hin¬ Let us then make our first object to be dozens of such pieces, Liszt’s Liebestraum, and those requiring “tone work” and legato' 8772 JUANITA. Spanish Dance... 2 9630 TINKLING BELLS . 144 man, Schoebel, Rockwell, Wolcott and others 7239 TOUCH ME NOT. . dustani in her advanced years. Scarcely ■epared to play two or three pieces from The Swan, certain Chopin nocturnes and touch, for instance Liszt’s Consolations, 8774 JUST AT TWILIGHT. 2 With Words . 1 7867 LITTLE SUSIE’S MAKE-BE¬ CHOIR COLLECTION BY less will power is required to return to the emory for our friends. If it becomes preludes, short pieces by Rachmaninoff, his arrangement of Schumann’s Dedication LIEVE WEDDING . 144 7869 WISHING CARPET . 144 HARRY HALE PIKE study of a subject once begun and then lown, as it soon will, that we have some- Grieg and MacDowell. and Rachmaninoff’s Melodie. Later, when ling ready, they will ask us to play, For the first month, after the three “old” good tone will not be sacrificed for speed, PIANO DUETS VX7HILE this collection contains numbers neglected. If we consider the question, 17504 DANCE OF THE FAIRY hese first two or three pieces should not pieces are memorized, they should be played why not select MacDowell’s Brook, Bre’r QUEEN . 1 r ’ little above the ordinary material for chc “Why did we stop learning’music ?” there 24995 FLYTRAP. With Words. 2 17440 MAY DAY. Waltz... ANTHEM REPERTOIRE seem to be five main reasons. These are: : very difficult technically. They should twice a day to insure retaining them. The Rabbit, Chaminade’s Air de ballet? At 24994 JOHNNY-JUMP-UP AND THE 17439 MAYPOLE DANCE . : numbers which one has learned at some practice of these, together with the two this stage the practice of Bach “Preludes QUAKER LADY. PANSY 1. Lack of desire AND BLUETTE. 17505 TINKLING BELLS . 2. Lack of time •evious time. This is the best way to new compositions, one difficult, the other and Little Fugues” cannot be too strongly With Words . 2 3. Lack of money ake a “come-back” and regain self-con- easy, will fill all the time of an hour’s recommended. We shall find them much 4. Lack of determination ience. practice. Later on, we should add a few more interesting than when we practiced //lb FIRST GRADE STUDIES . 5. Lack of incentive Let us now make a short survey of our minutes a day for sight reading. For this them in our youth. Bach, the most in¬ 13041 SECOND GRADE BOOK OF MELODIC STUDIES.””””” !” .60 Let us assume that the desire has always -incipal handicaps and see if we can rem- purpose a new album should be bought, one tellectual of composers, requires a mature POPULAR CHOIR of Grieg’s or Debussy’s, or a collection of PIANO SOLO COLLECTIONS been present. Let us assume also that lack ly them. We find that we are rusty on mind for his enjoyment. We can therefore Russian music. Playing duets is especially MERRY RHYMES FOR CHILDHOOD TIMES. With Words. *075 ANTHEM WORSHIP COLLECTION of time which interrupted our progress is chnic, that we have little facility in read- appreciate more fully their symmetry of MUSICAL THOUGHTS FOR LITTLE TOTS. With Words....””..75 'J'HIS is one of the favorite volumes in this now less of an obstacle. Perhaps the fam¬ ig, that our “touch” is not so good as helpful. form and development of theme. Besides Subscribing to a music magazine insures H^,olunteLbchoirhhai? ^ ‘h'nfr for the ily is growing up and needs less of our irmerly. In short, we feel discouraged training our taste they furnish us with an new material coming to the house regu¬ voices. The 20 numbers (iimluding a'resp^nses) are for general use by choirs of average ability. personal attention. Though our time is hen we regard the difficulties that once unusual technical study. There is no bet¬ m tins collection are a trifle more difficult than Compositions of modern and contemporary larly. In the writer’s ’teens The Etude ter way to acquire tone than to practice those m the other volumes, but not too difficult already well filled, we may, if we desire, ive us no trouble. Let us remind our- was a great source of pleasure to her. As much Bach. The Most Extensively Used Music Text Books lor me average well trained chorus choir. arrange things so as to get in an hour a :lves that every one of these will yield to i in a surprisingly short time if we fol- soon as it came she began at the front and At the end of four or five months, why day. Let us assume that the third lack, read the music, easy or difficult, all the way HARMONY BOOK FOR STANDARD HISTORY OF that of money, is still with us. The money w a well-laid plan. After preparing two not undertake something really ambitious? to the back. At least she made the attempt, Why not learn a whole Beethoven sonata? BEGINNERS—By Dr. P. W. C MUSIC-By Dr. Jas. Francis Cooke ANTHEM DEVOTION we should like to spend on ourselves has • three small pieces from memory, we MODEL ANTHEMS and the very fact that some of the music It will take a year probably, and should Flush Cloth Binding—Price, $1.25 Cloth Bound—Profusely Illustrated—$1.50 to go for lessons for the children. This ■gin at once on something entirely new, ie 15 numbers in this collection was beyond her attainments gave her a be learned carefully, a bit at a time. By M°areT0f°a uiet, devotional character. Some rT-vHERE are 26 numbers in this, the first vol- need not necessarily prevent our making .mething which has never been worked A ume to be published in this series which has facility in reading compositions of her own this time I think we shall feel that we have olo passages, and a few of them very definite progress by ourselves if we i and which has a certain degree of dif- laccompanied. They are exceed- grade. This practice was invaluable. made real progress, and we shall be able to ingly melodio desire it sufficiently. Our early training -ulty, such as the Brahms Rhapsody, ro give examples of vari difficult for the average To work with some other pianist is a give an effective reply to those who lazily Then - also : should have fitted us for it. Provided p. 79. Selecting the scale passages, included. great incentive to music study. A friend exclaim, “Why go on learning?” that we have no lack of determination, we Duble thirds, arpeggios and octave pas- THEORY AND COMPOSITION iges for separate study should take the may join in in the weekly practice. Some¬ OF MUSIC-By Dr. P. W. Orem can accomplish much. ace of technical exercises. While work- times the same compositions may be learned A PIANO THAT DOES HOUSEWORK Flush Cloth Binding—Price, $1.25 It seems to me that the fifth lack, that To The Etdde : lg on this difficult piece, "it is well to by both, each giving the other suggestions on of incentive, is, next to lack of time, the I was extremely interested In the article in Those who have studied the author’s THEODORE PRESSER CO. irry along at the same time another which them; sometimes one has previously studied the February Etude as to exchange of products "Harmony Book for Beginners,” or any Theodore Presser £o. chief obstacle to our continuing the study Everything in Music Publications shorter and less difficult. This is also a composition that the other is just ap¬ other course in the elements of har- of music. One may feel that it is foolish “My piano” has washed, ironed and done 1712 Chestnut Street ie time to memorize one of those hall- proaching. Then suggestions and criti¬ all my heavy cleaning and e_ ♦ CHESTNUT STREET to take up music when we have no object for over four years and so much help to a busy PHILADELPHIA, PA. arned pieces which every piano student cisms may be given. Philadelphia, Pa. in view except our own selfish enjoyment. woman is real help. The joy the music has IS “tried over” and planned to learn As one develops technic, the variety of brought to those homes whose mothers do World's Largest Stock^MMicoi But, if we feel that we can give pleasure, pieces may be widened. At first, only these various things is, I —-—e, greater than when cash is paid for les: We have the necessary incentive which moderately fast ones should be undertaken, —Mrs. Grover Troth. makes our expenditure worth while. Page lSjf. FEBRUARY 1934 THE ETUDE the etude FEBRUARY 19 3.4 Page 135 JUNIOR ETUDE —(Continued) Famous Operas Albert Writes a Story No. 29 By Gladys M. Stein “h. m. s. pinafore” AND “THE MIKADO” “Miss Bailey, do you know anything “Yes, they were reserved for the upper about the brass instruments of the orches¬ classes in those days. But since then many No study of opera would be complete Tales of Hoffman, by Offenbach, in tra?” Albert inquired, as he finished his improvements have been made in them. In that did not include the operas of Gilbert piano lesson. 1770 someone introduced a trumpet with and Sullivan, such as the “Mikado,” “Pina- Tannhauser, by Wagner, in April “Well, I can not play any of them, but keys; at the end of the eighteenth century 'fore,” and so forth. Madame Butterfly, by Puccini, in May I do know something about their history came a slide trumpet, and then in Germany The operas seem to be getting more La Tosca, by Puccini, in June and use,” said Miss Bailey. came the valve trumpet.” nonular as time goes on. They are very La Traviata, by Verdi, in July “I have to write a story about these in¬ “What about the cornet?” asked Albert amusing, as the librettist, W. S. Gilbert, Tristan and Isolde, by Wagner, in August struments for school, and I can not think as he rapidly wrote in his note-book. “The, door is unlocked,” called Miss ing you have a long period between les¬ had the’ gift of writing clever, rhythmic II Trovatore, by Verdi, in September of a thing to say,” explained Albert. “In America it is often used instead of Enigma Jackson’s cheery voice, and it was but a sons, you will neglect your practicing. And, lines, full of rhymes and full of wit and William Tell, by Rossini, in October “Suppose we start with the French the trumpet, but it really belongs to mili¬ few seconds before Madeleine was in the instead of becoming the excellent player Do You Know the J\[ame humor. Many of the lines referred to Boris Godounow, by Moussorgsky, in horn,” she suggested. “The name ‘French’ tary bands. They are often used in opera By Evelyn N. Oates room, warming her hands at the open fire. you could become, you will amount to very of Vhat 'Piece? events of political situations of the time November comes from the circular shape which is scores but only Berloiz and Tchaikovsky My first is in BASSOON but not in “How are you getting along with the little.” which are quite forgotten now; but the Barber of Seville, by Rossini, in Decem¬ similar to the hunting horn of France.” used them in symphonies.” New Year Resolutions you made just a “Oh,” said Madeleine. “I wish you CORNET. Have you ever been present when some ber “And doesn’t the player sometimes put “You need not tell me about trombones. month ago?” asked Miss Jackson, waiting would explain all that to Mother.” My second is in ORGAN but not in one you know was unexpectedly asked to Sir Arthur Sullivan, a friend of Gilbert, his fist into the horn while playing it to My big brother is learning to play one.” for Madeleine to begin her music lesson. VIOLIN. “How would you like to bring her to play the piano? wrote the music of these operas, and it is 1934 make it sound queer?” asked Albert. “Good for him,” said Miss Bailey. “Re¬ My third is in CLARINET but not in “Oh,” faltered the girl, “I am afraid I see me tomorrow at four?” always tuneful, simple and very, “catchy.” Louise, by Charpentier ) Miss Bailey smiled. “Not the fist, just member that they were evolved from the shall not be able to keep them at all. You It frequently happens on such occasions DRUM. And so the next afternoon Madeleine While the plots are not very important, Manon, by Massenet the open hand,” she explained, “and it trumpet about 1300. In the olden times see, Mother says that during the school that the player forgets to announce the My fourth is in HARP but not in and her Mother arrived, and what a lovely the stories are interesting, and the com¬ Herodiade, by Massenet I does not make queer sounds at all, but they were called ‘sackbuts.’ ” year when I have such a lot of school work composition before beginning to play. Then, BUGLE. time they had! The two women chatted bination of the witty lines and the tuneful Jewels of the Madonna, by tin January softer tones called stopped tones. When “Now have I got all the brasses?” asked to do, I shall take a lesson only every two of course, after it has been played, some My fifth is in MANDOLIN but not gayly over the tea cups and cookies, and music give these sparkling operas their Wolf-Ferrari these horns were first used in opera about Albert. weeks and practice only twenty minutes or one is apt to say, “Oh, that was lovelv. in PIANO. Madeleine was happy when the conversa¬ What was it ?” permanent place in the hearts of all music Jongleur de Notre Dame by 1700 they were considered too loud.” “Not quite. You do not have the basses, My sixth is in SAXOPHONE but not a half hour a day.” tion turned to the subject of music lessons. Massenet j You would naturally expect the player the bass tuba and the ophicleide. The in CLARINET. “Oh, that is too bad!” said Miss Jack- “Why could not Madeleine rise a little Gilbert and Sullivan, in February to know this; but sometimes, alas, memo¬ Sir Arthur Sullivan was English and ophicleide is frequently used in France and My whole is the name of a famous earlier in the morning and do a little prac¬ ries are careless, and the player answers, lived from 1842 to 1900, most of his life England, but in most other countries the COMPOSER. “Yes, I am so sorry, because you see my ticing before going to school? And why “Oh, I really forget. I think it is called being spent in London. He visited America bass tuba takes the bass parts. The bass resolution was to practice an hour and a could she not plan her whole day on a A Valentine Game (Answer: BRAHMS.) Prelude." once. Aside from his operas he is univer¬ tuba has a softer tone and blends better half; but Mother does not want me to.” schedule? And why could she not take with other instruments.” So far, so good. But then what happens ? sally known for his famous song, The Lost By Gladys M. Stein Miss Jackson sat looking out the window, her weekly music lessons instead of going “I never heard of that queer one,” said The listeners are not at all satisfied with Chord, and for his hymn, Onward Chris¬ Cut out a number of small pictures of Albert. that. So they say, “Prelude? And who tian Soldiers. famous composers and paste them on large “And now, there is one more, the saxo¬ composed it ?” These may be heard on records, of When I Set Sail red cardboard hearts. (Do not leave their phone. This was invented by Sax, a Bel¬ "WEEK DA.Y schedule And then what? course, and many recordings of the Gilbert By Eugenie Gluckert names on them.) gian instrument maker about 1840. It is Well, then, the player becomes some¬ and Sullivan operas have been made, among Two ships once sailed the MUSIC SEA, Number each heart and then make a list very popular in light orchestras and is what chagrined and absolutely forgetful which are: THE TROMBONE The “PRACTICE WELL” and “LAZY to 7.30 of these numbers and composers, so that gradually finding its place in our sym¬ 7 Practice “Pinafore,” on Victor Nos. 9937 to 9954. LEE.” and has to confess, “I really don’t know the papers may be quickly corrected when phony orchestras.” S to 3.30 School who wrote it.” “The Mikado,” selections on Victor Nos. By EXERCISE the first was manned, the game is over. “What about trumpets?” asked the in¬ “Don’t tell me any more or I’ll never get to ST.00 That is what poor musicians do. But, 59057, 21231, 35796, and 35860 to 35870. WRONG FINGERS took the last in 4 Play time Pin a heart on each player and allow a quisitive Albert. my story written,” said Albert. surely, when anyone asks you to play, you “The Pirates of Penzance,” on Victor hand. 5 to 6.00 Study certain number of minutes for them to “The trumpet has developed through the “Well, that covers all the orchestral should remember the name of the com¬ 9607 to 9617. stroll about the room and look at the pic¬ ages from rams’ horns, sea shells and roots brass instruments,” said Miss Bailey, “and (0 to 6.30 Practice poser and announce it with the name of “Trial by Jury,” on Victor, 9314 to The course was long, the sky o’ercast. tures pinned on the other players. Have hollowed by fire, to the brilliant trumpet I am sure you will have no difficulty writ¬ 6.30 Sulci' the piece before beginning to play. 9321. MELODIC WINDS just whistled past. them write the names and numbers of the of today.” ing them up now. And, by the way, show “Iolanthe,” on Victor 9708 to 9718. But onward sailed the “PRACTICE 1 to 7.15 Play time You do not forget the names of your pictures on slips of paper. “Is it true that in the Middle Ages min¬ me your article when it is finished.” WELL,” favorite books and authors, and movie “The Gondoliers,” on His Master’s Voice The one having the greatest number of strels were not allowed to play on trum¬ “All right,” said Albert, “and thank you at piano Album set, No. 48. Past MEM’RY REEF, past TEMPO stars, and athletes, do you? So why should correct names wins. Prizes may or may pets?” asked Albert. ever so much for helping me.” BELL. 7- if to 8.00 Study the names of musical composers he for¬ There are also many other recordings not be given. 8 to 8.30 .Amusement gotten? Make a note of this in your made from these operas. A TRIAD WHALE ’most wrecked her mental notebook in honor of the composers The operas included in the Junior Etude then; 8.30 Bed. Dear Junior Etude: whose music you play. series have been: We belong to the Royal Musicians Club But she was saved by good SCALE and we meet the first Saturday of each MEN. month and study about composers and the the stillness of the quiet room being broken to^so many movies?” asked Miss Jackson. She weathered all, that vessel fine, 1931 symphony orchestra. We also have musi¬ And made her port in record time. only by the soft crackle of the log on the “I never saw things in just that light be¬ VYCy Valentines A'ida, by Verdi, in September cal games and a piano recital. Our club hearth. fore,” said the Mother. “What about it, To some of my composer friends Carmen, by Bizet, pins are a miniature piano. Enclosed is But what a wreck, the “LAZY LEE!” Then suddenly she turned to Madeleine Madeleine ? Are you willing to plan your I’ll send a Valentine. Cavalleria Rusticana, J- In October a picture of our club. Through COURAGE FOG she couldn’t and said, “My dear, do you think your day on a schedule and get up early? I’ll To those whose music I can play Dear Junior Etude: Mother realizes what only two lessons a by Mascagni, From your friend, Dear Junior Etude: let you continue if you are.” I’ll drop a little line. I began piano lessons and school both I play the piano, violin and French horn She grounded fast on FAILURE SHOAL month will mean to you ? It will mean that Faust, by Gounod, in November Harriet Huggins, „ ,"°f course 1 am’” answered Madeleine. Hansel and Gretel, by Humperdinck, in Georgia. this year, and I like it all. My music but I play the piano much better than the And never reached the SUCCESS you will not do good work. You will lose “I'll start tomorrow. Then I can keep I’ll send to Mozart, for you see violin. My mother is a piano and vocal December N. B. Unfortunately, some of the mem¬ teacher says I am getting along fast for GOAL. interest and grow careless because, think- my New Year Resolutions after all.” I play his Minuet. instructor, and she has taught me since T bers’ heads did not show up well in the six years old. My sister is four years old I’ll send to Beethoven, of course. was four years old. So when I sail the MUSIC SEA IQ32 picture; so it will not be printed. and she goes with me to my music lessons. The first shall be the ship for me. (My list is not done yet.) We belong to the Junior Sunshine Music From your friend, For that’s the way to travel best, Good ‘Dispositions Lohengrin, by Wagner, in January Club and I am sending you a picture of us Daphne Takoch (Age 12), Lucia di Lammermoor, by Donzetti, in A sturdy ship that stands the test! in the costumes we wore in our operetta. Florida. Have you a good disposition? That is, teacher corrects the same mistake for the February I was a fairy. as far as music is concerned, have you? third time, if you become irritated when La Boheme, by Puccini, in March From your friend, A good disposition makes life so much your pencil point breaks and say you won’t Don Giovanni i , Mildred Louise Jones (Age 6), pleasanter and happier and easier, and it bother to write the scale, and lots of other Magic Flute l h? Mozart- Georgia. is absolutely free to anyone who wants small things like these, you may think you Marriage of Figaro J in Apnl to cultivate it. have a good disposition. But your teacher Die Meistersinger, by Wagner, in May Dear Junior Etude: Your disposition shows up very quickly knows perfectly well that you have a poor I Pagliacci, by Leoncavallo, in June I have just been presented in my second to your music teacher, though perhaps you Parsifal, by Wagner, in August recital. I am seven years old and practice never thought of that before. You may The poor disposition pupils never make Rigoletto, by Verdi, in September an hour and a half a day on the piano and even think that you have a good disposi¬ the progress that they might, and their hamson et Dalila, by Saint-Saens, in an hour a day on my violin. I go to a I’ll send to Bach, because I think tion, whereas your teacher knows perfectly music becomes burdensome to them instead October private school for two hours a day and well that you have a poor one (not neces¬ of pure joy. His music is the best; Das Rheingold, by Wagner, in November am in the third grade. My favorite com¬ And Mendelssohn, and Schumann, too, sarily a bad one, but a poor one). The good disposition people get much Die Walktire, by Wagner, in December poser is Bach. I wish I could go and play And Gluck and all the rest. If you shirk your practice for other more fun out of life and they make every for you some day. I am sending you a things, if you lose your patience when body else happier, too. picture of me carrying my violin. I’ll make my Valentines today something seems hard to learn, if you fret And since a good disposition is absolutely 0. . J933 From your friend, And put them in a tree. when it is time to go in the house to prac¬ free, and no trouble at all, why not have Siegfried, by Wagner, in January Janet Grant (Age 7), tice, if you become impatient when your The wind will take them to the sky Gotterdammerung, by Wagner, in Febru- Arkansas. And say that they’re from me. Page 136 FEBRUARY 1934 the ETUDE THE ETUDE FEBRUARY 1934 Page 137 JUNIOR ETUDE—(Continued) Radio and Records World of Music (Continued from page 86) (Continued from page 69) ==S O N G S== Junior Etude Contest grasp, yet—paradoxical as it may seem—: are coupled on Columbia disc 9076M ) Th logical and convincing after several audi¬ Strauss piece is vivacious and genial ana A SPRING BACH FESTIVAL is an¬ That have made an The Junior Etude will award three sylvania, before the fifteenth of February. tions. As one commentator has said, Har¬ the Tchaikovsky one exhilarating He"e nounced among the early plans of Los An¬ aJ«?Eh°PENING of the French Institute of ris gives us “much too much to digest at mm?"1!? l?e occasion o£ interesting pretty prizes each month for the neatest Names of prize winners and their contri¬ is a record that deserves wide popularity gles It wiU include several of the great programs of French music. At Utrecht, under American Composer Famous and best original stories or essays and butions will be published in the issue for one sitting.” Hence, to grasp fully the for both pieces are—in their particular ntor’s cantatas, one . of the Passions and the baton of Henri van Goudcever, were per¬ answers to puzzles. May. import and fervor of his music, it is nec¬ genre—undeniably worthwhile, and their the great “Mass in B Minor.” The Los An¬ formed the “Symphony in A minor” by Saint- Subject for story or essay this month: Put your name and age on upper left essary to hear it several times; then and performance and recording is of the best geles Oratorio Society will be augmented by Saens, the Daphnis et Chloe,” second suite, the First Congregational Church Choir, and “Why I like to practice.” Must contain corner of paper, and your address on upper only then does one become aware of its A truly artistic vocal recording may be of Maurice Ravel, and La Mer by Debussy! not over one hundred and fifty words. inevitability and consequence. The third compared to a cherished miniature or Tohn Smallman will conduct. the Loncertgebouw of Amsterdam, led by right corner. If your contribution takes Jf Charles Gilbert Spross Any boy or girl under the age of fifteen more than one sheet of paper, do this on movement, which is almost certain to es¬ valued etching, for the recording, like the J ^- Eduard van Beinum, interpreted the Carnaval years may compete, whether a subscriber each sheet. tablish and sustain its appeal, is filled picture, is a miniature work of art which PASQUALE AMATO celebrated the Komam of Berlioz, the Epiphanie of Andre is the composer and these songs are established as standard or not. with deep pathos; and the last is forceful twenty-fifth anniversary of his American Caplet (with Marix Lovensohn as soloist), Do not use typewriter and do not have provides an attenuated diversion when¬ pjiPres-midi d’un Faune of Debussy, the All contributions must bear name, age and energetic. The concerto, in the record¬ debut, when, on November 20th, 1933, he vocal numbers by reason of their constant use by prominent any one copy your work for you. ever we wish to regard it properly (that appeared as the Germont of a performance of third Symphony” of Albert Roussel, and and address of sender, written plainly, and Competitors who do not comply with ing, is appreciatively performed by Harry is, via the phonograph). Recent vocal “La Traviata” by the Chicago Opera Com¬ the Rapsodie Espagnole of Maurice Ravel. concert artists, successful voice teachers, students of sing¬ must be received at the Junior Etude Office, ALL of the above conditions will not be Cumpson (piano), Aaron- Grodner (clari¬ discs which deserve, to our way of think- ’ pany, at the New York Hippodrome. For •3-SF ing and amateur singers everywhere. 1712 Chestnut Street, Philadelphia, Penn¬ net), and the Aeolian Quartet. considered. mg, to be classified as miniature works of the occasion of November 20, 1908, Sembrich RICHARD STRAUSS is reported to have art are: (1) Columbia 4081M containing was the Violetta and Caruso the Alfredo. been appointed to be president and Wilhelm WILL O’ THE WISP (Published in Two Keys)—Price, 60c T Handel's “ Water Music" Franz’ lm Herbst and Hugo Wolf’s fiber 4-»• Furtwangler to be vice-president of the sub- Nacht (the latter is from his “Lieder aus DARIUS MILHAUD is reported to have chamber for music in the newly created High Voice—Range c to g (Optional b-flat) Low Voice—g to D (Optional F) Vhe Value of Music (flubs Vhe Value of Music (flubs THE EARLY recording of Handel’s der Jugendzeit”) expressively sung by completed a new concerto for piano and or¬ Chamber of Culture in the corporative scheme (Prize Winner) (Prize Winner) “Water Music Suite” made by Sir Richard Tauber; (2) Columbia 4087M chestra and now to be at work on a film of the Nazi “totalitarian State.” Hamilton Harty was always a favorite of version of the “Madame Bovary” of Flau¬ ■ ■ To me the music club is a very important Belonging to a good music club with am¬ containing Mendelssohn’s Griiss and part of regular music study. Some people ours; hence we welcome his re-recording Brahms’ Der Schmied and Sandmamcken bert. THE WESTMINSTER CHOIR SCHOOL bitious and cooperative members has many •3-& of Princeton, New Jersey, is to be housed in have the idea, since radios have taken such advantages. of it on Columbia discs 68146-68147D. The sung by Lotte Lehmann with her wonted new recording does full justice to the CAMILLA WICKS, of Long Beach, Cali¬ a new group of buildings for which ground a prominent place in our homes, that the When the members play before each purity of style and diction; (3) Columbia fornia, is a five-year-old violinist who at a V bright and expressive performance which was broken on the sixth of September. There - • n- • study of music is a waste of time. The other it develops poise and is a help when disc 9060M containing Agatha’s famous recent concert played the “Concerto in A will be an administration building with execu¬ Sir Hamilton gives to this music. The music club helps to overcome this false playing at recitals. If the club play games aria from “Der Freischiitz,” sung in like¬ minor” of Vivaldi. Another prodigy added to tive offices, studios and class rooms; and idea, for both old and young take more at each meeting, such as guessing com¬ suite, which he arranged, contains an in¬ wise manner by the incomparable Mme California’s constellation of the catgut. with this will be two dormitories. On a interest in any subject that is combined posers and explaining musical terms, it is troductory Allegro, Air, Bourree, Horn¬ Lehmann; and (4) Victor 1628 containing .3-tr campus of ten acres of its own, the school Li l iT~r~r with recreation. pipe, Andante and Allegro deciso. There will be affiliated with Princeton University. T r ' v ■—L ■ * " " a great help in learning the terms and John Alden Carpenter’s sensitive settings DR. HENRY T. FLECK is retiring after dan-cing light, Where do you wan-der in-to tlie night? __— It is really interesting and inspiring to words which appear in the printed music. are some delightful horn passages in this of two poems from Tagore's "Gitanjali,” thirty years of service as head of the musical learn of the famous composers and their A music club also teaches the members suite, which, to our way of thinking, are When I Bring To Yon Coloured Toys and activities of Hunter College of New York. BY A SLIP in coordination, the second lives, to know musical quotations, musical how to conduct a business meeting. most faithfully reproduced. Light My Light, sung by Rose Bainpton. Besides his duties to this institution, Dr. item of column four on page sixty-five of games, riddles, and so forth. It enables W. R. Anderson, critic, writing recently Those who like complete operas, via the Fleck some twenty years ago was instru¬ our January number attributes “Emperor With all these commendable features I mental in instituting the first series of orches¬ you to understand music more thoroughly. am sure that, if you do not already belong in “The Gramophone” (published in Lon¬ phonograph, will experience considerable Jones” to Deems Taylor, when, of course, A pupil belonging to a music club seems to don) tells us that this “Water Music tral concerts in the city’s school auditoriums, it should be credited to Louis Gruenberg. to a music club, you will organize one. pleasure from Victor’s issue of Donizetti’s through the New York World fund; he i!Al¥ Suite” was not the one that brought about acquire music more rapidly and with more Barbara Wood (Age 13), “Don Pasquale.” The set (No. M187), founded and led the Adolph Lewisohn Free ease, and at the same time develops a deeper California. the reconciliation between Handel and which is excellently recorded, emanates Chamber Music Concerts; and he founded the COMPETITIONS love for the subject. Last and best of all, George the First in 1715, as is generally from Milano, where this lyrically melodic Harlem Philharmonic Society and the Junior ALL MY LIFE BE MUSIC (Published in Two Keys)—Price, 6 THE EMIL HERTZKA MEMORIAL High Voice—Range F to a Low Voice—d to F sharp the music club instills a desire to study and believed. He states that the columns of. score is given more often than it is here. Philharmonic Society for young people’s PRIZE of fifteen hundred Austrian schillings learn, with enthusiasm, the fundamentals of Vhe Value of 'Music (flubs a London daily of July 19th, 1717, report “Don Pasquale” belongs in the opera concerts. is again announced. The composition may be ■ M -■ . ii- > ■ ■■ - ir'- h the event for which this music was com¬ •3--»• (Prize Winner) comique category. It might well be called for small or medium sized orchestra and must 1 *' ^ l LU "P1 Anne Parkin (Age 11), posed—“a later concert on the river, the a cousin of the “Barber of Seville,” for, COPYRIGHTS on Wagner’s operas are to be not more than twenty minutes in length. Success in any line is more easily ac¬ North Carolina. music at which (fifty players, cost £150) like the latter, its story is more or less be extended another thirty years, by legisla¬ Manuscripts must reach, not later than Febru¬ t , , P % $ g .n j. ■— >m-fh .*?■ hln rn quired through organized effort, and a tion in preparation by the German govern¬ ary 15th, 1934, the office of the secretary, Dr. 1 1 1 1 so pleased George the First that after an operatic nonsense, whereas its music, with music club is the practical way to cooper¬ ment. Hitler is a well-known admirer of Gustav Scheu, Opernring 3, Vienna 1, Austria, Answers to November Puzzle Circle: hour of it before supper, he insisted on its vivacity, gracious melody and tender ate for the study of music. Opportunities another hour afterwards.” Frau Winifred Wagner as well as of her from whom further information may be de¬ Spo\es of Wheel sentiment, is tunefully gratifying. The famous composer father-in-law. for discussions pertaining to student tech¬ Mengelberg seems to enjoy conducting rived. 1. Sixth cast, an admirable one, is headed by Tito nical and musical problems are helpful. Johann Strauss’ Perpetuum Mobile, and 2. Sol-fa Schipa as Ernesto. The role of Don Pas¬ “RENEW THE REPERTOIRE” is the THE ANNUAL COMPETITION of the ■ IV ,r - , Music clubs stimulate musical interest, and Sir Hamilton Harty likewise seems to 3. Stall quale is sung by Ernesto Badini, that of fundamental of Mussolini’s campaign for a Society for the Publication of American often games are presented that are not only enjoy conducting the Cossack Dance from 4. Staff Norina by Adelaide Saraceni. and that of better support of opera in its native Italy. Music will be open till November twentieth, novel and gay but decidedly instructive in Tchaikovsky’s opera “Mazeppa.” (The two for the submission of manuscripts. Only 5. Stops Dr. Malatesta by Alfro Poli. The Premier insists that a large public must character. One of the most valuable fea¬ hear new works frequently performed if works in chamber music form, and by Ameri¬ 6. Sheet tures of club programs is an outlined study there is to be any intelligent judgment as to can composers, are eligible for consideration. gja -U ' * —^ 7. Score of musical history and current news. which shall survive. To put his creed into Full particulars may be had from Marion 8. Sharp But the value of music clubs does not practice he has created a Corporazione dello Bauer, 40 West Seventy-seventh Street, New Rim of Circle—half-step. stop here. Stage fright is overcome by the Vo Veach the (Bass Staff Spettacolo (Corporation of the Theater). York City. experience of playing before others. Special By Rosa Fairfield Shrode Prize Winners for November Puzzle: privileges are available for group work, such as playing in orchestras or singing Provincial Opera in Italy Lillian Hyatt (Age 12), Connecticut. uh, i can t learn the Bass Clef!” in chorus, and, with the development of that we can read them from this new po¬ Low—Range b to E-flat Lucille Stokes (Age 12), Illinois. Wait just a minute, Jimmy. First let us (Continued from page 125) the club’s repertoire, musical appreciation sition : COME DOWN, LAUGHING John Strawrey (Age 13), Tennessee. play this little game together. See, I have under a not too small hood in the center minutes. The audience obviously had no STREAMLET . 60c T increases. Sponsors carefully explain diffi¬ a piece of white cardboard about twenty of the footlights. There hid the prompter, illusions of expedition in the scene-shitting. High—Range E to a cult questions and the pleasure of musical Ex. 3 Honorable Mention for November inches long and eight wide. Now I am go¬ Perhaps it would have resented a briel progress is assured through group advance¬ Essays : ing to stand it up on the back of the key¬ „ „ intermission, for like all Italian audiences, ’TIS SPRING O’ THE YEAR. 50c T ment. Thus the music club is of proven Carol Jean Mickle, Thelma Hauser, Betty board lengthwise, with the middle of it at The All-High it covete(j leisure to stroll, and sip coffee High—Range E-flat to a-flat Tatinan, Margaret Warsliel, Lucille Bantz, value in the field of music. r—Range b-flat to F Low—Range c to F Middle C. With a pencil I am going to Mary Elizabeth Garrett, Louise Hatter, Cathi Cline Hensley (Age 13), HE WAS the artist’s memory, and and liqueurs, and argue about the per- A BIRD NOTE IS CALLING. 60c T ennc Hindu. Opal Nipper, Mary Ann Holachek, mark on the cardboard the location of this frequently his voice. And of the formers and their performance, and to "- MY HEART IS LIKE A SINGING Shirley lark Eloise Newsome, Dellora Mae Kansas. High—Range G to a BIRD . 50c IIidem, Jean Keifer. Frances Brarlv, La Varne low G and this B two notes above it and latter too often there was 1 Low—Range E-flat to F Cassedy, Pauline Kohler, Dorothy Seigler this D two notes above it and so on right discussion of politics. So the house r MINOR AND MAJOR. 50c R High—Range F to a-flat (optional b-flat) Charlotte Candrick, Dolores Byrne, Gene generosity on his part. And so, at times, Low—Range d to F (optional g) Rosenbaum, Frances Mayer, Mary Stein, Mary Club Corner up the keyboard, until I have eleven letters we got two performances. One came body and dispersed. An unadvised High—Range F to a Ellen Prosser, Jeanne A. Engelbrecht, Leona like this: in a shrill whisper from under the foreigner who remains'ns in his chair during Grace Jelinek Helen Davis, Gladys Hender¬ (Continued) Italian theater is apt son, Edyttie Grady, Paul Franklin, Elizabeth prompter’s hood, and an echo came from the SONGS ESPECIALLY FOR MEN Hartway. Ex.l Dear Junior Etude: the artists. No matter where they moved, find himself alone in an otherwise empty A Song of Steel (g to E-flat). 600 T We have a musical study club of twenty- auditorium. A Song of the Sword (g-flat to D-flat) .. 60c T Honorable Mention for November or in what direction they faced, they main¬ three members of which I am secretary. After a lengthy half an hour the audience Lorraine, Lorraine, Lorree (c to F).... 60c T Puzzle : tainedmilieu a helplessneipiess hang-dognang-aog petitioning gaze niKi a - , , ... „ The name of it is the Euterpe Club, and toward the hood. Tosca and Cavaradossi and the performers remembered that there My Open Fire (b-flat to E-flat). 60c T Henrietta Matison, Georgina Gray, Donald gbdfacegbdf Mawson, Isobel Hastings, Marian Morgan we have a one-hour meeting every other embraced rapturously, Scarpia shook a was more to the opera, and reassembled, Anna Kay. Christine Keefer, Miriam Ince ' Thursday evening at our teacher’s studio. threatening fist above Tosca’s head, Tosca with other long intermissions. Finally the The brilliant singing qualities and the excellence of VOICE TEACHERS MAY SE¬ Elanor Ending, Annabelle Straus. Leon Ker-’ At roll-call each member answers with a Now I am going to take the cardboard CURE ANY OF THESE SONGS shaw, Julia Etting, Marianna Bigler. “Why, that looks like a staff! Just like planted a table knife in his baritone bosom, conclusion of the diversion was put musical current event. Last Christmas we to the table and draw eleven lines one songs have made them great favorites for the climax FOR EXAMINATION WITH the ones in the exercise book!” and at the peak of their arias they made until early in the next calendar day al- had two very interesting papers on “The through each letter, like this: RETURN PRIVILEGES. And so it is, Jimmy! Here, up above all-embracing gestures at the audience, but though La Tosca is not a o g P • Letter (Box List Message of Bells” and “Christmas Carols.” indeed other works which, with the a: Ex. 3 are the five lines representing the treble their eyes never left the fascinating, word¬ After the paper of the evening, four songs sistance of a late beginning and[ long lnter- Letters have been received also from the clef and there, down below, are five lines giving, action-giving, all-highest prompter. are sung by the members and played by following, which, owing to lack of space, representing the bass clef. And there, in At the end of The act this gentleman made vals, d^not ^deaje^he audience until^ can not be printed: the accompanists. We discontinue our o appearance on the stage. He must have and Theodore Presser Co. the middle, is Middle C on its own special And no matter-how poor the performance U,Iia. Elizabeth Comte, Jo Ann Schnur, meeting during the summer. line! been genuinely relieved of his tense re- A“J Mildred IJornberger, Myriam Heilman, Jean in these modest theaters of the smaller Headquarters for the 1712 CHESTNUT STREET Southworth, Lois Moses, Helen Davis. Louise From your friend, So, you see, the bass clef is really no sponsibility, and probably sought renewed Hattey, Dorothy Webber. Margaret French, cities the natives revel in them; they may Publications of THE JOHN CHURCH CO. PHILADELPHIA, PA. Radah Jean Wing, Emma Harmon, Doris Louis Fisher, harder to learn than the treble, and you fortitude in at least a dozen or so cups Alsobrook, Eileen Faust. Now let us turn the cardboard around of caffd espresso. be found diverting to the foreigner, also, New York. and write the letters on the lines again so must practice it with this little chart be¬ if he knows where to find the fun. fore you as often as possible. The entr’acte was no mere matter of Page 138 FEBRUARY 1934 THE ETUDE A ‘Musical Qircus Program Lesson from a Four'Tear Old By Doris Franklin uch Attractive Things » PRESSER’S « So much information, as well as so much and partly by ear. After some time, al¬ enjoyment, has been gained from teaching ways playing with the music before them, X my small sons piano that I want to share they were able to associate the letter-names So Easily Yours some of my experiences. I began teaching with the proper lines and spaces. It would MUS/ my oldest son when he was five. He had seem that for small children, and probably nearly completed his kindergarten year in for older ones, too, a scale beginning is ■ . . without cost! school. Using “Music Play for Every easier than the usual five-finger, reading- Day,” I found that it was easy to teach from-the-start beginning.' The scale be¬ PUBLICATIONS *- him the notes and that he made quick work ginning does not confuse them with so Freshen up your repertoire or teaching curriculum many new things to learn all at once. of the first little pieces. Soon the next with these brand new copyrighted compositions boy, not yet four, begged “to take lessons, Crossing the thumb under presents less recently added to the Presser catalog. like Paul.” So I tried, but I found that difficulty than learning the letter-names in learning the notes was beyond him yet. two different ways simultaneously. This Any of These Numbers May « method enables the pupil to get his playing As he still wanted lessons, I gave him » Be Had For Examination scales, one octave, contrary motion. It apparatus under some control before the was then that I made my first discovery. added effort of reading the notes is made. PIANO SOLOS VIOLIN AND PIANO Lawrence took to scales like a duck to The second lesson for me concerned their Gr. P water. I found that, for a child of that practicing. With such small children it is ADAIR, MILDRED COX, CLARENCE M. 2 Summer-time Frolic. $0.25 age, scales are not drudgery but a game. difficult to secure a definite amount of prac¬ BIEN, GUSTAV 26034 M^Lady^'Bmidijox. A new scale is an event comparable to a tice. I tried to require a certain amount 4 Dream Shadows. MASCITTI, MICHELE of time to be spent in practicing, but that CLAFFLIN, DONALD 26000 Prelude and Allegro. A new piece for an older child. When my 1 Speed . youngest son was nearly four, I began his did not work at all. Instead, I told each COLEMAN, BYRON price!' FLORENCE B. training in scales, with similar results. child to play everything in his lesson five 5 Buttercup Days 26026 The Deserted Garden. COPELAND, E Both boys who began before four learned times correctly. This makes a game of it the letter-names on the keyboard with no and works much better. 5NE, F PLEASING POSITION apparent effort. Learning the notes on the I think it would pay any teacher to take nlight .. PIECES Musical Circus staff came more gradually, like reading in a four-year pupil at no charge, just for school. They learned their first little the experience the teacher himself would studies partly by my naming the letters get. PROGRAM EICHHORN, H. WARLICK ! The Gay Old Frog.2Vi GOLDMAN. EDWIN FRANKO 1 The I’ride o' the Land-Na¬ VOCAL SOLOS A fader’s Eulogy tional 4-H Club March....3% Secular Songs 1 Valley Forge March.iVi FOSTER, STEPHEN HODSON, WILLIAM 1 Jeanie with the Light Brown To The Etcde : teaching them to rend notes and to find them Hair (c-F). As a reader for the past twenty-eight years, on the piano. For a time 1 was happy and get¬ KLEMM,‘ GUSTAV. GREY, FRANK H. of The Etude Music Magazine, let me con¬ ting along nicely. Then the thought came, "It I Indian Sunset.3’A ! Mother’s Day (c-E opt. gratulate you on your fiftieth anniversary. isn’t enough just to teach children to rend and KROGMANN, C. W. KLEMM. GUSTAV If the student, teacher and musical amateur find the right keys. I should teach them to ) Dreaming .2 but knew what a gold mine they possess in interpret' their" eir music correctly asa to rhythm, J Poppy Fairies.2 ’ ROGERS, JAMES hi' having The Etude, they would never do with¬ phrasing, fingeringigerin,- and■“ pedaling,—J-”~~ — out it. The splendid articles on interpretation, play beautifullyully asa well as correctly SPyROSs!nCHAS.aG. rhythm, phrasing, fingering and pedgling, " ’ * acquire TONE PICTURES 5 Love Calls Me (F-g opt. student and teacher alike can not afford to fore I could give it ou..,...... I question during my own music lesson. Time For the Pianoforte arp) . Little children love the children’s depart¬ was limited and most of the questions remained By EVANGELINE LEHMAN ment of The Etude. How their little minds unanswered. My teacher told me about The broaden out with the knowledge found there! Etude,” to which I subscribed. From 111n on, KELLOGG, ARTHUR F. The vocalist, violinist and bandmaster find it seemed, I found an answer for every problem just what they are seeking, in their resnootivo that came up. Since then, after having the departments. For the teacher we f opportunity to study with many fine tc.u bers, and after having obtained a Bachelor of Music degree, there is nothing I enjoy more titan a quiet evening by the fireside with The Etude Sacred Duet Music Magazine. BARNES, EDW. SHIPPEN other teaehe One of the greatest things ever published in LEONARD, EMIL i The King of Love My Shep¬ The music found in The Etude is of the The Etude is the Historical Musical Portrait herd Is (Sop. and Bar.)... .5 best and most instructive, for the little child Series which it is giving to us at the present and up to the advanced student. To the music time. Such musicians as Bach, Beethoven, MASKELL, CHARLES H. BAND lover that neither sings nor performs on an Liszt, Chopin and Schumann most music lovers 1989 My Dolly...VA .2 *15he Problem of Missed Lessons instrument. The Etude is of great value. He know about and will always remember. But PEERY, ROB ROY GOLDMAN, EDWIN FRANKO learns how music is constructed and about the we have so many wonderful musicians today 1001 Two Guitars—Russian Gypsy musicians that have given us their beautiful with whom we can get acquainted in no better Melody .3Vj .4 By Stella Whitson-Holmes compositions. And, knowing something about way than on this page. ORCHESTRA the composers, he understands better how I wish to say to the persons that haw made and why they have written as they have done. The Etude possible, and to the publishers— THREE LITTLE NEGRO 26004 1 He learns thus to appreciate the beautiful accept my heartiest appreciation and congratu- The teacher has every right to declare the teacher may devise a plan of giving a sounds he hears. DANCES 26007 ' Back in 1905 I had a class of ten pupils, Henriktta Dippmann Gbiswold. For the Pianoforte himself in no uncertain terms against the prize to each pupil who is punctual for a By FLORENCE B. PRICE tendency on the part of the pupils to rob certain number of lessons as to date and ANTHEMS him of part of his time. However, sinfce hour of appointment. In addition, an extra Mixed Voices BECK, SARAH HATTON music belongs to the class of luxuries and prize may be given to the child who com¬ The Virgin’s Cradle Hymn.. is not something that must be had, the pletes a set of pieces in so many les¬ LEVENSON. BORIS teacher, in order to retain a following, must sons, consideration being given to the abil¬ RENTON, VICTOR Tire Lord is Thy Keeper. ! Dance of the Pussywillows..3M NEVIN, GEORGE B. still handle such robber-patrons with gen¬ ity of each pupil, since some may learn a SCHULER. GEORGE S. erosity and tact. piece in three lessons, others requiring I Dreams at Twilight.3M STERLING, W. NORMAN The mother, at the time of the child’s more. This stimulates the desire to per¬ STAIRS, LOUISE E. enrollment, must be impressed with the form well, besides providing an incentive 26041 TILY, HERBERT J. importance of punctuality. She must be TRINKAUS. GEORGE J. to be prompt about keeping appointments. 25999 told that no amount of splendid methods It is needless to say that prizes must can keep up the interest of the pupil who be chosen according to the personalities of Men’s Voices PIANO DUETS BRAUN, EDITH EVANS is allowed to miss now and then. Un¬ the receivers. Mary, aged seven, might Like --- - ■ fortunately this effort is not always suffi¬ find no pleasure in a pair of ribbon garters MOUSSORGSKY, M. (Con Solo) i Gopak . .3% GOUNOD, CHARLES cient, for it does not prevent the usual but would toil diligently in hopes of re¬ REPELJE, MARIE Nazareth (Arr. by H. A. excuse that “there is no use for Johnny ceiving a “kewpie” doll. The teacher may I Jack-o’-lantern Parade.3 .50 Matthews) . PART SONGS to take his lesson because he has not prac¬ find ready suggestions by observing the PIPE ORGAN ticed this week.” The truth of the matter child’s clothing and manners. Delightful Men’s Voices MALLARD, CYRUS S. HARTMANN, ARTHUR is that Johnny’s mother thinks she is favors, colored handkerchiefs, for instance, 25979 A Jovous Postlude.3 .40 Bring Her Again, O West- saving the money in this case by obtaining are not only inexpensive but make a bright SMITH, FREDERICK STANLEY 25993 desultory musical instruction from a teacher touch in the child’s life. No other gesture who would not otherwise consider teaching on the teacher’s part can so convince the a pupil less often than weekly. child that the teacher is a friend and So, in addition to impressing the parent, “good-fellow” than this .one of giving prizes. Send Orders Directly to: The Etude Music Magazine Theodore Presser Co. Foreign $3.oo— $2.00 A YEAR — In Canada $2.25 • Everything in Music Publications • “We must not mistake expression for mannerism, for it is to expres¬ 1712 CHESTNUT ST., PHILA., PA. sion what softness would be to sensitiveness; and I warn the student against 1712 Chestnut Street, Philadelphia, Pa. exaggerating, for it becomes a parody on expression."—Lavallee. Musician: “Boy! What a grand melody!” The Works and Editings of Percy Goetschius, Mus. Doc. Published by OLIVER DlTSON COMPANY, INC. The Analytic Symphony Lessons in Music Form Series Masters of the Symphony By Percy Goetschius, Mus. Doc. Edited and Annotated by By Percy Goetschius, Mus. Doc. This important text-book treats of Form or structural design in music. Without a technical PERCY GOETSCHIUS, MUS. DOC. A notable work, richly illustrated with music study of design, a true and understanding analy¬ Published by Oliver Ditson Company, Inc. quotations, that gives students a thoughtful and sis of musical works is impossible. The eminent HE ANALYTIC SYMPHONY SERIES American theorist, in clear-cut thinking and erudite survey of the Symphony and its devel¬ comprises thirty-eight volumes covering the writing, here presents compactly and clearly the most important symphonies of the world’s greatest opment from its genesis to the present day. The essentials of this fundamental subject. Lesson masters. Each volume is presented in playable Epilogue is devoted to American Symphonic two-hand piano score, and contains complete assignments and test questions that lessen the Writers. labors of the busy teacher are included. analytical notes on the structure and orchestration in addition to critical notes appraising the signifi¬ Cloth Bound. Price, $1.50 cance of the composition and its salient points. Cloth Bound. Price, $2.00 12. BEETHOVEN—No. 3, in Eb major 1. HAYDN—No.6, inGmajor (Surprise) ..$0.75 (Eroica) .$1.25 25. BEETHOVEN—No. 6, in F major (Pas¬ 2. MOZART—No. 48, in G minor.75 13. MENDELSSOHN—No. 4, in A major toral) .$1.00 3. BEETHOVEN—No. 5, in C minor. 1.00 (Italian) .75 26. BEETHOVEN—No. .7, in A major. 1.00 4. SCHUBERT—No. 8, in B minor (Un¬ 14. SCHUBERT—No. 5, in Bb major.75 27. d'INDY—No. 2, in Bb major. 1.25 finished) .75 15. SCHUBERT—No. 10, in C major. 1.25 28. SAINT-SAENS—No. 3, in C minor. 1.25 5. SCHUMANN—No. 1, in Bb major.75 16. TCHAIKOVSKY—No. 4, in F minor. .. 1.25 29. SIBELIUS—No. 1, in E minor. 1.25 6. BRAHMS—No. 2, in D major. 1.00 17. SCHUMANN—No. 2, in C major.75 30. TCHAIKOVSKY—No. 5, in E minor.. 1.50 7. TCHAIKOVSKY—No. 6, in B minor 18. MOZART—No. 47, in Eb major.75 31. BEETHOVEN—No. 2, in D major.75 (Pathetic) . 1.25 19. HAYDN—No. 11, in G major (Mili¬ 32. SCHUMANN—No. 3, in Eb major. 8. MENDELSSOHN—No. 3, in A minor tary) .75 33. BRAHMS—No. 3, in F major. (Scotch) . 1.00 20. BRAHMS—No. 1, in C minor. 1.00 34. BEETHOVEN—No. 4, in Bb major.75 9- DVORAK—No. 5, in E minor (New 21. BEETHOVEN—No. 1, in C major.75 35. SCHUMANN—No. 4, in D minor. World) . 1.00 22. HAYDN—No. 2, in D major (London).. .75 36. BRAHMS—No. 4, in E minor. 1.00 10. FRANCK—Symphony, in D minor. 1.00 23. MOZART—No. 35, in D major.75 37. BEETHOVEN—No. 8, in F major.75 11. MOZART—No. 49, in C major (Jupi¬ 24. MOZART—No. 38, in D (without Min¬ 42. WAGNER—Prelude to The Master- ter) .75 uet) .75 singers of Nuremburg.75 DITSON EDITIONS OF THESE STANDARD WORKS ARE PREFERRED FOR THE FINE EDITINGS BY DR. GOETSCHIUS THE WELL-TEMPERED CLAVICHORD SONATINA ALBUM SONGS WITHOUT WORDS J. S. Bach. Thirty Favorite Sonatinas, Rondos and Pieces. F. Mendelssohn. Analytic Edition Compiled by Louis Kohler. Analytical Edition By Percy Goetschius, Mus. Doc. By Percy Goetschius, Mus. Doc. Edited by Percy Goetschius, Mus. Doc. Introduction by Daniel Gregory Mason. Book 1 (Ditson Edition 352). $1.75 Ditson Edition No. 131 $1.50 Book 2 (Ditson Edition 353). 1.75 Ditson Edition No. 98.$1.75 NINETEEN SONATINAS THIRTY INVENTIONS F. Kuhlau. THE MESSIAH The Fifteen Two-Voice and the Fifteen Three- Voice Inventions. Complete. Edited by Percy Goetschius, Mus. Doc. Oratorio—G. F. Handel. Edited by Ebenezer Prout, Mus. Doc., with Preface Vol. I—Twelve Sonatinas (New Edition) by Percy Goetschius, Mus. Doc. Op. 20, 55, and 59 (Ditson Edition Edited by Percy Goetschius, Mus. Doc. Ditson Edition No. 135 $1.00 129) $1.50 $1.00 Copies may be had ON APPROVAL for examination from the publisher or your dealer Oliver Ditson Company, Inc. 359 BOYLSTON STREET BOSTON, MASS.